100% just do this, you’ll have way more fun and get much more out of your time!
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and what is the difference? The steepness? F1 is 12 dB F2 24?
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From the manual :
14.2 FILTERS
14.2.1 4-POLE LADDER FILTER
There is no way to turn the ladder filter completely off, but turning up the cutoff frequency will pass all frequencies through. It should be noted that zero resonance does not give the flattest frequency response – instead, it drops some decibels both in the treble and in the bass. The flattest response is reached when resonance is somewhere around 25, which is also the default value.
14.2.2 2-POLE MULTI MODE FILTER
There is no way to turn the multimode filter completely off, but if no filtering is desired there are a number of good ways to let all audio pass through unaffected by the filter:
• HP2 at min frequency, no resonance.
• BS at min frequency, no resonance.
• LP2 at max frequency, no resonance.
• PK at max frequency, no resonance.
• PK at min frequency, no resonance. Note: this gives an inverted signal.
LP2 This 12 dB/octave lowpass mode attenuates frequencies above the cutoff frequency with twelve decibels per octave, similarly to most other classic 2-pole VCFs. The amount of resonance determines how much the frequencies around the cutoff frequency will be boosted. The sound of this filter is cleaner than the ladder filter, and their different sonic characters are both worth trying out. If com- bined, they can add up to an extraordinarily steep 6-pole filter.
LP1 This unorthodox 6 dB/octave lowpass mode has a less steep attenuation slope above the cutoff frequency than the LP2 mode. More high-frequency content will thus be retained, making the filtering less aggressive. The slope is gentle like a 1-pole filter – which normally cannot have resonance – but works in essence like a 2-pole filter with a resonance peak. The amount of resonance determines how much the frequencies around the cutoff frequency will be boosted. The LP1 mode is useful for equaliz- er duties without resonance, or for adding a resonance with just a hint of lowpass softness.
BP The bandpass filter gradually attenuates frequencies above and below the cutoff frequency with a slope of 6 dB/octave. The resonance setting controls how much the frequencies around the cutoff fre- quency will be boosted. The bandpass filter is good for isolating a sound in the frequency spectrum, making it easier to blend with other sounds in a mix.
HP1 This unusual 6 dB/octave highpass filter attenuates frequencies below the cutoff frequency with a less steep slope than the HP2 mode. The amount of resonance determines how much the frequencies around the cutoff point will be boosted. Besides ordinary highpass filter effects, the HP1 mode without resonance is useful for removing some of the bass of a sound, which in turn is helpful when you want to avoid a muddy mix.
HP2 This is a classic 12 dB/octave highpass filter, attenuating frequencies below the cutoff frequen- cy. The filter slope is steeper compared to the highpass 1 filter, thus filtering out more low-frequency content. The amount of resonance determines how much the frequencies around the cutoff point will be boosted. A highpass filter is suitable when creating lead sounds or hi-hats.
BS The band-stop filter, also known as a band-reject or notch filter, works as an inverted bandpass filter. Signals around the cutoff frequency will be attenuated the most, while frequencies above and below the cutoff frequency gradually will become less and less affected. The higher the resonance, the narrower the filter notch will be. This means that in contrast to the other filter modes, the effect of the resonance parameter is greatest at a low setting, giving a wider notch. This filter shape is useful for both basic equalizer duties and unique filter effects. For example: sweeping the cutoff frequency with an LFO gives a phaser-sounding filter effect. Controlling it with an envelope while at the same time using the ladder filter gives a more complex filter sound. Static filter settings can give a some- what acoustic resonant quality to sounds, especially transient-heavy ones.
PK The peak filter passes all the sound, boosting frequencies around the cutoff frequency. The higher the resonance, the more they will be boosted. A peak filter comes in handy when you want to highlight a certain characteristic of a sound, by for example adding more low end or more mid end. It can be used either statically, as the peak of a parametric equalizer, or dynamically, controlled by for example an LFO or envelope.
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Maybe try exploring / experimenting on the A4 with Overbridge open for a couple of times. Just for the overview. It gives quite a lot of specific visual feedback.
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Gotta get my reading glasses and put on the fireplace with a glass of wine and try to understand all of that (…then book a masterclass about filtering because … aaaahhh… 
)
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Yeah, there’s a lot of useful informations about those 2 Filters.
More immediate fun, sure.
Nowadays I prefer investing time in what I have. It feels very rewarding, more and more.
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the biggest difference for me is that filter 1 reduces the low frequencies when using resonance, moog style. that isn’t what i want, most of the time.
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What does this annotation in the quoted manual page mean?
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Wow I could have written that! That’s the A4 magic.
A4 is a fundamentally different bestie than any other synth. It may or may not be for you but it’s not a good choice for a general analog synth. Both because it’s too complicated and because it’s real value is wasted for that.
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I’ve found I benefit from separating composing music time from the logistical stuff like sound design, setting up macros, and sound pool stuff etc. I run out of steam if I have to make a bass patch from scratch, then come up with a sequence…then come up with a pad…etc. etc. etc.
If you work those out a bit before you are writing the music, you have less of the tedious work to get through. Same is true of setting basic performance macros on your kits before writing and playing so you don’t destroy your patches tweaking the filter or whatever while jamming.
I say this all with a deep love for the A4 with all its strengths and weaknesses. I hope this helps. It’s also good to keep in mind that it might not fit your capacity for music making right now either. Better to try some changes before selling and buying new stuff to run into the same problems.
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Oh man, I think I need to start taking notes from this thread. So much super useful information.
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I made a demo track years ago when people were complaining about the A4 sound.
Personally I love the A4, but it’s not a Moog or a Roland, and sometime the sweet spots are very tough to find.
A couple of posts later in that thread I shared the patch settings. There too much overdrive for your classic 101 bass sound so filter 1 is sucking the low end. The basics of it aren’t far off though, especially if you can compress or EQ the sound a bit.
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if bored, try FM mode (with LFOs)
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That’s a really good idea! gonna restrict myself and see what happens
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I have used one, both real and clone. I think what I’m trying to get at here is I love the sound of the Roland square wave, which is going to be harder to replicate. I try to go through the presets for an inspiration start off point, but it seems to have too many timbre modulation. Weirdly I think I can get more out of the DN’s engine quicker
Thank you so much! I’ve been listening to a lot of mid-90s jungle that uses a distorted 101 square wave being overdriven at the preamp stage so this might really work!
That is really helpful. I know we all feel the grass is greener, but I’d definitely feel like I would regret selling it without really sitting down and trying to get everything I can out of it
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I’m desperately waiting for the full Big Sur update (still on Mojave here!)
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I think what I really meant is the actual harmonic tone of the 101 square wave. I didn’t know the differences between filter 1&2 as stated in this thread so I’m going to give that a go!
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