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Of Filters & Phase Relationships

soundonsound.com · 2,331 words · saved by 1 readers

Having dealt last month with the concepts of envelopes, oscillators and LFOs, Gordon Reid moves on to the subject of filters, and the havoc they wreak on the signals that pass through them. So, you've read Parts 1, 2 and 3 of this series, and you've digested everything I've written so far about oscillators, envelope generators, VCAs, and LFOs, how they work, what they do, and how they slot into the typical subtractive synthesizer. About now, you imagine, it ought to be time to get the low-down on the crowning glory of subtractive synthesis — the filters. Well, yes... and no. If you're expecting something like "wind the resonance up to 11, and sweep the 24dB/octave VCF for some classic tearing analogue sounds," you're going to be disappointed. If you really want to know why some filters sound good and others are so uninspiring, you've got to understand more about them. Unfortunately, filters are the most misunderstood parts of any synthesizer, and even the most basic belief surrounding

Synth Secrets Synthesizers > Synth Secrets , Synthesis / Sound Design By Gordon Reid Published August 1999 Having dealt last month with the concepts of envelopes, oscillators and LFOs, Gordon Reid moves on to the subject of filters, and the havoc they wreak on the signals that pass through them. So, you've read Parts 1, 2 and 3 of this series, and you've digested everything I've written so far about oscillators, envelope generators, VCAs, and LFOs, how they work, what they do, and how they slot into the typical subtractive synthesizer. About now, you imagine, it ought to be time to get the low

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