Chapter 4: Wah and Envelope filter

supplementary content/information

This page is meant to be used along with your copy Chapter 4: of Wah & Envelope Filter. This page focuses on the general parameters of envelope filters along with common performance practices and techniques for both wah and envelope filter.

Wah and envelope Filter Pt.2

Page 16 - Envelope Filter Parameters

Notice, in these clips, how various levels of sensitivity change the liveliness of the effect. This also has a tactile impact on the “feel” of the filter as you are playing it. The labels “too low” and “too high” are not meant to indicate that these sounds are not usable, rather they do not represent the fullest and most comprehensive expression of the envelope’s sonic qualities because of the extremes of the sensitivity parameter.

The clips below illustrate the ways attack and decay parameters can change the sound of an envelope filter. Pay close attention to how the filter opens and closes at differing speeds and how that changes the way the vowel sound of the envelope is “spoken”.

Notice here how the range of the envelope’s sweep makes the effect seem more stifled or more expansive.

Below are two examples of the sound that can result when you reverse the direction of the filter. This can be a much more challenging effect to dial in, and usually will not work with the same settings as a standard-direction filter.

Other Envelope filter Examples

BOSS AW-3

Digitech Bass Envelope Filter

Page 17 - spotlight: Mu-tron Micro-tron IV

Listen to the clips below to hear the wide ranging sounds of the Micro-Tron IV

The two examples below illustrate the impact of the Range switch. The two examples below use the exact same settings, but one has the range switch to “Lo” while the other has the switch set to “Hi”

The examples below illustrate the impact of the three different available modules, Gold, Red and Blue. These modules are little chips that can replaced for one another inside the pedal. The affect the Attack, Decay, Sustain, and Release of the filter. This makes the filter act different, even with the same settings on the pedal, giving each module its own sonic character. The three examples below all use the exact same settings on the pedal, but with the different modules. Notice the drastic change in sound from example to example, and notice how the same settings are not necessarily pleasant or particularly useful when going from module to module.

Since the Red and Blue examples above to not sound as conventionally useful as the Gold module with the same settings, listen to the examples below that tweak the settings to make each module sound better.

page 18 - filter types

The type of filter that an envelope filter can employ (Low Pass, Band Pass, etc.), usually represented by the line graphs seen in the chapter, can take many shapes. Below are the examples of many different filter types, both simple and complex. Take note of the wide variations in vowel sounds and tonal quality.

page 19 - spotlight: Source audio stingray

Page 26/27 - Solos, written lines, and melodies

This clip highlights the way an envelope filter can enhance a percussive style of playing over funk and similar type grooves. Listen to the sax and trumpet trade phrases with no effect, then note how their articulation and phrasing is enhanced by the envelop filters they use in the second half of the clip. This is also an excellent example of how an effect can influence the way you play and can even dictate the types of articulations, phrases, and overall style you choose to improvise with when the effect is engaged.

Compare the two clips below. Notice how the melody line can be made more relatable and expressive when played with an envelope filter. This can help the audience understand and recognize the melody, especially if its lyrics are well known.

melodic line with and without filter

Listen to how the “cocked” wah pedal can create a new texture and timbre. This sound can be quite useful in specific settings, such as Lo-Fi hip-hop, Neo Soul, etc.

Take note of how the use of wah with distortion can push you even further into “guitar” territory and allow to engage in a type of soloing and expression that is not possible without these effects.

These clips illustrate how an envelope filter can be used to alter the articulation of a note, thus makeing a more convincing synth-like sound when transposed up multiple octaves.

Page 28/29 - rhythmic comping, atmospheres, and pads

Here is an example of how a higher voiced instrument like a trumpet can play bass lines using an octave down and an envelope filter.

Notice in this clip how lush and full the harmony sounds when paired with a wah pedal.

If you are the only horn player in a funky situation, but do not want to play lines, the example below can be a fun and effective way to contribute to the rhythm section. In this clip, a wah pedal is used, along with a harmonizer, to approximate the sound of a guitar or keyboard comping, making the idiomatic waka-chika-waka type sound.

In the clip below, delay and harmony are combined with an envelope filter to create a sonic texture often found in Raggae and Dub music.

“cocked” wah with harmonizer for comping

Here, the trumpet uses a wah to swell and manipulate harmonized chords. This can allow you to contribute to the harmonic content of a song much like a keyboard does when playing pads.

Listen to how an envelope filter with a particularly slow attack can give you a different sound that is useful in comping.

Here are some crazy and unconventional sounds that are created in part by wahs and envelop filters.