EDIT PROGRAM - SINGLE
Page 108 S3200XL Operator’s Manual - Version 1.00
The next three parameters down the right hand side are the modulation inputs to the filter. The
defaults for these are , and respectively.
These may be mixed and the range for each modulation input is the usual +/-50. You will note
that for there to be any effect, the parameter should be set to something lower
than 99.
With set to a high positive value, you may use velocity to control tone
colour much like you would find on an acoustic instrument with louder notes yielding brighter
sounds and, of course, vice versa. may be used for filter sweep effects such as
flute tremolando or drastic resonant synth effects whilst is used for shaping the
tonal dynamics of the sound and restoring lost harmonic movement due to looping. The multi-
stages of allow some interesting possibilities.
The other options which you may select for modulating the filters are:
Modwheel: This works much like pressure and moving the modwheel will cause the filter
cutoff to open and close. Use this for phrasing brass parts, perhaps, or for
special synth filter effects in a bass line or lead line.
Bend: This works like pressure and modwheel and allows you to open and close the
filter by moving the pitch bend wheel or lever. This can be effective when
bending up into a note as the filter will open and sound brighter.
Pressure: This may be used for expressive swells, particularly on brass sounds.
External: This can select from one of the 128 MIDI controllers for control of the second
filter’s cutoff.
Key: Although selectable as a mod source, it is not that worthwhile because this is
hardwired via the parameter.
Lfo1: This allows you to emulate the natural tremolo of flutes, woodwind, brass and
other such instruments when set to small modulation amounts. When set to
large modulation amounts, classic synth filter sweeps can be achieved. That
LFO1 can also be modulated leads to some very interesting synth sounds and
special effects.
Env1: On occasions, it is good to be able to have the filters tonal dynamics match
those of the amplitudes. One easy way to achieve this is, instead of copying
the amplitude envelope to the filters envelope, simply assign the amplitude
envelope to the filter.
Env 2: This may be used as an alternative to Env3 perhaps.
! Modwheel: This and the other “!” controllers allow you to control the opening and closing
of filter cutoff at the point of note on. They don’t have any effect if these
controllers change through the course of the note but only when the note is
pressed.
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