user guide: fix some instances of "lp" where we should've said "hp"

theacodes · theacodes · commit b71ff676d32b · 2024-01-30T11:20:19.000-05:00
diff --git a/user_guide/docs/index.md b/user_guide/docs/index.md
@@ -156,8 +156,8 @@ The second patch is similar to the first and creates a *high-pass filter*:
 
 -   Turn the ++"reso"++ and ++"salt"++ knobs all the way counterclockwise
 -   Turn the ++"♆"++ knob to 12 o' clock
--   Turn the small ++"lp"++ volume knob to about 2 o' clock
--   Patch an oscillator into the ++"lp"++ input jack
+-   Turn the small ++"hp"++ volume knob to about 2 o' clock
+-   Patch an oscillator into the ++"hp"++ input jack
 -   Patch the output jack to your rack's output or headphones module
 
 Once patched, use the ++"♆"++ knob to sweep through the filter's frequency range. Once again, try introducing some resonance using the ++"reso"++ knob and salt using the ++"salt"++ knob.
@@ -183,7 +183,7 @@ The next patch uses both inputs to create a high/low shelf filter:
 
 -   Turn the ++"reso"++ and ++"salt"++ knobs all the way counterclockwise
 -   Turn the ++"♆"++ knob to 12 o' clock
--   Turn the small ++"lp"++ and ++"lp"++ volume knobs to about 12 o' clock
+-   Turn the small ++"lp"++ and ++"hp"++ volume knobs to about 12 o' clock
 -   Using a multiple or stackcable, patch the *same* oscillator signal into both ++"lp"++ and ++"hp"++ input jacks
 -   Patch the output jack to your rack's output or headphones module
 
@@ -202,8 +202,8 @@ The next patch uses different signals on both inputs to create a *spectral* cros
 
 -   Turn the ++"reso"++ and ++"salt"++ knobs all the way counterclockwise
 -   Turn the ++"♆"++ knob to 12 o' clock
--   Turn the small ++"lp"++ and ++"lp"++ volume knobs to about 2 o' clock
--   Patch two different signals into the ++"lp"++ and ++"lp"++ input jacks
+-   Turn the small ++"lp"++ and ++"hp"++ volume knobs to about 2 o' clock
+-   Patch two different signals into the ++"lp"++ and ++"hp"++ input jacks
 -   Patch the output jack to your rack's output or headphones module
 
 Once patched, you can use the ++"♆"++ knob to crossfade between the frequency contents of the two signals, picking out the low frequencies of one signal and the high frequencies of the other.
@@ -219,7 +219,7 @@ The final patch explores *self-oscillation*:
 
 ![Self-oscillation patch](images/patch-self-oscillation.svg)
 
--   Leave the ++"lp"++ and ++"lp"++ input jacks unpatched
+-   Leave the ++"lp"++ and ++"hp"++ input jacks unpatched
 -   Turn the ++"salt"++ all the way counterclockwise
 -   Turn the ++"♆"++ knob to around 10 or 11 o' clock
 -   Turn the ++"reso"++ knob up to the self-oscillation point marked with the white dot, just past 2 o' clock
@@ -263,7 +263,7 @@ Use any oscillator as the input for the ++"lp"++ in, preferably with a sharp wav
     <source src="./media/crossfading-synth-voice-loop.m4a" type="audio/x-m4a" />
 </winter-audio-player>
 
-Patch one oscillator to the ++"lp"++ input and another oscillator to the ++"lp"++ input, or use different waveforms from the same oscillator. Make sure the oscillators are tuned close to each other for the most harmonious sound. Listen to how the filter can fade between the frequencies of the two oscillator signals. Plug one envelope to ++"fm1"++ and a different envelope to ++"vol"++. Trigger the envelopes with the same gate source, such as a keyboard or sequencer. Try different envelope shapes to get different responses, and listen to how different input signals and volumes effect the sound. Try different oscillator tunings, at octaves or ratios for nice harmonic sounds, or detuned for more dissonant ones.
+Patch one oscillator to the ++"lp"++ input and another oscillator to the ++"hp"++ input, or use different waveforms from the same oscillator. Make sure the oscillators are tuned close to each other for the most harmonious sound. Listen to how the filter can fade between the frequencies of the two oscillator signals. Plug one envelope to ++"fm1"++ and a different envelope to ++"vol"++. Trigger the envelopes with the same gate source, such as a keyboard or sequencer. Try different envelope shapes to get different responses, and listen to how different input signals and volumes effect the sound. Try different oscillator tunings, at octaves or ratios for nice harmonic sounds, or detuned for more dissonant ones.
 
 
 ### Kick drum voice
@@ -273,7 +273,7 @@ Patch one oscillator to the ++"lp"++ input and another oscillator to the ++"lp"+
     <source src="./media/kick-drum-voice.m4a" type="audio/x-m4a" />
 </winter-audio-player>
 
-Leave the ++"lp"++ and ++"lp"++ inputs unpatched. Turn ++"reso"++ up until the filter starts self oscillating. Send a fast, exponential envelope to ++"fm1"++ input and a second slower envelope to ++"vol"++. The fast exponential envelope is the kick drum’s pitch sweep, whose intensity is adjusted with the ++"fm1"++ attenuverter. Adjust the cutoff frequency to set the base pitch of the drum sound, for example set it to around 9 o’clock for a low bass drum sound. Try increasing the resonance or adding salt to increase the grittiness of the drum.
+Leave the ++"lp"++ and ++"hp"++ inputs unpatched. Turn ++"reso"++ up until the filter starts self oscillating. Send a fast, exponential envelope to ++"fm1"++ input and a second slower envelope to ++"vol"++. The fast exponential envelope is the kick drum’s pitch sweep, whose intensity is adjusted with the ++"fm1"++ attenuverter. Adjust the cutoff frequency to set the base pitch of the drum sound, for example set it to around 9 o’clock for a low bass drum sound. Try increasing the resonance or adding salt to increase the grittiness of the drum.
 
 
 ### Chaotic oscillator
@@ -283,7 +283,7 @@ Leave the ++"lp"++ and ++"lp"++ inputs unpatched. Turn ++"reso"++ up until the f
     <source src="./media/chaotic-oscillation.m4a" type="audio/x-m4a" />
 </winter-audio-player>
 
-Leave the ++"lp"++ and ++"lp"++ inputs unpatched and turn ++"reso"++ up until the filter starts self oscillating. Turn ++"salt"++ up until it *just* starts to get chaotic. The filter cutoff frequency will twist and wobble around, making a chaotic output which is a combination of feedback effects. Try adjusting the cutoff frequency, resonance, and salt to get a whole spectrum of sounds, from stable and harmonious, to wild and unstable.
+Leave the ++"lp"++ and ++"hp"++ inputs unpatched and turn ++"reso"++ up until the filter starts self oscillating. Turn ++"salt"++ up until it *just* starts to get chaotic. The filter cutoff frequency will twist and wobble around, making a chaotic output which is a combination of feedback effects. Try adjusting the cutoff frequency, resonance, and salt to get a whole spectrum of sounds, from stable and harmonious, to wild and unstable.
 
 
 ### Drum effects
@@ -293,20 +293,20 @@ Leave the ++"lp"++ and ++"lp"++ inputs unpatched and turn ++"reso"++ up until th
     <source src="./media/drum-effects.m4a" type="audio/x-m4a" />
 </winter-audio-player>
 
-Send a drum mix, such as a recording or a mix of synthesized drums, to both the ++"lp"++ and ++"lp"++ inputs. This will make the filter act like [a shelf filter](#highlow-shelf-filter). The ++"lp"++ and ++"lp"++ volume knobs act as the level for the low shelf and the high shelf, while the cutoff frequency controls the crossover point of the shelves. Try adding a bit of resonance, lowering the high pass volume a bit to make a low shelf filter, and adjusting the cutoff frequency to target specific frequencies in the drum mix. For example try to emphasizing the snare or getting rid of some of the high frequencies without cutting them out completely like on a traditional low pass filter.
+Send a drum mix, such as a recording or a mix of synthesized drums, to both the ++"lp"++ and ++"hp"++ inputs. This will make the filter act like [a shelf filter](#highlow-shelf-filter). The ++"lp"++ and ++"hp"++ volume knobs act as the level for the low shelf and the high shelf, while the cutoff frequency controls the crossover point of the shelves. Try adding a bit of resonance, lowering the high pass volume a bit to make a low shelf filter, and adjusting the cutoff frequency to target specific frequencies in the drum mix. For example try to emphasizing the snare or getting rid of some of the high frequencies without cutting them out completely like on a traditional low pass filter.
 
 
 ### Loop crossfader
 
-Use a device like an [Octatrack], [Digitakt], or any sampler that can output two different loops matched to the same tempo. If you only have a stereo output, you can hard-pan the loops to left and right channel before patching. Send one loop to the ++"lp"++ input and the other loop to the ++"lp"++ input. Adjusting the cutoff frequency will allow you to fade between the frequencies of the two loops. If the cutoff knob is fully clockwise you'll only hear the loop in the ++"lp"++ input, while if it's counterclockwise you'll only hear the loop in the ++"lp"++ input. You can adjust it to pick out the high frequencies of one loop, such as the cymbals, and the low frequencies of another loop, such as the bass drum.
+Use a device like an [Octatrack], [Digitakt], or any sampler that can output two different loops matched to the same tempo. If you only have a stereo output, you can hard-pan the loops to left and right channel before patching. Send one loop to the ++"lp"++ input and the other loop to the ++"hp"++ input. Adjusting the cutoff frequency will allow you to fade between the frequencies of the two loops. If the cutoff knob is fully clockwise you'll only hear the loop in the ++"lp"++ input, while if it's counterclockwise you'll only hear the loop in the ++"hp"++ input. You can adjust it to pick out the high frequencies of one loop, such as the cymbals, and the low frequencies of another loop, such as the bass drum.
 
 [Octatrack]: https://www.elektron.se/us/octratrack-mkii-explorer
 [Digitakt]: https://www.elektron.se/us/digitakt-explorer
 
 
 ### CV filter
 
-Neptune is *technically* DC-coupled, so will pass and filter CV signals just as it does audio signals. If you send a signal to the ++"lp"++ input then Neptune will act like a *slew limiter*, limiting how fast the signal can move. If you use the ++"lp"++ input then Neptune will act like a gate to trigger converter, where sudden changes will be passed through but the output will settle back to the value at the ++"lp"++ input. Increasing resonance will cause Neptune to overshoot the input value and "ring".
+Neptune is *technically* DC-coupled, so will pass and filter CV signals just as it does audio signals. If you send a signal to the ++"lp"++ input then Neptune will act like a *slew limiter*, limiting how fast the signal can move. If you use the ++"hp"++ input then Neptune will act like a gate to trigger converter, where sudden changes will be passed through but the output will settle back to the value at the ++"lp"++ input. Increasing resonance will cause Neptune to overshoot the input value and "ring".
 
 Note that while Neptune can do some fun stuff with CV, it's very much designed with audio in mind which brings some limitations. First, the lowest cutoff frequency that the ++"♆"++ knob can reach is around `5 Hz`, however, you can use the ++"fm1"++ input along with its attenuverter to push the cutoff frequency even lower. Second, Neptune wasn't really designed for DC accuracy so it won't work well with sensitive CV signals like `1 V / Octave` pitch signals. Finally, Neptune's output can have a DC offset of up to `±2 V`, however, you can mitigate this a bit by mixing a constant voltage in with the ++"lp"++ input.
 
