in, adjust the output level control so you’ve got a good level to feed
the next stage of your signal path, then adjust the filter depth so that
it sounds good to you. In testing we’ve found our favourite settings are
often around 1 o’clock to 3 o’clock on the depth control, but your ears
will tell you when you’ve found the right spot.
Sidechain compression
This patch expands on the Mixdown patch and adds sidechain
compression functionality. Patch your voices as per Mixdown, then get
the signal you want to use as your sidechain and patch it to an
envelope follower. Patch the envelope to the Level CV input on
SoundStage and then turn the attenuverter to the left so the sidechain
signal is reducing the output level. For a more advanced compression
with an adjustable threshold, use channel 1 of Maths as your envelope
follower. Take the OR out of Maths to the Level CV input and use the
channel 2 pot to set your threshold, turning clockwise to increase the
threshold. You’ll have to apply more output level on the SoundStage to
make up for the level decrease of the compression, but this is a great
way to get width and space and pumping for your pads or any other
voices.
Rhythmic filtering
Patch an LFO or envelope generator to the Depth CV input to
rhythmically control the depth of the SoundStage filtering. Because
the filters are all analogue and resonant there’s sonically interesting
interactions of the phase relationships of the filtered and unfiltered
signals around the cutoff points, which sound great when being
modulated.
Wide stereo voice
If you’re using one of the new breed of stereo filters in your system
such as the Stereo Dipole or QPAS you can use SoundStage to help
make wide stereo signals to feed them, to take full advantage of
working in the stereo realm. Patch your oscillators to SoundStage and
let it add depth and variation to them. Try multing an oscillator and
