{"id":17284,"date":"2021-07-13T20:27:55","date_gmt":"2021-07-14T00:27:55","guid":{"rendered":"https:\/\/splice.com\/blog\/?p=17284"},"modified":"2026-03-03T13:30:33","modified_gmt":"2026-03-03T18:30:33","slug":"different-filter-types-techniques","status":"publish","type":"post","link":"https:\/\/splice.com\/blog\/different-filter-types-techniques\/","title":{"rendered":"Exploring different digital filter types and techniques"},"content":{"rendered":"\n

Illustration:<\/strong> Filip Fr\u00f6hlich<\/strong><\/a><\/p>\n\n\n\n

In the context of music production, a filter is a signal processing method where certain frequencies are either attenuated or emphasized.<\/h2>\n\n\n\n

In this article, we examine some of the different digital filters and filtering techniques that are available to musicians\u2014but first, let\u2019s briefly address some of the differences between analog and digital filtering.<\/p>\n\n\n\n

Analog filtering<\/h2>\n\n\n\n

Analog filters take a signal and run it through a circuit (or series of circuits) to remove frequencies. Since analog filters utilize real-world physical hardware, they can be slightly less predictable when compared to digital filters. For one, analog filters can ‘drift’ based on outside variables like the temperature of the component circuits, a phenomenon that digital filters don’t experience. This makes digital filters more stable, but stability isn\u2019t always<\/em> the most desirable trait when making music\u2014analog might be more pleasing to some of our ears, precisely because its instability can provide our sounds with more ‘character.’<\/p>\n\n\n\n

Digital filtering<\/h2>\n\n\n\n

Digital filtering, on the other hand, is based on (very) complicated math that utilizes a number of different filtering algorithms such as Chebyshev, Elliptic, and Butterworth. Digital filtering has a few obvious advantages over analog: you can manipulate parameters easily, scroll between presets, save configurations for later, and pick up where you left off whenever you want. Additionally, since digital filters don’t use dedicated circuitry for signal processing, they’re much more stable and less subject to changes in real-world variables like temperature. <\/p>\n\n\n\n

Today, modern producers expect that a filter has several options. Generally speaking, it\u2019s par for the course for a digital filter to have all of the basic filter options: high-pass, low-pass, band-pass, and maybe notch filtering. So what\u2019s the difference between one digital filter and another? Why do plugin developers spend so much time working on creating different filter options for users to employ?<\/p>\n\n\n\n

Interestingly enough, digital filters are often based on software that emulates analog filters! To provide some examples, we’ll use Arturia\u2019s Pigments<\/a> since it features both emulation and digital-focused options. Along with the standard filtering options found under the MultiMode filter, the synth also features four analog recreations: the SEM, Matrix 12, Mini, and Jup-8.<\/p>\n\n\n\n

\"filtering-filter-pigments-3-in-post-01\"<\/figure>\n\n\n\n

The sound of different filter emulations<\/h2>\n\n\n\n

In the following examples, I\u2019ve bounced some chords using identical sawtooth patches that are identical in every way except for the filter. Then, I automated each one to perform an identical filter sweep. Can you hear the difference between the emulations?<\/p>\n\n\n\n

Oberheim Matrix 12:<\/strong><\/p>\n\n\n\n

The sound of different filter types<\/h2>\n\n\n\n

Some other filters simply use different algorithms that don\u2019t try to emulate anything in particular, but are well-suited for the digital world. Although examples of these filters exist in analog formats for music production purposes, they’re commonly used in digital synth patch design as well. Let\u2019s listen to a few more intense examples of filters that are perhaps better suited for the digital realm.<\/p>\n\n\n\n

Comb:<\/strong><\/p>\n\n\n\n