music machines: effects.use
From analogue-request@magnus.acs.ohio-state.edu Tue Jul 20 02:49:18 1993
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From: steve@crl.hitachi.co.jp (Steven Collins)
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To: analogue@magnus.acs.ohio-state.edu
Subject: Re: useful effects
Status: O
illuminated iconoclast sez:
> i agree with heavy analog about the echo/delay,
> but flange or even chorus can be a very useful and
> dramatic effect- only when used once in a blue moon
> though. using these guys too often bores the listener.
Oooh I dunno about this at all. I find I tend to have at least a chorus on
ALL the time. It just fattens out a mix, helps to separate a lot of stuff,
and gives the analogus a much wider feel. A Ping pong L/R delay can do the
same, but the chorus is much more subtle way of achieving the same. Listen
to some of the Orb stuff (not that they're the be-all and end-all of music!).
You'll never heard a drum loop without some chorus or flange (of course lots
of way feedback delays as well). Flange is a very useful effect for drum
loops in particular adding another dimension to the rhythm. Another effect
that's useful is an early reflection (particularly of the plate variety), delay
this so its about 1 beat behind the rhythm and make the reverb real tight and
you get a great back lash which can mix really well. Some of my favourite
rhythms use this technique...
Steve
---
+-------------------------------------+----------------------------------------+
| Steven Collins, Visiting Researcher | email: steve@crl.hitachi.co.jp |
| Hitachi Central Research Lab. Tokyo | ph: (0423)-23-1111 fax: (0423) 27-7742 |
+-------------------------------------+----------------------------------------+
From analogue-request@magnus.acs.ohio-state.edu Tue Jul 20 02:22:17 1993
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Date: Mon, 19 Jul 93 23:19:58 -0700
From: spaceman@ucscb.UCSC.EDU (illuminated iconoclast)
Message-Id: <9307200619.AA12049@ucscb.UCSC.EDU>
To: analogue@magnus.acs.ohio-state.edu, gristle@netcom.com
Subject: Re: useful effects
Status: O
i agree with heavy analog about the echo/delay,
but flange or even chorus can be a very useful and
dramatic effect- only when used once in a blue moon
though. using these guys too often bores the listener.
From analogue-request@magnus.acs.ohio-state.edu Mon Jul 19 20:16:49 1993
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Date: Mon, 19 Jul 93 19:04:54 -0500
From: bsanders@mrcnext.cso.uiuc.edu (Barry Sanders)
Message-Id: <9307200004.AA03468@mrcnext.cso.uiuc.edu>
To: analogue@magnus.acs.ohio-state.edu
Subject: Mor on FX usage...
Content-Length: 1094
Status: O
I've always thought that the most useful effect in my studio was an equalizer.
There was an article a few years ago in Electronic Musician hailing the
usefulness of EQ's and other less-touted FX. They pointed out some interesting
applications for using one of those MIDI-controlled graphic EQ's; things like
sweeping pseudo-filters (by using MIDI to sweep the center frequency and the
"Q" of a parametric equalizer channel). Sounded like fun.
I really used to like my old Roland Space-Echo. Why did I ever sell that
thing!! (Probably because I got tired of changing the tape every couple of
weeks.) Actually, I was able to coax my 1987 Yamaha REX-50 multi-FX unit to
sound an awful lot like the Space Echo. Since the older DSP's used fewer stages
in their FIR filters, they create a lot of distortion with each successive
delay tap. I just set the feedback high, the delay time long, boost the
midrange frequencies, add some digital distortion, and voila! It really is
a pretty good imitation of a Space Echo. Anybody wanna trade me? :-)
Barry
bsanders@mrcnext.cso.uiuc.edu
From analogue-request@magnus.acs.ohio-state.edu Mon Jul 19 20:14:46 1993
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From: Chris Meyer
To: analogue@magnus.acs.ohio-state.edu, cook@stout.atd.ucar.EDU
Subject: Re: How do you use your FX? - was What FX?
Message-Id: <93Jul19.171251pdt.14273-1@well.sf.ca.us>
Date: Mon, 19 Jul 1993 17:12:37 -0700
Status: O
Ah, yes - adding FX between VCO and VCF - used to do it all the time w/
PAiA modular. Best was a tape loop/delay. Because the VCO kept playing,
even after the VCA envelope died, right? So on the next note, the old
note would still be looping when you switched - you can think of it as
a real weird cousin to portamento. But also, the VCO looped & layered on
top of itself with tape distortion, wow & flutter etc. certainly added
some character to the sound...
Another "effect" is to boost the VCO to overdrive the VCF. I have little
booster/mixers in my Oberheim 2-voice that can give me a 3x gain
(very roughly 10dB or so), which at max makes the VCF sound like it
was getting ripped through the sheet metal akin to a huge can opener
as I played...
- CM
From analogue-request@magnus.acs.ohio-state.edu Mon Jul 19 20:16:49 1993
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From: bsanders@mrcnext.cso.uiuc.edu (Barry Sanders)
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To: analogue@magnus.acs.ohio-state.edu
Subject: Mor on FX usage...
Content-Length: 1094
Status: O
I've always thought that the most useful effect in my studio was an equalizer.
There was an article a few years ago in Electronic Musician hailing the
usefulness of EQ's and other less-touted FX. They pointed out some interesting
applications for using one of those MIDI-controlled graphic EQ's; things like
sweeping pseudo-filters (by using MIDI to sweep the center frequency and the
"Q" of a parametric equalizer channel). Sounded like fun.
I really used to like my old Roland Space-Echo. Why did I ever sell that
thing!! (Probably because I got tired of changing the tape every couple of
weeks.) Actually, I was able to coax my 1987 Yamaha REX-50 multi-FX unit to
sound an awful lot like the Space Echo. Since the older DSP's used fewer stages
in their FIR filters, they create a lot of distortion with each successive
delay tap. I just set the feedback high, the delay time long, boost the
midrange frequencies, add some digital distortion, and voila! It really is
a pretty good imitation of a Space Echo. Anybody wanna trade me? :-)
Barry
bsanders@mrcnext.cso.uiuc.edu
From analogue-request@magnus.acs.ohio-state.edu Mon Jul 19 20:14:46 1993
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From: Chris Meyer
To: analogue@magnus.acs.ohio-state.edu, cook@stout.atd.ucar.EDU
Subject: Re: How do you use your FX? - was What FX?
Message-Id: <93Jul19.171251pdt.14273-1@well.sf.ca.us>
Date: Mon, 19 Jul 1993 17:12:37 -0700
Status: O
Ah, yes - adding FX between VCO and VCF - used to do it all the time w/
PAiA modular. Best was a tape loop/delay. Because the VCO kept playing,
even after the VCA envelope died, right? So on the next note, the old
note would still be looping when you switched - you can think of it as
a real weird cousin to portamento. But also, the VCO looped & layered on
top of itself with tape distortion, wow & flutter etc. certainly added
some character to the sound...
Another "effect" is to boost the VCO to overdrive the VCF. I have little
booster/mixers in my Oberheim 2-voice that can give me a 3x gain
(very roughly 10dB or so), which at max makes the VCF sound like it
was getting ripped through the sheet metal akin to a huge can opener
as I played...
- CM
From analogue-request@magnus.acs.ohio-state.edu Mon Jul 19 18:44:59 1993
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To: "Kelvin (K.R.) Porter"
Cc: analogue@magnus.acs.ohio-state.edu, Yoshiaki_Ohshima@SPEECH1.CS.CMU.EDU
Subject: Re: How do you use your FX? - was What FX?
In-Reply-To: Your message of "Mon, 19 Jul 93 16:32:00 -0100."
<"3588 Mon Jul 19 17:32:34 1993"@bnr.ca>
Date: Mon, 19 Jul 93 18:41:22 -0400
Message-Id: <8975.743121682@SPEECH1.CS.CMU.EDU>
From: Yoshiaki_Ohshima@SPEECH1.CS.CMU.EDU
Status: OR
you write:
>1. There are some effects that are classics... and you the latest
> and greatest digital multi-fex boxes can't emulate them.
>
> Has anybody thought about or tried to add CV interfaces to,
> (I don't know), say something like a Mutron Bi-Phase, so that it
> can be MIDI-fied via a MIDI CV controller?
>
yes, that's been my on-going project for the studio rig. in addition to
having the ultimate freedom in the voltage controlled part, i/o should
have a midified mixing network and cross-bar accessibility among modules
to utilize a few effect signal paths. for instance, my current project
design is, a 4/6/8 multistage, tri-phase(tm), and conceptually it breaks
down to the signal router network, the triphase effect circuit (expandable
obviously), and the generation of the modulator signals, for each of which
i'm integrating unrestricted flexibility to meet the demand of myself
and a few crazy people around me. if i could establish the solid module
designs, i'd apply the same philosophy to upgrade the hand-made ring
modulator i used to like using a lot in the past. the crude concept for
the final product is similar to moog modules, but all the user intervention
is to be transmitted in midi terms so that the modern studio technology
is used in conjunction with it.
> If so, was it difficult?
it depends. the easiest break point for the modulation effect is the lfo
control. anything voltage-controlled is easy to tap in, thus,
> Can anyone devise a circuit that can emulate a potentiometer
> of a given resistance {10 K - 10 M} and a given taper {linear, audio}?
>
> Is this a worth-while project? OR are there other better alternatives?
again, it really depends on what you want. emulating potentio tapers
is doable to some extent.
>2. Has anyone tried inserting effects between the oscillator(s) and
> the filter?
>
> I am very curious as to what might happen if you
> ran a moog oscillator output through a high-gain (shred) distortion
> box and then routed it through the filter.
this doesn't make much sense to me, except you are adding whatever tonal
characteristics, intrinsic to the shred box, to the osc waveform. other
than that things just get clipped.
>recently converted to the cult of analogue.
my kind of people....
--aki
From analogue-request@magnus.acs.ohio-state.edu Mon Jul 19 18:29:23 1993
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Date: Tue, 20 Jul 93 00:27:14 +0200
From: Mikael Lundgren
Message-Id: <9307192227.AA27300@Prag.DoCS.UU.SE>
To: analogue@magnus.acs.ohio-state.edu
In-Reply-To: Forrest Cook's message of Mon, 19 Jul 1993 15:48:19 -0600 <9307192148.AA14692@stout.atd.ucar.EDU>
Subject: How do you use your FX? - was What FX?
Status: OR
Sender: analogue-request@magnus.acs.ohio-state.edu
Date: Mon, 19 Jul 1993 15:48:19 -0600
From: Forrest Cook
Kelvin R. Porter says:
>2. Has anyone tried inserting effects between the oscillator(s) and
> the filter?
Gee, that sounds like an interesting idea. It would be trivial to add
a 1/4" stereo "insert" connection there on many synths, now that I've
On a more serious topic, how'bout a effect loop? One jack send,
one/two jacks return. And a pot for mix, or better yet, let be
modulated from eg/lfo/whatever. The Proteus modules belong to the few
who have seen the wiseness of this installment, but of course, this
makes more sense on a multitimbral unit.
_________________
|| o _ o o o o | Mikael "Vick" Lundgren (vick@bern.docs.uu.se)
|| .[_].o o o o | Studying CS at the Univ. of Uppsala, Sweden.
|| _______________| << Comp.Sc.Dept>> << Dept. of Comp. Systems >>
|| ||| ||| || ||| |
\\_|______________/"All I wanna do is see you, don't you know that it's true"
From analogue-request@magnus.acs.ohio-state.edu Mon Jul 19 17:51:05 1993
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To: analogue@magnus.acs.ohio-state.edu
Subject: Re: How do you use your FX? - was What FX?
Date: Mon, 19 Jul 1993 15:48:19 -0600
From: Forrest Cook
Status: O
Kelvin R. Porter says:
>2. Has anyone tried inserting effects between the oscillator(s) and
> the filter?
Gee, that sounds like an interesting idea. It would be trivial to add
a 1/4" stereo "insert" connection there on many synths, now that I've
hacked into my Pro-One, I may have to try this out. Many mixing boards
have this kind of feature on the channels, it's pretty useful. for effects.
I wonder what a Quadraverb would do in the middle of a synth.
Forrest Cook
cook@stout.atd.ucar.edu WB0RIO
{husc6|rutgers|ames|gatech}!ncar!stout!cook
From analogue-request@magnus.acs.ohio-state.edu Mon Jul 19 17:37:35 1993
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From: "Kelvin (K.R.) Porter"
Message-Id: <"3588 Mon Jul 19 17:32:34 1993"@bnr.ca>
To: analogue@magnus.acs.ohio-state.edu
Subject: How do you use your FX? - was What FX?
Status: O
Howdy!
I have some related questions.
1. There are some effects that are classics... and you the latest
and greatest digital multi-fex boxes can't emulate them.
Has anybody thought about or tried to add CV interfaces to,
(I don't know), say something like a Mutron Bi-Phase, so that it
can be MIDI-fied via a MIDI CV controller?
If so, was it difficult?
Can anyone devise a circuit that can emulate a potentiometer
of a given resistance {10 K - 10 M} and a given taper {linear, audio}?
Is this a worth-while project? OR are there other better alternatives?
2. Has anyone tried inserting effects between the oscillator(s) and
the filter?
I am very curious as to what might happen if you
ran a moog oscillator output through a high-gain (shred) distortion
box and then routed it through the filter.
Please forgive me if these questions are old hat... I am a newbie and
recently converted to the cult of analogue.
Regards,
Kelvin R. Porter
From analogue-request@magnus.acs.ohio-state.edu Tue Jul 20 14:55:52 1993
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From: wbf@aloft.att.com
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Date: Tue, 20 Jul 93 14:37:14 EDT
Original-From: aloft!wbf (william.b.fox)
Message-Id: <9307201837.AA16547@bianca>
To: analogue@magnus.acs.ohio-state.edu
Subject: Re: useful effects
Status: OR
D. Andrew C. Crowell wrote:
> Another popular technique for fattening sounds used in a lot of Nashville
> production work uses a harmonizer. By ever-so-slightly detuning a signal,
> then remixing it with the original source, you get the DSP version of
> oscillator detuning. With the right modicum of control, the end result is
> a wonderfully lush sound, with no trace of any sort of delay effect that
> you get from chorusing. This is _my_ favorite fattening technique...fills
> a sound out wonderfully!
Last week I was away in a class to learn the AT&T DSP1610 (architecture,
instruction set, development tools) and was, therefore, away from my
computer. I accumulated over 400 email messages! I've been enjoying
the effects discussion very much. Let me add to Andrew's Nashville
effect report. I've been told that it is better to detune up instead of
down. Detuning down makes the pitch sound flatter than detuning up
makes the pitch sound sharp. For some (psychoacoustical) reason, the
ear tolerates the upshift a little better.
--
Bill Fox * Fox's Den Recording Studio * Nazareth, PA * wbf@aloft.att.com
------------------------------------------------------------------------
"This is being an example to the topic under hand. And the response.
Always to note the complaints in order of these manuals; this will never
let us down." - Dr. Mike Metlay
From analogue-request@magnus.acs.ohio-state.edu Mon Jul 19 08:33:21 1993
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From: Matti J Saavalainen
Message-Id: <9307191232.AA11399@beta.hut.fi>
To: analogue@magnus.acs.ohio-state.edu
Subject: What FX units do you use?
In-Reply-To: <9307190116.AA07265@tpl68k0>
References: <9307190116.AA07265@tpl68k0>
Status: OR
Mark Bower writes:
>
> ..analogue sound ...
> ...nice ... effects units.
TC 1210 Stereo Chorus/Flanger/Spatial Expander from t.c. electronic is
a great-sounding analogue unit. It is based on the t.c. electronic
chorus pedal, and does a few additional things. It can operate in
mono in-mono out, mono in-stereo out, stereo in-stereo out (yes, it is
a true stereo unit), dual mono mode, and two in-four out mode.
Dynamic range is 100 dB. It doesn't have memory, only knobs.
To my ears, the sound is breath-taking.
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?
"A star fall,
Matti Saavalainen a phone call,
it joins all,
matti@hut.fi synchronicity"
( The Police )
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?
From analogue-request@magnus.acs.ohio-state.edu Mon Jul 19 03:36:23 1993
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Date: Mon, 19 Jul 93 16:33:45 JST
From: steve@crl.hitachi.co.jp (Steven Collins)
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To: analogue@magnus.acs.ohio-state.edu
Subject: Re: useful effects
Status: OR
Gristle sez:
> I have found that the most useful effects seem to be
> simply reverb and delay. I never use chorus, flange, multitap,
> resonators.
Funny that. I find the flange and choruses particularly useful when treating
monophonic sources. For example, the Yamaha CS range can sound a little thin,
but beef them up with a chorus or flange and you get a much richer and more
pleasant sound. But that's self-obvious I suppose. I, too, rely heavily on
delays and reverbs, but the flange is usually used on drum loops, and I also
love to pitch shift regular drums to get great growl loops. I don't currently
have distorters or overdrive FX, but would use them if I had. An effect I've
founf to be _very_ useful, particularly for analogue arpeggios is the auto-pan.
Can get some great swirls this way, and if you can gate the pan and control it
from the keyboard then its all the better. The FX box I use is a cheapie SPX
90 from Yamaha, and I find it very useful though a little noisy. Stick a Juno
with its noisy noisy chorus through the SPX reverb and prepare for a veritable
white-noise wind storm...
Steve
From analogue-request@magnus.acs.ohio-state.edu Tue Jul 20 17:01:59 1993
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Date: Tue, 20 Jul 93 13:54:37 PDT
From: dms!curly!grigsby@netcom.com (Spiral Death Trap)
Message-Id: <9307202054.AA13648@curly.agames.com>
To: analogue@magnus.acs.ohio-state.edu
Subject: Detuning
Status: OR
How does one detune without delaying and still sound nice? The "pitch
shift" boxes I remember would have a really obvious loop where they'd
run out of sample space and catch back up with the current sound, resulting
in "poing poing poing" noises. It tried to wait for another attack to
retrigger, so it worked OK for short staccato parts, but that was it.
Let me see if I got this straight: Flanging just shifts a variable delay
around. Reverb is mixed feedback delays with LPFs in the feedback.
Is there any difference between "phaser" and "flanger"? And what exactly
is a chorus doing that a flanger isn't? All these layman's terms get
me confused. >^/ Not to mention that compressors are usually used in the
studio to do the opposite of what you'd think- namely, _expand_ the apparent
dynamic attack of an instrument...Studio recording: equal parts science
and black magic. "Got any spare pantyhose?"
// g
From analogue-request@magnus.acs.ohio-state.edu Tue Jul 20 17:45:51 1993
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From: dacc@cmp-rt.music.uiuc.edu (Andrew C. Crowell)
Message-Id: <9307202141.AA25827@cmp-rt.music.uiuc.edu>
Subject: Re: Detuning
To: analogue@magnus.acs.ohio-state.edu
Date: Tue, 20 Jul 93 16:41:54 CDT
In-Reply-To: <9307202054.AA13648@curly.agames.com>; from "Spiral Death Trap" at Jul 20, 93 1:54 pm
X-Mailer: ELM [version 2.3 PL5]
Status: OR
Previously, Spiral Death Trap wrote:
>
>
> How does one detune without delaying and still sound nice? The "pitch
> shift" boxes I remember would have a really obvious loop where they'd
> run out of sample space and catch back up with the current sound, resulting
> in "poing poing poing" noises. It tried to wait for another attack to
> retrigger, so it worked OK for short staccato parts, but that was it.
Ah...no, I don't think one of the modern-day "pitch shifters" will
really work well at this. For the trick I'd mentioned, you need a real
harmonizer...my fave being the Eventide 949. The new stuff just isn't
of the same level of sophistication as one of those, even though the 949
is _old_ stuff, over a decade or so.
>
> Let me see if I got this straight: Flanging just shifts a variable delay
> around. Reverb is mixed feedback delays with LPFs in the feedback.
> Is there any difference between "phaser" and "flanger"? And what exactly
> is a chorus doing that a flanger isn't? All these layman's terms get
> me confused. >^/ Not to mention that compressors are usually used in the
> studio to do the opposite of what you'd think- namely, _expand_ the apparent
> dynamic attack of an instrument...Studio recording: equal parts science
> and black magic. "Got any spare pantyhose?"
Flanging sweeps a delay of a very short duration across a very small time
window, creating the phase-shift effects you find in it. Reverb is really
a complicated thing that is delay minus early reflections. The difference
between a phaser and a flanger is that a phase shifter is a simulation of
the effect a flanger does, and it's done by sweeping a filter across a
signal, rather than using the "comb filtering" effect that's part of
flanging. No, compressors are used to mash a signal's dynamic range down
to a smaller width to make it manageable, _expanders_ widen the dynamic
range, and if you take these two devices to their processing extremes, you
get limiters and gates, respectively. And studio recording equals equal
parts of science, insanity, and voodoo. Take a chicken into the studio
next time you cut anything...it'll improve your S/N ratio! :)
Next time, we'll explain the hysteresis curve as it's used in bias signals
in analog recording. Bring percodan. :)
D.A.C. Crowell
Computer Music Project/School of Music
University of Illinois at Urbana/Champaign
(dacc@cmp-rt.music.uiuc.edu)
From analogue-request@magnus.acs.ohio-state.edu Wed Jul 21 10:18:18 1993
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From: wbf@aloft.att.com
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Original-From: aloft!wbf (william.b.fox)
Message-Id: <9307211402.AA22159@rosalind>
To: analogue@magnus.acs.ohio-state.edu
Subject: Re: Detuning
Status: O
Previously, Spiral Death Trap wrote:
> How does one detune without delaying and still sound nice?
To which D. Andrew C. Crowell responded:
> Ah...no, I don't think one of the modern-day "pitch shifters" will
> really work well at this. For the trick I'd mentioned, you need a real
> harmonizer...my fave being the Eventide 949. The new stuff just isn't
> of the same level of sophistication as one of those, even though the 949
> is _old_ stuff, over a decade or so.
I have a Roland VP70 ("Vocal Processor"). In one of its modes, it can
produce up to four pitch shifts of the input. I can set it up to send a
down-shift out the left output and an up-shift out the right output.
Pan these hard left and right or closer in to the original's pan
position as desired. This beast does some nice shifting, though I wish
I knew what the Eventide Harmonizers sounded like for comparison. Can
the Digitech Vocalist do this type of detuning?
--
Bill Fox * Fox's Den Recording Studio * Nazareth, PA * wbf@aloft.att.com
------------------------------------------------------------------------
"Glub-blug dip woot-boof wammie, hofr, horf, horf." - Patrick Robinson
From analogue-request@magnus.acs.ohio-state.edu Fri Jul 23 10:33:32 1993
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From: Andrea TONI
Subject: -- Useful Efx --
To: analogue@magnus.acs.ohio-state.edu
Date: Fri, 23 Jul 93 16:32:55 MET
Organization: ESA-ESTEC (European Space Research and Technology Center)
Keplerlaan 1 2200 AG Noordwijk (EUROPA)
Phone: Int +31 1719 83606
Fax: Int +31 1719 84697
Machine: HP-UX sihp03 A.B8.05 A 9000/730 941406112
Mailer: Elm [revision: 66.33]
Status: OR
Hi,
Pitch shifting and Harmonizing are certainly very useful to add more
grunge .. but in most of the Fx units the parameter you can tune are
a bit too simple ..
In the (wonderful) VP70 the 4 picth shifter can only be tune +-12 and
fine tune +- 32 (?) .. no delay no feedback ..
In the old Yamaha REX 50 there is a super nice PS algorithm ..
(sadly for one detuned voice only ..) where you can ..
Tune +-12
fine Tune +-100
Delay 300ms ( or 350 ..?)
Feedback 0-100%
It is possible to get more drastic changes with this kind of control ..
Now .. any good(rich) soul would provide infos on how the Eventide PS
works .. ??
Is it possible to have this kind of control on more then just one voice
2 .. would be great 4 .. would be heaven .. ??!??
I guess you'll need a very very powerful DSP in order to pitch transpose-
delay-feedback 4 different voices .. !
How does the Rocktron Intellifex handle its 4(or was it 8 ?) PS .??
Does anybody know of a budget-multifx that allows this kind of PS control
(2 or more PSs with detune,finedetune,delay and feedback) ?
Another cool feature is to have the feedback ratio in + and - 100% like in the
Fx section of the JD800 (and I guess in all the recent Roland/Boss multifx
boxes).
This kind of Fx is perfect for few-notes-repetitive-analog-pattern
(a la' oldTangerineDream..) very spacey !
Ciao,
------------------------------------------------ENV---ENV---ENV----------------
Andrea TONI (andrea@sihp03.si.estec.esa.nl) | | |
Planetary and Space VCO-->VCF-->VCA--> DUCATI 900SS
Science Division (SI) | | |
------------------------------------------------LFO---LFO---LFO----------------
From analogue-request@magnus.acs.ohio-state.edu Fri Jul 23 14:55:49 1993
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From: Jeff.Dinkins@Eng.Sun.COM (Jeff Dinkins)
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To: analogue@magnus.acs.ohio-state.edu
Subject: Re: Analog FX
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Status: O
I've just joined this mail alias, so please forgive me if I'm asking
questions that are answered in some FAQ somewhere. I also asked this
question in rec.music.*.synth.
1) I just bought a Rhodes Chroma, and am wondering if anyone knows what
it takes to connect one of these beasties to an apple2 computer (the
synth came with this brochure that described that one was available
at the time).
Is a special card needed? Software?
2) It only came with the one tape which has the 150 factory sound patches.
Does anyone have/know where to find other patches (on cassette)?
thanks,
jeff
From analogue-request@magnus.acs.ohio-state.edu Fri Jul 23 12:29:13 1993
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Date: Fri, 23 Jul 1993 12:24:07 -0400 (EDT)
From: David Evans
Subject: Analog FX
To: analogue@magnus.acs.ohio-state.edu
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Status: O
This is sort-of the reverse of the current FX thread, but have people
tried using their analog synths *as* effects processors? The balanced
modulators on my PAIA modular have come in really useful for really grimy
sounds, and you sure can't beat a Minimoog as a wah-peddle. :)
=============================================================================
David Evans devans@snowhite.cis.uoguelph.ca
Computer/Synth Junkie
University of Guelph "A man melts sand so he can
Guelph, Ontario, Canada see the world outside"
- U2/Lemon
From Mike@erasure.demon.co.uk Sat Jul 24 04:27:11 1993
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Date: Sat, 24 Jul 93 09:09:39 GMT
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From: Mike@erasure.demon.co.uk (Mike Hall)
Reply-To: Mike@erasure.demon.co.uk
To: analogue-request@magnus.acs.ohio-state.edu
Subject: Re: Analog FX
Lines: 19
X-Mailer: PCElm 3.01 (1.4 DIS)
Status: O
In message you write:
>
> This is sort-of the reverse of the current FX thread, but have people
> tried using their analog synths *as* effects processors? The balanced
> modulators on my PAIA modular have come in really useful for really grimy
> sounds, and you sure can't beat a Minimoog as a wah-peddle. :)
>
>
> =============================================================================
> David Evans devans@snowhite.cis.uoguelph.ca
> Computer/Synth Junkie
> University of Guelph "A man melts sand so he can
> Guelph, Ontario, Canada see the world outside"
> - U2/Lemon
>
>
Try putting a signal through the external signal processor on a Korg MS20
for a real grungy sound or maybe a VCS3 for that authentic Dr Who noise..
Mike Hall
hosted by Hyperreal
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