ࡱ> 5@"bjbj22+XX6666L6:C}::::::::zzzzzzz$/~Rlz%M@::M@M@z::|qqqM@%::zqM@zqqqntt:: pW~6f^ tz}0C}t,}oJtt:x<&q=>:::zz35Dq5@5645 G5< K =0G=5B5 BEFORE YOU START #1548B5AL, GB> =0?@O65=85 =5>1E>48<>5 4;O 040?B5@0 A>2?0405B A =0?@O65=85< 2 A5B8. 715309B5 G@57<5@=>3> 402;5=8O =0 A>548=8B5;L=K5 HB5:5@K 8;8 ?5@5:;NG0B5;8. C4LB5 2=8<0B5;L=K ?@8 @01>B5 =0 1>;LH>9 3@><:>AB8  MB> <>65B ?>2@548BL 20HC 0:CAB8G5A:CN A8AB5<C. Filterbank <>65B 35=5@8@>20BL >G5=L =87:85 G0AB>BK. 5@54 ?@8<5=5=85< ?@>GB8B5 8=AB@C:F8N. MAKE SURE THE ADAPTER VOLTAGE COMPLIES WITH THE VOLTAGE OF YOUR AC POWER SUPPLY AVOID EXCESSIVE FORCE ON THE JACK CONNECTIONS OR KNOBS BE CAREFUL WITH YOUR SPEAKERS AT HIGH VOLUMES THE FILTERBANK CAN PRODUCE EXTREMELY LOW FREQUENCIES READ THE SAFETY INSTRUCTIONS 2545=85 PREFACE ON VERSION 2  ?5@2CN >G5@54L <=5 1K E>B5;>AL ?>1;03>40@8BL 2A5E, :B> ?@8>1@5; >@838=0;L=K9 FB. A5 :>=AB@C:B82=K5 70<5G0=8O 8 ?@54;>65=8O ?@825BAB2CNBAO 8 70AB02;ONB =0A ?@>4>;60BL @01>BC.  filterbank 2 HC< 70<5B=> C<5=LH5=, => =5 C40;5= A>2A5<. 5:>B>@K5 ?@540==K5 ?>:;>==8:8 AB0@>3> FB 2>7<>6=> ?>60;5NB >1 CB@0B5 CAB@>9AB2>< A2>53> ;>C-D09=>3> 72CG0=8O, >AB0;L=K5 65 CA;KH0B <=>65AB2> =>2KE =N0=A>2. / CAB0; 70I8I0BL 3@O7=>5 72CG0=85 D8;LB@10=:0. 0640O =>20O @07@01>B:0 8<55B A2>5 =5?>2B>@8<>5 72CG0=85, :>B>@>5, ?> <>5<C <=5=8N, =0 40==K9 <><5=B =081>;55 ?>4>945B 4;O 8A?>;L7>20=8O ?@8 A>740=88 <C7K:8. >5 >?@545;5=85 <C7K:8 >G5=L ;8G=>, =>, =5 A<>B@O =0 MB>, :064K9. :B> ?@8>1@5; sfb2 4>;65= 7=0BL, GB> =8 G8ABK9 24 18B=K9 F8D@>2>9 D8;LB@, =8 >48= 87 ?;038=>2 =5 8<5NB =8G53> >1I53> A MB>9 3@O7=>9 65;57=>9 :>@>1:>9. ;O ?@8<5@0: MB> =>@<0;L=>, GB> FB2 ?@>872>48B 1>;LH5 B0:B>2>3> HC<0, G5< FB1 2 >1;0AB8 =87:8E G0AB>B. > A@02=5=8N A ?@54K4CI59 <>45;LN, C FB2 C@>25=L @57>=0=A0 =0<=>3> 2KH5. First of all, I want to thank everybody who appreciated and bought the original FB. All the positive feedback is a welcome support that encourages us to carry on. On the filterbank 2 all over noise is reduced significantly, not removed. Some die-hard old FB freaks will regret the loss of this lo-fi, others will hear different new things. Im tired of defending the noise behaviour of the filterbank. Every newer design has its own specific sound, which is to my feeling the best so far with this kind of technology to use in music. My definition of music is very personal, but nevertheless everybody that considers buying the sfb2, should know by now that a clean 24-bit DSP filter nor any plug-in has anything in common with this dirty hardware box. E.g. it is normal that filter 2 produces more clock noise than filter 1 in the low freq settings. As with the model before, filter2 has more resonance than filter1. -" !", FCC WARNING 0==>5 CAB@>9AB2> 8A?>;L7C5B M;5:B@8G5AB2> 8 <>65B 87;CG0BL M;5:B@><03=8B=>5 ?>;5, GB> ?@8 =5?@028;L=>< 8A?>;L7>20=88 <>65B 2K7K20BL ?><5E8 2 @048>480?07>=5. #AB@>9AB2> 1K;> ?@>B5AB8@>20=> 8 ?@87=0=> C4>2;5B2>@ONI8< B@51>20=8O< 4;O M;5:B@>==KE CAB@>9AB2 :;0AA0 , 2 A>>B25BAB288 A ?C=:B>< J G0AB8 15 ?@028; ?> M;5:B@>157>?0A=>AB8 FCC. This equipment generates, uses and can radiate radio frequency energy, and if not installed and used in accordance with the instructions manual, may cause interference to radio communications. It has been tested and found to comply with the limits for Class A computing device persuant to Subpart J of Part 15 FCC Rules, (according to EN 55103-1 standard ) which are designed to provide reasonable protection against such interference when operated in a commercial environment. Operation of this equipment in a residential area is likely to cause interference, in which case the user at his own expence will be required to take whatever measures may be required to correct the interference.  INTRODUCTION '" " FILTERBANK   + "  !,",? WHAT IS THE FILTERBANK AND WHAT CAN YOU USE IT FOR? -B> 381:89 ?@>F5AA>@ MDD5:B>2 A >25@4@092>< 8 72CG0=85< ;0<?>2>3> E0@0:B5@0, 0 B0:65 A 12 C?@02;O5<K<8 ?> MIDI ?0@0<5B@0<8.  D8;LB@C <>65B ?>4:;NG0BLAO ;N1>9 8AB>G=8: A83=0;0, :0: 2 ABC488, B0: 8 2> 2@5<O 682>3> 2KABC?;5=8O, => >G5284=> GB> 157 2=5H=53> 8AB>G=8:0 A83=0;0 2 40;5:> =5 C545B5. >:C?:0 40==>3> CAB@>9AB20 4>2>;L=> 40;L=>284=>5 @5H5=85, B0: :0: >=> =5 7028A8B >B A:>@>AB8 2KG8A;5=8O F8D@>2>3> ?@>F5AA>@0 8 A>E@0=8B A2>N F5=C =0 <=>385 3>4K. It is a versatile filter effect box with tube sound overdrive, 12 parameters of it are MIDI controllable. Any sound source, live or in studio can be used, but it s obvious that you won t get far without an external sound source. It's a smart decision to buy this thing, because it is not based on processor calculation speed, it will keep it's value for many years. 45 <>6=> ?@8<5=OBL FB: - 82K5 2KABC?;5=8O <C7K:0=B>2 8 4846552. -  :0G5AB25 <>4C;O 2 <>4C;L=KE A8AB5<0E. -  :0G5AB25 A?5F80;L=>3> MDD5:B0 ?@8 A2545=88 =0 ABC488. - ;O C;CGH5=8O BCA:;>3> 72CG0=8O F8D@>2>9 0??0@0BC@K. APPLICATIONS INCLUDE: - Live performance of music & dj's. - Expansion module for modular synthesizer systems. - Mix effect or specialised equalisation in studio. - Enhancement of dull sounding digital gear. - Guitar overdrive effect box... N1K5 8AB>G=8:8 A83=0;0 <>3CB ?>4:;NG0BLAO : FB, =0?@8<5@: !8=B570B>@/ !M<?;5@/ 8B0@0/ 0A-38B0@0/ 8:@>D>=/ CD-?@>83@K20B5;L/ KE>4 =0 =0CH=8:8 (=0 ;N1>< CAB@>9AB25)/ @0<<0H8=0/ >AK; =0 MDD5:BK/ ?80=8=> Rhodes/ >@30= Hammond/ !0:A>D>= 8 B.4. ALL SOUND SOURCES ARE USABLE ON THE INPUT, E.G.: Synth / Sampler / Guitar / Bass Guitar / Microphone / CD Player / Any headphone output (those are often free and accessible) Drummachine / Effect Send / Rhodes Piano / Hammond Organ / Saxophone..... -B> CA:>@5==K9 :C@A 4;O 2A5E 0A <C7K:0=B>2, :B> =5=02848B B@0B8BL 2@5<O, G8B0O @C:>2>4AB20 ?>;L7>20B5;O. %>BO MB> =5 B0:0O C6 ?;>E0O 845O ?>=OBL =07=0G5=85 :064>3> ?5@5:;NG0B5;O, GB>1K ?>;=>ABLN :>=B@>;8@>20BL ?@>F5AA A>740=8O 72C:0. -B> ;53G5, G5< :065BAO  =5 15A?>:>9B5AL. Sherman filterbank (40;55 4;O :@0B:>AB8 FB)  MB> <C7K:0;L=K9 8=AB@C<5=B, A :>B>@K< 0< =5>1E>48<> ?>AB>O==> B@5=8@>20BLAO, 5A;8 K E>B8B5 8A?>;L7>20BL 25AL 53> ?>B5=F80;. A:>@5 K ?>9<5B5, GB> FB 25;8:>;5?=K9 8=AB@C<5=B 4;O 682KE 2KABC?;5=89. 48==04F0BL C@>:>2 40==>3> @C:>2>4AB20 =5>1E>48<> 87CG8BL >48= 70 4@C38<, ?@>?CA:0O GB>-;81>, B>;L:> C15482H8AL, GB> 2A5 ?@545;L=> OA=>. > =0 A0<>< 45;5 C@>:>2 A 1 ?> 8 4>AB0B>G=>, 4;O B>3> GB>1K =0G0BL @01>B0BL A FB. >28G:0< ;CGH5 ?@>?CA:0BL G0AB8 b. 1@0B8B5 2=8<0=85, GB> C FB =5B :=>?:8 >B:;NG5=8O ?8B0=8O. = ?>B@51;O5B <5=LH5 <>I=>AB8, G5< >1KG=K9 02B>>B25BG8:, B5< 1>;55 GB> 1>;LH8=AB2> <C7K:0;L=KE ABC489 >1>@C4>20=> 2K:;NG0B5;O<8. This is a crash course for all you musicians who hate wasting time reading manuals. However, it's a good idea to understand the actual function of a certain knob in order to produce a sound that you have total control over. It is easier than it looks, don't worry. The sherman filterbank (FB from now on) is a musical instrument you need to practice with if you want to release its full potential. Soon you will find the FB an excellent and reliable live instrument. The 11 lessons in this booklet must be performed one by one, only skipping to the next one if you feel fully familiarized with it. But in fact,lesson 1 to 8 is all you need to start working. As a beginner it's better to skip the b parts. Note there is no power-on switch. The FB consumes less power than an average answering machine, and most music set-ups & studios have a general power switch. !  TABLE OF CONTENTS 0 START '........................................................ 6 1 BASICS - EXPLORING FILTER 1 !+  $," 1 ............... 8 2 SYNC MODE - FILTER 2  !% &  $," 2 ........................... 12 3 OUT 1 - COMBINING THE TWO FILTERS +%1  !! #% $," ... 14 4 LFO - LOW FREQUENCY OSCILLATOR '   "   '!""+ ...... 20 5 AR - VOLUME MODULATION GENERATOR 22 6 ADSR - ENVELOPE FOLLOWER ................ 24 7 FM - FREQUENCY MODULATION ..'  '!""/ #/&/........... 36 8 AM - AMPLITUDE MODULATION...  "#/ #/&/. 38 9 TRANSPOSE - TRACKING ............... 40 10 EXTERNAL INPUTS .....( %+................... 42 11 MIDI ................................MIDI................ 44 12 LINKING MORE FILTERBANKS.! !,% FB..... 52 HISTORY & PHILOSOPHY ....!" /  $!$/.......... 54 TROUBLESHOOTING.....#!"  ................... 56 MEMORY NOTATION SHEET .......... 57 START '   -"% # %& . ABOUT THESE LESSONS... #AB@08209B5AL ?>C4>1=55 @O4>< A 20H59 ?5@A>=0;L=>9 ABC4859, 2:;NG5==K< FB, ?>;>682 40==>5 @C:>2>4AB2> ?5@54 A>1>9. @0I09B5 ?>B5=F8><5B@K 8=AB@C<5=B0 A>3;0A=> C:070=8O< 2 C@>:5. >4:;NG8B5 8AB>G=8: A83=0;0 =0 2E>4 FB, =0?@8<5@ A8=B570B>@ 8;8 AM<?;5@. KE>4 D8;LB@0 ?>4A>548=8B5 : 20H59 !. 1@0B8B5 2=8<0=85 =0 @53C;OB>@ 2 ?@02>< 25@E=5< C3;C A >1>7=0G5=85< BYP <> EFF, A ?><>ILN =53> CAB0=02;8205BAO 10;0=A <564C 2E>4=K< A83=0;>< 8 >1@01>B0==K<. K <>65B5 8A?>;L7>20BL 53> 4;O A@02=5=8O 2E>4=>3> 8 >1@01>B0==>3> A83=0;>2. >25@=8B5 53> ?> G0A>2>9 AB@5;:8 4> C?>@0 8 >AB02LB5 2 B0:>< ?>;>65=88 =0 2A5 2@5<O C@>:>2. A;8 72C: =5 2>A?@>872>48BAO, ?@>25@LB5 2E>4=>9 8AB>G=8: A83=0;0, :015;8 8 HB5:5@K, C1548B5AL, GB> 8=48:0B>@ A83=0;0 703>@05BAO, 0 B0:65 CAB0=>28B5 2@5<O 0B0:8 AR-35=5@0B>@0 @02=K< =C;N 8 >B@53C;8@C9B5 G0AB>BC A@570 D8;LB@0. 5 ?>AK;0;8 ;8 K =0 CAB@>9AB2> MIDI A>>1I5=8O, MB> <>3;> ?>A;C68BL ?@8G8=>9 >BACBAB28O 72C:0. 0 A09B5  HYPERLINK "http://www.sherman.be" www.sherman.be K, 2 @0745;5  manual sound examples 5ABL 72C:>2K5 ?@8<5@K, 0 B0:65 2845>C@>:8. Make yourself comfortable with this manual in front of you, your setup and the FB powered on. Set all knobs as indicated on the front panel drawings whenever it is required in a lesson. Feed a signal source to the input, e.g. a synth or a sampler. Connect the main output to your sound system. Notice the knob in the right top corner called BYP <> EFF, it sets the balance between the incoming signal and the processed signal. Using this knob you can always compare the original signal with the processed signal. Turn it completely clockwise during the lessons. If no sound appears, check your input signal source, jack cables, make sure the trigger indicating lights are working, set the attack on the AR generator to zero and adjust the frequencies. Didn't you send a MIDI volume message ? It can mute the outputs. On the website www.sherman.be you can find a section  manual sound examples as well as an illustrative video.    - RACK MOUNTING !:>1K 4;O :@5?;5=8O 2 @M: <>3CB 1KBL ?@8:@CG5=K : CAB@>9AB2C B0: :0: ?>:070=> =0 @8AC=:5. AB02LB5 2 @M:5 =5<=>3> <5AB0 =04 CAB@>9AB2>< 8;8 :@5?8B5 53> =025@E @M:0, GB>1K 8<5BL 4>ABC? : 2E>40< 8 2KE>40<. @0A?>;>65==K< =0 704=59 ?0=5;8. The 2 rack mount hooks can be screwed on the sides of the unit as shown here. Leave some space above the unit or put on top, in order to reach the connections on the back. #  !1 LESSON #1 !+  $,"  1 BASICS - EXPLORING FILTER 1 >H;8B5 =0 2E>4 CAB@>9AB20 ?@>4>;68B5;L=K9 A83=0; (=0?@8<5@, ?8;>>1@07=CN 2>;=C 8;8 AE>689 72C:, A>45@60I89 1>;LH>5 :>;8G5AB2> 30@<>=8:). >4A>548=8B5 : 20H59 ! B>;L:> >A=>2=>9 2KE>4 CAB@>9AB20. 5 CAB0=02;8209B5 3@><:>ABL 20H59 ! =0 <0:A8<C<. #25;8G8209B5 C@>25=L % A83=0;0 4> B5E ?>@, ?>:0  A25B>48>4=KE 8=48:0B>@0 =0 FB =5 703>@OBAO. >340 ?@>4>;68B5;L=K9 A83=0; ?>ABC?05B =0 2E>4 FB, 40==K5 8=48:0B>@K 4>;6=K 3>@5BL 2 B5G5=85 4;8B5;L=>3> 2@5<5=8 (@8A.2). "5?5@L ?>A<>B@8B5 =0 @8A.3 8 =0AB@>9B5 ?>B5=F8><5B@K B0: :0: ?>:070=> =0 @8AC=:5. 7CG8B5 A;54CNI85 @53C;OB>@K: '0AB>B0 A@570 (A<. B0:65 AB@. 10) 57>=0=A $'/ ! $," / $' (@8A.4) >@@5:B8@>2:0: - >;>A>2>9 D8;LB@/ 0/ - >;>A>2>9 D8;LB@ + $' 8 $' (@8A.4) 07=0G5=85 MB>3> @53C;OB>@0  1>;55 C4>1=>5 ?5@5:;NG5=85 <564C @568<0<8 D8;LB@0 ($'/ >;>A>2>9/ $'). K <>65B5 7040BL 2>?@>A: ?>G5<C 1K =5 A45;0BL B@8 :=>?:8: >4=C 4;O $', 2B>@CN 4;O >;>A>2>3> @568<0 8 B@5BLN 4;O $'? A5 >G5=L ?@>AB>: ?5@5:;NG0BL @568<K =0<=>3> 1KAB@55 8 C4>1=55 >4=8< @53C;OB>@><, 0 =5 B@5<O @07=K<8 :=>?:0<8. 0G8=0NI85 <>3CB >AB028BL 40==K9 @53C;OB>@ 2 A@54=5< ?>;>65=88 (0). "5?5@L ?>25@=8B5 @53C;OB>@ Lp/Bp/Hp 2 A@54=55 ?>;>65=85 (>;>A>2>9 @568<). >?@>1C9B5 C<5=LH8BL 2KE>4=>9 A83=0; D8;LB@0 1, ?>2>@0G820O @53C;OB>@ :>@@5:B8@>2:8 2;52>. "0:8< >1@07><, K <>65B5 ?>=878BL 2KE>4=>9 C@>25=L D8;LB@0 1 4> =C;O (?@>ABK5 2KG8A;5=8O ?>:07K20NB: Bp - Bp = 0). >340 K ?>2>@0G8205B5 @53C;OB>@ 2 ?>;>65=85 -Bp+HpLp 8 C<5=LH05B5 C@>25=L @57>=0=A0, A >;>A>2K< D8;LB@>< ?@>8AE>48B B>65 GB> >?8A0=> 2KH5, 53> C@>25=L ?>=8605BAO 4> =C;O, => B5?5@L 2 F5?8 ?@8ACBAB2CNB $'  $' (Lp+Hp), >1@07CO B0: =07K205<K9 " + @568< D8;LB@0. 7<5=OO G0AB>BC A@570 D8;LB@0, K ?>;CG05B5 GB>-B> 2@>45 MDD5:B0 DM975@0. -B>B @565:B>@=K9 @568< <>65B 8A?>;L7>20BLAO 4;O 2K@570=8O >G5=L C7:>9 >1;0AB8 A?5:B@0 A83=0;0, =0?@8<5@ =565;0B5;L=CN 30@<>=8:C 2 72CG0=88 <0;>3> 10@010=0, 8;8 4065 3C45=85. Send a continuous signal from the signal source (e.g. a sawtooth wave or a similar sound containing enough high harmonics) to the input jack. Connect only the main output to your sound system. Don't turn your sound system up to its maximum volume yet. Turn up the INPUT level just high enough to make BOTH trigger indicating lights react to the signal source. When a continuous tone enters the FB, these lights must light up continuously too (fig.2). Now look at fig. 3 and set the marked knobs to the indicated positions. Start getting familiar with the following knobs : 1) Frequency (see also page 10 ) 2) Resonance 3) Low pass / Band pass / High pass (fig.4) 4) The correction knob : - Band pass / 0 / - Band pass +Low pass & High pass (fig.4) The idea behind this knob was to overcome the limitations of the Lp/Bp/Hp balance knob. You may ask yourself : why not three knobs, one for Lp, one for Bp and one for Hp? Simple: suppose you turn the Lp/Bp/Hp balance knob quickly from left to right and back. Now imagine trying to achieve the same effect with three separate knobs... Beginners can leave this correction knob in the 0 (mid) position. now set Lp/Bp/Hp on Bp (mid) position. Try to minimize the filter 1 output by turning the correction knob to the left. This way you can turn down the filter output to almost zero, because a simple calculation learns that Bp - Bp = 0 ! When you turn the knob to -Bp+HpLp and turn down reso, the same as above happens with the Bp; it is turned to zero, but now Lp+Hp are present, making a so called NOTCH filter. Changing the frequency provides a kind of phasing effect. This notch filter can be used for suppressing a very small part of the frequency range, e.g. an ugly harmonic in a snare drum, or even hum. A;8 K E>B8B5 ?@>?CAB8BL G5@57 D8;LB@ 25AL A?5:B@ (Lp + Bp + Hp): CAB0=>28B5 @53C;OB>@ Lp Bp Hp 2 ?>;>65=85 Bp, 0 @53C;OB>@ :>@@5:F88 =0 ?>;>28=C @0AAB>O=8O 4> 7=0G5=8O -Bp+LpHp. "0:8< >1@07><, C 0A ?>;CG8BAO A;54CNI0O D>@<C;0: Bp + 0.5(-Bp+Lp+Hp) = Bp - 0.5Bp + 0.5Lp + 0.5Hp = 0.5Bp + 0.5Lp + 0.5 Hp = 0.5(Bp + Lp + Hp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ypass-Effect. "@5E?>78F8>==K9 ?5@5:;NG0B5;L =0 2E>45 ?>72>;O5B CA8;8BL 2KA>:85 G0AB>BK (Hi boost), GB> ?>;57=> ?@8 @01>B5 A> A;01K<8 2E>4=K<8 A83=0;0<8, 8;8 65 >A;018BL 8E (Hi cut), GB> <>65B ?>=04>18BLAO ?@8 @01>B5 A >G5=L A8;L=K< 2E>4=K< A83=0;><. @C3>9 B@5E?>78F8>==K9 ?5@5:;NG0B5;L <>65B @01>B0BL 2 42CE @568<0E (?><8<> bypass  A@54=55 ?>;>65=85)  MB> @568< "Sensitrig", :>B>@K9 45;05B B@8335@ D8;LB@0 2 420 @070 1>;55 GC2AB28B5;L=K< : 2E>4=><C A83=0;C A> A;01>9 0B0:>9 (=0?@8<5@ AB@C==K5 8=AB@C<5=BK), 0 B0:65 @568< "Limit", :>B>@K9 >AB02;O5B 1>;LH5 ?@>AB@0=AB20 4;O A0<>2>71C645=8O A83=0;0, =0?@8<5@ 2 A;CG05 5A;8 2E>4=>9 A83=0; G5@5AGC@ ?5@53@C65=. @8 @01>B5 2 >1;0AB8 =87:8E G0AB>B <>65B 2>7=8:0BL =51>;LH>9 ?@872C: 888 =0 2KA>:8E. -B> A>25@H5==> =>@<0;L=> 4;O Filterbank. 5 15A?>:>9B5AL, >= =5 A;><0=. 0==K9 MDD5:B =081>;55 70<5B5= ?@8 ?5@5A5G5=88 @01>G8E >1;0AB59 42CE D8;LB@>2. >340 ?5@5:;NG0B5;L harmonics =0E>48BAO  2 ?>;>65=88  free , ?@872C: 888 2 D8;LB@5 1, 2K720==K9 G0AB>B>9 A@570 D8;LB@0 2,<>65B 1KBL C<5=LH5= ?CB5< =51>;LH>3> C25;8G5=8O G0AB>BK A@570 D8;LB@0 2. A;8 2K E>B8B5 @01>B0BL 2 >G5=L =87:>9 >1;0AB8 A?5:B@0, ?@872C: 888 <>65B 1KBL ;53:> C<5=LH5= ?CB5< C<5=LH5=8O 2KA>:8E G0AB>B =0 20H5< <8:H5@5. !0<0O =87:0O >1;0ABL A?5:B@0. 0H5 ?@54C?@5645=85 >?0A=0O >1;0ABL A?5:B@0 - =5 HCB:0. 0BCH:8 3@><:>3>2>@8B5;59 <>3CB ?5@53>@5BL, 5A;8 1C4CB 42830BLAO A;8H:>< <54;5==>, 0 B0:65 87-70 =54>AB0B:0 25=B8;OF88. -B> <>65B ?@>87>9B8 =0 2KA>:>9 3@><:>AB8 8 =0 >G5=L =87:8E G0AB>B0E, =5 2>A?@8=8<05<KE CE><. FB ;53:> 35=5@8@C5B G0AB>BK =865 1 F. 86=OO G0AB>B0 <>65B <5=OBLAO 2 7028A8<>AB8 >B ?>3>4=KE CA;>289. -B> =54>AB0B>: 40==>9 0=0;>3>2>9 A8AB5<K, F5=0, :>B>@CN ?@8E>48BAO ?;0B8BL 70 H8@>:89 A?5:B@ @01>G8E G0AB>B. 86=OO G0AB>B0 A?5:B@0 <>65B 1KBL 87<5=5=0. ;O MB>3> >B:@>9B5 Filterbank 8 =0948B5 @53C;8@>2>G=K5 3=5740 ?><5G5==K5  F1 8  F2 . ! ?><>ILN <0;5=L:>9 >B25@B:8, CAB0=>28B5 =86=NN G0AB>BC 4;O :064>3> D8;LB@0 =0 20H5 CA<>B@5=85. >60;C9AB0 =5 B@>309B5 4@C385 @53C;8@>2>G=K5 3=5740! Suppose you want all frequencies to pass (Lp + Bp + Hp): set the Lp Bp Hp balance on Bp and the correction knob halfway -Bp+LpHp. This gives following calculation : Bp + 0.5(-Bp+Lp+Hp) = Bp - 0.5Bp + 0.5Lp + 0.5Hp = 0.5Bp + 0.5Lp + 0.5 Hp = 0.5(Bp + Lp + Hp) You can make up for the weaker output with more input. Fiddle around with these knobs until you know what to expect from them! By turning the input level up, the sound will start to distort, with more harmonics being added at the input stage. Always remember that too much input can push away the resonance peaks, giving you the impression that the resonance knobs don't work properly. Try it out, it's one of the features you should be very familiar with; on the thin line between producing an over-the-top distorted racket and a noisy sound with low dynamics, the FB works best. It's up to you to find the right equilibrium. Keep in mind that you always can adjust the balance between the processed signal and the original signal, or compare them with the Bypass-Effect knob. The 3-way switch on the input stage allows Hi boost (effective at low input level) as well as Hi cut (effective at high input level) The 3-way switch allows "Sensitrig" (which makes the triggering twice as sensitive for, e.g. clean string pad filtering) and "Limit", which leaves the filters more breathing room for selfoscillation if the input stage is extremely overdriven. HI BOOST HI CUTIn low frequency settings, a weak high eee sound can occur. This is perfectly normal and typical for the Filterbank. Dont worry, its not broken. Its mainly audible as as crossing over between both filters. When the harmonics switch is not in the free position, the eee sound in filter 1, caused by freq of filter 2 can be avoided by increasing the frequency of filter 2 a bit, as this filter 2 setting is not significant anyway. If you want to work in this sub bass range, the "eeee" can be easily suppressed by turning down the hi eq on you mixing console. LOWEST FREQUENCY RANGE Our warning Dangerous frequency range is not a joke. Speaker coils can actually burn when they move too slow, and have lack of ventilation. This can happen at high volume and unhearable low frequency. The FB can easily produce frequencies below 1 Hz. The bottom frequency can change in different environment temperatures. This is a disadvantage of this analog system, the price to be payed for an extreme range. By inside adjustment, this bottom frequency can be changed. To do this, you must open the Filterbank and look for the trim holes marked F1 an F2. With a tiny screwdriver, you can re-adjust the bottom frequency of each filter to your needs. Please don t touch any other trim holes ! SENSITRIG LIMIT #  !2 LESSON #2  !% &  $,"  2 SYNC MODE - FILTER 2 #<5=LH8B5 2KE>4=>9 A83=0; A D8;LB@0 1 (bp-bp). #AB0=>28B5 @53C;OB>@ PAR <> SER 2 ?>;>65=85 PAR. #AB0=>28B5 @53C;OB>@ harmonics 2 ?>;>65=85 "free". 7CG8B5 =0AB@>9:8 D8;LB@0 2, >=8 ?>;=>ABLN ?>2B>@ONB 0=0;>38G=K5 =0AB@>9:8 D8;LB@0 1. 0B5< CAB0=>28B5 @53C;OB>@ harmonics 2 ?>;>65=85 "1". 03>@8BAO A25B>48>4 3>;C1>3> F25B0  MB> >7=0G05B, GB> D8;LB@ 2 @01>B05B 2 @568<5 A8=E@>=870F88 A D8;LB@>< 1.  MB>< @568<5 G0AB>B0 A@570 D8;LB@0 2 C?@02;O5BAO D8;LB@>< 1, 8 A>>B25BAB25==> @53C;OB>@K D8;LB@0 2 frequency 8 ADSR amount >B:;NG0NBAO (K <>65B5 CAB0=>28BL 8E =0 <8=8<C< (fig.5)). Turn down the output of filter 1 (bp-bp). Set the PAR <> SER knob to par. Set the harmonics rotary switch to "free". Try out the settings of filter 2 ; it behaves in a similar way as filter 1. Now set the harmonics rotary switch to "1". The blue light will light up, indicating that filter 2 is in sync with filter 1. This means that the full frequency control of filter 2 is taken over by filter 1. In sync mode the frequency and ADSR amount knob of filter 2 have no function at all, and it's best to set them at minimum. (fig.5) #' #/"  HARMONICS: LEARNING HARMONICS: #AB0=>28B5 @53C;OB>@ Reso2 =0 <0:A8<C<, 2K15@5B5 @568< ?>;>A>2>3> D8;LB@0 (Bp) 8 =0AB@>9B5 D8;LB@ 2 (?@8 ?><>I8 @53C;OB>@0 G0AB>BK A@570 D8;LB@0 1) B0:8< >1@07><, GB>1K =0 2KA>:8E G0AB>B0E 1K; A;KH5= @57>=0=A. 0B5< ?@>25@LB5 =86=85 30@<>=8:8, CAB0=>282 @53C;OB>@ harmonics 2 :@09=55 ?@02>5 ?>;>65=85. ;O B>3> GB>1K ;CGH5 @07>1@0BLAO A 30@<>=8:0<8, ?>4<5H8209B5 A83=0; A D8;LB@0 1 (@53C;OB>@ :>@@5:F88 CAB0=>28B5 2 A@54=55 ?>;>65=85, Bp) ?@8 <0:A8<0;L=>< C@>2=5 @57>=0=A0. @>25@LB5 30@<>=8:8 5I5 @07 8 87CG8B5 72CG0=85 CAB@>9AB20 =0 @07=KE 30@<>=8G5A:8E 8=B5@20;0E, 2@0I0O @53C;OB>@ freq 1. Set reso filter 2 to maximum, select Bp and tune filter 2 (via the filter 1 frequency knob) so that a high tone resonance can be heard. Now check the lower harmonics by turning the rotary switch to the right. In order to get a better idea of these harmonics, mix filter 1 on too (correction knob at middle position, bp) with its resonance setting to maximum as well. Check the harmonics once again and get familiar with the typical sound of the different harmonic intervals while sweeping with the freq 1 knob. #  !3 LESSON #3 +% 1  * #% $,"  OUT 1  COMBINING THE TWO FILTERS 07=8F0 <564C ?>A;54>20B5;L=K< 8 ?0@0;;5;L=K< 2:;NG5=85<: !CI5AB2CNB 420 >A=>2=KE A?>A>10 <0@H@CB870F88 A83=0;0 2 D8;LB@0E (fig.7): The difference between serial and parallel: There are two fundamental ways to route the signal through the filters (fig.7):  ,+: PARALLEL: #AB0=>28B5 @53C;OB>@ PAR <> SER 2 :@09=55 ;52>5 ?>;>65=85. E>4=>9 A83=0; =0?@02;O5BAO =0 D8;LB@ 1 8 D8;LB@ 2, 70B5< 2KE>4=K5 A83=0;K A 42CE D8;LB@>2 <8:H8@CNBAO 8 =0?@02;ONBAO =0 >A=>2=>9 2KE>4 VCA (main out). A;8 K ?>4:;NG8B5 GB>-;81> : 2KE>4C 1 (out 1), B> 2KE>4=>9 A83=0; A D8;LB@0 1 ?@>?045B 87 >1I53> <8:A0 =0 3;02=>< 2KE>45 (main output).  MB>< A;CG05 =0 >A=>2=>< 2KE>45 (main output) 1C45B ?@8ACBAB2>20BL A83=0; B>;L:> A D8;LB@0 2. KE>4=>9 A83=0; D8;LB@0 1 2A5340 ?>AK;05BAO =0 2KE>4 1 CAB@>9AB20 (out 1). -B> >7=0G05B GB> 2K <>65B5 @0745;8BL 2KE>4=K5 A83=0;K A 42CE D8;LB@>2. @>25@LB5, :0: MB> @01>B05B, ?>4:;NG82 : 2KE>4C 1 20HC 0:CAB8G5A:CN A8AB5<C 8 A?0=>@0<8@>202 A83=0; A 2KE>40 1 2;52>, 0 A83=0; A >A=>2=>3> 2KE>40 (main out) 2?@02> (fig.8). #AB0=>28B5 @53C;OB>@ harmonics 2 ?>;>65=85 "free" 8 ?>83@09B5AL A G0AB>B0<8 A@570 >1>8E D8;LB@>2. >?@>1C9B5 @07;8G=K5 =0AB@>9:8 @53C;OB>@0 switch, 0 B0:65 25;8G8=K @57>=0=A0. Turn the PAR <> SER knob completely anti-clockwise. The input signal is fed directly to filter 1 and filter 2. The output of the two filters is mixed and fed through the main out VCA. If you connect a jack to the out 1 however, the output of filter 1 will disappear from the main output. In this case, the main out VCA only has filter 2 as input. The output of filter 1 always goes to out 1. This means that you can separate the output of the two filters completely. Check this out by connecting out 1 to your sound system as well and by panning OUT 1 and MAIN OUT vca in stereo.(fig.8) Now set the harmonics switch to "free" and toy around with the two filter frequencies. Try different resonance amounts as well as different harmonic switch settings. !",+: SERIAL: #AB0=>28B5 @53C;OB>@ PAR <> SER 2 :@09=55 ?@02>5 ?>;>65=85. B:;NG8B5 ?@>2>4 >B 2KE>40 1 (out 1). E>4=>9 A83=0; ?>ABC?05B B>;L:> =0 D8;LB@ 1. 0B5< A83=0; A 2KE>40 D8;LB@0 1 ?>ABC?05B =0 D8;LB@ 2. ! D8;LB@0 2 A83=0; =0?@02;O5BAO =0 >A=>2=>9 2KE>4 (main out). G5284=>, GB> 5A;8 >48= 87 D8;LB@>2 =5 ?@>?CA:05B A83=0;, B> =0 >A=>2=>< 2KE>45 (main out) A83=0;0 B0:65 =5 1C45B. A;8 D8;LB@ 1 8 D8;LB@ 2 =0AB@>5=K =0 >4=C G0AB>BC (MB>3> ;53:> 4>18BLAO CAB0=>282 7=0G5=85 A8=E@>=870F88 D8;LB@0 2 2 ?>;>65=85  1 ), B> AB5?5=L D8;LB@0F88 A8;L=55. 20 D8;LB@0 23> ?>@O4:0 (12 4/>:B.) ?@8 ?>A;54>20B5;L=>< 2:;NG5=88 >1@07CNB D8;LB@ 43> ?>@O4:0 (24 4/>:B.)(fig.9). 0715@8B5AL A @07;8G=K<8 :><18=0F8O<8 =0AB@>5: 4;O >1>8E D8;LB@>2 ?@8 ?>A;54>20B5;L=>< 2:;NG5=88. 0?@8<5@: .Lp 1 + Lp 2 Bp 1 + Bp 2 Lp 1 + Bp 1 + Lp 2 + Bp 2 Hp 1 + Hp 2 8 B.4. (fig.9). >?@>1C9B5 B0:65 MB8 :><18=0F88 4;O @07;8G=KE C@>2=59 @57>=0=A0. 0B5< ?>2B>@8B5 2KH5>?8A0==K5 459AB28O 4;O @568<0 A8=E@>=870F88  1,5 (:28=B0 2=87). >?@>1C9B5 @07;8G=K5 7=0G5=8O C@>2=O @57>=0=A0 8 A@02=8B5 A ?0@0;;5;L=K< 2:;NG5=85<. 07C<55BAO K >1=0@C68B5 =5:>B>@K5 :><18=0F88 =0AB@>5:, :>B>@K5 404CB ?;>E85 @57C;LB0BK ?@8 ?>A;54>20B5;L=>< 2:;NG5=88, =0?@8<5@ Lp1 + Hp2 A<. fig 10, 11, 12. !CI5AB2C5B B0: <=>3> =0AB@>5: D8;LB@>2, GB> =52>7<>6=> 8E 2A5 ?5@5G8A;8BL, => B> GB> K 459AB28B5;L=> 4>;6=K ?>=8<0BL, MB>, =0?@8<5@, ?>G5<C ?@8 Hp 1 + Lp 2 2 @568<5 A8=E@>=870F88 8 ?@8 ?>A;54>20B5;L=>< 2:;NG5=88 D8;LB@ =5 ?@>?CA:05B A83=0;. -B> >1CA;>2;5=> B5< GB> 2 @568<5 A8=E@>=870F88 G0AB>B0 A@570 D8;LB@0 1 >= G0AB>BK A@570 D8;LB@0 2 (freq 1 >= freq 2). K =8:>340 =5 ?5@5AB0=5B5 A>25@H5=AB2>20BLAO 2 MB><. Turn the PAR <> SER knob completely clockwise. Disconnect the jack from OUT 1. The input signal goes to filter 1 only. The output signal of filter 1 goes to filter 2. Filter 2 goes to the MAIN OUT vca. Obviously, if one of the filters doesn't pass the signal on, nothing will appear at the MAIN OUT. If filter 1 and filter 2 are tuned equally (this is very easily done by setting filter 2 to sync mode "1") the filter effect is stronger. Two 12 db filters in series provide a 24 db filter (fig.9). Get familiar with the output combinations for both filters in serial mode. Start by using identical settings, e.g. Lp 1 + Lp 2 Bp 1 + Bp 2 Lp 1 + Bp 1 + Lp 2 + Bp 2 Hp 1 + Hp 2 and so on... (fig.9) Check these settings also with different reso positions. Now repeat these combinations with sync mode 1.5 (quint down). Try different reso settings and check the difference with parallel mode. No doubt you will find combinations giving poor results in serial mode, like Lp1 + Hp2. see figs 10, 11 and 12. There are so many filter curve possibilities that it's impossible to list them all, but what you should understand is why e.g. Hp 1 + Lp 2 in sync and in serial mode theoretically let no sound through: Because in sync freq 1 >= freq 2. This lesson never finishes, you can only get more experienced. #  !4 LESSON #4 '   "   '!""+. LFO - LOW FREQUENCY OSCILLATOR >409B5 =0 2E>4 FB >4=>@>4=K9 A83=0;, =0?@8<5@ >@30= 8;8 AB@C==K5. ><=8B5, GB> A25B>48>4=K9 8=48:0B>@ 703>@05BAO, :>340 FB 0:B825=. !>548=8B5 2KE>4 1(out1) 8 >A=>2=>9 2KE>4 (main out) CAB@>9AB20 A 0H59 !, @072548B5 8E ?> ?0=>@0<5 2;52> 8 2?@02> A>>B25BAB25==> 8 CAB0=>28B5 @53C;OB>@ PAR <> SER 2 ?0@0;;5;L=K9 @568<. #AB0=>28B5 @53C;OB>@ harmonics 2 ?>;>65=85  free 8 =0AB@>9B5 4;O >1>8E D8;LB@>2 1>;LH85 7=0G5=8O @57>=0=A0, ?@8<5@=> =0 >4=>9 G0AB>B5 A@570. 0B5< ?>25@=8B5 @53C;OB>@ LFO >B =C;O 2?@02>. 10 D8;LB@0 4>;6=K >B@5038@>20BL >48=0:>2> =0 LFO. 1@0B8B5 2=8<0=85 =0 420 A25B>48>4=KE 8=48:0B>@0 LFO. =8 ?><>30NB >BA;56820BL 72C:>2K5 2>;=K >G5=L =87:>9 G0AB>BK. 7CG8B5 @07;8G=K5 G0AB>BK LFO A ?><>ILN @53C;OB>@0 speed.  ?@><56CB:5 >B :@09=53> ;52>3> 4> A@54=53> (I5;G>:) ?>;>65=8O @0A?>;>65=K >1KG=K5 G0AB>BK LFO.  ?@><56CB:5 >B A@54=53> (I5;G>:) 4> :@09=53> ?@02>3> ?>;>65=8O LFO AB0=>28BAO >AF8;;OB>@>< 72C:>2>9 G0AB>BK. AB02LB5 LFO =0 =87:>9 G0AB>B5. >25@=8B5 @53C;OB>@ LFO amount =0;52>  B0:8< >1@07>< K 2:;NG8B5 <>4C;OF8N D8;LB@0 1 2 ?@>B82>D075! (fig. 13). >?@>1C9B5 MB> ?>2B>@8BL 4;O @07=KE 7=0G5=89 @53C;OB>@0 LFO speed. LFO <>65B 1KBL Feed a stable signal to the FB, e.g. organ, strings... Keep in mind that the trigger lights indicate when the FB is active. Connect out 1 and main out to your sound system, pan them in stereo and set the PAR <> SER knob to parallel. Set the harmonics switch to "free" and filter 1 and filter 2 to high reso, around the same frequency. Now turn the LFO amount knob from zero to the right. Both filters should react equally to the LFO. Notice the two colour indications of the LFO. This helps to locate the progression of very slow frequency waves. Check different LFO frequencies with the speed knob. From the left to the middle (click) position you get a normal LFO frequency range. From the middle (click) position to the right, the LFO becomes an audio range oscillator. Leave the LFO at a nice slow cycle frequency. Turn the LFO amount to the left - it will produce the opposite modulation for filter 1! (fig.13) try this with different LFO speed settings. The LFO can be retriggered (restarted) over MIDI. Toggling from unblock audio trigger to block audio trigger restarts the LFO. It works a bit random, wich is an advantage, and occasionally can retrigger with very loud input; nothing to worry about. You do this by sending MIDI note C#4 preceeded by C4, the notes that are also used for blocking and unblocking audio trigger of ADSR. "@5E?>78F8>==K9 ?5@5:;NG0B5;L 2 A5:F88 LFO ?>72>;O5B 2K1@0BL ?8;>>1@07=CN D>@<C 2>;=K 8;8 65 ?5@5:;NG5=85 A >3810NI59 AR: 2 40==>< @568<5 LFO ?5@570?CA:05BAO AR B@8335@><, >1@07CO :0G0NI89 MDD5:B. >?@>1C9B5 MB>B @568< A $' 8 LFO <>4C;OF859. A 3-way function switch in the LFO section allows sawtooth wave shape or AR retriggering : this forces an LFO restart from the AR trig with pumping grooves as unavoidable result. Try this in low pass filter setting with LFO modulation. #  !5 LESSON #5 AR AR  "  #/& # / ! VOLUME MODULATION GENERATOR 0==K9 35=5@0B>@ C?@02;O5B C@>2=5< A83=0;0 :0: =0 >A=>2=>< 2KE>45 CAB@>9AB20 (main out), B0: 8 =0 2KE>45 1 (out 1). >409B5 =0 2E>4 CAB@>9AB20 A83=0; A <54;5==>9 0B0:>9, =0?@8<5@ AB@C==K5. #1548B5AL, GB> A25B>48>4=K9 8=48:0B>@ ar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ar-B@8335@0 ?> MIDI 8 2>A?@>872548B5 70?8AL A =51>;LH8< ?@545;M5<. This generator equally controls the OUT 1 and MAIN OUT VCA's. Play a sound with a slow attack, e.g. a string sound. Make sure that the ar trigger light goes on and off. Get familiar with the attack/release settings (starting from minimum) and with their influence on the output volume. You can also experiment with drum loops. Setting attack and release to minimum produces a rhythmic gating effect. By doing so you might experience a slight loss of attack (punch). This is because of the limited speed of the attack. 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The default power-up value of controller 5 is 63 (= halfway 127). if this is not fast enough, record the AR triggers via MIDI and play them back with a slight amount of pre-delay. %" !" TB303 TB303 TIP 0;55 @0AA<>B@8< A?>A>1 4>18BLAO 72CG0=8O A5:25=A5@0 Roland TB303 A ?><>ILN MIDI. 0AB02LB5 0H B@5: A:>;L78BL B0: :0: K 1K E>B5;8 A;KH0BL =0 70?8A8. !>7409B5 :>?8N 0H53> B@5:0 2 A5:25=A5@5. #AB0=>28B5 ?@545;M9 8 =07=0GLB5 >B;8G=K9 >B 8AE>4=>3> B@5:0 MIDI :0=0;. 0?8H8B5 ?0@B8N =0 >A=>2=>9 MIDI :0=0; A 65;05<K< 72C:>< (<50=4@, ?8;0, ?>;8D>=8G5A:>5 72CG0=85, 2A5 GB> C3>4=>). B?@02LB5 MB>B MIDI :0=0; =0 2E>4 ADSR- 8;8 AR-B@8335@0 CAB@>9AB20 (FB). !:>?8@C9B5 ?0@B8N >A=>2=>3> MIDI B@5:0 =0 2B>@>9 B@5:. B?@02LB5 A83=0; A> 2B>@>3> B@5:0 =0 0C48>2E>4 FB. A;8 =0 0H5< A8=B570B>@5 8<55BAO CV 2KE>4 (=0?@8<5@ SH101), A>548=8B5 53> A FM 2E>4>< FB. "0:8< >1@07>< K 4>1L5B5AL key-follow.  ?@>B82=>< A;CG05 K <>65B5 8A?>;L7>20BL envelopefollower 2 :0G5AB25 key-follow. #,"": -DD5:B 3;8AA0=4>. >B0 1C45B ?;02=> A:>;L78BL ?> 2KA>B5 : A;54CNI59 =>B5 4> B>3> :0: 359B ?>;=>ABLN >B:@>5B VCA (:>B>@><C B0:65 =5>1E>48< ?@545;M9, =5<=>3> <5=LH89, G5< 2B>@><C B@5:C). -DD5:B A@02=8< A 682>9 83@>9 =0 10A-38B0@5. Here a way to achieve the sequencer behaviour of a Roland TB303, with MIDI. Make your source glide as you like to hear it on a track. Make a ghost copy track of that in your sequencer. Give a negative delay and another MIDI channel to that ghost track. Make e.g. a program on the main MIDI channel with the desired sound (square, sawtooth, polyphonic, whatever). Put this in the FB's ADSR or AR trigger input. Make a copy of that program on the ghost's MIDI channel. Put this signal in the FB audio input. In case you have a CV out (e.g. SH101), connect it to FM in. This way you can obtain key-follow. Otherwise you can use envelopefollower as key-follow. RESULT: The notes will start gliding to the next notes before the gate fully opens the VCA (also adjustable with pre delay, in smaller amount than the ghost track) and thus before the quantize of the song. A real bassplayer does similar things. #  !6 LESSON #6 ADSR ADSR = " ! ? "#% ADSR = ATTACK DECAY SUSTAIN RELEASE #AB0=>28B5 42CE?>78F8>==K9 ?5@5:;NG0B5;L 2 ?>;>65=85 ADSR (25@E). !45;09B5 7=0G5=85 @53C;OB>@0 harmonics @02=K< 1, C@>25=L @57>=0=A0 D8;LB@>2 1 8 2 <0:A8<0;L=K<, 2K15@8B5 ?>A;54>20B5;L=>5 2:;NG5=85, :0: ?>:070=> =0 fig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fig.15  fig.21! 0B5< ?>2B>@8B5 C?@06=5=8O 4;O @07=KE 7=0G5=89 @53C;OB>@0 C@>2=O <>4C;OF88 D8;LB@0 1 (+ 8 -)(D8;LB@ 2 ?@8 MB>< 2 @568<5 A8=E@>=870F88). 0;55 ?>2B>@8B5 MB8 65 C?@06=5=8O 4;O ?0@0;;5;L=>3> 2:;NG5=8O D8;LB@0 2 8 @53C;OB>@0 harmonics CAB0=>2;5==>3> 2 7=0G5=85 "free"; ?@>M:A?5@8<5=B8@C9B5 B0:65 A @53C;OB>@>< C@>2=O >3810NI59 <>4C;OF88 (+/-) D8;LB@0 2. 0 40==>< MB0?5 0< A;54C5B @07>1@0BLAO A =0AB@>9:0<8 ADSR-35=5@0B>@0. !#.) # : 0?CAB8B5 A A5:25=A5@0 ?>A;54>20B5;L=>ABL H5AB=04F0BKE =>B 8;8 0@?5468> :>@>B:8E ?5@:CAA8>==KE 72C:>2. 0AB@>9B5 C@>25=L 2E>4=>3> A83=0;0 B0:8< >1@07><, GB>1K ADSR-B@8335@ @0A?>7=020; H5AB=04F0BK5 =>BK. 0AB@>9B5 ADSR-35=5@0B>@ :0: ?>:070=> 2 ?>A;54=5< ?@8<5@5 (fig. 21. AB@. 32). "5?5@L ?>?@>1C9B5 CAB0=>28BL 2@5<O 0B0:8 B0:8< >1@07><, GB>1K A25B>48>4=K9 8=48:0B>@ ADSR-35=5@0B>@0 703>@0;AO :@0A=K< :064CN H5AB=04F0BCN =>BC. 54;5==> C25;8G8209B5 2@5<O 0B0:8 ADSR-35=5@0B>@0 B0:8< >1@07><, GB>1K 35=5@0B>@ ?@>?CA:0; 2A5 4@C385 8<?C;LAK B@8335@0. "5?5@L ADSR-35=5@0B>@ >1@010BK205B 2>AL<K5 =>BK. @>4>;609B5 A;53:0 C25;8G820BL 2@5<O 0B0:8 4> B>3> <><5=B0, ?>:0 35=5@0B>@ =5 =0G=5B ?@>?CA:0BL 420 87 B@5E 8<?C;LA>2 B@8335@0. "0:8< >1@07>< 2K ?>;CG8B5 B@8>;8. >2B>@8B5 40==>5 C?@06=5=85, 8A?>;L7CO 2 :0G5AB25 A83=0;0 10@010==K9 ;C?. K <>65B5 ?@52@0B8BL ADSR-35=5@0B>@ 2> 2B>@>9 LFO, A>548=82 2KE>4 LINK OUT A> 2E>4>< ADSR TRIG IN. #AB0=>28B5 7=0G5=85 @53C;OB>@0 freq 1 @02=K< =C;N, 25;8G8=C ADSR <>4C;OF88 D8;LB@0 1 2  - 8 25;8G8=C 70BCE0=8O =0 <0:A8<C<. ! ?><>ILN @53C;OB>@>2 0B0:8 8 70BCE0=8O K <>65B5 87<5=OBL D>@<C 2>;=K 8 A:>@>ABL. -B>B AB@0==K9 LFO <>65B 1KBL ?@><>4C;8@>20= >1KG=K< LFO, 72C:>2KA>B=K< :>;5A>< ?> MIDI, MIDI :>=B@>;;5@>< 5 8 B.4. 48=AB25==K9 =54>AB0B>: 70:;NG05BAO 2 B>< GB> G0AB>B0 A@570 D8;LB@0 1 1C45B A;8H:>< =87:>9 4;O =>@<0;L=>3> 8A?>;L7>20=8O, 5A;8 K =5 2:;NG8B5 ?540;L 3@><:>AB8 <564C 2KE>4>< LINK OUT 8 2E>4>< ADSR TRIG IN. Set the toggle switch to ADSR (upward). Set harmonics to sync 1, filter 1 and filter 2 to max reso, serial mode, as shown in fig.14. Set the AR generator to zero attack and maximum release. Turn the envelope modulation knob of filter 1 slightly clockwise from the middle position. This way you have a high resonant filter that provides a clearly audible indication of the ADSR generator output. The bi-colour (yellow+ red-) light right next to the release knob always gives a visual indication of the ADSR generator's activity. Now slowly play the keyboard, or use a sequencer to have your hands free to explore the ADSR generator. Make sure the ADSR trigger light flashes in a slow and regular manner. Now, try out the following exercises : figs 15 to 21 SEQUENTLY ! Now repeat these exercises with different (+ and - ) positions of the modulation amount knob of filter 1 (filter 2 is still in sync). Repeat these exercises with filter 2 "free" running in parallel mode; experiment also with the envelope modulation amount (+-) knob of filter2. At this point you should be familiar with the ADSR knobs. ANOTHER EXERCISE: Run a sixteenth note repetitive sequencer or arpeggio pattern with a short or percussive sound. Adjust the input level to make the ADSR trigger follow the sixteenth notes. Set the ADSR as in the last example in fig 21, page 32. Now try adjusting the attack time so that the ADSR indication light turns red with each sixteenth note. Slowly increase the attack time so that the ADSR generator misses every other trigger pulse. The ADSR now makes an eight note cycle. Continue increasing the attack time slightly, so that it misses two out of three trigger pulses. This produces triplets. Repeat this exercise with e.g. a drum loop. You can turn the ADSR generator into a second LFO by making a jack connection from LINK OUT to the ADSR trig in. Set freq 1 to zero, the ADSR amount of filter 1 to negative and the sustain to maximum. Using attack and release you can change the waveshape and speed. This "weird" LFO can be modulated with the normal LFO, MIDI pitch wheel, Unknown Control 5, and so on. The disadvantage is that filter 1 will go too low to be usable, unless you insert a volume pedal between LINK OUT and ADSR trig in. ! !"/ ADSR SPEEDY ADSR !:>@>ABL ADSR <>6=> A45;0BL 2 G5BK@5 @070 1KAB@55. 0:8< >1@07><? B?@02LB5 MIDI-A>>1I5=8O, C?@02;ONI85 A:>@>ABLN 0B0:8, A?040 8 70BCE0=8O =0 MIDI-2E>4 FB. >340 Filterbank 2:;NG5=, A:>@>ABL ADSR @02=O5BAO 53> <0:A8<0;L=>9 A:>@>AB8 (C?@02;ONI55 7=0G5=85 @02=> 63). -B> ?>;>28=0 M:A?>=5=F80;L=>9 H:0;K (A<. fig. 27, AB@. 46). A;8 0< =5>1E>48<> C25;8G8BL A:>@>ABL, ?@>AB> 87<5=8B5 MB> =0G0;L=>5 7=0G5=85 =0 0. A;8 65 MIDI C?@02;5=85 25;8G8=>9 <>4C;OF88 >3810NI59 =52>7<>6=>, ?@>AB> A>548=8B5 2KE>4 ADSR 8 2E>4 FM in 40;55 MIDI-:>=B@>;;5@ A45;05B 2AN @01>BC. ! ?><>ILN =53> <>6=> CAB0=02;820BL 4065 =530B82=K9 C@>25=L <>4C;OF88 (7=0G5=8O =865 63  =530B82=0O, 2KH5 63  ?>78B82=0O). The ADSR speed can get up to 4 times faster. How ? Transmit MIDI control messages to the Filterbank that affect the Attack, Decay and Release speed. When the Filterbank is powered up, the ADSR speeds are initialised 1/4 of their maximal speed = control value 63. This is half of an exponential scale ( see Fig. 27, page 46). So if this is your problem, just change that initial value to 0. No MIDI control of envelope modulation amount possible ? Simply connect ADSR out to FM in and MIDI foot control will do the job. Even negative: send MIDI foot control half way (value 63) and anticipate that with the envelope amount knob(s) until no modulation is heard. Sending MIDI foot control above and under 63 will result in positive and negative modulation. ENVELOPE FOLLOWER A SENS. R = '#!"",!", " "#% A SENS. R = ATTACK SENSITIVITY RELEASE #AB0=>28B5 ?5@5:;NG0B5;L 2 =86=55 ?>;>65=85. "0:8< >1@07><, ADSR-35=5@0B>@ @01>B05B 2 @568<5 envelope follower. =0G5=8O 0B0:8 8 70BCE0=8O A45;09B5 @02=K<8 =C;N. >4:;NG8B5 : FB 8AB>G=8: A83=0;0 A O@:> 2K@065==>9 48=0<8:>9, =0?@8<5@ 38B0@C (10A-38B0@C), ?80=8=>, 10@010==K9 ;C? 8 B.4. 0AB@>9B5 GC2AB28B5;L=>ABL, 0 B0:65 C@>2=8 >3810NI8E <>4C;OF88 >1>8E D8;LB@>2, 4;O E>@>H53> >B:;8:0. 1@0B8B5 2=8<0=85 =0 A25B>48>4=K9 8=48:0B>@ ADSR-35=5@0B>@0, >= 4>;65= 703>@0BLAO 65;BK<, :>340 envelope follower 0:B825=, 8 :@0A=K<, :>340 A83=0; =0 2E>45 >BACBAB2C5B. @>B5AB8@C9B5 @01>BC envelope follower ?@8 @07=KE C@>2=OE <>4C;OF88 D8;LB@0 1 (D8;LB@ 2 2 @568<5 A8=E@>=870F88). >2B>@8B5 40==>5 C?@06=5=85 A D8;LB@>< 2 2 @568<5  free ?@8 ?0@0;;5;L=>< 2:;NG5=88; ?@>M:A?5@8<5=B8@C9B5 B0:65 A =0AB@>9:>9 C@>2=O <>4C;OF88 >3810NI59 D8;LB@0 2.  "" : E>4 B@8335@0 ADSR-35=5@0B>@0 2 @568<5 envelope follower AB0=>28BAO 2E>4>< envelope follower. K <>65B5 ?>4:;NG8BL 2 MB>B 2E>4 4@C3>9 8AB>G=8: A83=0;0 8 8A?>;L7>20BL 53> 48=0<8:C 2 :0G5AB25 <>4C;OB>@0 D8;LB@0. >?@>1C9B5 A45;0BL MB>!  ""  ":  @568<5 envelope follower @53C;OB>@ A?040 (decay) =8 =0 GB> =5 2;8O5B, 0 7=0G5=8O 0B0:8 8 70BCE0=8O ADSR-35=5@0B>@0 =5 <>3CB C?@02;OBLAO ?> MIDI. An envelope follower basically creates an output voltage that follows the level of its input signal. (fig.23) Set the toggle switch to its downwards position. Now the ADSR generator becomes an envelope follower. Set attack and release to zero. Plug in a dynamic sound source, like a (bass) guitar, piano, organ with swell pedal, drum loop or any other device providing volume variations. Adjust sens in combination with the envelope modulation amount knobs of the filters, for good response. Watch the ADSR indication light, it should flash yellow when the envelope follower is active, weak red when there's no input signal. Try the envelope follower with different modulation amounts of filter 1 (filter 2 in sync). Repeat these exercises with filter 2 free running in parallel mode; experiment also with the envelope modulation amount knob of filter 2. NOTE : The trigger input of the ADSR here becomes the envelope follower input. You can plug in another signal source in this input, and use its volume variations for filter modulation. Try it ! NOTE : Decay has no function in the envelope follower, and attack and release of the ADSR generator are not MIDI-controllable in envelope follower mode. #  !7 LESSON #7 ' FM '!""/ #/&/ FREQUENCY MODULATION ' >48=0:>2> 2;8O5B =0 A?5:B@ >1>8E D8;LB@>2. 0AB@>9B5 @53C;OB>@K, B0: :0: ?>:070=> =0 fig.14, AB@. 25, => 157 ADSR-<>4C;OF88. B?@02LB5 =87:>G0AB>B=K9 <>=>D>=8G5A:89 A83=0; =0 2E>4 FB. #25;8GLB5 C@>25=L '. >@01>B09B5 A @07;8G=K<8 8AB>G=8:0<8 A83=0;0 B0:8<8 :0:, 10A, ?8;>>1@07=K5 8 ?@O<>C3>;L=K5 2>;=K. @>B5AB8@C9B5 ' ?@8 @07=KE =0AB@>9:0E G0AB>BK A@570 D8;LB@0 (freq 1), 0 B0:65 C@>2=O 2E>4=>3> A83=0;0. 0AB@>9:8 C@>2=O @57>=0=A0 B0:65 83@0NB 206=CN @>;L ?@8 '. "5?5@L ?>4:;NG8B5 :015;L : 2E>4C FM in. K CA;KH8B5, GB> 2AB@>5==K9 8AB>G=8: ' 1>;55 =5 @01>B05B. K <>65B5 ?>?@>1>20BL ?>4:;NG8BL : 2E>4C FM in @07;8G=K5 8AB>G=8:8 A83=0;0 (=0?@8<5@, A8=B570B>@ 8;8 AM<?;5@) 8 ?>M:A?5@8<5=B8@>20BL, ?@>83@K20O A =8E BC 65 <5;>48N GB> 8 A 8AE>4=>3> 8AB>G=8:0 (:>B>@K9 >1@010BK205BAO FB), => A @07;8G=K<8 8=B5@20;0<8 <564C =8<8.  "" : E>4 ' (FM input) @0A?>7=05B ?>AB>O==>5 =0?@O65=85 A @07;8G=KE 8AB>G=8:>2, =0?@8<5@ cv/gate 2KE>4K, ' (LFO) 8;8 ADSR <>4C;L=KE A8AB5<, 2KE>4K ;N1KE 0=0;>3>2KE A5:25=A5@>2, ;N1K5 ?540;8 8;8 CAB@>9AB20 35=5@8@CNI85 C?@02;ONI55 =0?@O65=85. K <>65B5 8A?>;L7>20BL @53C;OB>@ C@>2=O ' (FM amount) 2 :0G5AB25 @53C;OB>@0 C@>2=O ADSR >1>8E D8;LB@>2, A>548=82 2KE>4 ADSR A 2E>4>< ' (FM in). K B0:65 <>65B5 @50;87>20BL AC130@<>=8G5A:CN ', 4;O G53>: A>548=8B5 2KE>4 MAIN OUT A 2E>4>< FM in. >4:;NG8B5 : 0H59 ! B>;L:> 2KE>4 OUT 1. #AB0=>28B5 >10 @53C;OB>@0 C@>2=O @57>=0=A0 (RESO) =0 <0:A8<C<. ;O =0G0;0 ?>?@>1C9B5 ?0@0;;5;L=>5 2:;NG5=85 D8;LB@>2, 70B5< ?>A;54>20B5;L=>5. 0;55 ?@>B5AB8B@C9B5 @07;8G=K5 =0AB@>9:8 @53C;OB>@0 harmonics (2 B>< G8A;5 8  free ) A @07;8G=K<8 7=0G5=8O<8 C@>2=O ' (FM amount). FM equally modulates the frequencies of both filters. Set the knobs as shown in fig.14, page 25, but without ADSR modulation. Send a low monophonic tone to the FB. Increase the FM amount firmly and then turn it down slightly. Work with different sound sources like bass, organ, sawtooth and square wave. Check FM with different freq 1 settings and input levels. The reso settings also play an important role here. Now insert a jack cable in the FM input. You will notice that FM doesn't work internally anymore. Now you can try a different sound source with this input, e.g. take another synth or sampler output and experiment with this source playing the same melody as the processed melody, but now try different tuning intervals between input and FM source. NOTE: The FM input also accepts DC voltages from e.g. a cv/gate output, a modular system's lfo or ADSR, the voltage output of any analog sequencer, any pedal or device that provides a variable voltage or signal output. You can use the FM amount knob as a common ADSR amount knob for both filters by connecting ADSR out to FM in. You can produce subharmonic FM as follows: Connect MAIN OUT to FM in. Route only OUT 1 to your sound system. Set both RESO controls to maximum. First try parallel mode, afterwards serial. Now try out different harmonics (also "free") with different FM amounts. #  !8 LESSON #8  AM "#/ #/&/ AMPLITUDE MODULATION  >48=0:>2> 2;8O5B =0 2KE>4K OUT 1 8 MAIN OUT.  MB> >48= 87 A?>A>1>2 4>18BLAO B5?;>3>, 68@=>3>, 0 B0:65 >G5=L 03@5AA82=>3> 72CG0=8O. 0AB@>9B5 @53C;OB>@K, B0: :0: ?>:070=> =0 fig.14, AB@. 25, => 157 ADSR-<>4C;OF88. B?@02LB5 =0 2E>4 FB <>=>D>=8G5A:89 A83=0;. #25;8GLB5 C@>25=L . "5?5@L ?>@01>B09B5 A @07;8G=K<8 G0AB>B0<8 8 C@>2=O<8 2E>4=>3> A83=0;0. 7-70 B>3>, GB> 0<?;8BC4=0O <>4C;OF8O @01>B05B A VCA, <>4C;8@CNI89 A83=0; ?5@5<=>605BAO A <>4C;8@C5<K< A83=0;><. "0: 65 :0: 2 <0B5<0B8:5, ?@8 C<=>65=88 <>3CB ?>;CG0BLAO 4>2>;L=> 1>;LH85 7=0G5=8O 87 <0;5=L:8E: B0: GB> 15@538B5 0H8 3@><:>3>2>@8B5;8. 1@0B8B5 2=8<0=85, GB> AR <>65B >B:;NG0BLAO ?@8 @01>B5 A . "  "" : :>340 : 2E>4C  ( in) =8G53> =5 ?>4:;NG5=>, 2KE>4 D8;LB@0 2 8A?>;L7C5BAO 2 :0G5AB25 8AB>G=8:0 , B0:8< >1@07><, C@>25=L @57>=0=A0 D8;LB@0 2 (reso 2) 1C45B >:07K20BL 1>;LH55 2;8O=85 =0 >1I89 A83=0;, =565;8 C@>25=L @57>=0=A0 D8;LB@0 1 (reso 1). "5?5@L ?>4:;NG8B5 :015;L : 2E>4C  ( in). K CA;KH8B5 GB> 2=CB@5==89 8AB>G=8:  1>;5 =5 @01>B05B. K <>65B5 ?>?@>1>20BL ?>4:;NG8BL : 2E>4C M in @07;8G=K5 8AB>G=8:8 A83=0;0 (=0?@8<5@, A8=B570B>@ 8;8 AM<?;5@) 8 ?>M:A?5@8<5=B8@>20BL, ?@>83@K20O A =8E BC 65 <5;>48N GB> 8 A 8AE>4=>3> 8AB>G=8:0 (:>B>@K9 >1@010BK205BAO FB), => A @07;8G=K<8 8=B5@20;0<8 <564C =8<8. "0:65 K <>65B5 8A?>;L7>20BL ADSR-35=5@0B>@ 2 4>?>;=5=88 : AR-35=5@0B>@C 4;O C?@02;5=8O 48=0<8:8 2KE>4=>3> A83=0;0; ?@>AB> A>548=8B5 2KE>4 ADSR 8 2E>4  ( in). =0;>38G=K< A?>A>1>< 2 @568<5 envelope follower, K <>65B5 A45;0BL M:A?0=45@. -:A?0=45@  MB> ?@>B82>?>;>6=>ABL :><?@5AA>@0. : 2=CB@5==5<C 8AB>G=8:C  B@51C5BAO 4>AB0B>G=> 2KA>:89 C@>25=L 2E>4=>3> A83=0;0, 0 B0:65 2KA>:0O AB5?5=L @57>=0=A0 D8;LB@0 2 (reso 2), 4;O B>3> GB>1K ?@>O28;AO MDD5:B  2 ?>;=>9 <5@5. AM equally modulates both OUT 1 and MAIN OUT VCA's. AM modulation is the key to warm, fat and extremely aggressive sounds. Set the knobs as shown in fig.14, page 25, but without ADSR modulation. Send a monophonic sound to the input. Increase the AM amount firmly and then turn it down slightly. Work now with different pitches, sounds and input levels. Because this modulation is working on the VCA's, the AM signal is multiplied with the processed signal. Just as in maths, multiplication can make big numbers out of small ones, so mind your speakers. Also note that AR can be overruled by AM. NOTE: when there is no jack plugged in the AM input, the output of filter 2 is used as an AM source, so reso 2 will have more influence than reso 1. Now insert a jack cable in the AM input. You will notice that AM doesn't work internally anymore. Now you can try a different sound source with this input, e.g. take another synth or sampler output and experiment with this source playing the same melody as the processed melody, but now try different tuning intervals between the input and AM source. You can use the ADSR envelope generator in addition to the AR generator for controlling output dynamics; simply connect the ADSR output to the AM input. Also this way, in envelope follower mode, you create an expander. An expander is the opposite of a compressor. IMPORTANT : internal AM needs enough input signal & high reso setting of filter 2 to have significant effect. once familiar with the kind of effect, you can use it in a more subtle way. #  !9 LESSON #9 " !  - "! TRANSPOSE - TRACKING TRACKING or Harmonic searcher. The 3-way switch activates the really powerful and quite revolutionary "Tracking" function a monophonic pitch follower, that tunes filter 2 to the incoming pitch, and makes filter 1 slave of filter 2 via the harmonics switch. E.g. in position 2, filter 1 will be pitched one octave higher than filter 2, but still following the pitch. This switch activates the "tracking" in a normal or deep "track low" position, with stunning basses as result. Please note that tracking is not quick enough to handle supersonic guitar solo s, therefore we advice  + quint , which has no latency at all ! Open the FM knob a bit to activate  tracking and  +quint , and adjust FM to get the best tracking. You can over-modulate tracking with all frequency controls, so we advice strongly to start off with freq.1 on minimum, and later to search overtones by  overmodulating the tracking. A white LED indicates when the tracking system is  locked on . The 3-way switch has 2 general transpose functions : +1 Octave and + Quint and has a specific dirty character. + Quint works only with pure monophonic signals. Open the FM knob a bit to activate  + Quint . It works like a kind of octaving submodulation. Tracking works only with clean notes ? Yes if you want clean tracking. With more complex signals, tracking will keep searching for the most explicit harmonics, and this can be useful when you put the reso s low. This way the  unstable tracking will generate a random cutoff in the neighbourhood of the dominant harmonics of the incoming signal. Smells like grunge... schht ! Your good ol original filterbank can also make use of tracking, just link it up to the FB2. #  !10 LESSON #10 ( !"' ! - , EXTERNAL INPUTS - PEDAL 73;O=8B5 =0 fig. 24, 345 87>1@065=0 AE5<0 2=CB@5==8E A>548=5=89 FB. >2B>@8B5 C@>:8 > ', , ADSR 8 AR, ?>4:;NG82 2B>@>9 8AB>G=8: A83=0;0 : A>>B25BAB2CNI5<C 2E>4C FB. #1548B5AL, GB> C@>25=L A83=0;0 4>AB0B>G=> 2KA>:, 4;O B>3> GB>1K A@01>B0;8 B@8335@K (C@>:8 5 8 6), 8;8 4;O B>3> GB>1K CA;KH0BL <>4C;OF8N (C@>:8 7 8 8). ;O @01>BK B@8335@>2 (C@>:8 5 8 6) =08;CGH8< @5H5=85< 1C45B ?>4:;NG5=85 4@0< <0H8=K. ;O  8 ' ?>4>945B ;N1>9 ;8=59=K9 A83=0; (<8:@>D>==K9 A83=0; A;8H:>< A;01), =0?@8<5@ A8=B570B>@, AM<?;5@ 8;8 2KE>4 =0 =0CH=8:8 :0:>3>-;81> CAB@>9AB20. Take a look at fig.24 for an overview of the internal routings. Practice lesson FM, AM, ADSR and AR with a second signal source connected to the relevant input. Make sure this signal is strong enough to make the triggers work (lesson 5 & 6), or to hear sufficient modulation (lesson 7 & 8). For the triggers (lesson 5 & 6) a drum machine should do the job. For AM and FM, any line level signal e.g. a synth, sampler or headphone output is ok, a microphone too weak. If you want the triggers to work very fast, use very short input pulses or sound bursts. Note that the trigger inputs also work with gate signals from e.g. a CV/Gate output. You can make a jack connection from the ADSR out to the AR trigger in. When the ADSR has a slow attack , the AR trigger will be delayed. The amount of this delay depends on the attack time. For the FM & AM inputs an organ or bass signal is excellent. Note that these inputs also work with DC signals, e.g. an external LFO, ADSR, CV... Don't be afraid to try different external connections, the inputs can cope with a lot. You may also short cirquit (= join with a jack splitter) two outputs of 1 or more filterbanks, if you want e.g. mix two filterbanks, or ADSR out with the audio OUT 1 to AM in... However, this doesn't mean that YOU can, so don't even think about making any kind of direct connection with dangerous voltage sources like tube amp speaker outputs, tv sets, ac mains, power plants, toasters, lightning rods or ufo's... The pedal input (we will deliver a footpedal separately) allows foot control of Freq 1 and Bypass / Effect switching. This footpedal will also be especially designed by Sherman. For now, any regular footswitch will do for Bypass/Effect switching. 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