Doepfer

Hi Florian,

Thanks for the idea. I've used delays in a similar fashion before in
production (I don't know if they sounded like Lisa Dal Bello). I've
even used analog delays as basslines, melodylines live on stage
(changing the delay time manually). I haven't given up on the BBD yet
though. The idea that delay time can be changed by the envelope CV
from A119 may be quite exciting. Also, processing the delay feedback
with another module may spark a lot of ideas.

Thanks!

Korhan

On Mon, Apr 14, 2008 at 11:34 AM, Florian Anwander
<Florian.Anwander@consol.de> wrote:
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> Hi Korhan
>
>
> > clarify something. The BBD module has been on the list right from the
> > start. However, I am having doubts about it lately. I know that I
> > don't need phasing, flanging and chorus in my sound. I am also not in
> > desperate need of an analog delay (I have an Electroharmonix Deluxe
> > Memoryman). What else can the BBD do?
> You should stop thinking of a flanger as it is presented by typical
> guitar stomp boxes, with permanent modulation.
> Basically a short delayline with feedback can be seen a specialized
> filter. And you never would think of a filter that it has to be
> modulated all the time.
> Also a Delay always produces a kind of room information (early
> reflection. But since it is voltage controllable you are enabled to
> change the roomsize depending on musical information. This may be each
> note, this may be a part of the arrangement. A very good exampe for this
> was the new york based singer and producer Lisa Dalbello who made some
> songs in the late eighties where the impression of the refrain became
> kind of claustrophobic, because all "rooms" suddenly shrinked down to
> something of the size of a packing case. After the refrain the room
> impression widened again - very impressive!
>
> Florian
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