I have to agree with @ears even though I don’t own a QPAS yet, it’s rather apparent that it’s very very different to the Serge Resonant EQ which I’m very familiar with ever since it appeared in Eurorack format. I can’t recommend it enough for various reasons which are outside the scope of this thread.
One rather striking distinction is that the QPAS does not resonate although you can ping and ring it. The Serge sings in a feedback system!
I own none of those and you seem to have your answer, but I think you could probably get something like a smaller fixed filterbank from QPAS if you run the same audio through both channels and then mix all eight outputs?
Or perhaps from the Intellijel Korg/Morg-asmatron. Dual filter rather than quad, but resonant, 6 varieties of filters for each filter, FM inputs, tracks v/oct.
Having only spent one long extended session with it, my first impression is that it’s suprisingly difficult to make it not “sound like QPAS”. No value judgement there; I like the QPAS sound, but you really have to mind that Q or it’s very specific character will be there. I’d say that’s one argument for Sisters over QPAS, if you had to pick one. Sisters has some color, but it doesn’t demand you notice it. QPAS very much wants to come out and play.
(only mono sadly - also Freq1 is being fed a stepped random) I found the results of feeding a channel of Just Friends into Q while filtering the mix output really satisfying. I’m also interested in playing with using the two inputs for independent voices, which I just started playing with.
I found the wildcard inputs to be trickier to find interesting signals for. Still experimenting there. Tiggers weren’t really noticeable. LFO’s certainly do the job. Drum sounds are probably my favorite thing thus far. Anyone have any particularly pleasing discoveries there?
I agree. Especially for the lowpass output I prefer either very low Q, or very high if I’m going for a specific thing.
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.
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
Hi there! my first post here.
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!
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.
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.
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.
Wow, looks fun. I will sure try that. Thanks!
Btw what do you mean with
maybe you meant
COLD MAC LEFT OUT?
Yes! I’ll correct that!
I misread “COLD MAC LEFT OUT” as a tabloid-style headline describing institutionalized Cold Mac neglect. I was momentarily very sad!
Someone left Cold Mac out… in the rain…
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!