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FILTER SECTION
Nerd note: In the historical timeline of synthesis, there has been
analog synthesis being replaced by digital synthesis. Eventually, digital
technology has become good enough to emulate analog gear, glorifying the
imperfections of analog technology. Imperfections of digital technology,
such as digital compression and glitches, have also been used in music
and found their way into the design of several niche instruments (Bastl
has made several of those too).
The POP character on the Softpop is a fun spin on this development
because it succeeds in emulating a very digital type of distortion with
purely analog means. In other words, emulating the digital imperfections
by analog technology creates this sort of historical countercurrent that
can be fun to play with.
PATCH POINTS
● FILTER IN is the audio input of the filter. PULSE is normalized to this
input, so plugging in another signal will replace the OSC, allowing the
filter to be used independently.
● CUTOFF is a voltage input to control the cutoff of the filter. It is scaled
to be roughly V/OCT, so it can make the filter track with the oscillator.
● MOD is an attenuated voltage input to control the cutoff of the filter.
Use the CUTOFF MOD fader to bring in the amount of modulation. By
default, the ENV signal is normalized to the MOD input.
● BP is an independent bandpass output directly from the filter (before
the VCA).
This output can be used for distorted resonance by patching
it to the INPUT, or it can be used to modulate things in the patchbay. It
can be used to create a stereo image with the main OUTPUT (when using
LP or HP setting). Also, if the filter is self-oscillating as a sine-wave with
no input signal, there will be a 90 degrees phase shift between the BP
and either LP or HP outputs. This way, you can use it, for example, as
a quadrature oscillator with a sine and cosine wave to create visuals on
an XY oscilloscope. BP is 4Vpp.
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