Native Instruments Monark Manual page 30

Key-tracking
Lower notes naturally have more low frequency energy than high notes. If the filter is set in a
low-pass mode, of course higher notes will experience stronger dampening than low notes. Of-
ten it is required to have the cutoff frequency follow the pitch of the notes that are played, so
that high notes keep their brightness.
MONARK offers two key-tracking switches to allow just this. Each switch, if activated adds a
fraction of the keyboard pitch to the cutoff of the filter. The higher the note played, the higher
the cutoff frequency.
In combination the two key-tracking switches offer 4 key-tracking strengths:
▪ K.T.1 on / K.T.2 on: Full key-tracking, the filter follows the keyboard 1/1. This allows the
filter to be played in tune with the oscillators and in the case of self-oscillation gives you
another signal source!
▪ K.T.1 on / K.T.2 off: 1/3 key-tracking.
▪ K.T.1 off / K.T.2 on: 2/3 key-tracking.
▪ K.T.1 off / K.T.2 off: No key-tracking. The keyboard pitch does not affect the filter fre-
quency.
With full key-tracking, the filter can be played like an additional oscillator. Use full key-
tracking if you want to play the self oscillating filter or to give the noise a defined pitch
with a resonating filter.
Amplifier
In the final amplifier stage another ADS (Attack, Decay, Sustain) envelope shapes the loudness
of the output signal over time.
The amplifier always creates a very low level leakage signal, even when no note is played.
Control the leakage amount with the leakage parameter in View B. See
Section for more details.
Feedback
Of all the parameters of MONARK this function probably is the most unusual... but it's so
much fun! Analog synthesizers often provide an external audio input to allow for the processing
of arbitrary signals. With analog synthesizers, where you can basically patch anything into any-
Overview of MONARK Ensemble
View A—Overview of MONARK User Interface
↑5.3.7, GLOBAL
MONARK - Manual - 30