Table of contents
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Table of Contents
About FabFilter One
Overview
Creating sounds
Loading presets
Purchasing FabFilter One
Support
2
Introduction
Key features
Quick start
Using FabFilter One
Knobs
Oscillator
Filter
Envelope generator
Modulation basics
Modulation: I can't stop
MIDI Learn
Undo and redo
Stand-alone (Windows)
How To Create
Bass sounds
Lead sounds
Drums sounds
Sounds effects
Presets
Saving presets
How presets are stored
Purchasing FabFilter One
Entering your license key
Support
Manual installation
MIDI controller messages
License agreement
About FabFilter
About FabFilter One
3
In the last few years, more and more people have started to use software synthesizers, software samplers and
effect plug-ins instead of good old hardware. However, it seems almost impossible to recreate those fat, warmsounding analog synths and effects in digital form. Many companies have tried and failed, giving their plugins
vintage-look interfaces, tons of features, and crappy effects, diverting you from the real issue: the sound.
FabFilter does things differently. We don't compromise on sound quality and ease of use. We give you the tools
you need to create your music. After years of intensive research and development, we present our first
product: FabFilter One.
FabFilter One is a simple yet awesome sounding synthesizer, based on analog classics like the Korg MS-10. It
has the fattest filter
make all the difference: smooth and sexy portamento
that are responsive and smooth at the same time.
Of course, the FabFilter One also supports everything you've come to expect from modern plugins, like an
extensive preset system
FabFilter One is available in VST, VST3, AU (Audio Units) and AAX Native formats (all both 64-bit and 32-bit),
as well as RTAS (32-bit only), for Mac OS X and Windows.
Windows requirements
32-bit: Windows 10, 8, 7, Vista or XP
64-bit: Windows 10, 8, 7 or Vista (x64)
VST 2/3 host or Pro Tools
Next: Key features
See Also
Quick Start
Using FabFilter One
you've ever heard in a digital synth. And we've invested lots of time in the little things that
, perfectly fine-tuned knobs and interpolation algorithms
, sample accurate parameter changes, and a complete MIDI interface with MIDI Learn.
Mac OS X requirements
OS X 10.6 or higher
AU or VST 2/3 host or Pro Tools
Intel processor
Key features
4
FabFilter One stands out on many points:
Best cut-off filter
We have put tremendous effort in creating the best cut-off
here: it's just the fattest and smoothest self-oscillating digital filter you've ever heard. It sound is inspired
by the analog Korg MS-series from the late seventies: raw but never cheap, going crazy with high peak
values, but never over the top. Even at full resonance, there are none of the zippery digital artefacts that
are so common among other plugin filters.
Great oscillator
The oscillator
analog feel, custom-shaping the waveforms and fine-tuning the sound. You get pure fatness in the low
regions and total clarity in the high regions! There are extensive pulse width modulation options and it's
also possible to mix white or pink noise into the signal, which is great for percussive sounds.
Smoothest portamento
Most synthesizers just slide from one note to another without giving it another thought. We understand
that good portamento
is magic. So we've fine-tuned it until it was just right, and added polyphony support as well. Feel it
yourself!
Smart parameter interpolation
Parameter changes are interpolated by smart algorithms, ensuring both responsiveness and smooth
transitions without clicks or 'zipper' effects. This is especially important with MIDI controller
Polyphony and velocity sensitivity
FabFilter One now supports 10-voice polyphony, volume and filter velocity sensitivity, and filter keyboard
tracking. As an extra bonus, the modulation generator
Straightforward user interface
The user interface is simple, modern, and easy to use. The knobs
down as well as turned around for precise adjustments. You can tweak and tune your sounds to your
hearts' content without having to hunt for impossible little knobs and sliders.
Presets
FabFilter One comes with a standard set of dozens of great sounds and enables you to create and save
your own presets
same in the Mac OS X and Windows versions.
Sample accuracy and high sample rates
Naturally, the FabFilter One plug-in handles all parameter changes at sample accuracy and it can be used
with arbitrary sample rates.
Next: Quick start
See Also
Quick Start
Using FabFilter One
sounds strong, pure, and clean. Again, we've invested a lot of time to get just the right
is one of those things that give your play just that little bit extra. Good portamento
. You can share your sounds with other FabFilter One users and the preset files are the
filter ever. No useless features and options
changes.
can now also be synchronized to the plug-in host.
are large and can be dragged up and
Quick start
5
The installer will copy the FabFilter One plug-in into the common VST, VST 3, AU (macOS only) and Pro Tools
plug-in folders on your computer. On macOS, the global plug-in folders in /Library/Audio/Plug-Ins are used.
In most cases, your host will then recognize the plugin automatically. However, if the instructions below do not
work, see Manual
Cubase
Choose an empty insert slot, for example in the Mixer, and select FabFilter One from the menu that
appears. To use the MIDI features in One, create a new MIDI track and set its output to the One instance
you have just created. (The VST 3 version of One can be found in the Instruments section.)
Logic Pro
Choose an empty insert slot on one of your audio tracks, instrument tracks or buses and select FabFilter
One from the pop-up menu. You will find FabFilter One in the Audio Units > FabFilter section (named FF
One).
Ableton Live
In Session view, select the track you would like to place FabFilter One on, for example by clicking the
track name. At the left top of Ableton Live's interface, click on the Plug-in Device Browser icon (third icon
from the top). From the plug-ins list, double-click FabFilter/FabFilter One, or drag it onto the track.
Pro Tools
Choose an empty insert slot on one of your audio tracks, instrument tracks or buses and select FabFilter
One from the pop-up menu in the Instruments section.
Use the Presets button at the top of the plug-in interface to try different settings from the many factory presets
that are bundled with FabFilter One. Have fun!
Next: FabFilter One overview
See Also
Overview
Loading presets
installation instead.
Overview
6
The FabFilter One interface is divided into several sections, somewhat like the front panel of a traditional
analogue synthesizer.
Oscillator
The oscillator
components. It also contains portamento, additional noise settings and settings that control the amount
of frequency modulation by the modulation generator
Filter
The filter
filter, it can easily be driven to self-oscillation to create completely distorted sounds, or a warm lead with
a little raw edge. The filter section also contains settings that control the amount of frequency modulation
by the modulation generator and envelope generator
Envelope generator
The final touch and feel of the sound is defined by the envelope generator
here to create anything between short percussive hits to long reverberating effects.
Modulation generator
The modulation generator
modulate both the frequency of the oscillator and the cut-off frequency of the filter. This is where the fun
starts!
Additional features
This section contains a few useful extras. You can choose between monophonic and polyphonic (10-voice)
mode, set the type of pulse width modulation, set the amount of filter keyboard tracking and set the
amount of keyboard velocity modulation for the volume and the filter cut-off frequency.
Presets
With the preset button, you can easily browse through the factory presets or save your own sounds so
you can re-use them in other songs. See Presets
Next: Knobs and switches
See Also
Quick start
Creating sounds
is the heart of the synthesizer, producing the raw tones that are modified by the other
and envelope generator.
alters the tones from the oscillator to make them warmer and less harsh. Like a true analogue
. Tweak the various settings
generates a low-frequency square or triangle wave that can be used to
.
Knobs
7
It is easy to control FabFilter One's parameters with the large round knobs. They will light up when you move
the mouse cursor around to indicate that you can adjust them. The moment you move the mouse cursor over a
knob, a parameter value display will pop up, which shows the name and the current value of the parameter.
All knobs support four ways of control:
1. Vertical mode
Click on the center area of a knob and drag up or down to rotate it. The knob reacts to the speed with
which you are dragging, so if you move the mouse slowly, you make precise adjustments.
2. Rotate mode
Grab the arrow of the knob and drag it around. By moving the mouse cursor further away from the
knob while dragging it, you can make precise adjustments.
3. Mouse wheel mode
Perhaps the easiest way to make adjustments is by using the mouse wheel when you hover over a
knob. This mode works for all the knobs and possible panning rings. (On Windows, you might need to
click in the plug-in interface first to make sure it is the active window.)
4. Text entry mode
Double-click a knob to enter an exact value using the keyboard.
Tips
To reset a knob to its default position, hold down the Ctrl key (Windows) or Command key (macOS) and
click the knob once. Note: In Pro Tools, One uses the default Pro Tools keyboard shortcut for reset:
Alt+click.
To fine-tune a value when using vertical drag mode or the mouse wheel, hold down the Shift key while
dragging or moving the mouse wheel. Note: In Pro Tools, One uses the default Pro Tools keyboard
shortcut for fine tune: Ctrl+drag on Windows or Command+drag on macOS.
There are several handy shortcuts in text entry mode. With frequency values, you can type e.g. '1k'
to set the value to 1000 Hz, and also 'A4' for 440 Hz, or even strings like 'C#3+13'. With dB values, you
can type e.g. '2x' to get +6 dB (the value that corresponds to two times louder). With all values, you can
also type a percentage (e.g. '50%' will put a knob exactly in the middle position).
Sometimes, knobs in our plug-in interfaces are linked: these be adjusted simultaneously by holding
down the Alt key (Shift key in Pro Tools) while dragging on one of them. For example, an output level
and input level setting of a plug-in could be adjusted simultaneously (in the opposite direction) this way.
Next: Oscillator
See Also
Overview
Oscillator
8
At the heart of the synthesizer, the oscillator produces the raw tones that are later modified by other
components, such as the filter and the envelope generator.
You control the oscillator with the following settings:
Wave Form
Selects the wave form that the oscillator produces: triangle (a soft, warm tone), sawtooth (a sharp
bright tone that is ideal for filtering), square (a more metallic sound, adjustable with the pulse width
setting), and white noise (which is great for percussive sounds and effects).
PW/PWM
Adjusts the pulse width of the square wave form, from an even square to an infinitely thin pulse (which is
inaudible). In combination with the Pulse Width Modulation switch in the Patching Features section,
this knob also adjusts the amount of pulse width modulation. See Modulation: I can't stop
Scale
Transposes the tones that are produced by the oscillator by full octaves. The oscillator produces rich bass
tones at the 32' position and high whistles at 4'. The 16' and 8' settings are good for lead sounds.
Pitch
Slightly detunes the oscillator, which can be necessary if you want to play along with a record, or with
live instruments. To reset this setting, hold down Ctrl and click the Pitch knob once.
Portamento
Adjusts the amount of portamento or glide, which makes the oscillator slide from one note to another. A
little portamento is great for smooth keyboard solos, or when playing large bass intervals. The
portamento feature in FabFilter One is unique because it also works in polyphonic mode, so you can play
sliding chords!
Noise
Adds extra noise to the oscillator signal. Use the Noise Type switch at the bottom to choose between
white and pink noise. A small amount of noise makes instruments sound more natural, and you can
create thundering sound effects with lots of pink noise. (Try the Pink Noise preset in the Basic submenu
for a good starting point.)
Next: Filter
See Also
Overview
.
Filter
9
The 12 dB/octave low-pass filter is one of the most important components in the synthesizer. Especially when
using the modulation features, it is the key to creating great sounds.
The Frequency knob adjusts the cut-off frequency. Basically, all sounds below the cut-off frequency will go
through the filter, but sounds with higher frequencies are damped. At position 10, the cut-off frequency is far
above 20 kHz and therefore the filter will allow all frequencies to go through unchanged. At position 0, the cutoff frequency is just a few Hz and the filter will block almost all sound from the oscillator.
The wave forms produced by the oscillator contain many harmonics: high frequencies that are multiples of the
fundamental tone. Therefore, they sound bright and a little harsh. By turning the Frequency knob to the left,
you reduce the number of harmonics to change the character of the wave forms and create warmer sounds.
The Peak knob adjusts the filter resonance. A little resonance will cause the filter to create warmer and more
characteristic tones. Around position 8, the filter starts to self-oscillate at the cut-off frequency which creates
terrific effects in combination with the sound from the oscillator. At these high peak values, the filter produces
deep, ringing bass tones if you set the Frequency knob around position 3 or 4.
We've carefully tuned the filter to avoid the whistles and other digital artefacts that are common with other
digital filters when you change the cut-off frequency at maximum resonance. Our filter sounds crazy but never
over the top!
You can modulate filter cut-off frequency with the modulation generator (the MG knob), the envelope
generator (the EG knob), and with keyboard velocity. Read the modulation basics section to learn more about
the modulation features of the FabFilter One.
Next: Envelope generator
See Also
Modulation basics
Overview
Envelope generator
10
The envelope generator changes the volume of the sound dynamically when you press and release keys. It
shapes your sounds, adjusting the timbre and release. It's also frequently used to modulate the filter for
dynamically changing sounds.
Hold
Sets the extra time that a key appears to be held down after you have released it. After releasing a key,
the envelope generator pretends it is still down for the duration of the hold time. This enables you to
press new keys while the previous note is still playing.
Attack
Sets the attack time, which controls how long it takes for the volume to increase when you press a key.
The volume always increases from zero to the maximum value. Set this to 0 for staccato instruments and
drums. Use larger values for more natural sounds, such as flutes and pads.
Decay
Sets the decay time, which controls how long it takes for the volume to decrease after the maximum
value has been reached at the end of the attack stage. The volume always decreases from the maximum
value to the sustain level. The effect of the decay setting depends on the sustain level. With a low sustain
level and short attack and decay times, the envelope generator produces a sharp tick whenever you
press a key. With the sustain level at its maximum, the volume does not decrease at all, so the decay
setting has no effect.
Sustain
Sets the sustain level: the volume that is produced when both the attack and decay stages are over, but
the key is still held down. If you want a sharp attack (especially when you also use the envelope
generator to modulate the filter
the sound will be inaudible after the attack and decay stages, which is often useful for drums and
percussion.
Release
Sets the release time, which controls how long it takes for the volume to decrease from the current level
to zero when you release a key and the hold time has elapsed. When playing the synthesizer live, it's
often nice to have a little longer release time because this gives you time to play a new note while the
current note still fades away.
This diagram illustrates the stages that the envelope generator goes through when you press and release a
key:
), you have to use a low sustain level. If you set the sustain level to 0,
Tips
11
When you work with short attack, decay, and release times, it's often easier to adjust the knobs using the
rotational drag mode. To do this, drag the knob arrow around, and move the mouse cursor further away
from the knob for more precise adjustments.
If you use a short decay time, a low sustain level, and a long release time and a key is released when the
envelope generator is not yet in the sustain stage, it enters the release stage immediately which can
cause the sound to last much longer. Although this can be a nice effect, you can avoid it by choosing a
larger hold time.
Next: Modulation basics
See Also
Overview
Modulation basics
12
So far, we've discussed how to use the oscillator, the filter, and the envelope generator to create basic sounds.
To make things more interesting, you can also let the synthesizer adjust the oscillator frequency and the filter
cut-off frequency dynamically while playing a sound. This is called modulation.
You can modulate the oscillator frequency and filter cut-off frequency with the modulation generator and the
envelope generator
The modulation generator generates a low-frequency square or triangle wave. Use this to adjust the
oscillator
the MG knobs. The modulation generator contains the following settings:
You can also switch between square waves and triangle waves. Triangle waves are good to slowly change the
filter cut-off frequency or to simulate a car siren. The square wave form is very useful to repeatedly switch
between two different tones. With the frequency modulation MG knob, you can tune the two tones to be exactly
one octave apart, for example.
The envelope generator enables you to modulate the sound dynamically while you press and release keys.
The amount of modulation is controlled with the EG knobs. Modulating the filter cut-off frequency with the
envelope generator is essential for creating percussive attack effects and simulating real instruments.
When the envelope generator is in its sustain stage, it has no effect as a modulator. In the attack or decay
stage, it increases the oscillator or cut-off frequency; in the release stage, it decreases the frequency. It
depends on the EG knobs how much the frequency is changed.
Tips
frequency and the filter cut-off frequency periodically. The amount of modulation is controlled with
Wave form
Adjusts the balance between rising and falling ramps in the wave form. To reset the balance, hold down
the Ctrl key and click the knob once.
Sync mode
Chooses between arbitrary frequency settings and synchronizing with the tempo and song position of the
plug-in host.
Frequency / Sync type
Sets the speed of the wave form that is produced by the modulation generator. When synchronized to the
host's tempo and position (the closed lock symbol), you can choose a 'frequency' in bars, between 16
bars and 1/64 bar. Otherwise, you can set an arbitrary frequency. When set to 0, very slow ramps are
produced that can for example be used with white noise to imitate ocean waves rolling in.
Set the modulation generator to a moderate frequency and turn the frequency modulation MG knob up
slightly to create a tremolo effect. The modulation wheel on your keyboard will also have this effect.
Set the modulation generator to a low frequency and turn up filter modulation MG knob to make sounds
livelier by changing the timbre dynamically.
In the envelope generator, set short attack and decay times and use a low sustain level. In the filter, set
the cut-off frequency to about 5 and then turn up the filter modulation EG knob while pressing different
keys. Also try increasing the peak value for more pronounced attack effects.
In the filter, set the cut-off frequency to 3 and the peak to 10. In the envelope generator, set attack to 0,
decay and release to 1, and sustain to 8. Now turn up the filter modulation EG knob to about 6. This will
. The filter cut-off frequency can also be modulated by velocity.
create a solid bass drum (it's best with white noise). Experiment with different sustain levels and cut-off
frequency values. See also Creating drums.
13
Next: Modulation: I can't stop
See Also
Envelope generator
Filter
Oscillator
Overview
Modulation: I can't stop
14
We just can't get enough of those modulation tricks, so we've added a few extra gadgets.
The Pulse Width Modulation switch is only effective if the oscillator wave form is set to square, so be sure to
do that first. It changes the meaning of the PW/PWM knob in the oscillator section. You've probably noticed
that it sounds funny to turn that knob quickly, so why not modulate it? We've come up with the following
options:
Off
This is the default setting. In this case, the PW/PWM knob just sets the pulse width of the square wave
form.
MG
With this setting, the PW/PWM knob adjusts the amount of pulse width modulation by the modulation
generator. If you set the modulation generator to triangle waves, this creates a quite nasty sound. With
square wave modulation, the oscillator periodically switches between two different pulse width values.
EG Normal
With this setting, the PW/PWM knob sets the amount of pulse width modulation by the envelope
generator. Because the envelope generator increases the pulse width setting during the attack phase, the
sound actually gets thinner during attack, and thicker during release. This may or may not be what
you're after.
EG Inverted
In this case, the PW/PWM knob sets the amount of pulse width modulation by the inverted envelope
generator signal. This creates thicker sounds during attack/decay, and thinner sound during release,
which sounds more natural. Our favorite choice.
When modulating the pulse width, it's often better not to turn the PW/PWM knob all the way to the right,
because that will mute the square wave at some point. Just leave it at 8 or 9 (unless you like that, of course).
The Frequency Mod EG switch at the bottom of the oscillator
of the filter
the filter cut-off frequency. You can sometimes use this to create unusual effects.
The Keyboard Velocity settings change the amount with which the keyboard velocity modulates the volume
and the filter cut-off frequency. If the volume knob is set to 0, a tone will always sound at maximum volume.
Next: MIDI Learn
See Also
Modulation basics
Envelope generator
Overview
section invert the envelope generator signal before it is used to modulate the oscillator frequency or
section and Filter Mod EG switch at the bottom
MIDI Learn
15
Controlling FabFilter One's parameters directly with MIDI is very easy using the MIDI Learn feature. With MIDI
Learn, you can associate any MIDI controller with any parameter.
Click the MIDI Learn button in the bottom bar to enter MIDI Learn mode. The interface dims and the
parameters that can be controlled are highlighted. Each parameter has a small text balloon that displays the
associated controller number. Now do the following to associate a controller number with a parameter:
1. Touch the control of the desired parameter in the interface that you wish to control. A red square will
mark the chosen parameter.
2. Adjust the slider or knob on your MIDI keyboard or MIDI controller that you want to associate with
that parameter.
That's it! The parameter will now be controlled with the MIDI controller. You can now go back to step 1 to
associate a different parameter. Note that there is no warning when you associate a different knob with a
controller number that is already used. It will just be replaced.
To exit MIDI Learn mode, click the MIDI Learn button again, or click Close at the top of the interface.
Click the small menu drop-down button next to the MIDI Learn button to access the MIDI Learn menu:
Enable MIDI
This globally turns MIDI control of parameters on or off: useful in hosts that automatically send all MIDI
events on a track to all effect plug-ins associated with that track as well.
Clear
This submenu shows all parameter associations and lets you delete individual associations or clear all
associations in one step.
Revert
Reverts to the last saved MIDI mapping (or the state when the plug-in was started).
Save
Saves the current MIDI mapping so Revert will go back to this state. The current mapping is
automatically saved when closing the plug-in.
Next: Undo and redo
See Also
Overview
Undo and redo
16
The Undo and Redo buttons at the top of the FabFilter One interface enable you to easily undo changes you
made to the plug-in.
The Undo button at the left will undo the last change. Every change to the plug-in (such as dragging a
knob or selecting a new preset) creates a new state in the undo history. The Undo button steps back
through the history to restore the previous states of the plug-in.
The Redo button cancels the last undo command. It steps forward through the history until you are back
at the most recent plug-in state.
Notes
If the plug-in parameters are changed without using the plug-in interface, for example with MIDI or
automation, no new undo states are recorded.
The Undo and Redo buttons will disable themselves if there is nothing to undo or redo.
Next: Stand-alone (Windows)
See Also
Overview
Stand-alone (Windows)
17
Although FabFilter One is often more useful as a VST, Audio Units or RTAS plug-in because you can combine it
with other instruments, you can also run it as a stand-alone application in Windows. To start the stand-alone
version, click Start, Programs, and then click FabFilter One.
Note: On 64-bit Windows, you need to install the 32-bit version of FabFilter One as well to be able to use the
stand-alone version. It is not included in the 64-bit installer.
The Windows stand-alone version looks just like the plugin, but it adds a small Options button next to the
Preset button to configure the input and output settings. Click it to bring up the Options dialog.
Driver Type
The stand-alone version can use either ASIO or DirectX drivers, when you select an ASIO driver, an
options button will appear. The driver-specific options dialog will let you specify buffer size settings.
Buffer Size
Selects the size of the playback buffer in samples. Smaller buffers give less latency and a faster
response, but they can also cause audible clicks and other playback problems. You should select the
smallest buffer size that still works reliably.
Sample Rate
Selects the desired sample rate in Hz. Some sample rates may not be supported by your sound card, in
which case no audio will be played.
Midi In Port
Selects the external MIDI input port that your MIDI keyboard is attached to.
Output Device
Selects the sound card that will be used for playback. DirectX and ASIO sound cards are supported.
All changes will take effect immediately, so you can try different settings before closing the dialog. Click OK to
make your changes permanent and close the dialog.
Next: Creating sounds
See Also
Support
Overview
Creating Sounds
18
The FabFilter One comes with a solid library of great sounds, but the real fun starts with creating your own
presets. However, just randomly turning some knobs won't help you to get closer to the sounds you have in
mind.
The topics in this chapter will help you start creating your own sounds, explaining the best settings step by
step. They're divided into the following categories:
Bass sounds
Lead sounds
Drum sounds
Sound effects
Next: Creating bass sounds
See Also
Quick Start
Using FabFilter One
Creating Bass Sounds
19
1. The Oscillator
For bass sounds, you can use any of the first three wave forms. Using triangle waves will result in
deep, sine-like sounds, great for R&B and soul. Sawtooth waves will get you a more solid, defined
sound, good for funk, techno and dance sounds as well as for emulating original bass guitar sounds. If
you're trying to create an electro-like bass sound, the square wave form is just what you need.
2. The Envelope Generator
A good start for bass sounds as well as lead sounds
the sustain value quite high and the hold time off, resulting in a 'snappy' envelope. When your sound
needs to have a sharper attack, lower the sustain value.
3. The Cut-off Filter
Using the cut-off filter really is essential when creating bass sounds. To get warm and deep sounds,
start with the frequency and peak values around position 5. For techno and dance sounds, turn the
peak value up to get those freaky filter effects.
4. Modulation
One thing that definitely works great with bass sounds, is modulating the cut-off frequency using the
envelope generator (the EG knob in the filter section
generator (the MG knob) works quite well for moody, deep sounds.
5. The Finishing Touch
Adding a bit of portamento often works great for funky and analog-like sounds. Also adding just a little
bit of pink or white noise can give good results in combination with the cut-off filter. It can be very
worthwhile to experiment with the filter modulation EG value and with keyboard velocity modulation.
Next: Creating Lead Sounds
See Also
Creating sounds
Using FabFilter One
is setting the attack, decay and release fairly low,
). Slightly modulating it with the modulation
Creating Lead Sounds
20
One of the things that FabFilter One excels at is producing great lead synth sounds of any type. You can create
anything from the smoothest seventies analog sounds to the hardest techno sounds.
1. The Oscillator
Especially the sawtooth and the square wave forms are suitable for lead synthesizer sounds. With the
sawtooth wave form as a starting point, you can create smooth and soft lead sounds as well as more
techno-oriented sounds. The square waveform is great for electro stuff.
2. The Envelope Generator
Most lead sounds use a fairly short attack, a short decay, a high sustain and a noticable release. This
will give your sound just that little bit of attack at the start and a good full sound while holding down a
key.
3. The Cut-off Filter
Adjust the frequency and peak values to get the timbre that you're after. Modulating the cut-off filter
is not essential when creating lead sounds. However, it can give your sounds that extra rawness and
body they need, especially when modulating the cut-off frequency.
4. Modulation
Use the modulation generator to achieve great vibrato or tremolo effects by modulating the oscillator's
frequency or the filter's cut-off frequency. It also works really well to use a bit of cut-off frequency
modulation by the EG. When using the oscillator's square wave form, you can also modulate the pulse
width using the patching
awesome results.
5. The Finishing Touch
One thing that will definitely give wonderful results with almost all your lead sounds, is FabFilter
One's great and smooth portamento
Experiment with it!
To get those awesome raw seventies synth sounds, push your filter to the limit, using high peak
values and combining different types of cut-off frequency modulation. Try changing the cut-off
frequency while playing, to really adapt it to your play. (See MIDI controller messages
cut-off frequency with the slider on your keyboard.)
Next: Creating Drum Sounds
See Also
Creating sounds
Using FabFilter One
features. Modulating it with the EG or with the MG can both get you
. Even using it just a little bit really brings your sounds alive.
to change the
Creating Drum Sounds
21
FabFilter One can create a whole range of different percussive sounds, like bass drums, snares, toms and
hihats. The keys to success are extreme peak values and modulating the cut-off frequency of the filter
1. The Oscillator
The wave form you need really depends on the type of drum sound you would like to create. For
instance, tom sounds or snare sounds could use any of the first three waveforms (triangle, sawtooth
or square). To get a good hihat or brush sound, the noise type would do the trick.
Creating bass drums works differently. Because great bass drum sounds heavily depend on the selfoscillation of the filter, you can experiment using any of the four wave forms. But the noise wave form
usually gives the most solid results.
2. The Envelope Generator
Most drum sounds, like bass drums and snares, are short and have a really strong attack. To get this
effect, you can set the attack (almost) to 0, use fairly short decay and low sustain values and use a
short release. Especially with bass drum sounds, the sustain level can have a huge effect on the
sound. Just experiment with this value in combination with the filter modulation
you're after.
3. The Cut-off Filter
The cut-off filter really is the key component in the process of creating drum sounds, especially for
bass drums. To create the fattest kick sounds, use the self-oscillation that occurs with the highest
peak values, in combination with extreme cut-off frequency modulation by the envelope generator
(turn up the EG knob in the filter section
4. Modulation
As mentioned before, modulating the cut-off frequency with the EG is what you want to do here. For a
good bass drum, start with maximum EG filter modulation and fine-tune if needed, adjusting the
sustain value as well. For other percussive sounds, most of the time just a bit of EG modulation is
enough.
5. The Finishing Touch
A great trick for giving snare drums that little extra kick, is adding some white or pink noise to the
signal (using the oscillator's noise knob
modulation can give great effects.
Try to experiment with the envelope generator, expecially when creating bass drum sounds. For
example, using higher release values and slightly higher sustain values will give you great results.
Next: Creating Sound Effects
See Also
Creating sounds
Using FabFilter One
).
and noise type switch). Also inverting the EG cut-off frequency
to get the results
.
Creating Sound Effects
22
For creating sound effects you can really exploit every option that FabFilter One offers you. Especially the
modulation features can help you create the coolest sounds. Because sound effects can be very diverse,
ranging from a storm sound to a raindrop, there is not one ideal initial setting that will help you on the way. To
be able to create a sound effect that you have in mind from scratch, you should be comfortable with the
various options that FabFilter One provides. To give you an idea how different effect sounds are created, we will
discuss two basic factory preset sounds
In the explanations, the knob settings leading to the sound will be discussed. Knobs that are not mentioned are
assumed to be set to their default value. You can quickly set all knobs to the default values by loading the
Sawtooth preset from the Basic category.
Rain Drop
The first thing that comes to mind when you think of a rain drop, is that it sounds quite warm and 'round',
somewhat like the sound of a sine wave. This indicates that a triangle is the best wave form to use. A rain drop
sound is quite high, so a 4' scale setting would be good to start with.
Set the oscillator wave form to triangle.
Set the oscillator scale to 4'.
The second important thing that characterizes the sound is the fast rising frequency, starting low and ending
very high. To obtain this effect, we need frequency modulation by the inverted envelope generator signal (the
EG knob in the oscillator's frequency modulation
short envelope. A rain drop sound starts right away, so an attack value close to 0 should be used. To get the
correct frequency modulation effect, short decay and release values are required.
Set the EG knob in the frequency modulation section around value 9.
Set the invert switch below the EG know to 'inverted' (at the right-hand position).
Set the attack almost to 0, the decay to 2, the sustain to 6 and the release to 2.5.
We now have that characteristic fast rising sound. However, it still needs some tweaking. To give the sound a
little bit more body, we use the cut-off filter and some cut-off frequency modulation by the envelope generator
(the EG knob in the filter
Set the cut-off frequency to 4.
Set the EG knob in the filter section to 10.
section).
.
section and the invert switch below it) in combination with a
Storm
Many effect sounds use the oscillator's noise wave form. A storm sound is of course one of the best examples
of such a noise-based sound. The oscillator produces white noise. This type of noise is a quite high, hissing
sound. FabFilter One also offers the possibility to add white or pink noise to its signal (using the noise knob
the noise type switch below it). Pink noise has a more dark and rumbling feel. White noise mixed with a bit of
pink noise would be just fine for our storm sound.
Set the oscillator's wave form to noise.
Set the noise knob to 3 and the noise type to pink.
A storm sound is characterized by slowly swelling and fading winds. This swelling effect can easily be achieved
using the modulation generator at a low frequency to modulate the filter's cut-off frequency (the MG knob in
the filter modulation
Set the cut-off frequency to 6.5 and the peak to 5.5.
Set the modulation generator's wave form type to triangle and frequency to 0 and wave form to its center
position (a perfect triangle).
Set the MG knob in the filter section to 4.
To get proper fade in and fade out effects for the storm sound, we use high attack and release values.
Set the attack to 5 and the release to 6.
Next: Loading presets
See Also
Creating sounds
Using FabFilter One
section).
and
Loading presets
23
The included presets give a great overview of what you can do with FabFilter One. You can either use the
presets as they are, or tweak them further to create your own unique sounds.
To load a preset, click the preset button. The presets menu will appear with all available presets. Click a
menu item to load that preset. The currently selected preset is highlighted with check marks.
To explore the presets one by one, click on the little arrow buttons to the left and right of the main preset
button. This will load the previous or next preset in the menu.
The preset button shows the name of the current preset. If you have changed the preset by adjusting one or
more parameters, the name is dimmed to indicate that this is not the original preset anymore.
Tips
The Default Setting preset is loaded automatically when FabFilter One is started. To change the default
settings, simply overwrite this preset by clicking Options > Save As Default in the presets menu.
To open a preset outside the presets folder, click Options > Open Other Preset. This might be useful if
someone sends you a preset by email, for example.
If somehow the factory presets are lost or not installed properly, click Options > Restore Factory
Presets in the preset menu to restore them.
MIDI Program Change and Bank Select
Loading a presets can also be done via MIDI, using Bank Select and Program Change messages. Click Options
> Enable MIDI Program Changes in the preset menu to enable or disable this feature. When enabled, the
corresponding bank/program numbers are shown in front of the preset name (for example: (2/65) My Preset).
This means that you can load that preset by first sending a Bank Select message to select bank 2 and then
sending a Program Change message to select program 65.
Important: All the presets in your preset folder are numbered automatically, starting with bank 0 and program
0. This way, you are able to access any of the presets via MIDI. However, this also means that when you add
new presets to the menu, bank/program numbers of other presets might change. Be aware of this when
recording program changes in a session!
Next: Saving presets
See Also
Using FabFilter One
Creating sounds
Saving presets
24
You can easily extend the included presets with new settings to build your own library of presets for FabFilter
One that you can reuse in various projects. This is also a good way to copy settings across multiple instances of
FabFilter One in a session.
To save the current setting as a preset, click the preset button, and then click Save As. A standard Save dialog
will appear. Type a name for the new preset and click Save to finish.
In the Save dialog, you can also rename and delete existing presets and create a new folder to store presets in.
New folders will show up as new categories in the preset menu. (On macOS, this should be done with the
Finder.)
See How presets are stored
Next: How presets are stored
See Also
Loading presets
Using FabFilter One
to determine the preset folder location and learn more about factory presets.
How presets are stored
25
Presets for FabFilter One are stored in separate files with the .ffp extension (for FabFilter Preset). All presets
reside in subfolders in the main preset folder. The subfolders will show up as separate categories in the preset
menu. You can also further divide the subfolders into categories.
You can manage the preset files just like other files on your computer. The easiest way to do this is in the Save
dialog that appears if you are saving a preset. The preset menu will automatically reload itself with the changes
when the dialog is closed.
Furthermore it is very easy to share your newly created presets with other users since FabFilter presets use the
same file format on both Windows and macOS.
The default location of the main preset folder is My Documents\FabFilter\One for Windows, and
~/Library/Audio/Presets/FabFilter/FabFilter One for macOS. To change this location, first copy all presets to the
desired new location, and then click Options > Change Preset Folder in the preset menu and select the new
folder.
Restoring factory presets
If you have accidentally lost the factory presets, you can easily restore them by clicking Options > Restore
Factory Presets in the preset menu. This will install all factory presets again.
Next: Purchasing FabFilter One
See Also
Saving presets
Using FabFilter One
Purchasing FabFilter One
26
Once you have downloaded and installed the evaluation copy of FabFilter One, you may evaluate it during 30
days. Every time you start the plug-in, you will see the following dialog:
While there are still days left, you can click Evaluate to start working with the plugin. If you want to keep
using FabFilter One after the evaluation period, you must buy a copy in the online FabFilter Shop by clicking the
Buy Now button in the evaluation dialog.
Go to the FabFilter Shop and purchase FabFilter One now
We accept credit cards from all major companies, check payments, wire payments, and PayPal. The FabFilter
Shop uses secure connections and encryption: therefore your personal information is completely safe.
Within a few minutes after you have purchased your copy, you will receive an email containing your personal
license key. You use this license key to turn the evaluation copy into a fully registered version without the
evaluation dialog and the 30-day trial restriction.
Note: If the evaluation period has expired but you didn't have the chance to properly evaluate the plug-in, you
can request a new evaluation period by contacting us at info@fabfilter.com
Next: Entering your license key
See Also
Support
License agreement
.
Entering your license key
27
After you have purchased FabFilter One in the online FabFilter Shop , you will immediately receive an e-mail
containing your personal license key. This license key will turn the evaluation version into a fully registered
plug-in.
Start FabFilter One and click Enter License in the evaluation dialog, or click Enter License on the Help
menu if the plug-in is already running.
Copy the license information from the email you have received and paste it into the text field. Make sure
that you are copying the entire license key including the Product and Licensee lines! If you are not sure
what text to copy, just copy and paste the whole e-mail.
After you have entered your license information, you will need to restart the plug-in host, so make sure you
save your settings if needed. From now on, you will be able to use FabFilter One for an unlimited period of time
with full support via email.
Tips
After your purchase, you can always retrieve your license key again by logging into your personal
FabFilter account . Here you can also keep track of all your orders and take advantage of great
discounts when buying other FabFilter plug-ins.
To deauthorize your license key and remove it from the computer, click Deauthorize on the Help menu.
If you temporarily needed to install your license on another computer, or if you have transferred your
license to someone else, this is the way to deinstall your personal license key safely.
Next: Support
See Also
Purchasing FabFilter One
Support
License agreement
Support
28
If you need help with problems or questions, and the help file does not provide an answer, please visit the
support pages on our web site.
Go to FabFilter Support
From here, you have direct access to the customer support forum, very useful tutorial videos for all FabFilter
plug-ins, online and PDF versions of all our help files, and a section with extra downloads (such as presets,
controller templates, older plug-in versions).
For sales-related questions and technical support, you can also contact FabFilter directly at info@fabfilter.com
Reporting a bug
If you have encountered a bug in FabFilter One, first of all make sure that you are using the latest version of
the plug-in, which you can find at www.fabfilter.com/download
One that you are using by clicking Help > About in the plug-in interface. If the bug is still present in the latest
version, please send us an e-mail at info@fabfilter.com
operation system and version, host software and version, steps to reproduce the bug, etc. Thanks in advance!
Next: Manual installation
See Also
Overview
About FabFilter
and include as much technical information as possible:
. You can easily check the version of FabFilter
.
Manual installation
29
When installing FabFilter One, the installation program will try to copy the plug-in into the appropriate plug-ins
folders, and in most cases your host will recognize FabFilter One automatically. Otherwise, please follow these
instructions:
Windows
On Windows, most hosts have their own VST plug-ins folder. So if you are using Windows and your host does
not recognize FabFilter One, you need to locate the proper plug-ins folder for your host first (it is usually shown
in the Preferences or similar dialog). Then, copy the file FabFilter One.dll from C:\Program Files\FabFilter\One
(or C:\Program Files (x86)\FabFilter\One if you are using a 32-bit host on 64-bit Windows) to the plug-ins
folder that you have found and restart the host so it can reload all its plug-ins. For the AAX version of One,
copy the FabFilter One.aaxplugin folder to the common Pro Tools AAX plug-in folder on your computer; for the
RTAS version of One, copy the FabFilter One.dpm and FabFilter One.dpm.rsr files to the Pro Tools RTAS plug-in
folder on your computer.
You can simply uninstall plug-ins or bundles via the Control Panel.
macOS
On macOS, plug-ins are installed in the standard plug-in folders in the system Library folder. These are the only
possible correct locations:
Audio Units: /Library/Audio/Plug-Ins/Components
VST/VST3: /Library/Audio/Plug-Ins/VST and /Library/Audio/Plug-Ins/VST3
RTAS: /Library/Application Support/Digidesign/Plug-Ins
AAX: /Library/Application Support/Avid/Audio/Plug-Ins
Note: AU and VST/VST3 plug-ins may also be placed in the user's Library folders under
/Users/<username>/Library/Audio/Plug-Ins.
To uninstall the plug-ins from your Mac, you can just delete the specific FabFilter plug-in files at the above
locations. Finally, if you really want to delete all data written by our plug-ins, you can remove the following
folders/files from the user Library folder as well:
/Users/<username>/Library/Audio/Presets/FabFilter/FabFilter One
/Users/<username>/Library/Application Support/FabFilter/One
/Users/<username>/Library/Preferences/com.fabfilter.One.3.plist
Note: Since OS X 10.7 (Lion), the system and user Library folders are marked as hidden by default. To make
them visible again in Finder, open Terminal (found in /Applications/Utilities) and enter the following commands:
chflags nohidden /Library
chflags nohidden ~/Library
If you still have problems, contact FabFilter Support .
Next: MIDI CC table
See Also
Quick start
Support
MIDI controller messages
30
All of FabFilter One's parameters can easily be controlled using MIDI. Here is a list of the default MIDI controller
numbers that correspond to the parameters. You can use these controller numbers to control each parameter
with the sliders on your MIDI keyboard or MIDI controller. Using the MIDI Learn
add CC number associations any way you like.
General
1 - modulation
7 - gain
Filter
74 - cutoff
71 - peak
26 - filter mod EG
88 - filter mod EG type
27 - filter mod MG
Oscillator
20 - scale
21 - waveform
22 - pitch/detune
23 - pulse width
85 - noise type
5 - portamento
24 - noise level
28 - frequency mod EG
87 - frequency mod EG type
29 - frequency mod MG
Envelope generator
69 - hold
73 - attack
75 - decay
79 - sustain
72 - release
Modulation generator
76 - modulation frequency
77 - modulation type
25 - modulation waveform
89 - sync mode
90 - sync type
Additional features
103 - polyphony
86 - pulse width modulation type
105 - filter keyboard track
104 - velocity volume
102 - velocity filter
Next: License agreement
See Also
Support
MIDI Learn
feature, you can change and
FabFilter Software License Agreement
31
This license agreement concerns and describes your rights and the conditions upon which you may use the
FabFilter software you selected. We advise you to read this entire agreement. By accepting this agreement or
by using FabFilter software, you agree to all of these terms. If you do not accept and comply with these terms,
you may not use the FabFilter software or its features.
Applicability
This license agreement applies to all the FabFilter software, plug-ins and programs you may use during the
Evaluation period, and/or thereafter subject to an acquired license key to certain FabFilter software of any
version, including any and all upgrades, supplements or services, unless other terms come with such versions,
upgrades or supplements.
Licenses
The software will be licensed to the Customer, not sold. With the FabFilter license key, you will be granted after
full payment the right in perpetuity (meaning that the license agreement shall not automatically expire) to
install, run and use the software concerned under certain conditions. These conditions vary subject to the
license you acquired. FabFilter distinguishes the following licenses:
A Personal License is a named license to the software concerned, granting access to the software on an
unlimited number of Devices, as long the license is used by the designated person who acquired the
FabFilter license key. Usage of the Personal license by someone else but the designated licensee is an
infringement of the rights of FabFilter. The Customer should at all times protect its license key from theft
and/or abuse.
A Site License is a non-personal license to the FabFilter software concerned, acquired on the name of an
institution or entity, who is the licensee. A Site License will grant access to the FabFilter software on a
certain maximum number of designated Devices, as specified in the license key itself (e.g. "20 seats"). If
the Site License is used on computers/servers for any form of automated processing, the licensee may
not make any plug-in controls/parameters of the FabFilter software available to the end users of the
FabFilter software, i.e. only "black box" processing is allowed.
These FabFilter licenses, whether a Personal or Site License, will give you access to certain FabFilter software of
the specified major version. The license will include all future minor updates to the software (e.g. version 2.19
to version 2.20), which typically include bug fixes or small new features. The license will exclude any future
new major versions of the products (e.g. version 1.x to version 2.x). To allow yourself access to such new
major version of the software, a new FabFilter license to such major version must be acquired.
All FabFilter licenses, both Personal or Site License, give the Customer or end user the right to install and use
the FabFilter software to the extent it has been developed and under the conditions herein. Any rights not
explicitly granted to you, the Customer, remain with FabFilter, including but not limited to the right to alter,
reverse engineer, reverse compile, take apart, or disassemble the FabFilter software or any of the files in the
distribution.
A Bundle License is Personal or Site License for multiple FabFilter software products, which gives the Customer
or end user the right to install and use the specific software products that the bundle (e.g. Total Bundle)
contains at the moment of purchasing the Bundle License. Any software products or new major software
versions added to the bundle after that date cannot be claimed as part of the prior acquired Bundle License. A
Bundle License (if not Educational or NFR) can only be transferred as a whole, using a License Transfer.
An Upgrade License is a Personal or Site License for a new major version of FabFilter software. You may only
use an Upgrade License if you have a license for the previous major version of the same FabFilter software.
Educational (EDU) and NFR licenses
A Personal or Site License can be marked as EDU (Educational) or NFR (Not For Resale), meaning the following:
A Personal or Site License marked as Educational License is equal to the respective Personal or Site
License, with the only exception that the Educational License may not be transferred to a third party.
A Personal or Site License marked as NFR ("Not For Resale"), is typically intended for journalists that wish
to review the FabFilter software. A License marked as NFR is equal to the respective Personal or Site
License, with the only exception that the NFR License may not be transferred to a third party.
Duration and Evaluation
As specified in the specific terms per license, all licenses will be granted for perpetuity (meaning that the
license agreement shall not automatically expire), as long as all conditions herein are respected.
The Evaluation period is a period of thirty (30) days commencing on the first day of using the software
concerned and automatically expiring 30 days thereafter. After the Evaluation period has expired and no
FabFilter license key has been acquired, the software will stop working and should be removed from your
computer.
In addition to any and all such possibilities that FabFilter may have in accordance with the law, FabFilter may
terminate without prior notice or warning in case of abuse of the FabFilter software as well as in case of
(personal) bankruptcy.
Support
32
FabFilter shall give its reasonable commercial efforts to service any major version of any FabFilter software
including email support. FabFilter is entitled to terminate support for any major version of any FabFilter
software at any time at its sole discretion.
License Transfer
A Personal or Site License (not Educational or NFR) may be transferred to a third party. You will have to buy a
License Transfer to activate the "transfer"-option in your FabFilter account
. After this option has been
activated you will be able to transfer your license to any third party.
Third Party Software
VST is a trademark of Steinberg Media Technologies GmbH. RTAS and AAX are trademarks of Avid Technology,
inc. Audio Units is a trademark of Apple Computer, inc.
Applicable Law
This license agreement is governed by Dutch law. The courts of Amsterdam are authorized courts to rule on
any dispute that may arise from this license agreement.
Disclaimer
TO THE MAXIMUM EXTENT PERMITTED BY LAW, FABFILTER, FREDERIK SLIJKERMAN AND FLORIS KLINKERT,
AUTHORS OF THIS FABFILTER PRODUCT, SPECIFICALLY DISCLAIM ALL WARRANTIES, EXPRESSED OR
IMPLIED, INCLUDING BUT NOT LIMITED TO IMPLIED WARRANTIES OF NON-INFRINGEMENT,
MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE. FABFILTER, FREDERIK SLIJKERMAN AND
FLORIS KLINKERT, DO NOT WARRANT THAT THE SOFTWARE WILL MEET YOUR REQUIREMENTS OR THAT THE
SOFTWARE WILL OPERATE ERROR-FREE OR UNINTERRUPTED. TO THE MAXIMUM EXTENT PERMITTED BY LAW,
FABFILTER, FREDERIK SLIJKERMAN AND FLORIS KLINKERT, SHALL NOT BE LIABLE FOR ANY DAMAGE A
FABFILTER PRODUCT MAY CAUSE OR DAMAGES THAT MAY ARISE OUT OF THE USE OF A FABFILTER PRODUCT
OR INABILITY TO USE A FABFILTER PRODUCT, INCLUDING BUT NOT LIMITED TO SPECIAL, INCIDENTAL,
CONSEQUENTIAL OR OTHER DAMAGES. IN NO EVENT FABFILTER, FREDERIK SLIJKERMAN OR FLORIS
KLINKERT WILL BE LIABLE FOR AN AMOUNT IN EXCESS OF TWO HUNDRED FIFTY EUROS (€ 250,00).
Next: About FabFilter
See Also
Purchase FabFilter One
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About FabFilter
33
Beautiful sound. Fantastic workflow. These are the foundations of FabFilter. We create powerful audio plug-ins
with superb sound quality and innovative interfaces.
A unique perspective
At FabFilter, we make the best possible tools for music production and audio processing. To achieve this, we
continually rethink and challenge industry standards: we've never been afraid of reinventing the wheel.
Considering every little detail, we tune our algorithms and interfaces until they sound perfect, look amazing and
feel great to work with.
It's the sound that counts
Above everything else, you need superb sound quality. That's why we put a lot of effort into developing unique
audio processing algorithms, ranging from our famous resonating filters to transparent high-end EQ and
dynamics processing.
Innovative interfaces, great design
Every FabFilter plug-in has an easy-to-use, well-designed interface aimed at providing unsurpassed workflow.
Our plug-ins focus on the task you're performing at that specific moment: they expose the features you need,
when you need them. And because of our special attention to design, you'll be delighted every time you open a
FabFilter plug-in.
Don't take our word for it
We always set the highest standard for sound quality, usability and design to make truly great products that
raise the bar on what audio software can do. That's why we're very happy with the praise we've received from
users and press alike:
"In the decade since the release of its first plug-in, One, FabFilter has made an indelible mark on the
music production landscape." — Computer Music magazine
"While many other software developers are busy trying to model hardware, FabFilter is leaving them
in the dust by being visionaries and reaching into the future. FabFilter stuff is just on another level."
— Jeff Sanders
"FabFilter has an enviable reputation for making easy-to-use, powerful tools." — Music Tech
magazine
FabFilter was founded in 2002 by Frederik Slijkerman and Floris Klinkert, and is based in Amsterdam, The
Netherlands.
See Also
Support
FabFilter web site
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