Fig. 4.2 Buttbeard KORE Controller Page.
In the Buttbeard KORE Sound, the signal first passes through an instance of the SSFX
Spreadbands ensemble, where a LFO modulates the spacing between five bandpass filters
while the same LFO is inverted and used for modulating the center frequency of the filter
array. The result of that is that while the center frequency of the array is lowered, the
spacing between bands is increased, so the listener gets the idea that the cutoff frequency
is lowered, while there still is high frequency content audible. To further support this ef
fect, the top band output is crossfaded a little towards high-pass. The signal is then
passed through a Reverb followed by an amplifier/attenuator, which is used to impose a
rhythm onto the signal under step-sequencer control—think “trance gate” (but cool). The
Reverb is used to make the effect more pronounced by making sure that there’s more of a
continuous signal running into the amplifier. The sequencer controlling the amplifier is ac
tually two step-sequencers, being alternatingly switched on and off by a square-wave LFO;
this is done to generate a longer and more complex pattern than possible with just one se
quencer. The output of the amplifier is fed into a phaser, after which the signal path is
multed to two busses, one that carries just the phaser output and one that runs through a
filter and an LFO-controlled granular pitch-shifter. The two busses are fed into a crossfade
module, which is used to switch between the two sources under control of the same
square-wave LFO that is used to switch sequencers. Next, we’re patching that into a delay
used as freezer/looper by modulating feedback amount, input mute and dry/wet mix with a
second square-wave LFO. After sending the result through another delay for a little bit of
tempo-synced echo, a low-shelf EQ is applied to prevent intermodulation distortion in the
following compressor. Another reverb is used to add a little shine to the signal before it
hits the dry/wet mix stage where the original signal is mixed back in. Finally, a low-cut fil
Content Description
Example Signal Flow Structures
DEEP FREQ - Manual - 20