The last filter you'll need.
Filtra is an advanced parametric EQ / filter engine that lets you draw and explore filter shapes in ways that were never before possible, armed with a modulation suite that turns something as stale and boring as EQ into a performance centerpiece of your music.
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Filtra is a parametric equalizer. You place up to 16 bands on a graph and draw a response, the same job your channel EQ does now. What you draw is what you hear, to about 0.6 dB.
The part your current EQ cannot do starts after you draw. The whole curve becomes an object. Warps stack up to 8 deep beneath it and slide, fold, quantize, rectify or remap the shape, live, while every band stays exactly where you put it. Shapes that normally take a chain of plugins come out of one curve.
Surgical when you need it. Unhinged when you don't.
Twelve kinds of node, sixteen of them at once, across up to eight layers you can reorder.
Dispersion leaves the analyzer flat and moves things in time instead, and carries its several modes inside the one node. Wavetable reads its curve out of a wavetable frame, with table position as a parameter you can modulate like any other. Vowel is a formant node, so the curve takes the shape of a vowel and moves from one to the next.
What is less ordinary: the slope is a knob rather than a menu. Instead of choosing 12 or 24 dB per octave you drag it anywhere from gentle to a brick wall, and the corner can be rounded or resonant while you do it. Width goes from a hair to twelve octaves on the same control.
Nodes and warps live in the same rack, so you can put two warps between two EQ layers and hear what that does.
At the core of Filtra is the warp engine: 32 magnitude and phase effects, each one designed and tuned on purpose, none of them touching what you drew. Stack them, reorder them, modulate them, roll the dice on them. Your bands stay exactly where you put them the whole time.
Drag and drop connections to modulate practically any parameter, from a modular set of sources: ADSRs, LFOs, Envelope Followers, Random, Key Tracking, Velocity, MPE and Macros.
The ceiling is a magnitude clamp on the curve itself. You set a limit in dB, and any part of your shape that would rise past it is compressed back under the line instead of being cut off at it.
It is limiting applied to the EQ curve rather than to your audio. Nothing is clipped, no stage is added to the signal path, and the shape keeps its contour on the way down: a bell that runs into the ceiling comes back as a flatter bell, not a squared-off plateau.
So you can be reckless with boosts and still hand over a mix that behaves.
Filtret is free and runs the same engine, with fewer bands and no warp stack. It is the way to hear this before paying for anything.
Or run Filtra itself for fourteen days with nothing held back. Every node, every warp, every modulation source, no watermark and no silence dropped into your audio. Sessions you build during the trial keep opening afterwards.
