Super Filter mkII Colour

Super Filter mkII ColourThe Super Filter mkII combines a set of musical high and low pass filters, a console style midrange EQ, and with a meticulously tweaked multi stage saturation circuit designed to get you "there" fasterat the press of a button. The Super Filter mkII combines the best features from the original Super Filter and FET Filter modules into one new super powered module Features Compatible with the Colour Format HPF & LPF Adjustable high pass filter: 23, 50,

The Super Filter mkII combines a set of musical high- and low-pass filters, a console-style midrange EQ, and with a meticulously tweaked multi-stage saturation circuit designed to get you "there" faster—at the press of a button.

The Super Filter mkII combines the best features from the original Super Filter and FET Filter modules into one new super powered module

Features

• Compatible with the Colour Format
• HPF & LPF
• Adjustable high-pass filter: 23, 50, 80, 120Hz
  
• The 23Hz setting features a tape-like resonant bump at 45Hz, drawing direct inspiration from the MCI JH-110A 8-track deck
• The same silky VINTAGE low pass filter employed in Louder than Liftoff's Silver Bullet and Chroma
• Midrange EQ
• +/-12 dB variable midrange boost/cut EQ: 330Hz, 500Hz, 800Hz, 1.6kHz
•  A set of jumpers set the boost/cut frequency for the midrange EQ, and an onboard trimpot sets the amount of boost or cut.
• Custom tape saturation circuit

Recommended Settings

• Very Analog: HPF = 23 Hz, LPF = BYP, SAT = IN
• Fat Bass: HPF = 23 Hz, LPF = IN, SAT = IN
• Tight and Clean: HPF = 23 Hz, LPF = BYP, SAT = BYP
• Kick / Snare / Toms: HPF = 23 Hz, LPF = IN, SAT = IN
• Drum Overheads:  HPF = 50 Hz, LPF = BYP, SAT = IN
• Electric Guitars: HPF = 80 Hz, LPF = IN, SAT = IN
• Vocals / Acoustic Guitars: HPF = 120 Hz, LPF = BYP, SAT = BYP
• General Purpose Lo-Cut: HPF = 50 Hz, LPF = BYP, SAT = BYP

Design Notes

Inspired By the Best of Tape

Analog tape allows us to achieve a smooth top end, and huge and punchy bottom end just by virtue of hitting the record button. However, this pleasing playback is the result of four sonic ingredients that are unfortunately missing from our DAWs:

1. A natural subsonic roll-off that tightens up the bottom end
2. Tape head bump in the 30-70 Hz range that enhances the size of drums and bass
3. Soft transient clipping that adds density and volume
4. Harmonic richness generated by the record and playback process

The Super Filter address all four of these "missing ingredients."

HPF & LPF

One of the easiest and most overlooked ways of getting tracks to fit in the mix is to filter out the the subsonic mud and high frequency hash. Cutting unnecessary bottom end on instruments that you don't intend to occupy the lower octaves is a very effective way to achieve a clear and powerful bass and kick sounds in your mixes. Cutting extreme top end on sounds that will mostly occupy the midrange softens and rounds tones, while creating space in a mix for airy vocals, cymbals, and synths.  

Super Filter features four musically tuned high pass filter frequencies (23, 50, 80, 120 Hz), and the same silky VINTAGE low pass filter employed in the Silver Bullet and Chroma from Louder than Liftoff.  The 23 Hz setting features a tape-like resonant bump at 45 Hz, drawing direct inspiration from our cherished MCI JH-110A 8-track deck.

Saturation

We created an ear-tuned multi-stage saturation circuit for the Super Filter inspired by our tape decks that achieves a rich harmonic spectrum while simultaneously soft-clipping the audio in a way that retains punch and clarity in the low end. We carefully designed the clipping threshold of the saturation circuit so that no matter how hard you drive it, transients won't clip your A/D converters.

Setting the HPF to 23 Hz and enabling the SAT circuit is an excellent set-and-forget starting point for capturing a very analog feel, especially when pushed.