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Summary of Contents for FILTERBANK

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Page 2: ...HICH SHOULD BE FOLLOWED IN ORDER TO MAKE INTERNAL ADJUSTMENTS WHEN USING THE UNIT WITH A RACK OR STAND THE RACK OR STAND MUST BE CAREFULLY PLACED SO IT IS LEVEL AND SURE TO REMAIN STABLE IF NOT USING...

Page 3: ...used in accordance with the instructions manual may cause interference to radio communications It has been tested and found to comply with the limits for Class A computing device persuant to Subpart...

Page 4: ...itch The FB consumes less power than an average answering machine and most music set ups studios have a general power switch WHAT IS THE FILTERBANK AND WHAT CAN YOU USE IT FOR It is a versitale filter...

Page 5: ...EQUENCY OSCILLATOR 20 5 AR VOLUME MODULATION GENERATOR 22 6 ADSR ENVELOPE FOLLOWER 24 TABLE OF CONTENTS 7 FM FREQUENCY MODULATION 36 8 AM AMPLITUDE MODULATION 38 9 EXTERNAL INPUTS 40 10 MIDI 42 11 LIN...

Page 6: ...to the input e g a synth or a sampler Connect the main output to your sound system Notice the knob in the right top corner called BYP EFF it sets the balance between the incoming signal and the proces...

Page 7: ...the unit as shown in fig 1 Leave some space above the unit in order to reach the connections on the back Fit the plastic nuts as shown above Vertical front 19 Inch Rack 19 Inch Rack 19 Inch Rack 45 f...

Page 8: ...this knob was to overcome the limitations of the Lp Bp Hp balance knob You may ask yourself why not three knobs one for Lp one for Bp and one for Hp Simple suppose you turn the Lp Bp Hp balance knob...

Page 9: ...mplitude of trigger input signal When no jack is plugged in the trigger input the input signal is used as trigger signal See figure 24 Time Trigger Indicator light On On Off Off Off figure 2 HOW AUDIO...

Page 10: ...weak high eee sound can occur This is perfectly normal and typical for the Filterbank Don t worry it s not broken It s mainly audible as as crossing over between both filters When the harmonics switc...

Page 11: ...6 4 2 10 1 3 5 7 9 8 6 4 2 10 1 3 5 7 9 8 6 4 2 10 1 3 5 7 9 8 6 4 2 10 1 3 5 7 9 8 6 4 2 10 INPUT OFF OVER NORMAL FREQUENCY FREQUENCY RESO RESO HARMONICS FREE B B LH L H 0 S R SENS R A R FM A A SPEE...

Page 12: ...so that a high tone resonance can be heard Now check the lower harmonics by turning the rotary switch to the right In order to get a better idea of these harmonics mix filter 1 on too correction knob...

Page 13: ...der 3 octaves down 16 4 octaves down Freq filter 1 th harmonic of freq filter 2 FREQ 1 FREQ 2 FREQ 1 FREQ 2 GEAR BOX When the harmonic switch is in the free position the two filters work independently...

Page 14: ...m out 1 The input signal goes to filter 1 only The output signal of filter 1 goes to filter 2 Filter 2 goes to the MAIN OUT vca Obviously if one of the filters doesn t pass the signal on nothing will...

Page 15: ...N OUT PAR SER SERIAL OUT PARALLEL WHEN A JACK IS PLUGGED IN OUT 1 WHEN USING ONLY MAIN JACK PAR SER PAR SER PAR SER PAR SER IN OUT IN FILTER 1 FILTER 1 FILTER 2 FILTER 2 F 1 F 2 VCA OUT 1 MAIN OUT F 1...

Page 16: ...ILTER 1 BP FILTER 2 BP PARALLEL 12db SERIAL 24db FILTER CURVE WHEN FREQ 1 FREQ 2 MAIN OUT CURVE FILTER 1 HP FILTER 2 HP PARALLEL 12db SERIAL 24db FILTER 2 HP SERIAL 24db FILTER 1 HP PARALLEL 12db figu...

Page 17: ...nter frequency pass HIGH PASS Only lets tones above the center frequency pass FILTER 2 HIGH PASS figure 10 IT S IMPORTANT TO UNDERSTAND THIS This is an example of a situation where no signal will come...

Page 18: ...of both filters is simply added In the situation shown below you create a small drop in the frequency range It will become deeper and wider the more you make freq 2 higher than freq 1 Modulating such...

Page 19: ...ASS FILTER 2 HIGH PASS HIGHER LOWER figure 12 THIS COMES NEARER TO REALITY Due to overlap of the 2 filters if freq 1 equals freq 2 in fact you create a weak band pass filter It grows stronger and wide...

Page 20: ...h the speed knob From the left to the middle click position you get a normal LFO frequency range From the middle click position to the right the LFO becomes an audio range oscillator Leave the LFO at...

Page 21: ...CY 2 1 3 5 7 9 8 6 4 2 10 SPEED DEPTH 1 3 5 7 9 8 6 4 2 10 SPEED DEPTH FREQUENCY 1 FREQUENCY 2 FREQUENCY 1 FREQUENCY 2 GREEN RED RED GREEN RED RED GREEN RED RED LED COLOUR EFFECT OF THE POSITION OF TH...

Page 22: ...thus before the quantize of the song A real bassplayer does similar things LESSON 5 AR VOLUME MODULATION GENERATOR This generator equally controls the OUT 1 and MAIN OUT VCA s Play a sound with a slow...

Page 23: ...Off Off 1 3 5 7 9 8 6 4 2 10 1 3 5 7 9 8 6 4 2 10 R A 1 3 5 7 9 8 6 4 2 10 1 3 5 7 9 8 6 4 2 10 R A 1 3 5 7 9 8 6 4 2 10 1 3 5 7 9 8 6 4 2 10 R A 1 3 5 7 9 8 6 4 2 10 1 3 5 7 9 8 6 4 2 10 R A figure...

Page 24: ...pe modulation amount knob of filter 2 At this point you should be familiar with the ADSR knobs ANOTHER EXERCISE Run a sixteenth note repetitive sequencer or arpeggio pattern with a short or percussive...

Page 25: ...UENCY FREQUENCY RESO RESO HARMONICS FREE B B LH L H 0 S R SENS R A R FM A A SPEED DEPTH AM PAR SER TRIG TRIG D BYP EFF 2 1 B B B LH L H B 1 3 5 7 9 8 6 4 2 10 IS TRANSITION LEVEL REACHED IS TRIGGER ON...

Page 26: ...SENS R A A D 1 3 5 7 9 8 6 4 2 10 1 3 5 7 9 8 6 4 2 10 1 3 5 7 9 8 6 4 2 10 0 S R SENS R A A D 1 3 5 7 9 8 6 4 2 10 1 3 5 7 9 8 6 4 2 10 1 3 5 7 9 8 6 4 2 10 0 S R SENS R A A D TRIGGER OFF ENVELOPE VO...

Page 27: ...3 5 7 9 8 6 4 2 10 1 3 5 7 9 8 6 4 2 10 0 S R SENS R A A D 1 3 5 7 9 8 6 4 2 10 1 3 5 7 9 8 6 4 2 10 1 3 5 7 9 8 6 4 2 10 0 S R SENS R A A D 1 3 5 7 9 8 6 4 2 10 1 3 5 7 9 8 6 4 2 10 1 3 5 7 9 8 6 4 2...

Page 28: ...3 5 7 9 8 6 4 2 10 1 3 5 7 9 8 6 4 2 10 0 S R SENS R A A D 1 3 5 7 9 8 6 4 2 10 1 3 5 7 9 8 6 4 2 10 1 3 5 7 9 8 6 4 2 10 0 S R SENS R A A D 1 3 5 7 9 8 6 4 2 10 1 3 5 7 9 8 6 4 2 10 1 3 5 7 9 8 6 4 2...

Page 29: ...3 5 7 9 8 6 4 2 10 1 3 5 7 9 8 6 4 2 10 0 S R SENS R A A D 1 3 5 7 9 8 6 4 2 10 1 3 5 7 9 8 6 4 2 10 1 3 5 7 9 8 6 4 2 10 0 S R SENS R A A D 1 3 5 7 9 8 6 4 2 10 1 3 5 7 9 8 6 4 2 10 1 3 5 7 9 8 6 4 2...

Page 30: ...SENS R A A D 1 3 5 7 9 8 6 4 2 10 1 3 5 7 9 8 6 4 2 10 1 3 5 7 9 8 6 4 2 10 0 S R SENS R A A D 1 3 5 7 9 8 6 4 2 10 1 3 5 7 9 8 6 4 2 10 1 3 5 7 9 8 6 4 2 10 0 S R SENS R A A D TRIGGER OFF ENVELOPE VO...

Page 31: ...3 5 7 9 8 6 4 2 10 1 3 5 7 9 8 6 4 2 10 0 S R SENS R A A D 1 3 5 7 9 8 6 4 2 10 1 3 5 7 9 8 6 4 2 10 1 3 5 7 9 8 6 4 2 10 0 S R SENS R A A D 1 3 5 7 9 8 6 4 2 10 1 3 5 7 9 8 6 4 2 10 1 3 5 7 9 8 6 4 2...

Page 32: ...1 3 5 7 9 8 6 4 2 10 0 S R SENS R A A D 1 3 5 7 9 8 6 4 2 10 1 3 5 7 9 8 6 4 2 10 1 3 5 7 9 8 6 4 2 10 0 S R SENS R A A D TRIGGER OFF TRIGGER OFF ENVELOPE VOLTAGE TIME MAX SUSTAIN LEVEL TRANSITION LE...

Page 33: ...riod slow ambient flows were fashionable However there is an instant solution the ADSR speed can get up to 4 times faster How Transmit MIDI control messages to the Filterbank that affect the Attack De...

Page 34: ...with different modulation amounts of filter 1 filter 2 in sync Repeat these exercises with filter 2 free running in parallel mode experiment also with the envelope modulation amount knob of filter 2 N...

Page 35: ...ASE time Envelope follower output with SHORT ATTACK time and LONG RELEASE time Time 1 3 5 7 9 8 6 4 2 10 1 3 5 7 9 8 6 4 2 10 1 3 5 7 9 8 6 4 2 10 0 S R SENS R A A D 1 3 5 7 9 8 6 4 2 10 1 3 5 7 9 8 6...

Page 36: ...this input e g take another synth or sampler output and experiment with this source playing the same melody as the processed melody but now try different tuning intervals between input and FM source N...

Page 37: ...Original resonating filter wave Time Resulting resonating filter wave Time Frequency modulation signal or control voltage at FM input Time 37 figure FM THE PRINCIPLE OF FREQUENCY MODULATION...

Page 38: ...as an am source so reso 2 will have more influence than reso 1 Now insert a jack cable in the AM input You will notice that AM doesn t work internally anymore Now you can try a different sound source...

Page 39: ...Original resonating filter wave Time Resulting resonating filter wave Time Amplitude modulation signal or control voltage at AM input Time 39 figure AM THE PRINCIPLE OF AMPLITUDE MODULATION...

Page 40: ...e signals from e g a cv gate output You can make a jack connection from the ADSR out to the AR trigger in When the ADSR has a slow attack the AR trigger will be delayed The amount of this delay depend...

Page 41: ...PLUGGING A JACK AUTOMATICALLY DISCONNECTS THE NORMAL INTERNAL ROUTING TRIGGER AR OUTPUT FILTER 2 TRIGGER ADSR AM FM INPUT 41 figure 24 INTERNAL ROUTING OF THE JACKS...

Page 42: ...nnel 16 on power up The channel on which the first following MIDI message any type is sent becomes the new receive channel The MIDI out channel always remains 16 If you have two or more FB s in the sa...

Page 43: ...BY HAND FROM 1 TO 10 TIME INCOMING MIDI PITCH WHEEL ACTUAL FREQUENCY FILTER 1 ASSUMING NO LFO ADSR NOR FM MODULATION E G Filter 1 Frequency Freq 1 knob position MIDI Pitch wheel ADSR modulation LFO mo...

Page 44: ...essure As you can see on the graphics resonance can go to maximum using MIDI while the reso 1 knob stays on minimum Attack time in function of MIDI controller 5 porta time value when attack knob in po...

Page 45: ...troller 5 figure 28 This is an example of how the attack time of the ADSR can be speeded up and slowed down while it s running You can do similar on the fly time changes with the decay release and att...

Page 46: ...46 3D VIEW OF THE RELATION TIME KNOB SETTING MIDI CONTROL Knob position Midi controller Actual time figure 29...

Page 47: ...b in its original position it changes the tuning intervals Tip for producers once you have tuned the filters this way bring down the resonances and filter instruments in your mix to make them resonate...

Page 48: ...udio triggering There are two soft toggle switches in the FB Their function is to block the AR and ADSR audio trigger sensitivity so that MIDI triggering does not interfere with triggering by the audi...

Page 49: ...OUT Trigger light action is always sent to the midi out port as normal trigger notes on channel 16 whatever the source audio or MIDI This is useful for recording with a sequencer Only F 4 and A 4 are...

Page 50: ...l the slaves Filter 2 of each FB will act as always free or in sync with freq 1 of the master in this case Try out different harmonic switch settings on the FB s in the chain to form chord intervals A...

Page 51: ...H 0 S R SENS R A R FM A A SPEED DEPTH AM PAR SER TRIG TRIG D BYP EFF 2 1 B B B LH L H B 1 3 5 7 9 8 6 4 2 10 MAKE A VERY NEAT 48db FILTER Set up two FB s Connect the MAIN OUT of the first to the input...

Page 52: ...I started to make a filter box which i equipped with all the functions I would like as a musician not just another Curtis chip based box with one lowpass filter and a reso knob No I wanted something...

Page 53: ...itized photo s taken in that world With DSP overdrive simulation you can just reach the limit of your 20 bit number So overdrive must be programmed but still sounds dead Why A car crash is always diff...

Page 54: ...15 MIDI 42 MIDI out 49 MIDI resonance 44 MIDI panic 49 MIDI pitch wheel 43 MIDI time control 44 MIDI trigger 48 No output 17 Notch filter 8 Octave switching via MIDI 42 OUT 1 15 Overview 45 PARALLEL S...

Page 55: ...1 3 5 7 9 8 6 4 2 10 1 3 5 7 9 8 6 4 2 10 1 3 5 7 9 8 6 4 2 10 1 3 5 7 9 8 6 4 2 10 1 3 5 7 9 8 6 4 2 10 1 3 5 7 9 8 6 4 2 10 1 3 5 7 9 8 6 4 2 10 INPUT OFF OVER NORMAL FREQUENCY FREQUENCY RESO RESO...

Page 56: ...1 3 5 7 9 8 6 4 2 10 1 3 5 7 9 8 6 4 2 10 1 3 5 7 9 8 6 4 2 10 1 3 5 7 9 8 6 4 2 10 1 3 5 7 9 8 6 4 2 10 1 3 5 7 9 8 6 4 2 10 1 3 5 7 9 8 6 4 2 10 INPUT OFF OVER NORMAL FREQUENCY FREQUENCY RESO RESO...

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