Pour Over Envelope Filter | Effects Pedals | Fender


[GUITAR PLAYING] Hey, I’m Stan, with Fender,
and we’re here with the funky, Josh Smith today. [LAUGHTER] We’re looking at the Pour
Over Envelope Filter. For those of you that don’t
know what an envelope filter is, maybe we can explain
it a little bit. An envelope filter
starts with a filter. And what filter does
is, it filters out some part of the audio signal. So it might get rid of
lows, or it might get rid of high frequencies. This filter actually has
three different types. So there’s a low pass, a
band pass, and a high pass. The low pass filter passes lows. So it filters out
high frequencies. The band pass only passes
stuff that it’s tuned to. That’s more like a wah pedal. And then the high pass
filter progressively gets rid of more and more
lows and just leaves you with the tiny thin
high end part. So all three filter types. So that’s the filter part of it. The envelope part
of it is, the pedal can listen to your
playing dynamics, and as you’re picking– and it can drive the
filter frequency around. And in the case of this
envelope filter, it can drive it either upwards or
downwards as you play. So when you play harder, it’ll
push the filter frequency farther out. Play softer, it’ll just
make little subtle moves. All right, so
an envelope filter is such an effective and useful
pedal for so many situations. I mean, everybody
uses a wah wah pedal. Some guys are familiar
with the auto wah. And an envelope filter
takes that filtered signal and adds peaks and valleys
to it based on how you pick and how you react. And that’s how you get all
those classic synth sounds– but also, all those
cocked wah sounds. And like you were saying
with the distortion, anything you put into it, gives it
more information to react. So all those– when you listen
even to old Funk records, when they’re playing moog
synthesizers through them, they’re getting all those
crazy peaks and valleys. So let’s look through the
actual features of the pedal. So starting on the
right hand side, there’s the filter
section over here. The knobs for that are–
there’s a frequency control, there’s a q control– the
q controls the sharpness of the filter, or how
obvious or apparent it is– and then there’s
the drive control for the envelope portion of it. Next to the drive
control there’s a switch that determines whether
the drive pushes the filter up or down as you’re
playing harder. And the next to that,
is the filter shape. So it’s high pass
on the top, band passing in the middle,
low pass on the bottom. So that’s the filter section. On the left side of the pedal,
is the distortion section. So there’s a drive control,
there’s a tone control, there’s a bypass
toggle switch so you can have the pedal
be clean or dirty, and then lastly, on
this side, there’s a level control,
which is overall level for the whole pedal. It’s true bypass. It’s all analog. And so there’s the bypass
foot switch, of course. And then lastly, like all
the pedals in the series, it’s got illuminated knobs. And there’s a switch on the
back to turn the illumination on or off. Let’s get into the
sounds, but before we do, let’s check out the clean tone. Josh, what are you playing? I’m playing a Vintera 60s Tele
Modified through a 68 Custom Deluxe Reverb. STAN COTEY: Awesome. [GUITAR PLAYING] OK, the opening sound we
had, we can walk through that. That’s using the
low pass setting. And it’s driving
the filter upward. And the q’s set just above half. And the distortion
circuit’s off. [GUITAR PLAYING] You can’t not move your
head when that happens. So, you could hear when
Josh was digging in more, the filter would get brighter. And when he’d play quite
to a little more muted, it’s great for a combination of
like rhythm and lead playing. Absolutely, well, so
many of those guys– those Funk guitar players, they
were the only guitar player in the band. And they were always
constantly shifting between little fills and
a part that never stopped. But in between that part, the
little fills would pop out. Yeah, it’s cool. It’s like somebody
riding a fader for you, and they’re pushing it
up when you need it. Let’s go look at the
other side of it. Let’s go– I’m going
to turn the drive off. And I’m going to switch
and just kind of sweep through the filters
while Josh plays. So you can hear what each
one of them sounds like. So here’s the low pass. [GUITAR PLAYING] So that’s the high pass filter. And the high pass filter is fun. If you start with a
really tiny sound, and then you set to
drive to drive downwards, it gets this really cool
attacks kind of sound. [GUITAR PLAYING] Awesome. All right, let’s go look at
the distortion part of it. So I’m going to go back
to the low pass setting. I’m going to drive upward,
kick the distortion on, and Josh is going to play. [LAUGHTER] [GUITAR PLAYING] So more synthy kinds of sounds. Absolutely, yes. Especially if I would have
gone to the neck and the bridge and series for the
more humbuckery sounds. [GUITAR PLAYING] So also kind of
fun on this pedal, if you get rid of the envelope
part of it, and just deal with the filter, you can
do some pretty fun things. Like, if you use a
high pass filter, you can make it be the
world’s tiniest distortion. [GUITAR PLAYING] Where it’s almost like you’re
playing through a two inch speaker or something. Yeah, it’s like the
little cigarette amps. Yeah, and then,
similarly, you can get fairly monstrous sounds. If you play, I’m going
to add some resonance to the high pass. And I’m going to
sweep the filter down. And at some point, the low
end is just going to explode. [GUITAR PLAYING] So really big beefy
distortion tones. So lastly, let’s look
at the band pass filter. Band pass filters are more like
the circuit in a wah pedal. So this gets you into kind of
classic jam band territory. Absolutely. [GUITAR PLAYING] So you could hear, I switched
the drive up and down a little bit. [GUITAR PLAYING] So that’s a look at the
Pour Over Envelope Filter from Fender. I want to thank Josh Smith
for stopping by and playing. Thank you, cool. STAN COTEY: The Poor Over’s a
great, super versatile envelope filter with distorted sounds
and clean sounds, very kind of jam band territory,
kind of synth territory, just lots of flexibility. For more information
on the Pour Over, as well as the full
line of Fender pedals, head on over to fender.com. Josh, do you want
to play us out? Absolutely. [GUITAR PLAYING]