filter cutoff การใช้

• There is a dedicated knob for keyboard modulation of the filter cutoff.
• The filter cutoffs could be set to respond to velocity which added some expressiveness.
• Keyboard velocity can affect filter cutoff.
• The filter cutoff can also track the keyboard to allow high harmonics to be heard on higher-pitched notes.
• The filter is standard-24dB / oct Butterworth filter design featuring filter cutoff, resonance, keyboard control switch, contour amount, and LFO amount.
• There are no facilities for MIDI . However there are three analogue 0-10V Control Voltage ( CV ) inputs for pitch, filter cutoff and swarm.
• In addition to the same ADS Envelope Generator found in the Polyensemble and Bass, there is a triangle wave LFO to modulate pulse width or the filter cutoff.
• Tracking of filter cutoff frequency with keyboard position is fully variable, allowing for sounds to become either " brighter " or " darker " as higher notes are played.
• The step sequencer can be used to send control data, such as filter cutoff value or notes, to the synth's own tone generator or to MIDI output.
• In this way, the third oscillator is frequently used as a low-frequency oscillator to control pitch ( oscillator modulation ) and / or harmonic content ( filter cutoff frequency modulation ).
• Three of these each have four available waveforms ( sine, square, sawtooth and ramp ), and these LFOs are dedicated to filter cutoff, and pitch of each of the two oscillators.
• The trademark sound of " acid " is produced with a Roland TB-303 by playing a sequenced melody while altering the instrument's filter cutoff frequency, resonance, envelope modulation, and accent controls.
• Computer Music magazine considered the combination of these two features to " open up some incredibly powerful control possibilities ", and demonstrated how the signal triggered by a drum loop could control the filter cutoff frequency on a bass sound.
• The ability to layer up to 8 different tones ( sounds ) on top of each other, split them over the keyboard in any combination, and instant realtime access to crucial parameters such as attack, release, filter cutoff, LFO timing, etc ., made the M1 easy to use.
• In other words, one can't use the data slider to change the filter cutoff setting as a way of producing a live " filter sweep ", but can use any of the modulation sources for the same effect ( including envelopes, the modulation wheel, modulation pedal, or external controllers over MIDI ).
• The oscillators can be played in sync, or in " Poly-Mod ", with oscillator B and the filter ADSR envelope modulating the frequency, pulse width, and filter of oscillator A . A dedicated low-frequency oscillator ( saw, square, or triangle ) is also present to modulate the pulse width and / or pitch of oscillators A and B and filter cutoff frequency.
• Any spectral components in the modulating signal too low to be blocked by the loop filter end up back at the VCO input with opposite polarity to the modulating signal, thus canceling them out . ( The loop effectively sees these components as VCO noise to be tracked out . ) Modulation components above the loop filter cutoff frequency cannot return to the VCO input so they remain in the VCO output.
• It consisted of three parallel banks of eight potentiometers : the three banks could either steer three different Voltage-controlled oscillators ( VCOs ) to allow three-note chords in the sequence, or ( for example ) one row could steer pitch while the second row is patched through to the filter cutoff or VCA volume, and a third steers filter cutoff for a white noise generator ( thus creating an extremely primitive electronic drum track ).
• It consisted of three parallel banks of eight potentiometers : the three banks could either steer three different Voltage-controlled oscillators ( VCOs ) to allow three-note chords in the sequence, or ( for example ) one row could steer pitch while the second row is patched through to the filter cutoff or VCA volume, and a third steers filter cutoff for a white noise generator ( thus creating an extremely primitive electronic drum track ).