MOTM

On Friday 05 March 2004 18:37, Mike Marsh wrote:
> It's a little complicated to explain, I think, but pretty
> straightforward.  Deep breath, here goes:
>
> I used a (Blacet) Binary Zone to produce the notes.  The
> out of the BZ is going into the Threshold of my Gated
> Comparator (Cyndustries/CGS) and to the 1V/OCT of three
> 300s.  OUTs 1, 4 and 7 of the GC go to 3 800 EGs and each
> is connected to a VCA (2 100s and a 190). The outputs go
> to a mixer (830) and the single out of the mixer goes to
> the FS.  The UP and DN outs of the FS go to hard left and
> hard right on my console for recording.

Ah I see, a lot more logic than I initially assumed. For a 
moment I thought the FS was responsible for a lot of the 
sound. Nice patch, btw! ;)

>
> That's the basic patch.  Some of the samples also have a
> Time Machine in the path.  LFOs are driving things like
> Clocks and sweeping CVs. Truth Is Beauty (incomplete
> quote stolen from Keats) is three SQRs that are slowly
> PWM'd in various ways and tuned to 3rds and 5ths.

Beautiful tune.

>
> The stuttering effect happens because the Gated
> Comparator stores its output to a bucket brigade of 8
> registers that get shifted at each clock.  I used
> registers to trigger envelopes that were not close
> together so the effect would be obvious.
>
> There is a bunch of cool stuff available using this
> patch.  Don't you love the smoothness of the sound of the
> FS.  Tony did one hell of a job and it certainly was
> worth the wait.

This is the first FS I hear, so I can't compare. But it sure 
sounds nice and creamy. Especially in Truth is Beauty and 
that first demo with the strat.


>
> My next bit of experimentation with the FS will be to
> synthesize more klangy type tones.  I don't think that
> will be a problem :)

Let 'm come.

- Robert