 Hello, Oslate Sync here. This here is the ADAC 604 dual filter. It is a Eurorack dual mono or stereo multi-mode filter. And I recently bought one and popped it in my rack. And I did so basically sight and scene because I couldn't find any demos of this filter out there. I basically just took a punt on it because it was the form factor I was looking for. But now that it's in my rack, I thought what I would do is create the video that I couldn't find. So that if anyone else is interested in this module, they've got this video to refer to to check out ahead of the purchase. So let's take a look, shall we? So the module is basically made up of two identical single modules, but they can be routed together in different ways. In terms of inputs, we've got the input for the signal that you're filtering. And then we have an input here for CV control over the cutoff and an attend inverter here for that signal. Output-wise, we have an output for high pass, band pass and low pass. And of course, you can be using them all at the same time. Up here on the controls, we have cutoff and resonance. So we have CV control over cutoff. We don't have CV control over resonance. So just to bear that in mind, if you don't patch anything into the inputs of the second half of the module, then they are normaled across from the first step. So at the top here, we have a switch which controls how everything is routed internally. With the switch to the left, it's operating in dual mono mode. So you have two completely independent channels. To the right, it's in stereo mode. Now, what that actually means depends on whether or not you have a jumper installed on two pins on the back. Now, out of the box, it's uninstalled. So the jumper isn't in there. And in that case, when you switch to stereo mode, essentially the cutoff and cutoff attend inverter controls here are disabled. And everything is controlled from the left-hand side. So I sweep the cutoff on the left-hand side to control the cutoff on the right-hand side as well. If you install the jumper, which I have, you can offset the cutoff on the right-hand side. So you can have the right-hand side slightly more open, slightly more closed, et cetera. In the middle, it's more or less even. Might have to tune it by ear a little bit, but yeah, more or less even. So it allows you to have an uneven filter cutoff in the stereo field, which I personally prefer. So that's what I have here and that's what we'll be listening to when we get into the stereo demos. It is also important to note that the resonance controls are completely independent. So even when you're in stereo mode and they're completely linked without the jumper installed, you still have to set the resonance the same on both sides if you want the resonance to be the same on both sides. There's no internal routing with the resonance. There's no CV over it either. So just something to be aware of. Okay, let's have a listen. So I've just got this coming out of Platts. So we're just in mono at the moment. We're in the low pass here. So no resonance, sweeping that cutoff down. Just bring the resonance up to maybe a third, two thirds, picking out the harmonics nicely there. And on full. So fairly smooth sounding. The resonance isn't overbearing. It doesn't sound like a super steep curve either. We don't totally go to silence at the bottom there. So let's move over to the high pass and take a listen. So resonance down, about a third, about two thirds. Again, picking out those harmonics nicely and crank it all the way onto band pass. About a third on the resonance, two thirds ish. Lower harmonic in whooped out at the bottom there. And on full, cranky, it gets a little bit out of control. Try and balance that level a little bit. So the band pass resonance is a lot more aggressive. Now I've actually got my oscillator running through a VCA. The output of Platts is quite hot. And so I'm just dropping the level a little bit. And that's because this filter will overdrive in and saturate in quite an interesting way. So let's just have a listen to that on band pass. And I'll just try and bring up the level of the oscillator and just balance the level. So it's just with half resonance, saturation and burn there. Bring up the resonance, I'll just drop the volume a little bit. The resonance starts to get quite unstable and we start to ping itself when we're stepping into those harmonics. Let's just hear that with the low pass, perhaps. You can hear there that it's sort of picking out and stepping to the harmonics, which is really interesting. So that resonance becomes almost steppy, but it's not digital stepping or anything if we bounce everything back level-wise there. If we're not burning into it so much, it's a lot smoother. So that's pretty interesting. Okay, let's just quickly hear something going from mono to stereo. So I'm just sticking with the Platts oscillator here and this is in mono as we were before. But I've also plugged in the low pass filter on the second side and I've got it set to low pass. If I plug it in, you might have slightly detected that there was something stereo going on, but it's not particularly obvious. But because I have the jumper on, what I can do is offset one side here and now as I sweep the left side, if you're listening in headphones, you'll probably detect that there is something sort of subtle widening going on. If we bring up some resonance, we have got something quite wide from what was a mono signal. We'll listen to this with a proper stereo signal as well, but I just wanted to demonstrate that even with a mono signal, we can go back to just the one side. That's mono and that's stereo now. Even with a mono signal, we can get some width to our sound. So before I get onto some stereo sources, I just wanted to do some sort of generic acid kind of sequence. Just have a listen to that, but we're doing it in stereo or rather we've got a mono signal coming in. I'm just triggering a sequence of pams and Stages is doing just a little AD envelope or just decay envelope actually, which is going into the CV input of the dual filter here. If we try and balance the cutoff on the second side here, then it pretty much sounds like it's in mono, but if we offset it, we get quite a cool stereo image in there as well. We can make one side more resonant if we want to, change the, try burning into the filter a bit more. Yeah, more and get some of that saturation going. We can also have one side go down, one side go up with the offset there. So we can have one side brighter, but not as enveloped. Lots of things we can do to alter the stereo width. Cool. Okay, so let's have a listen to an actual stereo sound source. So I've just got this piano loop here. Lots of reverb and delay and stuff going on. And we'll just start with the low pass. And I've tried to get them matched pretty much spot on left and right. I remember we need to actually set the resonance on both sides, my bad. Here we're burning a little bit, bit of saturation, that sort of slightly unstable resonance. When we drive it a bit harder, so we'll overdrive. Sounds kind of cool on those reverb trails. Let's try the high pass, really driving hard into the filter, so it's saturating. Offset those sides as well to accentuate the stereo edge. Again, we can tame that crunch by not driving it quite as hard. Okay, let's try a band pass. I really like how the resonance sounds on reverb trails. Let's give it more signal. Something sweet about that sort of unstable resonance on the reverb drive a bit harder. Of course, we don't have to have the resonance turned up like that. And we could start massaging that cutoff with some CV. All right, so with the basic sound demos out of the way, let's answer some of the other sort of filter-y questions that you might ask. So the first one that I was wondering about is would it track volts per octave? Because we don't actually have a straight CV input for the cutoff we have via a tenuverter. So what I've got here is PAMS is firing out CV that should be quantized to a major chord. And I'm just exciting it with a little bit of noise. And with some careful tuning with the tenuverter, you can hear that the extreme highs and extreme lows, it's out of tune. But in the middle, there's a couple of octaves that track okay. That top note. Those last two bottom notes are probably out of tune, but in the middle, we've got a couple of octaves of a major chord there. So with a bit of tuning, you can get some volts per octave if you're selective about your range, which is nice to know. So next question, can you ping it? And the answer is, it almost sounds like it's designed for it. So I've just got PAMS sending two different trigger patterns into the inputs, and I've just got the resonance turned up. We've got lovely little woody plucks there. So you're pushing the resonance, you get kind of like a more of a pork sound depending on what your cutoff is. It gets nice and deep, it's cutting and woody there. So yes, absolutely very much the case that you can ping this filter. It sounds best on bandpass on low pass and high pass. The resonance isn't quite as interesting, but it's still there, not quite as interesting. The bandpass is certainly where it is at for me anyway. Okay, so in this patch, I've got a low tuned sawtooth wave coming in to the filter, and I'm coming out of the bandpass filter on both sides, but I'm just mixing them together rather than listening to them in stereo. And I'm just slowly with a smoother random, smoother random wave, or two smoother random waves rather from PAMS, just moving both of them around. And by stacking together those two resonant bandpasses, we get that cool, vocal glottal formant sounds going on. Because of course we don't need to use it in stereo, we can use it some to mono. So on the ones, that's one of the filters. That's the other one, and then when we stack them together, we get those cool formats. And depending whether you have it on stereo or dual mono, they will move together or not. So now they're moving completely independently. Whereas on stereo they move together, which I think tends to sound a little vocal. So another cool thing that you can do with a proper multi-mode filter, rather than one that switches between modes, is you can take a signal in, and then if you take your low pass and your high pass out from a single channel into your left and right, what you end up with is a kind of spectral panor. So as we move the cutoff, we're panning as we're opening up one filter and closing the other, but it's kind of a different kind of panning. There's some of that overdrive in the resonance again, crunching things up nicely. So the slope on the filter isn't that sharp. It's, you know, when we close it all the way down, the signal's still definitely there. It's a fairly gentle filter slope. But of course if we do want to have something that's a little bit more intense and steep, we can actually kind of skate the two sides. And this is especially useful if we're in stereo mode, where we can still control it from one side. So at the moment we're going into the left-hand side and then out of the left-hand side, as you normally would, but instead if we go into the right-hand side and then take the low pass output, and put it into the input of the left. So we're going into the right, out of the right, into the left, and then back out of the left. And now we have a much steeper filter sweep and we can balance the resonance of the two filters as well to get more squelch if we want. Still isn't the steepest curve. Without notching the other one down, we still don't go all the way to zero. We can certainly get steeper, dare I say, more synthetic tones by stacking the two sides this way. Okay, so just to finish off with a slightly more needlessly complicated patch, what have we got going on here? Well, just a basic oscillator coming out of disting into the input of the first side of the filter, which is in dual mono mode, so the two independent sides, coming out of the band pass of the first side into the input of the second side. The second side low pass is going out to a VCA and the VCA out to the output. Both the VCA and the cutoff on the second side have been enveloped using stages, triggered with pams, so far so boring. What's quite fun, however, is that I've got another oscillator on plats here and if we go into the CV input of the first side and start bringing this on that and we get some really gnarly, faux FM, actual FM sounds actually, but it sounds very convincing, especially that sort of raspiness that we get with the resonance there. Really clipping. Let's turn that down and time it. Fun sounds we had there. It does make me wish the resonance was CV-able though. The way that the resonance saturates leads to some very interesting sounds. Although I don't want to do like a review, I wanted to just do a demo. I'll just share my thoughts if I may just at the end of the video. This isn't really the filter that I thought I was getting. As I say, I bought it sight and scene. I had it in my mind that it was going to be a little bit more conventional, but actually because of what I primarily want it for, which is processing samples and loops, that unstable resonance in the way that it saturates actually does present some really, really interesting options and textures that maybe wouldn't have been there if this was like a semi or a moogie style filter. If you're looking for something that is sort of generally synthetic for standard synth sounds, maybe this isn't the one you would necessarily go for, but if you want to process sounds and also the way that you can kind of upmix sounds from mono to stereo with the offsetting, especially once you've installed the jumper, I think it's really, really interesting. It's also tiny. It's only 6 HP and it's fairly inexpensive as well. As I say, not necessarily what I thought I was buying, but I'm glad that I took a punt on it and ended up with it nevertheless. I hope that was useful and or interesting. If you enjoy the video, please do give it a thumbs up and subscribe to the channel. All that good stuff. As I say, I don't usually do straight up demos, but I did just want to make sure that there was a video out there for this filter because I struggled to find any demos, so I wanted to make sure that other people weren't put in that situation as well. As always, thank you so much for joining me and until next time, take care. Bye.