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Antares certainly don't believe in the 'less is more' maxim, if their new filtering effect is anything to go. If you found a vintage synth with four multi-mode filters, each having its own envelope generator, LFO and delay line, you'd think you'd died and gone to analogue heaven. But these days, it's easy to dream up software devices with specifications way beyond what any of the hardware classics was capable of. Antares's Filter plug-in has all the above features and more, including two built-in step sequencers, a 12x12 modulation matrix, an evelope follower, extensive MIDI control and a variety of routing options. It's tempting to ask why they didn't just add a couple of oscillators and turn it into a full-blown synthesizer, but as it is, it depends on having a mono or stereo audio input, and can be used as an insert plug-in in any sequencer that supports VST, RTAS, MAS (Mac OS only) or Direct X (PC only) formats. Pro Tools users should note that there's no HTDM version, so you can't use it on aux tracks within a TDM system.

This is a fairly major limitation, since as we'll see, Filter is more useful on mixes and submixes than on individual instruments. Authorisation is via challenge and response, and worked as expected in the review system. Annoyingly, no minimum spec is given, but I found that it just about ran on my ancient 300MHz G3 Mac, which is pretty good going for such a complex plug-in. In other respects, the printed manual is good, and the separate explanation of what all the presets do is equally welcome. Antares describe Filter as 'The audio equivalent of a brilliant surgeon — who's a really good dancer.'

One might add that it's the graphical equivalent of a hyperactive toddler — who's also got a migraine. Everything is crammed into one window, with lurid primary colours used to distinguish the four filters, and most of the controls extending no more than a few pixels across. None of the individual elements is too cryptic, but the overall effect is a bit overwhelming, and a multi-page approach to interface design might have been more friendly. The centre of Filter 's window shows a plot of level against frequency, with the responses of each of the four filters shown in a different colour. You can adjust the cutoff and resonance of each filter by clicking and dragging, but I was disappointed to find that the display is not animated to show how filter response changes with modulation. This means that the information it provides is useful only when filter frequencies are not being modulated — and modulating filter frequencies is precisely what Filter is all about. To the left of the frequency display is a set of buttons allowing you to select various series/parallel routing combinations.

The individual controls for each filter and its associated delay line are at the top, whilst the modulation sources — LFOs and envelope generators — are ranged along the bottom. Immediately below the frequency display are Filter 's step sequencers, while the area at the top right is where you set up modulation routings.

Filter is certainly bristling with features in every area. The filters themselves can be switched between low-pass, high-pass, notch and band-pass modes, with slopes variable from two-pole (12dB/octave) to eight-pole (48dB/octave).

Each of them has a Frequency Link pop-up, allowing you to tie its cutoff frequency to that of any of the others. All of the filters also have their own delay lines with variable feedback and up to two seconds of delay. Delays can be switched pre or post the associated filter, and like all of Filter 's time-related elements, can be sync'ed to host tempo. Output from each filter stage can also be polarity-inverted and, unless you're using the mono-to-mono version of Filter, panned. The step sequencers, or Rhythm Generators as the manual describes them, are simply two strips divided into cells of equal duration; each cell can be either on or off, and their state is switched by clicking in them. When the sequencer reaches a cell that's switched on, it sends a trigger to any envelope set to receive it, and a maximum positive value to any modulation destination it's hooked up to. Red arrows can be positioned to set repeat points for each sequencer, while the single Run/Stop button behaves differently depending on whether, and how, the plug-in is sync'ed to host tempo.