AirRaid Audio Elements A-Filter Operation Manual
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[ OPERATION MANUAL ]
Updated: 28.09.16
Elements A-Filter
Welcome!
Thank you for purchasing Elements: A-Filter.
A-Filter is an analog-modelled dynamic stereo filter which integrates seamlessly into our
Elements modular series. It combines a highly tweakable envelope follower with a dual filter, complete with 8 all-new filter types. On the rear panel you will find stereo CV inputs for the main controls, which allow Filter to be plugged into Elements devices which feature stereo CV output, such as the DS-LFO. In contrast with Elements Filter, A-Filter offers substantially different filter algorithms, a warmer drive function, and self-oscillation. All this comes at a slightly greater CPU hit, so which Element you chose to use will depend largely on the task at hand.
Used either as a standalone device or as part of a modular/multiband setup, A-Filter is an exceptional creative tool for sound designers and musicians alike.
Typical applications include: Classic filter effects; dynamic wah-wah effects; DJ-style HP-to-
LP filtering; advanced dual peak filter effects, pre-distortion/lo-fi overloading; evolving stereo filtered textures.
We hope you have as much fun using it as we did creating it. Enjoy!
About Elements
Elements is a series of mini devices originally derived from our Triad Multiband series. They have been carefully crafted to isolate and enhance specific “elements” of Triad, and integrate together modularly, through stereo CV modulation and slick, unified design. A-Filter is part of a new wave of entirely new devices not derived from Triad.
Currently available Elements: A-Filter, Chorus, Distort, DS-LFO, Filter, Lo-Fi, Phaser, S-Delay,
T-Delay, Splitter 2
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Elements A-Filter
Contents
Welcome!
Loading and saving patches
Controls and displays
Env Follower
Analog Filter
FIlter Types
Global
Rear Panel
1
2
3
2
2
3
4
4
Loading and saving patches
Loading and saving patches in A-Filter is done in the same way as with any other Reason device. See “Loading patches” and “Saving patches” in the Reason Operation Manual for further information.
Controls and displays
ENV FOLLOWER
The envelope follower generates a control signal from the device's audio input which can be applied independently, either positively or negatively, to A-Filter’s primary controls. This signal can be “smoothed” using the Attack and Release controls. Immensely tweakable, the envelope follower produces a dynamic filter “wah-wah” effect, which will follow the flow of the music and help bring it to life.
Amp — Controls the amount of envelope modulation applied to the destinations specified by the individual Envelope Mod Target toggle buttons.
Attack — Controls the attack of the envelope. Higher settings result in a slower attack, whereas lower settings are much faster.
Release — Controls the release or decay of the envelope. Higher settings result in a slower release, whereas lower settings are much faster.
Envelope Mod Targets — Located to the right of the three knob controls listed above, these buttons toggle whether the envelope modulation gets applied to their respective targets. E.g., activating the Freq and Res buttons ensures that the envelope modulation gets applied to the
Freq and Res parameters, but not to Width.
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Elements A-Filter
ANALOG FILTER
A-Filter’s analog filter is an insanely squelchy dual filter with 8 varied filter types. By “dual filter” we mean, of course, that certain filter types in fact combine two filters in series or parallel and allow their respective frequencies to be offset, creating a vast range of possible tones. With each control being assignable to the envelope follower, A-Filter is the tool par excellence for adding instant analog charm to any sound.
Drive — Adds a subtle amount of distortion to the pre-filtered input signal. This distortion algorithm works identically to the ‘Warmth’ algorithm in our Elements Distort Rack Extension.
In contrast with our regular Elements Filter’s new drive knob, this control creates a more subtle effect which better complements A-Filter’s analog sound.
Type — Selects the filter type of our multimode filter. Each mode has been carefully tuned for
“musical” results. Please refer to FILTER TYPES for more info on each of the filter types.
Freq — Controls the frequency of the multimode filter. The value range changes depending on the filter type selected.
Res — Controls the resonance of the filter in all modes.
Width — Controls the width of the filter (only active in LP4, HP4, BP2, BR2, 2xBP2 and
2xBR2 modes)
FILTER TYPES
LP2 — Standard 2-pole low-pass filter. Freq ranges from between 50 Hz to 20 kHz. Width control has no effect.
LP4 — 4-pole low-pass filter. Freq ranges from between 50 Hz to 20 kHz. The Width control serves as a separator between the first two poles of the filter and the last two. When Width is set to 0%, all four poles take the same frequency cutoff value. When Width is increased, the cutoff value of the last two filter poles is raised above the initial cutoff threshold, allowing for some interesting variations on the standard low-pass filter sound.
HP2 — Standard 2-pole high-pass filter. Freq ranges from between 50 Hz to 20 kHz. Width control has no effect.
HP4 — 4-pole high-pass filter. Freq ranges from between 50 Hz to 20 kHz. The Width control serves as a separator between the first two poles of the filter and the last two. When Width is set to 0%, all four poles take the same frequency cutoff value. When Width is increased, the cutoff value of the last two filter poles is raised above the initial cutoff threshold, allowing for some interesting variations on the standard high-pass filter sound.
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Elements A-Filter
BP2 — 2-pole band-pass filter. Freq ranges from between 50 Hz to 10 kHz. Width controls the width of the filter, i.e. raising Width lowers the high-pass cutoff component of the filter and raises the low-pass cutoff respectively, around the center frequency specified by the Freq control.
BR2 — 2-pole band-reject filter. Freq ranges from between 50 Hz to 10 kHz. Width controls the width of the filter, i.e. raising Width lowers the low-pass cutoff component of the filter and raises the high-pass cutoff respectively, around the center frequency specified by the Freq control.
DJ LP/HP 2 — A classic dual 2-pole low-pass/high-pass DJ filter. When the Freq knob is centred, the audio signal is completely dry. When turned to the left, Freq progressively introduces a low-pass filter cutoff, which extends all the way down to 50 Hz. When turned to the right, it does the same with a high-pass filter, which extends all the way up to 20 kHz. The
Width control has no effect.
DJ LP/HP 4 — A classic dual 4-pole low-pass/high-pass DJ filter. When the Freq knob is centred, the audio signal is completely dry. When turned to the left, Freq progressively introduces a low-pass filter cutoff, which extends all the way down to 50 Hz. When turned to the right, it does the same with a high-pass filter, which extends all the way up to 20 kHz. The
Width control has no effect.
GLOBAL
Mix — Controls the dry/wet mix of the device.
Vol — Controls the volume level of the device’s output, allowing you to either attenuate it or boost it by up to 6 decibels.
REAR PANEL
As with most other devices in our Elements series, A-Filter offers two distinct types of CV modulation—mono or stereo—depending on the parameter in question. This is a unique implementation which truly embraces Reason’s modular concept and allows for effects which were impossible... until now.
CV Modulation (mono) — The CV input modulates the parameter for the left and right audio channel in an identical manner. Essentially, the CV modulation for these parameters works exactly like it does for any stock Reason device.
CV modulation (L/R) — The left and right audio channels are modulated are modulated individually. This works by connecting the left and right CV inputs for the parameter to separate CV sources (such as the stereo CV outputs of our DS-LFO device, or indeed any
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Elements A-Filter two CV outputs from any Reason device). These parameters also allow for mono CV modulation, which is active if only the left CV input is connected (in much the same way that connecting only the left audio input of a stereo pair gives you a mono audio signal).
Audio I/O — The audio inputs and outputs work exactly the same way as for any stock
Reason device.
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