Wiardgroup

Many thanks to Doc and Grant for the replies. In case anyone gets the wrong idea, I want 
to say how much I enjoy the sounds of the OmniFilter! Heck, I also deeply love my Borg, 
Waveform City, and Wogglebug. Wish I had the dinero to get some of the newer modules, 
too!. Anyway, no disrespect to the sound of the filter, which is lovely; just glad to realize 
that it's SUPPOSED to have the _perceived_ volume decrease.

-andrew bunny

--- In wiardgroup@yahoogroups.com, "Grant Richter" <grichter@...> wrote:
>
> I really appreciate this post because it caused me to give some "deep thought" to the 
> question.
> 
> I'll try to be brief.
> 
> As terminology is borrowed from one field to another, it meaning often changes.
> 
> Electronics engineering borrowed terminology from acoustics, and electronic music 
> borrowed terminology from engineering.
> 
> Resonance, Q (quality), regeneration, peaking, negative feedback and positive feedback 
all 
> have specific technical meanings. Subjectively, they can all be grouped under 
"resonance".
> 
> Instrument designers walk a line between two worlds and it can get confusing what to 
call 
> something. Use the correct technical or historical name or use a popular subjective 
name.
> 
> The Omni-filter bandpass mode is technically correct, the Borg filter bandpass mode is 
> actually a "simulated resonator". It only adds gain at the corner frequency and doesn't 
> subtract anything. This is subjectively the way musicians want it. The Omni-filter 
subtracts 
> everything but the central frequency, technically correct, but more difficult to apply 
> musically.
> 
> To explain the difference I would have to get into DC response, AC response, passband 
> gain, corner frequency gain and corner frequency phase response. Which I am way too 
> busy to do.
> 
> Let's put it this way, when musicians talk about "subtractive synthesis" they really want 
to 
> subtract in very specific ways. Ways that do not change the apparent "volume" of the 
> sound (particularly bass volume). But mathematics is against that, and so engineers 
have 
> to be very clever to come up with filter designs that behave subjectively correctly to 
> musicians.
> 
> The Omni-filter was my first design. Later, based on what musicians told me, I designed 
> filters that behave much more the way musicians prefer. Both types are "correct", but 
the 
> later designs (Borg 1 and 2, Boogie) are specifically designed for electronic music use.
> 
> Hope that helps.
> 
> --- In wiardgroup@yahoogroups.com, "andrew dalio" <bunnyman@> wrote:
> >
> > I posted a couple examples of my OmniFilter in the Files section (OmniFilter examples 
> folder). 
> > The filter really seems to lose a lot of output when entering the bandpass mode (very 
> > noticeable in the 24dB output file). The module is processing a sawtooth wave. 
Coarse, 
> Fine, 
> > and Q are @ 12 o'clock. I'm manually turning the filter mode knob from LP to AP and 
> back 
> > again a few times. It worries me a bit, since my Borg I filters have a consistant output 
no 
> > matter what mode they're in. Any comments? Or am I just not getting it? (very often 
the 
> > case ;-)
> > 
> > -andrew bunny
> >
>