TTM 57SL
FOR
SERATO SCRATCH LIVE •
OPERATOR’S MANUAL
2.1
43
P2
RESONANCE / DEPTH
Resonance is adjusted using the primary
function of
P2
(indicator off). The diagrams show
the different resonances for each Filter type.
LP and HP Filter Resonance determines how
peaked the cutoff is, which is adjustable over a
range of 0.7 to 3.0.
BP Filter Resonance determines the width of
the peak, which is adjustable over a range of 0.7
to 3.0.
Depth is adjusted using the second function
of
P2
(green indicator on). Depth sets how far
the sweep of the LFO (low frequency oscillator)
modulates the Frequency set by
P1
. The Depth
is adjustable ±4.5 octaves. The full range is
reached in 1
1
/
3
rotations of
P2
. With Depth at
minimum, the LFO ceases to have any effect,
and
P1
becomes a manual sweep control.
J2
WET / DRY MIX
Pressing
J2
toggles between transform
operation (indicator off) and Wet / Dry control
(green indicator on). The filter default is 100%
wet. Holding the joystick left goes more Dry, to
the right goes more Wet. Moving the joystick up
provides instant, momentary 100% Wet. Moving
the joystick down provides instant, momentary
100% Dry. This allows Wet or Dry transforming
with the control returning to the set Wet/Dry ratio
when the control is at rest (in the center).
PHASER / FLANGER
CONTROL ASSIGNMENTS
Phasing is a swept comb-filter effect with no
linear harmonic relationship between the comb
teeth. Splitting an audio signal in two, shifting
the phase of one signal by passing it through
an all-pass filter, then recombining, creates the
phasing effect. The control response is shown
below.
GROUP
DECK
P1
P2
J1
B1
B2
1
2
B3
B4
B5
B6
J2
PROCESSOR 1
PHASER FREQ
or FLANGER DELAY
FEEDBACK
DEPTH
TAP BPM
PROCESSOR 2
MULTIPLIER
PGM 1
PGM 2
AUX B
MAIN
ON
ON
INSERT POINT
CUE
EFFECT
ALL WET
MORE
DRY
ALL DRY
MORE
WET
1
3/4
1/4
8
2
1/2
16
4
P1
•
Frequency
All-pass filter
31.5 Hz
16 kHz
Sweep
•
P2
P1
•
single tap
BPM sync
point,
multiple
taps to
set BPM.
Depth
min
•
P2
Feedback
range = 0 to 100%
B6
•
on
A Flanger creates a unique “flyover” sound by
creating a set of equally spaced notches in the
the frequency spectrum in a linear harmonic
comb filter. This is done by mixing a signal with a
slightly delayed copy of itself and by constantly
changing the length of the delay.
Both effects use an LFO to cause the comb
peaks and notches to sweep up and down the
frequency spectrum.
P1
•
Base Delay
Base
Dela
y
Delay
0 sec
11.6 ms
P2
•
Delay Depth
Sweep
P1
•
single tap
BPM sync
point,
multiple
taps to
set BPM.
•
P2
Feedback
range = 0 to 100%
B6
•
on
