Osc 1 And Dca2 - Peavey DPM V3 Owner's Manual

3.6 OSC 2 and DCA2
These modules have the same controls as OSC1 and DCA1 and are adjusted in the
same manner.
Application using positive and negative modulation values: By using negative
modulation with one oscillator and positive modulation with another, it's possible to do
cross-fading between oscillators. Example: Set Osc 1's level to 00, DCA1's LMod 1
to Mod Wheel; and DCA1's Amount to +99. Set Osc 2's level to 99, DCA2's LMod 2
to Mod Wheel, and DCA2's Amount to -99. As you rotate the mod wheel away from
you, Osc 1 will fade in while Osc 2 fades out.
You can also use envelopes to crossfade between wavesamples to "paste" an attack
transient from one oscillator to the sustain section of another oscillator, thus creating a
complex, animated sound that evolves over time.
3.7 FILTER £
The filter module contains three pages.
Page 1 Parameters
Cutoff (00-99)
Chooses the filter's initial cutoff frequency. Progressively lower values remove pro-
gressively more harmonics, giving a duller sound; progressively higher values let more
harmonics through, giving a brighter sound.
Note: Signals with complex harmonic structures are most affected by the filter.
Examples: A sine wave has virtually no harmonics (aside from those caused by the
signal generation process) and you will not hear dramatic changes once the filter
cutoff is higher than the note pitch. A harmonically-rich sample (like sax) will be af-
fected greatly by the filter.
Resonance (00-99)
This sets the amount of gain at the filter's cutoff frequency. Higher settings give
sharper, more "whistling" effects.
Page 2 Parameters
FMod1 (Off, Velocity, Keyboard, Pressure, Envelopes 1-4, LFO 1, LFO 2, Mod Wheel,
Foot Pedal, External MIDI Control)
Chooses the Filter cutoff frequency modulation source. For details on modulation
sources, see sections 3.1d and 3.8.
Amount (-99 to +99)
Sets the modulation degree and polarity (positive or negative) from the previously-
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