Sherman FILTERBANK Owner's Manual
  1. Manuals
  2. Brands
  3. Sherman Manuals
  4. Music Pedal
  5. FILTERBANK
  6. Owner's manual

Sherman FILTERBANK Owner's Manual

Hide thumbs
Table of Contents

Advertisement

Quick Links

1

Advertisement

Table of Contents
loading
Need help?

Need help?

Do you have a question about the FILTERBANK and is the answer not in the manual?

Questions and answers

Summary of Contents for Sherman FILTERBANK

  • Page 2: Safety Instructions

    OUTLET MUST NEVER EXCEED THE POWER RATING (WATTS / AMPERES) FOR THE EXTENSION CORD. EXCESSIVE LOADS CAN CAUSE THE INSULATION ON THE CORD TO HEAT UP AND EVENTUALLY MELT THROUGH. BEFORE USING THE UNIT IN A FOREIGN COUNTRY, CONSULT WITH YOUR DEALER, OR QUALIFIED SHERMAN PERSONNEL.
  • Page 3 - MAKE SURE THE ADAPTER VOLTAGE COMPLIES WITH THE VOLTAGE OF YOUR AC POWER SUPPLY. - AVOID EXCESSIVE FORCE ON THE JACK CONNECTIONS OR KNOBS. - BE CAREFUL WITH YOUR SPEAKERS AT HIGH VOLUMES; THE FILTERBANK CAN PRODUCE EXTREMELY LOW FREQUENCIES. - READ THE SAFETY INSTRUCTIONS. FCC WARNING This equipment generates, uses and can radiate radio frequency energy, and if not installed and used in accordance with the instructions manual, may cause interference to radio communications.
  • Page 4 This is a crash course for all you musicians who hate wasting time reading manuals. However, it's a good idea to understand the actual function of a certain knob in order to produce a sound that you have total control over. It is easier than it looks, don't worry. The sherman filterbank (FB from now on) is a musical instrument you need to practice with if you want to release its full potential.

  • Page 5: Table Of Contents

    TABLE OF CONTENTS START ............FM - FREQUENCY MODULATION BASICS - EXPLORING FILTER 1 ....AM - AMPLITUDE MODULATION SYNC MODE - FILTER 2 ......EXTERNAL INPUTS ....OUT 1 - COMBINING THE TWO FILTERS MIDI ........LFO - LOW FREQUENCY OSCILLATOR ..LINKING MORE FILTERBANKS AR - VOLUME MODULATION GENERATOR HISTORY &...

  • Page 6: Start

    ABOUT THE KNOB COLOURS... START COLOUR RELATES TO ABOUT THESE LESSONS... blue Filter frequency Make yourself comfortable with this manual in front of you, your setup and the FB powered on. Set all knobs as indicated on the front panel drawings whenever it is required in a lesson. Feed a yellow ADSR generator signal source to the input, e.g.

  • Page 7: Rack Mounting

    figure 1 RACK MOUNTING The 2 rack mount hooks can be screwed on the sides of the unit as shown in fig.1. Leave some space above the unit in order to reach the connections on the back. Fit the plastic nuts as shown above. THE 6 DIFFERENT WAYS TO MOUNT YOUR FB [ 19 Inch Rack ] [ 19 Inch Rack ]...

  • Page 8: Basics - Exploring Filter

    LESSON #1 BASICS - EXPLORING FILTER 1 The idea behind this knob was to overcome the limitations of the Send a continuous signal from the signal source (e.g. a sawtooth wave or a similar sound containing enough high harmonics) to the Lp/Bp/Hp balance knob.
  • Page 9 figure 2 AUDIO TRIGGERING WORKS Amplitude of trigger (*) input signal Trigger level Time Trigger Indicator light (*) When no jack is plugged in the trigger input, the input signal is used as trigger signal. See figure 24.
  • Page 10 To do this, you must open the Filterbank and look for the trim holes marked “F1” an “F2”. With Keep in mind that you always can adjust the balance between the...
  • Page 11 figure 3 TRIG INPUT SPEED DEPTH TRIG NORMAL SENS. OFF OVER FREQUENCY HARMONICS FREQUENCY RESO RESO FREE FREE -B+LH SYNC -B+LH figure 4 HIGH PASS CURVE BAND PASS CURVE LOW PASS CURVE -B+LH -B+LH -B+LH -B+LH -B+LH -B+LH...

  • Page 12: Sync Mode - Filter 2

    LESSON #2 SYNC MODE - FILTER 2 Turn down the output of filter 1 (bp-bp). Set the PAR <> HARMONIC: FREQ 2= MUSICAL: DESCRIPTION: SER knob to par. Set the harmonics rotary switch to "free". Try out the settings of filter 2 ; it behaves in a free freq 2 free...
  • Page 13 WHAT IS SYNC... figure 5 figure 6 = equal tune FREQ 2 FREQ 1 = 1 quint down = 1 octave down = 2 quints down When the harmonic switch is in the “free” position, the two filters work independently. GEAR BOX = 2 octaves down = minor...

  • Page 14: Out 1 - Combining The Two Filters

    SERIAL: Turn the PAR <> SER knob completely clockwise. Disconnect the jack from out 1. The input signal goes to filter 1 only. The output LESSON #3 signal of filter 1 goes to filter 2. Filter 2 goes to the MAIN OUT OUT 1 - vca.
  • Page 15 figure 7 FILTER 1 FILTER 1 FILTER 2 FILTER 2 PARALLEL SERIAL figure 8 WHEN USING ONLY MAIN JACK WHEN A JACK IS PLUGGED IN OUT 1 MAIN OUT 1 MAIN MAIN OUT 1 MAIN MAIN OUT 1 MAIN...
  • Page 16 figure 9 FILTER CURVE, WHEN FREQ 1 = FREQ 2 MAIN OUT CURVE FILTER 1 BP PARALLEL = 12db FILTER 2 BP SERIAL = 24db FILTER 1 HP PARALLEL = 12db FILTER 2 HP SERIAL = 24db FILTER 1 HP PARALLEL = 12db FILTER 2 HP SERIAL = 24db...
  • Page 17 IT'S IMPORTANT TO UNDERSTAND THIS! figure 10 LOW PASS: Only lets tones below the center frequency pass FILTER 2 HIGH PASS BAND PASS: Only lets tones around the band of center frequency pass FILTER 1 LOW PASS HIGH PASS: Only lets tones above the center This is an example of a situation where no signal will come out: frequency pass...
  • Page 18 figure 11 In PARALLEL, the signal of both filters is simply added. In the situation shown below, you create a small drop in the frequency range. It will become deeper and wider the more you make freq. 2 higher than freq. 1. Modulating such a drop, e.g.
  • Page 19 THIS COMES NEARER TO REALITY! figure 12 LOWER FILTER 2 HIGH PASS HIGHER FILTER 1 LOW PASS FILTER 2 HIGH PASS Due to overlap of the 2 filters, if freq. 1 equals freq. 2, in fact you create a weak band-pass filter. It grows stronger and wider the more you shift freq.

  • Page 20: Lfo - Low Frequency Oscillator

    LESSON #4 LFO - LOW FREQUENCY OSCILLATOR Feed a stable signal to the FB, e.g. organ, strings... Keep in mind The LFO can be retriggered (restarted) over MIDI. that the trigger lights indicate when the FB is active. Connect out 1 and main out to your sound system, pan them in stereo and set This is a new feature in models starting from serial Number 1041: the PAR <>...
  • Page 21 HOW THE LFO DEPTH KNOB WORKS figure 13 EFFECT OF THE POSITION OF THE LFO DEPTH KNOB SPEED DEPTH SPEED DEPTH SPEED DEPTH FREQUENCY 1 FREQUENCY 1 FREQUENCY 1 FREQUENCY 2 FREQUENCY 2 FREQUENCY 2 LED COLOUR GREEN GREEN GREEN...

  • Page 22: Ar - Volume Modulation Generator

    LESSON #5 VOLUME MODULATION GENERATOR TB303 TIP Here a way to achieve the sequencer behaviour of a Roland This generator equally controls the OUT 1 and MAIN OUT VCA's. tb303, with MIDI. Make your source glide as you like to hear it on a track.
  • Page 23 figure AR OUTPUT AMPLITUDE IN FUNCTION OF AR KNOB POSITIONS AR Trigger Amplitude Time...

  • Page 24: Adsr - Envelope Follower

    LESSON #6 ADSR ANOTHER EXERCISE: ADSR = ATTACK DECAY SUSTAIN RELEASE Run a sixteenth note repetitive sequencer or arpeggio pattern with a short or percussive sound. Adjust the input level to make the ADSR Set the toggle switch to ADSR (upward). Set harmonics to sync 1, filter 1 and filter 2 to max reso, serial mode, as shown in fig.14.
  • Page 25 figure 14 TRIG INPUT SPEED DEPTH TRIG NORMAL SENS. OFF OVER FREQUENCY HARMONICS FREQUENCY RESO RESO FREE FREE -B+LH SYNC -B+LH IF YOU UNDERSTAND THIS, YOU KNOW PERFECTLY WHAT TO EXPECT FROM THE ADSR! This flow-chart diagram illustrates what the ADSR voltage is obliged to do. GO TO GO TO GO TO...
  • Page 26 ADSR ENVELOPE VOLTAGE TRIGGER OFF ENVELOPE MAX. SUSTAIN LEVEL SENS. TRANSITION LEVEL CURVE TIME EXAMPLES figure 15 SENS. Play the ADSR really very slow and see how it works. SENS. SENS. = RED = YELLOW...
  • Page 27 ENVELOPE VOLTAGE TRIGGER OFF figure 16 MAX. SUSTAIN LEVEL SENS. TRANSITION LEVEL TIME SENS. SENS. SENS.
  • Page 28 ENVELOPE VOLTAGE TRIGGER OFF figure 17 MAX. SUSTAIN LEVEL SENS. TRANSITION LEVEL TIME SENS. SENS. SENS.
  • Page 29 ENVELOPE VOLTAGE TRIGGER OFF figure 18 MAX. SUSTAIN LEVEL SENS. TRANSITION LEVEL TIME SENS. SENS. SENS.
  • Page 30 ENVELOPE VOLTAGE TRIGGER OFF figure 19 MAX. SUSTAIN LEVEL SENS. TRANSITION LEVEL TIME SENS. Decay and sustain are changed, but won't play any role before the transition level is reached. SENS. SENS.
  • Page 31 ENVELOPE VOLTAGE TRIGGER OFF figure 20 MAX. SUSTAIN LEVEL SENS. TRANSITION LEVEL TIME SENS. SENS. SENS.
  • Page 32 ENVELOPE VOLTAGE TRIGGER OFF figure 21 MAX. SUSTAIN LEVEL SENS. TRANSITION LEVEL TIME SENS. TRIGGER OFF SENS. SENS. TRIGGER OFF ATTACK TIME...
  • Page 33 OF THE ADSR 20 SECONDS I had some discussion with a Filterbank user about the average low speed of the ADSR, which makes it difficult to adjust fast ADSR curves. This is true for fast percussive effects, and I must admit that in the 15 SECONDS design period, slow ambient flows were fashionable.
  • Page 34 ENVELOPE FOLLOWER A SENS. R = ATTACK SENSITIVITY RELEASE An envelope follower basically creates an output voltage that NOTE : The trigger input of the ADSR here becomes the envelope follows the level of its input signal. (fig.23) Set the toggle switch to follower input.
  • Page 35 HOW THE ENVELOPE FOLLOWER WORKS figure 23 Envelope follower output with SHORT ATTACK time and SHORT RELEASE time SENS. A Sens. R output voltage Time Input signal SENS. Envelope follower output with LONG ATTACK time and SHORT RELEASE time SENS. Envelope follower output with SHORT ATTACK time and LONG RELEASE time...

  • Page 36: Fm - Frequency Modulation

    LESSON #7 FREQUENCY MODULATION FM equally modulates the frequencies of both filters. Set the knobs NOTE: The FM input also accepts DC voltages from e.g. a cv/gate as shown in fig.14 but without ADSR modulation. Send a low output, a modular system's lfo or ADSR, the voltage output of any monophonic tone to the FB.
  • Page 37 THE PRINCIPLE OF FREQUENCY MODULATION figure FM Time Original resonating filter wave Time Frequency modulation signal or control voltage at FM input Time Resulting resonating filter wave...

  • Page 38: Am - Amplitude Modulation

    LESSON #8 AMPLITUDE MODULATION Now insert a jack cable in the AM input. You will notice that AM doesn't work internally anymore. Now you can try a different sound source with this input, e.g. take another synth or sampler AM equally modulates both OUT 1 and MAIN OUT VCA's. AM output and experiment with this source playing the same melody as modulation is the key to warm, fat and extremely aggressive the processed melody, but now try different tuning intervals...
  • Page 39 THE PRINCIPLE OF AMPLITUDE MODULATION figure AM Time Original resonating filter wave Time Amplitude modulation signal or control voltage at AM input Time Resulting resonating filter wave...

  • Page 40: External Inputs

    LESSON #9 EXTERNAL INPUTS Take a look at fig.24 for an overview of the internal routings. Don't be afraid to try different external connections, the inputs can repeat lesson 5, 6, 7 and 8 with a second signal source connected to cope with a lot.
  • Page 41 INTERNAL ROUTING OF THE JACKS figure 24 TRIGGER ADSR TRIGGER AR INPUT PLUGGING A JACK AUTOMATICALLY OUTPUT FILTER 2 DISCONNECTS THE NORMAL INTERNAL ROUTING...

  • Page 42: Midi

    LESSON #10 MIDI The basic power-on channel is always 16. You can change the MIDI IN receive channel by sending a program change (any number) on the actual channel (16 on power-up). The channel on which the first following MIDI message (any type) is sent becomes the new receive First, get familiar with the controllers : channel.
  • Page 43 figure 25 WHAT HAPPENS FREQ 1 KNOB MOVED BY HAND FROM 1 TO 10 WHEN MIDI CONTROLS COME IN TIME INCOMING MIDI PITCH WHEEL E.G. Filter 1 Frequency: Freq. 1 knob position actual MIDI Pitch wheel cutoff ADSR modulation frequency ACTUAL FREQUENCY FILTER 1, LFO modulation filter 1...
  • Page 44 figure 26 figure 27 Attack time in function of E.G. Resonance filter 1 : MIDI controller 5 (porta time) value when attack knob in position 3. actual Reso 1 knob position resonance 12 SECONDS MIDI channel pressure filter 1 RESO 1 KNOB MOVED BY HAND FROM 1 TO 10 10 SECONDS 8 SECONDS TIME...
  • Page 45 figure 28 ADSR output curve, attack zone This is an example of how the attack time of the ADSR can be speeded up and slowed down while it’s running. MIDI controller 5, constantly on 63 (default) You can do similar on-the-fly time changes with the decay, release and attack release of the AR generator too.
  • Page 46 3D VIEW figure 29 OF THE RELATION TIME - KNOB SETTING - MIDI CONTROL Actual time Midi controller Knob position...
  • Page 47 Try now to make a melody with pitch wheel. Set the knobs as in the figure shown below. Set freq 1 to an acceptable start note for the desired melody. Now draw or give in (e.g. in cubase grid edit) zero (middle) pitch wheel modulation on the start time.
  • Page 48 figure 30 TRIGGERING MIDI TRIGGER NOTES If you want triggering to happen exclusively via MIDI, you can block the audio triggering. There are two soft toggle switches in the Plug in the MIDI out of a keyboard to the MIDI in FB.

  • Page 49: Midi Out

    MIDI OUT Trigger light action is always sent to the midi out port as normal (*) The actual time is calculated by multiplying the setting of the trigger notes on channel 16, whatever the source (audio or MIDI). knob with its MIDI controller value (3d fig.29). When it says This is useful for recording with a sequencer.

  • Page 50: Linking More Filterbanks

    31 LESSON #11 LINKING LINK out MASTER MORE SHERMAN FILTERBANK FILTERBANKS LINK out SLAVE LINK in You can chain the FB's endlessly (fig.31) with the link jacks SHERMAN FILTERBANK specially designed for this purpose. The first (master FB) in the chain's filter 1 will act as master over the filter 1 of all the slaves.
  • Page 51 32 INPUT TRIG SPEED DEPTH TRIG NORMAL SENS. OFF OVER FREQUENCY HARMONICS FREQUENCY RESO RESO FREE FREE -B+LH SYNC -B+LH Link out Link in Audio in Audio out Audio in Audio out MASTER SLAVE SHERMAN FILTERBANK SHERMAN FILTERBANK...

  • Page 52: History & Philosophy

    25 years. 18 years ago I built a modular system for of the Sherman was hand built, but after 40 pcs I realised that it use on guitar, but I was not satisfied with the overdrive behaviour of was too difficult to keep building that by hand.
  • Page 53 In fact you can make tested and adjusted. The Sherman is such gear, but I think it has a several million sounds out of e.g. an arp 2500. If a modular system fair price for it’s features.
  • Page 54 Resonating melody..........Link system..........Sync ( ZZZZe blue ZZZled )..........Main out..............Tb 303 tip............... © SHERMAN PRODUCTIONS STATIONSWIJK 73, B-3272 TESTELT, BELGIUM. - WWW.PING.BE/SHERMAN EMAIL: SHERMAN@PING.BE DESIGNED & DEVELOPED BY HERMAN GILLIS VISUALS BY DAAN STUYVEN / BROOD & SPELEN...

  • Page 55: Memory Notation Sheet

    MULTIPLY / COPY THIS PAGE!!! FOR UNLIMITED USE MEMORY NOTATION SHEET SOUND NAME:..... TRIG INPUT SPEED DEPTH TRIG NORMAL SENS. OFF OVER FREQUENCY HARMONICS FREQUENCY RESO RESO FREE FREE -B+LH SYNC -B+LH SOUND NAME:..... TRIG INPUT SPEED DEPTH TRIG NORMAL SENS.
  • Page 56 MULTIPLY / COPY THIS PAGE!!! FOR UNLIMITED USE MEMORY NOTATION SHEET SOUND NAME:..... TRIG INPUT SPEED DEPTH TRIG NORMAL SENS. OFF OVER FREQUENCY HARMONICS FREQUENCY RESO RESO FREE FREE -B+LH SYNC -B+LH SOUND NAME:..... TRIG INPUT SPEED DEPTH TRIG NORMAL SENS.

Table of Contents