TIJN 50

Half a century on this earth, and a good chunk of it spent chasing the hardest kicks and the dirtiest basslines Dutch soil ever produced. E-Rick & Tactic tearing up Thunderdome with “Hardcore Rules The World.”

Martijn, we’ve been friends for more than 25 years now. Here’s to you, brother.

MOOG, 2044, JUNO, 101 and SEM, each modelled from its own schematic or data sheet. Two octaves below the cutoff, with the resonance up, they sit fourteen decibels apart, and that spread is left exactly where the measurement found it.

Every circuit oscillates near the top of its resonance. SERIAL sends the first filter into the second; PAR runs both from the same input, for two resonant peaks at once.

FOLLOW opens both cutoffs with the level of what comes in, up to six octaves, compensated so a mix stays within a decibel or two. FM DEPTH moves the cutoff up to five octaves at up to eight kilohertz: a wobble down low, metallic sidebands in the hundreds.

The matrix is four slots: the follower, an envelope per hit, two LFOs free or synced, and the ribbon. A modulated knob grows a second pointer at the value the filter is actually using.

With the FM off, the drive and the filters fold back at minus a hundred and fifteen decibels or quieter on four of the five circuits. 2×, the default, covers everything up to and including deep FM; 4× goes up to twenty-three decibels quieter where it counts.

The latency is printed in the black bar and reported to the host, and the dry path is delayed to match, so the wet control is a mix and never a comb filter.