The filter cutoff numbers should be quite accurate for anything above about 200hz. Envelope timings are a bit more "iffy". In many cases, it's debatable as to what constitutes the end of an envelope phase. For envelope timings, the numbers should serve well as an initial guess, but subsequent adjustment by ear will normally be appropriate.
Methodology is explained after the results. Any value of "--" means I couldn't get a good reading.
Filter cutoff for the LPFs. Units are KHz.
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Ladder Cascade Mlt-Md BITE
150 19.8 -- 20.0 19.8
145 17.7 19.0 17.5 17.7
140 13.3 13.3 13.2 13.2
135 9.89 9.89 9.89 9.97
130 7.43 7.43 7.51 7.43
125 5.59 5.59 5.59 5.59
120 4.20 4.20 4.20 4.20
115 3.15 3.12 3.15 3.15
110 2.35 2.37 2.37 2.37
105 1.78 1.76 1.76 1.76
100 1.33 1.33 1.33 1.31
95 .986 .986 .986 .986
90 .741 .741 .741 .733
85 .551 .551 .551 .568
80 .418 .414 .410 .410
75 .311 .311 .311 .305
70 .234 .236 .231 .231
65 .176 .178 .176 .174
60 .133 .135 .135 .133
55 .099 .101 .098 .098
50 .078 .077 .078 .075
45 .060 .060 .059 .058
40 .046 .047 .048 .045
35 .038 .038 .039 .036
30 .033 .033 .036 .032
Amplitude envelope attack. Units are seconds.
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Analog Digital ADS
0 -- -- --
5 -- -- --
10 .01 .01 --
15 .02 .02 .01
20 .04 .03 .01
25 .09 .04 .02
30 .20 .07 .04
35 .43 .12 .07
40 .89 .19 .13
45 1.6 .30 .24
50 2.5 .48 .42
55 3.2 .78 .59
60 3.7 1.2 1.1
65 4.0 2.0 1.7
70 4.1 3.1 2.2
75 4.1 4.8 2.8
80 4.1 7.2 3.1
85 4.1 11 3.4
90 4.1 15 3.6
95 4.1 21 3.7
100 4.1 28 3.7
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Analog Digital ADS
0 -- -- --
5 -- -- .02
10 .02 -- .04
15 .03 .01 .08
20 .06 .02 .16
25 .11 .05 .34
30 .21 .09 .71
35 .41 .20 1.4
40 .69 .43 2.9
45 1.5 .94 5.6
50 2.7 1.9 10
55 4.7 3.9 17
60 7.5 7.2 26
65 11 12 34
70 14 17 39
75 16 21 43
80 18 23 45
85 19 24 46
90 19 25 47
95 19 25 47
100 19 25 47
Amplitude envelope release. Units are seconds. Unlike decay, which seemed not to vary too much when using sustain values of zero and 50, release times seem to be a function of sustain level. Values below show release times from sustain settings of 100 and of 50.
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---Analog-- --Digital--
100 50 100 50
0 -- -- -- --
5 -- -- -- --
10 .01 .01 -- --
15 .03 .03 .01 .01
20 .05 .05 .02 .02
25 .11 .09 .04 .03
30 .20 .14 .09 .07
35 .41 .35 .20 .15
40 .79 .66 .44 .33
45 1.5 1.2 .94 .71
50 2.8 2.3 2.0 1.5
55 4.8 4.0 4.0 3.0
60 7.6 6.3 7.3 5.5
65 11 9.0 12 9.0
70 14 12 17 13
75 16 13 23 16
80 18 15 24 18
85 18 15 25 19
90 19 16 25 19
95 19 16 26 19
100 19 16 26 19
Filter cutoff envelope attack. Units are seconds.
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Analog Digital ADS
0 -- -- --
5 -- -- --
10 -- -- --
15 .02 .02 .01
20 .03 .03 .02
25 .08 .04 .03
30 .19 .07 .05
35 .44 .12 .07
40 .86 .19 .19
45 1.5 .31 .32
50 2.4 .49 .57
55 3.1 .78 .93
60 3.5 1.2 1.5
65 3.8 1.9 2.2
70 3.9 3.0 3.0
75 3.9 4.6 3.7
80 4.0 7.0 4.2
85 4.0 10 4.6
90 4.0 15 4.8
95 4.0 20 4.9
100 4.0 26 5.0
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Analog Digital ADS
0 -- -- --
5 -- -- --
10 -- -- --
15 .03 -- .02
20 .04 .03 .03
25 .08 .06 .06
30 .16 .11 .11
35 .33 .19 .23
40 .61 .40 .44
45 1.1 .82 .77
50 2.1 1.7 1.8
55 3.7 3.4 3.5
60 5.9 6.5 7.0
65 8.1 10 12
70 10 15 19
75 12 18 26
80 13 20 31
85 14 21 35
90 15 22 37
95 15 22 38
100 15 23 38
Filter cutoff envelope release. Units are seconds. Values below show release times from sustain settings of 100 and of 50.
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---Analog-- --Digital--
100 50 100 50
0 -- -- -- --
5 -- -- -- --
10 -- -- -- --
15 -- -- -- --
20 .04 -- .02 .02
25 .05 .03 .05 .03
30 .09 .06 .09 .06
35 .17 .13 .18 .14
40 .32 .24 .38 .29
45 .64 .48 .84 .62
50 1.2 .93 1.7 1.3
55 3.1 1.6 3.4 2.5
60 3.8 2.7 6.2 4.4
65 5.9 4.5 11 7.4
70 -- -- -- 10
75 -- -- -- --
80 -- -- -- --
85 -- -- -- --
90 -- -- -- --
95 -- -- -- --
100 -- -- -- --
Methodology.
For the LPF cutoff readings, the process was simple. I put an instance of Voxengo Span after the synth in Sonar. I set the resonance to maximum. Playing a cluster of notes low in the keyboard with an oscillator set to use a saw wave. The spike at the cutoff frequency was easy to spot until getting to the lower values below about 60 on the cutoff control.
The amplitude envelope readings were also done with Sonar. In this case I had a MIDI track with a single note at middle C. For attack and decay, this note lasted well beyond the longest time. I set the subject control froze the track. Looking at the resultant wave form with a time-line setting of time (as opposed to M.B.T) and using the Aim Assist tool, getting the readings was tedious but straightforward.
A similar process was used for filter cutoff envelope measurements, except that I inverted the envelope effect to measure decay and release. Release measurements were further complicated by the fact that the amplitude release envelope started to shut things down too early for long filter cutoff release settings. As a result, but higher release values could not be captured.
