User Manual

33
THE FILTERS AND THEIR CONTROLS
Filters are second only to oscillators in dening the sound of a patch. If the oscillators were passengers
in a car, for example, then the lters are the doors: Some open and close luxuriously to reveal the
occupants; others have more grit and meet a dierent need. The Hydrasynth Explorer lters cover the
range from a silky Lamborghini to a rugged Jeep, with all the sophistication and aggression implied by
those extremes. You’re ready for any sort of musical journey with Hydrasynth Explorer.
There are two lters available, each with its own characteristics. They can be used in series, with Filter 1
feeding Filter 2, or used in parallel, where each lter has a direct path to the output.
Filter 1
This lter is actually a collection of lter types. Each one has its own character, and some may be similar
to analog lters you have encountered. But we didn’t want Hydrasynth Explorer to sound like a clone of
any instrument, so we took some of the avor of the original lters and made something new. As with
the oscillators, you will nd that the Hydrasynth Explorer lters add their own signature to the sound.
Filter 1 types
Name Description Name Description
LP Ldr12 12dB Uncompensated Ladder lter HP 3-Ler The High Pass avor of a boutique
modular synth
LP Ldr24 24dB Uncompensated Ladder lter
LP Fat12 12dB Compensated Ladder lter LP Stn12 Our version of a popular 12dB Low
Pass lter
LP Fat24 24dB Compensated Ladder lter
LP Gate Low Pass Gate lter BP Stn12 Our version of a popular 12dB Band
Pass lter with dual 6dB slopes
LP MS20 Low Pass lter with an MS-20 air
HP MS20 High Pass lter with an MS-20 air HP Stn12 Our version of a popular 12dB High
Pass lter
LP 3-Ler The Low Pass avor of a boutique
modular synth LP 1 Pole A gentle 6dB Low Pass lter
BP 3-Ler The Band Pass avor of a boutique
modular synth
LP 8 Pole A steep 48dB Low Pass lter
Vowel Vocal formant lter
Compensated vs. Uncompensated lters
Filter compensation could be an unfamiliar concept. It’s another way in which ASM has adapted the
sonic prole of various analog synthesizers. Here’s the dierence:
• Uncompensated lters: As resonance increases the low frequency content of the sound
is reduced.
• Compensated lters: The bass response is not reduced as resonance is increased.
Filter 1 parameters: page 1
All of the Filter 1 types have the same parameters, with one exception as noted. Access [FILTER 1] and
turn Control knob 1 to select the Type, then adjust these parameters as needed:
Control Parameter Range Description
1 Type 16 options See Filter 1 types above
2 Cuto 0.0-128.0 Cuto frequency for most; vowel control for
Vowel lter
3 Control (type = Vowel only) 0.0-128.0 Formant control
4 Resonance 0.0-128.0 Controls resonance or Q