One of the earliest examples of filtering is the wah-wah effect on guitars (Jimmy Hendricks: Vodoo Child (1968)) or the cutoff on synthesizers (Dazz Band: Let It Wip (1982)). Since the possibility exists to use virtual filters on a large scale, filtering has been applied to a wide range of pop songs, especially as a tool to create tension (Avicii: Wake Me Up (2013)).

Since it was possible to influence individual tracks manually during the mix with analog mixing consoles, filtering groups or even the whole sum was a more difficult task, as it was only possible to move a large number of controllers with a limited number of people. Today, the automation of effects in DAWs allows the targeted control of filtering processes on all levels, to the filtering of the sum signal or the entire mix.

The filter effect defines itself as an initially necessary effect on sound improvement, was then used in an experimental way and, through technical innovations, became a complex dramaturgical tool. As a dramaturgical means, especially including the noise sweep, the filter effect clearly creates tension. It also often corresponds with text and video.

Although popular, the filter effect isn’t overused to the extent of the Auto-Tune effect.