Filter & Delay Plug-in [Mac/PC]

Antares certainly don't believe in the 'less is more' maxim, if their new filtering effect is anything to go by.

Lowpass Filter; Modulation FX; PC/Mac – VST/AU 32bit & 64bit; Download Hysteresis GlitchMachines free. Voxengo Tempo Delay. Voxengo Tempo Delay is a feature-rich stereo delay, AudioUnit, VST and AAX plugin for professional recordists and music producers. As from the name it is base on tempo, contains filter and tremolo sections. Antares Filter VST DX is a Shareware software in the category Miscellaneous developed by Antares Filter VST DX. It was checked for updates 31 times by the users of our client application UpdateStar during the last month. The latest version of Antares Filter VST DX is 1.1, released on. It was initially added to our database on. Antares Filter v1.01 VST DXi WiN Team H2O 12-16-03 6.51 MB Quad Rhithmic Multimode Filters Please Note: Filter has been discontinued. All current versions of Auto-Tune, 11 professional vocal effects, unlimited free upgrades, and more.

If you found a vintage synth with four multi-mode filters, each having its own envelope generator, LFO and delay line, you'd think you'd died and gone to analogue heaven. But these days, it's easy to dream up software devices with specifications way beyond what any of the hardware classics was capable of. Antares's Filter plug-in has all the above features and more, including two built-in step sequencers, a 12x12 modulation matrix, an evelope follower, extensive MIDI control and a variety of routing options.

It's tempting to ask why they didn't just add a couple of oscillators and turn it into a full-blown synthesizer, but as it is, it depends on having a mono or stereo audio input, and can be used as an insert plug-in in any sequencer that supports VST, RTAS, MAS (Mac OS only) or Direct X (PC only) formats. Pro Tools users should note that there's no HTDM version, so you can't use it on aux tracks within a TDM system. This is a fairly major limitation, since as we'll see, Filter is more useful on mixes and submixes than on individual instruments.

Authorisation is via challenge and response, and worked as expected in the review system. Annoyingly, no minimum spec is given, but I found that it just about ran on my ancient 300MHz G3 Mac, which is pretty good going for such a complex plug-in. In other respects, the printed manual is good, and the separate explanation of what all the presets do is equally welcome.

On The Outside

Antares describe Filter as 'The audio equivalent of a brilliant surgeon — who's a really good dancer.' One might add that it's the graphical equivalent of a hyperactive toddler — who's also got a migraine. Everything is crammed into one window, with lurid primary colours used to distinguish the four filters, and most of the controls extending no more than a few pixels across. None of the individual elements is too cryptic, but the overall effect is a bit overwhelming, and a multi-page approach to interface design might have been more friendly.

The centre of Filter 's window shows a plot of level against frequency, with the responses of each of the four filters shown in a different colour. You can adjust the cutoff and resonance of each filter by clicking and dragging, but I was disappointed to find that the display is not animated to show how filter response changes with modulation. This means that the information it provides is useful only when filter frequencies are not being modulated — and modulating filter frequencies is precisely what Filter is all about.

To the left of the frequency display is a set of buttons allowing you to select various series/parallel routing combinations. The individual controls for each filter and its associated delay line are at the top, whilst the modulation sources — LFOs and envelope generators — are ranged along the bottom. Immediately below the frequency display are Filter 's step sequencers, while the area at the top right is where you set up modulation routings.

Under The Knife

Filter is certainly bristling with features in every area. The filters themselves can be switched between low-pass, high-pass, notch and band-pass modes, with slopes variable from two-pole (12dB/octave) to eight-pole (48dB/octave). Each of them has a Frequency Link pop-up, allowing you to tie its cutoff frequency to that of any of the others. All of the filters also have their own delay lines with variable feedback and up to two seconds of delay. Delays can be switched pre or post the associated filter, and like all of Filter 's time-related elements, can be sync'ed to host tempo. Output from each filter stage can also be polarity-inverted and, unless you're using the mono-to-mono version of Filter, panned.

The step sequencers, or Rhythm Generators as the manual describes them, are simply two strips divided into cells of equal duration; each cell can be either on or off, and their state is switched by clicking in them. When the sequencer reaches a cell that's switched on, it sends a trigger to any envelope set to receive it, and a maximum positive value to any modulation destination it's hooked up to. Red arrows can be positioned to set repeat points for each sequencer, while the single Run/Stop button behaves differently depending on whether, and how, the plug-in is sync'ed to host tempo. With the Rhythm Generators' Sync button unlit, a single press of Run/Stop starts the sequence, a second press freezes it and a third returns to zero. With Sync on, its behaviour depends on the plug-in's Master Tempo setting, and it can either act simply to turn over start/stop duties to the sequencer transport controls, or independently of them. When Filter is sync'ed to master tempo, starting playback in the middle of a song causes the Rhythm Generator position to jump to the appropriate point in the sequence, which is a nice touch.

Each of the four 'function generators' at the bottom of the screen can be switched to show controls for an LFO or an envelope generator, although in every case, both are always available as modulation sources. A wide range of LFO waveforms is available, including some neat random shapes, and LFO rate can be sync'ed to host tempo or set freely in Hertz or beats per minute. When not tempo-sync'ed, rates for each of the four LFOs also appear as modulation destinations in the mod matrix.

Four LFOs and four envelope generators are always available as modulation sources, though they are edited on an either/or basis.

The EGs are equally well specified, offering graphically editable ADSR envelopes with an additional Hold time parameter for the Sustain phase. They can be triggered by active cells in either of the Rhythm Generators, or by a MIDI Note On message; you can choose which MIDI channels to assign to each of the EGs. An additional MIDI Gate mode works the same way, except that the Hold parameter is ignored, and the Sustain level is held until a Note Off is received. You can also insert a delay between an EG's receiving a trigger and firing, whilst the display can be set to show envelope parameters either in milliseconds or in precentages of the step sequencer's cell duration.

The modulation matrix is straightforward to use. Sources include the four LFOs and EGs, the simple envelope follower, the two rhythm generators, and a variety of MIDI messages such as notes, mod wheel, velocity and pitch-bend data. All the key parameters for the filters, delays, LFOs and EGs are available as destinations. Sadly, though, there's no way to route a side-chain signal through the envelope follower; nor can the follower output a trigger for the envelope generators.

Overall, Filter 's interface is not difficult to understand, but I didn't find it particularly inspiring or intuitive either. It's definitely not one of those plug-ins where you can rely on happy accidents to create worthwhile results. The size of the controls means you're often squinting at the screen to find out what you're clicking on, and their sheer number makes programming anything interesting a bit of a hard slog. This is especially the case if you start from scratch, so it's handy that Antares have supplied a decent selection of editable presets, complete with suggested parameter tweaks.

The Nitty Gritty

Of course, it doesn't matter what the interface is like if a plug-in doesn't sound very good. So does Filter live up to Antares' claims for it? The best answer I can give is 'sort of'. As a surgeon, it's certainly capable enough, thanks to its 48dB filter slopes, but I can't imagine anyone buying a pl

Antares Filter Vst Download