FB-2823

The model selection changes the low-pass behaviour, so compare models on the same simple oscillator sound. Establish cutoff, resonance and envelope amount first, then add drive where the phrase benefits from a more assertive edge.

The high-pass sits before the low-pass. On a layered arrangement, use it to make room below a midrange part; on a bass patch, keep checking that the fundamental still supplies the weight you need.

A short envelope can turn noise or a bright oscillator blend into a percussive stab. Sample-and-hold adds stepped movement, with lag available to soften the steps into a less abrupt change.

Use the arpeggiator or sequencer for note timing and keep the modulation's purpose separate: one can establish the groove while the other varies brightness or pitch between repetitions.

FB Morph and FB Spread belong to the FB filter model. Morph changes its slope, while Spread introduces differences between its stereo paths; these controls do not turn the Rev models into stereo filters.

For pads or exposed chords, combine a restrained FB Spread setting with a slower envelope and a little voice drift. For a focused bass, start with a narrow sound and add width only after hearing it alongside the kick.