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aches its maximum, while clockwise, the signal is most powerful. Leave the [frequency]-knob
(28) clockwise and move the [balance]-knob (41) to approx. 2 o'clock, until the signal has faded.
Play again with the [frequency]-knob (28); the signal increases in clockwise direction. The whole
thing also works, when "allpass" is selected with the [curve]-rotary-switch (37).
The sense behind this exercise is to get a feel for the special functionality, the interaction between fil-
ter characteristics, resonance parameters and the level balances when mixing both filter sections. Your
workflow will be much faster, when you are able to recognice how e.g. the [balance]-knob (41) has to
be re-adjusted out of the 12 o'clock position when parameters like filter characteristics or resonance
are changed. After some practising, you will be able to achieve all these effects fast and intuitively in
every live situation and at least, to use 'ebbe und flut' like a real musical instrument.
10.2.4 Filter saturation
Recall the basic setting, switch [bypass] to "ON" and move the [frequency]-knob (7) to fully clockwise
position. Up to now, the filter has been supplied with a nominal level, because the center position of
the [compression]-knob (3) leads to a high compression and low threshold. Switch the [GAIN]-switch
(22) to "+20 db", and move the [compression]-knob (3) fully clockwise. Now the signal should be au-
dible with a significant higher volume. If not, increase the output level of your audio source. Recall the
original level with the [level]-knob (1). It should be adjusted counter clockwise from the center positi-
on.
17.
Move the [frequency]-knob (7) to 1 o'clock and the [resonance]-knob (8) to 12 o'clock. When
moving the [level]-knob (1) slowly clockwise, you will hear a more and more saturated filtersig-
nal. Play around with the knobs [frequency], [resonance] and [level]. Check out the [curve]-rota-
ry-switch (16) and the remaining filter-characteristics. Then repeat the whole exercise with filter
2. You will recognice a difference in the sound of VCF 2.
10.3 The distortion unit
Recall the basic setting, switch [bypass] to "ON" and move the [frequency]-knob (7) to fully clockwise
position. We want to have a first look at the distorsion unit, again with the help of a simple saw-wave
signal.
18.
Select "high" position (up) with the [select]-switch (6), and move the [distortion]-knob (5) at first
to 10 o'clock position. You will recognice a slight attenuation in level, since the distortion unit
generates its own level. When turning up to 1 o'clock position, the signal becomes fatter and
more brilliant. Up to the 3 o'clock position, it will sound like a square wave. Up from the 3 o'clock
position to fully clockwise, some artefacts will be added to the sound. Switch the [low/high]-
switch (6) to "low" (down). The signal gets a significantly different and warmer character. Move
the [distortion]-knob (5) back counter clockwise and listen.
19.
Move the [distortion]-knob (5) again to fully clockwise position, the [frequency]-knob (7) and
the [resonance]-knob (8) both to 1 o'clock. Play with [frequency]-knob (7); the filtered distortion
unit you are listen to, gets a more powerful sound. Select the other functions of the [curve]-rota-
ry-switch (16) by moving it clockwise and listen.
20.
Move the [balance]-knob (41) further clockwise and repeat step 19 with VCF 2.
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