MOTM

Thanks Robert and Paul for all these suggestions and tips. I took the liberty to re-post this 
on my blog, as I feel a lot of people out there could get something useful out of this. Hope 
you guys don't mind :-) I currently have about 50 to 100 visitors per day on my blog. 
www.motmsynth.blogspot.com.

Koos

--- In motm@yahoogroups.com, "Paul Schreiber" <synth1@...> wrote:
>
> Helpful advice from Robert Rich.
> 
> > 
> > The best use I found for soft sync on the 300 is to
> > add the essential non-linear element for chaos
> > patches. The "talking chaos" patch, for example, has
> > two 300s cross-modulating each other with sign waves,
> > both set to approximately the same basic frequency.
> > The sync buss is connected, and both are set to soft
> > sync. That creates a complex interaction where the
> > modules get stuck and unstuck. Wiggling one a tiny bit
> > (with a low lagged sample&hold random voltage for
> > example) will prevent them from getting locked into a
> > pattern.
> > 
> > As the questioner mentions, The trick of modulating
> > VCO pulse width with a high frequency sine for example
> > adds a great "fret buzz" sort of timbre to bass
> > sounds. For timbral variation within patches, try
> > audio-frequency modulating anything with something
> > else. Sine waves often make the best sources for audio
> > rate modulation, because there's already plenty of
> > overtones resulting, so I frequently put a filter into
> > full resonance for that purpose.
> > 
> > If you have two LFOs with FM input, try
> > cross-modulating them for complex interactions. If you
> > put that output into the VC-in on an oscillator,
> > you'll open up a wide range of bleebly sounds, birds,
> > wiggly bits, etc.
> > 
> > Split the output of a filter and process one half with
> > other filters and VCAs before putting that signal back
> > into an input on the same filter (either audio input
> > or the FM input). The feedback loop will affect the
> > resonance, and dynamic processing will make the
> > interaction very complex. 
> > 
> > For the above idea and for any other patch, add a
> > time-domain digital effect - like echo, reverb,
> > chorus, flanging, etc - to the inside of a patch. Use
> > outboard effects as if they are modules in the system.
> > This opens up an entire realm of options for
> > feedback-type patches.
> > 
> > Rethink the standard use for a module. Did you know
> > that a lag processor is a low pass filter? An envelope
> > generator is a lag processor? An envelope can even be
> > a waveshaper for low audio frequencies at its fastest
> > settings. Likewise the 320 LFO makes a good audio-rate
> > oscillator for bass sounds with very cool waveshaping
> > features.
> > 
> > Two oscillators at their highest frequencies - above
> > hearing -  can cross-modulate each other to create
> > difference tones you can hear. That's how a Theremin
> > works, and radio. You can do it on MOTM oscillators.
> > Try modulating a super-sonic VCO with an external
> > audio signal. It's very odd. You can do the same with
> > resonating filters.
> > 
> > Speaking of resonating filters, you can "ping" them
> > when they are almost ringing by putting a sharp
> > envelope blip into their audio input. It makes a very
> > ghostly gamelan-like sound. 
> > 
> > The idea behind all of these tips is to break the
> > established paradigms and rethink the possible role of
> > each module. Don't assume a patch has to go
> > VCO-VCF-VCA. 
> > 
> > I hope this helps a bit. - Robert Rich
> >
>