ENSONIQ TS-10 Specifications download pdf (Page 167)

Section 9 — Program Parameters TS-10 Musician’s Manual

• SYSTEM — Uses whatever is selected as the system pitch-table on the System page. Normally

this is standard twelve-tone equal temperament tuning across the keyboard. However, a

custom pitch-table can be copied into the system pitch-table for use by all sounds. The

PITCH-TABLE parameter on the System page determines what the System pitch-table will be.

• ALL-C4 — No pitch tracking — the same pitch (C4) plays across the keyboard.

• CUSTOM — User definable pitch-table. This option is only available if a custom pitch-table

has been created in the program.

ENV1 Range: -99 to +99

This hard-wired modulation routing determines the amount by which Envelope 1 will affect

pitch. Unlike applying ENV-1 as a pitch modulator with the generic pitch MODSRC parameter,

the hard-wired ENV1 parameter forces Envelope 1 to always sustain at the manual pitch setting

on the Pitch page. The Envelope 1 SUSTAIN level no longer controls the pitch at which Envelope

1 will sustain. Instead, it becomes an "equator-shift" value, determining which Envelope 1 level

values will cause the pitch to rise above the manual pitch setting and which level values will

drive it below. Envelope 1 level values equal to the SUSTAIN level value will sound at the

manual setting. Higher level values will shift the pitch upward from the manual pitch setting,

and lower values will shift the pitch downward. This feature allows for the creation of bi-

directional pitch envelope shapes, while conveniently ensuring that voices will always sustain at

the manual pitch setting, without the need to offset the manual pitch setting on the Pitch page.

LFO Range: -99 to +99

Determines the amount by which the LFO (Low Frequency Oscillator) will affect pitch.

Filters Page

Each TS-10 voice has its own pair of digital filters, FILTER 1 and FILTER 2, which are connected

in series. The filter settings determine which ranges of frequencies will be allowed to pass

through to the output.

Low-pass/High-pass

A low-pass filter allows only those frequencies below the filter cutoff frequency to pass — higher

frequencies are filtered out. The reverse is true for a high-pass filter — it lets frequencies higher

than the cutoff frequency pass and filters out those below. In the TS-10, FILTER 1 is always a

low-pass filter. FILTER 2 can be either a high-pass or low-pass filter.

Poles — Rolloff Curves

“Pole” is an engineering term which describes the steepness of a filter, or the filter’s cutoff slope.

Each additional pole gives a filter a steeper rolloff curve. In the TS-10, the filter modes are

interdependent; that is, the combined number of poles in FILTER 1 and FILTER 2 is always four.

These four poles are divided between the two filters; either as 2 and 2, or as 3 and 1. There are

two FILTER Pages; however, if you change the number of poles on either page, you will change

the number of poles on the other page — high-pass will remain high-pass, but the number of

poles will change.

A 1-pole filter will rolloff at 6 dB per octave; a 2-pole filter, 12 dB per octave; a 3-pole filter, 18 dB

per octave; and 4-pole filter, 24 dB per octave. To reproduce a 4-pole low-pass filter (for that

“classic” analog synth sound) you would set both low-pass filters to roll off at 12 dB per octave,

resulting in a 24 dB per octave rolloff.

Cutoff Frequency

Every filter has a “knee” in the response curve, known as the cutoff frequency. This is the

frequency at which the filter begins filtering out frequencies. The filter cutoff frequency can

remain fixed over time, or it can be varied by modulating the filter with an envelope, LFO,

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ENSONIQ TS-10 Specifications Page 167

Comments to this Manuals

ENSONIQ TS-10 Specifications Page 167

Comments to this Manuals

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