Blue Lantern Modules — Voks Analog Filter

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Creative Song Structure Using the BLM Voks Analog Filter

As a eurorack user, you know creating captivating loops is the easy part—but crafting full-length songs with development and evolution is a bigger challenge. The BLM Voks Analog Filter is based on the sought-after Polivoks topology and has several unique features that can help elevate your sequences into full compositions.

Let’s break down how to use the BLM Voks Analog Filter specifically to arrange and perform full length tracks in the eurorack environment:

Module Features (Quick Recap)

Normal and Unstable Brite Mode—switchable analog character
Internal Limiter Diode (on/off switch)
12dB LPF and 6dB BPF—separate amplified outputs
Attenuated/Direct Audio Inputs, CV and FM controls

Strategies for Creating Full-Length Songs

1. Automated Filtering for Timbral Variation

Morphing Sections: Use automation (via sequencers or LFOs) on the cutoff frequency and resonance for dynamic intro, verse, chorus, and breakdown sections. Route the filter’s cutoff to a sequencer, envelope, or modulated voltage source.
Brite/Unstable Mode: Toggle modes at key moments for distinct timbral shifts—e.g., switch into Unstable Brite during a bridge, breakdown, or dramatic climax.

2. Dual Output Patching for Layering

LPF/BPF as Song Layers: Use the LPF output for bass/melodic content and the BPF for percussive or midrange energy. Fading between them with a mixer or VCA allows you to “build up” and “break down” your song’s density over time.
Parallel Processing: Send one output to effects (delays/reverbs) and another dry for evolving textures.

3. Audio Input Switching for Arrangement Flow

Attenuated vs. Direct Audio Input: Switch between sources or patch in sub-mixes for subtle or aggressive filter sweeps. Fade elements in and out to introduce or remove motifs within the song.

4. Performance Macro Controls

CV & Bipolar FM Input: Assign macro controls from an external controller or sequencer for drastic live performance moves—think big filter sweeps on drum fills, or resonance stabs to shift energy between sections.
Limiter Diode Switch: Engage for distortion/drive effects in high-energy sections; disengage for clean build-ups or breakdowns.

5. Evolving Percussive and Tonal Content

Percussive Filtering: Run drum or rhythmic content through the BPF, automate cutoff with envelopes/LFOs synced to your beat for evolving grooves.
Thematic Motif: Apply modulation to a melodic loop's filter cutoff/resonance each time the loop repeats, slowly changing its tone throughout the song to maintain listener interest.

Example Song Structure Using the Voks Filter

Section	Technique
Intro	Faded, modulated LPF output, Unstable Brite Mode off, subtle LFO on cutoff
Verse	Activate BPF output, filter gently opens via sequencer, add gentle limiter distortion
Chorus	Toggle to Unstable Brite, CV sweeps for brightness, blend LPF+BPF for massive sound
Breakdown	Kill LPF, use only highly resonant BPF, bring down input volume, switch Limiter off
Bridge	Drastic cutoff/rate modulation from external macro, aggressive use of Limiter and FM input
Outro	Fade out with heavy resonance LPF, slowly close cutoff, return to clean mode

Best Practices

Record Multitracked Sessions: Use the dual outputs to record multiple layers, then recombine for post-production arrangement flexibility.
Scene-based Performance: Pre-patch scene changes (mode switches, input swaps, modulation routings) and trigger them at key musical moments.
Use Attenuators/VCAs: Precise control over modulation depth for nuanced, evolving transitions.

Conclusion

The BLM Voks Analog Filter is more than a tone-shaper—its flexible patching and unique tonal modes are perfect for building dramatic, evolving transitions and dynamic contrasts essential to full-length song arrangement in modular. Combine smart modulation, careful layering, and bold live control to break free from static loops and unlock powerful, narrative tracks.

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