#wasp filter

The ANAPHYLAXIS FILTER is a multi-mode filter with double LFO modulator for the CUTOFF frequency based the filter section of the notorious WASP synthesizer that was created by Electric Dream Plant in 1978. This standalone pedal version of the filter allows you to use it for the input signals of your choice. The FILTER MODE selector is a 4 position rotary switch (up to down: LOW PASS, BAND PASS, HIGH PASS and NOTCH) with the position indicated by small purple UV LEDs. The input signal is controlled with the GAIN control, that can boost even weaker input signal to overdrive the filter. A dedicated RESONANCE control determines the amount of RESONANCE at the CUTOFF point, that of course has a control knob as well. Furthermore the RESONANCE has two settings: EXTREME (up) and NORMAL(down), selected with a toggle switch. In HIGH PASS mode the filter can self-oscillate without any input, in case you need a high frequency SINE WAVE oscillator. In that case the FREQUENCY can be dialed in with the CUTOFF control. But the ANAPHYLAXIS FILTER can do more, as it has 2 build in LFOs that are modulating the CUTOFF frequency, with independent SPEED and DEPTH controls, which allows to generate a more complex modulation waveform. Each LFO has a RANGE toggle that selects: SLOW (down) or FAST (up) as well a 3 position toggle switch that selects the SHAPE: SQUARE (down), OFF (middle) and triangle (up). The fast LFO range goes well into audio range and enables you to create some very interesting frequency modulation filter effects. With slower rates, especially with the triangle shape and the 2 LFOs running at non-synced rates, even the most static sounding input get ‘alive’. The SPEED of each LFO is indicated by either red or green color in the big LED in the middle of the LFO section. The 1st stomp switch is TRUE BYPASS and if that is not enough, the 2nd stomp switch engages the DISTORTION, both with UV indicator LEDs. The level of the DISTORTION is controlled by the DISTORTION knob and the toggle switch next to it adds a TREBLE BOOST (up) or a HIGH CUT (down) setting to the DISTORTION. In the end of the signal path is a signal booster based on the EHX LBP1 with a global VOLUME control. The ANAPHYLAXIS FILTER runs on 9V DC and has a ‘boss style’ 2.1mm DC barrel plug socket with the negative pin inside. The enclosure is a heavy duty scavenged industrial engine power connector housing made from die-cast aluminum with a bottom plate made from found material and is painted in the industrial burnout camo pattern in matte black and bright yellow. Handmade by GRM for METSÄÄN.

SOLD.

Wasp Farewell

I went about six weeks without a computer, and I've been slowly getting my new machine set up. My 2017 iMac had a hardware failure at the end of October. I think six years is a good run for a computer, so, although it was a disruption to go over a month without a personal machine, I'm pleased that the machine met my needs for at least five of those six years. Even before I got into audio, I threw some heavy loads at my machines with Photoshop and Lightroom.

With the new machine, I thought I would try using Da Vinci Resolve instead of Adobe Premiere. The free version of Resolve is a complete video editing system, but it lacks features like lens correction (note the barrel distortion above) that Premiere has. I don't think I'll want to pay for a Premiere license once my current license ends, so I'm exploring other options.

I've been tinkering with this patch for a week or two. I recorded it because I'd like to start a new patch, so I can have this as a reference.

I'm still pinging the Doepfer Wasp filter, which is one reason it's time for me to try something different. In this patch:

Arturia BeatStep sends clock and a gate sequence to the NiftyCase via MIDI

NiftyCase MIDI adapter sends:

Clock signal to the Doepfer Clock Divider

Gate to the input of the Doepfer Wasp Filter

Doepfer Clock Divider sends gates to:

C4RBN filter ping input

Pique bass drum input

Pique tap LFO input

Dreadbox Utopia LFO reset input

Pique tap LFO modulates:

Doepfer Wasp CV2 frequency cutoff input

C4RBN resonance input (this signal is first inverted in Dreadbox Utopia)

Dreadbox Utopia LFO modulates C4RBN frequency cutoff

Mixer inputs

Wasp filter low-pass output

C4RBN low-pass output

I made this video to try out the automated audio sync feature in Adobe Premiere Pro. My most video-friendly camera, the Panasonic Lumix GX85 lacks an audio input. So what I decided to was record audio into my Tascam DR-05. I used a Bluetooth speaker to monitor the recorder and captured crummy audio on the camera's internal mic.

Once I did some light edits on the audio, I imported it and the video into Premiere Pro and used the Synchronize feature to match the Tascam audio with the audio in the video track. Then I muted the camera's audio before output.

I wanted a compact envelope module, and, after a significant amount of research, I settled on the Michigan Synth Works Pique 1.1. Although some alternatives may be more ergonomic or usable, I was drawn to the alternative modes such as Drum and the phase-locked loop.

Although I bought it for envelope generation, of course the first thing I tried was the split drum mode. In the track above, I’m sequencing the module with an Arturia Beatstep. I’ve multed the bass drum to have a dry signal and a signal run through the Pittsburgh Filter on my East Beast. The snare drum runs through the Doepfer Wasp filter. At times, the LFO is modulating the frequency cutoff via the CV2 input. At first, I have the gate from the Beatstep input to the LFO, but I remove that modulation around the three-minute mark.