<html><head><meta http-equiv="Content-Type" content="text/html charset=utf-8"></head><body style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space;" class=""><br class=""><div><blockquote type="cite" class=""><div class="">On 9 Oct 2018, at 8:52 AM, David G Dixon <<a href="mailto:dixon@mail.ubc.ca" class="">dixon@mail.ubc.ca</a>> wrote:</div><br class="Apple-interchange-newline"><div class=""><span style="color: rgb(0, 0, 255); font-family: Arial; font-size: small; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-stroke-width: 0px; display: inline !important; float: none;" class="">However, the fourth I'm thinking about setting up so that it can scan over that entire range, so that it can cross over and reinforce each of the three peaks from the other resonators. </span></div></blockquote></div><br class=""><div class="">On the face of it, that is the sort of interaction that could well yield unpredictably-musically-useful results, or… be totally underwhelming, depending on lots of factors I guess. (thinking here of the Pultec EQP-1A simultaneous low end boost and cut effect).</div><div class="">Certainly worth an experiment.</div></body></html>