It’s a VCA, It’s a VCF...
The Low Pass Gate operates simultaneously in the amplitude and frequency domains. As the Control Signal
becomes more positive, the Amplitude of the Processed Signal increases: the low frequencies being more
quickly amplified than high frequencies. As the Control Signal become less positive, the Amplitude
decreases, with the high frequencies being attenuated much sooner than the low frequencies.
The net effect is that in fast, transient, modulation of the Processed Signal’s Amplitude, the low frequencies
will be more pronounced, lurking in the spectrum, while the high frequencies are eagerly diminished. A
fast/short envelope (Control Signal) of 8V will provide a beautiful example of the LxD’s ability to
produce acoustic-like Attack and Decay transients. The processed signal will seem to ring-- not unlike a
struck drum, piano string or xylophone bar.
Two Unique Channels:
CH. 1:
As a VCF, CH. 1 is a mildly-resonant, Low Pass filter circuit, accentuating frequencies at and around the cutoff
frequency, which is determined by the Control Voltage level at the CH. 1 Control INput. As a VCA, CH. 1 has
a faster Attack and Decay response than CH. 2; however, it is still slower than the typical synthesizer VCF or
VCA. Like CH. 2, it has a smooth, natural-sounding response to modulation.
CH. 2:
As a VCF, CH. 2 is a very mild, non-resonant, Low Pass filter circuit, acting to gently reveal (or hide) the
sharper edges of a sound. This characteristic also adds to the “ringing” effect. As the amplitude of the
sound decays, there is a simultaneous loss in high frequency content that is similar to the natural loss of
energy in idio and membranophonic instruments. As a VCA, LxD CH. 2 has a moderate Attack response and
slow Decay response, meaning that it turns on quickly, but takes a while to shut off, yielding a smooth,
natural-sounding Decay to almost any sound processed dynamically.
Summary of Contents for LxD
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