21
Trigon-6 Operation Manual
Filter
Cutoff: Sets the lter’s cutoff frequency. A lowpass lter removes
frequencies from high to low — cutting the high frequencies and passing
the low, hence the name “lowpass.”
Resonance: Emphasizes a narrow band of frequencies around the cutoff
frequency. High levels of resonance can cause the lter to self oscillate
and generate its own pitch.
High levels of resonance can sometimes cause the Trigon-6 outputs to clip if its
sound generators are also set to high volume levels. Monitor your outputs carefully to
ensure optimal, clean signal levels. If you experience signal clipping, try reducing the
volumes of the oscillators, or the drive amount, or the resonance parameter.
Env Amount: Sets the amount of modulation from the lter envelope to
the lters. Higher amounts more dramatically affect the cutoff frequency.
This control is bipolar. Positive settings produce standard behavior as
described in “Filter Envelope” on page 22. Negative settings invert the
envelope. Experiment with this control to create a variety of expressive
ltering effects.
2-Pole: on, off—When enabled, sets the lter to two-pole mode. A 2-pole
lowpass lter allows more oscillator harmonics to pass through the lter
stage.
Keyboard: off, half, full—Sets the amount of modulation from the
keyboard to the lter’s cutoff frequency. Selecting half or full means
that the higher the note played on the keyboard, the more the lter opens.
This is useful for adding brightness to a sound as higher notes are played,
which is typically how acoustic instruments behave. If both half and full
are off, keyboard lter tracking is off, meaning that lter frequency is unaf-
fected by playing higher or lower notes on the keyboard.
Setting keyboard to full when the lter is self oscillating will cause the lter-
generated pitch to follow the keyboard in tune (i.e. in semitones). Setting the keyboard
to half will cause the lter-generated pitch to follow the keyboard pitch in quarter
tones.
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