Working with filters is something you hear all the time in music production, even if you don’t recognize it right away. With a Cubase project open and an audio track imported, this walkthrough takes a close, practical look at two different filters:

• The Tonic filter, a standard Cubase plugin
• The Moog filter, a UAD-powered plugin by Universal Audio

At first glance, they look completely different. But as you’ll see, they share a lot of similarities—because, at their core, they’re both filters.

---

Understanding the Tonic Filter in Cubase

To start clean, the Moog filter is disabled so it doesn’t interfere while working exclusively with the Tonic filter. Once opened and brought into focus, the layout immediately stands out.

The Main Sections of the Tonic Filter

One of the first things you’ll probably notice is that the Tonic filter is divided into distinct sections:

• Middle section: the filter section, which is the main focus
• Left side: an envelope
• Right side: a Low-Frequency Oscillator (LFO)
• Bottom-left: an X/Y pad, allowing control over two parameters at once

Not something you’ll commonly find on all filters.

For now, attention stays firmly on the middle filter section, where the core filtering happens.

---

Filter Modes and Cutoff Curves

At the top of the filter section, you’ll find different filter modes. Clicking reveals a dropdown list with multiple options:

• Low-Pass filters (LP24, LP18, LP12, LP6)
• Band-Pass filter
• High-Pass filter

The numbers—such as 24 or 6—refer to the dB per octave cut:

• 24 dB per octave: removes frequencies much faster
• 6 dB per octave: produces a gentler slope

For this walkthrough, the focus stays mainly on

• Low-Pass filters
• High-Pass filters

---

Core Controls: Cutoff, Resonance, Drive, and Mix

Cutoff Frequency

The cutoff frequency defines where the filter starts working. A helpful frequency readout shows exactly where you are:

• Around 1000 Hz
• Moving up toward 2000 Hz, and so on

This visual feedback makes it easy to understand exactly what part of the spectrum you’re shaping.

Resonance

Located to the left, resonance adds a boost around the cutoff frequency:

• It emphasizes the “edge” of the filter
• Especially noticeable during filter sweeps

You hear it gets a boost around the edge where the cutoff frequency is.

Drive

The Drive control introduces saturation or distortion. Since this isn’t always desirable:

• It’s turned all the way down to 0 for now

Drive isn’t something you’ll find on every filter, but it can be useful in specific contexts.

Mix Control

At the bottom, the Mix knob blends:

• 0%: dry, unfiltered signal
• 100%: fully filtered signal

For clarity, it’s set to 100%, so only the filtered signal is heard.

Mono/Stereo Switch

A simple switch allows collapsing the stereo signal into mono if needed.

---

Hearing the Low-Pass Filter in Action

With playback running, moving the cutoff frequency downward clearly removes high frequencies—exactly why it’s called a low-pass filter.

Increasing resonance makes the effect more pronounced, especially during sweeps. However, as the cutoff moves into higher frequencies, things can get too sharp.

Automating Cutoff and Resonance

A common solution is automation:

• Higher resonance in lower frequencies to enhance the low end
• Lower resonance in higher frequencies to avoid harshness

When we get to these higher frequencies, they’re not that sharp.

This approach keeps the sweep musical and controlled.

---

Switching to a High-Pass Filter

With the high-pass filter, the behavior flips:

• Low frequencies are removed
• High-frequency content remains

The cutoff works in the opposite direction, and using the Mix control allows blending filtered and original signals:

• The effect is present
• But the original content still comes through

This is the basic principle of filtering out low-end or high-end content in a mix.

---

Introducing the Moog Filter

Next, the Moog filter is opened. Once again, the interface is divided into sections:

• Input section with optional drive
• Filter section
• LFO section
• Output section, including mix and output boost

The drive is turned off again to keep the sound clean.

---

Exploring the Moog Filter Section

Familiar Controls, Different Sound

Just like the Tonic filter, the Moog filter includes:

• Cutoff frequency
• Resonance
• Filter modes:
  • Low-Pass
  • Band-Pass
  • High-Pass

Starting with the low-pass filter, scrubbing the cutoff immediately reveals:

You can hear this filter sounds different than the previous one.

Increasing resonance creates a sharper edge, especially when the signal is fully open—another clear candidate for automation.

2-Pole vs 4-Pole Filtering

The Moog filter allows switching between:

• 2-Pole
• 4-Pole

These determine the steepness of the filter curve:

• 4-Pole filters more aggressively
• The difference becomes clearer at higher cutoff points, such as 1000 Hz

---

Stereo Spacing and Additional Modes

A notable feature is the spacing option:

• It allows filtering only one side of a stereo image
• Particularly useful when working with wide stereo signals

Switching between low-pass, band-pass, and high-pass modes introduces very different tonal effects, especially when resonance is increased.

---

Using the LFO for Automated Filter Movement

To demonstrate the LFO, a new bass sound from Prime Loops Dubstep Arena is loaded. With the filter off, it’s just a single-tone bass.

Manually moving the cutoff creates interesting effects—but it’s hard to be precise with a mouse.

That’s where the LFO comes in.

The LFO is basically an automation for the cutoff frequency.

---

How the LFO Works

Conceptually, the LFO is

• An oscillator generating a frequency
• Visualized as a waveform moving before the filter

Rate

The rate determines how fast the LFO oscillates:

• 1 Hz: one oscillation per second
• Slower values like 0.34 Hz
• Faster rates create rapid movement

A blinking light visually indicates the speed of the LFO.

Wave Shapes

Different wave types change how the cutoff moves:

• Sine wave: smooth, continuous opening and closing
• Sawtooth wave: sharp, repeating sweeps

Each wave shape produces a distinct rhythmic feel.

Amount

The amount control determines how strongly the LFO affects the cutoff:

• Turned up to 100% to hear the full effect

With playback running, higher rates produce:

A swooshy, helicopter-type sound.

---

Syncing the LFO to the Project Tempo

Switching from Free to Sync mode changes everything:

• Rates are now based on musical values
• For example: sixteenth notes

At 140 BPM, the LFO locks perfectly to the tempo, making it ideal for rhythmic, musical effects.

---

Applying the LFO to Different Sounds

A second bassline from Prime Loops is imported—this time a distorted, saturated sound.

With the Moog filter active:

• LFO Amount set to 100%
• Tempo synced to 140 BPM

Switching between high-pass and low-pass filters and adjusting wave shapes produces dramatically different results.

Especially when we’re doing these types of dubstep sounds, this is one of the things that we want to automate: the rate.

---

Automation in Practice: Bass and Drums

To demonstrate real-world use, automation lanes are added:

Bass Automation

• The LFO Rate is automated over time
• The curve represents how fast the filter movement changes

Soloing the bass makes this movement clearly audible.

Drum Filtering

Two drum tracks are added with simple filter automation:

• Cutoff frequency gradually opens
• Resonance is reduced near the end

Without reducing resonance, the result becomes too sharp. Lowering it keeps the filter fade-in smooth and controlled.

That’s why I removed that resonance here when we fade in with the filter.

---

Creating Dynamics with Filters

In the end, only a few things are happening:

• Filter automation on the bass
• Subtle filtering on the drums
• Controlled use of resonance to avoid harsh edges

These quick examples demonstrate how filters can be used to create movement, dynamics, and interest in a mix—without overcomplicating the process.

The next steps move into equalizers, followed by deeper topics like mixers, mixing consoles, and mixing software—opening up even more ways to shape sound within a production.