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PROGRAM > MS-20EX: Oscillators & Filters 4–1: Oscillators & Filters
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PEAK [0.00…10.00]
Peak controls the resonance of the filter, which emphasizes
the frequencies around the cutoff frequency.
When this is set to 0 , there is no emphasis, and frequencies
beyond the cutoff will simply diminish smoothly.
At medium settings, the resonance will alter the timbre of the
filter, making it sound more nasal, or more extreme.
At very high settings, the resonance can be heard as a
separate, whistling pitch. Near the maximum setting, the
filter will self-oscillate.
PEAK and filter saturation
If the input level is high, raising the PEAK setting will cause
increasing amounts of saturation and overdrive, creating a
more aggressive tone. To control this, raise or lower the
input level at the source–for instance, in the VCO MIXER.
Using the HPF as a sub-oscillator for bass sounds
With PEAK set relatively high, and FREQUENCY turned
down low, the HPF can–somewhat counter-intuitively– be
used to enhance low-end harmonics, creating thunderously
deep bass sounds. To do so:
1. Start with a simple bass sound.
2. On the Patch Panel, connect the KBD CV OUT to the
HPF CUTOFF FREQ input.
This allows the HPF to track the keyboard.
3. Set the HPF PEAK to around 7 or 8.
4. Set the HPF FREQUENCY very low, but not quite at
0.
5. Set the EG2/EXT knob to about 5.
6. While playing the sound, adjust the FREQUENCY
and EG2/EXT settings so that the filter resonance
tracks the pitch correctly in the intended playing
range.
With this setup, the resonance will only match the oscillator
pitches over about one and a half octaves.
CUTOFF FREQUENCY MODULATION (HPF)
MG/T.EXT [0.00…10.00]
If nothing is connected to the patch panel’s TOTAL input
jack, this adjusts the depth to which the MG will modulate
the filter cutoff frequency.
If a cable is connected to the TOTAL input jack, this
controls the depth of modulation from that signal.
For more information, see “TOTAL input jack” on page 269.
EG2/EXT [0.00…10.00]
If nothing is connected to the HPF’s CUTOFF FREQ input
jack, this adjusts the depth to which EG 2 will modulate the
filter cutoff frequency.
If a cable is connected to the HPF’s CUTOFF FREQ input
jack, this controls the depth of modulation from that signal.
4–1c: Low Pass Filter
VOLTAGE CONTROLLED LOWPASS FILTER
The Lowpass Filter cuts out the parts of the sound which are
higher than the cutoff frequency. This is the most common
type of filter, and is used to make bright timbres sound
darker.
FREQUENCY [0.00…10.00]
This controls the cutoff frequency of the Lowpass Filter.
This is scaled by MIDI CC#74.
PEAK [0.00…10.00]
Peak controls the resonance of the filter, which emphasizes
the frequencies around the cutoff frequency. For more
information, see “PEAK,” above.
This is scaled by MIDI CC#71.
CUTOFF FREQUENCY MODULATION (LPF)
MG/T.EXT [0.00…10.00]
If nothing is connected to the TOTAL input jack, this
adjusts the depth to which the MG will modulate the filter
cutoff frequency.
If a cable is connected to the TOTAL input jack, this
controls the depth of modulation from that signal.
For more information, see “TOTAL input jack” on page 269.
EG2/EXT [0.00…10.00]
If nothing is connected to the LPF’s CUTOFF FREQ input
jack, this adjusts the depth to which EG 2 will modulate the
filter cutoff frequency.
If a cable is connected to the LPF’s CUTOFF FREQ input
jack, this controls the depth of modulation from that signal.
This is scaled by MIDI CC#79.
4–1d: PITCH
BEND RANGE [0.00…12.00]
This sets the maximum amount of pitch bend up and down,
in semitones and cents, as controlled by JS X. To use another
AMS source for pitch bend, modulate the
TRANSPOSE
parameter instead.
BEND RANGE is not modulatable via AMS.
TRANSPOSE [-24.00…+24.00]
This controls the coarse tuning, in half-steps and cents, up or
down two octaves. You can modulate this smoothly via
AMS.
4–1e: PAN & ANALOG
PAN [Random, L001…C064…R127]
This controls the stereo pan of the MS-20EX, at the very end
of the signal chain. A setting of
L001 places the sound at the
far left, C064 in the center, and R127 to the far right.
When this is set to Random , the pan position will be
different for each note-on.
You can also control pan via MIDI Pan (CC#10). A
CC#10 value of 0 or 1 places the sound at the far left, 64
places the sound at the location specified by the “Pan”
parameter, and 127 places the sound at the far right. This
is controlled on the global MIDI channel (GLOBAL 1–
1a).
Note: You can select Random pan only from the on-screen
UI, and not from AMS or MIDI.