Ladder Multimode Filter is in the Shop 39€

[Shokstar]

Product details

In order to faithfully capture the character and response of the analogue filter we have modelled the exact behaviour of the electric components by bringing techniques from industrial circuit simulators (e.g. SPICE) into the domain of real-time audio processing. A topology-preserving, zero-delay feedback loop resolved by a heavily optimised differential solver ensures that the sheer authenticity of the analogue sound is preserved and raises the bar for sonic realism to a level unseen in the Propellerhead Shop.

Warning: We’ve used every possible trick to reduce the CPU usage, but, stellar sound comes at a price. However, we truly believe that the quality justifies every used CPU-cycle!

Introduced in 1970 the Minimoog was the first mainstream portable synthesizer for musicians. Still today it is one of the most popular and sought after synths and is famous for its excellent and by many considered the ultimate analogue filter in a portable synth.

Features:
MULTIMODE MIXER: Mix between simultaneous low-pass, band-pass, and high-pass sources
AUDIO FM: Use audio signals to modulate the filter
SPACING: Spacing-control for stereo or phaser-like effects
INDUSTRIAL CIRCUIT SIMULATION: We use techniques from industrial circuit simulators to accurately model electric components
SELF-RESONATING: Even when aggressively overdriven
CPU-EATER: We know it, she’s hungry, but stellar sound comes at a price!

https://shop.propellerheads.se/product/ ... de-filter/

[Marco Raaphorst]

Been testing this for some time. Superb. Moog-like heavyness.

[Skullture]

This UI looks awesome, I'm gonna test it.

[Exowildebeest]

Seems to sound glorious again - but I haven't finished eating the PMS filter yet! This is very tempting though...

[dhruan]

BadabingbadabumbadaBought! Price was a bit steep but then again... it really is that lovely. <3

[lowpryo]

my first thought was "eh, why do I need another filter?" and then I listened to the Sequence demo and maaan that sounds lovely

[jfrichards]

I suspect that two of these babies with two Parsecs in a combinator is going to make a modern synth of epic proportions. Sounds like the track will have to be bounced to an audio track to allow any other tracks.

[bsp]

May I ask: Why is there no "CV Mod" knob (env amt) on the front panel this time ? This was a highly useful feature of the PMS-20! Any chance this might be added in an update ?

[dioxide]

Amazing GUI!

[riemac]

May I ask: Why is there no "CV Mod" knob (env amt) on the front panel this time ? This was a highly useful feature of the PMS-20! Any chance this might be added in an update ?

I had the same question during the beta testing, but sadly it wasn't implemented.

[nooomy]

Sounds really good! What Osc is used in the demo?

[nikolafeve]

Why no preset loader?

[Tumble]

Warning: We’ve used every possible trick to reduce the CPU usage, but, stellar sound comes at a price. However, we truly believe that the quality justifies every used CPU-cycle!

I don't doubt that, but it still uses more than Diva, at least from what I can tell by looking at my resource monitor.

The RE SDK is seriously in need of an update.

But with that said it does indeed sound good.

[nis]

I don't doubt that, but it still uses more than Diva, at least from what I can tell by looking at my resource monitor.

We need to run two filters in parallel, even when the input is a mono-signal, in order for the spacing effect to work. Diva/monark needs only one (per voice).

/Nis

Primal Audio

[dvdrtldg]

ka-CHINNG

Been waiting very eagerly for this one

[Andreas@Primal Audio]

Sounds really good! What Osc is used in the demo?

Thanks. I used the osc from Thor in all demos if I remember correctly, but I might actually have used subtractor in the "Ladder Sequence Tweaking" demo on soundcloud - don't remember. For some reason Subtractors oscillators sounds relly nice though ladder, even though they have tons of aliasing and other nasty stuff.

Why no preset loader?

We wanted to keep it simple. Besides if you have used the Ladder in a more complex setup it is most likely using the CV inputs, so it makes more sense to use Combinator as a preset machine.

Br,
Andreas @ Primal Audio

[K1TTENM1TTEN]

Warning: We’ve used every possible trick to reduce the CPU usage, but, stellar sound comes at a price. However, we truly believe that the quality justifies every used CPU-cycle!

I don't doubt that, but it still uses more than Diva, at least from what I can tell by looking at my resource monitor.

I'd have to agree on the usage. This RE does take a serious bite of DSP, and I have two fairly powerful rigs to boot (both rigs have quad 3.6ghz+ or higher Intel i7 processors). Though I get that quality takes some power, this still takes more DSP from a single unit than any RE effect from Softube, Rob Papen, and Synapse that I've ever seen/used. It does sound great and very meaty, especially when one throws the input gain to near full and backs the output down to avoid true clipping. But man I wish that it wouldn't take nearly 2+ bars of DSP to get going...

[lowpryo]

I can understand why people prefer low CPU usage but I've gotten in the habit of bouncing all of my sounds to audio once I'm satisfied with them, which greatly alleviates the problem and also helps productivity because it forces me to be decisive with my sounds. otherwise, with the amount of tracks and devices I use in a project, my CPU is inevitably going to be slammed regardless of how much each RE contributes (unless it's 100 McDSPs haha). maybe other people running into the same problem could give this a shot too?

[jam-s]

Reason really needs a "freeze track" button.

[Shokstar]

Reason really needs a "freeze track" button.

I wished Reason had a "Bounce in place" feature like in Bitwig within a Hybrid-Channel.

[eusti]

I can understand why people prefer low CPU usage but I've gotten in the habit of bouncing all of my sounds to audio once I'm satisfied with them, which greatly alleviates the problem and also helps productivity because it forces me to be decisive with my sounds. otherwise, with the amount of tracks and devices I use in a project, my CPU is inevitably going to be slammed regardless of how much each RE contributes (unless it's 100 McDSPs haha). maybe other people running into the same problem could give this a shot too?

Sure. But isn't the idea usually to keep your options open till you really, really need to commit?
I never have a real idea where a piece is going to end up when I start with it... I know some people hear the music in their head and then just have to write it down... Not me, I futz around... And keep what I like... Then I fuzz some more... Then I change stuff around... And so on and on... So for my unprofessional way of working keeping my options open till the end is best... I really don't like to go back 25 versions to find the "open" part to reimport or rerender it...

D.

[selig]

I can understand why people prefer low CPU usage but I've gotten in the habit of bouncing all of my sounds to audio once I'm satisfied with them, which greatly alleviates the problem and also helps productivity because it forces me to be decisive with my sounds. otherwise, with the amount of tracks and devices I use in a project, my CPU is inevitably going to be slammed regardless of how much each RE contributes (unless it's 100 McDSPs haha). maybe other people running into the same problem could give this a shot too?

Sure. But isn't the idea usually to keep your options open till you really, really need to commit?
I never have a real idea where a piece is going to end up when I start with it... I know some people hear the music in their head and then just have to write it down... Not me, I futz around... And keep what I like... Then I fuzz some more... Then I change stuff around... And so on and on... So for my unprofessional way of working keeping my options open till the end is best... I really don't like to go back 25 versions to find the "open" part to reimport or rerender it...

D.

There really is a certain magic to committing. It's an old school approach, when you only had a certain amount of gear and had to commit things to tape. Keeping all options until the end can end up making more work for you at the end rather than less.

There are times when you want to leave options open, for sure, but it can be really freeing to commit and not have much to do at the mix stage other than hit "export". I really like being comfortable with different ways of working, and being comfortable with committing is one of them. Just like having all the musicians play together at the same time, it gives you a certain feel you can't get working other ways. It forces you down a different road, so to speak, and can be great for those who tend to put things off and NOT make decisions (and then not finish much).

It's not the only way of working for me, but it's one of my "tricks" that I bring out from time to time, especially when working with live instrument and running them through pedals etc.

Try it sometime - it's actually quite exciting and a little scary, in a musically inspiring way IMO.

[selig]

Reason really needs a "freeze track" button.

I wished Reason had a "Bounce in place" feature like in Bitwig within a Hybrid-Channel.

Funny you should mention that - I was just recently thing how cool to ONLY have "hybrid channels" (had to look it up - not sure if it's everything I'm talking about, but you get the idea).

Ultimately IMO there should be ONE track type, that can contain everything you may need. You keep all automation, all note data, all audio, all inserts etc., all together in one place. It makes bouncing in place possible, makes using things like vocoders (or auto tuners) where you need an audio track AND a note track much simpler. If EVERY track is a "hybrid" track (or a Meta Track as I'm calling them), even the master and FX returns, then you are always one button away from a "render" that can easily be reverted. There are many other advantages that I can think of - hopefully someone will implement this concept, as I'd sure prefer working that way in the future!

[eusti]

Funny you should mention that - I was just recently thing how cool to ONLY have "hybrid channels" (had to look it up - not sure if it's everything I'm talking about, but you get the idea).

Ultimately IMO there should be ONE track type, that can contain everything you may need. You keep all automation, all note data, all audio, all inserts etc., all together in one place. It makes bouncing in place possible, makes using things like vocoders (or auto tuners) where you need an audio track AND a note track much simpler. If EVERY track is a "hybrid" track (or a Meta Track as I'm calling them), even the master and FX returns, then you are always one button away from a "render" that can easily be reverted. There are many other advantages that I can think of - hopefully someone will implement this concept, as I'd sure prefer working that way in the future!

Thanks for the detailed reply! I, at times, have to commit earlier than I like to, because I'm on a Mac that is not all too powerful...
But will try to see it as a challenge in the future... I promise!

D.

[AJ_3000]

I admit after hearing the beta I found this very much more to my taste than the developer's earlier filter emulation of Korg MS filter.

1. It is of course possible to commit tracks to audio bounces to avoid CPU overloading but I would dearly love processor intensive plugins to have switchable draft/normal/high quality options, so the modulation etc could be tailored in sympathy with other tracks while trying to build arrangements , only selecting the highest quality when rendering to audio at the latest possible point.

Probably it's a lack of confidence on my part or inexperience , but hitting CPU overloads which bring my machine to a stuttering crisis and holding up my flow rendering and saving throws my workflow off kilter. I am also well aware that a lack of discipline often leads to my overuse of inserts, thrown in before bouncing stems eliminates the chance to eg colour or modulate particular elements before aggregation. I drop the audio rate to conserve power when it's possible , happily compromising sound quality temporarily for the sake of uninterrupted workflow. It's a habitual problem running low on cpu power though.

Still, how I long on my i7, to pull the whole arrangement together then just select high quality on the devices and let everything render to audio ready for my attempt at the final mix/mastering. Is the practicalities of this awfully challenging, or are developers understandably reluctant compromising the sound they have laboured so hard to allow us to create?

2. Since clearly the developer has a knack, are there more filters in the pipeline? I have a weakness for the EDP Wasp, having had hours of fun pushing everything imaginable through a S/H MAM Warp 9 Wasp VCF rack controlled by MIDI.