P–Filter - Korg KROSS Parameter Manual

6: P–FILTER
Filtering can make subtle or dramatic changes to the oscillator's
timbre. Each oscillator has two multimode resonant filters, A and
B, as well as a dedicated filter envelope and keyboard tracking
generator.
These pages let you control all aspects of the filters. Among other
things, you can:
• Adjust basic settings for each oscillator's filters, including
routing, modes, cutoff, resonance, etc.
• Set up filter modulation, including keyboard tracking, the filter
envelope, LFO modulation, and AMS control.
Note that when the Oscillator Mode is set to Single, only
Oscillator 1's filters are active; the pages for Oscillator 2's filters
will be grayed out.
6–1: BASIC
This page contains all of the basic settings for Oscillator 1's Filter
A and Filter B. For example, you can:
• Set up the filters to produce a single 12 dB/oct filter, dual
12 dB/oct filters in either serial or parallel routing, or a single
24 dB/oct filter.
• Set each of the two filters to Low Pass, High Pass, Band Pass,
or Band Reject modes.
• Set the cutoff, resonance, and input and output levels of each
filter, including modulation of resonance and output level.
OSC (Oscillator Select)
Select the oscillator (1 or 2) that you want to edit.
Note: Oscillator 2 can be selected if Oscillator Mode is set to
Double.
Filter Routing [Single, Serial, Parallel, 24dB(4Pole)]
Each oscillator has two filters, Filter A and Filter B. This
parameter controls whether one or both of the filters are used, and
if both are used, it controls how they are connected to each other.
Single. This uses only Filter A as a single 2-pole, 12 dB/octave
filter (6 dB/oct for Band Pass and Band Reject). When this option
is selected, the controls for Filter B will be grayed out.
Serial. This uses both Filter A and Filter B. The oscillator first
goes through Filter A, and then the output of Filter A is processed
through Filter B.
Parallel. This also uses both Filter A and Filter B. The oscillator
feeds both filters directly, and the outputs of the two filters are then
summed together.
24dB/oct. This merges both filters to create a single 4-pole, 24 dB/
octave filter (12 dB/oct for Band Pass and Band Reject). In
comparison to Single, this option produces a sharper roll-off
beyond the cutoff frequency, as well as a slightly more delicate
resonance. Many classic analog synths used this general type of
filter.
When 24 dB/oct is selected, only the controls for Filter A are
active; the controls for Filter B will be grayed out.
Serial and Parallel Routing
Oscillator
Oscillator
12db/oct / 24db/oct
Low Pass:
12dB/oct
Low Pass:
24dB/oct
[1, 2]
A (Filter A)
Type (Filter Type) [Low Pass (12dB/oct), High Pass (12dB/oct),
The filter will produce very different results depending on the
selected filter type. The selections will change slightly according
to the selected Filter Routing, to show the correct cutoff slope in
dB per octave.
Low Pass (12dB/oct). This cuts out the parts of the sound which
are higher than the cutoff frequency. Low Pass is the most
common type of filter, and is used to make bright timbres sound
darker.
High Pass (12dB/oct). This cuts out the parts of the sound which
are lower than the cutoff frequency. You can use this to make
timbres sound thinner or more buzzy.
Band Pass (6dB/oct). This cuts out all parts of the sound, both
highs and lows, except for the region around the cutoff frequency.
Since this filter cuts out both high and low frequencies, its effect
can change dramatically depending on the cutoff setting and the
oscillator's multisample.
With low resonance settings, you can use the Band Pass filter to
create telephone or vintage phonograph sounds. With higher
resonance settings, it can create buzzy or nasal timbres.
6: P–FILTER 6–1: BASIC
Filter A (Low Pass) Filter B (High Pass)
Filter A (Low Pass)
Filter B (High Pass)
Band Pass (6dB/oct), Band Reject (6dB/oct)]
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