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LF key filter (Hz)
Will control the cutoff of the low frequency filter (highpass).
HF key filter (Hz)
Controls the cutoff of the high frequency filter (lowpass).
Threshold (dB)
Controls the level at which the gate will open.
Attack (ms)
Controls the time the gate will take to open fully.
Hold (ms)
Controls the minimum time the gate will stay open for.
Decay (ms)
Controls the time the gate will take to close fully.
Range (dB)
Controls the difference between the gate’s open and closed state.
Output select (-1 = key listen, 0 = gate, 1 = bypass)
Controls output monitor. -1 is the output of the key filters (so you can check what is being gated on). 0 is the normal, gated output. 1 is bypass mode.

 

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Gain
Gain control for the low pass filter.
Fc (Hz)
Controls the center frequency of the low pass filter.
Gain
Gain control for the high pass filter.
Fc (Hz)
Controls the center frequency of the high pass filter.

If it says 1.5, it means that it will always open, so there’s no chance it will stop recording or mix up the audio.

A:

The filter controls the frequency range (low-pass, high-pass, band-pass, notch,…) of the audio signal in/out of the audio input of the patch. It is often misunderstood that it controls the volume or gain of the signal, but that’s not true.
Most effects will let you set the gain or volume, but this setting will be multiplied by the value you have set for the cutoff of the filter (or of course your input volume / attenuation / eq).
The gain or volume of the filtered signal will be constant, that’s because all the other effects are applied to the original signal after the filter.
An example with no filter:

If you use a filter with cutoff of 1.5, you can expect:

If you use a filter with cutoff of 200, you can expect:

If you have a bandpass filter with center at 20, you can expect:

If you have a bandpass filter with center at 20 and a cutoff of 1.5, you can expect:

If you have a low-pass filter with cutoff of 50, you can expect:

If you have a low-pass filter with cutoff of 200, you can expect:

If you have a high-pass filter with cutoff of 50, you can expect:

If you have a high-pass filter with cutoff of 200, you can expect:

For more info see:

Wikipedia Audio Effects List
Gain control on the audio input
Volume control on the audio input
Volume control on the audio output

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You can use KEYMACRO to change the signal that you are gating. The signal you are gating can be one of the five channels or you can use what is called a MACRO. A MACRO is a combination of the CV1-CV5 signals which makes up one of the 10 mono submixes. The six MACRO’s are :
JUL2 – LSB / HI-LEVEL (LMN)
PC2 – HI LEVEL / V-LSB (HIE)
PC3 – LOW LEVEL / V-LSB (LIE)
PC4 – HI LEVEL / V-LSB (HIE)
PC5 – LOW LEVEL / V-LSB (LIE)
PC6 – LMN / LIE (LMN)
These macros will enable you to gerate something from the keyboard that is normally not there. If you have a sound module that makes a certain sound when you hit a certain key, you can use the keyboard macro’s to change the sound that you hear. For example, if you want to gerate the sound that you hear when you hit the / key on your keyboard, then set PC2 in the KEYMACRO and gerate / and PC2 should do the job.

I was a little confused at first. It is a little hard to believe that you can do this, but what the editor really does is control the timing of the gate in your effects processor.

A:

In KOMPLETE you can set a channel in the Channel Macros submenu.
To determine which channel(s) are in use on which track, go to the Edit menu, go to Macros and click “Get Macros for All Tracks”.
You can set one macro to your CV2 (first track) and one for your CV4 (last track).
Another way is to use the Channels window to determine what your current track has as its output CV. The yellow lines indicate the selected tracks that use that channel.

If you have a surround kit you can define Macros for each of the 6 CV’s of the surround module.

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This is for general use for recording – it’s just set to 1 to record.
Buffer Length:
Controls the amount of data that is buffered to RAM in order to store the data for a play.
Buffer Length: (ms)
Controls the amount of time the buffer will hold data.
Volume: (dB)
Controls the output level of the buffer in relation to the bypass.
Pitch:
The pitch will be the same as the input to the Microtonal Delay. This applies to the filter control parameters as well.
Cutoff (Hz)
Will control the cutoff of the low frequency filter (highpass).
HF key filter (Hz)
Controls the cutoff of the high frequency filter (lowpass).
Threshold (dB)
Controls the level at which the gate will open.
Attack (ms)
Controls the time the gate will take to open fully.
Controls the minimum time the gate will stay open for.
Decay (ms)
Controls the time the gate will take to close fully.

Now that you know how to enable a few different sets of settings, have a play with them. Try some out, make some tweaks, and we’ll see if you can get the tone you like to come out.

A:

I don’t really want to bash other peoples answers but I have found an acceptable solution to this (at least to my ears) and I figure it would be useful to anyone else who might find it on Google or the forums. I’ve been using an old Zoom H2N and the work around has been great. You can get them second hand for not too much money and I think it’s one of the best live effects I’ve used. The cool thing is you can make it sound exactly like a Microtonal guitar or anything else you can use an amp or pedal to create. The choice of instruments is enormous, I’ve used bass, organ, sax, choirs, guitars, etc and in some cases I’ve preferred the sound of the H2N over an amp/pedal because I have other pedals with similar sound that I use.

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This makes a very good gate. The gate can be used as a channel fader, or a short-on/off-type gate.

The way it works is that the input signal is directed into a lowpass filter, which will be one of the filters on the range from 8 kHz to 16 kHz. You can actually put the lowpass filter anywhere you want, but it’s generally a good idea to place it as close as possible to the filters on the 12 kHz range. That way, any low-level noise that could go through the range will be attenuated.

Once the input signal is through the lowpass filter, it gets filtered into the rest of the sound. At that point, it’s up to you whether or not you want to continue to filter. The lowpass filter will act like a filter, which means that any frequencies that aren’t supposed to be there will be attenuated.

If you want to continue filtering, the next filter is the midrange filter. The midrange filter will keep frequencies from the range of 12 kHz to 16 kHz, and it will also let the mid range frequencies through. Any higher frequencies that don’t make it through the midrange filter will fall to the bottom filter, the highpass filter. This filter will do three things:

Keep the frequencies that should be around 16 kHz, and any higher frequencies that don’t make it through the midrange filter.

Attenuate the frequencies that fall below 12 kHz. This is the same effect as the lowpass filter, but without any effect on frequencies that do not need to be there.

Resonate, which is the opposite of filter. Any resonance will not be attenuated, and will remain around 16 kHz. This is the sound of the mid range resonance.

When the last filter attenuates the signal, it will go to the output to be heard.

A real, actual gate

The gate could be a gate, if you take the filter out of it. If you’re using a synth, or using a standalone PC with a sound card, you can bypass the gate, allowing the signal to continue to the output.

You can also have multiple gates, which will use different filters on the same sound. For example, you could have a 12 kHz lowpass filter that would filter the input, a midrange filter that would filter the 12 kHz lowpass filter, and a highpass filter that would filter the midrange filter. This will allow you to easily keep track of when the gate is active, and when it is not. You could also have a double gate, which would use both the lowpass and midrange filters to form a single gate.

This will keep any noise out of the sound, and will allow you to create really complex sound using your processor.

For an example, take a look at this video, where you can see the first gate in action:

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