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Re: Another new member
>I originally discovered this technique while playing about with a friend's
>Roland tape delay and a wah-wah pedal but it's quite easy to reproduce
>the EB16. The basic theory is to take a sound, put it through a slowly
>sweeping band pass filter, delay the signal, and then feed it back to the
>start where it gets filtered, delayed and fed back again.
>Now, you're probably thinking this is a bad idea and will result in the
>nasty howl around feedback which we're all familiar with having plugged an
>output into it's own input after one spliff too many in the studio. But
>it's the sweeping band pass filter that's the key here. As the filter only
>lets through a certain range of frequencies and eliminates the others, by
>the time the delayed signal is fed back to the input the filter will have
>shifted frequency sufficiently to prevent the signal building up into that
Did you try to use a compressor, maybe even in the feed back path?
>Depending on the original sound and by adjusting various parameters you
>achieve a number of weird and wonderful effects. Play a big chord using
>nice thick pad and pass it through the feedback loop and you get a
>beautiful evolving swirl of sound as the various harmonics are picked out
>and emphasized. Take a techno stab, played in time with the delay and your
>riff takes on a life of it's own. Or a few Rhodes chords add a really
>spacey dimension to a dub track. White noise textures also work well with
>the feedback loop adding a lot of movement to the sound. And of course
>an electric guitar, which is what I first made the effect for, your
>solo will take right off into space!
I would really like to hear this.
I just tried to implement on the PCM80 with the M-Band algorithm, but it
failed, because the filters have no Q and the feed back is limited to 100%,
so its just fading filtered, which is nice, but not what you are telling
And I am too lazy to create an analog external feedback :-)
The Resonant Chord algorithm create something similar, right Greg?