合成器滤波器模块Cupwise Synth HP LP Filters for Mixing Vol.1 [Nebula]

P2P | 20 January 2026 | 253 MB | 官网

此版本包含 Nebula 的程序，这些程序采样自三个截然不同的 Eurorack 合成器滤波器模块。这些程序不能用于滤波器扫描或高共振，而是专为需要使用高通或低通滤波器的典型混音或声音设计应用而设计和优化。它们的设计理念是将滤波、采样动态和泛音全部包含在同一个程序中。

所有三个模块都提供了高通和低通滤波器类型的程序，其中两个模块还提供带通滤波器，另一个模块还提供陷波滤波器。实际上，我从其中一个模块采样了两个不同形状的低通滤波器，因此总共有 10 个独特的滤波器。对于这 10 个滤波器中的每一个，都有一个资源占用较低的“干净”版本和一个添加了动态效果的“完整”版本，除一个例外，所有版本还添加了泛音。

在我看来，这三个滤波器中最好的是我称之为“S 斜率”的那个。它采样自一个获得授权的复刻版，该复刻版源自 20 世纪 70 年代一款知名的模块（通常与所谓的“西海岸”合成技术相关）。我从该模块中采样了一个低通滤波器、一个高通滤波器和一个带通滤波器，用于此处。该滤波器模块的主要亮点在于其“斜率”控制，它允许您将滤波斜率从非常平缓调整到非常陡峭。我采样了该范围，并且还允许您在截止点获得一个大约 2.5-3dB 的微小谐振“凸起”。由此产生的程序可以实现非常精确的滤波，并具有大量的调节空间。众多可用的截止点位置以及斜率控制确保您能够精确地调节出所需的滤波效果。

我将使用下一个模块制作的程序称为“AST”，它包含一个高通滤波器、两个低通滤波器（其中一个是“漏通”滤波器，允许更多滤波后的信号通过）和一个带通滤波器。虽然它们不像“S-Slope”程序那样可以调节斜率，但宽度控制的调节范围仍然相当不错。这些滤波器的音色与其他滤波器截然不同，相信你会发现它们非常实用。

“Stinqer”是我把最后一个模块中的程序称为“Stinqer”，它是20世纪70年代Wasp合成器滤波器部分的克隆。该电路采用了一种独特的滤波方法，从而产生了同样独特的声音。它提供了高通、低通和陷波滤波器。即使将“宽度”控制调到最低，这里的高通/低通程序也始终存在一个小的共振峰，但这种独特的音色应该能为你的音色库增添光彩。

下图显示了“S-Slope LP”中“宽度”控制的范围。请注意，该控制在最大设置下如何改变波形，并允许增强几个dB：

最后，下面是我制作的一些视频，展示了滤波器和 Max 的图形用户界面。第一个视频演示的是高通滤波器，它依次展示了带宽为 0%（提供最平缓的斜率）和 100% 时每个频率位置的变化，100% 的带宽总是会增加一个共振峰，从而突出截止频率。首先，我使用“干净”版本进行演示，这些版本没有采样动态或谐波，然后在视频结尾切换到“完整”版本，以展示谐波带来的区别。谐波通常很细微，但当我使用“微调”控制将程序推到非常接近 0dBFS 时（注意峰值保持表/读数），谐波会变得更加明显。这通常会导致其他 Nebula 程序中臭名昭著的“啁啾”声或其他刺耳的声音，但在这里不会。

This release contains programs for Nebula which were sampled from three very different Eurorack synth filter modules. These programs can’t be used for filter sweeps, or high resonance, but instead were made and optimized for use in typical mixing or sound design applications that require the use of high pass or low pass filters. They were also built to have the filtering, and sampled dynamics and harmonics, all contained in the same program.

There are programs for both HP and LP filter types from all three modules, as well as a band-pass from two of them, and a notch from the other. I actually sampled two differently shaped LP filters from one of the modules, so in total there are 10 unique filters here. For each of those 10 filters, there is a ‘clean’ version which uses less resources, and a ‘full’ version which adds dynamics and in all but one case also adds harmonics.

In my opinion, the best filter of the 3 is the one I call the “S-Slope”. It was sampled from a licensed remake of a filter from a well known line of modules from the 1970s (often associated with so-called “west coast” synthesis techniques). I’ve sampled an LP, HP, and band-pass filter from this module, for use here. This filter module’s main attraction is its “slope” control, which allows you to vary the slope of the filtering from very gentle to sharp. I’ve sampled that range, and also allowed you to get a small resonant ‘bump’ at the cutoff point, of around 2.5-3dB. The resulting program allows for very precise filtering with lots of adjustment. The many cutoff positions available, together with the slope control, ensure that you will be able to dial in exactly the filtering you need.

I call the programs I made from the next module “AST”, and it includes an HP, two LP filters (one is ‘leaky’ and lets more of the filtered signal through), and a BP. Although they lack the adjustable slope of the “S-Slope” programs, the width control still adjusts through a nice range. These filters definitely sound different from the others, and you should find them very useful.

“Stinger” is what I call the programs from the last module, which is a clone of the filter section of the 1970s Wasp synthesizer. The circuit uses a unique method to achieve the filtering, and results in an equally unique sound. There are HP, LP, and notch filters on offer from this one. There is always a small resonant hump with the HP/LP programs here, even when you turn the ‘width’ control all the way down, but the unique sound of this one should find its uses in your arsenal.

Here’s a graph showing the range of the ‘width’ control in the S-Slope LP. Notice how much this control alters the shape and allows for emphasis of a few dB at max setting:

Finally, below are some videos I made showing off the filters and Max’s GUI. The first one is for the HP filters, and goes through every freq position with width at 0% (providing the most gentle slope), then with width at 100%, which always adds a resonant hump emphasizing the cut-off freqs. First I demonstrate them all using the ‘clean’ versions which have no sampled dynamics or harmonics, then towards the end I switch to the ‘full’ versions to show the difference the harmonics can make. They’re usually subtle, but become more noticeable as I use the ‘trim’ control to drive the programs very close to 0dBFS (watch the peak hold meter/readout). This often results in the infamous ‘chirps’ or other ear-splitting results in other Nebula programs, but not here.