Sets the amount of distortion. The more buzz, the more distortion
you will have. Buzz will take you from subtle, at the farthest left, to heavy distortion at the farthest right. NOTE: Buzz
will increase the level of your output signal substantially as you turn it up. Use the Trim control to get the level back
to where you want it while the Buzz circuit is engaged.
the buzz circuit in and out.
Temporaily engages the buzz
circuit. This is useful for tapping patterns to create distortion hits and rhythms. Note: When an effect is engaged, the
Momentary will dis-engage it, when an effect is not engaged the momentary will engage it.
Sets the output level of the Buzz circuit. This can be set anywhere from inaudible to extremely
loud. Use with caution.
Stereo Filter Frequency
Sets the resonant frequency
of the stereo filter. Use it in conjunction with the resonance control. The more resonance you use the more distinct any changes
you make with frequency will be. The frequency tuning range of the filter covers a 12 octave range from 10 Hz to 40 kHz. The
External CV input can control this and has been adjusted to provide standard 1 Volt/Octave response.
Stereo Filter Resonance
The FilterFactory operates in a Stereo 2 Pole filter per channel mode, (unless you
switch to 4 Pole mode). When in Four Pole mode, the FilterFactory switches into Mono operation by summing the left and right
channels before the 4 pole filter. A two pole filter will give you a gentler response, in technical terms it is defined as
a 12dB/octave filter. A 4 pole or 24dB/octave filter will give you a much steeper filter response that will sound more pronounced.
Stereo Filter Type
This control selects the basic sound of the filter. Each filter type
has a unique sound. You will find situations where each one offers you a unique effect on a given signal.
Pass will roll off the bass of your signal. It will make things sound thinner.
The Band Pass filter acts like Wah
pedal and puts a peak in the middle of your signal. This is great for hilighting certain frequency ranges or for creating
a sweeping sound with the frequency knob.
The Notch Filter works the exact opposite of the Band Pass filter. It puts
a notch in your signal, essentially killing a small frequency band. This effect often sounds like talking through a pipe.
It will also create unique sweeping sounds, (that is similar to a phase shifter) when used in conjunction with the frequency
knob. For best Notch result put the Resonance knob fully counter-clockwise.
The Low Pass Filter is the most commonly
used filter type. This is the kind of filter you will find on vintage synths and envelope followers. It is useful for controlling
the amount of harmonics or the brightness of a signal. As you sweep the frequency control, try adding some resonance to make
the cutoff frequency more audible.
Stereo Filter Engage
control toggles the filter on and off. Turning this on restarts the LFO or triggers it if it is in single shot mode.
This switch temporarily engages the stereo filter. Try using it to tap
rhythmic patterns while adjusting the frequency knob. Pressing this button also restarts the LFO.
Stereo Filter 4 Pole Mono
This controls the level of the peak at the resonant frequency of the filter, i.e.
the frequency you dialed in with the frequency knob. FilterFactory was designed to create extreme effects, so be careful because
the resonance control is able to cause the filters to self-oscillate at higher settings. Self oscillation produces a loud
tone at the resonant frequency. It sounds a lot like sustained feedback.
The LFO provides the following cyclic (or repetitive) waveforms: Sawtooth, Inverse Sawtooth, Triangle, Square
Wave, Envelope Follow and Random. If you increase the LFO depth and turn the LFO speed up a bit you will be able to hear their
effect on your frequency setting. Note: Although ENV Follow isnā€™t a waveform we put it here anyway. To get
it working, select ENV Follow, set the frequency down to 115Hz, on a Low Pass Filter, set your resonance to 7.5 and adjust
the LFO depth to taste.
This button changes how the Filter
and the LFO Sections on your FilterFactory. Singleshot gives you the ability to trigger Filter Effects in a simular way that
playing a note on an old synthesizer will trigger VCF and VCA Envelopes. The FilterFactory Singleshot Envelopes are borrowed
from the LFO section. When single shot is on, Triangle, Sawtooth, and Inverse Sawtooth all become triggerable envelopes. The
Division button allows you to select how many time the waveform envelope will trigger. LFO Speed adjusts the duration of the
envelope, and the Filter Momentary triggers the envelope. Note: Singleshot does not work when the ENV Follower is selected. Note
2: If the Filter is not engaged, the Singleshot does not automatically finish the waveform.
LFO Tap Tempo
The tap tempo button is another way to control the LFO rate to match the beat of your music.
When it is hit one time, it will restart the LFO at the beginning of its waveform. If it is hit twice within 2 seconds, then
the time between presses is used as the new rate or tempo. It is hit 3 or more times, it will average the time between presses
to come up with a more accurate tempo.
This controls the amount
the LFO changes the filter frequency.
LFO Speed controls the
period of the LFO waveforms by changing the frequency of the LFO. The LFO Frequency range covers 0.1 Hz to 100 Hz for subtle
to extreme effects.
The LFO rate, as defined by Tap Tempo
or MIDI clock can be divided (or doubled) using this control. The actual rate is indicated by the flashing tempo LED.
Global Effect Mix
Controls the Mix of the Buzz and Filter Sections in relation to your
dry signal. 0% is all dry, or the same as bypassing the FilterFactory. 100% will be all FilterFactory and none of your dry