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GeneralBigBag wrote:
So I just realised this yesterday, when I was playing around with comb filtering percussion.
This trick is most obvious if you're using little white noise samples, or something like an 808 hat.
1. Set up a track with the comb filter, turn the feedback way up, adjust the LPF to taste.
2. Go into the LFO page and set one of the LFOs destination to Comb Filter Pitch. Set the depth to 127, and set the shape to the Designer LFO for that track.
3. Now you can set up the LFO so it's an arpeggiator. With LFO depth at 127, the level you set each stage of the designer LFO at will be that many semi-tones. So if the Comb Filter's pitch is C3, and you set the LFO value on the first stage to 7, the pitch of the Comb Filter will be G3 (a fifth up).
4. Lay down your track trigs and set up the LFO shape and speed to how you like em. If you set it super fast you can get nice SID-type chord arps going on.
5. If you use different samples, you'll get different effects - you can make bowed string sounds with white noise that has a slower attack, or you can use pitched samples to get weird harmonic structures that are still following the arp.
I haven't played with it too much, since I'm working on a new set, but it seems like it's going to be a massively useful trick, and sort of makes me not want the 'Comb Filter Chromatic' trig mode so much.
Thanks, must try this!
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