#188

I agree. Especially for the lowpass output I prefer either very low Q, or very high if I’m going for a specific thing.

3 Likes
#189

Triple agree from me on this point.

The resonance is nice and flavorful but I think an important point may be it seems it’s not designed to sound like a standard monosynth LP filter in that way but more like a sculpting tool. So either the resonance is the thing or it’s a very lightly sprinkled spice, maybe a touch of clove, don’t overdo it.

—

One thing I have really been liking with the strike inputs are an attenuated version of what’s going into the input (maybe a square wave if I’m inputting in a saw) or a copy of whatever is gating the envelopes I’m using. I have also been using QPAS into Magneto, and the clock outputs have been good for this too.

2 Likes
#190

hmm i dunno im getting a lot of nuance from mixing outs and making small adjustments. definitely know what you mean about Q and wildcards though (i havent really used the wildcards much since i first sat down with it). but yeah i dont feel like QPAS asserts a more indomitable character than sisters at all

#191

Hi there! my first post here.:innocent:
I just sold my Korga II to fund the Q. allthough i was never happy with the overall character of the Korgasmatron it can still do a lot of good stuff with clipping and self oscillation doing low toms and such.
I hope i won’t miss this part too much.
I’m planning to use QPas in my little liverack (2x84hp) as ext. Filter for all my sources together with Zadar, E352 and voltage block.
also looking forward for some M/S demos!

1 Like
#192

Just wanted to share a sound snippet — QPAS sounds amazing when modulated at audio rates through the wildcard inputs.

This is the first few seconds of Aphex Twin’s Nanou2 looped and distorted through a weird Cold Mac patch, then low-pass filtered by QPAS. Mangrove is providing modulation to the left wildcard input. Mangrove’s amplitude is manually controlled through its air setting, and QPAS’ cutoff is slowly modulated by hand and by a LFO.

18 Likes
#193

I have made what I thought was a cool video with multiple pinging and modulating, but I somehow have recorded only the right side. You’re not alone. :slight_smile:

2 Likes
#194

I figured out a way to get QPAS to play the undertone series just like Mangrove using Cold Mac. Stereo undertone series!

AUDIO IN > QPAS
QPAS LP (STEREO) > AUDIO OUT
QPAS SP (MONO) > COLD MAC CREASE IN
COLD MAC CREASE OUT > QPAS FM IN

This works best with Q set between 9:00 and fully counter-clockwise. Past 9:00 things get chaotic. The cutoff frequency and the FM depth have a very large influence on the resulting timbre. The subdivisions can go all the way down to infrasound, but finding the right parameters is a bit tricky.

You can also patch use Cold Mac’s crossfader to offset the QPAS SP signal using the Survey knob before sending it to crease, which has a pretty big impact on timbre.

AUDIO IN > QPAS
QPAS LP (STEREO) > AUDIO OUT
QPAS SP (MONO) > COLD MAC OFFSET IN
COLD MAC LEFT OUT > COLD MAC CREASE IN
COLD MAC CREASE OUT > QPAS FM IN

Applying a small amount of slow modulation to Radiate Left / Right provides some nice subtle stereo movement.

10 Likes
#195

Wow, looks fun. I will sure try that. Thanks!
Btw what do you mean with

maybe you meant COLD MAC LEFT OUT?

1 Like
#196

Yes! I’ll correct that!

1 Like
#198

:musical_keyboard: :musical_note: Someone left Cold Mac out… in the rain…:notes:

5 Likes
#199

long overdue but finally got around to making this, and looking forward to making more with QPAS and other modules.

a longform no-talking exploration of QPAS, enjoy!

16 Likes
#200

Got mine the other day and I am loving it, it sounds so lush and with all the modulation options it becomes a very competent rhythmic tool. Here’s a very simple demo of it modulating a chord progression I made in Ableton using Wavetable and running it back into Live’s Echo.

It also works really well with the Lyra, because its drones are very rich in harmonics so you get these noisy textures coming in and out of the stereo field and makes a very live sounding instrument sound even more alive.

4 Likes
#201

Looking for advices on using wildcard inputs? Does anyone have cool ideas?

#202

They’re designed to respond to just about anything. Feed them gates, triggers, noise, LFOs, sequencer CV/gate outputs, even try feeding some QPAS outputs back into QPAS, and just experiment until you find cool combinations that work for you.

1 Like
#203

I tried and there are some things that I like. By asking for advice I am hoping to stumble upon something I didn’t try.

#204

Have you tried feeding them external audio?

1 Like
#205

well, kind of. I tried feeding it one of the harmonic oscillator outputs as well as feeding its own HP or SP outs. Sometimes gives nice distortion like sounds, and sometimes sounds meh :slight_smile:

#206

If I remember right the wildcard inputs only react if the signal is hot enough to pass a certain threshold. I recall putting squarewaves into it and getting really nice, aliasing and frequency modulation like sounds.

#207

Had a really enjoyable time with Radio Music > Erbe Verb > QPAS > Hyrlo this evening. The operant thing being: Mixing the LP, BP, and HP in stereo wasn’t something I had tried before, and if you haven’t tried it, I recommend it!

1 Like
#208

Oh man, I need a stereo mixer. I have a mono one now and then I got a QPAS and am… wanting a stereo mixer. You dig the Hyrlo?

1 Like