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Arturia 3 Filters

Half a century of hit-making tone, right in your DAW

$199.00

Tabs

Description

Arturia have used their modeling expertise to create a small but mighty bundle of filter plugins. Filters that sound awesome, have great features, and simplify your creative workflow. Filters you’ll actually
use. Modeled on Bob Moog’s legendary 24dB ladder filter, the iconic state-variable SEM filter, and the advanced, modular Matrix 12 filter, Arturia have also included a host of exciting enhancements,creating plugins that are a joy to use, fill musicians with inspiration and guess what? They come with an amazing introductory offer!

TOTAL CREATIVE CONTROL

Mini-Filter
Ever wanted to use one of the world’s most famous synth filters in your DAW?
The classic filter from our lovingly recreated Mini V software instrument is now in a dedicated plugin. Now you can add the familiar filter tone to warm or smooth out your audio, or to add sweetness to a sensitive recording.

Not only that, but Mini-Filter also includes a powerful modulation section which consists of an envelope follower, an LFO, and a step sequencer. A patch manager is also built-in, along with a set of presets to inspire your creativity.

An essential, expressive, and creative tool for any producer or performer.

Straight from the legendary 70s monosynth

Mini-Filter is the latest chapter in the story of Arturia’s True Analog Emulation technology.
In 2003, we collaborated with Bob Moog to recreate the illustrious synthesizers he designed as software instruments, allowing a whole new generation of musicians, producers, and enthusiasts the chance to experience his unique method of synthesis. Fast-forward 15 years, and sadly the godfather of synthesis is no longer with us; but his legacy remains forever.

Through our collaborative effort and expertise, we were not only able to perfectly recreate his iconic 70s monosynth, but also isolate individual components. The 24dB per octave ladder filter has always been at the core of the Model D monosynth mythos, and we were intrigued as to how it would sound on other audio sources. So we applied the greatest care and used the latest technological advances to reproduce its warm and highly musical tone.

“But what does a filter actually do?”
For many music producers and electronic musicians, filters are an essential part of their sound and creative process. Put simply, filters cut or boost certain sound frequencies, letting you control the tonal ‘shape’ of audio.
For example, if you had a vocal recording that you wanted to remove some low, bassy rumbles from, you could use a high-pass filter.

A low-pass filter could be used in the same way, but to remove unwanted high frequencies; maybe to tame particularly zingy cymbals or hi-hats in a drum recording.

Notch filters can pinpoint certain frequencies and either boost or cut them; one great use for these is to find and remove clothy, unwanted mid-range resonance from recordings of acoustic instruments.

Originally developed to remove broadcast noise and make the most of radio bandwidth, nowadays filters are an essential creative tool for music professionals.

One legendary filter, one FX plug-in

Whether you’re a singer, a guitarist, a DJ, a producer, Mini-Filter will spice up your music.
Emphasize the warmth of your voice, shape the tone of electric guitars, add filter sequences to your drums, transform you whole mix. While we’re sure you’ll love using a perfectly realized analog ladder filter on any sound source, we’ve also added some contemporary features to give Mini-Filter the edge when it comes to creative audio processing.

From the sample & hold to the sequencer, Mini-Filter is a true sound designer’s dream for mixing, sound creation, and experimentation. Let’s take a look at the key components of this awesome plugin:

Low Frequency Oscillator
Beyond animating the Cutoff Frequency and Emphasis by the application of a periodic variation that can take different waveforms and synchronized or not with your DAW’s clock, the Mini-Filter LFO also offers a Sample and Hold mode. This one takes a random value and freezes it for a given time according to the Rate setting to generate a rhythmic effect.

Low Pass Filter
It gives you access to the most central parameters of the filter such as the Cutoff Frequency above which the high frequencies will be progressively cut, the Emphasis aka resonance that boost the frequencies around the cutoff frequency. In addition, the Drive parameter will raise the gain of the filter up to add distortion to the signal.

Step Sequencer
This highly creative modulator lets you accurately set a value up to 8 steps that can control the Cutoff Frequency, the Emphasis and the Rate of the LFO. You will be able to use it in sync with your DAW and to soften the transition from a step to another to radically extend your creative horizon.

Envelope Follower
It allows the Cutoff Frequency, the Emphasis and the LFO Rate to be modified based on the envelope of the sound source. The sensitivity controls the vertical follow-up while the attack and decay can be used to smooth the follow-up on the time axis. The Mini-Filter Envelope Follower can thus be used for affecting the sound at an audio rate or inversely more subtly to follow broader volume variations.

Main Features

  • Virtual recreation of a 24dB/oct Low Pass Ladder filter:
  • Drive parameter
  • Cutoff Frequency and Emphasis
  • Dry/Wet setting
  • Output volume setting
  • Low Frequency Oscillator
  • Can be synchronized with DAW’s clock
  • 4 waveforms + Sample and Hold mode
  • Phase parameter
  • Can modulate the Cutoff, Emphasis and Cutoff modulation amount of the Sequencer
  • Step Sequencer
  • Can be synchronized with DAW’s clock
  • Up to 8 steps
  • Smooth parameter
  • Can modulate the Cutoff, Emphasis and the LFO rate
  • Envelope follower
  • Sensitivity parameter (vertical sensitivity)
  • Attack and Decay time parameters
  • Can modulate the Cutoff, Emphasis and the LFO rate
  • 30 presets from top sound designers
  • State-of-the-art TAE® analog modeling

M12-Filter
If you want a filter with depth, character, and complexity; look no further.
M12-Filter is a full-featured recreation of the multi-mode filter found in Oberheim’s iconic Matrix-12, kitted out with awesome updates that make this plugin one of the most powerful, performable sound-shaping tools around.

Combining intuitive, gorgeous-sounding modelled analog filter tone control with programmable modulation envelopes, a detailed mod matrix, and bonus random and mod osc parameters, M12-Filter is set to become your go-to choice for creative frequency control. Create anything from smooth sweeps to rhythmic motion, all the way to full-blown, randomized glitch meltdowns: this plugin can handle it all.

The most advanced, adaptable filter of its era
In 1984, audio and electronics legend Tom Oberheim developed a groundbreaking subtractive, analog polyphonic synthesizer; a brave move when the digital synth revolution was taking the industry by storm. Standing the test of time, his brainchild instrument is now considered a classic, and our emulated version takes pride of place in V Collection. One of the main reasons it turned heads in the 80s was its audacity, the sheer power of its signal routing options, and its multi-mode filter.

The original synthesizer’s filter employed a single filter per voice, but provides no fewer than 15 different filter modes. This included Low Pass and three High Pass modes, two Band Pass modes, a Notch filter, and a Phase Shift mode. It also included another 4 modes, combining 1-Pole Low Pass filters with other modes. This unique selection of filter options is largely responsible for the immense power and scope of the fabled Matrix sound.

This filter is now available as a re-energized creative plugin for your DAW.
“But what does a filter actually do?”

For many music producers and electronic musicians, filters are an essential part of their sound and creative process. Put simply, filters cut or boost certain sound frequencies, letting you control the tonal ‘shape’ of audio.

For example, if you had a vocal recording that you wanted to remove some low, bassy rumbles from, you could use a high-pass filter.

A low-pass filter could be used in the same way, but to remove unwanted high frequencies; maybe to tame particularly zingy cymbals or hi-hats in a drum recording.

Notch filters can pinpoint certain frequencies and either boost or cut them; one great use for these is to find and remove clothy, unwanted mid-range resonance from recordings of acoustic instruments.

Originally developed to remove broadcast noise and make the most of radio bandwidth, nowadays filters are an essential creative tool for music professionals.

Iconic filter tone with a modern twist
As if accurately recreating Tom Oberheim’s original filter wasn’t amazing enough, we have also supercharged this virtual version with contemporary features that we know you’re going to love.
Practically an instrument in its own right, our reborn M12-Filter is packed with intuitive yet powerful features. With it, you’ll be able to transform your source material into totally new sounds; create pulsing patterns; perform dramatic sweeps; or simply hone your tone using one of its many filter modes. Its CPU-friendly, low latency architecture also make it the perfect, animatable filter to use in your live sets and performances.

Made possibly through the magic of Arturia’s True Analog Emulation technology, we originally brought the sonic signature of this 80s icon into the 21st century studio in Matrix-12 V, our critically acclaimed software version of Oberheim’s classic, and a jewel in the crown of the Arturia V Collection. Call it selfish, but we are a company of musicians, and we wanted to unleash the power of Matrix-12 V’s filter, free it from the software synth, and create a new, exciting DAW plugin. To echo the depth and complexity of its synth family, we supercharged the filter with extra processing, modulation envelopes, and vast routing options with a modulation matrix.

Twin analog filters
The plugin features two discrete analog filters, each identical to the original with cutoff and resonance control, as well as all 15 original modes. For total control freaks, we have also added filter effect panning and level control for each filter.

Filter processing
M12-Filter offers 4 filter routing options: A, B, series, and parallel, giving you huge control over its sound. We’ve also included a dry/wet knob, as well as a MatrixBrute-style master cutoff that affects both filters at once.

Modulation envelopes
This control section lets you adjust each of its 3 envelopes, letting you create anything from slowly evolving sonic mutations to full-on step sequences. Tempo-sync’d or free and easy, continuous or one-shot, it’s all up to you.

Modulation matrix
The brain of the operation. With your filters prepared, your processing selected, and your mod envelopes assigned, you can link your envelopes, random, and mod osc to over 20 destinations, all discretely configurable.

Main Features

  • Virtual recreation of the Matrix 12 multimode filter
  • 2 instances of the Matrix 12 filter within one plugin instance
  • 15 disctincts filter modes available per filter instance
  • Cutoff frequency, resonance, pan and out volume controls for each instance
  • Master cutoff control for controlling both instances' cutoff at once
  • 4 audio routing configurations
  • Global dry / Wet and output filter controls
  • Random values genrator
  • Can be synchronized with DAW’s clock
  • 3 advanced multi-segments envelopes
  • 2 modes: loop or triggered by audio
  • Synchronized with DAW’s clock
  • Can be used as LFOs, step sequencer or envelopes
  • Predefined presets
  • Modulation oscillator
  • Audio range modulatotion source for parameters frequency modulation
  • 5 waveforms
  • Modulation matrix
  • Envelope, random generator and mod oscillator as sources
  • 8 assignable destinations slots with 22 reachable parameters
  • 40 presets from top sound designers
  • State-of-the-art TAE® analog modeling
  • Multimode 1/2/3/4 pole
  • Oberheim Matrix 12 filter
  • Legendary clean and clear filter
  • Extra features: 2 filters with routing, random, FM, modulation matrix
  • and advanced loopable envelopes

SEM-Filter
Combining simplicity with pure tone-shaping power, SEM-Filter is a futuristic twist on a classic synth filter.
Renowned for its pioneering technology in the 70s, we paid tribute not only to its sound but also the SEM’s reputation as a trailblazer. Using the meticulous modelling techniques, and by adding exciting new features, we have created a true modern classic audio filter.

No longer confined to a synthesizer, you can now use the era-defining filter tone of Tom Oberheim’s cult synth module on any audio source you wish. Process acoustic instruments in your DAW, shape vocals, perform sweeps on your whole mix, create builds, rises, and drops, even use it to improve a soft-synths stock filter.

SEM-Filter is a must-have creative tool for any modern musician.

Simple, but stunningly effective
The original SEM, or Synthesizer Expander Module, was one of the world’s first all-in-one synth packages.
Created to expand the capabilities of other synths, it could serve many purposes. Adding polyphony, fattening up their sound, and performing sequences in a supporting role to a main synth were all familiar roles for SEM.

One of the most remarkable modules on the SEM was its VCF. The 12dB per octave multi-mode filter helped define the sonic identity of Oberheim’s popular 70s synth, because it shaped a diverse range of sounds that were almost impossible to get on other synthesizers. SEM-Filter not only carefully models the crossfadable modes of the filter - low-pass, high-pass, notch and band-pass, but also expands its functionality and features to create a great-sounding, versatile filter plugin that you’ll want to use on every track you create.

“But what does a filter actually do?”
For many music producers and electronic musicians, filters are an essential part of their sound and creative process. Put simply, filters cut or boost certain sound frequencies, letting you control the tonal ‘shape’ of audio.

For example, if you had a vocal recording that you wanted to remove some low, bassy rumbles from, you could use a high-pass filter.

A low-pass filter could be used in the same way, but to remove unwanted high frequencies; maybe to tame particularly zingy cymbals or hi-hats in a drum recording.

Notch filters can pinpoint certain frequencies and either boost or cut them; one great use for these is to find and remove clothy, unwanted mid-range resonance from recordings of acoustic instruments.

Originally developed to remove broadcast noise and make the most of radio bandwidth, nowadays filters are an essential creative tool for music professionals.

Vintage tone combined with powerful contemporary features

Bringing that inimitable SEM filter tone back to life is a miracle in itself, but we wanted to push the envelope. Pun intended.
Able to bring another dimension to whatever audio source you choose, the story of our reworked SEM architecture started in 2012, when we released SEM V; our analog modelled, virtual emulation of the classic. Through component analysis and the advanced techniques of our TAE technology, we were able to reproduce not only the filter, but every aspect of the original instrument in software. A hit as part of our V Collection, we couldn’t help but wonder what SEM’s filter would be capable of as a standalone plugin.

Once we isolated its VCF, we added some contemporary functionality that launch this iconic filter straight into the 21st century. Every aspect of SEM-Filter, including all of the modern additions, are all controllable via MIDI CC, so should your DAW allow it, you’ll be able to control and perform using SEM-Filter in your live sets, too! Speaking of the additions, let’s take a look at what we added to this cult synth icon:

Noise Oscillator
The effect of any filter becomes more dramatic when you add noise, so we included a noise oscillator to let you add as little or as much as you like to your signal.

Soft clipping
The original SEM circuitry could be driven into saturation with the right settings, and we’ve made the process even easier. Turn soft clipping on, and push the input gain, and you’ll get some sweet analog saturation.

Gate sequencer & mod sources
The new, easy to program gate sequencer lets you trigger or retrigger the envelope and LFO mod sources. This can be used to create vibrant, animated filter sequences, or subtle, undulating effects.

Simple Mod Matrix
To add a little bit of creative versatility to SEM-Filter, we included a concise modulation matrix, letting you get creative and explore sound design potential never possible with the original.

Main Features

  • Virtual recreation of the classic 12dB/oct state variable SEM filter:
  • Mode, cutoff frequency and resonance controls
  • Dry/Wet setting
  • Filter output volume setting
  • Additionnal noise oscillator for feeding the filter with rich spectral content
  • Soft clipping circuit modeling
  • Attack / Hold / Decay envelope
  • Low Frequency oscillator
  • 5 waveforms + Sample and Hold mode
  • Can be synchronized with DAW’s clock
  • Smooth parameter
  • Gate sequencer
  • Program trigs / retrigs for the envelope and LFO to create rythmic content
  • Up to 16 steps
  • Can be synchronized with DAW’s clock
  • Modulation matrix
  • Envelope and LFO as sources
  • 8 destinations for extended sonic possibilities
  • 40 presets from top sound designers
  • State-of-the-art TAE® analog modeling
  • Oberheim SEM state variable filter
  • A bright and shinny filter than can also be used as a distortion
  • Extra features: gate sequencer for envelope and LFO, input noise,
  • soft clip and modulation matrix

 

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