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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 

Summary of Contents for SoundStage

Page 1: ...s placed in the stereo field according to its position left to right on the panel The horizontal rows indicate how the inputs are filtered into overlapping Low Low mid Mid High mid and High bands The...

Page 2: ...les in the spectral field so tracks made with that machine already start to sound mixed straight out of the machine These ideas have come together into the module you ve now got in front of you we hop...

Page 3: ...e energy to reproduce from your speakers so are panned more centrally Also for people putting their material out on vinyl it helps to have low frequency elements panned centrally to stop the needle be...

Page 4: ...of them also the way a guitar or bass amp shapes the spectrum of the signal being fed into it in a way which lets them sit together in a mix in a natural way Lastly the old mix trick of using EQ duri...

Page 5: ...ve uses of the SoundStage s filters for example rhythmic chopping of the spectrum by controlling filter depth with gates or LFOs or more extreme effects such as patching bass voices to the upper input...

Page 6: ...f 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 le...

Page 7: ...ith crossing over the left and right signals and feeding back to their opposite sides because SoundStage is 100 analogue there is no latency so stereo feedback of signals is possible and sounds natura...

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