Another hour or so of play, more to report:
Achieved the barberpole/Shepard Generator effect. It's not on par
with Juergen's example, but I honestly couldn't understand his patch
when trying to put it together on my system. Still, it was fun to
here that effect! That alone is worth the price of admission.
The Freq Shifter output/straight output in any fashion is very nice.
In the same way the MOTM-410 gives you a stunning stereo (or greater)
space (one that I love so much I own two - one with an OMC-410!), the
FS gives you plenty of "headphone moments" with little effort. The
range of those moments is quite wide, too, from a gentle swirl to
bouncy ricochets. Add delay (the Blacet Time Machine begs to be added
to any FS patch!) and it's hard to contain the sound field. Not that
you should try...
I've yet to turn the feedback up beyond 2 o'clock without utterly
losing control of the input gain. Clearly, external attenuation is in
order. As many patches will require external mixers (you try to make
sense of the "infinite phaser" patch...), this is no fault of the FS.
Also, deliberately allowing the input gain to wig out a bit was quite
entertaining! Why yes, I do play electric guitar. Why do you ask?
Lastly, do you like metallic robotic sound and strange harmonic
structures? Oh, does Encore have the toy for you! It will be
difficult to keep the Frequency Shifter out of patches for some time.
Chub - bang shifting as you read this
--- In motm@yahoogroups.com, "Charles Osthelder" <chubtoast@...> wrote:
>
> I agree, Mark, wild is easy! Last night I'd played with percussion
> patches and the stereo movement was wonderful. Subtle phasing effects
> are nice, but there's surely a lot more in this device. Next is the
> infinite phaser patch!
>
> I'll be standing in front of the Engine of Chaos now...
>
> Chub
>
> > Well, it does wild very easily, as it can totally transform a sound
> > into something else at less than extreme settings. So if you want to
> > make strange sounds, you probably don't need any serving suggestions
> > from us :)
> >
> > While many have dismissed it as being only good for weird sounds, it
> > has a wealth of practical uses. I often like to think about not what
> > it does, but rather what it doesn't do. Unlike a filter or
> > filter-based effect it does not emphasize frequencies that are
> > already there, so it does not amplify certain harmonics over other
> > harmonics. So unlike an EQ, it can be used to change the frequency
> > content of a sound without bringing out a note or making some notes
> > louder than others. This is especially useful for percussion sounds
> > within a mix.
> >
> > For the same reason, it is also good for adding inharmonics to
> > oscillator-based patches. While I also find this useful for
> > percussion sounds, it can be used with piano and plucked instrument
> > sounds as well.
> >
> > With subtle shift and feedback settings, it can create "phasing" and
> > "ambience". I've found this works best with dry recordings of real
> > instruments. It can also be used to create more noticeable stereo
> effects
> > with synthesizer sounds at less subtle settings.
> >
> > It can be used to in the regeneration path of an effect to prevent
> > runaway feedback. This isn't just useful for delays. It can be used
> > with all sorts of BBD, DSP and mechanical effects where patching the
> > output back to the input would result in overload. You might like to
> > try it with a flanger or reverb. As the Encore Frequency Shifter
> > also has its own internal feedback path, you can come up with new
> > sounds very quickly. In the same way, it is also useful for
> > convolution, as you can shift one sound to prevent common frequencies
> > from being reinforced excessively.
> >
> > And, if you didn't have one already, you also have a quadrature
> > oscillator which can be used as a mod source for other modules...
> >
>