Antares Filter user manual

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5FILTERS #1 AND #2 IN SERIES WITH THEIR
OUTPUT ROUTED TO #3 AND #4 IN
PARALLEL In this configuration, audio is
routed to the input of Filter #1 and after
being processed is sent to the input of Filter
#2. The output of Filter #2 is then sent to the
inputs of both Filter #3 and Filter #4 where it
is processed in parallel with the outputs of #3
and #4 mixed together for the final output.
6ALL FOUR FILTERS IN SERIES In this configura-
tion, the audio is first routed to Filter #1 and
its output then...

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portion on to Filter #2 which removes audio under 5kHz. Since the
entire signal from Filter #1 is under 5kHz, there’s nothing left to send
to the output.
ANOTHER NOTE: The one place where series routing is not only useful,
but pretty much required is when you’re dealing with multiple notch
filters. As an example, choose routing #6 and set all four filters to
notch at different frequencies. Link #2, #3 and #4 to #1 and sweep #1’s
frequency to hear the effect. Now switch to routing #1 and try the
same...

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NOTE: When using an LFO to produce a desired effect on a particular
parameter, it is important to recognize that the LFO provides a bipolar
control signal, i.e., the signal is centered around the value of 0 (the
value at which it has no effect on the controlled parameter) and
(except for the random shapes) moves symmetrically both above and
below 0.
What this means in practice is that an LFO will cause the parameter it is
controlling to alternately increase and decrease relative to its initial
value....

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BEATS
When the LFO is synced to the master tempo (the Sync To Master button is
lit), this parameter is labeled Beats and is set in beats or fractional\
 beats
relative to the Master Tempo.
Use the Beats knob to select the desired beat division.
The data display will indicate the selected beat as follows:• For two or more beats, the number of beats (i.e., 2, 3, 4, ...16)
• For beat divisions, a graphic representation of selected beat division
Y ou may also click in the data display to display a popup...

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TRIANGLE: Similar to the Sine shape, but with a
sharp (and potentially audible) change of direc-
tion at the maximum and minimum points. NOTE: Keep in mind that in addition to simply defining the LFO
frequency’s unit of measure, a further difference is that when you set
LFO rate in Hz or BPM you are setting an absolute frequency, while
when you set it in beats you are setting a relative frequency.
For example, if you set an LFO rate of 12 BPM or .20 Hz (they are
equivalent), the LFO will complete a...

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SQUARE: Jumps to maximum where it spends 50%
of the cycle and then jumps to minimum for the
remaining 50% of the cycle. Used to rhythmically
switch a parameter between two specific values.
SHORT PULSE: Like the Square shape, but spends
only 25% of the cycle at maximum and 75% at
minimum.
LONG PULSE: The inverse of the Short Pulse.
Spends 75% of the cycle at maximum and 25% at
minimum.
THE RANDOM SHAPES: For the three Random shapes, a random value is
generated for each cycle period. The shapes differ...

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ANOTHER TIP: A quick way to familiarize yourself with the effects of
the various shapes is to filter a rich pad-type sound with a bandpass
filter with Q set to 50%. Assign an LFO to control the filter’s frequency
(see the Modulation Matrix section for details). Set the LFO’s rate to 27
BPM (or so) and listen to the effects of shapes 1–7. Then boost the rate
to 299 BPM and try each of the three random shapes. All should
become clear.
FUNCTION DISPLAY SELECTOR
Click on the LFO/ENV rocker switch to...

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ENVELOPE OVERVIEW
An Envelope Generator is essentially a control signal that follows a preset
series of actions at rates and for times that you program. For Filter’s
Envelope Generators, those actions are:
1TRIGGER A trigger is an external signal that tells the Envelope Genera-
tor to begin its actions. In Filter, that trigger can come from one of the
two Rhythm Generators or from a MIDI Note On command.
2DELAY (optional) You can set a delay time between when the Trigger is
received and when the...

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ANOTHER NOTE: Like the Delay time and LFO rate described above,
when you set Envelope parameters in milliseconds, you are setting an
absolute time or rate, while when you set them as a percentage of the
RG step time, you are setting a relative time or rate.
This is of particular importance when you are triggering an Envelope
with a Rhythm Generator. In that case, you will often want to set the
parameters in terms of the RG tempo so that if you later need to
change the tempo, the Envelope will rescale...

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DECAY RATE AND SUSTAIN LEVEL
The Decay Rate and Sustain Level can be set simultaneously on the Graphi-
cal Envelope Display by moving the cursor over the Decay or Sustain area of
the display until the cursor turns into a four-pointed arrow. Click and hold
the mouse button and move left or right to set the desired Decay Rate and
up or down to set the desired Sustain Level. You will see a graphical
representation of the Envelope’s Decay and Sustain contour and the
numeric displays will indicate the...