User's Manual

20
Filter Controls
8
Sweeping the lter frequency of a sound is a
great way to heighten the emotional impact
of the music. This is especially true during an
arpeggio or a sequenced passage.
Hydrasynth oers several controls for exactly
this purpose. You can sweep the lter
frequency, adjust the resonance, and increase
the drive amount of Filter 1, for example,
and then switch to Filter 2 and perform
similar actions. However, for Filter 2 the third
knob does not control the drive amount;
instead it “morphs” the lter between the
Low Pass, Band Pass, and High Pass types.
As with the Arpeggiator section, there are
dierent top-panel Filter controls for the
Hydrasynth keyboard and desktop models.
But again, all of the same features are available
in the pages of the Filter modules. For details,
refer to The Filters and their Controls (p.42).
Module Select
9
The Module Select section has 26 Access
buttons which are used to view and edit the
parameters for each patch. Their placement
provides a visual reference for the signal
ow, which starts with the Oscillators,
moves through the Filters, proceeds
through the eects, and is sent to the
outputs.
Pressing a Module button will reveal the rst
page of parameters for that module. If more
than one page exists, the Page buttons are
used to access the other pages, as described
earlier in PAGE Up / Down buttons (p.19). Full
details about the parameters of each Module
are found in the chapters ahead.
Performance Controls
The Hydrasynth was designed to encourage
the spontaneous exploration of sound and
rhythm. We think you will quickly master
the controls and start travelling the paths of
creativity before you realize it has happened!
The keyboard and desktop models have
slightly dierent layouts, but there are many
similarities. Both instruments have Macro
controls on the Home page, along with Filter
controls, Arpeggiator controls, and CV/Gate/
Clock connectors immediately accessible from
their top panels.
If you have the one model and are curious
about the dierences between them, here are
the most obvious:
• The Keyboard model has 49 keys, a ribbon
controller, pitch/mod wheels, Octave
buttons, Chord mode, a Glide button, and
front-panel headphone jacks.
• The Desktop model has 24 RGB pads,
which also oer quick access to secondary
functions (Shift + Pad X). It can also be
mounted in a rack.
Both models have identical voice architec-
ture, OLED displays, parameters, and editing
methods. And if you will forgive the shameless
plug, if you buy one of each you can combine
their polyphony by enabling Overow (p.89).
Twice the fun for less than twice the price!