MOTM

>   The GX1 has four filters per voice.  Two highpass, one bandpass and one
> lowpass.  One highpass filter takes its input from the variable-pulse
> waveform of the VCO, and has a level control on the output.  (There is
> also a switch to enable the unfiltered pulse waveform).  The bandpass 
> filter has the sawtooth as its input, and a pair of switches allow the raw 
> sawtooth, the BP-filtered, both or neither to be sent on to the main VCF.

This is an interesting concept!
Do you know what was the philosophy behind this architecture?
Of course, in a modular version of this, one can patch everything into
everything, and on a fixed architecture, polyphonic even, synthesizer
you have to make choices. Now something tells me that these choices
of Yamaha have been very reasonable ones, but I'm not really sure why.
Is there some background information about this, why they have chosen
the pulse, and not the saw, for HPF pre-filtering, and the saw, not
the pulse, for BPF pre-filtering? Wait, maybe I can answer that last
one myself - for picking out one harmonic you don't need any means to
mute single harmonics beforehand as in Pulse waves, but for HPF
filtering, it's an additional means of sound shaping. Any other
reasons?

JH.

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