Filters
Filter page

Filter page

1. type Filter type

The 'type' parameter specifies the filter type that is applied to the patch;

'none'; no filter is applied. Use this setting to conserve some DSP resources.
'LoW1'; low-pass. Frequencies below the cut-off threshold are left intact, while frequencies above the cut-off threshold are rejected. A typical use is to turn turn "sharp" tones into mellow pads and basses. This filter's slope is closest to a 24db filter. It has a more analog, benign, less harsh response and sound than 'LoW2'.
'LoW2'; low-pass. Frequencies below the cut-off threshold are left intact, while frequencies above the cut-off threshold are rejected. This filter's slope is closest to a 24db filter. It can be made to self resonate ("scream") and ring at high resonances depending on the input/impulse.
'bnd1'; band-pass type 1. Frequencies around the cut-off threshold are kept, while those further away are being rejected. This filter's slope is closest to a 18db filter response. It can be made to self resonate ("scream") and ring at high resonances depending on the input/impulse, though it has a more analog, benign, less harsh response and sound than 'bnd2'. Typical uses are leads, vocals or - at high resonances - synthesized percussion such as kicks, wood blocks, bongos, congas, etc.
'bnd2'; band-pass type 2. Frequencies around the cut-off threshold are kept, while those further away are being rejected. This filter's slope is closest to a 18db filter response. It can be made to self resonate ("scream") and ring at high resonances depending on the input/impulse, and it has a sharper response and sound compared to 'bnd2'. It may distort at high resonances. Typical uses are leads, vocals or - at high resonances - synthesized percussion such as kicks, wood blocks, bongos, congas, etc.
'bnd3'; band-pass type 1. Frequencies around the cut-off threshold are kept, while those further away are being rejected. This filter's slope is closest to a 6db filter response. It can be made to self resonate ("scream") and ring at high resonances depending on the input/impulse, though it has a more analog, benign, less harsh response and sound than 'bnd4'. Typical uses are leads, vocals or - at high resonances - synthesized percussion such as kicks, wood blocks, bongos, congas, etc.
'bnd4'; band-pass type 2. Frequencies around the cut-off threshold are kept, while those further away are being rejected. This filter's slope is closest to a 6db filter response. It can be made to self resonate ("scream") and ring at high resonances depending on the input/impulse, and it has a sharper response and sound compared to 'bnd3'. It may distort at high resonances. Typical uses are leads, vocals or - at high resonances - synthesized percussion such as kicks, wood blocks, bongos, congas, etc.
'hiP1'; high-pass type 1. This filter's slope is closest to a 6db filter response. Frequencies above the cut-off threshold are left intact, while frequencies above the cut-off threshold are rejected. A typical use case is percussive elements.
'hiP2'; high-pass type 2. This filter's slope is closest to a 6db filter response. Frequencies above the cut-off threshold are left intact, while frequencies above the cut-off threshold are rejected. A typical use case is percussive elements. Slightly more ringing can be observed in the output, compared to 'hiP1' and it may distort at high resonances.
'hiP3'; high-pass type 3. This filter's slope is closest to a 18db filter response. It can be made to self resonate ("scream") and ring at high resonances depending on the input/impulse, though it has a more analog, benign, less harsh response and sound than 'hiP4'. Frequencies above the cut-off threshold are left intact, while frequencies above the cut-off threshold are rejected.
'hiP4'; high-pass type 4. This filter's slope is closest to a 18db filter response. Frequencies above the cut-off threshold are left intact, while frequencies above the cut-off threshold are rejected. A typical is percussive elements. It can be made to self resonate ("scream") and ring at high resonances depending on the input/impulse and it may distort at high resonances.

4. KEy.t Filter cutoff frequency key tracking

Filter key tracking; specifies how much (and in which direction) the pitch of a played note should correspond to an increase or decrease in filter cutoff.

5. FEG.d Filter Amplitude Generator depth

Defines the strength and nature of the effect of the Filter Envelope Generator (FEG). 0 causes the FEG to have no effect at all on the filter, while 127 causes full effect. A negative value defines an exponential response (power of two), while a non-negative value defines a linear response.

6. LF.rt

Defines what should happen to the cutoff frequency LFO ("Low Frequency Oscillator") when a new note is triggered;

'FrEE' will not cause the LFO to restart
'Retr' will cause the LFO to restart
'Cond' will only cause the LFO to engage if the step that triggered the note has a valid ('when') 'FLFO' condition ('do') set.
'rand' will start the LFO at a random phase (location in the chosen waveform)

7. C2dc Filter cutoff to decay

Using the C2dc parameter, the filter cut-off can be made to influence AEG decay.

This allows for the quintessential staccato -> long-release tension buildups found in many Trance tracks, by simply opening up the filter.

An example of a quintessential Trance buildup

8. C2EF Filter to effects

Using the C2EF parameter, the filter cut-off can be made to influence the effect sends to reverb and delay 1.

This allows for the quintessential intimate -> wide tension buildups found in many Trance tracks, by simply opening up the filter.

9. Attk Filter Envelope Generator Attack

Attack defines the time it takes (in milliseconds) to ramp up from 0 full filter cut-off frequency (as specified by Cut.F and attenuated by FEG.d).

10. dcAy Filter Envelope Generator Decay

Decay defines the time it takes (in milliseconds) to ramp down from full filter cut-off frequency (as specified by Cut.F and attenuated by FEG.d) to the sustain level.

11. SuSt Filter Envelope Generator Sustain

Sustain defines the proportion (0-127) of full filter cut-off frequency (as specified by Cut.F and attenuated by FEG.d) that should be sustained during note on.

12. rLSE Filter Envelope Generator Release

Release defines the time it takes (in milliseconds) to ramp down from sustain level to 0. Release stage of the envelope generator is entered upon note off.

13. L.C.Wv Waveform for cutoff frequency LFO

Specifies the waveform for the cutoff frequency LFO. Available waveforms are;

'nOiSE'; random noise
'SinE'; sine wave
'tri'; triangle wave
'SaW'; saw wave
'Sqr'; square wave

14. L.C.de depth for cutoff frequency LFO

Specifies the strength by which the LFO should affect the filter.

'nOiSE'; random noise
'SinE'; sine wave (starts at 0.5, ramping up)
'tri'; triangle wave (starts at 0.5, ramping up)
'SaW'; saw wave (starts at 0.5, ramping up)
'Sqr'; square wave (starts at 1 for a half a cycle, then switches off for half a cycle)

Negative values invert the waveform, causing, for example, a square wave to be 0/"off" and then 1/"on", as opposed to the being 1/"on" and then 0/"off" (or similarly see a saw wave ramp down, rather than up).

15. L.C.rt rate for cutoff frequency LFO

Specifies the speed by which the LFO should oscillate. Speed is specified in steps and is thus synced to your song's BPM.

16. L.C.ho hold duration for cutoff frequency LFO

Specifies the hold duration in milliseconds for which the LFO should hold the LFO's sampled value. Combined with the LFO rate this can result in various interesting rhythmic patterns due to aliasing interactions.