Key tracking, however, is notably absent, and so there is no way to have the filter open (or close) for notes played higher up (or lower down) the keyboard. A dedicated filter envelope is hardwired to filter cutoff frequency, with each filter having an independent envelope strength dial. Each filter features a large graphic panel showing its current filter curve, and in which one clicks-and-drags to modify the filter’s settings – left to right for the cutoff frequency, up and down for the resonance.
A helpful graphical representation of the envelope overlays the fader-style controls.Īlpha’s filter section provides two identical multimode filters wired in series, each offering a choice of low-pass, high-pass, band-pass or band-reject filtering. This, like Alpha’s other envelopes, is a straightforward ADSR affair that offers up to a massive 16 seconds of attack, decay, or release time. The mixer also allows a noise signal to be blended into the sound, with the overall output level under the control of a dedicated amp envelope. This is a bit of an odd arrangement, but no great shakes. The oscillators pass their signals into a mix section where the levels of oscillators 1 and 2 are set using a single rotary dial that balances between the two, and a second dial that balances the 1 and 2 mix with oscillator 3. In basic use, this makes for a wider, less centralised sound, but it can also create fascinating results when used in conjunction with oscillator 2’s ring modulation, frequency modulation and/or hard sync options, all of which are driven from oscillator 1. Oscillator 3 is simple, with only octave and pulse width control, but oscillators 1 and 2 add coarse and fine pitch control, along with a rather natty Stereo parameter that offsets the phase of the waveform’s right channel. The three oscillators all have slightly different options available to them.
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