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
Band Reject (6dB/oct). This ﬁlter type–also called a notch
ﬁlter–cuts only the parts of the sound directly around the
cutoff frequency. Try modulating the cutoff with an LFO to
create phaser-like effects.
Filter Types and Cutoff Frequency
This lets you bypass Filter A completely.
If Bypass is Off, Filter A functions normally.
When Bypass is On, Filter A will have no effect.
This controls the cutoff frequency of Filter A, in increments
of 1/10 of an octave. The speciﬁc effect of the cutoff
frequency will change depending on the selected Filter
This adjusts the volume level at the input to the ﬁlter. If you
notice that the sound is distorting, especially with high
Resonance settings, you can turn the level down here, or at
Low resonance value
PROG P3–1: Filter1 3–1–1: Filter1
Resonance emphasizes the frequencies around the cutoff
When this is set to 0, there is no emphasis, and frequencies
beyond the cutoff will simply diminish smoothly.
At medium settings, the resonance will alter the timbre of
the ﬁlter, making it sound more nasal, or more extreme.
At very high settings, the resonance can be heard as a
separate, whistling pitch.
To make the resonance track the keyboard pitch, please see
"Key Follow," on page 33.
This selects a AMS source to control the Resonance amount.
For a list of AMS sources, please see "AMS (Alternate
Modulation Source) List" on page 374.
This controls the depth and direction of the Resonance
For example, if Velocity has been selected, changes in
keyboard velocity will affect the resonance. With positive (+)
values, the resonance will increase as you play more
strongly, and as you play more softly the resonance will
approach the level speciﬁed by the Resonance setting. With
negative (–) values, the resonance will decrease as you play
more strongly, and as you play more softly the resonance
will approach the level speciﬁed by the Resonance setting.
The resonance level is determined by adding the Resonance
and AMS Int. values.
This controls the output level of Filter A. You can use this to
balance the volumes of Filters A and B when the Routing is
set to Parallel, or to turn down the volume to avoid clipping
later in the signal chain.
AMS (Output AMS)
This selects a modulation source to control the output level
of Filter A. For a list of AMS sources, please see "AMS
(Alternate Modulation Source) List" on page 374.
This controls the depth and direction of the output level
3–1–1c: Filter B
Filter B is available when the Filter Routing is set to Serial
or Parallel. Otherwise, the parameters in this section will be
The parameters for Filter B are identical to those for Filter A.
For more information, please see the descriptions under
Filter A, above.
[List of AMS Sources]
[List of AMS Sources]
High resonance value