Behringer DEEPMIND 12 - Page 82

82 DeepMind 12 User Manual
OPERATION OF THE KEYBOARD SPLIT
1. In rst example, the rst DeepMind unit can play the notes that are below
middle C.
2. The second DeepMind unit can play the notes that are middle C and above.
3. Each unit can play its own program, and the volume of the audio output
from each unit can be adjusted with the volume controls, or the external
audio mixer.
4. To exit the KEYBOARD SPLIT mode, turn the KEY-RANGE OFF in each CHAIN
PARAMETERS menu.
8.5 VCF
The VOLTAGE CONTROLLED FILTER (VCF) is an advanced lter designed specically
for the DeepMind 12. The VCF lter changes the tone color created by the OSCs
and NOISE generator by cutting o, or emphasizing frequencies/harmonics. The
VCF stage allows the low frequencies to pass, and cuts o higher frequencies.
This approach is used by many classic subtractive synthesizers.
The VCF is a fully analog lter, with the ability to be switched from a 2-pole/12 dB
per octave lter to a 4-pole/24 dB per octave lter. The dB per octave refers to the
angle of the lter's slope/response curve.
The VCF also has adjustable resonance which creates a narrow peak around the
lter cut-o frequency. The DeepMind 12 lter is capable of being driven into self
oscillation when the resonance setting is high. Unlike many other synthesizers,
the DeepMind 12 is capable of accurate pitch tracking even when the lter
resonance is pushed to (and past) the point where the lter starts to self-
oscillate. The self-oscillation is tuned so that you can play it as a fully polyphonic
3rd oscillator across the entire range of playable notes.
The VCF can be modulated dynamically by the VCF Envelope, LFO or Keyboard
Tracking. The VCF Frequency is also available in the Mod Matrix as a destination
where it can be modulated from any of the Mod Matrix sources.
8.5.1 VCF FREQ FADER
• The VCF FREQ fader controls the cut-o frequency of the VCF. The VCF will
begin cutting frequencies below the cut-o frequency and continue to cut
them at a rate depending on the number of poles used.
You can use the lter to sculpt the sonic characteristics of the OSCs and noise
generator, or you can dynamically adjust the fader to create sweeps of the
lter which will create distinctive movement.
Modulating the cut-o frequency with sources such as an envelope
generator, with fast attack settings can help emulate the attack transients of
natural instruments, or be used to creative eect.