Autowah pedals are deceivingly simple devices: a lot of care is required not only in the design of the filter (it’s all in the tone!) but also in the way the envelope interacts with the player’s dynamics.
Japanese pedal builder One Control has developed a very solid reputation through their BJF series of mini-pedals, and the Butter Yellow “Auto Quack” should be able to satisfy the many funk guitarists who rely on this effect for their rhythm parts.
Here’s the list of controls:
The BIAS control sets staring point of filter and can be used to sweep through the filter’s entire range
The MELLOW/ BRIGHT switch sets filter range from low and narrow to high and wide
The SENSITIVITY control sets the level where transients trigger filter to move
The DECAY control sets the rate it takes from transient moving filter to return
Here’s the first video of the One Control Butter Yellow Auto Quack
Overview
Is an envolpe controlled filter. This type of filter is controlled by the dynamics of playing.BYAQ is a resonant filter,the center frequency of which moves upward with as you strike a note harder. The filter takes the intitial transient of a plucked note and then follows the decay of the noteso that filter centerfrequency moves up at the peak and then falls by the ratio of the decay
History of effect
Since envelope filters are controlled by strength of input signal hsitorically famous users of envelope filters have connected the control input directly to guitar or bass pick up and others used compressors or volume control on instrument to equalize the value of notes through out fretboard. Envelope filters are also common in analog synths.
Historically most envelope filters were designed for keyboards to cover the complete range of the keyboard. BYAQ is adapted to the range of electric guitar and electric bass and has therefore a more narrow range. The heart is a resonant filter similar to a wha however BYAQ has a Mellow/Bright switch that sets the range of the filter.
There are a number of problems with use of envelope filters on guitar and bass which the BYAQ attempts to solve: partly filter range is often too wide and therefore BYAQ has a range switch; filters often rest at very low frequency and the BYAQ is made to rest at about transparent level: this allows having BYAQ on for a seethrough effect until a transient triggers filter to move. The starting frequency can be set with Bias control so that even small movements i.e. mini-whas can be created on each plucked note.
The sounds:
BYAQ can be used to ´make wha sounds controlled by the musician and it triggers swiftly enough for fast rythmic sequences as well as making low strings mellow and high strings bright and BYAQ can be used to make small or larger sweeps of filter to create a movement on chords.
The Controls
The BIAS control sets staring point of filter and can be used to sweep through the filter’s entire range
The MELLOW/ BRIGHT switch sets filter range from low and narrow to high and wide
The SENSITIVITY control sets the level where transients trigger filter to move
The DECAY control sets the rate it takes from transient moving filter to return
Sensitivity is set for medium pick ups and a tip is to use Pale Blue Compressor set with Blend to allow transients to equal sensitivity throughout fretboard and also to equal sensitivity between pick ups on instrument. and also to compensate between different instruments
When using Envelop controlled effects in general and without the aid of compressor with transients it is often helpful to set sensitivity at highest required and to ride the volume control on instrument to equalize
Though Envelope filters are often used on clean sounds BYAQ can also be used ahead of distortion to to make a hand controlled wha.
