On Friday 05 March 2004 18:37, Mike Marsh wrote:
> It's a little complicated to explain, I think, but pretty
> straightforward. Deep breath, here goes:
>
> I used a (Blacet) Binary Zone to produce the notes. The
> out of the BZ is going into the Threshold of my Gated
> Comparator (Cyndustries/CGS) and to the 1V/OCT of three
> 300s. OUTs 1, 4 and 7 of the GC go to 3 800 EGs and each
> is connected to a VCA (2 100s and a 190). The outputs go
> to a mixer (830) and the single out of the mixer goes to
> the FS. The UP and DN outs of the FS go to hard left and
> hard right on my console for recording.
Ah I see, a lot more logic than I initially assumed. For a
moment I thought the FS was responsible for a lot of the
sound. Nice patch, btw! ;)
>
> That's the basic patch. Some of the samples also have a
> Time Machine in the path. LFOs are driving things like
> Clocks and sweeping CVs. Truth Is Beauty (incomplete
> quote stolen from Keats) is three SQRs that are slowly
> PWM'd in various ways and tuned to 3rds and 5ths.
Beautiful tune.
>
> The stuttering effect happens because the Gated
> Comparator stores its output to a bucket brigade of 8
> registers that get shifted at each clock. I used
> registers to trigger envelopes that were not close
> together so the effect would be obvious.
>
> There is a bunch of cool stuff available using this
> patch. Don't you love the smoothness of the sound of the
> FS. Tony did one hell of a job and it certainly was
> worth the wait.
This is the first FS I hear, so I can't compare. But it sure
sounds nice and creamy. Especially in Truth is Beauty and
that first demo with the strat.
>
> My next bit of experimentation with the FS will be to
> synthesize more klangy type tones. I don't think that
> will be a problem :)
Let 'm come.
- Robert