A Brave New World: The Ultimate Moog Filter and Sequencer
Moog analog filters have long reigned supreme as the most musical audio filtering circuits ever devised. With its incredibly rich sounds — ranging from buzz-saw to syrupy — and built in sequencing capabilities, the new UAD Moog Multimode Filter Collection for UAD-2 hardware and Apollo interfaces represents a major advancement for all of filter kind.
Built for modern sequencer-based song production, the new Moog Multimode Filter XL plug-in — a one year effort between Moog Music and UA — borrows from various incarnations of Moog designs, nailing the essential Moog filter character unlike any software emulation in history. Prepare for a brave new world.
- Add subtle to extreme textures to synths, drums, and other sources with legendary Moog ladder filters, Envelope, Drive, and Boost circuitry
- Sequence your filter sounds with an intuitive, infinitely variable four-lane step sequencer
- Explore wild sounds with Moog's signature self-oscillation and extreme resonance
- Radically shift the stereo image of your source with independent LFOs
- Use Apollo to track in real time with any instrument using classic Moog filters for phase, wah, and tremolo effects
- Mix with presets from electronic music artists The Glitch Mob, The Crystal Method, Benno de Goeij, Christoffer Berg, and more
Moog Multimode Filter XL
Moog Multimode Filter Family
The Moog Multimode Filter Collection is comprised of three plug-ins: Moog Multimode Filter XL, Moog Multimode Filter, and Moog Multimode Filter SE.
Moog Multimode Filter XL
Designed in collaboration with Moog Music Chief Scientist Cyril Lance, Moog Multimode Filter XL begins where UA's original Moog Multimode Filter left off. The filter emulation has been revamped, bringing a new level of analog realism. Selectable filter slopes, a wider range of cutoff frequencies, and a new notch filter mode add tonal flexibility. The envelope follower circuit boasts a new array of shaping parameters and control destinations.
Combining this with greatly expanded modulation capabilities and a inspiring four-lane parameter sequencer, Moog Multimode Filter XL is the stuff filter lovers' dreams are made of.
Moog Multimode Filter XL is a true stereo processor, with separate filters for the left and right channels. The dual filters share the same controls, but can be modulated separately.
Moog Multimode Filter
As Universal Audio's first foray into Moog filter emulation, the legacy Moog Multimode Filter (previously named (Moog Filter) was the first truly accurate software representation of this classic filter. While it does not offer all of the modulation and processing functions available in Moog Multimode Filter XL version, its concise control set and modest DSP footprint make Moog Multimode Filter as useful today as it was upon its release.
Moog Multimode Filter SE
Moog Multimode Filter SE (previously named Moog Filter SE) is derived from Moog Multimode Filter. Its algorithm has been simplified (primarily the elimination of the Drive circuit) to provide sonic characteristics very similar to Moog Multimode Filter but with significantly less DSP usage. It is provided to allow Moog Multimode Filter benefits when DSP resources are limited. Moog Multimode Filter SE sounds great even without Drive, and is suitable in many situations.
Moog Multimode Filter XL Operational Overview
Warning: As with most resonant filters, plug-ins in the Moog Multimode Filter Collection have the potential to create unpredictable sonic results that can result in unexpected jumps in output amplitude. Depending on the source material, input levels, and parameter values, the filter output can suddenly get extremely loud, with the potential to damage speakers and/or hearing. This condition is particularly susceptible when the simultaneous conditions of high gain, low filter cutoff, and high resonance values are applied, and/or when the LFO sweeps into these conditions. Use caution and/or low monitoring levels when dialing in extreme parameter values to avoid speaker and/or hearing damage!
This section provides a general overview of operational concepts for Moog Multimode Filter XL. For specific details about individual controls, see Moog Multimode Filter XL Controls.
For in-depth information and controls for Moog Multimode Filter and Moog Multimode Filter SE, see Moog Multimode Filter Controls.
Signal Flow
A simplified version of the audio and control voltage signal flow within the plug-in is shown in the diagram below. Understanding this signal flow can help you better understand the behavior of the plug-in, and get you to your desired result more quickly.
Signal flow within Moog Multimode Filter XL
Control Groupings
Associated controls are grouped by their function within the interface. An overview of the control groups is provided below. For detailed parameter descriptions, see the control details later in this article.
Input
The Input controls affect input gain/drive to the filter circuits, as well as plug-in bypass and power states.
Envelope
The modulation circuit or filter cutoff frequency of Moog Multimode Filter XL can be modulated by the amplitude of the signal coming into the plug-in. This function is typically called an "envelope follower" because it "follows" the input level of the signal. The Envelope section contains the controls for the envelope follower.
Modulation
The Modulation section features two independent LFOs (low frequency oscillators), labeled A and B, which can be used to modulate the filter cutoff frequency. Each LFO can be set to a distinct rate and wave shape for complex interactions.
Filter
The Filter section controls the sound, shape, and behavior of the filters. Controls for filter cutoff and resonance are found here, as well as filter mode, slope, control smoothing, and left/right filter frequency spacing.
Output
The Output section controls the final output volume, wet/dry mix, stereo/mono operation, and left/right balance.
Sequencer
The sequencer is one of the most powerful features of Moog Multimode Filter XL, providing four lanes of flexible 16-step sequencing. Each lane can control a wide range of parameters such as filter cutoff, LFO speed, or envelope amount. The sequencer can be synchronized to the DAW clock for rhythmic tempo effects.
Artist Presets
Presets from prominent Universal Audio artists are included. You can access the artist presets using the UAD preset browser.
The Moog Multimode Filter XL presets are categorized. Each preset has a prefix to indicate its typical application:
FLTR – Filter, saturator, or envelope effect
MIX – Mix effect useful for enhancing the input audio
LFO – Primarily LFO driven effect
SEQ – Primarily sequencer driven effect
FX – Melodic or synthesized special effect (audio input typically not required)
Moog Multimode Filter XL Controls
Note: Some knob settings, when compared to the graphical user interface silkscreen numbers, may not match the actual parameter values. When the plug-in is viewed in parameter list mode within a DAW, the actual parameter values are displayed.
Input Controls
Drive
Drive controls the amount of saturation gain before the filter. Drive is where much of the sonic "juice" in the Moog Filter originates. Drive can change the signal from clean to slightly overdriven to extremely distorted, particularly when used in conjunction with the Boost switch.
The range of Drive is 0 to +40 dB of gain. Drive affects both wet and dry signals, so the control is heard even when Mix is set to zero or Bypass is engaged. This gain range closely mimics the external input section of the Minimoog.
Drive LED
The Drive tri-color LED indicates the plug-in signal level just after the Drive/Boost controls. The Drive LED operates when the plug-in is in Bypass mode, but not when Power is off. When signal levels are low, the LED is unlit. As signal level increases, the LED illuminates and progresses from green, to yellow, to red. When the LED is red, signal level is at 0 dBFS.
Boost (+20)
Enabling Boost (+20) increases the gain range of the Drive circuit by 20 dB. Boost (+20)affects both the dry and the processed signal paths. Boost is useful for increasing levels when the input signal is low and/or introducing additional distortion and saturation.
Boost is engaged when the +20 button is illuminated.
Bypass
When Bypass is enabled, filter processing is inactive. The Input and Output sections continue to operate in Bypass mode. Enabling Bypass has the same effect as setting Mix to zero.
Bypass is engaged when the button is illuminated.
Power
Power disables the plug-in altogether and disables DSP processing. Power is engaged when the button is illuminated.
Envelope Controls
Sensitivity
Sensitivity sets the level of the input signal as it passes into the envelope follower. It controls the degree to which the input signal's amplitude envelope is used to modulate the envelope's Destination parameter. Set this control to suit the loudness and dynamics of the input signal.
Tip: The Sensitivity and Amount controls are highly interactive.
Envelope LED
This LED indicates the relative peaks of the control envelope. The envelope LED does not illuminate when the plug-in is in Bypass mode or when Power is off.
Amount
Envelope Amount sets the degree to which the envelope destination is affected by the dynamics of the input signal. Positive and negative values are available.
Note: To hear Envelope modulations, Amount must be set to a non-zero value.
Positive values increase the envelope destination as the input amplitude increases (e.g., the filter opens as the signal gets louder). Negative values decrease the envelope destination as the input amplitude increases (e.g., the filter closes as the signal gets louder). The greater the value (either positive or negative), the greater the amount of filter or LFO modulation.
Tip: Click the "0" text label to return the value to zero.
Attack
Attack specifies the amount of time it takes for the envelope follower to reach its peak value once triggered by incoming audio. The available range is 250 microseconds to 2 seconds.
Release
Release sets the amount of time it takes for the envelope follower to return to its lowest value when input volume drops, such as at the end of a transient signal. The available range is 150 milliseconds to 2 seconds.
Note: Attack and Release ranges are from Moog's The Ladder 500 Series Module.
Envelope Destination
Destination selects the parameter that is controlled by the envelope generator. Up to four simultaneous parameter destinations are possible.
The following parameters are available as envelope control destinations. The envelope destination is active when its LED is illuminated.
|
Modulation Amount |
Filter Cutoff |
|
Modulation Rate |
Filter Resonance |
To change the envelope destination, do any of the following:
- Click the Destination button to cycle through the available destinations (shift+click to cycle in reverse)
- Click an individual destination LED or text to directly select that destination
- Shift+click multiple destinations to route the envelope signal to multiple controls.
Modulation Controls
Moog Multimode Filter XL features two independent LFOs that can be used to modulate the cutoff frequency of the filter. Each LFO, labeled A and B, has its own identical set of controls and indicators that work independently, along with a central set of controls that affect both LFOs.
LFO Rate
LFO Rate sets the frequency at which the LFO oscillates. When the Hi and Sync options are disabled, the available range is 0.01 to 50 Hz. When Sync is enabled, the rate is synchronized to the tempo of the DAW.
Tip: When Sync is disabled, the Rate Display can also be used to change the LFO rate using text entry.
Rate LED
The LFO Rate LED illuminates once per LFO cycle.
HI
Enabling HI for an LFO shifts the LFO rate range upwards, allowing for modulation in the audio band. When HI is enabled, the available LFO range is 0.5 to 1000 Hz. The HI button illuminates when this option is engaged.
Note: HI can only be enabled when SYNC is disabled.
LFO Sync
Enabling Sync locks the speed of the LFO to the DAW tempo. When engaged, the LFO Rate control sets the rhythmic value (relative to DAW tempo) at which the LFO cycles. The available beat values range from 16/1 (one cycle every 16 bars) to 1/64 (one cycle per 64th note). The SYNC button illuminates when this option is engaged.
Note: Sync is disabled whenever HI is enabled.
Rate Display
The current LFO rate is displayed here. The type of value that is displayed (Hz or beat value) depends on the status of the Sync function.
Tip: When Sync is disabled, the Rate Display can be used to set the LFO rate (in addition to the LFO Rate knob) using text entry.
Sync Off
When Sync is disabled, the current LFO rate is displayed in Hertz.
Tip: To change the LFO rate when Sync is off, the Rate Display can be clicked to enter a new value directly.
Sync On
When Sync is enabled, the current beat value is displayed. The beat value is displayed as either a division or multiple of the beat.
Tip: To change the LFO rate when Sync is on, the rate display can be clicked to view a drop menu with all available beat values, then a new value can be selected from the menu.
LFO Tap
Press the Tap Tempo button repeatedly to set the LFO Rate. After two or more presses, LFO Rate is set to match the time between taps. After the first click, the TAP button remains softly lit, going dark after the fourth click, or after four seconds have elapsed since the first click.
Note: Tap is unavailable when HI is enabled.
LFO Wave
The LFO Wave knob selects the waveshape of the LFO. Seven waveshapes are available: Sine, Triangle, Sawtooth Down, Sawtooth Up, Square, Random, and Slewed Random.
Tip: Click any waveshape icon to jump directly to that waveshape.
LFO Amount
LFO Amount sets the degree to which filter cutoff is affected by the combined value of the two LFOs. Positive and negative values are possible, with a range of ±5.0 octaves.
Positive values increase the filter cutoff as the LFO amplitude increases. Negative values decrease the filter cutoff as LFO amplitude increases. The greater the value (either positive or negative), the greater the amount of filter modulation.
Tip: Click the "0" text label to return the value to zero.
LFO Balance
LFO Balance sets the blend between the control voltage waveforms generated by LFO A and B. When at its center setting, the two LFOs affect filter cutoff in equal proportions. This feature is from the modulation architecture of the Moog Sonic Six synthesizer.
Rotating Balance counter-clockwise increases the effect of LFO A while simultaneously decreasing the effect of LFO B. At the fully counter-clockwise position, LFO B has no effect.
Rotating Balance clockwise increases the effect of LFO B while simultaneously decreasing the effect of LFO A. At the fully clockwise position, LFO A has no effect.
Tip: Click the "A+B" text label to return the value to perfectly balanced LFOs.
LFO Width
Width is an LFO cross-feed control that continuously blends or separates the LFO control signals before they are routed into the stereo filter. By separating LFO modulations for each filter channel, dynamic stereo filtering effects can be achieved.
Note: Width settings are only heard when Modulation Amount is set to a non-zero value and LFOs A and B have different settings.
When Width is set to zero (the default center position), both LFO control signals are blended in equal amounts before being routed into the stereo filter — both channels of the filter are modulated by both LFOs. At this setting, because the stereo filter's LFO control signals are the same for both filter channels, filter modulations are heard in the center of the stereo panorama.
As Width is increased, LFO A modulates the left filter channel more than the right filter channel, and LFO B modulates the right filter channel more than the left filter channel. At the fully clockwise position (+10), only LFO A modulates the left filter channel, and only LFO B modulates the right filter channel.
With negative (counter-clockwise) values, the converse applies. LFO A controls the right filter channel more than the left filter channel. At the -10 position, only LFO A controls the right filter channel, and only LFO B controls the left filter channel.
Tip: Click the "0" text label to return the value to zero.
LFO Reset (- and +)
The LFO Reset buttons reset both LFOs to their zero crossing when pressed. The "-" button causes the LFOs to begin their cycle by moving downward from zero. The "+" button causes them to start their cycles by moving upward from zero.
Normally the LFOs are free running when not in Sync mode, but this behavior is not always desirable. For example, if using LFO filter modulation, you may want playback to always sound exactly the same when bouncing or mixing. To accomplish this, the LFOs must be started at the same place (zero crossing) of their waveforms. Automating the LFO Reset buttons enables this sonic consistency when using the LFO.
Note: When the LFO Reset buttons are automated within a DAW, the +/- buttons are illuminated until automation data for the parameters is no longer received.
Filter Controls
Cutoff
This control sets the cutoff frequency of both filter channels in all modes (lowpass, bandpass, highpass, notch). The available range is 20 Hz to 20 kHz.
In lowpass mode, frequencies above the cutoff are attenuated. In highpass mode, frequencies below the cutoff are attenuated. In bandpass mode, the cutoff value is the center frequency, and attenuation occurs above and below the cutoff value. In notch mode, a narrow band of frequencies centered at the cutoff value are attenuated.
Resonance
Resonance determines the amount of filter feedback, which accentuates the harmonic content at the cutoff frequency. Higher values can produce a "whistling" quality to the filter, and at very high values the filter will self-oscillate.
Resonance works the same way in all four filter modes.
Tip: Resonance is typically easier to hear at lower filter cutoff values.
Slope
Slope determines the shape and severity of attenuation applied by the filters to frequencies above (lowpass), below (highpass), around (bandpass), or centered on (notch) the cutoff frequency. This setting expressed in number of filter "poles." The greater the number of poles, the "steeper" the filter response.
Click the Slope button to increment through the available filter slopes (shift+click to decrement) or click an individual slope setting to choose it directly. The current setting is indicated by its illuminated LED.
1-Pole – The filter has a cutoff frequency of 6 dB per octave. For example, in lowpass mode frequencies that are double the cutoff frequency (an octave) are attenuated by 6 dB. This setting is the least steep of the modes and is useful for subtle tone shaping.
Note: When Mode is set to Bandpass or Notch and 1-Pole is selected, the filter slope is 12 dB per octave (2-pole).
2-Pole – The filter has a slope of 12 dB per octave. For example, in lowpass mode frequencies that are double the cutoff frequency (an octave) are attenuated by 12 dB.
3-Pole – The filter has a slope of 18 dB per octave. For example, in lowpass mode frequencies that are double the cutoff frequency (an octave) are attenuated by 18 dB.
4-Pole – The filter has the steepest slope of 24 dB per octave. This is the "classic" (and luscious) Moog filter response that has been employed in just about every Moog product from the Modular to the Minimoog to the Voyager.
Mode
This rotary control switches between the available filter types. Unlike Moog highpass and bandpass filters of the past, UA's design presents Moog's signature self-oscillation in all four filter modes.
Tip: Click any Mode icon to select the mode.
Lowpass – Frequencies above the cutoff value are filtered.
Bandpass – Frequencies above and below the cutoff value are filtered.
Highpass – Frequencies below the cutoff value are filtered.
Notch – A narrow band of frequencies are attenuated, centered at the cutoff value.
Smooth
When enabled (the default value), this option smooths the motion of filter cutoff, resulting in fluid, analog-style shifts between frequencies. At times, such as when sudden cutoff changes are automated, this smoothing may be undesirable and the option can be disabled. Smooth is enabled when its button is illuminated.
Spacing
Spacing inversely offsets the filter cutoff values for the left and right channels. In other words, positive values increase the right channel cutoff while lowering the left channel cutoff, and vice versa.
Spacing is borrowed from Bob Moog's Voyager instrument, and separates the hard-panned filters by up to three octaves. Unlike the original however, both filters move away from each other in pitch, rather than one fixed filter plus one adjustable filter pitch. Positive or negative values enable positioning the detuned filters from left to right, low to high, or high to low.
Spacing can create great stereo spatial effects. When the filter is in Mono mode, both filters are still heard.
Tip: Click the "0" text label to return the value to zero.
Output Controls
Volume
The Volume control changes the gain of both wet and dry signals at the output of the plug-in. The available range is ±30 dB.
Volume LED
This tri-color LED gives a visual indication of the plug-in output level. The Output LED is active when Bypass is enabled, but not when Power is off. When the LED is red, the output is 0 dBFS.
Mix
Mix varies the amount of filtering that is occurring. It is not a true dry/wet control; it mimics the mix function of the MF-101 Moogerfooger. When Mix is at zero, the Drive control is still active and audible.
Tip: Setting Mix to zero is the same as enabling Bypass.
Mono
The left and right channel filters are always independent. However, when Mono is enabled, the left and right output channels are summed to mono. Mono is active when the button is illuminated.
Balance
Balance controls the relative volumes of the left and right channel signals. When set to zero (center position), the left and right channels are at equal volume levels. As the knob is rotated counter-clockwise, the right channel is attenuated. When rotated clockwise, the left channel is attenuated.
When MONO is enabled (and the plug-in is running in stereo), this is a pan control for the mono-summed signal.
When the plug-in is used in a mono-in/mono-out configuration, this control is locked in the center position.
Tip: Click the "0" text label to return the value to zero.
Sequencer Section
The Edit button in the main interface opens the sequencer interface. All sequencer controls are detailed in following sections.
Tip: Click the Edit button, the word "SEQUENCER" (at top of interface), or anywhere in the Sequence Step LED area (to the left of the Moog logo) to toggle display of the sequencer control interface.
Sequencer Overview
Filters are often most useful and have the largest impact when they are set into motion. The envelope generator and LFOs in Moog Multimode Filter XL go a long way towards adding animation and movement to the action of the filters. However, for precise control of a wide variety of parameters over time, there's just no substitute for a good step sequencer.
Moog Multimode Filter XL features a flexible 16-step multi-lane step sequencer for modulating the plug-in's control parameter values over time. The sequencer can be synchronized to the DAW (or Apollo's Console) for powerful sonic manipulation of any sound source.
Parameter modulations generated by the sequencer are offsets to the current parameter values (destinations) that are set in the main filter plug-in interface. The offset amounts are adjustable on a per-lane and per-step basis. Parameter destinations can be continuous or switched controls.
Four lanes are available and each lane has independent controls. Each lane can be assigned to modulate a unique parameter, or multiple lanes can modulate the same parameter. Lanes can be set to different cycle lengths for generating complex polyrhythmic interactions.
Each lane has 16 steps. Each step can modulate the destination parameter value with bipolar (positive or negative) offsets. For stepped (switch) destinations, each step can be a different switch setting.
The sequencer also features global step length multipliers, a swing control, and the ability to run in a variety of directions.
Note: Due to technical synchronization limitations when the plug-in is used within a DAW, sequencer operations and bounced results may behave unexpectedly with offline processing modes (for example, Pro Tools AudioSuite).
Sequencer interface within Moog Multimode Filter XL
Sequencer Controls
Note: To adjust the sequence lane step values, the plug-in must not be bypassed. If the sequence lanes are blank and cannot be adjusted, return to normal view and disable the BYPASS button in the input control section.
Edit View
Pressing the Edit button in the lower left corner of the plug-in window toggles the Sequencer Edit View, giving access to the sequencer settings when the button is illuminated. When in Sequencer Edit View, press the Edit button to return to normal view (button unlit).
Tip: Click the Edit button, the word "SEQUENCER" or anywhere in the Sequence Step LED area (to the left of the Moog logo) to toggle display of the sequencer control interface.
Control groupings within the sequencer interface are illustrated below.
Sequencer control groupings
Sequence Step Meter
The row of LEDs at the bottom of the sequencer interface, labeled 1 – 16, indicate the current sequence step when the sequencer is active. The current step's LED is illuminated. The Sequencer Step Meter is also displayed in normal view.
Tip: Click anywhere in the Sequence Step Meter to toggle Sequencer Edit View.
Global Sequencer Controls
Note: The global sequencer controls affect all lanes in the sequencer.
Transport
The Transport button controls the play/stop state of the sequencer. Its behavior depends on whether or not sequencer Sync is enabled.
In contrast with the Bypass control (which disables the entire sequencer), when the sequencer is stopped using the Transport button, the parameter offset in the current step of each sequencer lane remains active.
SYNC Off – When Sync is disabled (SYNC button unlit) and the Transport button is pressed, the sequencer begins playing at step 1, at the tempo specified by the BPM control. Pressing the Transport button a second time stops the sequencer. In this mode, sequencer tempo and play/stop state are independent from the DAW.
SYNC On – When Sync is enabled (SYNC button illuminated) and the Transport button is pressed (or automated), the button lights to indicate that the sequencer is ready to play in sync with the DAW. When the DAW transport is started and stopped, the sequencer follows, matching its tempo and rhythmic phase. Pressing Transport a second time deactivates synchronous play and stops the sequencer. When the DAW transport is in play, the Transport button can pressed at any time to start or stop the sequence.
Note: When the plug-in is used in Apollo's Console and Sync is enabled, the sequencer is synchronized to the Console tempo instead of the DAW tempo. Because Console does not have transport controls, the sequencer always runs when the play button is illuminated in Sync mode.
Bypass (BYP)
Pressing Bypass stops the sequencer and removes any influence it has on associated parameters. When Bypass is enabled (BYP button illuminated), the sequencer lanes temporarily return to their default state, indicating that the sequencer is disabled.
Beats Per Minute (BPM)
When Sync is disabled, this knob sets the tempo of the sequencer. The available range is 10 to 300 BPM. When Sync is enabled, the knob is locked.
Tip: The tempo can also be changed via the Tempo Display.
Tempo Display
The Tempo Display shows the current BPM value.
Tip: Click the Tempo Display to enter a new value using text entry.
Tap
Press the Tap Tempo button repeatedly to set the BPM in quarter-note intervals. After two or more presses, the tempo is set to match the time between taps. TAP is disabled when sequencer SYNC is enabled.
Sync
Sync locks the sequencer tempo to the current DAW tempo. Sync is active when the button is illuminated.
Step Length
The Step Length drop menu sets the length of each sequencer step, expressed as rhythmic values relative to the BPM setting.
Direction
The Direction drop menu determines the direction of movement through the steps of the sequencer as it runs. Note that the last step is always the step set by the Length control.
The following directions are available:
Forward (FWD) – Each lane runs from step 1 to its last designated step.
Reverse (REV) – Each lane runs from its last designated step to step 1.
Ping Pong 1 (PP1) – Each lane runs from step 1 to its last designated step, then runs in reverse.
Ping Pong 2 (PP2) – Each lane runs from step 1 to its last designated step, then runs in reverse; step one and the last step are repeated so the lane can remain synchronized by maintaining the same number of steps in both directions.
Random 1 (RAND1) – Sequence steps are fired in a random order, and all lanes fire in the same order.
Random 2 (RAND2) – Sequence steps are fired in a random order, and all lanes fire in a random order.
Swing
Swing sets the amount of rhythmic offset to be applied to every other step in the sequence, creating a variety of shuffled rhythms. In a sequence with an even number of steps, this means that the "upbeat" steps are swung. At zero, no swing is applied. In the middle, swing ranges from moderate to severe, and near the top of the range, extreme "flamming" rhythms are created.
Lane Controls
The lane controls are independent for each sequencer lane. All lane controls are detailed in this section.
Elements within an individual sequencer lane
Lane Parameter
Each lane of the sequencer can modulate a different destination parameter. To select a lane parameter, click the lane parameter name to display a drop menu, then select a parameter from the menu.
Some parameters (such as Cutoff) are continuous destinations that are variable throughout their control range, while switched destinations (such as Mode) are individual settings that are restricted to the number of settings available in the control.
Continuous Destinations
Each lane can be assigned to the following continuously variable control destinations:
|
Input Drive |
Envelope Amount |
LFO Width |
LFO Reset |
|
Filter Cutoff |
Envelope Sensitivity |
LFO A Rate |
Output Volume |
|
Filter Resonance |
LFO Amount |
LFO B Rate |
Output Mix |
|
Filter Spacing |
LFO Balance |
LFO A+B Rate* |
Output Balance |
*Tip: Unlike all other lane destinations, the LFO A+B Rate parameter is unavailable in the LFO controls section of the main interface. With this destination, both LFO rates can be controlled by a single lane.
Switched Destinations
Each lane can be assigned to the following stepped control destinations:
|
Filter Mode |
LFO A Waveform |
LFO A HI |
LFO Reset |
|
Filter Slope |
LFO B Waveform |
LFO B HI |
Output Mono |
Step Values
Each of the 16 steps in a lane represents an offset to the current control value for the assigned lane parameter (the current parameter value that is set when not in sequencer edit view).
Note: To adjust the sequence lane step values, the plug-in must not be bypassed. If the sequence lanes are blank and cannot be adjusted, return to normal view and disable the BYPASS button in the input control section.
Step values are a special type of control. The following constraints apply to this parameter:
- When the plug-in is used in a DAW, step values are stored within the DAW session. However, changes to the offsets cannot be automated.
- When the plug-in is used within Apollo's Console, undo/redo is not available for changes to the step values.
The behavior and appearance of the step values depend on whether the Lane Parameter destination is a continuous control or a switched (stepped) control, as described below.
Tip: Option-click (Mac) or ctrl-click (Windows) a step to return to its default value.
Continuous Values
When the lane parameter is a continuous control (such as Filter Resonance), each step is an offset to the original control value that is represented by a shaded bar graph. Continuous step values are bipolar — offsets above the center line are added to the lane parameter value, while offsets below the center line are subtracted from the lane parameter value.
To set continuous step offset values, click or click+drag anywhere in the step, or click+drag across multiple steps to draw a pattern.
Switch Values
When the sequence reaches the step, the parameter is switched to the row value if the cell is selected (gray). If a cell in a step is not selected (its initial state), the switch value is unchanged.
To set stepped or toggled values, click a step cell to highlight the cell, or click+drag across multiple lane steps to draw a pattern.
Ganged Values
Multiple step values can be adjusted simultaneously by ganging steps before they are adjusted. Ganging step values is a two step process, as illustrated below:
- Select two more more steps for adjustment. Shift+click any step to select it, then shift+click any other steps in the lane to add to the current step selection. Steps appear as a darker gray when selected.
Tip: Shift+click+hold then drag horizontally to quickly select multiple steps.
- Set the step value. Click anywhere in a selected step to set the value, or click+hold then drag vertically in any selected step to adjust all selected steps simultaneously. When the mouse is released, all selected steps in the lane are deselected.
Tip: Option+click any ganged step to return all ganged steps to their default values.
Selecting and adjusting ganged step values
Lane Length Handles
At the top of each lane are two length handles (black circles), which mark the first and final steps. Slide the length handles horizontally to designate the first and last sequence steps for the lane.
To set a lane's length to a single step, drag one of the lane's length handles onto the other length handle. When set to a single step, only one lane length handle is visible. To return the lane length to multiple steps, simply drag the single length handle in either direction.
Lane Glide
Glide is available when a lane is addressing a continuously variable parameter (such as Drive). Glide sets the speed at which the parameter changes between steps.
At zero, each step instantly changes the assigned control by the value of the step. As Glide is increased, the motion between steps is smoothed and slowed, making parameter movements more fluid.
Lane Amount
When a Lane Parameter is a continuously variable destination (such as Filter Cutoff), the Amount knob is available. Amount adjusts the overall range of all step values within the lane.
As Amount is increased, the step value offsets to the lane parameter destination become more pronounced. At the zero position (fully counter-clockwise), the lane parameter destination is not modulated.
Note: When Amount is set high for a given sequencer lane, the control signal sent by that lane may dip below or above the limits of the assigned control. When this occurs, the control signal is "clipped" at that limit, and the assigned control stays at its extreme setting until the control signal moves back into a value that falls within the travel of the control.
Lane Bypass (BYP)
Pressing the Bypass button temporarily stops the lane's step value processing. When bypassed, all lane controls can be modified. A lane is bypassed when this button is illuminated.
Lane Initialize (INIT)
Pressing the Initialize button returns the lane's step offsets to their default values. The Length, Glide, and Amount settings are unaffected.
When a lane is assigned to a continuously variable control, Initialize flattens the step offset values to zero. When a lane is assigned to a stepped control, Initialize clears all lane steps.
Moog Multimode Filter Controls
Moog Multimode Filter is true stereo, with separate filters for the left and right channels. The dual filters share the same controls. The only time the left and right filters diverge is when Filter Spacing or LFO Offset are not zero.
Moog Multimode Filter
Drive/Gain
The knob at the upper left of the interface has a different label and function depending on if the plug-in is the full version or the SE version. The non-linear modeling of Drive characteristics is extremely DSP-intensive. For this reason, Drive is not available on Moog Multimode Filter SE. In Moog Multimode Filter SE, the parameter is named Gain instead of Drive, and is a straight (non-modeled) input gain control.
The range of Drive/Gain is 0 to +40 dB of gain. Drive/Gain affects both the wet and dry signals (the control is heard when Mix is zero and/or when Bypass is engaged). This gain range closely mimics the external input section of the Minimoog.
Warning: Due to these differences in input structure, cut and pasting of Legacy-to-SE and SE-to-Legacy presets may cause noticeable differences in gain. Keep hold of the master fader!
Drive (Moog Multimode Legacy only)
Drive controls the amount of saturation gain before the filter. Drive is where much of the sonic "juice" in Moog Multimode Filter originates. Drive can change the signal from clean to slightly overdriven to extremely distorted, particularly when used in conjunction with the Boost switch.
Gain (SE version only)
Gain a clean (non-modeled) input gain control.
Drive/Gain LED
The Drive/Gain multicolor LED indicates the plug-in signal level just after the Drive/Gain control. The Drive/Gain LED operates when the plug-in is in Bypass mode, but not when Power is off.
Envelope
The Envelope controls (Envelope knob, Smooth/Fast switch) closely mimic the controls of the MF-101 Moogerfooger. However, UA has broadened the sonic palette with a negative range allowing unique negative envelope effects.
The cutoff frequency of Moog Multimode Filter can be modulated by the amplitude of the signal coming into the plug-in. This function is typically called an "envelope follower" or "auto wah" because the cutoff frequency "follows" the signal input level. The amount and speed of the envelope response can be adjusted.
The envelope knob determines how much the filter cutoff frequency is affected by the signal input level. Positive and negative values are possible. Positive values increase the filter cutoff as the input amplitude increases (the filter opens as the signal gets louder). Negative values decrease the filter cutoff as input amplitude increases (the filter closes as the signal gets louder).
The greater the value (either positive or negative), the greater the amount of filter modulation (the cutoff frequency range is increased with greater values).
Tip: Click the knob label ("ENVELOPE") to return the value to zero.
Envelope LED
This LED indicates the relative peaks of the control envelope. The envelope LED does not illuminate when the plug-in is in Bypass mode or when Power is off.
Smooth/Fast
This toggle switch determines the release time of the control envelope. In Smooth mode, the release time is 200 milliseconds. In Fast mode, the release time is 40 milliseconds. In both modes, the attack time is 25 milliseconds.
In typical applications, Fast mode is useful on percussive sounds, while Smooth mode is better suited to sounds with longer and/or uneven decays.
Cutoff
This parameter defines the cutoff frequency of both filter channels in all modes (lowpass, bandpass, highpass). UA has expanded the available frequency range of 20 Hz to 12 kHz on the MF-101 Moogerfooger to the broader available range of 12 Hz to 12 kHz on the Moog Mulitmode Filter Legacy.
In lowpass mode, frequencies above the cutoff are attenuated. In highpass mode, frequencies below the cutoff are attenuated. In bandpass mode, the cutoff value is the center frequency; attenuation occurs above and below the cutoff value in this mode.
Resonance
Resonance determines the amount of filter feedback, which accentuates the harmonic content at the cutoff frequency. Higher values can produce a "whistling" quality to the filter, and at very high values the filter may self-oscillate.
Resonance works the same way in all three filter modes.
Pole (Slope)
The filter slope is determined by this switch. The slope defines how "steep" the frequencies above the cutoff in lowpass mode (or below the cutoff in highpass mode) are rolled off.
2-Pole
In 2-pole mode, the filter has a slope of 12 dB per octave. For example, in lowpass mode frequencies that are double the cutoff frequency (an octave) are attenuated by 12 dB. 2-pole filtering is less aggressive than 4-pole mode, but has its own unique sound that you may find is better suited for certain types of signals.
4-Pole
4-Pole mode has a steeper slope (24 dB per octave), so the filtering is more obvious. This is the "classic" (and luscious) Moog Multimode Filter, in all its glory, that has been employed on just about every Moog product, from the Modular to the Minimoog to the Voyager.
Step/Track
This switch is a smoothing control for the filter cutoff frequency parameter. Smoothing is most obvious on continuous filter sweeps when varying the cutoff rapidly with the knob or automation. Step mode can be desirable when sudden cutoff changes are automated and other creative purposes.
Smoothing is on in the Track position, and off in the Step position.
Note: When set to Track, the plug-in does not "track" the input signal frequency like a synthesizer filter.
Mode
This control is the heart of Moog Multimode Filter, combining Moog's classic lowpass filter with highpass and bandpass in one control. Unlike Moog highpass and bandpass filters of the past, UA's design presents Moog's signature self-oscillation in all three modes, bringing a new level of sophistication to Moog Multimode Filter designs of the past. The knob switches between the available filter types.
Lowpass
Frequencies above the cutoff value are filtered.
Bandpass
Frequencies above and below the cutoff value are filtered.
Highpass
Frequencies below the cutoff value are filtered.
Spacing
Spacing inversely offsets the filter cutoff values for the left and right channels. In other words, positive Spacing values increase the right channel cutoff while lowering the left channel cutoff, and vice versa.
Spacing is borrowed from Bob Moog's Voyager instrument, and separates the hard-panned filters by up to three octaves. Unlike the original however, both filters are moving away from each other in pitch, rather than one fixed filter plus one adjustable filter pitch. Positive or negative values enable positioning the de-tuned filters from left to right, low to high, or high to low.
Spacing can create great stereo spacial effects. When the filter is in Mono mode, both filters are still heard.
Tip: Click the knob label ("SPACING") to return the value to zero.
LFO
The LFO (low frequency oscillator) modulates the filter cutoff frequency. Several waveform shapes are available. The LFO can be synchronized to the tempo of the host (see Free/Sync).
Amount
Amount controls the depth of the LFO filter cutoff modulation. A higher value will have a broader filter sweep.
Rate
Rate controls the speed of the LFO. The available range is from 0.03 Hz to 25 Hz in Free mode, or 16/1 to 1/64 to in Sync mode.
Rate LED
The LFO Rate LED illuminates in conjunction with the LFO rate, once per LFO cycle. Clicking this LED resets the LFO cycle.
LFO Reset
The LFO is reset to its zero crossing by clicking the LFO Rate LED. This parameter can be automated for mixing or bouncing.
Normally the LFO is "free running" but this behavior is not always desirable. For example, if you are using LFO filter modulation, you may want playback to always sound exactly the same when bouncing or mixing. To accomplish this, the LFO must be started at the same place (zero crossing) of the LFO waveform. Reset enables this sonic consistency when using the LFO.
Free/Sync
This switch defines whether the LFO is synchronized to the tempo of the host application (if this feature is supported by the host).
Note: See the "Tempo Sync" chapter in the UAD System Manual for detailed information about tempo synchronization.
To ensure the LFO phase is consistent when in Sync mode, automate the LFO Reset parameter.
Value
The Value display depends upon the setting of the Free/Sync switch. Value displays the LFO frequency in Free mode, and the tempo sync note value in Sync mode.
Wave
This control determines the waveform shape used by the LFO. Six waveshapes are available: Sine, Triangle, Sawtooth-Up, Sawtooth-Down, Square, and Random.
Offset
Offset adjusts the polarity between LFO signals for the left and right channels. The available range is ±180 degrees.
Offset can create great stereo spacial effects. When the filter is in Mono mode, both filters are still heard.
Tip: Click the knob label ("OFFSET") to return the value to zero.
Mix
Mix varies the amount of filtering that is occurring. It is not a true dry/wet control; it mimics the mix function on the MF-101 Moogerfooger. When Mix is at zero, the Drive/Gain control (and Boost on non-SE version) are still active and audible.
Setting Mix at zero is the same as setting the Effect/Bypass switch to Bypass.
Stereo/Mono
The left and right channel filters are always independent in Moog Multimode Filter. However, when this switch is set to Mono, the left and right output channels are summed. In Stereo mode, the left/right separation is retained.
Output
The Output control changes the gain at the output of the plug-in. The available range is ±20 dB.
Output LED
This LED gives a visual indication of the plug-in output level. The Output LED is active when Bypass is enabled, but not when Power is off. When the LED is red, the output is 0 dBfs.
Effect/Bypass
When Bypass is enabled, filter processing is inactive. Drive/Gain and Output still operate in Bypass mode. Enabling Bypass has the same effect as setting Mix to zero.
If the Free/Sync switch is set to Free, the LFO phase is reset to zero when Bypass is switched to Effect.
Boost
Boost shifts the "Drive" gain range up a full 20 dB. This mimics the behavior of the external input on the Minimoog.
Note: This control is not available on the SE version.
Power
Power disables the plug-in altogether and disables DSP processing. When off, the background will "dim" much in the same way the Voyager's panel does when powered off.
Moog Multimode Filter SE
Moog Multimode Filter SE is derived from Moog Multimode Filter. Its algorithm has been revised (primarily the elimination of the Drive circuit) in order to provide sonic characteristics very similar to Moog Multimode Filter but with significantly less DSP usage. It is provided to allow Moog Multimode Filter benefits when DSP resources are limited. Moog Multimode Filter SE sounds great even without Drive, and is very usable in many situations.
The Moog Multimode Filter SE interface can be differentiated from Moog Multimode Filter by color and the module name. Moog Multimode Filter SE is uses the "Luna" background and maple sides borrowed from the Voyager "Select Series." Moog Multimode Filter uses the Voyager's "electric blue" backlighting and mahogany sides."
Moog Multimode Filter SE interface
Moog Multimode Filter SE Controls
The Moog Multimode Filter SE controls are nearly the same as Moog Multimode Filter. The exceptions are the Drive related controls (Drive and Boost) are unavailable on the SE model, and the Drive control is replaced with a straight (non-modeled) Gain control.
Note: When preset settings are copied from Moog Multimode Filter to the SE version, the Boost (+20) switch value is retained, even though the parameter is not available for SE. If you subsequently copy from SE back to Moog Multimode Filter, the original Boost value is pasted.
Moog Multimode Filter Collection FAQ
What makes Moog Multimode Filter XL different from Moog Multimode Filter?
While some features are on par with the original Moog Multimode Filter plug-in, Moog Multimode Filter XL provides a hugely expanded sound creation and creative effect palette. UA improved the analog behaviors of the modeled Moog ladder filter, including expanded non-linear behaviors of the original, complete with self oscillation and saturation.
The Filter section now offers 1, 2, 3, or 4 pole operational Slopes, 20 Hz to 20 kHz Cutoff Frequency range, and added Notch filtering to the existing filter operations.
The Envelope circuit is now independent from the Drive circuit, providing fine precision in dialing in envelope effects. The Envelope section adds Sensitivity, Attack, Release, and expanded Envelope Destination selections of Filter Cutoff or Resonance, Modulation Amount, Rate, or any combination thereof.
The expanded Dual LFO Modulation section provides independent LFO Rate and Waveform selections including the new Slewed Random, audio rate LFO speeds, Balance, and Width controls.
Finally, a full-featured, four-lane, 16-step sequencer unleashes unlimited creativity from melodic and polyrhythmic pattern programming to utter chaos and cacophony.
Is Moog Multimode Filter XL a virtual instrument?
Moog Multimode Filter XL has no VCOs or standard MIDI control, therefore its design stops short of a complete instrument — it is designed to complement or enhance existing instruments or other tracks. However, Moog Multimode Filter XL's depth and breadth of features make it very "instrument-like" and a fantastic processor for real time performance with synthesizers, analog keyboards, guitars, basses, drums, and more.
When would using the original Moog Multimode Filter plug-in be effective?
Moog Multimode Filter may be ideal for simpler workflows or treatments, or where very low DSP loads are desirable. The collection also includes the linear Moog Multimode Filter SE, which may be useful when an "idealized" non-clipping filter sound is desirable.
What lengths did UA go to create Moog Multimode Filter XL plug-in?
UA's Moog Multimode Filter Collection represents the only Moog endorsed and authenticated third-party design. Bringing forth features from Moog products both old and new, the new Moog Multimode Filter XL is a one year effort between Moog Music and Universal Audio.
Conceived in collaboration with Moog's Chief Scientist Cyril Lance, the UAD Multimode Multimode Filter XL brings forth an amalgam desktop filter set "dream" product that could only exist in the digital space. It combines the best of Moog's classic instrument designs with select features from the Minimoog, Voyager, Sub 37, Sonic Six, Moogerfooger series, and The Ladder 500.
The circuit designs, analog sounds and behaviors of these target devices were studied at length by UA's algorithm team, while a curated who's who list of electronic music artists were consulted for design feedback for the four-lane, sixteen step sequencer, pushing this virtual desktop filter set to near-instrument status.
My analog Moog Filters only self-oscillate in low pass mode. Why do the other filter modes self-oscillate with the plug-ins in the Moog Multimode Filter Collection?
The Moog Multimode Filter Collection's plug-ins go "beyond reality" in this manner, allowing for creative use of self-oscillation not possible under the analog equivalent.
The venerable Dr. Robert Arthur Moog
Moog® is a registered trademark used under license with kind permission from Moog Music, Inc. Special thanks to Cyril Lance, Amos Gaynes, and Trent Thompson of Moog Music, Gary Hull, and Universal Audio artists for their generous contributions.