User Manual

APPENDIX A: SYNTH TRACK PARAMETERS
84
FILTERS
In the FILTERS page, settings that will aect the two track filters are found.
FILTERS
FRQ (Filter1 Frequency) sets the cuto frequency of
Filter 1, the 4-pole lowpass transistor ladder filter.
RES (Filter1 Resonance) sets the resonance of Fil-
ter 1. Increased resonance introduces a peak in the
spectrum at the cuto frequency. By design, Filter 1
has a stronger resonance in the higher frequencies,
which gives a characteristic electronic filter sound
when the resonance starts sharp and then falls
during a falling filter envelope.
OVR (Filter1 Overdrive) introduces distortion in the
signal path. In mid position (0) the signal is kept
clean. Increasing positive values gives a clipping
distortion after Filter 1. Increasing negative values
also distorts the signal, but with a softer overdrive
inside the filter.
TRK (Filter1 Keytrack) lets the cuto frequency fol-
low the pitch of the sound. A setting of 32 will make
the filter track the oscillator frequency in note inter-
vals, making it possible to play the Filter 1 resonance
the same way as an oscillator is played.
DEP (Filter1 EnvF Depth) sets the amount of cuto
frequency modulation from the filter envelope EnvF.
The knob is bipolar (both negative and positive
modulation depth is possible). Note that ENV always
aects Filter1, regardless of which modulation des-
tinations are chosen.
FRQ (Filter2 Frequency) sets the cuto frequency
of Filter 2, which is the 2-pole multimode filter locat-
ed after Filter 1 and Overdrive.
RES (Filter2 Resonance) sets the resonance of Fil-
ter 2. Increased resonance introduces a peak in the
spectrum at the cuto frequency. (Except for the
Bandstop filter type, which has a notch instead of a
peak. This notch is widest at the lowest Resonance
setting.) Compared to Filter 1, Filter 2 has a more
uniform resonance behavior over the whole audio
spectrum.
TYP (Filter2 Type) selects the filter type of Filter 2.
Seven types are available: 2-pole Lowpass, 1-pole
Lowpass, Bandpass, 1-pole Highpass, 2-pole High-
pass, Bandstop, and Peak. Technically all of them
are 2-pole filters with resonance, but the “1-pole”
types have a flatter spectrum like simple 1-pole fil-
ters and can be very useful also for equalizer duties.
TRK (Filter2 Keytrack) lets the cuto frequency
follow the pitch of the sound. A setting of 32 will
make the filter track the oscillator frequency in note
intervals.
DEP (Filter2 EnvF Depth) sets the amount of cuto
frequency modulation from the filter envelope EnvF.
The knob is bipolar (both negative and positive
modulation depth is possible). Note that ENV always
aects Filter2, regardless of which modulation des-
tinations are chosen.