The Model 12 Mark II is a creamy-smooth two pole, vactrol driven State Variable multimode filter with simultaneous outputs for lowpass, bandpass, highpass and allpass taps. Independent controls for both resonance and bandwidth yield a plethora of sonic possibilities, from in-your-face wah to subtle spectral coloring.

An internal AGC (automatic gain control) circuit assures linear energy output even in high Q applications, while a unique bandwidth pot allows for user-selectable mixtures between first pole (6db/oct) and second pole (12dB/octave) outputs.

The M12 was intentionally designed NOT to oscillate and focuses instead on what vactrol filters do best - the net result being both incredibly smooth and impeccably musical. But don't let the cream spoil you -- the input level pot has been scaled to 11 and will merrily crush, twist, gnash and otherwise spew anything passed through it. You ain't heard fuzz tilll you've heard vactrol fuzz.

Added in the Fall of 2006, ther Mark II swiitch adds an overdrive feature for Super High Q response, making the M12 angrier than previously imaginable.

Sound Samples

1) Short demo utilizing all modes of the M12. The top voice demonstrates the bandpass and highpass taps of two Model 12's used in parallel configuration, while the low pedal are both in series using the LP outputs. click

2) Example of High Q mode. Low Pass Low Q and Lowpass High Q This is a soundbite of the sonic difference between Q Low and Q High settings on a single sample. One patch, same control pattern - the only difference being the Q modes of the MrkII enhancement. Patch: Two Model 15 saws controlled by a Milton sequence, into the same M12 both with the same control settings, through a Model 13 on Lowpass mode. The voltage control applied to the M12 was recorded as a midi file and applied to this patch twice, once in Q Low Mode (sample 1), once in Q High Mode (sample 2)

2) Lowpass Output in Low Res. and 3/4 Res. Two examples of the M12 in LOW Q mode.

3) Bandpass Output in Med Res. and 3/4 Res

4) Highpass Output in Med Res.The M12's Highpass , still in LOW Q mode.

5) Allpass Output with No Res. and High Res, Dual Allpass .The Dual Allpass sample signal path is made entirely from Plan B modules, outside of a touch of digital reverb via a Lexicon LXP-1. Two Model 15's (both saw out), tuned to octaves with the low voice used as a sync for the high voice. The two are mixed together and gated via a model 13 DTG, and then put through two cascading Model 12's, both set to high resonance.

6) Variable Bandwidth This sample is in four parts:

A) Freq sweep with large bandwidth setting, no res

B) Freq sweep with small bandwidth setting, no res

C) Freq sweep with large bandwidth setting, high res

D) Freq sweep with small bandwidth setting, high res

7) Filter Comparison This soundbite illustrates the 'ringing' effect gained through the use of vactrols in filter architecture. In thie patch, a single VCO has been routed into two filters with a single envelope used to open both. One filter is the Model 12, another is Moog-type ladder filter which does not use vactrols. The first four beats are the Model 12. The second four are the non-vactrol filter. The last fouer beatsare both filters comb9ined, one to each channel - notice the panning caused by the ring of the vactrol in these last four.

Sound Sample by Zoran Bosnjak:

That a minimoog? Nope! In Zoran's own words - "The lead line (or rather say hook) is Model 12. Rhythmic line that follows is the Model 13, but processed through ASys Chorus/reverb module."

Click for the soundbite