These guys are gonna be the same on both buses. Filter two bus controlled with this pan and this level. So what’s the difference? The difference is that filter one bus is controlled with this pan and level. Filter two bus contains a copy, that same filter one and same filter two. In dual mode, filter one bus contains filter one and filter two. Filter two bus just contains filter two, like you’d expect. When we’re in parallel mode, filter one bus just contains filter one. This filter one and filter two fader, what it really refers to are what Z3TA calls filter buses. Now, you might ask yourself, “If my sound’s going through filter one and then filter two, “what’s the point of this?” Well in reality, what we have here are four filters. So we get that low-pass modulation and keep this bottom chunk off the entire time. And now you have individual control over the highs and lows.Īnd you could even modulate just one of them. Use an LPF here, a low-pass to cut your highs, and then here, use a high-pass to cut your lows. Or another example is, let’s say we’re going for a band-pass filter-like effect, but we need more detailed control over that band-pass. So now we get our rounding and we get to cut out that piece that we don’t like. Let’s say we like our sound, but there’s something in there we don’t like. Let’s see, for example, let’s say we got a typical low-pass on the first part. Now you can also use this dual filter layout for when you want two shaping filters so you can really get fine-tune precise control of your sound. I can grab a high-pass and just take a little bit of that bottom end off. So let’s say I like that sound but it’s a little too bulky. So it’s great way to take a character filter and then shape it.Īnother example would be, let’s say we got a Reso-2 BPF, let me turn this guy off. So what I could do is throw a 12 dB low-pass on and now I could take some of the highs off. Select dual and now my sound is running through filter one and then running through filter two. What if I want to round it out a bit? That’s where dual comes in. But what if you need to then shape it? Like for example, this comb filter, is pretty bright. They’re not necessarily there to control your brightness or shade, they’re more to add a distinct sound to your patch. Now, this filter and these talking filters, we can refer to these as character filters. Your formants and your resos, which make your synth talk, and your comb, which kinda gives it a trashy, flanging sound. Now in the following excerpt, I just finished talking about some filter types, particularly these at the bottom, which I call character filters. And if you wanna try a special demo that has some Z3TA + 2 videos included, just click the link that’s popping up now. If you’d like to try the Syntorial demo, just click the link that’s popping up on the screen now. The Z3TA + 2 lesson pack adds 37 videos to this that cover Z3TA + 2 and help you transition from the Syntorial synth to Z3TA + 2. It combines a video demonstration with interactive challenges in which you program over 700 patches on a built-in soft synth. Now for those of you who don’t know, Syntorial is a videogame-like training software that teaches you how to program synth patches by ear. Now this following video clip is actually an excerpt from the “Z3TA + 2 Lesson Pack for Syntorial,” which has 37 videos that cover every inch of Z3TA + 2 and it’s free for Syntorial users. In this video, I’m gonna be showing you the many ways in which we could use two filters on a synth and more importantly, how and why you would use two filters. This video is an excerpt from the Z3TA+ 2 Lesson Pack for Syntorial, which contains 37 videos, over 3 hours of footage, and covers every inch of Z3TA+ 2. Using dual or parallel filters, can give you very detailed control over the shape, body, and weight of your sound. In this synth tutorial, watch Joe Hanley, the creator of Syntorial, as he demonstrates how and why to use two filters on a synth.
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