The Multiple Identity Filter, Part I

H ERE IS A FILTER STRUCTURE that uses only three ICs, has

no commercially available equivalent, is only slightly
more costly than standard filter modules that do a lot less, and
of the last filter section to the input of the first filter section, and
is therefore most usable when all four filters are in series. It has
a panel control that sets the resonance, and a control voltage
is amazingly versatile. How versatile? Here are some of the input jack. Plugging into the jack disables the from panel con-
responses obtainable with this module: trol and allows for a 0 to +10V control of resonance (with high
Lowpass: Choice of 24 18 12 or 6dB/octave slope; includes resonance, the filter changes identity to a sine wave oscillator).
voltage-controlled (VC) resonance option in 24dB/octave mode. Input Buffer. This section conditions signals going to the fil-
Highpass: Choice of 24, 18, 12, or 6dB/octave slope; includes ter, and has three inputs. One input is noninverting; one is non-
VC resonance option in 24dB/octave mode. inverting and includes an attenuator; the remaining input is
Phase shifter (allpass): Single or dual notch response. VC inverting. Phase compatibility with parallel filters is very impor-
resonance option in dual notch mode. tant, and having a choice of inputs allows you to choose your
Maximum rolloff lowpass: Similar to 24dB/octave lowpass, phase.
but with faster rolloff. A typical application would be getting rid Straight Channel. A fader allows you to mix unfiltered
of clock feedthrough from analog delay line outputs. sound in with the filtered sound. A phase switcher in the
Notch filter: Choice of broad or sharp notch response. straight signal path allows you to choose the straight signal
Bandpass: Choice of sharp or broad bandpass response. phase.
Lowpass plus notch: Fig. 1 shows the response curve for this Control Voltage Amp. This has two inputs that follow the
type of filter. industry standard, 0 to +10V, exponential response control
Highpass plus notch: Another new type of response. See curve. One input includes an attenuator, the other does not.
Fig. 2. There is also an initial frequency control.
Since this module can assume the identity of many other fil- Part I Conclusion. I realize the all this may be confusing
ter structures, the term Multiple Identity Filter (MIF for short) after all, programmable filter structures, integral switchable
seems very appropriate. But there's still more; it can act as a patching, and optional phaser response are not part of the
stand-alone signal phaser, and can put different filter blocks in standard synthesizer lexicon (but if I get my way, they will be
parallel for highly unusual responses (for example, you could soon!). I do think that after the conclusion of this series,
have a I2dB/octave lowpass filter in parallel with a single notch though, everything will fall right into place. In any event, I hope
phase shifter, or you could parallel four phase shift sections). I've managed to convey some of my excitement for this device,
There's even a straight channel option with switchable polarity and I hope you're excited about it too. Next month, it's con-
(more on this later). And it's also a sine wave oscillator.... struction time.
Sound incredible? Well, I still haven't discovered all the pos-
sible sounds obtainable from this module, so I don't think you'll
get tired of it too easily. You do pay a price for this versatility, the
time required to learn how to use the device to best advantage.
However, you can always treat the thing like a standard lowpass
filter, and learn about the many extras later on at your own
pace.
About the circuit. The MIF is based on the CEM3320, a new
4-pole filter IC from Curtis Electromusic Specialties [2900 Mau-
ricia Ave., Santa Clara, CA 950511]; but note that the MIF struc-
ture is also equally applicable (with some minor design
changes) to the SSM2040 filter IC. The CEM3320 contains four
6dB/octave filter blocks, along with a resonance VCA to give
voltage-controlled resonance. There is nothing new about con-
figuring different filter sections to give different responses (see
the CEM3320 data sheet, the SSM2040 data sheet and applica-
tions notes, and the article Blacet Phasefilter Review in
Device newsletter, Vol. 1, No. 6 [Box C, Carmichael, CA 95608]),
but the way in which it is done here is unique. Coupling these
programmable filters with switchable, series/parallel patching
that's integral to the module is the key to giving the MIF its
unprecedented versatility.
Filter Block Characteristics. Fig. 3 shows the MIF's block dia-
gram. Each filter section has two switches that program the
response of the filter (highpass, lowpass, allpass, or disabled).
Each filter block also has a switch to choose between two differ-
ent timing caps, placed a decade apart. This allows for unusual
slopes, changing the resonant frequencies of filters connected
in parallel, and so on.
Series/Parallel Switching. The series/parallel switching
scheme has been previously described elsewhere (General-
ized Series/Parallel Switching in Device, Vol. 1, No. 7). With all
three switches in the S position, the four filter blocks are in
series. With the switches in the P position, all four blocks are in
parallel. Fig. 4 shows some possible configurations, along with
the switch settings required to produce these results. Note that
when the input of any filter connects to the output of the input
buffer (parallel mode), then the output of the preceding filter
stage connects to the output mixer. I realize that the switchable
patch scheme may be confusing at firstbut trace the circuit
through for various settings of S1, S2, and S3; it should all make
sense after about 15 minutes of checking it out.
Resonance Cell. A resonance VCA connects from the output

CONTEMPORARY KEYBOARD/NOVEMBER 1979

 Multiple Identity Filter, Part II

T HIS MONTH, THERE'S ONLY ROOM for the

schematic and the annotated parts list. Next
month, we'll give construction tips and calibration
important as the circuitry, and youll want to wait until
that information is presented before you actually start
building. Well have some photos of a prototype built
procedures. Please do not attempt to wire this beast from the parts kit, which should also help in building
up until then, no matter how experienced you are; the this module.
panel layout and switch orientations are just as

DECEMBER 1979/CONTEMPORARY XEYBOARD

CRAIG ANDERTON PARTS LIST Semiconductors
Resistors (all are 5%, 1/4 watt units except for the pots) IC1 Curtis CEM3320 [Curtis Electromusic
R1 1k Specialties, 2900 Mauricia Ave., Santa Clara,
CA 95051. Hobby market distributor: PAIA
R2,R3 1.5k
Electronics, 102D W. Wilshire Blvd,
R4 1.8k resistor. For maximum temperature Oklahoma City, OK 73116. Cost is $8.95 in
stability use a single quantities; add $1 postage/handling].
+3300 ppm temperature compensated IC2 RC4136, XR4136, or equivalent quad low-
resistor (Tel Labs Q81). To use the 2k tempco noise op amp.
resistor offered by the Electronotes parts
IC3 LM748 or LM301 uncompensated op amp.
service, change R32 to 110k. You can always
wire in a regular resistor first, and change it LED Any red LED will do just fine.
over later to the temperature compensated Mechanical parts
kind. J1 1/4" mono open-circuit phone jack. Accepts
R5 5k trimpot. Adjusts control voltage (CV) amp an audio input signal that may be attenuated
offset. See calibration instructions next by R47.
month. J2,J3 1/4" mono open-circuit phone jacks. These
R6 5k trimpot. Adjusts output of 1C2a to +6.5V jacks accept additional audio input signals if
DC with no desired.
input signal. See calibration instructions J4,J5 1/4" mono open-circuit phone jacks. These
next month. jacks accept any 0 to +10V control voltage to
R7,R8 10k control the filter frequency.
R9,R10 20k J6 1/4" mono open-circuit phone jack. Accepts
a 0 to +10 CV that may also be attenuated by
R11,R12 39k
R49.
R13,R14 47k
J7 1/4" mono closed-circuit phone jack.
R15-Rl8 91k Accepts a 0 to +10 CV to control the filter
R19-R45 100k resonance, and simultaneously disables R46.
R46 100k linear pot. Controls resonance when J7 J8,J9 1/4" mono open-circuit phone jacks. These
is not used for an external control voltage. jacks provide dual audio outputs from the
R47 100k audio or linear taper pot. Use to filter.
attenuate audio S1-S3 DPDT switches that provide series/parallel
input signal If clipping indicator (LED) starts switching for the various filter sections.
to glow. S4 SPST switch. Changes phase of straight
R48 100k linear pot. Sets initial filter frequency channel; when shorted, phase is
(offset). noninverting. When open, phase is
R49 100k linear pot. Attenuates CV source inverting.
plugged into J6. S5,S7,S9,S11 DPDT switches, used in conjunction with S6,
R50 100k audio or Iinear taper pot. Controls level S8, S10, and S12 to program the responses of
of straight audio signal. the various filter blocks.
R51-R54 240k S6,S8,S10,S12 SPDT switches, used in conjunction with the
R55,R56 10 ohms above
Capacitors (all should be rated to work at 15V or more) switches to program the responses of the
C1 10 to 20pF ceramic disc various filter blocks.
C2-C5 100pF; use polystyrene cap for best stability. S13-S16 SPDT switches. These select the timing
C6-C9 1000pF; use polystyrene cap for best stability. capacitor for each filter section.
C10-C17 .22F mylar or disc IC sockets You will need one 18pin socket, one 14pin
C18 1F tantalum or electrolytic socket, and one 8pin socket.
C19,C20 100F electrolytic

DECEMBER 1979/CONTEMPORARY XEYBOARD

 Multiple Identity Filter, Part III

I F YOUVE READ Parts I and II of this

series, youll be itching to get into the
construction of the Multiple Identity
poorly with program material or when
processing acoustic instruments,
whereas studio equalizers work well for
Filter (MIF), which I gave the schematic processing but are generally not voltage-
of last month. So lets get to it. controlled and are used more for subtle
Construction. The photo in fig. 1 corrections than for special effects. The
shows a prototype module I built on a strength of the MIF is that it feels at
9" x 3" Plexiglass panel. The control lay- home in both roles; hopefully, synthe-
out is as follows: The upper row; left to sists will get into more subtle types of
right, comprises the clipping indicator sound with this module, and conversely,
LED, S5, S6, and S13. The row of switches I hope that recording enthusiasts find
below is S1, S7, S8, and S14, again left to out that having dynamicrather than
rightin fact, well just assume that all staticequalization can do some really
locations are given from left to right to amazing things.
minimize repetition. The next lower row If you know how to use a scope and a
of switches is S2, S9, S10, and S15; and signal generator, looking at the MIF out-
the bottom row of switches is S3, S11, put for various controls will show you a
S12, and S16. The top row of controls is tremendous amount about how this
R50, S4, and R48, while the bottom con- thing works,. Of course, your ears will
trol row is R47, R49, and R46. The top row tell you the most, but if you can analyze
of jacks is J1, J6, and J7; the row below, J2, what the MIF is doing electrically, you'll
J4, and 18; the bottom row, J3, J5, and J9. know how to apply it to solve specific
Switches S1-S3 should be oriented response problems that crop up.
during construction so that toggling There are only a few rules to consider
them upwards puts them in the S posi- when using the filter. First, when sec-
tion (see last month's schematic), and tions are switched in parallel, youll have
switches S5-S12 should be oriented so to back off on the input signal to avoid
that toggling them upwards puts them in clipping (the clipping indicator I should
the 1 position. S13-S16 should be ori- show this condition). Next, the voltage-
ented so that the upwards position controlled resonance feature may or
selects the 100pF timing capacitor, while may not do something interesting; twist
the downwards position selects the the initial resonance knob and if you get
1000pF timing capacitor. a good sound, great. If nothing happens,
By the way, a parts kit for this module that simply means youre using a patch
will be available soon from PAIA Elec- where the resonance cell is inoperative.
tronics, although pricing and delivery Another point to remember is that there
are not firmed up at this time (columns are many, many responses of which this
are prepared months in advance of pub- thing is capable, and its also possible to
lication dates). duplicate the same response with differ-
Calibration. This process isn't diffi- ent patches (for example, there are four
cult as long as you have a voltmeter. or five ways to create a notch response).
Connect one probe to pin 3 of IC2, and Finally, there are some patches where
the other probe to pin 10 of IC1; then set you may have to boost the input signal a
the range selector switch for about a 0 to bit if you're doing a particularly strange
5V DC. After applying power and setting patch.
the initial frequency control halfway, Final Comments. The mini-manual
adjust R6 for a 0-volt reading on the on the opposite page should get you
meter. You might find adjustment is a bit started on the road towards using the
less critical if you change R20 to a 220k MIF in a predictable and efficient way;
resistor instead of the 100k value given remember, its going to take you some
last month, although in any case the time to master it. If you discover any par-
module should be calibratable. ticularly good patches or applications
There are a number of ways to cali- with this beast (e.g., The highpass plus
brate R5, all of which are difficult to write notch response works great with electric
down on paper but obvious when you pianos), write me c/o CK and Ill pass
have the unit sitting in front of you. The these ideas along. And the future? Why,
basic idea is to adjust this control so that using individual voltage-controlled fil-
a 0V control voltage (CV) gives the low- ters for each MIF section in conjunction
est desired filter frequency, and a +10 CV and the MIF is calibrated. with microprocessor control and a little
gives the highest desired frequency. Applications. Ask an engineering- memory.... But in the meantime. I'll try to
One calibration procedure for R5 is to minded synthesist what a filter does. and master the module I have now.
feed a low-frequency (approx. 80Hz) that person will probably tell you about Multiple Identity Filter Mini-Manual
square wave into J1, and patch up the how it alters the waveform of a VCO fed The following diagrams show the ori-
MIF for a basic 24dB/ octave lowpass into its input, and how it can change the entation of the switches in the switching
configuration (see patch chart). Vary the harmonic structure of a complex wave- matrix (S1-S3, S5-S16) for various filter
initial frequency from lowest to highest form. However, ask a recording engineer modes; U means up, D means down.
frequency (0 to +10V), and leave it at the what a filter does, and the answer will be Dont forget that in most cases, fooling
highest frequency position. Set R5 to the that filters are put together in systems to around with the capacitor select
extreme of rotation that gives the most make up equalizers that alter frequency switches (S13-S16) will create new
high frequencies. Now slowly rotate R5 response, correct for response anoma- responses. Adding in some straight sig-
towards the other extreme until you lies, and so on. This difference in operat- nal, either in phase or out of phase, will
hear just the slightest reduction in high ing philosophy has meant that most create other changes. The designation X
frequency content. Leave R5 right there, filters designed for synthesizers perform means the switch position is irrelevant.

CONTEMPORARY KEYBOARD/JANUARY 1979

 Lowpass, 24dB/octave Highpass, 24dB/octave
DDU UUD
UDDU UUUD
UDDU UUUD
UDDU UUUD
Lowpass, 18dB/octave Highpass, 18dB/octave
DDU UUD
UDDU UUUD
UDDU UUUD
DUDX DUDX
Lowpass, 12dB/octave Highpass, 12dB/octave
DDU UUD
UDDU UUUD
DUDX DUDX
DUDX DUDX
Lowpass, 6dB/octave Highpass, 6dB/octave
DDU UUD
DUDX DUDX
DUDX DUDX
DUDX DUDX

Bandpass, 12dB/octave slope Bandpass Plateau response with small AlIpass, single notch
DDU dip (see Fig. 2) DUU
UDDU UUD UDUU
UUUD UDDD DUDX
UUUD DUUU UUDX
*Add (-) straight signal for inverted (notch) UDDU *Add in (+) straight signal to create single
response. Highpass plus notch response (also notch.
*Add resonance to produce plateau *Add in (-) straight signal to create
response (see Fig. 2) lowpass plus notch) bandpass response.
Bandpass, 24dB/octave slope DUU Single notch
UUD UDUU UUD
UDDU UDUU UUUU
DUDX DUDX DDDU
UUDX *Add in straight signal for HP plus notch. UDDU
*Add in straight signal for LP plus notch.
*Add (+) straight signal for inverted (notch) (shallow notchabout -6dB)
response. Allpass, dual notch
DUU UUU
Lopsided bandpass (low frequency
UDUU UUUU
slope 6dB/ octave, upper frequency
slope 18dB/octave) UDUU DDDU
DDU UDUU UDDU
(notches spaced approximately 6:1 apart (deep notchabout 3OdB)
UDDU
with respect to frequency)
UDDU
UUUD DUD
*Add (+) straight signal for inverted UDUU
response (lopsided notch). UDUU
Lopsided bandpass (low frequency UDUU
slope 18dB/ octave, upper frequency (notches spaced approximately 10:1 apart
slope 6dB/octave) with respect to frequency)
DDU DUU
UUUD UDUU
UUUD UDUD
UUUD UDUD
*Add (+) straight signal for inverted (notches spaced approximately 16:1 apart
response (lopsided notch). with respect to frequency)
*Add in(+) straight signal to create dual
notch.
*Add in (-) straight signal to reverse
position of peaks and notches.

JANUARY 1979/CONTEMPORARY XEYBOARD