Thank you for this video walkthrough! I've owned a Filterbank for years and struggled to get the most out of it. These refinements make sense and enhance all the things that made me fall in love with this device. It's more refined and playable as a standalone unit, a point you proved with that great demo track :)
Hilarious edits haha! I watched your original filter bank video a few times, and I also watched a few vids following that of its creator who’s a bit of a quirky character, just like the gear really ;)
Love all the hilarious video edits and it's super informative as well, thank you! great to know what the updated version can do, I become more and more filter obsessed and I think this is one of the best units on the market, time to sell the kidney!
Made in belgium, where i´m from :) there is an interview with the maker on RU-vid. Oh and flstudio hq is not that far from the maker of the sherman filterbank! (If i remember correctly, but pretty sure) i remember seeing a demo with an mpc 2000 xl, the filter module from akai (ian pooley has a demo of it as his favorite secret weapen, it´s on electronic beats on yt), and the sherman filterbank all in serial. The sounds that came out of it were alien, out of this world. Still would want one, or 2. No plugin can do what it does, maybe ohmicide distortion comes in the range of it. But that´s the only one i can think of.
There is a very good software clone of this. Philteroid by Phuturetone. I just realized this after watching your video. Crazy. I’ve had it for a few years, never knew.
I've just looked it up. Yep looks the same! It would be a good way to learn the unit, and maybe save 'patches' but I doubt it sounds anything like this... all the crackles, clock noise, locking filter/clocks etc that give it the crunchy madness would be really difficult to replicate. Pitty I'm Mac based so can't have a play :(
Many thanks for the tip! it's really awesome sounding and flexible! also has randomization button which can lead to some interesting discoveries (sometimes pretty extreme!)
@@subradial np:) It’s a great little plug. And you’re right, you can get some crazy results with it. Well crafted functionality, great filters, nice little toy. Also the ability to assign FM to the adsr is a neat option. Lots under the hood.
Thanks, glad you noticed 🙏. As with anything - you do something simple .. get an idea to make it a bit better.. have a go.. try something else and over time things organically improve. Unless of course you have a specific vision of how you want it to look/feel at the outset. I didn’t... just bumble along 😂 trying to get info across as clear as I can while having a bit of an extra creative outlet. They take A LOT longer but hopefully it’s worth it.
Hi Starsky, Do you know if the original 2 can be modded to do this, I couldn’t see on Sherman site if they offer an upgrade kit? I have the 3 positions on the switch but not the noise circuit. I’m early 7000s
What a performance! I have a SFB2 i haven't turned on for a decade or so, and this really makes me use it again. Btw where the drumbeat came from here? I found the drums fit very tastefully in your videos.
As an artist I don't like to pigeonhole myself into any specific boxes and find myself liberated in the expansive experimental divide between the two genres :)
@@StarskyCarr I'm the same when It comes to production and the music that I listen to. I like what I like :) but at the same time I still like to define things by putting them into boxes sometimes. Makes it easier for me to analyse and such. It becomes quite interesting and also a little annoying for me in certain contexts when I can't make something fit anywhere exact 😆 Boundaries doesn't really exist as such. It's and illusion we create for ourself to make things easier to measure. For instance if we look at time, we have hours, minutes, seconds, miliseconds etc. If we need a new way to measure smaller, then we invent it. In other words we can keep zooming in and going smaller in all infinity. So where do we find where the exact startpoint and endpoint is if we can keep zooming in to find it? We can't find them. Nothing is never really exact. It only seems that way to us. So where do you find the line that divides past and present and the line that divides present and future? We can't. It's all just one big transition. There's actually not really any past, present and future as such. It's all just one thing. What was present becomes past, and that was also once the future. It's really just in the way our brains process. Just because something is in the past or in the future, doesn't mean that it is not in existence. It's just existing in a different time according to our brains. Like whith many of the stars that we can see from Earth, which doesn't exist anymore in their own time and place. But to us they still do, because it takes the light (the signal/message) a very very VERY long time to get here. Everything else that we look at and sense has to get through our "filter" and get processed. And the travel for signal takes "time". Sorry I'm rambling on... 😂
Haha you certainly are .. but all good stuff!! But you’re correct, knowing the genres, DJs and labels that fit your tracks is pretty important if you want any sort of commercial success.
As someone just getting back into production I’m finding it difficult to stick to one genre and stay within the confines of a particular genre. Trying out techno at the moment kind of dark and evolving, it’s going well today but next weekend might be a different story, when I’ll feel like making jungle :)
@@jrlx86 Yeah and the good thing about trying different genres is that when you just make tracks without focusing on any specific genre is that you automatically use the different techniques together :)
~13:30 . That’s some wacky high frequency. I’m in my bedroom studio.... I’m listening to the pads, but I can hear something almost behind me . So I move around a bit to figure out , what and where.... it’s everywhere and nowhere. Took a second to notice it pulsing with the LFO. Wtf. In The rest of the video everything appears to be coming from my flatscreen. Kind of like when your phone is in the next room and it doesn’t ring, but vibrates ... and you don’t as much hear it as ‘sense’ it.
the sherman really is living breathing electricity - i used to give myself such frequency brain drain - amazing what it can do, utterly amazing tool but be careful guys - you'll give yourself 12 hours worth of hard raving aural abuse in an hour easily, ears need rest :-o
@@tcnotrvlr definitely recommend using a compressor/limiter until you understand a Sherman very well! It is no joke! It makes a MS-20 filter seem docile.
two questions: one, does the compact have the same functionality as this version? and two, you think i would be mad to use this as a master insert effect or at the very least a send/return on a mixer while i perform my music live and 'dub' style?
I've noticed in your videos that you usually use something going into the Trigger ADSR input, what do you use and is it a different source than the Audio Input? I'm seeing that it helps with controlling the FB2. Normally using just the Audio Input, I sometimes have the sound fade out as if there's nothing at the input until I crank the Input gain up to "trigger" the ADSR again.
I demo this (or at least mention it in the other video). To control the envelopes I use a simple sawtooth from another source. You can then have the input as low as you like and have fine control of both envelopes.
I'm new to filter banks. How do you feel about the musicality of the Sherman vs the Moogerfooger? Seems like the Sherman is difficult to dial in for consistent use. The MF105 seemed a lot more controllable and useful. Id like to find ways to bring more interesting patterns and dynamics into a song.
They’re completely different in most respects. The 105 is great for those sequences, sounds lush and I can’t fault it, but it’s a different type of filterbank. On the 105 your basically playing a graphic EQ (but better!) This is more of a complex tool that can completely overhaul the input signal. I think lots of people have a misconception about this being uncontrollable or unpredictable, but I disagree. It was at first, but after deciding to go through the steps in the manual it’s all very obvious tbh! Yes it can crunch something dramatically within a couple of degrees of rotation, but once you understand what’s going on it’s quite predictable. Obviously the more complex something is the longer it’ll take to dial in exactly what you’re after. I think the main issue people have is not triggering the envelopes with a separate signal... using the main input results in the input level and distortion being interdependent - trying to balance that with the envelopes can be difficult with sounds with long attacks. that’s my big tip ;)
Hallo Starsky! Wonderfull Sounds. I own dual Version. How do you trigger the Adsr or AR. Simple Sawtooth makes no sence to me. Sawtooth permanent without vca triggered via envelope inbetween? And how about sensitivity knob and envelope amount. When can i control the envelope? With increasing envelope amount or senitivity knob. When should i use gates to trigger the envelope and when a simple sawtoth and how? And another question. You send a melody to fm input to track the filters while the drum sequence. Was it cv pitch information or a sine/triangle wave sequence. And while you are linking both shermanns. Why do you not locked the harmonie knob from one of them? Cheers
I’m using a simple sawtooth as the trigger. So I have a separate track sending the envelope trigger which can be whatever duration you like per note - it gives amazing control via a DAW or if playing live send a separate signal from another synth. Something with no attack or release to act as a gate. It tracks the pitch of the input so I was using a simple sound again for the FM (as far as I remember - it was a couple of years ago).
Hi there, I love your second video tutorial of Sherman filter bank 2. I would like to know where could I found the new one FB (version 3). I was looking everywhere and I didn't find it. Thank you for answering me.
Its not badged as a v3 it's just the FB2. It's been manufactured since 2018 so any that are in stock will be the newer version. You can tell by the writing on the front under the '2' . The original FB2 didn't have it.
It's Eventide... quite old now, but was a complete eye opener when I first got it. Amazing modulation in the FX.. instantly realised how many tracks were made - not using loads of complex interweaving sounds as I'd always thought - but by simply plugging one of these in!
