OK, I’m gonna do it: show you a different way to do the same thing I did in the last tip. I know it might seem gratuitous, but I think it’s useful from a process perspective – the better you get about thinking through this sort of problem, the cooler stuff you’ll make. Also, this design change has a little bonus in it that I’m excited about.

The first steps are exactly the same – set up Filter 4 to match Filter 1 exactly, then map the Activator switch and the Gain knob of Filter 4 to the Macro named “Lo.”

Now things get a little different. Also map the Activator of Filter 1 to Lo:

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…but invert it in the mapping browser so it turns off when the macro reaches its midway point.

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We’ve now created a setup where Filter 1 handles the cutting, and
Filter 4 does the boosting. All that’s left to do is change the range of Filter 4:

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Here’s the bonus: I’ve changed my mappings for the Activator switches so there’s a small range on my controller where neither of them are turned on. Why? Because the EQ knobs on my VCM-600 aren’t detented in the center, so zeroing the EQ is always guesswork. By having a small range in the center where neither is turned on, I’ve got a better chance of really getting them to zero.

The change itself is easy. I’ve just made Filter 1 turn off at 61 and Filter 4 turn on at 67:

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