u-he

Sendy · Post by **Sendy** » Tue Mar 04, 2014 7:24 pm

Really didn't like it much at first, but I've noticed how good it is at making things sound fat... You know a filter is good if it can sound fat without even dialling in resonance. The drive and fuzz are perfect for giving sub bass that little bit of spectral sharpening.

The resonance in both this and Filterscape are also really good, especially considering how old the plugins are and how much things have changed since they're released. And FS has filter crossfading. They're releasing new plugins today which still don't allow you to morph between filter types - you'd think with all the glitchy fetishism that's in vogue today filter sequencing would be a big feature.

3ee · Post by **3ee** » Tue Mar 04, 2014 7:40 pm

The only thing why I avoid using it within the last year or so, is that it doesn't have a slope switch.
I used it quite extensively before, it's a very cool plug!

Nig · Post by **Nig** » Thu Mar 06, 2014 12:08 am

Same here, I thought nothing of if till a few months ago when I tried it out now it gets used on most tracks. I'm finding it can give sounds a really nice character that I can't get with other filters.

I do find the resonance can be a bit too much at times though.

Sendy · Post by **Sendy** » Thu Mar 06, 2014 9:17 pm

The thing I've realised with the resonance, is that it's range is vastly, VASTLY extended. Like, most filters' resonance would stop at about a tenth of the resonance range in Runciter. I very rarely dial in more than a hair of resonance. I'm not a fan of ear-peircing resonant screeching, though the extended range DOES come in handy when you have high values of drive and/or fuzz, which can really cut the resonance down to size.

Urs · Post by **Urs** » Fri Mar 07, 2014 8:06 am

I think it's the +/- 48 dB input gain that either leave a lot of headroom for resonance, or push the signal to boundaries where resonance peaks simply can't whine through. There's a similar gain staging effect as in Diva, where filter sound less resonant if oscillators are set to high levels.

Sendy · Post by **Sendy** » Fri Mar 07, 2014 9:48 pm

Thanks for the tip Urs. Don't think I've been playing with the input level much with Runciter. Mostly just enjoying the dark shade it can bring to a track without resonance. I find myself lowpassing more and more tracks these days - I think my ears are getting tired of perfectly calculated treble stacking up.

Howard · Post by **Howard** » Sat Mar 08, 2014 8:43 am

Sendy wrote:I find myself lowpassing more and more tracks these days - I think my ears are getting tired of perfectly calculated treble stacking up.

Sendy.

Tp3 · Post by **Tp3** » Sat Mar 08, 2014 10:23 am

Sendy wrote:Thanks for the tip Urs. Don't think I've been playing with the input level much with Runciter. Mostly just enjoying the dark shade it can bring to a track without resonance. I find myself lowpassing more and more tracks these days - I think my ears are getting tired of perfectly calculated treble stacking up.

Hear hear ! someone found a crucial ingredient of what is otherwise known as "analog warmth" ?...

EvilDragon · Post by **EvilDragon** » Sat Mar 08, 2014 11:16 am

Not to mention highpassing tracks to get rid of excessive rumble (well, depending on actual soundsource).

Sendy · Post by **Sendy** » Sat Mar 08, 2014 6:59 pm

Yep, it's sad when I listen to some of my old tracks and the bass has sub-bass, the drums have sub-bass, and some of the pads also go down quite low... Plus there's sub bass in some of the FX cuts because I didn't know what I was doing

(most of this stems from not having a visual analyser. When I was working with outboard gears like a sampler, you only have your ear to work with - and sometimes that simply can't detect the fact that you have a metric ton of sub-bass in your sample).

Highpassing is quite an obvious thing, though. It occurred to me way before I thought of lowpassing, I guess because a muddy bottom end is so much worse than simply having too much treble - which is a bit meh but the tracks are still listenable - just not at full volume (Squarepusher, I'm looking at YOU! You wanna play at being the Master Sadist with your chainsaw treble cutting into my ears? Well *I* have a treble dial

)

Lowpassing goes against my instincts because I tend to want to fill the entire spectrum. I used to tend to design sounds to span the entire spectrum - perhaps not all at once, but still... Digital synthesis and sample reproduction is TOO good, unnaturally good, at reproducing highs. When you have several tracks of it it's quite simply painful.

Sendy · Post by **Sendy** » Sat Mar 08, 2014 8:40 pm

Another instinctive problem with treble: when I'm listening to individual sounds, they often sound better with more treble. My ear actually likes it. It's just the cumulative effect of several tracks containing treble which is a problem.

I'm thinking specifically of the band under the very top "air" band, that is higher than the highest midrange, but not right up in the stratosphere.

ariston · Post by **ariston** » Sat Mar 08, 2014 8:53 pm

Sendy wrote:Another instinctive problem with treble: when I'm listening to individual sounds, they often sound better with more treble. My ear actually likes it. It's just the cumulative effect of several tracks containing treble which is a problem.

I'm thinking specifically of the band under the very top "air" band, that is higher than the highest midrange, but not right up in the stratosphere.

That's it. Somehow, my ears love treble. Especially, as you said, on individual sounds. I posted a song here once that was a perfect example of what happens when you pile on too many tracks with lots of stuff going on in the 5-10 KHz area.

Since then, when I'm mixing a track, I've learned to listen for a special effect that happens when I overdo it. Have to be poetic here: it's like a foggy luminescence, a fuzzy ringing that seems to originate in the middle of my brain. Whenever I hear that, I break out the LPF. But getting it exactly right is a bitch, since the effect is, as you say, cumulative.

It's actually a lot easier if you're more careful about the sounds you use BEFORE you start mixing. But that's usually easier said than done.

Oh, and on topic: I sold the Uhbiks, because lo!, there was much redundancy in my plugin folder, but I really miss the gnarly Runciter and would re-buy it in a second if Urs would split up the pack (which will never happen, I know). It's a very unique filter, and that's saying something.

_leras · Post by **_leras** » Sun Mar 09, 2014 11:40 am

Runciter also makes a pretty great amp sim replacement, not any specific model - but fat warm distortion if you hit the sweet spot.

I do wish there was an oversampled/hi def option in the Uhbiks though...

Urs · Post by **Urs** » Sun Mar 09, 2014 12:01 pm

_leras wrote:Runciter also makes a pretty great amp sim replacement, not any specific model - but fat warm distortion if you hit the sweet spot.

I do wish there was an oversampled/hi def option in the Uhbiks though...

They are all oversampled, some even heavily… we could probably add some extra settings in the future though… not sure if and when

3ee · Post by **3ee** » Sun Mar 09, 2014 12:16 pm

Urs wrote:
_leras wrote:Runciter also makes a pretty great amp sim replacement, not any specific model - but fat warm distortion if you hit the sweet spot.

I do wish there was an oversampled/hi def option in the Uhbiks though...
They are all oversampled, some even heavily… we could probably add some extra settings in the future though… not sure if and when

please consider a slope control when updating the Uhbiks, important control on a filter.
...
The Runciter sounds more towards Zebra's alrounder VCF, but since I love the XMF sound, I found myself using Zebrify more often for filtering duties.

u-he

KVR Audio

Runciter has really grown on me