FabFilter ONE Users Manual
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, warmÂsounding 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 cutÂoff 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,
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