Arturia’s free Filter MS-20 plugin could be the end-of-year treat you’ve been waiting for

Arturia Filter MS-20
(Image credit: Arturia)

With its filthy sound and screaming resonance, the filter section on the Korg MS-20 synth is legendary in music production circles. Now, thanks to Filter MS-20,  Arturia’s new free plugin, you have the opportunity to have it in your DAW for nothing.

As on the original you get both high- and low-pass filters, both of which feature those much-loved Peak (resonance) controls. There’s a distortion section, too, for additional filth.

Arturia has also taken the opportunity to add some modern enhancements to FIlter MS-20. You can “modulate and animate the virtual circuitry”, reroute the filter and distortion sections and add stereo width.

The plugin looks pretty tweakable, too; it has a knob-per-function main interface, macro-style controls for easy edits, and an Advanced panel that gives you access to the envelope follower, step sequencer and function generator.

This means that Filter MS-20 should be pretty flexible - capable of creating everything from filtered and distorted sounds to stereo phasing, pumping sidechain and auto-wah effects, in fact.

Its launch follows the release of Arturia’s emulation of the MS-20 synth earlier this year. This is included in its V Collection 9 bundle.

You’ll note that the font for the Filter MS-20’s logo nods to the one used by Daft Punk - the French duo are believed to have been fans of Korg’s synth. Other famous MS-20 lovers include The Chemical Brothers and Aphex Twin.

The regular price of Filter MS-20 will be €99, but it can be downloaded for free until 2 January 2023. It runs on PC and Mac in VST/AU/AAX formats and you can grab it now from the Arturia website.

Ben Rogerson

I’m the Deputy Editor of MusicRadar, having worked on the site since its launch in 2007. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 24 of which I’ve also spent writing about music and the ever-changing technology used to make it. 

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