FB-20

Use the high-pass filter to choose how much bottom end enters the finished sound, and the low-pass filter to set its upper edge. Raising resonance on either creates a more pitched emphasis, so check the actual notes of the part before adding more drive.

For a clipped bass phrase, use a short EG 2 contour and modest low-pass modulation. For a more vocal lead, move the high-pass and low-pass cutoffs by different amounts instead of sweeping them together.

The source list includes envelopes, modulation waves, noise, sample-and-hold, velocity and pressure. Pick one destination and begin with a small cord amount: pressure to cutoff can make a held lead expressive, while sample-and-hold can animate a repeated note.

A patch destination can replace a normal connection. Establish the unpatched sound first and change one route at a time so an unexpected silence or extreme pitch change is easy to trace.

The external signal processor provides filtered audio, envelope, trigger and pitch-control signals from an input. It is useful for experiments where a percussion loop or sustained source shapes the synth, but external audio must actually be routed to the plugin by the host.

The internal arpeggiator and effects offer a self-contained alternative. Keep the sequence dry while setting its timing, then add a short echo or spring space to support the pattern.