Rob Hordijk Dual Phaser: Difference between revisions
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the velocity CV or CC# CV outputs of a MIDItoCV converter, but when modulated from |
the velocity CV or CC# CV outputs of a MIDItoCV converter, but when modulated from |
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other sources one might need an extra CV mixer module to set the modulation levels properly |
other sources one might need an extra CV mixer module to set the modulation levels properly |
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<br><br> |
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<b>Phaser Filter</b><br> |
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Price 325 euro<br> |
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The PhaserFilter module combines 5 allpass poles with three lowpass poles in one module. |
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The five allpass poles are configured as a phaser with positive feedback resonance control, |
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creating two resonant peaks when opened. Then a crossfade knob fades between the input and |
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the output of the phaser and this crossfade mix is the input signal into the lowpass filter. At |
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the end of the allpass chain before the crossfader is a phaser monitor output. The lowpass |
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section has a cutoff slope of -18dB/Oct and its own resonance control. |
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Both the phaser section and the lowpass section have a 1V/Oct control law. The phaser has |
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one modulation input and if it is not connected the audio input signal is used as the |
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modulation signal. This allows for dynamic waveshaping of the input signal on the time axis |
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without detuning to signal. |
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The filter section has two modulation inputs, if the first is not connected the filter audio input |
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signal is used to modulate the filter cutoff, allowing for even more dynamic waveshaping just |
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like in the phaser section. If the second modulation input is not used it uses a signal from |
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halfway the lowpass poles to selfmodulate, thus producing all-harmonic distortion on the |
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resonance peak when the resonance is set fairly high. |
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When the 1V/Oct input jack for the filter is not used it inherits the signal from the phaser |
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section 1V/Oct input jack. |
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Both phaser and filter can sweep over a range of roughly 18 octaves and can be modulated up |
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to really high audio rates. In this last case FM-type and ringmodulator-type effects occur, but |
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with much more timbral control than traditional ringmodulators. E.g. when the outputs of two |
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OSC HRM modules, set to sinewave output and tuned in some interval, are mixed and routed |
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into the filter just slight amounts of the internal modulation on either the phaser or the filter |
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will start to produce ‘undertones’ and ‘overtones’ that are sum and difference frequencies of |
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the interval. This exemplifies the idea behind the PhaserFilter architecture, to not only take |
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material away like a normal filter does but to also produce new material not present in the |
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input signal and combine the both to create a vast range of possible timbres |