MOTM

Hi, 
Of you who use different MOTM-filters, from which one of them do you create your favourite brass sound? I´m not surprised if the 440 and 480 would be favoured, but how is the 410? I have´nt heard many people mention it at all. 

I´d appreciate samples.
Thanks

Henrik

480 for brass all the way. 440 is amazing too. If I
had to chose one for overall usefulness I would choose
440. 410 is more like the resonators on the Korg PS
series. Imagine a triple band pass filter with three
tuned frequencies. No brassiness at all in there.... I
would say it is great for breathy, windy patches
similar to a triple wah pedal in a way. 

Hope this helps!

Thomas


--- Henrik <sequenrik@...> wrote:

> Hi, 
> Of you who use different MOTM-filters, from which
> one of them do you create your favourite brass
> sound? I\ufffdm not surprised if the 440 and 480 would be
> favoured, but how is the 410? I have\ufffdnt heard many
> people mention it at all. 
> 
> I\ufffdd appreciate samples.
> Thanks
> 
> Henrik
> 
> 
>       
> 
> 


Thomas White
  Natural Rhythm
www.naturalrhythmmusic.com

480 is a lowpass, or a highpass, or a bandpass
depending on how you set the knobs. For brass I do set
it as a bandpass with a little highpass, and more
lowpass for the muted tones. 

The 480 is a filter I didn't think I would use much at
first. I was turned off by the lack of
self-oscillation, but have since realized this was
stupid on my part. The dual filter sections ring very
nicely (and sometimes quite rudely) with the right
frequency settings. You can really get a thick
response from the 480. I didn't expect to like it so
much. 

There is a bit of noise, as is expected with vintage
clone-types like the CS-80 circuit. Nothing too bad
and certainly worth it in the long run. Overall a very
nice compliment to the range. 

Here are my one-word descriptions of the MOTM filters
(IMHO) - 

410 - "Rubbery" (Listen to Robert Rich Bestiary and
you'll have to buy a 410 just to get through the day
from then on)

420 - "Glassy" (two in series, tuned with some
resonance provides amazing tones)

440 - "Smooth" (my favorite overall, Bass x 10,000)

480 - "Brassy" (But much more than that too)

485 - "Rugged" (and I mean dragging clean white
laundry through the mud kind of dirty)

490 - "Classic" (no question, Moog tone all the way)

Hope this helps. Maybe others can chime in here.

Thomas

--- Henrik <sequenrik@...> wrote:

> Thanks or reply. 
> The 480 is a bandpass vcf, but do you set it to LP
> to get a good brass?
> 
> --- On Mon, 8/25/08, thomas white
> <djthomaswhite@...> wrote:
> From: thomas white <djthomaswhite@...>
> Subject: Re: [motm] Brass sounds
> To: motm@yahoogroups.com
> Date: Monday, August 25, 2008, 10:25 PM
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
>     
>             480 for brass all the way. 440 is
> amazing too. If I
> 
> had to chose one for overall usefulness I would
> choose
> 
> 440. 410 is more like the resonators on the Korg PS
> 
> series. Imagine a triple band pass filter with three
> 
> tuned frequencies. No brassiness at all in there....
> I
> 
> would say it is great for breathy, windy patches
> 
> similar to a triple wah pedal in a way. 
> 
> 
> 
> Hope this helps!
> 
> 
> 
> Thomas
> 
> 
> 
> --- Henrik <sequenrik@yahoo. com> wrote:
> 
> 
> 
> > Hi, 
> 
> > Of you who use different MOTM-filters, from which
> 
> > one of them do you create your favourite brass
> 
> > sound? I\ufffdm not surprised if the 440 and 480 would
> be
> 
> > favoured, but how is the 410? I have\ufffdnt heard many
> 
> > people mention it at all. 
> 
> > 
> 
> > I\ufffdd appreciate samples.
> 
> > Thanks
> 
> > 
> 
> > Henrik
> 
> > 
> 
> > 
> 
> >       
> 
> > 
> 
> > 
> 
> 
> 
> Thomas White
> 
>   Natural Rhythm
> 
> www.naturalrhythmmu sic.com
> 
> 
> 
> 
>       
> 
>     
>     
> 	
> 	 
> 	
> 	
> 
> 
> 
> 
> 
> 
> 
> 
> 	
> 
> 
> 	
> 	
> 
> 
>       


Thomas White
  Natural Rhythm
www.naturalrhythmmusic.com

if you have separate HP and LP filters in 
cascade, as on the 480, rather than a single 
bandpass filter, as such, then you can pick how 
wide the band of the bandpass is. and depending 
on the brass instrument you're synthesizing, you 
might want to remove some of the fundamental by 
bringing up the cutoff on the HP.

separate HP and LP == lots more yum than BP, IMHO

>Thanks for your reply.
>
>Ok, that surprises me a bit. I thought that most 
>synth brass was LP, like Oberheim OB polysynths 
>for example, which does´nt have BP or HP and 
>despite that they´re known for their brass 
>sounds.
>
>/H

Henrik writes:
>>Ok, that surprises me a bit. I thought that most synth brass was LP, like
Oberheim OB polysynths for example, which does\ufffdnt have BP or HP and despite
that they\ufffdre known for their brass sounds.<<

There is not a clear distinction being made between "synth brass" and
"brass", the latter being realistic acoustic sounding brass.  The problem is
you're getting kind of inbetween answers.  For synth brass, an LP only is
okay if that's the sound you want.  There is a bit too much emphasis placed
on the specific filter here though as you can get good brass sounds from
many different filters.  For acoustic brass, as mentioned a highpass that
can cut off some of the low frequencies helps, but that's only the start.
You'd want to set the resonance on the highpass to the instrument's main
formant, about 1200-1300 Hz for trumpet, about 800 Hz for trompone, etc. And
there's additional EQ, FM mod on the attack of the notes, animation in
timbre, and velocity,pedal, and/or breath control to vary the sound of the
brass.  Refer to my Alesis Ion demos for those techniques, which use the
Moog filter for the LP portion.  I also have a very old trumpet demo on the
440 module page on the Synthtech site, and a generic 440 synth brass demo
somewhere else there which were done as initial trials to use a breath
controller with the motm.

-Elhardt