User Manual

42
SPECTRALIS 2
signal from there to the multimode-filter and finally send the output signal of
the multimode-filter back to the lowpass. Without fail this will prompt the
Spectralis to create a sharp high-pitched noise. No pain, no gain – especially if
you’re not sure at which stage of the routing the feedback was generated. Still,
”Effect”-sounds especially can benefit from the feedback and produce beautiful
noise! When you consider the possibilities, who would want to eliminate such
features?! We certainly didn’t!
e.) You’ll be hard-pressed to find a more impressive modulation-matrix. All of
the possible modulation- and signal sources are already connected with the
modulation-and signal-targets.You can determine with an encoder how much
you want the respective connection to affect a parameter. Just imagine a semi-
modular system, where VCA’s have taken the place of cables connecting the
individual modules and you will have a pretty good idea what the Spectralis
has to offer.
What’s the purpose of such totally flexible routing? For one, while you can’t
get around establishing all of the connections with cables in a modulation-
matrix, all of the possible connections are already set up in the Spectralis. This
allows very dynamic control over the sounds. It basically enables you to cross-
fade between different routings.
3.3.2 Let's go - Getting familiar with the analog filters.
Enough with the preamble. I’m sure you’re dieing to finally hear the synthesizer
by now. As with all the examples in the "How to...?"-section, we will be
assuming that you have already connected a MIDI-Keyboard to your Spectralis
and have it set to send on MIDI-channel 1. Now push the Part->[Select]-button
and select part 12 [Analog Synth]. For this example we are also going from
the assumption that the original factory presets are still present in your Spectralis.
Next select the [Song]-button in the "Num-Button-Assignment"-section and
chose song 6 with Numeric button [6]. Also in the "Num-Button-Assignment"-
section now push the [Pattern]-Button and last the numeric button [1]. Playing
a key on your MIDI-Keyboard you should now be hearing a pretty fat synth-
bass sound. This sound uses the 24dB lowpass filter. The filter-frequency is
being controlled via the envelope of the 24dB lowpass filter.
You can now turn the (CutOff LP)-encoder while playing your keyboard. You
should hear some definite sound changes. If you are turning the encoder to the
right the sound should become brighter and more sparkling, turning the encoder
to the left should make the sound darker and duller. You will notice however
that turning the encoder further to the left is not closing the filter fully. Don’t
be alarmed. This results from the fact, that the filter is being controlled by the
encoder, however the resulting control voltage is being added to the control
voltages of the other modulators.
As mentioned earlier, the cutoff-frequency of the sound is being controlled by
the envelope. Obviously in this case the ”sustain-level” of the controlling
envelope is opened to a point, where the filter won’t close completely.
This means of course, if you were to change the amount of the envelope-
dependency it should be possible to close the filter further??! We’ll give it a
try! If you have paid close attention during the earlier chapters of this manual
you will remember how to access a parameter. Just use the (CutOff LP)-button
The analog filter section