Filter
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Reference Voice Mode
Supplementary infomation
209
Owner’s Manual
■ Supplementary information
Micro Tuning List
Filter Type List
LPF24D (24dB/oct Digital Low Pass Filter)
A dynamic 24dB/oct low-pass filter with a
characteristic digital sound. Compared to the
LPF24A type (below), this filter can produce a more
pronounced resonance effect.
LPF24A (24dB/oct Analog Low Pass Filter)
A digital dynamic low-pass filter with characteristics
similar to a 4-pole analog synth filter.
LPF18 (18dB/oct Low Pass Filter)
3-pole 18dB/oct low-pass filter.
LPF18s (18dB/oct Staggered Low Pass Filter)
3-pole 18dB/oct low-pass filter. This filter has a
smoother cutoff slope than the LPF18 type.
LPF12 (12dB/oct Low Pass Filter)
12dB/oct low-pass filter. This filter is designed to be
used in conjunction with a high-pass filter.
LPF6 (6dB/oct low-pass Filter)
1-pole 6dB/oct low-pass filter. No resonance. This
filter is designed to be used in conjunction with a
high-pass filter.
HPF24D (24dB/oct Digital High Pass Filter)
A dynamic 24dB/oct high-pass filter with a
characteristic digital sound. This filter can produce
a pronounced resonance effect.
[VOICE] → [EDIT] → [COMMON] → [F1] GENERAL → [SF2] PLY MODE → M.TuningNo./M.TuningRoot (page 190)
M.TuningNo. Type M.TuningRoot Comments
00
Equal Temp (Equal temperament)
--
The “compromise” tuning used for most of the last 200 years of Western music, and found
on most electronic keyboards. Each half step is exactly 1/12 of an octave, and music can
be played in any key with equal ease. However, none of the intervals are perfectly in tune.
01
PureMaj (Pure major)
C ~ B
This tuning is designed so that most of the intervals (especially the major third and perfect
fifth) in the major scale are pure. This means that other intervals will be correspondingly
out of tune. You need to specify the key (C~B) you will be playing in.
02 PureMin (Pure minor) C ~ B The same as Pure Major, but designed for the minor scale.
03
Werckmeist (Werckmeister)
C ~ B
Andreas Werckmeiser, a contemporary of Bach, designed this tuning so that keyboard
instruments could be played in any key. Each key has a unique character.
04
Kirnberger
C ~ B
Johann Philipp Kirnberger, an 18th century composer, created this tempered scale to
allow performances in any key.
05
Vallot&Yng (Vallotti & Young)
C ~ B
Francescatonio Vallotti and Thomas Young (both mid-1700s) devised this adjustment to
the Pythagorean tuning, in which the first six fifths are lower by the same amount.
06 1/4 Shift (1/4 shifted) -- This is the normal equal tempered scale shifted up 50 cents.
07
1/4 tone
--
Twenty-four equally spaced notes per octave. (Play twenty-four notes to move one
octave.)
08 1/8 tone -- Forty-eight equally spaced notes per octave. (Play forty-eight notes to move one octave.)
09 Indian -- Usually observed in Indian music (white keys only).
10 Arabic 1
C ~ B
Usually observed in Arabic music.
11 Arabic 2
12 Arabic 3
[VOICE] → [EDIT] → Element selection → [F3] FILTER → [SF1] TYPE → Type (page 197)
Resonance
These frequencies are
“passed” by the filter.
Resonance
LPF18
LPF18s
Resonance
Resonance
Resonance