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