Sound Page

• LP 24, 18, 12, and 6 are low-pass filters with 24, 18, 12, and 6 dB/oct. Frequencies above the cutoff are attenuated.

• BP 12 and BP 24 are band-pass filters with 12 and 24 dB/oct. Frequencies below and above the cutoff are attenuated.

• HP 6+LP 18 and HP 6+LP 12 are combinations of a high-pass filter with 6 dB/oct and a low-pass filter with 18 and 12 dB/oct, respectively (asymmetric band-pass filter). Frequencies below and above the cutoff are attenuated. Attenuation is more pronounced for the frequencies above the cutoff.

• HP 12+LP 6 and HP 18+LP 6 are combinations of a high-pass filter with 12 and 18 dB/oct and a low-pass filter with 6 dB/oct (asymmetric band-pass filter). Frequencies below and above the cutoff are attenuated. Attenuation is more pronounced for the frequencies below the cutoff.

• HP 24, 18, 12, and 6 are high-pass filters with 24, 18, 12, and 6 dB/oct. Frequencies below the cutoff are attenuated.

• BR 12 and BR 24 are band-reject filters with 12 and 24 dB/oct. Frequencies around the cutoff are attenuated.

• BR 12+LP 6 and BR 12+LP 12 are combinations of a band-reject filter with 12 dB/oct and a low-pass filter with 6 and 12 dB/oct, respectively. Frequencies around and above the cutoff are attenuated.

• BP 12+BR 12 is a band-pass filter with 12 dB/oct plus a band-reject filter with 12 dB/oct. Frequencies below, above, and around the cutoff are attenuated.

• HP 6+BR 12 and HP 12+BR 12 are combinations of a high-pass filter with 6 and 12 dB/oct and a band-reject filter with 12 dB/oct. Frequencies below and around the cutoff are attenuated.

• AP is an all-pass filter with 18 dB/oct. Frequencies around the cutoff are attenuated.

• AP+LP 6 is an all-pass filter with 18 dB/oct plus a low-pass filter with 6 dB/oct. Frequencies around and above the cutoff are attenuated.

• HP 6+AP is a high-pass filter with 6 dB/oct plus an all-pass filter with 18 dB/oct. Frequencies around and below the cutoff are attenuated.

Controls the cutoff frequency of the filter.

Emphasizes the frequencies around the cutoff. At higher settings, the filter self-oscillates, which results in a ringing tone.

Controls the cutoff modulation from the filter envelope.

Controls the cutoff modulation from velocity.

Controls the attack time of the filter envelope.

Controls the decay time of the filter envelope.

Controls the sustain level of the filter envelope.

Controls the release time of the filter envelope.

Delays playback of the notes. This parameter can be used when working with multiple programs or layers. Setting up different key delay values for the different layers allows you to spread the notes, so that they do not all begin at the same time.

Controls the overall volume of the sound.

Controls the level modulation from velocity. At 0, all notes are played with the same level.

Controls the attack time of the amplifier envelope.

Controls the decay time of the amplifier envelope.

Controls the sustain level of the amplifier envelope.

Controls the release time of the amplifier envelope.

Adjusts the tuning in semitones.

Adjusts the tuning in cents.

Determines the range for the modulation that is applied when you move the pitchbend wheel.

Controls the frequency of the modulation, that is, the speed of the LFO.

If Sync is activated, the frequency is set in fractions of beats.

Controls the modulation depth of the pitch modulation.

Controls the modulation depth of the filter cutoff modulation.

Controls the frequency of the second LFO that is used for pitch modulation (vibrato).

Controls the depth of the pitch modulation (vibrato).

Controls the influence of the mod wheel on the filter cutoff.

Activates/Deactivates the influence of the scale settings on the played notes.

Activate a switch to decrease the tuning of the corresponding note by a quarter note.