User's Manual
Table Of Contents
- Important Safety Instructions
- Welcome to Hydrasynth!
- Quick Start Guide
- Overview
- Hydrasynth Desktop
- Understanding the Modules
- The Oscillator Group
- The Mixer Module
- The Filters and their Controls
- The Amp Module
- The Envelopes
- The LFOs
- The Effects
- The Voice Module
- Ribbon Controller (keyboard only)
- The Arpeggiator Section
- Mastering the Macros
- The Mod Matrix
- The CV / Gate Section
- Patch Management
- The System Setup Pages
- Control Combinations
- Scales
- Hydrasynth Specifications
- Declaration of Conformity
42
The Filters and their Controls
Filters are second only to oscillators in dening 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 dierent need. The Hydrasynth
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.
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 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 lters add their own
signature to the sound.
Filter 1 types
Name Description
LP Ldr12 12dB Uncompensated Ladder lter
LP Ldr24 24dB Uncompensated Ladder lter
LP Fat12 12dB Compensated Ladder lter
LP Fat24 24dB Compensated Ladder lter
LP Gate Low Pass Gate lter
LP MS20 Low Pass lter with an MS-20 air
HP MS20 High Pass lter with an MS-20 air
LP 3-Ler The Low Pass avor of a boutique modular synth
BP 3-Ler The Band Pass avor of a boutique modular synth
HP 3-Ler The High Pass avor of a boutique modular synth
Vowel Vocal formant lter
Compensated vs. Uncompensated filters
Filter compensation could be an unfamiliar concept. It’s another way in which ASM has
adapted the sonic prole of various analog synthesizers. Here’s the dierence:
• 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, and then adjust these parameters
as needed: