Filters

Each voice comes with a multi-mode filter with various "flavours" of filtering (low pass x 2, band pass x 4, high pass x 4). Each filter has a dedicated envelope generator and LFO for the cut-off frequency.

A filter passes through certain frequencies while making others less (or not at all audible). A filter's slope (often measured in dB) specifies how quickly frequencies are affected around the cut-off frequency. For example, a 24db filter is much more dramatic in the way the frequencies are affected (attenuated) than a 6db filter which affects frequencies more gradually.

It is important to note however, that the filters in your Woovebox were designed for musicality and maximum sound design versatility/"flavoring" as found in vintage analog gear, rather than cold clinical and - some would say - boring "perfection" as found in some more naive implementations of digital filters.

On the 'FLtr' page, the following types ('type'/1) of filters can be applied to the voice;

• 'none'; no filter is applied. Use this setting to conserve some DSP resources.
• 'LoW1'; low-pass. Frequencies below the cut-off threshold are left intact, while frequencies above the cut-off threshold are rejected. A typical use is to turn turn "sharp" tones into mellow pads and basses. This filter's slope is closest to a 24db filter. It has a more analog, benign, less harsh response and sound than 'LoW2'.
  
• 'LoW2'; low-pass. Frequencies below the cut-off threshold are left intact, while frequencies above the cut-off threshold are rejected. This filter's slope is closest to a 24db filter. It can be made to self resonate ("scream") and ring at high resonances depending on the input/impulse.
  
• 'bnd1'; band-pass type 1. Frequencies around the cut-off threshold are kept, while those further away are being rejected. This filter's slope is closest to a 18db filter response. It can be made to self resonate ("scream") and ring at high resonances depending on the input/impulse, though it has a more analog, benign, less harsh response and sound than 'bnd2'. Typical uses are leads, vocals or - at high resonances - synthesized percussion such as kicks, wood blocks, bongos, congas, etc.
• 'bnd2'; band-pass type 2. Frequencies around the cut-off threshold are kept, while those further away are being rejected. This filter's slope is closest to a 18db filter response. It can be made to self resonate ("scream") and ring at high resonances depending on the input/impulse, and it has a sharper response and sound compared to 'bnd2'. It may distort at high resonances. Typical uses are leads, vocals or - at high resonances - synthesized percussion such as kicks, wood blocks, bongos, congas, etc.
• 'bnd3'; band-pass type 1. Frequencies around the cut-off threshold are kept, while those further away are being rejected. This filter's slope is closest to a 6db filter response. It can be made to self resonate ("scream") and ring at high resonances depending on the input/impulse, though it has a more analog, benign, less harsh response and sound than 'bnd4'. Typical uses are leads, vocals or - at high resonances - synthesized percussion such as kicks, wood blocks, bongos, congas, etc.
• 'bnd4'; band-pass type 2. Frequencies around the cut-off threshold are kept, while those further away are being rejected. This filter's slope is closest to a 6db filter response. It can be made to self resonate ("scream") and ring at high resonances depending on the input/impulse, and it has a sharper response and sound compared to 'bnd3'. It may distort at high resonances. Typical uses are leads, vocals or - at high resonances - synthesized percussion such as kicks, wood blocks, bongos, congas, etc.
  
• 'hiP1'; high-pass type 1. This filter's slope is closest to a 6db filter response. Frequencies above the cut-off threshold are left intact, while frequencies above the cut-off threshold are rejected. A typical use case is percussive elements.
• 'hiP2'; high-pass type 2. This filter's slope is closest to a 6db filter response. Frequencies above the cut-off threshold are left intact, while frequencies above the cut-off threshold are rejected. A typical use case is percussive elements. Slightly more ringing can be observed in the output, compared to 'hiP1' and it may distort at high resonances.
• 'hiP3'; high-pass type 3. This filter's slope is closest to a 18db filter response. It can be made to self resonate ("scream") and ring at high resonances depending on the input/impulse, though it has a more analog, benign, less harsh response and sound than 'hiP4'. Frequencies above the cut-off threshold are left intact, while frequencies above the cut-off threshold are rejected.
• 'hiP4'; high-pass type 4. This filter's slope is closest to a 18db filter response. Frequencies above the cut-off threshold are left intact, while frequencies above the cut-off threshold are rejected. A typical is percussive elements. It can be made to self resonate ("scream") and ring at high resonances depending on the input/impulse and it may distort at high resonances.