English V1.0

Stereo Vintage Filter Owners Manual

CAUTION

RISK OF ELECTRIC SHOCK DO NOT OPEN
The lightning flash with arrowhead symbol, within an equilateral triangle, is intended to alert the user to the presence of uninsulated dangerous voltage within the products enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons. The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance (sevicing) instructions in the literature accompanying the product.
A T T E N T I O N : RISQUE DE CHOC ELECTRIQUE - NE PAS OUVRIR W A R N I N G : TO REDUCE THE RISK OF FIRE OR ELECTRIC
SHOCK DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE
INSTRUCTIONS PERTAINING TO A RISK OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSON
IMPORTANT SAFETY INSTRUCTIONS READ AND SAVE THESE INSTRUCTIONS
This product may be equipped with a polarized line plug ( one blade wider than the other). This is a safety feature. If you are unable to insert the plug into the outlet, contact an electrician to replace your obsolete outlet, Do not defeat the safety purpose of the plug. For the USA
For Canada For Polarized Line Plug: Caution: TO PREVENT ELECTRIC SHOCK, MATCH WIDE BLADE OF PLUG TO WIDE SLOT, FULLY INSERT. Attention: POUR VITER LES CHOCS LECTRIQUES, INTRODUIRE LA LAME LA PLUS LARGE DE LA FICHE DANS LA BORNE CORRESPONDANTE DE LA PRISE ET POUSSER JASQU AU FOND.
For the U.K. IMPORTANT: THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE: BLUE: NEUTRAL BROWN: LIVE As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying the terminals in your plug, proceed as follows. The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK. The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED. Under no circumstances must either of the above wires be connected to the earth terminal of the three pin plug.
Double Insulation: When servicing use only identical replacement parts.
WARNING - When using electric products, basic precautions should always be taken, including the following:
1. Read all the instructions before using the product. 2. Do not use this product near water - for example near a bathtub, washbowl, kitchen sink, in a wet basement, or near a swimming pool, or the like. 3. This product should be used only with a cart or stand that is recommended by the manufacturer. 4. This product, either alone or in combination with an amplifier and headphones or speakers, may be capable of producing sound levels that could cause permanent hearing loss. Do not operate for long period of time at high volumeor at an uncomfortable level. If you experience any hearing loss or ringing in the ears, consult an audiologist. 5. This product should be located with sufficient air space for proper ventilation. 6. The product should be located away from heat sources such as radiators, heat registers, or other products (including amplifiers) that produce heat. 7. Clean only with a damp cloth. Before cleaning the unit, turn off the power and unplug the power cord from the outlet. 8. The power supply cord of the product should be unplugged from the wall outlet during lightning storms or when left unused for a long periods of time. 9. Use only with attachments/accessories specified by the manufacturer. 10. The product should be serviced by qualified service personnel when: A. The power supply cord or the plug has been damaged; or B. Objects have fallen, or liquids has been spilled into the product; or C. The product has been exposed to rain; or D. The product does not appear to be operate normally or exhibits a marked change in performance; or E. The product has been dropped, or the enclosure damaged. 11. Do not attempt to service the product beyond what has been described in the user maintenance instructions. All other servicing should be referred to qualified service personnel.

Table of Contents

Introduction.5 Quick Start.6 What to Connect Where.6 A First Look at the Controls.7 Understanding the Filter Queen.8 Front Panel.8 Back Panel.11 Performance Guide.12 Artist Applications.15 Specifications.17 Saftey & Conformity.18

Inventory INSPECTION:

The uniquely styled Electrix carton should contain: Electrix Filter Queen Filter Queen User Manual Rackmount kit (shipped attached to product) Warranty Card Power Transformer (as appropriate for your region) Electrix Joiner Plate (joins two "Mods" together!)
Note: If any of the above are missing, please inform your local Electrix distributor, agent or dealer immediately. English. 3

Settings Template

Title: Session: Artist: Description: Date:

Introduction

Welcome to Electrix! We would like to thank you for purchasing Filter Queen, by far the best 'bang for the buck' in Analog High Order Filters. Filter Queen represents an entirely new concept in musical electronics, unique in both its hands on ease of use and retro-futuristic design. Filter Queen can directly process a wide range of input signal sources from vinyl to CDs, as well as synthesizers, samplers, guitars, or just about anything else in your rig. Filter Queens digitally controlled Analog filters are modeled after VCFs (Voltage Controlled Filters) like those found in traditional Analog synthesizers. Use the Filter Queen to 'filter sweep' across the instruments in a mix, or choose a particular instrument or frequency range in the mix to 'highlight and tweak' or 'search and distort.' The Filter Queen will put realtime control of your sound back into your hands. A New Dimension in FX! Filter Queen is part of a new series of remix tools from Electrix called the Mods. Like the Modular Synthesizers of the 60s and 70s, multiple Electrix Mods can be racked together to create a hands on effects monster. Filter Queens unique industrial design allows it to be used in a 10" rack mount or as a desktop tool. Weve even included a joiner plate to connect two Mod products together to fit in a 19" rack. The ultra-smooth feel of the knobs and gold plated switch contacts put the 'Electrix Mods' processors in a class of their own. They are 'Effects Instruments' that have been designed to be 'played live' on stage and in the studio. Check out the shape! For maximum flexibility, connect Filter Queen to other members of the Electrix Mods family. For example, EQ Killer is a great sounding 'Band Kill' box. The EQ Killer allows you to cut or isolate the bass, mids, or highs in a track. For even more dramatic effects, isolated bands are sent to an effects loop - so while the unaffected bass keep pounding you can put effects on everything else in the mix - a new song with the flick of your wrist! Also, check out the Electrix MO-FX for distortion, flanging and delay, or the Electrix Warp Factory for vocal effects and vocoding. We want to know what YOU think about the future of Remix, and we would also like to hear what you can do with Electrix gear. Please send your DATs, CDs, MDs, vinyl or cassettes to us at the address on the back page of this manual. Want to find out more about the Mods or other Electrix products? Check out our Web site at: http://www.electrixpro.com. Again, thanks for purchasing Filter Queen. Now get Hands On and get creative!

English. 5

QUICK START What to Connect to Where
Here is the simplest way to pass audio signals through Filter Queen and create effects:
Connect the Power Transformer here.
Connect audio inputs here.
Connect a Momentary footswitch to disengage the filter here. Select 2 pole stereo or 4-pole mono with this mode switch.
Select phono or line input level. Use these line level outputs to connect to the mixer or power amplifier.
QUICK START A First Look at the Controls
Frequency is the most playable filter control. Use the Frequency control for Filter sweeps, and to find frequency resonance that adds character to the music. Resonance controls the level of the filter frequency. Set it between 5-6 for typical filter sweep sounds. Use the momentary button to play the effect. As you tap it, the effect will momentarily engage. When you engage the filter, the momentary button switches its function and mutes the effect.
The ENV Follower adjusts the filter frequency according to the dynamics of the input signal. 'Release' increases the decay rate of the ENV Follower. 'Depth' sets the amount the ENV Follower will effect the Filter Frequency. 'Band' limits the frequency range of the ENV Follower detector. Use this to focus the ENV follower in on a specific instrument.
The 'Low Pass' filter type is the standard synthesizer setting. This setting rolls off the high frequencies when the frequency control is turned to the left.
The LFO can automatically sweep the filter frequency. Choose from five waveforms and use the 'Depth' control to adjust the amount the LFO applied to the filter. 'Rate' controls the speed of the LFO. English. 7
Understanding the Filter Queen Front Panel
ENV Following Explained: The ENV Follower tracks the amplitude (volume) of the input to Filter Queen and opens up the Filter Frequency in scale with the dynamics. ENV Following will produce totally funked out sounds when the filter frequency control is set low and the ENV depth is set just right to track the dynamics of the music. ENV Follower Depth: Sets the amount the input signals
'dynamic envelope' will affect the Filter frequency. Start around 5 with this control. 3-7 is the general range in which most instruments trigger the envelope follower properly. 7-10 is for lowlevel signals. are: All bands, High, Mid, Low, Low+High, Low+Mid, High+Mid. Note: Every time the Band button is pressed Filter Queen will cycle to the next combination. However, at any point in the cycle the Band button can be held down for 300ms and it will return directly to All bands.
Filter Frequency: Sets the cutoff frequency of the stereo filter. Use it in conjunction with the resonance control. The more resonance you use the more distinct any changes you make with frequency will be. The frequency tuning range of the filter covers a 12 octave range from 10 Hz to 20 kHz. Any 3rd party 1/4" TRS Expression Pedal, (such as a Roland EV-5) can control the filter frequency. (Great for guitar or bass.)

ENV Follower Release: Turning the release knob slows
down and smoothes out the ENV follower response. Use shorter release settings for more immediate response. This control can subtly change the percussive quality of your mix.
Resonance: This controls the level of the peak at the resonant frequency of the filter, i.e. the frequency you dialed in with the frequency knob. The Filter Queens resonance control can be set to negative values by rotating the control all the way counter clockwise. In Low Pass, High Pass and Band Pass modes, negative resonance will simply smooth out the response of the filter, making it less distinct. In Notch Filter mode, negative feedback will increase the depth of the notch filter making it more pronounced.
ENV Follower Band Select: Selects between 7 combinations of the frequency bands the ENV follower can track. The ENV follower band select can be used to focus the ENV Follower in on a particular frequency band. For example the mid band will focus in on the snare drum and vocals, while the high band will pick up hihats and cymbals. The combinations are represented by 3 LED for High, Mid, and Low. The combinations
Filter Type: This control selects the basic sound of the filter.
Each filter type has a unique sound. You will find situations where each one offers you a unique effect on a given signal.
The Band Pass Filter acts like Wah pedal and puts a peak
in the middle of your signal. (See Fig. 2) This is great for highlighting certain frequency ranges or for creating a sweeping sound with the frequency knob.
The Low Pass Filter is the most commonly used filter type.
This is the kind of filter you will find on vintage synths and enveCutoff point lope followers. It is useful for controlling the amount -3 dB of harmonics or the 100 Hz brightness of a signal. As dB Sine wave you sweep the frequency 1,000 Hz Sine wave control, try adding some resonance to make the cutoff frequency more FREQUENCY audible.
0 -10 -20 -30 -40 -2,000 3,000 5,000 7,000 10,000

Bandwidth

-2,000 3,000 5,000 7,000 10,000

FREQUENCY

Cutoff point

The High Pass Filter

will roll off the bass of your signal making things sound thinner as you turn the frequency control to the right.
The Notch Filter works the exact opposite of the Band Pass filter. Instead of a boost, it puts a notch in your signal, essentially killing a narrow frequency band. This effect often sounds like talking through a pipe. For a more dramatic -3 dB Notch Filter effect use turn the Resonance condB Bandwidth trol all the way counter clockwise into negative Resonance to increase the depth of the notch FREQUENCY and the distinctiveness of the effect. It will also create unique sweeping sounds, (that are similar to a phase shifter) when used in conjunction with the LFO. For best Notch result put the Resonance knob fully counter-clockwise.

English. 9

Filter Engage: This control toggles the filter on and off. When the filter is off the Filter queen circuit is bypassed. Whenever the Filter Queen is Engaged the LFO is automatically restarted. Use this feature to start long LFO sweeps on the downbeat by engaging the Filter Queen right on the top of the bar. Filter Momentary: This switch temporarily engages the stereo filter. Try using it to tap rhythmic patterns while adjusting the frequency knob. Effect Mix: Controls the Mix of the Filter in relation to your
dry signal. 0% is all dry, or the same as bypassing the Filter Queen. 100% will be all Filter Queen and none of your dry signal.
LFO Depth: This controls the amount the LFO changes the

filter frequency.

LFO Speed: LFO Speed controls the period of the LFO waveforms by changing the frequency of the LFO. The LFO Frequency range covers 0.05 Hz to 30 Hz for subtle to extreme effects. In and Out Level LEDs: These LEDs help you set and monitor the optimal signal levels from your signal sources as well as the outputs of Filter Queen. The optimal setting occurs when the In and Out LEDs show mostly green with periodic peaks of red.
LFO Waveform: The LFO provides the following cyclic (or repetitive) waveforms: Sawtooth, Inverse Sawtooth, Triangle, Square Wave and Random. If you increase the LFO depth and turn the LFO speed up a bit you will be able to hear their effect on your frequency setting. The Square Waveform is great for gating effects, while the triangle is better for long, slow sweeps.
Understanding the Filter Queen Back Panel
Control Pedal Input: Plug a standard Expression pedal in here to control the Filter Frequency remotely. Use an expression pedal, like the Roland EV-5, that terminates with a 1/4"TRS connector. Footswitch: Use a standard momentary footswitch to turn
Engage on and off. Filter Queen accepts normally open momentary footswitches. (In the near future an Electrix 3 button footswitch will be available that will add extra functionality to the Filter Queen. Stay tuned for more information.)
RCA Stereo Outputs: The RCA output level is nominally

+4 dBu

1/4" Outputs: This output produces an unbalanced +4dBu

signal.

Phono/Line Switch: This switches the RCA inputs to accept phono or line level. RCA Stereo Inputs: When the Phono/Line switch is in the Line position, this input is optimized for a +4dBu input signal. When the Phono/Line switch is set to Phono, the RIAA phono pre-amp will accept a range of cartridge output levels. 1/4" Inputs: This input is optimized for +4 dBu input signal. Grounding Post: Connect the ground wire from your

turntable here.

4 Pole Mono: The Filter Queen operates in a Stereo 2 Pole filter per channel mode, (unless you switch to 4 Pole mode). When in Four Pole mode, the Filter Queen switches into Mono operation by summing the left and right channels before the 4 pole filter. A two pole filter will give you a gentler response, in technical terms it is defined as a 12dB/octave filter. A 4 pole or 24dB/octave filter will give you a much steeper filter response that will sound more pronounced. 4 pole mono is especially appropriate for effecting electric guitar and bass.
Cable Strain Relief: The power supply cable can be
looped around this to prevent stress on the power entry jack.

English. 11

Performance Guide
Set-up 1: Pre Mixer Set-up 2: Mixer - Insert
MAIN OUT L AUX SEND 1 AUX RET L
INSERT 4 INSERT 3 INSERT 2 INSERT 1
MAIN OUT R AUX SEND 2 AUX RET R
LINE IN 4 LINE IN 3 LINE IN 2 LINE IN 1
This is the most basic way to integrate the Filter Queen into any setup. In the studio this setup is a great way to warm up digital keyboards or give drum machines new life. This setup also has special advantages for live DJ's in that a turntable can be directly connected to the Filter Queen's built in phono pre-amp. With this setup the effected signal can be cued on the mixer while other sources are playing.
The Filter Queen can be inserted into a console's channel or bus insert just like any other outboard EQ or compressor. This setup makes for easy repatching and allows you to quickly audition the effect that Filter Queen will have on any number of sources.
Set-up 3: Amp Effects Loop Set-up 4: Mixer with Aux Sends
The Filter Queen can be inserted into a guitar amp or bass amp's effects loop. Use the 4 pole mono mode in this setup and experiment with Filter Queen's Effects Mix control to get the best balance between the wet, (effected) and dry signals.
This setup requires a mixer with auxiliary (aux) sends and return capabilities. All sources are connected directly to the mixer channel inputs. Filter Queen is fed its signals from the mixers aux sends. This setup allows any or all of your sound sources to be processed through Filter Queen at any time. The mix control on Filter Queen should be set to 100% wet so that the dry source signal is only heard through the mixer.

English. 13

Set-up 5: DJ - Post Mixer
This is a simple setup for stereo processing of your entire mix. Youll want to use this setup only after you have explored all the sonic possibilities of Filter Queen because cueing is not possible. Bringing in the effect gradually with Filter Queens mix control and doing any adjustments from there can minimize the cueing limitation.

Artist Applications

Phaser:
That swooshy sound, that was initially made popular as a Fender Rhodes effect, is also available in the Filter Queen. This effect works especially on sounds with sustained portions such as voice, synth pads and of course, Fender Rhodes.

Drum FX:

You can use the Envelope Follower to create a 'WAKKA' sound that exactly follows the dynamics of rhythmic input. Heres how its done:
Frequency Knob: 20 Type: Notch Resonance Knob: 2.0 ENV Follower Depth: Off ENV Follower Release: 0 Waveform: Triangle LFO Depth: 10 LFO Speed: Experiment (slow is good, medium warble is nice too) Effect Mix: 100 %
Frequency Knob: 115 Type: Low Pass Resonance Knob: 4 ENV Depth: 6 ENV Release: 35% Band: Low/Mid Effect Mix: To taste Playing with the ENV Follower Depth and Frequency knobs will customize the effect to your liking. Changing the Filter Type will emphasize different frequency bands. Note that when you try the Notch filter type setting, youll have to set the resonance to 2.5 and the frequency knob to around 640. English. 15
Guitar Amp Setup! - The Foot Wah:
Connect an expression pedal up to the Frequency Controller input. Now get ready for the most customizable wah one could conceive. Try different filter modes, and adjusting the resonance. Add a little envelope following for more interactive tones.

Bass Boost:

This can create some stunning effect from subtle bass enhancement to 'boom car' euphoria. Use with caution as this setting can launch even the best subwoofer speaker cones clear across the room. (12V version to follow.)
Frequency Knob: 115 Type: Band Pass Resonance Knob: 2.5 ENV Depth: 3.0 LFO Depth: Off Effect Mix: 100
Note: when using Filter Queen with a guitar or a bass amp, be sure to insert the Filter Queen into the amplifiers Effects loop. This will give Filter queen the appropriate levels to function properly. It is recommended that Filter Queen not be connected between a guitar and an amplifier, it should always be connected to an amplifier via its effects loop.

Frequency Knob: 20-40 Set it while the music is playing for dramatic FX Type: HPF Resonance Knob: 4 ENV Follower Depth: 1.5 ENV Follower Release: 30% ENV Band: Low LFO Depth: 0 Effect Mix: 100 % Set for the desired amount of bass boost.

Specifications

Connectors: Max Input Level: Impedance: 1/4 Line +18 dBu 77K RCA (Phono) -20dBV 47K RCA (Line) +18dBu 47K

OUTPUT

OUTPUTS Connectors: Impedance: Max Output Level: 1/4 Line 1K +18 dBu 1/4 >90db <0.3% 10Hz-20.0kHz VOLTAGE 100 V 120 V 230 V 240 V RCA 1K +18dBu PHONO >75db <0.3% 10Hz-20.0kHz FREQUENCY 50/60 Hz 60 Hz 50 Hz 50 Hz RCA 1K +18 dBu RCA >90db <0.3% 10Hz-20.0kHz

PERFORMANCE

Dynamic Range: THD: Frequency Response:
POWER CONSUMPTION 16 watts
USE ONLY WITH ELECTRIX POWER SUPPLY MODEL TFR0028
Actual measurements are subject to change

English. 17

Saftey and Conformity
This equipment has been tested and found to comply with the limits for a class A digital device, pursuant to part 15 of the FCC rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment on and off, the user is encouraged to try to correct the interference by one or more of the following measures: Reorient or relocate the receiving antenna. Increase the separation between the equipment and the receiver. Connect the equipment into an outlet on a circuit different from that to which the receiver is connected. Consult a qualified dealer or an experienced radio / TV technician for help. The user may find the following booklet, prepared by the Federal Communications Commission, helpful: How to identify and Resolve

Caution:

You are cautioned that any change or modifications not expressly approved in this manual could void your warranty.
For the customers in Canada:
This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations. Cet appareil Numerique de la Classe B respecte toutes les exigences du Reglement sur le materiel brouilleur du Canada.
Certificate of Conformity
Electrix, a div. of IVL Technologies Ltd., hereby declares on their own responsibility that the following product: Electrix Filter Queen that is covered by this certificate and marked CE-label conforms with the following standards: EN 60065 Safety requirements for mains operated Electronic and related apparatus for household and similar general use EN 55022: 1994 (Limits and Methods: ITE Disturbances) EN 55082-1: 1997 (Generic Immunity: Residential) With reference to regulations in following directives: 72/23/EEC, 89/336/EEC as amended by directive 93/68/EEC Issued in Victoria, February 15, 2000 by Brian Gibson, Executive VicePresident, Research and Development

Radio/TV interference Problems.
This booklet is available from the US Government Printing Office, Washington, DC 20402, USA. Stock No. 004-000-0034-4.

THE ULTIMATE FILTER

English v1.1

CAUTION

RISK OF ELECTRIC SHOCK DO NOT OPEN
A T T E N T I O N : RISQUE DE CHOC ELECTRIQUE - NE PAS OUVRIR W A R N I N G : TO REDUCE THE RISK OF FIRE OR ELECTRIC
SHOCK DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE
The lightning ash with arrowhead symbol, within an equilateral triangle, is intended to alert the user to the presence of uninsulated dangerous voltage within the products enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons. The exclamation point within a equilateral triangle is intended to alert the uset to the presence of importat operating and maintenance (sevicing) instruction in the literature accomanying the product.
INSTRUCTIONS PERTAINING TO A RISK OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSON
IMPORTANT SAFETY INSTRUCTIONS READ AND SAVE THESE INSTRUCTIONS
WARNING - When using electric products, basic precautions should always be followed, including the following: 1. Read all the instructions before using the product. 2. Do not use this product near water - for example near a bathtub, washbowl, kitchen sink, in a wet basement, or near a swimming pool, or the like. 3. This product should be used only with a cart or stand that is recommended by the manufacturer. 4. This product, either alone or in combination with an amplier and headphones or speakers, may be capable of producing sound levels that could cause permanent hearing loss. Do not operate for long period of time at high volume level or at a level that is uncomfortable. If you experience any hearing loss of ringing in the ears, you should consult an audiologist. 5. The product should be located so that its location or position does not interfere with its proper ventilation. 6. The product should be located away from heat sources such as radiator, heat registers, or other products (including ampliers) that produce heat. 7. Clean only with a damp cloth. Before cleaning the unit, turn off the power and unplug the power cord from the outlet. 8. The power supply cord of the product should be unplugged from the wall outlet during lightning storms or when left unused for a long periods of time. 9. Use only with attachments/accessories specied by the manufacturer. 10. The product should be serviced by qualied service personnel when: A. The power supply cord or the plug has been damaged; or B. Objects have fallen, or liquids has been spilled into the product; or C. The product has been exposed to rain; or D. The product does not appear to be operate normally or exhibits a marked change in performance; or E. The product has been dropped, or the enclosure damaged. 11. Do not attempt to service the product beyond that described in the user maintenance instructions. All other servicing should be referred to qualied service personnel.
For the USA This product may be equipped with a polarized line plug ( one blade wider than the other). This is a safety feature. If you are unable to insert the plug into the outlet, contact an electrician to replace your obsolete outlet, Do not defeat the safety purpose of the plug.
For Canada For Polarized Line Plug: Caution: TO PREVENT ELECTRIC SHOCK, MATCH WIDE BLADE OF PLUG TO WIDE SLOT, FULLY INSERT. Attention: POUR VITER LES CHOCS LECTRIQUES, INTRODUIRE LA LAME LA PLUS LARGE DE LA FICHE DANS LA BORNE CORRESPONDANTE DE LA PRISE ET POUSSER JASQU AU FOND.
For the U.K. IMPORTANT: THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE: BLUE: NEUTRAL BROWN: LIVE As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying the terminals in you plug, proceed as follows. The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK. The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED. Under no circumstances must either of the above wires be connected to the earth terminal of the three pin plug.

INTRODUCTION

elcome to the world of Electrix. We would like to thank you for purchasing FilterFactory, The Ultimate Stereo Resonant Filter for musicians, DJs, producers and engineers. FilterFactory is unique in its ease of use and its focus on directly ltering a range of input signals from turntables to CDS to Synths. FilterFactorys digitally controlled Analog lters were modeled after VCFs (Voltage Controlled Filters) like those found in traditional Analog synthesizers. Use FilterFactory to re-mix your vinyl live. Just insert your FilterFactory between the turntable and the mixer and add your own lter sweeps, LFOs and distorted signals to the mix. FilterFactory has a built in phono pre-amp, so you can plug in your turntable directly. This setup allows you to cue the effect before it goes to the house by using the cueing feature of your mixer. In the studio full MIDI implementation makes FilterFactory the perfect recording tool. You can play the FilterFactory live and capture your performance in a sequence. FilterFactorys unique future / retro case was designed to allow both desktop and rackmount installation. This concept makes FilterFactorys control surface perfect for live performance and studio use.

"

INSPECTION
In your Electrix box you should nd: 1 Electrix FilterFactory 1 Manual 1 Rackmount kit 1 Warranty Card 1 EIC Power Cable (appropriate for your region) If this is not the case then please call your local Electrix distributor, agent or dealer.

TABLE OF CONTENTS

Introduction

Inspection. 4

1 Quick Start
2 Understanding the Product
2.1 Front Panel. 8 2.2 Back Panel. English

3 Performance Guide

3.1 Setups:. 12 3.2 Artist Applications. 15

4 MIDI Applications

4.1 Recording Performances to a Sequencer. 17 4.2 MIDI Implementation Chart. 18
5 Specications. Safety & Conformity. 20
Franais.23 Deutch.43 Espaol.63

1. QUICK START

1.1 WHAT TO PLUG IN
Heres the simplest way to get sound out of your Electrix FilterFactory:
Plug in AC here. Turn it on.
se these line level outputs to connect to your mixer or power amplifier.
Turn on the phono pre-amp.
lug in your turntable here.

WHAT TO DO

istortion level can be louder than the program level if desired.
se the momentary button to play the effect. As you tap it, the effect will momentarily engage. When you engage an effect block, the momentary button switches its function and mutes the effect. 7 English

Distortion Gain

Global Bypass
peration linked to Type setting. Low pass is the standard synth setting

OverridesTap Tempo

hen engaged, the momentary triggers the filter mod for the number of cycles set by the division control. " nv Follow" adjusts filter frequency according to the dynamics of the input signal
Momentary control kicks in the filter unless the
Single Shot control is engaged. When Single Shot is on, this button will tyrigger modulation.
Adjusts the amount of mod

effect on the filter

esonance peak control can go into self oscillation.
2. UNDERSTANDING THE PRODUCT

2.1 FRONT PANEL

ote that there are no input or output controls. FilterFactory is set up to give you unity gain when bypassed or when the Mix control is at 0%. This means that signals running through it are not boosted or reduced in gain. If you are using a line level input (as opposed to a turntable) set the output of your source so that FilterFactorys Input Level LED doesnt go Red all that often. Try to keep your levels in the green which is the optimum level for FilterFactory.

Buzz Buzz sets the amount of distortion. The more buzz, the more distortion you will have. Buzz will take you from subtle, at the Cutoff point farthest left, to heavy distortion at the farthest right. -3 dB NOTE: Buzz will increase the level of your output signal substantially as you turn it up. Use the Trim control to get the level back to where you want it dB while the Buzz circuit is engaged.

0 -10 -20

Fig. 1: High Pass Filter
Trim: Sets the output level of the
Buzz circuit. This can be set anywhere from inaudible to extremely loud. Use with caution.
-2,000 3,000 5,000 7,000 10,000

" "

Buzz Engage: Toggles the buzz

circuit in and out.

FREQUENCY
Buzz Momentary: Temporaily engages the buzz circuit. This is useful for tapping patterns to create distortion hits and rhythms. Note: When an effect is engaged, the Momentary will dis-engage it, when an effect is not engaged the momentary will engage it. StereoFilter: Frequency: Sets the

Fig. 2: Band Pass Filter

Bandwidth
resonant frequency of the stereo lter. Use it in conjunction with the resonance control. The more resonance FREQUENCY you use the more distinct any changes you make with frequency will be. The frequency tuning range of the lter covers a 12 octave range from 10 Hz to 40 kHz. The External CV input can control this and has been adjusted to provide standard 1 Volt/Octave response.

-2,000 3,000

5,000 7,000 10,000
Filter Type: This control selects the basic sound of the lter. Each lter type has a unique sound. You will nd situations where each one offers you a unique effect on a given signal.
The High Pass will roll off the bass of your signal. It will make things sound thinner. (See Fig. 1) The Band Pass lter acts like Wah pedal and puts a peak in the middle of your signal. (See Fig. 2) This is great for hilighting certain frequency ranges or for creating a sweeping sound with the frequency knob. The Notch Filter works the exact opposite of the Band Pass lter. It puts a notch in your signal, essentially killing a small frequency band. This effect often sounds like talking through a pipe. It will also create unique sweeping sounds, (that is similar to a phase shifter) when used in conjunction with the frequency knob. For best Notch result put the Resonance knob fully counter-clockwise.

FRONT PANEL The Low Pass Filter is the most commonly used lter type. This is the kind of lter you will nd on vintage synths and envelope followers. It is useful for controlling the amount of harmonics or the brightness of a signal. As you sweep the frequency control, try adding some resonance to make the cutoff frequency more audible.
Filter Engage: This control toggles the lter on and off. Turning this on restarts the LFO or triggers it if it is in single shot mode. Filter Momentary: This switch temporarily engages the stereo lter. Try using it to tap rhythmic patterns while adjusting the frequency knob. Pressing this button also restarts the LFO. Resonance:
This controls the level of the peak at the resonant frequency of the lter, i.e. the frequency you dialed in with the frequency knob. FilterFactory was designed to create extreme effects, so be careful because the resonance control is able to cause the lters to self-oscillate at higher settings. Self oscillation produces a loud tone at the resonant frequency. It sounds a lot like sustained feedback.

Fig. 3: Notch Filter

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FREQUENCY Cutoff point

Fig. 4: Low Pass Filter

100 Hz Sine wave

Sine wave FilterFactory operates in a Stereo 2 Pole lter per channel mode, ( unless you switch to 4 Pole mode). When FREQUENCY in Four Pole mode, the FilterFactory switches into Mono operation by summing the left and right channels before the 4 pole lter. A two pole lter will give you a gentler response, in technical terms it is dened as a 12dB/octave lter. A 4 pole or 24dB/octave lter will give you a much steeper lter response that will sound more pronounced.

-40 -2,000 3,000

4 Pole Mono: The

1,000 Hz

UNDERSTANDING THE PRODUCT

2.2 FRONT PANEL

Waveform: The LFO provides the following cyclic (or repetitive) waveforms: Sawtooth, Inverse Sawtooth, Triangle, Square Wave, Envelope Follow and Random. If you increase the LFO depth and turn the LFO speed up a bit you will be able to hear their effect on your frequency setting. Note: Although ENV Follow isnt a waveform we put it here anyway. To get it working, select ENV Follow, set the frequency down to 115Hz, on a Low Pass Filter, set your Sawtooth resonance to 7.5 and adjust the LFO depth to taste. Inverse Sawtooth Singleshot: This button changes how the Filter and Triangle the LFO Sections on your FilterFactory. Singleshot gives you the ability to trigger Filter Effects in a simular way Square that playing a note on an old synthesizer will trigger VCF and VCA Envelopes. The FilterFactory Singleshot Envelopes are borrowed from the LFO section. When single shot is on, Triangle, Sawtooth, and Inverse Sawtooth all become triggerable envelopes. The Division button allows you to select how many time the waveform envelope will trigger. LFO Speed adjusts the duration of the envelope, and the Filter Momentary triggers the envelope. Note: Singleshot does not work when the ENV Follower is selected. Note 2: If the Filter is not engaged, the Singleshot does not automatically nish the waveform. Tap Tempo: The tap tempo button is another way to control the LFO rate to match the beat of your music. When it is hit one time, it will restart the LFO at the beginning of its waveform. If it is hit twice within 2 seconds, then the time between presses is used as the new rate or tempo. It is hit 3 or more times, it will average the time between presses to come up with a more accurate tempo. Depth: This controls the amount the LFO changes the lter frequency. Speed: LFO Speed controls the period of the LFO waveforms by changing the frequency of the LFO. The LFO Frequency range covers 0.1 Hz to 100 Hz for subtle to extreme effects. Division: The LFO rate, as dened by Tap Tempo or MIDI clock can be divided (or doubled) using this control. The actual rate is indicated by the ashing tempo LED.

Waveforms

" " "

GLOBAL

Effect Mix: Controls the Mix of the Buzz and Filter Sections in relation to your dry signal. 0% is all dry, or the same as bypassing the FilterFactory. 100% will be all FilterFactory and none of your dry signal. Bypass: Bypasses both effect blocks.

2.3 BACK PANEL

Power input: This input will accept an IEC standard power cable. The internal power supply can be used in any region. The fuse drawer can be rotated to accomodate the different power ratings around the world. Check the chart printed near the power entry for fuse ratings. Power Switch: Turns the FilterFactory on and off. When turning on your equipment be sure to turn your power ampliers on last. This will ensure that the noise common to mixers and signal processors does not cause damage to your speaker system. When powering down, be sure to turn your power ampliers off rst. CV left and right: If youve got an old CV / Gate keyboard rig, FilterFactory will work in your current setup. You can control the Filters frequency with a CV signal. (1 volt per octave). Footswitch: Use a standard momentary footswitch to turn Bypass on and off. FilterFactory can accept normally open or normally closed footswitches. The footswitch must be inserted before power is turned on so that FilterFactory can recognize its type. MIDI In/Out/Thru: Connect MIDI devices here. See the MIDI Applications section for more detail. Channel Select: This selects the MIDI send and

receive channel.

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Output:

RCA -stereo - The RCA output level is nominally +4 dBu 1/4-stereo TRS- This output produces a balanced +4 dBu signal.

Input:

Phono/Line Switch - this swiches the RCA inputs to accept phono or line level. RCA. -stereo - When the Phono/Line switch is in the Line position, this input is optimized for a +4dBu input signal. When the Phono/Line switch is set to Phono, the RIAA phono pre-amp will accept a range of cartridge output levels. 1/4 -stereo TRS Balanced - This input is optimized for +4 dBu input signal. When using the 1/4 inputs, be sure to use the 1/4 outputs as well. This will ensure no noticeable signal loss. Note: Connecting both RCA and 1/4 inch jacks to the input causes the level of the 1/4 input to drop. Make sure that when you are using the 1/4 inputs that nothing is connected to the RCA inputs.

PERFORMANCE GUIDE

3.1 SET UPS
Pre-Mixer he advantage of this setup in a live situation is that the FilterFactory effect can be auditioned (cued) while other sources are playing. A caution though; it is possible to get a large amount of gain with higher resonance settings, so when auditioning FilterFactory through headphones keep the level low and be careful with high settings of the Resonance control.

Line In

Mixer with Aux Send
his setup requires a mixer with auxiliary (aux) send and return capabilities. All sources are connected directly to the mixer channel inputs. FilterFactory is fed its signals from the mixers aux sends. This setup allows any or all of your sound sources to be processed through FilterFactory at any time. The mix control on FilterFactory should be set to 100% wet so that the dry source signal is only heard through the mixer. 13 English
Mic in Line in Phono in Line in

Aux Out Aux In

Post Mixer
his is a simple setup for stereo processing of your entire mix. Youll want to use this setup only after you have explored all the sonic possibilities of FilterFactory because cueing is not possible. The cueing limitation can be minimized by bringing in the effect gradually with FilterFactorys mix control and doing any adjustments from there. The 1/4 output jacks have servo driver circuits which are capable of driving longer cables to your power amp. Also, this setup comes with a warning: WATCH THAT RESONANCE CONTROL! Like any true analog lter, FilterFactory is capable of generating ear- and PA-shredding peaks when you increase the resonance control beyond halfway. Have we made this point enough?

Line in Phono in

Line Out

to Crossover/Power Amp

3.2 ARTIST APPLICATIONS
"Tap Tempo Filter Swoosh
Buzz: optional Frequency Knob: 640 Type: Low Pass, High Pass Resonance Knob: Above 2.5 to as high as you dare. 4 Pole Mono: On, but if you want 2 Pole stereo, turn up the Resonance and Depth more. Waveform: Try Ramp Dwon rst, then try the other waveforms. Singleshot: On Depth: 5 Speed: 9 OClock to 12 OClock on the knob Division: 1:1 to start. Try the other divisions with faster Speed settings. Effect Mix: 100 % or to taste

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"Phase Shifter effect
That swooshy sound, that was initially made popular as a Fender Rhodes effect, is also available in the FilterFactory. This effect works especially on sounds with sustained portions such as voice, synth pads and of course, Fender Rhodes. A bass track with the Buzz engaged and Notch ltering is awesome. Buzz: optional Frequency Knob: 115 plus 2 ticks Type: Notch Resonance Knob: Pole Mono: On Waveform: Triangle (looks like mountains) Singleshot: Off Depth: 10 Speed: Experiment - slow is good, medium warble is nice too. Division: Off Effect Mix: 100 %

"Funk Drum FX

You can use the Envelope Follower waveform in the LFO section to create a Bwow sound that exactly follows the dynamics of rhythmic input. Heres how its done: Buzz: off Frequency Knob: 115 Type: Band Pass Resonance Knob: 2.Pole Mono: Off Waveform: EnvFollow Singleshot: Off Depth: Less than 10 Speed: Off Division: Off Effect Mix: To taste Playing with the Depth and Frequency knobs will customize the effect to your liking. Changing the Filter Type will emphasize different frequency bands. Note that when you try the Notch lter type setting, youll have to set resonance to zero and the frequency knob to around 640.

4.1 RECORDING AND PLAYING BACK PERFORMANCES WITH A SEQUENCER
lectrix products are performance products. We have designed them to accurately transmit and receive your performance through MIDI. That means every knob and every switch can be automated. To do this, simply connect your FilterFactory to a sequencer. FilterFactory has MIDI Control Change messages assigned to all of its functions. That means your performance will show up in your sequencer as MIDI CCs (Control Change Messages). Note that a press and hold of the bypass button will dump the present state of the controls. MIDI CC #18 will request a dump of state.

Real Time Control

The FilterFactory has a great alternative MIDI control feature. You can control the frequency control with your keyboard using MIDI Note Numbers. Heres how.set the lter to self resonate by bring the resonance up quite high, then play monophonically on a keyboard plugged into the MIDI in on the FilterFactory for some pitched effects.

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MIDI Clock
The FilterFactory can receive MIDI clock messages. It will re-sync its Tap Tempo to the incoming MIDI clock for you automatically. This could be a great convenience for you if have a Drum Machine or Groovebox to sync to. Just set up your MIDI clock source to transmit MIDI clock, connect a MIDI cable from the sources MIDI OUT to the FilterFactorys MIDI in and press start on your MIDI clock source. Note: The LFO speed control overrides the Tap Tempo and the incoming MIDI clock tempo. That means if you adjust it you will loose sync to your Tap Tempo / MIDI Tempo. To re-sync to MIDI Clock, hit Tap Tempo.

Setting the MIDI Channel

On the back of your FilterFactory is a small rotary switch labeled MIDI channel. Use it to set the Transmit / Receive channel of your FilterFactory.
4.2 MIDI IMPLEMENTATION CHART
Function Basic Channel Mode Note Number Velocity After Touch Pitch Bender Control Change Transmitted 1-16 X X X X X X X Recognized 1-16 Mode 3 X 0 X X X O Remarks
Selectable Default Messages Note ON Note Off
Controls Filter Frequency
67 X X X X X X X X X X X X X X X X X X X X
Controls Filter Frequency LFO Depth (Mod Wheel) Pre-Buzz Level Post-Buzz Level Buzz Engage Filter Frequency Wet / Dry Mix Filter Resonance Filter Type Filter Engage LFO Waveform LFO Single Shot LFO Rate LFO Division Filter Poles Bypass Dump Request Tap Tempo
Program Change System Exclusive System Common
System Real Time Aux Messages
Song Position Song Select Tune Request Clock Commands Local On/Off All notes Off Active Sensing System Reset
Tempo (LFO Speed) Restarts LFO in sync with MIDI clock
Notes 1. Filter Type: 0 (low pass), 1 (high pass), 2 (band pass), 3 (notch) 2. LFO Waveform: 0 (sawtooth), 1 (inverse sawtooth), 2 (triangle), 3 (square), 4 (random), 5 (envelope follow) 3. LFO Single Shot, 0-63 (continuous LFO waveform), 64-127 (single shot LFO waveform) 4. LFO Division: 0 (1:1) 1 (2:1) 2 (3:1) 3 (4:1) 4 (6:1) 5 (1:2) 6 (1:4) 5. Filter Poles: 0-63 (2-pole), 64-127 (4-pole) Mode 1: OMNI ON, POLY Mode 3: OMNI OFF POLY Mode 2: OMNI ON, MONO Mode 4: OMNI OFF MONO 0: YES X: NO

SPECIFICATIONS

Connectors: (balanced) Max Input Level: Impedance: 1/4 TRS +12.5 dBu 110K RCA (Phono) -24.5dBV 47.5K RCA (Line) +12.5dBu 20K

OUTPUT

OUTPUTS Connectors: Impedance: Max Output Level: 1/4TRS bal 600 +12.5 dBu 1/4 >90db <0.3% 10Hz-20.0kHz RCA 1K +12.5 dBu PHONO >75db <0.3% 10Hz-20.0kHz RCA 1K +12.5 dBu RCA <90db <0.3% 10Hz-20.0kHz

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PERFORMANCE
Dynamic Range: THD: Frequency Response:
POWER CONSUMPTION 30 watts
VOLTAGE 100 V 120 V 230 V 240 V
FREQUENCY 50/60 Hz 50/60 Hz 50/60 Hz 50/60 Hz
FUSE 250mA 250V Slow blow 125mA 250V T
Actual measurements are subject to change

SAFETY & CONFORMITY

This equipment has been tested and found to comply with the limits for a class A digital device, pursuant to part 15 of the FCC rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment on and off, the user is encouraged to try to correct the interference by one or more of the following measures: Reorient or relocate the receiving antenna. Increase the separation between the equipment and the receiver. Connect the equipment into an outlet on a circuit different from that to which the receiver is connected. Consult the dealer or an experienced radio TV technician for help. The user may nd the following booklet, prepared by the Federal Communications Commission, helpful: How to identify and Resolve Radio/TV interference Problems. This booklet is available from the US Government Printing Ofce, Washington, DC 20402, Stock No. 004-000-0034-4.

Caution:

You are cautioned that any change or modications not expressly approved in this manual could void your warranty.
For the customers in Canada:
This Class A digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations. Cet appareil Numerique de la Classe A respecte toutes les exigences du Reglement sur le materiel brouilleur du Canada.

Certicate of Conformity

Electrix, (a Div. of IVL Technologies LTD) hereby declares on own responsibility that the following product Electrix FilterFactory that is covered by this certicate and marked CE-label conforms with the following standards: EN 60065 Safety requirements for mains operated Electronic and related apparatus for household and similar general use EN 55103-1 Product family standard for audio, video, audio-visual and entertainment lighting control apparatus for professional use. Part 1: Emission EN 55103-2 Product family standard for audio, video, audio-visual and entertainment lighting control apparatus for professional use. Part 1: Immunity With reference to regulations in following directives: 72/23/EEC, 89/336/EEC as amended by directive 93/68/EEC Issued in Victoria, March 31, 1999 by Brian Gibson, Executive Vice-President, Research and Development