The Modstar SE88 is Studio Electronics' version of the classic CS80 filter that amongst other things formed the backbone of the classic Bladerunnner sound.
A Classic Reimagined
Featuring the same great boxy sound as the original but with more versatility than before, the new SE88 features a new design.
The original CS-80 fed a High Pass Filter into a Low pass filter. The new design actually has 2 separate low pass & High Pass filters which means that you can do so much more.
Not only can you feed the path both ways, the High Pass can be switched to a Band Rejection filter, and the Low pass can be switched to a Band pass filter; and you can use these in a variety of configurations!
From smooth and silky, to sharp and biting, the SE88 is capable of a wide range of tones and is a great addition to your modular setup.
Here's what Studio Electronics Say about the Modstar SE88
Our version of the boxy, Blade Runner-sweet and Boomstar-brash dual mode CS80 filter, initially married to the Omega Series Synths, and then tucked-in the 'Stars, now joins the Modstar Collective. We've twisted and turned the SE88 to unflatten the earth, so to speak; the original CS80 fed a HP filter into a LP filter, but with the SE88 your can select MODE 1's HP or BR to feed MODE 2's LP or BP, or patch it to reverse that pleasant path. The audio signal is completely controllable with input and output levels for each filter. Cherish and respect your filter's input gain stages, for a smooth yet often brassy sound—shed your mercy to strike hard for boiling, snarling bite, even to the blackout/cutout point; then and only then, uniquely blend mode settings for the filter family values you revere.
To get things merrily modulating, each filter employs attenuverters for frequency and resonance experimentation and decimation. While the SE88 does not self oscillate (Yamaha's creation didn't either), we did amp up the resonance level for full-throttle squelching. An additional master FM (frequency modulation) attenuverter-controlled level can feed both filters (when hungry enough) simultaneously, and tracking switches allow for individual keyboard response for each of the contrasting and complimentary filter modes.
Features
Potentiometer Potential
- Five attenuverter and eight attenuation pots control the FREQUENCY MODE 1, FM IN, FREQUENCY MODE 2, RESONANCE, M1 FM, RESONANCE, M1 RES CV 1, M2 RES CV, INPUT, M2 FM, OUTPUT, LEVEL (M1 OUT), and LEVEL (M2 OUT).
Switch it Up
- 2/3 - 1/3 TRACK (M1), FULL - HALF TRACK (M2), HP - BR, LP - BP.
Patch it Up
- Ten patch points: 1 V/O, FM IN, M1 FM, M2 FM, M1 RES CV, M2 RES CV, M1 IN, M1 OUT, M2 IN, M2 OUT.
All Controls and Patch Points
- FREQUENCY MODE 1 – Adjusts the frequency, or cutoff of Mode 1.
- 2/3 - 1/3 TRACK - Toggles tracking options for Mode 1.
- FM IN - Adjusts the master frequency modulation input.
- FULL - HALF TRACK - Toggles tracking options for Mode 2.
- FREQUENCY MODE 2 - Adjusts the frequency, or cutoff of Mode 2.
- RESONANCE – Adjusts the resonance of Mode 1's filter.
- M1 FM - Adjusts Mode 1's frequency modulation.
- RESONANCE – Adjusts the resonance of the Mode 2's filter.
- HP / BR - Toggles the High-Pass and Band-Reject option.
- M1 RES CV – Adjusts Mode 1's resonance control voltage.
- M2 RES CV – Adjusts Mode 2's resonance control voltage.
- INPUT – Adjusts the master audio input.
- M2 FM – Adjusts Mode 2's frequency modulation.
- OUTPUT – Adjust the audio output.
- 1 V/O – One volt per octave control voltage input.
- FM IN – Master frequency modulation input.
- M1 FM – Mode 1 frequency modulation input.
- M2 FM – Mode 2 frequency modulation input.
- M1 RES CV – Mode 1 resonance control voltage input.
- M2 RES CV – Mode 2 resonance control voltage input.
- M1 IN – Mode 1 input.
- LEVEL – Level control for Mode 1.
- M1 OUT – Mode 1 output.
- M2 IN – Mode 2 input.
- LEVEL – Level control for Mode 2.
- M2 OUT – Mode 2 output.
Vitals
- Size - 20hp
- Depth - 39.7mm with ribbon cable attached
- Power Usage - ?mA, ?mA (+12 / -12)
BYSIB (Before You Send it Back)
- This filter (and the SEM) can be ‘input driven’ to the cutout/cutoff/blackout point, for angry, aggressive unpredictability, and staggered, shell-shocked recovery. We wanted it that way; it’s perfectly harmless OpAmp smashing, for smashing good fun. Think traumatic movie scene after which an actor’s hearing momentarily disappears (extreme wooziness overtakes the balance of his senses—and camera work), high-pitched sounds follow, and then blessed normalcy of awareness and sensory perception gradually, grudgingly return. That. No reboot necessary: just sweep the frequency forward and back, and pull back the input level, unless of course you want "that" to keep happening. Teasing the edge is entertaining too.
Of Special Note
- Two audio paths are involved if you are running the '88 filter in series, so both input levels, and the seeded output level of the 1st stage have to be taken into consideration if a clean sound is desired—either that or keep your resonance setting below 3:00 to avoid the fireworks. This beast's resonance is wide open, with no governor in place—hot-rodded—so expect 'voltaged' chaos when you push it past its 'yama-clone' comfort zone.
* From 7:00 (0) to 9:00 our “Negative Resonance Saturation” adds beefiness, boosting the waveform amplitude and taming wavesform transients; set to 9:00 to achieve the cleanest tone possible (effect most pronounced on 3003 filter).
