>Set the first to HP, second to LP; connect out of 1 into in of 2 and play a
>snaky bass or lead line. Adjust cutoff. I promise you'll like it.
>
>Here's another reason for that (bear with me): I was listening to the
>Bladerunner soundtrack on the way in to work this morning, marvelling at
>Vangelis' expressive use of his instruments. Think about it--when we want to
>make the timbre "move," we often reach for the filters, and particularly the
>cutoff frequency; we open up a low-pass to make the sound brighten up, we
>turn it down to mellow it. Of course, we often (when we have the
>opportunity) use hi-pass filters in the same way--sweep up to thin the
>sound, back down to open it back up. Just think of how much fun (and how
>useful) it would be to control both of those expressive elements at once!
>Consider multiplying a keyboard tracking CV and inputting it into FM1 of
>each filter, with a slightly different offset on each; how about the same
>patch but with a lag processor between one of the CVs and one of the FM
>inputs! I'm salivating.
>
I've just been experimenting with something like this. I patched a joystick
with the X controlling cutoff of a highpass 420, Y controlling the cutoff
of a lowpass, set in series on a 300 sawtooth. Very nice effect, playing a
melody with one hand and manipulating the 2 frequencies with the other
makes for a very expressive combo. Of course, like any expressive
instrument, I'm gonna have to practice to really make it work. Thanks for
the inspiration!
I'm gonna have to go back and listen to Bladerunner again...
____________________________________________
Dave Trenkel :
improv@...Minus Web Site:
http://listen.to/minusmusicMinus MP3's:
http://www.mp3.com/-minus-____________________________________________