User manual

SLEDGE by Studiologic®
SLEDGE by Studiologic®
44 45
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Type: when a low pass type is selected via the Type parameter, all
frequencies above the cuto frequency are damped. When a high
pass type is selected, all frequencies below the cuto frequency are
damped. When a band pass type is selected, only frequencies near
the cuto setting will be passed through.
Note: more movement can be added to the sound by modulating
the cuto frequency via the LFOs, the envelopes or the Keytrack
parameter of the lter. At a value of 64 and a Resonance value
of 114, the lter oscillates with 440Hz, which is equal to A4 (the
Comb+ type oscillates one octave higher). Tuning is scaled in semi-
tone steps. When Keytrack is set to approx +100%, the lter can be
played in a tempered scale.
Slope: 24dB/12dB: the 24dB allows to create sounds with a typi-
cal audible ltered character; the 12dB slope creates softer results.
BP 24dB / BP 12dB Band Pass remove frequencies both below and
above the cuto point. As a result, the sound character gets thin-
ner. Use these lter types when programming eect and percus-
sion-like sounds. HP 24dB / HP 12dB High Pass are useful to thin out
a sound’s bass frequencies. This may also give interesting results in
conjunction with cuto frequency modulation.
Cuto: controls the frequency for the low pass and high pass lters
and the central frequency for the band pass and notch lter
Resonance: controls the emphasis of the frequencies around the
cuto point. Use lower values in the range of 0…80 to give more
brilliance to the sound. At higher values of 80…113 the sound gets
the typical lter character with a strong boost around the cuto
frequency. When the setting is raised to values above 113, the lter
starts to self-oscillate, generating a pure sine wave. This feature can
be used to create analog-style eects and percussion-like electro-
nic toms, kicks, zaps etc.
Keytrack: this parameter controls the lter position related to the
keyboard: for values around 100, the lter general frequency will
follow the keyboard octaves; a low pass lter set around 200 Hz
when playing a C2, will move to approx 400 Hz when playing a C3.
Drive: determines the amount of saturation that is added to the
signal, at the input of the Filter. Increasing the value will bring in
more and more distortion, suitable for harder lead sounds and ef-
fects.
Attack: determines the time to reach the maximum lter cut o fre-
quency, that is also determined by other parameters (ref: amount).
Decay: controls the time to reach the Sustain level (frequency of
the lter when the played key is kept pressed (on the keyboard)
Sustain: frequency that the Filter reaches and maintain (after the
Decay) keeping the played key
Release: time to reach the nal frequency, when the key of the key-
board is released
Note: remind that all these controls are modied by other parame-
ters, such as the Filter (starting) frequency and the Amount control:
as an example, keeping the Filter Cuto close to minimum (10 Hz)
and the Amount close to Maximum (+63) will allow the Filter Enve-
lope to work on the entire Filter Range, with a maximum result in
terms of Sound character change during the envelope.
Amount: it determines the amount of control that the ADSR has on
the Filter frequency and response. The Higher is the Amount, the
more evident is the Filter sweep eect, controlled by the ADSR sec-
tion. This control is by-directional and can be set to positive values
(00/+63), the most used for typical analogue sounds, to negative
values (00/-64) to obtain reverse Filter envelopes.
FILTER FILTER ENVELOPE
FILTER FILTER ENVELOPE
CUTOFF
TIME
KEY ON
KEY OFF
ATTA C K
SUS FREQ
DECAY SUSTAIN
RELEASE
Filter Filter envelope