The information in this document is subject to change without notice and does not represent a commitment on
the part of Audio Damage, Inc. The software described by this document is subject to a License Agreement
and may not be copied to other media except as specifically allowed in the License Agreement. No part of this
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written permission by Audio Damage, Inc.
Mike Fisher
Steve Hamman
Don Mennerich
Robert Rich
Henry Stamerjohann
Made Possible By
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Lisa Randall
Fuzzy Logic
Alex
Chica
Fatty
Pablo
Penny
Widget
License Agreement
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respect to the use of the Software.
Introduction
Thank you for purchasing the 914 Fixed Filter Bank (hereafter referred to simply as “914”), Audio Damage’s
plug-in emulation of the Moog 914 Fixed Filter Bank module. This plug-in creates a variety of tonal effects by
passing its input signal through twelve band-pass filters, one low-pass filter and one high-pass filter. The
relative output levels of these filters can be adjusted independently, creating peaks and dips in the frequency
spectrum of the signal. Quoting from the owner’s manual for the Moog Modular:
“The Fixed Filter Bank is often referred to as a formant filter because it can be set to
emphasize or attenuate midrange frequencies which fall within a particular band, no matter
how the frequencies of the signal are moved. Like many acoustic instruments, a characteristic
set of formants are always a part of the resultant output (given a particular complex
waveform).”
Moog Modular Owner’s Manual, by Dan Wyman. Moog Music, Inc. 1981
Our 914 plug-in is a faithful recreation of the Moog hardware filter bank, accurately reproducing both the
frequency responses and phase-shift characteristics of its filters. Of course, it also provides all of the modern
conveniences of a software plug-in, such as a true stereo signal path, zero background noise, preset storage
and recall, parameter automation, remote MIDI control, and as many instances as your CPU can handle.
Because of the tolerance ranges of the components used to manufacture the original Moog synthesizers, there
is quite a bit of tonal variation between modules of the same type such as the 914. The degradation of some
components (capacitors in particular) over time also contributes to changes in performance. Our software
recreation represents an idealized instance of the original hardware in its factory-new condition.
To avoid possible confusion, a couple of things are worth mentioning explicitly. First, despite the presence of a
bunch of knobs marked with frequencies, the 914 is not an equalizer. If the term equalizer was coined to
describe devices which amplify or attenuate ranges of frequencies to even out (that is, equalize) the overall
frequency content of a signal, the 914 might accurately be described as an unequalizer. Second, the 914 had
a completely different filter architecture and implementation than the filter found in the Minimoog, and hence
does not posses “that Moog filter sound”.
System Requirements
To use 914, you'll need a Steinberg VST-compatible host application, preferably conforming to the VST 2.0
specifications, and a computer capable of running it. For the AudioUnit version of 914, you’ll need an
application capable of hosting AudioUnit plug-ins, and a computer capable of running it. The following
specifications represent minimum requirements.
For use with Microsoft Windows: For use with Apple Macintosh:
Windows NT, 2000, or XP Mac OS X version 10.3.9 or newer
512 MB RAM 512 MB RAM
Pentium III 600 MHz CPU Motorola G4 or Intel CPU
High Color S-VGA Display
Display capable of “thousands of colors”
Installation
Double-click the 914 Installer icon, and follow the instructions. During the installation process the installer will
ask you to enter your registration code. You received this code in the email message you received after
placing your order. Your registration code uniquely identifies your purchase, and you will need it if you need to
reinstall your plug-in (for example, after upgrading to a new computer). Keep a copy of the code in a safe
location and please don’t share it with your friends. We’re delighted if you like our products so much that you
want to share them, but please ask your friends to buy their own copy so that we can keep making new
products.
To un-install from OS X, simply delete the plug-in from your VST folder, which is usually located at
/Library/Audio/Plug-Ins/VST/, and your AudioUnits folder, which is located at /Library/Audio/PlugIns/Components/. To un-install from Windows, use the included un-installer application.
Operation
Like its hardware predecessor, the 914 plug-in is simple to operate. There are no mysterious modulators, no
critical level-dependent settings, no hidden windows or menus. Just turn the knobs until you like the way it
sounds. Simple, eh? If you’d like a more detailed explanation of what it does, read on.
We assume that you are familiar with using plug-ins with your particular host. If you have general questions
about using VST or AudioUnit plug-ins with your host, please refer to its documentation. 914 is a true stereo
processor that can process either mono or stereo signals, and can be used as an insert effect or on an effectssend channel in your host’s mixer. If used in a stereo context (for example, as an insert on a stereo channel in
your DAW’s mixer), the left and right channels are processed independently with no summing.
The 914 contains fourteen filters: twelve band-pass filters, a low-pass filter, and a high-pass filter. These
names refer to how the filter blocks signals of some frequencies and passes signals of other frequencies. A
band-pass filter permits only a range (or band) of frequencies to pass through, blocking frequencies above
and below its center frequency. A low-pass filter passes signals below its corner frequencies and blocks
higher-frequency signals. A high-pass filter does the opposite: it passes signals above its corner frequency and
blocks lower-frequency signals.
The filters in 914 operate in parallel; that is, the
input signal is fed to all of the filters
simultaneously, and their outputs are mixed
together. Each filter has a knob which attenuates its
output, controlling the amount of its signal that is
present in the plug-in’s output. The original 914 had
passive filters; they only removed frequencies from
the input signal, not boosted them.
The Controls
1. The LOW PASS knob controls the level of the
output of the low-pass filter. The low-pass
filter’s corner frequency is 80Hz, so this knob
controls the loudness of all signal content with a
frequency of 200Hz or below.
2. The group of knobs in the middle of the panel
controls the levels of the outputs of the band-
pass filters. Each knob is labeled with the center frequency of its filter. The frequencies are 125, 175, 250,
350, 500, 700, 1000, 1400, 2000, 2800, 4000, and 5600Hz. Each knob controls the loudness of signal
content with frequencies near these center frequencies.
3. The HIGH PASS knob controls the level of the output of the high-pass filter. The high-pass filter’s corner
frequency is 8000Hz, so this knob controls the loudness of all signal content with a frequency of 3800Hz
or above.
The filter-level knobs in our software recreation of the 914 behave in the same manner as the original. If you
rotate a knob fully clockwise, the output of the corresponding filter is passed to the plug-in’s output without
attenuation. As you rotate the knob counter-clockwise, the level of the filter’s output is reduced. If you rotate
the knob fully counter-clockwise, the filter’s output is attenuated by 64dB, which nearly silences the filter.
*
The following controls are not present in the original Moog hardware. We added them to our software version
partly in response to comments made by users of our first filter-bank plug-in, the 907A, and to make this
plug-in more versatile:
4. The BANDWIDTH knob varies the shape of the band-pass filters. When the knob is rotated fully counter-
clockwise, the band-pass filters have a broad response shape, gently attenuating frequencies on either
side of the center frequency indicated by the knob’s label. As you rotate this knob clockwise, the filters
become narrower and more sharply reduce frequencies away from the center frequency. The result is that
the filters have more drastic and audible effects as you rotate the knob clockwise. This also reduces the
overall output signal level of the filters, which you can compensate for by turning up the wet level knob.
5. The WET LEVEL knob controls the loudness of the filtered output signal of the plug-in. If the knob is
rotated fully counter-clockwise, the signal is attenuated by 80dB, which makes the filtered signal
inaudible. As you rotate the knob clockwise, the filtered signal becomes louder. Rotating the knob fully
clockwise boosts the filtered signal by +15dB, which compensates for the attenuation of the filters. Note
that this means you can potentially overload your host’s mixer (or whatever the output of the plug-in is
connected to). If you hear crackling or other distortion when you use this plug-in, try turning this knob
counter-clockwise.
*
In case you’re wondering, we didn’t just pull -64dB out of the air. -64dB is the rated signal bleed-through amount of the
original hardware.
6. The DRY LEVEL knob controls the amount of the original, unfiltered input signal that is present in the
output of the plug-in. If the knob is rotated fully counter-clockwise, the signal is attenuated by 80dB,
which makes the original signal inaudible. As you rotate the knob clockwise, more and more of the
unfiltered input signal is mixed into the output signal. If the knob is rotated fully clockwise, the input
signal is passed to the output without any reduction.
During your initial experimentation with this plug-in you will find it useful to use an input signal with wide
frequency content, such as a buzzy synthesizer pad. For example, if you turn all of the knobs fully
counterclockwise, then turn up the knob labeled 1000, you will hear only signals with frequency content at or
around 1000Hz. If your input signal doesn’t have any frequency content near 1000Hz, you won’t hear
anything at all.
MIDI Controllers
The VST version of 914 responds to MIDI continuous controller messages. You can use hardware MIDI
controllers, such as MIDI slider boxes or the knobs found on some MIDI keyboards, to adjust 914’s
parameters.
The VST version of 914 has a simple “MIDI Learn” mode for assigning its knobs to MIDI controllers. To assign
a knob to a MIDI controller:
1. Hold down the
and click once on the knob. A white box will be drawn around the control to indicate that it is ready to
learn which MIDI controller it will be assigned to.
2. Move the MIDI controller to send a continuous controller message—turn the knob, press the button,
move the slider, whatever is appropriate.
3. The white square will disappear. Now the 914’s knob will move when you manipulate the MIDI
controller.
914 waits until it has received two consecutive continuous controller messages with the same controller
number before it makes an assignment. This filters out extraneous data sent by some MIDI controllers. If you
are assigning a button or switch on a MIDI controller, you may have to press or move the switch twice before
914 recognizes the controller and assigns it to the desired knob.
SHIFT and CTRL keys on your PC’s keyboard, or SHIFT and CMD keys if you’re using a Mac,
To assign a different MIDI controller to a control, repeat the same procedure using a different
controller.
To cancel MIDI Learn mode without assigning a controller, hold down the SHIFT and CTRL keys (SHIFT
and
CMD keys on a Mac) and click in any empty area in 914’s window (i.e., don’t click on another
control). The white box will disappear.
To remove a MIDI controller assignment from a control, SHIFT and CTRL keys, (SHIFT and CMD keys on a
Mac) click on the control once so that the white box appears, then click again on the same control.
914’s MIDI controller assignments are stored with the plug-in’s preset data. If you use MIDI controllers
frequently, you may find it helpful to store a template preset that contains the controller assignments that you
usually use. Use this template preset as a starting point when making new presets so that you do not have to
reassign the MIDI controllers every time.
The AudioUnit version does not provide the same MIDI assignment features as the VST version. Almost all
AudioUnit hosts provide their own mechanism for assigning MIDI controllers to parameters, so it would be
redundant to implement MIDI controller assignments in the plug-in itself. Consult the documentation for your
AudioUnit host to learn how to use its MIDI features.
And Finally…
Thanks again for purchasing 914. We make every effort to ensure your satisfaction with our products, and
want you to be happy with your purchase. Please write support@audiodamage.com
or comments.
if you have any questions
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