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Further With Filters

soundonsound.com · 2,372 words · saved by 1 readers

Gordon Reid continues his series on the theory of subtractive synthesis by delving deeper into the amazingly complex world of the analogue audio filter. In Part 4 (SOS August 1999), we started looking at audio filters, demonstrating (if not proving) that they are also phase-shifters, and therefore mess with your audio signals in more ways than one. In doing so, we skipped over the most important aspect of such devices: their abilities to remove parts of the audio spectrum and create new tones from old. But if you think that this is the easy bit, or that you already know how filters attenuate signals, the chances are that you're wrong (on both counts). So let's get stuck in, and dispel a few myths... Figure 1: A simple low-pass filter. Figure 1 shows the passive low-pass RC filter first introduced last month (incidentally, you can, with a fair degree of accuracy, define a passive component as one that draws no power except that presented as the signal at its input — so resistors, capaci

Synth Secrets Synthesizers > Synth Secrets , Synthesis / Sound Design By Gordon Reid Published September 1999 Gordon Reid continues his series on the theory of subtractive synthesis by delving deeper into the amazingly complex world of the analogue audio filter. In Part 4 (SOS August 1999), we started looking at audio filters, demonstrating (if not proving) that they are also phase-shifters, and therefore mess with your audio signals in more ways than one. In doing so, we skipped over the most important aspect of such devices: their abilities to remove parts of the audio spectrum and create ne

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