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Chapter 8 Synth

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High Pass - HP

If HP is used, frequencies below the Filter Frequency setting will be at-
tenuated, frequencies above the cutoff will not be affected.

Band Pass - BP

A bandpass filter allows frequencies close the Filter Frequency setting
to pass, while frequencies above and below the cutoff will be attenu-
ated.

• The Filter Resonance sets the width of the frequency range that will

pass through the band pass filter.

Notch

A Notch filter is the opposite of the Band Pass filter, it passes most of
the frequencies unaltered, but attenuates those in a specific range.

• The Filter Resonance sets the width of the frequency range that will

be attenuated with the Notch filter.

Filter Frequency

The Filter Frequency is used for setting the cutoff frequency point -
where in the frequency range the filter begins to process frequencies.
This parameter can be Morph controlled.

The Image above illustrates three different Filter Frequency settings
using a low pass filter. The area to the left, up to the downward slope
indicates the frequencies that passes through the filter. The area to
the right of the slope are those frequencies that are reduced. Move
the slope to the left and the sound gets duller. The “humps” at the top
indicates a resonance setting. Ok, enough science.

KB Track

The reason for having a Keyboard Track switch is related to basic
acoustics. If you raise the pitch of a waveform, the harmonics naturally
raise in frequency. If the cutoff frequency is constant, the sound will be
perceived as getting “muddier” the higher up the keyboard you play. To
avoid this effect, use KB Track.

With KB Track turned off, the filter frequency setting is constant re-
gardless of where on the keyboard you play. When Keyboard Track is
activated, the filter frequency setting will be higher for higher notes.

Resonance

The Resonance parameter is used to further adjust the
characteristics of the filter. Increasing the Resonance
will emphasize frequencies around the cutoff frequency,
making the sound thinner. Further raising the Resonance
will make the sound resonant to a point where the
filter starts to self-oscillate and produce a ringing pitch.
Exactly where in the frequency spectrum this “ringing”
occurs, depends on the Frequency value.

Freq Mod 1 - LFO

The filter frequency can be controlled by the low frequency oscillator,
the LFO. The Freq Mod 1 knob sets the amount of modulation.

Freq Mod 2

This knob governs the amount of the second modulation source to the
Filter Frequency. Set the knob to a position after 12 o’clock, the Mod
Envelope will modulate the Filter Frequency. Set the knob to a position
before 12 o’clock to control the Filter Frequency by the velocity of the
keys you play.

The Envelopes

The envelopes are used to “shape the sound” over the period of time,
from when you first play a key, to after it has been released.

Mod Envelope

The Modulation Envelope is a three-stage envelope used
to modulate the tone color over the duration of a note,
e.g. create a bright attack by modulating the filter in the
start of the note. The Mod Envelope has three stages:

Attack

Attack sets the time it should take for the envelope to
reach maximum level after you have pressed a key. Turn
the Attack knob clockwise to increase Attack time.

Filter Frequency

Resonance = 10

Resonance = 0

Resonance = 3

Resonance = 7

Filter Frequency

Resonance = 10

Resonance = 0

Filter Frequency

Resonance = 10

Resonance = 0

Filter Frequency