WMD - super FATMAN
envelope filter
cred: kleinanzeigen.de/Chris
seen from Germany
seen from Yemen
seen from Germany

seen from Singapore

seen from Germany
seen from United States

seen from Norway

seen from United States

seen from Singapore
seen from Germany

seen from Singapore

seen from Italy
seen from Yemen
seen from Malaysia

seen from Germany
seen from Poland
seen from Spain
seen from China
seen from Germany

seen from Australia
WMD - super FATMAN
envelope filter
cred: kleinanzeigen.de/Chris

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Lovetone Meatball
England, 1995
Mooer Envelope
China, 2017
SRS - VCO DISCO
“ It's simply a fat and juicy envelope filter from the 70s with tons of character and all the funk anyone could possibly handle. ... (apparently a copy of the ehx Doctor Q) “
cred: tonemachinesblog.com/2022/08/the-other-srs-pedal
seamoon - funk machine
Envelope Filter Auto Wah - 1973 first version
“ Incredible quack and amazing personality! “
cred: reverb.com/Vintage Riviera Boutique

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3Leaf Audio Proton MK4 Envelope Filter
USA, 2024
DOD Envelope Filter 440
I'm not sure how to describe this pedal, but it's an integral part of the effects chain used by radiohead and others in the past. I bought one as the sound has grew on me and it's pretty good.
It was probably a mistake to have discovered that the Target website lists a good number of products sold and shipped from Musician's Friend. I had gift card money and saw this thing on sale, and was unable to resist.
This is the Resotron, from Pigtronix. It's a filter effect, mostly — a variety of envelope wah but with a lot of extras. The knobs on the left set the cutoff frequency and resonance; turn the resonance up and it'll self-oscillate, giving you feedback squeals. The switch below that sets the mode, high pass, band pass, or low pass. The other switch is where things get interesting. You can set it to follow the envelope — the volume — of your notes, pushing the cutoff either up or down as you play, or to "pitch" mode, where the frequency follows the pitch you play, making the effect very like a synthesizer's pitch-following filter.
And with the pedal in pitch mode, you can press the "oscillate" button in, and the thing becomes a synthesizer pedal, replacing your input sound with the sine wave of the filter's feedback.
The other knobs are labeled for glide (adjusting the speed at which the pitch will shift), sensitivity (of the envelope or pitch tracking), and blend (which applies compression before the filter). There's a jack for an expression pedal, which changes the cutoff and, in some modes, can turn the thing into a kind of wah-wah; it also will accept control voltage between 0v and 5v, so you can manipulate it from a synth or sequencer.
There's also an input labeled "Trigger", which — if I'm understanding this right, lets you have a second audio input that goes to the envelope follower or pitch tracker while the main signal is going through the filter. This lets you do stuff like ducking — lowering you signal while something else is loud.
Most pedals run on 9v, but this one actually needs 18v; it fortunately comes with a power adapter.
And looking at the box suggests why this thing was over half off:
Some of these bullet points are true and some are definitely not. There's only the one oscillator, and that only sometimes, there's no "SUB" output, and there's definitely no hard sync — and what would that be to? My guess is there was a printing mixup, and this box got the bullet points for the other Pigtronix pedal that's heavily discounted, their Mothership 2 analog synthesizer pedal; probably that pedal's box has the Resotron talking points. (Musician's Friend are the only retailer I've seen the discount at, so presumably they got a big bunch of the misprints to flog off cheap.)
Can I add that it's a gorgeous pedal? The knobs are actually rounded — the sides bow outwards, curved knurls making them easy to grip, and are nicely heavy.
(For anyone unfamiliar with audio filters, they take a signal and remove certain ranges of frequencies out. A low-pass filter will quiet the high frequencies and let the low ones pass through; a high-pass filter does just the opposite. A band pass only lets through the frequencies in a range — a band — around the specified frequency. They're all ways of changing the timbre of whatever is running through them. Filters — and especially animated filters, sweeping the frequency up or down — are core to many synthesis and electronic music styles.)