i
[INFO] The filter will self-oscillate at offset
values around 70 (assuming no modulations are
present)
LPF-1OUTPUT
[KNOB-LEVEL]
This parameter page sets the level of the audio signal pass-
ing into the final mixer stage. Note that when chaining the
output of this filter to the input of another filter this set-
ting is not relevant - it only sets the level to the output
stage.
LPF-1 output pole
View and edit the additional options by pressing
[BUTTON-LEFT]
or
[BUTTON-RIGHT]
when the active item is the
basic offset.
Low-pass filter 1 is constructed from a chain of 6 separate
filtering stages and the one selected for the final output
can be selected from the following options:
BYPASS
output directly from the input
POLE-1
pole-1 (-6 dB per octave).
POLE-2
pole-2 (-12 dB per octave).
POLE-3
pole-3 (-18 dB per octave).
POLE-4
pole-4 (-24 dB per octave).
POLE-5
pole-5 (-30 dB per octave).
POLE-6
pole-6 (-36 dB per octave).
At the pole-6 (-36dB roll-off per octave) setting the roll-off
of the filter is at it’s most steep and so the harmonics of
the sound above the cut-off frequency are most strongly
attenuated. Most traditional analogue synthesizers only
have a maximum roll-off of -24dB (i.e. 4 poles).
[TIP] Use the -36dB setting for the darkest,
most filtered bass sounds. Use other settings for
brighter sounds.
10.7 High-pass filter
The high-pass filter is a 2-pole design (-12dB/octave). The
sound is left brighter, lacking in bass as the cut-off fre-
quency is increased.
HPFFREQ
[KNOB-HIGH-PASS FILTER FREQUENCY]
This parameter page sets the cut-off frequency. The higher
the setting the more of the input signal at low frequencies
is attenuated.
HPF input
This parameter page also allows control of which audio
signal is input to the high-pass filter.
View and edit the additional options by pressing
[BUTTON-LEFT]
or
[BUTTON-RIGHT]
when the active item is the
basic offset.
Choose the input signal to the filter from the following op-
tions:
MIX
output of the main mix
(normal setting).
POLE-1
low-pass filter 1 pole 1.
POLE-2
low-pass filter 1 pole 2.
POLE-4
low-pass filter 1 pole 4.
POLE-5
low-pass filter 1 pole 5.
POLE-6
low-pass filter 1 pole 6.
NOISE
the noise source.
LPF2
low-pass filter 2.
[TIP] Use this filter in series with the low-pass
filters to produce a band-pass filter effect. For ex-
ample, set the output levels of the low-pass filters
to zero, and set the input of this filter to LPF2. Now
the sound from the mixer will pass first through
LPF2 and then into this high-pass filter, creating
the band-pass effect.
HPFOUTPUT
[KNOB-LEVEL]
This parameter page sets the level of the audio signal pass-
ing into the final mixer stage. Note that when chaining the
output of this filter to the input of another filter this set-
ting is not relevant - it only sets the level to the final mixer.
10.8 Low-pass filter 2
This filter is similar in design to that from a certain famous
metallic grey bassline synthesizer from the early 80s …It
has a characteristic sound all of it’s own.
User Guide v1.31 [FOR SCREENREADERS]
page 30
Summary of Contents for Motas-6
Page 2: ......
