9

• Highest button: Click to determine whether the highest filter band acts as bandpass or
lowpass filter. In the Bandpass setting, the frequencies below the lowest bands and
above the highest bands are ignored. In the Lowpass setting, all frequencies above the
highest bands are filtered.
• Resonance knob: Determines the basic sonic character of both filter banks. Increasing
Resonance emphasizes the center frequency of each band. Low settings result in a
softer character; high settings result in a sharper, brighter character.
• Boost A and B knobs: Set the amount of boost—or cut—applied to the frequency bands
in Filter Bank A or B. This allows you to compensate for the reduction in volume caused
by lowering the level of one or more bands. If you use Boost to set the (level) mix
relationship between the filter banks, you can use Fade A/B (see “Fade AB slider” below)
to alter the tonal color, but not the levels.
• Slope pop-up menu: Sets the amount of filter attenuation applied to all filters in both
filter banks. Choices are 1 (6 dB/Oct.) and 2 (12 dB/Oct.). 1 sounds softer, 2 sounds
tighter.
• Fade AB slider: Crossfades between Filter Bank A and Filter Bank B. At the top position,
only Bank A is audible. At the bottom position, only Bank B is audible. In the middle
position, the signals passing through both banks are evenly mixed.
EVOC 20 Filterbank Modulation Parameters
The Modulation section offers two LFOs. The LFO Shift parameters on the left side control
the Formant Shift parameter. The LFO Fade parameters on the right side control the
Fade AB parameter.
• LFO Shift Intensity slider: Controls the amount of Formant Shift modulation by the Shift
LFO.
• Rate knobs and fields: Determine the speed of modulation. Values to the left of the
center positions are synchronized with the host application tempo and include bar
values, triplet values, and more. Values to the right of the center positions are non
synchronized and are displayed in Hertz (cycles per second).
Note: The ability to use synchronous bar values could be used to perform a formant
shift every four bars on a cycled one-bar percussion part, for example. Alternately, you
could perform the same formant shift on every eighth-note triplet within the same
part. Either method can generate interesting results, and can lead to new ideas, or add
new life to old audio material.
105Chapter 6 Filter Effects