MOTM

Having been greatly impressed by Ken Elhardt's imitative synthesis 
efforts, I set out to try some myself.  Combining a few sawtooths from 
VCO's and a pair of Zeroscillators doing their FM thing, a low-pass 
filter and a Moog 907 fixed filter bank, a couple of VCA's and a few 
EG's, I created some samples, comparing them all along to reference 
samples of, in this case, brass instruments - mostly a trumpet ensemble 
sound from Kontakt.  I used Blue Cat's free spectrum analyzer - highly 
recommended for the price!  

In any case, I discovered that my samples needed massive EQ work to get 
close.  In addition to the fixed filter bank, I used two sets of 
parametric eq's within Cubase  - the native EQ and a UAD plug-in (the 
new Helios Type 69 - very nice!).  I found the results quite pleasing.

So, why is it that (performance) synthesizers have traditionally only 
had one measly filter?  Why essentially no eq at all?  Why even within 
the modular realm has there been only limited eq capability?  Honestly, 
traditional fixed filter banks were quite limited in scope.  I think 
there's a real opportunity here for a clever new module that allows 
severe (big boost/cut) and detailed (many frequencies) EQ capability.  
How about with frequencies under voltage control to shift the whole 
shebang up/down the keyboard?  Thoughts for a digital implementation in 
MOTM 2.0?  With memory for storage of different "instrument" settings?