A.3 FX MACHINES

The FX machines can be added at several locations in the signal path. However, not all FX machines can be used in every location. The following is a description of the machines that can be added to each track type.

INSERT EFFECTS (Two FX slots per track. Track 1–8)

• Bypass (“A.3.1 BYPASS” on page 101)
• Chrono Pitch (“A.3.2 CHRONO PITCH” on page 101)
• Comb ± Filter (“A.3.3 COMB ± FILTER” on page 102)
• Compressor (“A.3.4 COMPRESSOR” on page 102)
• Daisy Delay (“A.3.5 DAISY DELAY” on page 104)
• Degrader (“A.3.6 DEGRADER” on page 104)
• Dirtshaper (“A.3.7 DIRTSHAPER” on page 105)
• Filter Folder (“A.3.8 FILTER FOLDER” on page 106)
• Filterbank (“A.3.9 FILTERBANK” on page 106)
• Frequency Warper (“A.3.10 FREQUENCY WARPER” on page 107)
• Infinite Flanger (“A.3.11 INFINITE FLANGER” on page 108)
• Low-pass Filter (“A.3.12 LOW-PASS FILTER” on page 108)
• Panoramic Chorus (“A.3.14 PANORAMIC CHORUS” on page 109)
• Phase 98 (“A.3.15 PHASE 98” on page 110)
• Saturator Delay (“A.3.17 SATURATOR DELAY” on page 111)

BUS EFFECTS (Two FX slots per track. Track 9–12)

• Bypass (“A.3.1 BYPASS” on page 101)
• Chrono Pitch (“A.3.2 CHRONO PITCH” on page 101)
• Comb ± Filter (“A.3.3 COMB ± FILTER” on page 102)
• Compressor (“A.3.4 COMPRESSOR” on page 102)
• Daisy Delay (“A.3.5 DAISY DELAY” on page 104)
• Degrader (“A.3.6 DEGRADER” on page 104)
• Dirtshaper (“A.3.7 DIRTSHAPER” on page 105)
• Filter Folder (“A.3.8 FILTER FOLDER” on page 106)
• Filterbank (“A.3.9 FILTERBANK” on page 106)
• Frequency Warper (“A.3.10 FREQUENCY WARPER” on page 107)
• Infinite Flanger (“A.3.11 INFINITE FLANGER” on page 108)
• Low-pass Filter (“A.3.12 LOW-PASS FILTER” on page 108)
• Panoramic Chorus (“A.3.14 PANORAMIC CHORUS” on page 109)
• Phase 98 (“A.3.15 PHASE 98” on page 110)
• Saturator Delay (“A.3.17 SATURATOR DELAY” on page 111)
• Steel Box Reverb (“A.3.18 STEEL BOX REVERB” on page 112)
• Supervoid Reverb (“A.3.19 SUPERVOID REVERB” on page 113)
• Warble (“A.3.20 WARBLE” on page 114)

SEND EFFECTS (One FX slot per track. Track 13–15)

• Bypass (“A.3.1 BYPASS” on page 101)
• Compressor (“A.3.4 COMPRESSOR” on page 102)
• Daisy Delay (“A.3.5 DAISY DELAY” on page 104)
• Filter Folder (“A.3.8 FILTER FOLDER” on page 106)
• Panoramic Chorus (“A.3.14 PANORAMIC CHORUS” on page 109)
• Rumsklang Reverb (“A.3.16 RUMSKLANG REVERB” on page 110)
• Saturator Delay (“A.3.17 SATURATOR DELAY” on page 111)
• Steel Box Reverb (“A.3.18 STEEL BOX REVERB” on page 112)
• Supervoid Reverb (“A.3.19 SUPERVOID REVERB” on page 113)

MIX EFFECTS (One FX slot. Track 16)

• Bypass (“A.3.1 BYPASS” on page 101)
• Chrono Pitch (“A.3.2 CHRONO PITCH” on page 101)
• Comb ± Filter (“A.3.3 COMB ± FILTER” on page 102)
• Compressor (“A.3.4 COMPRESSOR” on page 102)
• Daisy Delay (“A.3.5 DAISY DELAY” on page 104)
• Degrader (“A.3.6 DEGRADER” on page 104)
• Dirtshaper (“A.3.7 DIRTSHAPER” on page 105)
• Filterbank (“A.3.9 FILTERBANK” on page 106)
• Frequency Warper (“A.3.10 FREQUENCY WARPER” on page 107)
• Infinite Flanger (“A.3.11 INFINITE FLANGER” on page 108)
• Low-pass Filter (“A.3.12 LOW-PASS FILTER” on page 108)
• Multimode Filter (“A.3.13 MULTIMODE FILTER” on page 109)
• Panoramic Chorus (“A.3.14 PANORAMIC CHORUS” on page 109)
• Phase 98 (“A.3.15 PHASE 98” on page 110)
• Saturator Delay (“A.3.17 SATURATOR DELAY” on page 111)
• Steel Box Reverb (“A.3.18 STEEL BOX REVERB” on page 112)
• Supervoid Reverb (“A.3.19 SUPERVOID REVERB” on page 113)
• Warble (“A.3.20 WARBLE” on page 114)

A.3.1 BYPASS

This machine lets the signal bypass the selected machine slot.

A.3.2 CHRONO PITCH

A granular pitch shifter with modulation and feedback.

TUNE

Adjusts the pitch (measured in semitones).

WIN

Window controls the window (grain) size.

FDBK

Feedback introduces feedback.

DEP

LFO Depth controls the amount of pitch modulation applied from the built-in LFO.

HPF

High-Pass Filter applies a high-pass filter to the wet signal.

LPF

Low-Pass Filter applies a low-pass filter to the wet signal.

SPD

LFO Speed changes the speed of the built-in LFO..

MIX

Dry/Wet sets the mix between the dry signal and the affected signal.

A.3.3 COMB ± FILTER

This stereo comb filter with built-in modulation introduces metallic sounding, pitch-tuned, resonant overtones.

SPD

Modulation Speed controls the frequency of a built-in triangle LFO. It is tempo-synced and the values are measured in sequencer steps.

DEP

Modulation Depth controls the amount of frequency modulation applied from the LFO to the comb filter.

SPH

LFO Start Phase controls the triggering behavior of the LFO. The parameter value OFF indicates that it will run free. Other values will cause the LFO to retrigger from that phase position every time a note is played on the track.

DTUN

Detune offsets the frequency of the comb filter in the left and right channels.

FREQ

Frequency sets the resonant frequencies of the comb filter. It can be set to both positive and negative values.

FDBK

Feedback sets the gain of the feedback signal. Positive parameter values results in positive feedback and produces a string-like sound. Negative values results in negative feedback and produces a more hollow, tube-like sound. Please be aware that setting FDBK to extreme values can create a very loud sound.

LPF

Low-pass Filter sets the cutoff frequency of the low-pass filter in the feedback signal.

MIX

Dry/Wet sets the mix between the dry signal and the affected signal.

A.3.4 COMPRESSOR

The compressor effect compresses the dynamic range of the signal by reducing the volume of loud sounds relative to the quiet sounds. The gain reduction amount is shown with a bar next to the THR and RAT parameters.

THR

Threshold sets the threshold of the compressor. A lower threshold means a larger portion of the signal is subject to compression.

ATK

Attack Time sets the time of the compressor attack phase, i.e., how quickly the compressor responds to loud peaks.

REL

Release Time sets the duration of the compressor’s release phase, i.e., how long it takes for the compression to recover during quieter moments MUP

Makeup Gain sets the makeup gain of the compressor output to compensate for the reduced signal levels caused by compression. The Makeup Gain parameter value is displayed in dB.

RAT

Compression Ratio. There are eight different compression ratios: 1.50, 2.00, 3.00, 4.00, 6.00, 8.00, 16.00, and 20.00. Higher ratios result in greater signal compression.

SCS

Sidechain Source decides what audio source the compressor analyzes when it performs sidechaining.

Sidechaining is the process when the compressor uses the output of an audio source to control the overall action of the compressor. For example, if you set SCS to TRK1 where you have a kick drum, every time the kick drum plays, the compressor lowers the overall sound of the mix. This parameter is only available when the compressor is used on the Bus or Mix tracks.

MAIN sets the sidechain source to be the audio sent to the Main (L/R) outputs.

TRK1–8 sets the sidechain source to be the audio sent from one of the separate audio tracks.

BUS1–4 sets the sidechain source to be the audio sent from one of the Bus tracks. (Only available on the Mix track.)

BUS IN: 1–4 sets the sidechain source to be the audio coming in to one of the Bus tracks. (Only available on the Bus tracks.)

IN A sets the sidechain source to be the audio coming from INPUT A.

IN B sets the sidechain source to be the audio coming from INPUT B.

IN AB sets the sidechain source to be the audio coming from INPUT A and B.

SCF

Sidechain Filter filters the signal from the sidechain source before the compressor analyzes it. The parameter ranges from a low-pass filter to a high-pass filter. Negative parameter values set a low-pass filter. Positive parameter values set a high-pass filter.

When set as a low-pass filter, the compressor reacts mostly to bass frequencies. Use this setting for a characteristic pumping compressor sound. When set as a high-pass filter, the compressor reacts less to bass frequencies. Use this setting to avoid pumping.

MIX

Mix sets the mix of the uncompressed signal and the compressor output signal. A setting of 0 results in a completely uncompressed signal. A setting of 127 lets only the compressed signal pass through.

All values in between mix the uncompressed signal with the compressed signal, which is known as parallel compression.

A.3.5 DAISY DELAY

A delay effect with more control over the stereo image and evolution over time.

DRV

Drive controls the amount of saturation applied to the delay’s input.

TIME

Delay Time Division controls the base repeat time.

FDBK

Feedback adjusts the amount of delay output fed back into its input.

WIDH

Width adjusts the panning of the input and feedback signals before being mixed.

MOD

Modulation applies an internal modulator to the delay time.

SKEW

Skew scales the relative delay times in the left and right channels so that they interact rhythmically.

FILT

Applies a tilt filter to the delayed signal - to the left, it low-passes the signal, and to the right, it high-passes.

MIX

Dry/Wet sets the mix between the dry and affected signals. This parameter is not available if the effect is used on a Send FX track.

A.3.6 DEGRADER

A collection of lo-fi effects.

BR

Bit Reduction sets the bit rate. The parameter range is from 16 bits to 1 bit.

OVER

Overdrive sets the gain amount into an overdrive.

SRR

Sample Rate Redux sets the amount of sample rate reduction.

DROP

Drop-outs introduce randomly placed drop-outs into the audio signal. Higher values increase the frequency and the duration of the drop-outs.

RATE

Modulation Rate sets the frequency of a modulation sine oscillator.

DEP

Modulation Depth introduces ring modulation with the modulator oscillator, increasing in intensity.

FREZ

Freeze introduces randomly-placed stutters into the signal.

F.TIM

Freeze Time sets the length of the stutters introduced by the FREZ parameter. The value RAND causes a random length to be picked each time. The other values are measured in sequencer steps.

A.3.7 DIRTSHAPER

Adds distortion and grit.

DRV

Drive adds overdrive distortion.

RECT

Rectify blends between the driven signal and a full-wave rectified version of it.

HPF

High-pass filter is a bipolar control that controls two different high-pass filters. To the left, the input is high-pass filtered before the distortion. To the right, it is high-pass filtered after the rectifier.

LPF

Low-pass filter applies a low-pass filter to the output.

NOIS

Noise introduces a noise signal ring-modulated with the distorted input.

N.FRQ

Noise Frequency applies a low-pass filter to the noise signal.

N.RES

Noise Resonance adjusts the resonance of the noise filter.

MIX

Dry/Wet sets the mix between the dry signal and the affected signal.

A.3.8 FILTER FOLDER

The Filter Folder is an effect that pairs a wavefolder with two added filters to help shape the sound. Wavefolding increases the wave’s complexity, creating a more overtone-rich sound. The signal flow in the effect is as follows: Input level > High-pass filter > Wavefolder > Multimode filter > Dist > Output level.

ILEV

Input Level boosts or attenuates the level at the FX input.

HP

High Pass filters the sound before the wavefolder.

FOLD

Folder sets the amount of wavefolding of the sound.

OLEV

Output Level boosts or attenuates the level out from the FX.

FREQ

Frequency sets the cutoff frequency of the Multimode filter

RESO

Resonance sets the Multimode filter’s resonance behavior. Resonance introduces a peak in the spectrum at the cutoff frequency.

TYPE

Filter Type sets the Multimode filter’s type. Low-pass 4, Low-pass 2, Band-pass 2, High-pass 2, Low-pass notch, Notch 1, Notch 2, Off.

DIST

Post Dist sets the amount of distortion/overdrive applied to the sound after the Multimode filter.

A.3.9 FILTERBANK

An eight-band fixed filter bank.

A

Gain A sets the gain of a low-pass filter at 90 Hz.

B

Gain B sets the gain of a band-pass filter at 121.9 Hz.

C

Gain C sets the gain of a band-pass filter at 224.8 Hz.

D

Gain D sets the gain of a band-pass filter at 418.0 Hz.

E

Gain E sets the gain of a band-pass filter at 777.4 Hz.

F

Gain F sets the gain of a band-pass filter at 1445.8 Hz.

G

Gain G sets the gain of a band-pass filter at 2688.6 Hz.

H

Gain H sets the gain of a high-pass filter at 4 kHz.

A.3.10 FREQUENCY WARPER

A frequency-shifting effect in the style of vintage analog effects.

SPD

LFO Speed sets the speed of the built-in LFO.

DEP

LFO Depth controls the amount of frequency modulation applied from the LFO to the shifter.

SPH

LFO Start Phase controls the triggering behavior of the LFO. The value “OFF” indicates that it will run free. Other values will cause the LFO to retrigger from that phase position every time a note is played on the track.

LAG

LFO Phase Offset offsets the LFO’s phase position in the left and right channels.

SHFT

Shift Amount controls the shift distance.

SPRD

Stereo Spread offsets the shift distance in the left and right channels.

SBND

Sideband blends between the frequency shifter’s output and an alternate output signal with different characteristics.

MIX

Dry/Wet sets the mix between the dry signal and the affected signal..

A.3.11 INFINITE FLANGER

This is a flanger with barber-pole motion, meaning it sounds like it rises or falls continuously without ever reversing.

SPD

Speed sets the speed of the pitch motion. A parameter value of 0 gives a constant pitch, negative values result in increasingly quick downward motions, and positive values result in increasingly quick upward motions.

DEP

Depth sets the intensity of the flanging effect.

TUNE

Downtune adjusts the tuning of the delay line progressively downward, from true flanging to sounds that resemble comb filtering, and finally to audible delay.

FDBK

Feedback sets the amount of output signal fed back into the delay line.

LPF

Feedback Filter Cutoff sets the cutoff frequency of a low-pass filter placed in the feedback loop.

A.3.12 LOW-PASS FILTER

This is a 4-pole, 24 dB/octave slope low-pass filter with internal modulation and stereo width controls.

SPD

LFO Speed sets the speed of the built-in LFO. It is tempo-synced, and the values are measured in sequencer steps.

DEP

LFO Depth sets the amount of frequency modulation applied from the LFO to the filter.

SPH

LFO Start Phase sets the triggering behavior of the LFO. The parameter value OFF indicates that it will run free. Other values will cause the LFO to retrigger from that phase position every time a note is played on the track.

LAG

LFO Phase Offset offsets the LFO’s phase in the right and left channels.

FREQ

Cutoff Frequency sets the cutoff frequency of the filter.

RESO

Resonance sets the resonance behavior of the filter. Resonance introduces a peak in the spectrum at the cutoff frequency.

SPRD

Stereo Spread offsets the filter cutoff frequency in the left and right channels.

A.3.13 MULTIMODE FILTER

This filter lets you morph from a Low-pass to a Band-pass to a High-pass filter.

ATK

Attack Time sets the length of the attack phase of the filter envelope.

DEC

Decay Time sets the length of the decay phase of the filter envelope.

SUS

Sustain Level sets the sustain level of the filter envelope.

REL

Release Time sets the length of the release phase of the filter envelope.

FREQ

Frequency sets the cutoff frequency of the Multimode filter.

RESO

Resonance sets the resonance behavior of the filter. Resonance introduces a peak in the spectrum at the cutoff frequency.

TYPE

Type morphs the Multimode filter from low-pass to band-pass to high-pass.

ENV

Env. Depth sets the amount of cutoff frequency modulation from the filter envelope. The knob is bipolar, both negative and positive modulation depths are available.

A.3.14 PANORAMIC CHORUS

The chorus are used to widen the sound, enhance the stereo image, or add subtle movement to sounds.

DEP

Depth sets the depth of the LFO modulation of the chorus.

SPD

Speed sets the speed of the LFO modulation of the chorus.

HPF

High-pass sets the high-pass filtering of the input signal.

WDTH

Width sets the stereo width of the chorus.

MIX

Dry/Wet sets the mix between the dry signal and the affected signal. This parameter is not available if the effect is used on a Send FX track.

A.3.15 PHASE 98

A phaser that can blend between four- and six-stage versions.

SPD

LFO Speed sets the speed of the built-in LFO.

DEP

LFO Depth sets the amount of frequency modulation applied from the LFO to the phaser.

SHP

LFO Shape sets the wave shape of the LFO. It smoothly transitions from a descending ramp to a triangle and then to an ascending ramp.

LAG

LFO Phase Offset adjusts the phase of the built-in LFO in the right and left channels.

FREQ

Cutoff Frequency sets the center frequency of the phaser.

FDBK

Phaser Feedback sets the feedback (resonance) of the phaser.

STG

Stage Mix blends between the four-stage and six-stage phaser outputs.

MIX

Dry/Wet sets the mix between the dry signal and the affected signal.

A.3.16 RUMSKLANG REVERB

The Rumsklang Reverb effect controls the persistence, and ambient characteristics, of the sound reverberations. It focuses mainly on simulating large spaces.

PRE

Pre-delay sets the pre-delay time of the reverb.

EARLY

Early Reflections sets the amount of early room reflections in the reverb.

DAMP

Damping determines how quickly the high-end frequencies of the reverb tail fade out, influencing the overall brightness or darkness of the reverb sound.

SIZE

Size sets the length of the decay phase of the reverberated signal, essentially setting the size of the simulated acoustic space.

LOWC

Lowcut sets the cutoff frequency of the reverbs low-pass filter.

HIGHC

HPF sets the cutoff frequency of the reverbs high-pass filter.

A.3.17 SATURATOR DELAY

The Saturator Delay effect takes the input signal, delays it in time and then rejoins it with the original signal.

TIME

Delay Time sets the delay time. It is relative to the current BPM and is measured in 128th notes.

TIME setting

Divide ratio

1/128

1/64

2.67

1/48 (1/32T)

1/64.

1/32

5.33

1/24 (1/16T)

1/32.

1/16

10.67

1/12 (1/8T)

1/16.

TIME setting

Divide ratio

1/8

21.33

1/6 (1/4T)

1/8.

1/4

42.67

1/3 (1/2T)

1/4.

1/2

1/2.

X

Ping Pong sets the delay signal to alternate across the stereo field. There are two settings:

• OFF lets you manually set the position of the delay signal in the stereo field. Use the WID parameter to change the stereo field position.
• ON makes the delay signal alternate between left and right pan positions. The WID parameter controls the amount of panning.

WID

Stereo Width sets the delay signal pan width across the stereo field. The knob is bipolar.

FDBK

Feedback Gain sets the amount of delay output signal to feed back into the input of the delay. With higher parameter settings, infinite and/or swelling delays are possible. Please be aware that high feedback can lead to a very loud signal.

HPF

High-pass Filter sets the cutoff frequency of the delay high-pass filter.

LPF

Low-pass Filter sets the cutoff frequency of the delay low-pass filter.

MIX

Dry/Wet sets the mix between the dry and affected signals. This parameter is not available if the effect is used on a Send FX track.

A.3.18 STEEL BOX REVERB

The Steel Box reverb is a character reverb inspired by early digital reverbs and ‘90s plate reverbs. It has wide parameter ranges by design to achieve sonically wide results.

SIZE

Sets the size of the steel box reverbator.

FDBK

Feedback sets the amount of feedback inside the delay tank. High numbers cause a longer decay, but it also depends on the brightness and low cut settings.

BRIT

Brightness controls the damping as well as filtering in the feedback path.

PRE

Predelay sets the predelay time before sound goes into the reverb.

WDTH

Width controls the stereo width of the tapped output audio.

DIFF

Diffuse sets the amount of diffusion applied to the input sound before it enters the reverb tank.

LOWC

Low Cut the amount of low-cut filter inside the feedback path of the reverb tank.

MIX

Dry/Wet sets the mix between the dry and affected signals. This parameter is not available if the effect is used on a Send FX track.

A.3.19 SUPERVOID REVERB

The Supervoid Reverb effect controls the persistence, and ambient characteristics, of the sound reverberations. It can simulate many different sonic locations, from huge spaces to small rooms.

PRE

Pre-delay sets the pre-delay time of the reverb.

DEC

Decay Time sets the length of the decay phase of the reverberated signal, essentially setting the size of the simulated acoustic space.

FREQ

FB Shelving Freq sets the shelving filter frequency. Together with the GAIN parameter, it can be used to dampen the reverberated signal above a chosen frequency, making the reverberation sound more prominent or more muffled.

GAIN

FB Shelving Gain affects the damping of the reverberated signal above the shelving frequency set by the FREQ parameter. At max value the treble is included in the reverberations; lowering the value gradually dampens it.

HPF

HPF sets the cutoff frequency of the reverb high-pass filter that affects the audio going into the reverb.

LPF

LPF sets the cutoff frequency of the reverb low-pass filter that affects the audio going into the reverb.

MIX

Dry/Wet sets the mix between the dry signal and the affected signal. This parameter is only available if the effect is used on a Bus track or the Mix track.

A.3.20 WARBLE

The Warble effect helps you recreate a sound similar to that of an old tape recorder by adding a pitch warble effect, along with audio and noise filtering.

SPEED

Sets the speed of the warble effect: A setting of 0 makes the speed random.

DEPTH

Sets the depth of the warble effect.

BASE

Sets the base frequency of the filter.

WIDTH

Sets the frequency width above the base frequency.

N.LEV

Noise Level sets the amount of noise that is added to the effect. Please note that the noise level is not affected by the MIX setting.

N.HPF

High-pass filter sets the frequency for the high-pass filtering of the noise.

STEREO

Stereo Width sets the amount of the warble effect in the stereo field.

MIX

Dry/Wet sets the mix between the dry signal and the affected signal.

APPENDIX B: LFO/MOD ENVELOPE MODULATION DESTINATIONS

APPENDIX B: LFO/MOD ENVELOPE MODULATION DESTINATIONS

The following are the modulation destinations for Tonverk’s LFOs and Modulation envelope. The Voice LFOs and Modulation envelope modulate parameters on all parameter pages except the FX pages..The FX LFOs only modulate parameters on the track’s FX parameter pages.

AUDIO TRACKS

META: None

LFO1: Speed (available for LFO2/Mod Env)

LFO1: Multiplier (available for LFO2/Mod Env)

LFO1: Fade In/Out (available for LFO2/Mod Env)

LFO1: Waveform (available for LFO2/Mod Env)

LFO1: Start Phase (available for LFO2/Mod Env)

LFO1: Trig Mode (available for LFO2/Mod Env)

LFO1: Depth (available for LFO2/Mod Env)

LFO2: Speed (available for Mod Env)

LFO2: Multiplier (available for Mod Env)

LFO2: Fade In/Out (available for Mod Env)

LFO2: Waveform (available for Mod Env)

LFO2: Start Phase (available for Mod Env)

LFO2: Trig Mode (available for Mod Env)

LFO2: Depth (available for Mod Env)

SRC page 1: Data entry knob A (machine dependent.)

SRC page 1: Data entry knob B (machine dependent)

SRC page 1: Data entry knob C (machine dependent)

SRC page 1: Data entry knob D (machine dependent)

SRC page 1: Data entry knob E (machine dependent)

SRC page 1: Data entry knob F (machine dependent)

SRC page 1: Data entry knob G (machine dependent)

SRC page 1: Data entry knob H (machine dependent)

SRC page 2: Data entry knob A (machine dependent.)

SRC page 2: Data entry knob B (machine dependent)

SRC page 2: Data entry knob C (machine dependent)

SRC page 2: Data entry knob D (machine dependent)

SRC page 2: Data entry knob E (machine dependent)

SRC page 2: Data entry knob F (machine dependent)

SRC page 2: Data entry knob G (machine dependent)

SRC page 2: Data entry knob H (machine dependent)

FILTER page 1: Data entry knob A (SRC machine dependent.)

FILTER page 1: Data entry knob B (SRC machine dependent.)

FILTER page 1: Data entry knob C (SRC machine dependent.)

FILTER page 1: Data entry knob D (SRC machine dependent.)

FILTER page 1: Data entry knob E (SRC machine dependent.)

FILTER page 1: Data entry knob F (SRC machine dependent.)

FILTER page 1: Data entry knob G (SRC machine dependent.)

FILTER page 1: Data entry knob H (SRC machine dependent.)