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Your Filters, and the tones they produce!
MUFF WIGGLER Forum Index -> 5U Format Modules  
Author Your Filters, and the tones they produce!
sunsinger
I'm really interested in hearing what your favorite filter is, and how you use it.

For instance:

What kind of instrumental tones can you coax out of a filter?

Each filter has it's very own tonal limitations or colorations? What do you notice from your filters.

Some examples I can share are... My MOTM 440 gets very precise wooden mallet sounds, clean percussive, and mellow woodwinds. Also some voicey things.

My MOTM CS-80 filter shocked me last week with the most gorgeous, reedy Oboe tone. Also my Mankato filter is full of surprises producing anything from BIG deep Trombone/Cello, to the biggest bass ever.

Also, what are some interesting patching configurations you use. I know that some of you are torturing your poor filters till they bleed. Want to share?

I'd just love to hear... What Do You Do With Your Filter??? 8_)
paults
The '440 can also make 'reedy' tones (this one has a Middle Eastern flair):


www.synthtech.com/demo/d_reed.mp3
decaying.sine
Paul,
Dead link... I think you mean:
www.synthtech.com/demo/d_reed.mp3

This is a nice demo, but I swear to god I heard something like this playing in the stuffed animal section of the San Diego Wild Animal Park store!!! SlayerBadger!
rezzn8r
here are some modcan filter experiments I posted earlier this year.
with no input and maximum resonance into a frequency shifter it sounds very much like an organ.

https://www.muffwiggler.com/forum/viewtopic.php?p=41752
paults
It's the title music from the video game for "Black Hawk Down" by Russell Brower. He also did a lot of Disney theme park music (Magic Mountain, etc) and is now at Blizzard going WoW and StarCraft 2.
frijitz
My Threeler filter has a huge range of unique sounds. Check out the threads on e-m, especially Scott Stites' demo:

http://www.electro-music.com/forum/topic-26197.html
http://www.electro-music.com/forum/topic-23766.html

Available from Bridechamber:

http://bridechamber.com/bridechamber.com/F_Threeler.html


grin

Ian
sunsinger
paults wrote:
The '440 can also make 'reedy' tones (this one has a Middle Eastern flair):


www.synthtech.com/demo/d_reed.mp3

That really is a nice tone, I wonder how it was patched, was there noise mixed in it to get that breathy sound?
sunsinger
This is one of my favorite filter sounds from about 0:48 seconds to 1:22
from the Serge Q Resonant filter. Just that slice in particular. It sounds like Michael Stearns from the Opening of the movie "Chronos" .

Then there is another filter sting like this at 5:00 for just a few seconds...
BIG!

I will have a Serge Panel with this Filter on it one day.

haricots
paults wrote:
The '440 can also make 'reedy' tones (this one has a Middle Eastern flair):


www.synthtech.com/demo/d_reed.mp3


That's pretty neat. I'd love to know how that patch was created.
neandrewthal
sunsinger wrote:
This is one of my favorite filter sounds from about 0:48 seconds to 1:22
from the Serge Q Resonant filter. Just that slice in particular. It sounds like Michael Stearns from the Opening of the movie "Chronos" .


Yeah, I don't think it just sounds like that on its own. It sounds to me like a lowpass filter with its output routed to its control input.
paults
I do recall there are 3 foot-pedals used+pitchbend. He said that he had to practice over 20 hours to perfect the technique, and the lead was done in 1 continuous "take". The foot-pedals used the MOTM-850 Pedal Interface (now defunct, unless I make more front panels). There is also a vocal loop faded in/out using a MOTM-410 midway through.
JohnLRice
paults wrote:
I do recall there are 3 foot-pedals used+pitchbend. He said that he had to practice over 20 hours to perfect the technique, and the lead was done in 1 continuous "take". The foot-pedals used the MOTM-850 Pedal Interface (now defunct, unless I make more front panels). There is also a vocal loop faded in/out using a MOTM-410 midway through.


That's a beuatiful sounding peice! w00t
sunsinger
neandrewthal wrote:
sunsinger wrote:
This is one of my favorite filter sounds from about 0:48 seconds to 1:22
from the Serge Q Resonant filter. Just that slice in particular. It sounds like Michael Stearns from the Opening of the movie "Chronos" .


Yeah, I don't think it just sounds like that on its own. It sounds to me like a lowpass filter with its output routed to its control input.


Yeah, You are probably right about that. I'll ask Stearns how he used to get that tone.

Do you think a similar sound be created using any of the 5 unit filters out there now? And how might I reproduce it. I'm still sort of new to modular routing and learning alot every day.

So would this patch be like taking the output from say a MOTM 440 and routing it back through the 1V/Oct input. and how would you get the sound back out. Is this where you would use a mult.

Any help understanding this is helpful. I'm so used to working with keyboard instruments that I don't really think like this yet.
neandrewthal
sunsinger wrote:

Yeah, You are probably right about that. I'll ask Stearns how he used to get that tone.

Do you think a similar sound be created using any of the 5 unit filters out there now? And how might I reproduce it. I'm still sort of new to modular routing and learning alot every day.

So would this patch be like taking the output from say a MOTM 440 and routing it back through the 1V/Oct input. and how would you get the sound back out. Is this where you would use a mult.


It depends on how picky you are. I can get a sound from any filter that is close enough for me, but I have far from a golden ear. It also depends a lot on what you put in the filter. The more that is going in, the more the resonance starts breaking up and really non-linear behavior kicks in. You could patch the output to the v/oct input, but an attenuated inputs is better because it gives you more control. A mult would come in handy here, but this is also fun to do on state variable filters where you can listen to highpass output and feed the lowpass output back or vice versa
Morley
Orange ARP 2600 for percussive resonant noises and THWAKS dizzy
A Buchla lopass gate is beautiful
ARP 2500 Multimode filter for all sorts of goodness
sunsinger
neandrewthal wrote:
sunsinger wrote:

Yeah, You are probably right about that. I'll ask Stearns how he used to get that tone.

Do you think a similar sound be created using any of the 5 unit filters out there now? And how might I reproduce it. I'm still sort of new to modular routing and learning alot every day.

So would this patch be like taking the output from say a MOTM 440 and routing it back through the 1V/Oct input. and how would you get the sound back out. Is this where you would use a mult.


It depends on how picky you are. I can get a sound from any filter that is close enough for me, but I have far from a golden ear. It also depends a lot on what you put in the filter. The more that is going in, the more the resonance starts breaking up and really non-linear behavior kicks in. You could patch the output to the v/oct input, but an attenuated inputs is better because it gives you more control. A mult would come in handy here, but this is also fun to do on state variable filters where you can listen to highpass output and feed the lowpass output back or vice versa


Thanks much for that. I'll try your suggestions. Your thoughts open different ways for me to consider when I use a filter. Kudos! applause
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