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Chapter 11: Reference Section 203
Z-PLANE FILTER DESCRIPTIONS
F157 Intervallc4
This filter is similar to the ‘Bendup/Swap’ filter, but here the effect
is even more pronounced. With Frequency Tracking set to 000,
pushing the Morph Offset higher produces a downward sweep of a
series of very resonant harmonics. Set Frequency Tracking to 255,
however, and the sweep reverses. Other effects can be achieved by
experimenting with the interaction between these two parameters.
Because of its metallic overtones, this filter can make a good
choice for simulating certain percussion instruments, such as steel
drums and kalimbas.
Morph: Causes a downward sweep of harmonic intervals.
Freq. Tracking: Reverses Morph sweep.
Transform 2: Not used.
F158 EvenCuts4
This filter produces a series of notches in the frequency spectrum
(based on the even harmonic series), which turn into small bumps
when morphed.
Morph: Controls the depth of the notches/height of the bumps.
Freq. Tracking: Tunes the notches/bumps.
Transform 2: Not used.
F159 OddCuts.4
This filter produces a series of notches in the frequency spectrum
(based on the odd harmonic series), which turn into small bumps
when morphed.
Morph: Controls the depth of the notches/height of the bumps.
Freq. Tracking: Tunes the notches/bumps.
Transform 2: Not used.
F160 PWMtrans.4
This filter produces a series of harmonically related notches,
which become peaks as the filter is morphed upward — the effect
can be similar to pulse width modulation, depending on the
source material. As Frequency Tracking is moved upward, the
peaks/notches move toward the high end of the frequency range,
and ‘Q’ is increased, producing more resonant sounds.
Morph: Controls depth of the peaks/notches.
Freq. Tracking: Tunes the filter and controls ‘Q’ amount.
Transform 2: Not used.
F161 HiEndQ.4
This filter behaves much like a resonant low-pass filter.
Morph: Sweep this for low-pass filter effects.
Freq. Tracking: Sets the initial cutoff point of the filter.
Transform 2: Not used.
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