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Chapter 9 EXS24 mkII 174
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Drive knob: Rotate to overdrive the lter input, leading to a denser, more saturated signal,
which introduces additional harmonics. Drive aects each voice independently. When every
voice is overdriven individually—like having six fuzz boxes for a guitar, one for each string—
you can play extremely complex harmonies over the entire keyboard range. They’ll sound
clean, without unwanted intermodulation eects spoiling the sound. Some Drive settings
lead to a dierent tonal character. The way analog lters behave when overdriven forms an
essential part of the sonic character of a synthesizer. Each synthesizer is unique in the way its
lters behave when overdriven. EXS24 mkII is exible in this regard, allowing tonal colors that
range from a subtle fuzz to a hard distortion.
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Key knob: Rotate to dene the amount of lter cuto frequency modulation by note number.
When Key is set to the full-left position, the cuto frequency is unaected by the note number
and is identical for all played notes. When Key is set to the full-right position, the cuto
frequency follows the note number one-to-one; if you play one octave higher, the cuto
frequency is also shifted upward by one octave. This parameter is useful for avoiding overly
ltered high notes.
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Fat button: Click to turn on the fatness feature. Fatness preserves the bass frequency response,
even when high Resonance settings are used.
Note: The Fatness parameter applies only to lowpass lters. Fatness is nonfunctional when the
highpass or bandpass lter types are used.
Control two lter parameters at once
m Drag the chain symbol between the Cuto and the Resonance knobs to control both parameters
simultaneously—vertical movements alter Cuto values and horizontal movements aect
Resonance values.
Set the EXS24 mkII lter mode and slope
The EXS24 mkII lter can operate in several modes, allowing specic frequency bands to be
ltered (cut away) or emphasized.
Most lters do not completely suppress the portion of the signal that falls outside the frequency
range dened by the Cuto parameter. The slope, or curve, chosen for the lowpass lter
expresses the amount of rejection below the cuto frequency in decibels per octave. The steeper
the slope, the more severe the eect on signal levels below the cuto frequency.
Select a lter mode and slope
Click one of the following buttons:
m HP (highpass): Allows frequencies above the cuto frequency to pass.
The slope of the highpass lter is xed at 12 dB/octave in HP mode.
m LP (lowpass): Allows frequencies that fall below the cuto frequency to pass. Click any of the four
lter buttons to engage the lowpass lter and to select a lter slope:
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24 dB (4 pole): Use this setting for drastic eects, such as cutting o all but a few notes.
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18 dB (3 pole)
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12 dB (2 pole)
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6 dB (1 pole): Use this setting for creating a slightly warmer sound without drastic lter
eects—to smooth overly bright samples, for example.