So a Low Pass Filter would not kill almost everything but the resonant frequency and below — it cuts the everything ABOVE the resonant frequency and below.
Yes but I have EQ and the S2400 has individual outs. Why eat ground beef when you have filet mignon …
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Eat the Mignon if you’ve got it:). Filtering is just another tool for the box.
The individual outs are another tool for the box too. Have you used them yet? What outboard effects do you own?
It’s pretty irrelevant what outboard gear the OP has. They posted up about a filter on the S2400 that doesn’t operate like a typical filter does. The mentioned technique has been common for a very long time to easily and cleanly beef up a sound. Not everyone wants to have to recall a full outboard patch bay to playback a project with its intended sound.
The more I think of it, it seems the HP filter operates the way it does to facilitate a more usable level for live performances.
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“Not everyone wants to have to recall a full outboard patch bay to playback a project with its intended sound.” Not everyone wants to spend this kind of money on a sampler either. It’s not rocket science.
“… to facilitate a more usable level for live performances.” Then get your samples right ahead of time and it’s not an issue. 
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I appreciate the flirtation. But, I’m just here hoping to help contribute to making the S2400 into the best machine it can possibly be…while they’re still able to developed it.
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They already gave you the ability to send any single to an individual out. What outboard effects do you own finalisage?
I own many synths, samplers and drum machines. I have a 24 ch desk but not enough I/p to go 8 in, I can only use the stereo o/p on the S2400.
I think your reply is rocket science as I don’t understand it?
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Yes I agree this!
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No I just wasn’t very clear, but since you asked … how much does this sampler cost? Take 10-15% of that amount and devote it to: a small mixer with an aux send or two … some cables … a couple of cheap guitar pedals. Isla Instruments has already made the S2400 the best machine it can possibly be … what are you doing to make your use of it the best workflow you can possibly have?
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I would love some insight into the filters on the s2400. Would be cool to see response curves at various settings of the filter knobs for comparison.
My current understanding of the machines filters (please, someone correct me if I am wrong):
Inputs 1/2 optionally have an anti-aliasing filter for 12-bit sampling. Or maybe this is just the output and the input has no filter? Inputs 1/2 have that gain trim knob and go 100x vs 10x - I assume there is some filter here too but no clue.
Outputs 1/2 have the SSI2144 low pass filter chip - to emulate the sp-1200, supposedly complements the input filter on the other end. Removes some of the aliasing by dynamically eliminating the top end?
Outputs 3-6 each have a low pass filter with some fixed setting.
Each has different settings. What frequency or what does the knee look like on these filters? No clue but measuring the output is probably the way to go… Or just using your ear. These filters seem like a strange thing to enable. Anyone know the motivation behind it?
As for those filters in the level, pitch, etc: the band pass, high pass, low pass - it seems these are purely digital filters that are implemented in terms of software rather than hardware circuitry. But I have no idea what they look like in terms of response curves, just have some vague intuition of what is going to happen when I wiggle them. If they can be improved that sounds great. But maybe they are the way they are for some particular reason. As for outboard processing - I use the 8 channels outs into an optical converter and it works wonderfully. Wish the s2400 had optical out without external gear. Honestly I’d prefer some weird 8 channel processor rack where I can tweak everything digitally but we all gotta work with the gear we have.
Happy jamming!
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Wow, there’s a lot there to look through. Here’s a few bits of info.
The Low Pass filters on Inputs 1&2 are there to accommodate the lower 26kHz Sample Rate, when sampling at the 12 Bit setting. This is a fixed analog circuit that helps reduce aliasing caused by frequencies going above the Nyquist frequency, which is approximately 13k at the 26kHz sample rate. These filters are always active on these two input channels. They have nothing to do, functionally, with any outputs…other than the audible reduction in high end that results. Because the S2400 allows input monitoring, you can easily hear the reduction in high end, compared to Inputs 3&4.
The switchable Output filters on Channels 3/4/5/6 are the most closely related (circuit design-wise) to the filters described above on Inputs 1&2. They are very basic Lo Pass filters that were in the original SP to give some options to distinguish the high end detail of different types of samples. A Hi-Hat and a Bass Drum don’t necessarily require the same high end frequency range, so enabling one of these filters on the Bass Drum might allow the Hi-Hat to cut through in the mix better. If it sounds better use it, if not, switch it back off.
The SSM/SSI dynamic filters on Outputs 1&2 have nothing to do with the sampling side on input…or the sound quality of the whole machine, as some folks believe. They’re just a time-dependant filter that allows a quick attack to cut through at the beginning of a sample, while damping high frequencies very shortly after. They were put in the original SP to compliment sounds like Toms, which could use a nice attack, but the Bit noise (stair-stepping) on the tails can be an unwanted side effect of the sampling technology. In an original SP, the Lo-Pass frequency of the filtered portion is adjustable via potentiometer inside. Not sure if this adjustment exists inside the S2400. I forgot to look.
The SSM/SSI implementation on the original SP and the S2400 horribly under-utilize this great sounding filter chip! My hope for the S2400 was some control over the ADSR parameters, like my modded SP’s give me, but they went with a circuit design similar to the original.
The digital filters referred to in this post are just gravy on top, kindly included by the S2400 designers, to give us more options for sound-shaping. I don’t know if their parameters are controllable by the developers, or limited to the design of some internal filter chip.
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Wonder if the filter is code, why not have an option to different digital effects ?
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I saw a Behringer Multi-Effects pedal just go for $25 on reverb. Could have been yours. Handles stereo or mono.
Came to say just thist. I use the Band Pass filters the most by far for that reason. SUPER BEEF! There’s still something going on with it though, when I use it to boost the low end there’s almost always some slight crackles and pops that make it through the filter, even when decked down to it’s lowest frequency band w/ no resonance. Still though, for boosting lows (obv without retaining many highs) the BPF is the way to go, super beefy.
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I’ll give that a go.
I hope the crackling gets sorted.
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Yeah me too, I’ve seen it reported before but I find it still happens. Then again, the pattern(s) I’m noticing it on the most feature the same sample, so could possibly have to do with the sample but regardless… if high pitches are making it through the filter that’s a filter problem. It feels like a clipping thing, like the resonant peak is boosted so that the filtered signal itself is clipping.
In that use case (my primary use) it’s a sampled piano + bass line underneath it. I’ll chop the sample, rearrange it, then I’ll set the BP filter to full resonance with the freqenycy band low (9 o clockish on the filter cutoff knob). Somewhat in the style of Q-Tip/ ATCQ I’ll play out the entire sample for a few bars then cut to just the bass line of that sample by just engaging BF filter at the end of a bar.
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