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Key Features
The Doepfer A-106-1 X-Treme Filter is an authentic recreation of an MS20-style filter, delivering the exact sonic characteristics with added flexibility. Although the A-106-1 delivers the same tone, it's not built identical, allowing for Doepfer to add more functionality and options. Originally designed with a 12dB low-pass and 6dB high-pass, the A-106-1 is constructed with two filters acting as both high and low-pass simultaneously, allowing for two audio streams to be used at the same time. Audio inputs for both low and high-pass each have individual level controls with normalled inputs, allowing you to run one audio source through both filters together for a wide range of filter options.
Going beyond what was possible in the original design, a polarised high-pass input is used and offers the ability to feed each input different polarity sources, opening up notch and band-pass filtering capabilities. A true must-have for any live Eurorack sound designers and performers, the A-106-1 X-Treme Filter carries all the tools you need to express your creativity, adding the signature sound of vintage crunching filtering to your tracks.
Product Ref: 220476
With two independent inputs for both low-pass and high-pass filtering, the A-106-1 gives you complete control over the sounds you need for your productions, music or live performances.
A simple low-pass can be achieved by feeding the low-pass input with the high-pass level set to zero. Ideal for creating thunderous low-end that adds weight to thin sounding leads or pads as well as filtering extreme highs to help sit within your mix without sounding harsh or brash.
A simple high-pass is possible by feeding your audio signal to either the low-pass or high-pass input (normalised inputs allow you to use either and the signal will pass through both) and controlling the level of the high-pass. Using a high-pass is ideal for live performers, allowing you to filter out the energy of the track or instrument for a build-up before a drop. Alternatively, it can be used to help fit heavy saw synths in a busy mix by removing excessive low-end.
Going far beyond what was possible on the original hardware that the A-106-1 emulates, you can even create notch and band-pass filters. Designed with polarity reversed high-pass input if both levels of filtering are matched with identical polarities and with little to no distortion you can achieve a unique notch-filter sound. A notch filter is excellent for use in the studio when you want to eliminate a narrow problemed frequency area to tidy up your sound, making it sound more professional and polished.
Conversley, matching your level settings and sending different polarity signals between your low and high-pass filters, you can create a band-pass filter. Mainly used for creative effect, a band-pass filter can create similar sounds to a 'bullhorn' or 'megaphone', whereby you only allow certain frequencies in a selected range to pass. Ideal for creating dynamic sound design and exciting changes in timbre to your live shows, a band-pass can be used to hone in on a frequency range and push this to the forefront, allowing your sounds to cut through dense mixes with lots of other instruments.
As you've come to expect from Doepfer, the A-106-1 takes the original MS20-style filter design and runs with it. In the original design, the output level is limited to +/- 0.7V via two antiparallel diodes across the output resonance. Doepfer has removed these diodes and replaced them instead with two rotary controls named CL+ and CL-. With these controls, you can adjust the output behaviour of the limiting circuits, allowing you to create asymmetrical limiting for a wildly unique tone. The sensitive audio input levels are ideal for driving your sound into gritty overdrive character whereby radical crunching noises will be heard throughout the filter with boosted audio signals and boosted CL+ and CL- controls.
The final addition to this highly flexible and powerful unit is the insert input. This input allows you to place other signals from external sources in the resonance feedback loop circuit. Now, you have access to voltage controlled resonance from a VCA or try your hand in experimenting with inserting modulation or time-based effects into your sound for an out of this world sound design.