Doepfer

hi peter, great post thanks a lot for the info.

RM


--- In Doepfer_a100@y..., "petergrenader" <petergrenader@h...> wrote:
> 
> > 
> > What sort of musical effects are you looking to get via tapping
> > individual band outs from the Filterbank?
> 
> let me call attention of two specific applications for separate 
outs 
> which some of you might enjoy.  I have to be a bit of a name 
> dropper on this one.
> 
> One is running the output of a signal that is coming from a high 
> Q band pass filter into the fixed filter and popping off the 
> separate taps.  You will get an amazing sound from the minimal 
> bandwidth of those two filters working in series.  If you control 
the 
> bandpass with a random stepped sample and hold, then gate 
> the outs of each of the fixed filter banks you are tapping off of 
with 
> it's own envelope/VCA pair, things get even more interesting.  I 
> will make an MP# this week of a piece of music i did years ago 
> that used this effect.  it was a very cool effect.
> 
> The second application is even more fun:
> 
> Ok, I am old.  like mid-forties old.  I studied composition at Cal 
> Arts.  I worked with Subotnick during the Sky of Cloudless Sulfer 
> days.  I was one of the students who realized his control track 
> score for SKY OCS from a score Mort wrote for us.  We recorded 
> control signals which were generated form the computer in the 
> Buchla 300 we had there. 
> 
> If you know that piece, if you know how control tracks work, this 
> will be easy to understand.  Before midi, in order to pre-record 
> information which you wanted to use to control a synth, you had 
> to make a control track.  This was an audio track from a tape 
> recorder, whose output was fed into an envelope follower in 
> which voltage and trigger information was obtained.
> 
> If you have heard Sky of Cloudless Sulfer, or Until Spring for that 
> matter, you'll get the idea that everything is synced, so massive 
> control tracks had to be were used to pull it off, either that or a 
> Buchla the size of a house.  A matter of fact,  Mort rented an 
> Ampex eight track, dedicated four of the eight for control tracks 
> and four only for the actual music - and that still wasn't enough 
> for him. He needed more than four control tracks.  They were 
> used to generate the pitch info, the meter  (timing), for the 
> transcients, for timbre control and even spacial location of every 
> single sound event in that piece of music.  This is why he 
> needed only four track for audio.  He would set a patch up, start 
> the deck with all the control tracks going through envelpe 
> followers and the piece would basically play itself.  It's no big 
> thing now with midi, but it was all voodoo back then.  We didnt 
> know why Mort had us doing all this stuff and then he showed 
> us and our mouths were on the floor. 
> 
> We spent about two months making the control tracks, which 
> were very presicely scored, down to the second. He took those 
> and recorded the entire record in one weekend.  30 minutes of 
> music.
> 
> Because he needed more control tracks than the four channels 
> would provide, we devised a way in which to put TWO control 
> tracks on each audio track using the fixed outs of a Buchla fixed 
> filter bank as a demultiplexer.  We would record two independant 
> signals on one track of the deck They were nothing but bleeps of 
> varying lengths. (short decay-only envelope sines used for timing 
> later on and longer ones that swept panning, or opened 
> envelops, etc).  Oneof the bleep track  was a low frequency sine 
> tone, one was a higher frequency.  We would run the output of 
> track through the fixed filter bank, tap off of the output which 
was 
> the center frequency of the lower recorded tone, and then run an 
> output which was the center frequency of the higher tone.
> 
> We fed both of those outs into two envelope followers.  
> 
> We were able to get two independant controls tracks on one 
> recorded track with absolutely no cross talk.  We tried it with 
> three but it started getting a little dicey.  I am not sure if that 
was 
> due to the filter not being able to pick those off well enough,  
the 
> tape we were using to record them on (Ampex 406) or any 
> harmonic distortion from the preamp in between .
> 
> Ok, using a fixed filter bank in this was is a bit archaic now, I 
> admit, but it's an interesting story...no?
> 
> Anyway, if Doepfer releases this option, buy it.  It will be like a 
> pulse divider - you won't use it every day, but when you do, you'l 
> dig it.
> 
> Peter grenader