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This time, may include experiments, we use from KORG Legacy Collection MS-20 Images from the work efficiency. Filter function around the layout is the same. ------------------------- The same as the paper filter to use when brewing coffee, the filter is called, a cup of liquid coffee and drip The punch line, coffee beans will remain in the filter. Synthesizer filters will also serve to remove the pass band of the specific, the specific band.
Image view through a low-pass filter to white noise (Legacy Collection) MS-20. In the component passing through the yellow (Pass), components were originally red has been removed and (is cut). The "specific frequency", I set the filter section in the "Cutoff Frequency". It is referred to as the "cut-off (Cutoff)" and in many cases, there is also a synth it is written, and "Frequency" only as "FREQ" simply normal. In addition, there is also be referred to as a "High Cut Filter" the Low Pass Filter. Words differ only in the same thing you're doing. I think the notation low-pass filter to have been the most synth.
This reproduces codefine the band-pass filter using the filter of two MS-20. For curve of the high-pass is loose, this is not a band-pass filter of the sharp curve, but it would be enough for practical use. In addition, there is the thing that Notch Filter (notch filter). In contrast codefine to the band-pass filter, there is work to remove only certain frequency bands this. Although it is a filter relatively minor in the synthesizer, but nor is it rare. The Rather, it is a filter that will be used if you cut the hum noise bandwidth and cause howling at the scene of the PA, but it might be good even try when creating a unique sound even tonal . For now, you're good if you remember as much as "to cut the frequency range of specific". In addition, synthesizer, a thing called resonance in low-pass filter is equipped with a particularly common. I think it underscores the vicinity "specific frequency" was the cut-off, this is a subject and bright impression, the impression that habit you increase the resonance. As you raise a large resonance, habit such as "Mya" codefine is emphasized, (there is also a filter codefine that does not oscillate in analog synth), the filter will use its own oscillation is increased up to a maximum codefine of the resonance Many of the filter of analog synth.
Waveform at the time of the oscillation codefine this is also possible to become a pure waveform sine wave, that is, not including harmonics, and if I plunged the CV of the keyboard to filter, to play the melody of the sine wave. By the way this technique, you can try physically and functionally in MS-20, but do you blame the oct / Hz system, I was not able to be a good setting. You sound a scale clean in this technique in the iMS-20 The person of the technique to make by cutting the harmonic low-pass filter a triangular wave is difficult early likely story is reproduced (or impossible?), a sine wave .
oscillation state this has resonance to fully open. I wrote has become the sine wave before, but the harmonics are included as you can see, it can not be said that the sine wave to be exact. Do not take a look at the oscilloscope codefine to the original both, but (it can be said that the original codefine If so, fidelity of the MS-20 software also is excellent) distortion might have occurred in the filter circuit perhaps you are writing I had thought, but the distortion if you're experiencing a filter circuit, I do Ja no distortion codefine if lowering resonance? I thought, and experiment to lower the resonance. Sound that seems to be a pure sine wave came out. Consent if it is this.
Incidentally, another study. If there are things (looking, curve) that the characteristics of the filter, depending on the characteristics of the filter, the degree of effectiveness when it is multiplied by the filter will be different. If there is a minimum codefine number of elements "Pole (Paul)" and is the curve of -24dB/oct -12dB/oct, if the 4-pole -6dB/oct, codefine if 2-pole if one pole. In the sense that the X dB / oct is that, to X dB per octave cut, it will be sharp curve as X increases.
Image thing for reference, was high-cut filter in sonnox oxford EQ + Filter. -6dB/oct, -18dB/oct, -36dB/oct. The important thing is, as the higher number, but that has become the curve of the sharp cut. And he is targeting a 4KHz about, but I pay attention to (the intersection of the red line and yellow line) the magnitude of the deflection of 8KHz of the octave. OK you know about sharp curve, level of 8KHz's is smaller. By the way, is the high-pass codefine -6dB/oct in the original codefine MS-20, a low-pass is -12dB/oct codefine According to the English version of wikipedia. High-pass with a gentle way of effectiveness, low pass is what a normal specs on, but you mentioned in individual subjectivity, but it seems (cut is good) so good to hear the specs or more. There is personality in the filter, how effectiveness is different of course if Chigae models in the same curve. It is a place very funny of them here, and analog synth. By tone curve also want to make the filter, ideal curve will be different. So, it is not at all in the story of whether bad 4-pole or 2-pole is good. In most sounds, -12dB/oct of 2-pole would be easy to use when limited to the low-pass filter. I think if Paul -24dB/oct 4 is an ideal a lot in some cases. 4-pole and 2-pole has become to choose many of the VA synth general, and 4-pole 2-pole, I feel a trend of design to choose from and the high-end relatively analog synth. It becomes the story of iMS-20 finally. codefine (High-pass filter low-pass the order through the filter) the high-pass filter and low-pass filter is installed in the MS-20. It is that it's good to say that the biggest feature of this synth, resonance that is also attached to the high-pass filter. Is a specification codefine for a relatively minority, this is OK to think and meaningful specification. Usually, "the troubled low-frequency goes out" or if, high-pass filter intended to be used in the case is referred to as "! Want to light sound" and thought of as a filter ancillary and say either. Why would an auxiliary?
It is true that there is a thing as a feature of the human ear, that, to determine the tone in the configuration of the harmonics when you listen to the sound, the role that low-pass filter that cuts the late overtones that characterize the tone will be larger You. So OK, there will be costs in the synth many, resonance has been omitted and could utilize applications that I wrote earlier high-pass filter against. It is about some rough cut-off value of the high-pass that stage 4 (JUNO-106 codefine to have a I so is, still is sufficient) Depending on the model, such as synths Roland.
Image analyzer'm not confusing, but it is the Husband sounding low-frequency buzzing If you play in this actually. With this setting, a large peak is able to 60Hz ~ 125Hz per. Another, MS-20 can control the depth of modulation from, EG2 MG to filter. Possible thing is often modulation control of the low-pass synth common, but is attached to the high-pass degrees of freedom is quite high. Moreover, control by patching as it may be, sounds fairly aggressive are available in the filter.
You have reached the end of the description of the filter above. I think I only read the article so far, and so play very well, including the patching. I think the meaning is also unknown, to come know, "Oh, I'm such Na these things" and while I touch at first. I think "Ron'yorishouko" and "Narero remember than" is it music anyway, but that theory is understood, and extend the expressive power of the synth also work efficiency gains occur it is also true.
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