With only a lowpass filter you can create all the others:

Anyway the LP filter lends itself well to be used as a single pole in all sorts of multipole filters. Ideas are to put some in series, detune the poles, create odd feedback paths, etc, etc. Mixing the outputs of the poles in certain amounts can create a lot of filter curves. There is an old article by Craig Anderton, its on the net as 'MIF.pdf', which describes what one can do with mixing the four poles of a standard 4-pole filter. Wholeheartedly recommended. 
The Multimode in its allpass mode (BP output at 6dB setting) also offers interesting possibilities. Using them in parallel, carefully detune them and mixing their outputs with many times one output inverted creates very interesting 'elliptic' modes.

Rob Hordijk on electro-music.com

Read much more on filters in the NM workshop. The filter section is a bit hidden and this is the direct link.

Since 24db-filters have a stronger resonance peak, the overall output level on such a filter is diminished. If you turn of the Gain Compensation (GC-Button) you can see that in the Graph on the filter. Having a high resonance peak and a lower level of all the other resonances might lead to a thinner sound. Cascading two 12db-filters won't lower the general output and you can "broaden" the resonance peak with slightly different resonance settings on the two filters.

All this is from Rob Hordijk's filter workshop inside his "basic synthesis" workshop on NM filters on Clavias's website. For more detailed information don't forget to check it out.

Introducing the suboctave through a filter:

This is the way the OscNoise works. Now you can do your custom OscNoise. Or 5. Or 10.

The fundamental is generally the pitch that you hear when pressing a key. You might want to boost it to get more power down there.

Two ways to boost the fundamental: