Doepfer

hi list,
here it is...:
dieter tells us:
 "But as far as I know Hans Zimmer is the owner of the
biggest A-100 system. I saw a photograph of his A-100
system in a German magazine last year (2 large racks
with five or six 6HU frames each, completely filled
with modules). Hans invited me to visit his studio
last year during the NAMM show but unfortunately my
flight back to Germany was already booked one day
after the NAMM and there was not sufficient time to
visit him. But next year in January I will reserve
sufficient time to visit Hans Zimmer.
As far as I remember from some telephone conversations
with Hans Zimmer he uses e.g. 6 Frequency Shifters
A-126 and 6 VC Phasers A-125 for special 6-channel
sounds for movies (as far as I remeber it was for
Gladiator), and for very "bombastic" sounds he used 16
VCOs A-110 in parallel. "
Best regards
Dieter Doepfer
Doepfer Musikelektronik GmbH





=====
synthfreak(parallel worlds)
athens-greece
[Doepfer_a100] group owner-moderator

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> with Hans Zimmer he uses e.g. 6 Frequency Shifters
> A-126 and 6 VC Phasers A-125 for special 6-channel
> sounds for movies (as far as I remeber it was for
> Gladiator), and for very "bombastic" sounds he used 16
> VCOs A-110 in parallel. "


...looks like monster patches...

Josef on the Modular-Planet.de  ;-)

Hi Josef

> > with Hans Zimmer he uses e.g. 6 Frequency Shifters
> > A-126 and 6 VC Phasers A-125 for special 6-channel
> > sounds for movies 
> ...looks like monster patches...
Not necessarily at all. Every kind of multi-channel signal handling can be
very very interesting.

The basic need of cours is enough poweramplifier channels and enough
monitors. If you do not have a appropriate mixing console you may try (with
care!) to connect the A-100 direct to the poweramplifiers. Position the
loudspeakers around your place.

Now an example: send any signal (e.g. radio or a music CD) to multiples (it
becomes there mono-ed) and from there into several modules (I did it with
the four VCAs of my two A132 and at another test with my four filter
modules). The output of the modules is connected to the amplifiers. Now
modulate the modules with different sources. The Signal will fly through
your room!

I used for example two LFOs and used the saw out and the inverted saw out.
This causes the signal to slide from the left to the ride side and jump
back. The same from front to rear. But since the LFOs were not in sync of
course, the "movement" of the signal was jumping around in the room in a
kind of zig-zag-course.

Very interesting also is using notch filters or phasers (=multiple notches)
instead of the lowpass Filters. I have a phaser and a A121 for channels one
and two; for the channels three and four I mixed a lowpass Filter signal
with the original signal, which results also in a kind of noth (due to the
phase turn at teh cutoff requency). Now the signal stays in the middle of
the room, but you hear that it changes always a little bit. You get the
imagination, that there is something that is rolling and nodding, while it
stays in one place.


I think there is a lot of very interesting stuff to be done in multi
channel sounds.

Florian
-- 
Florian Anwander                  |ConSol*  HP-Support
Tel.   +49.89.45841-133           |Consulting&Solutions Software GmbH
Fax    +49.89.45841-139           |Franziskanerstr. 38, D-81669 München
email: florian.anwander@consol.de |http://www.consol.de

Hi Florian,

interesting ideas!

>The Signal will fly through your room! 

Multi-channels like cinema surround sound - a great outlook for us...

Josef