MOTM

Hello,

I was wondering how many MOTM users have been using the MOTM modules
to process other synths? I am thnking of building a MOTM system but
starting out with the filters first. I am thinking that the various
filters would in essence create a whole new sound out of the synths I
already own. Example: sending a software analog synth through the 440 LP  
or sending pad sounds on my Roland JD800 through the 310 for formant
filtering. 

I would love to hear comments about this approach from others who have
tried. Thanks

Chad

Don't forget, for the "normal" filters, you need some type of control
source (envelope/lfo/etc), to control the filter sweeps to. At least,
that's what usually makes it interesting. Something to trigger the
control source timely might also be necessary (gate from midi|cv
convertor/envelope follower/sequencer/etc).

The 410 has built in lfo's and is the most "stand alone" filter I
believe. I just built mine, it's SUPERB for the things I tried so far
(nordlead, guitar, Rhodes, kurzweil, obx-a). The Rhodes gave some
problems because I didn't have a midi signal to copy to convert to
1v/oct and drive the sweep input. The bands are quite narrow so a sound
can easily be "out of bounds". This is a luxury problem though.

Also don't forget for true polyphony, you need as many filters as voices
you want to be able to play. In an arpeggio for example, the filters
curves of the different voices are at different positions. "All notes at
once" chords/stabs work fine, arpeggios don't (in true polyphony sense).

For the rest, go for it! All filters are superb!

Krimo

-----Original Message-----
From: chad_kettering [mailto:chad_kettering@...] 
Sent: zondag 16 januari 2005 21:20
To: motm@yahoogroups.com
Subject: [motm] Using MOTM modules with other synths



Hello,

I was wondering how many MOTM users have been using the MOTM modules
to process other synths? I am thnking of building a MOTM system but
starting out with the filters first. I am thinking that the various
filters would in essence create a whole new sound out of the synths I
already own. Example: sending a software analog synth through the 440 LP

or sending pad sounds on my Roland JD800 through the 310 for formant
filtering. 

I would love to hear comments about this approach from others who have
tried. Thanks

Chad







 
Yahoo! Groups Links

> I was wondering how many MOTM users have been using the MOTM modules
> to process other synths?

I'm doing this all the time.

> Example: sending a software analog synth through the 440 LP

That's as close to the original conception of the 440 as you can come:

I was running my OB-8 thru a SSM2040 filter to beef up the sound.
Then I built a discrete version of the SSM2040.
Finally, this became the MOTM-440 module.

> or sending pad sounds on my Roland JD800 through the 310 for formant
> filtering.

Conception for what eventally led to the triple resonant filter
(M-410 if memory serves) was running a string synthesizer thru my clone
of the PS-3100 resonator section ...

Also, I'm using the MOTM VCLFO for modulating all kinds of FX devices
with CV input, because it has more interesting waveforms than any of my
other LFOs ...

You see, processing other synths with MOTM is a lot more than "just
allowed"!

8-)

JH.

> I was wondering how many MOTM users have been using the MOTM modules
> to process other synths? I am thnking of building a MOTM system but
> starting out with the filters first. I am thinking that the various
> filters would in essence create a whole new sound out of the synths I
> already own. Example: sending a software analog synth through the 440 LP
> or sending pad sounds on my Roland JD800 through the 310 for formant
> filtering. 

I've done quite a bit of this - not with other synths so much as with
acoustic sources. For this, I couldn't recommend enough the synthesizers.com
Q118: 
http://synthesizers.com/q118.html

For most (all?) people here this is probably not a big deal, but in addition
to thinking about polyphony, remember that you will need two filters per
voice to retain stereo from your source (synth, drummachine, etc). For
example, most drummachines pan the toms and high hats, and many of the
digital synths that we'd want to run through an analog filter have built-in
stereo effects like ping-ponged delays, etc. The non-realtime solution is to
pass your signal through twice and multitrack.

best,
- Scott
____________
http://www.red-noise.com
http://www.strawberryplanet.org