Ethereal High Pass
This ethereal high-pass pad is sampled from my modular system (http://www.stevepur.com/music/synths/). This is a monophonic stereo patch, turned into polyphonic wonderfulness in Kontakt! It’s a rich, thin, colorful sound that adds ethereal air.
I was inspired by my time with an ARP 2500 back in the ’70s. I fell in love with the colorful high-pass sound of the 1074 filter and have been looking for that ever since. Last year I got the Euro CMS Module 1074 filter and found that sound again!
For this patch I combined it with a very rare custom-built SSM2040 VCF that gives high and low pass outputs from the SSM2040 analog 4-pole ladder filter chip. This filter was built in MOTM format by O. Z. Hall using a PCB from Mad Science Lab (https://web.archive.org/web/20180808133559/http://www.madsciencelab.com/Archives/SSM1.html) that OZ modified to enable the high pass modes (see https://web.archive.org/web/20190101051345/http://www.madsciencelab.com/Archives/SSM2040VCF.html).
– 4 VCOs: 2 MOTM 300s and 2 MOTM 310s mixed to mono
– VCOs go into the CMS Module 1074 at medium resonance, with the variable out set to high pass, and the notch out going to the SSM2040 in high pass mode.
– The 1047 and SSM2040 outputs are going into a mixer with moderate stereo separation.
– Both filter cutoffs controlled by an MOTM 800 envelope generator, negative output.
Sampled dry using Logic Auto Sampler, with one velocity layer and three round-robins, sampled every three semitones. EtherealHighPassOneShot is the basic sound with a 20-second sustain, and etherealHighPassLooping is the same with looping sustain. Different notes have different loop points for a rich sound.
This is my first sample set. I hope you enjoy it!
Leave a review to let others know what you thought of the instrument!
Add some fizz and sparkle to your project
I’ll most likely use this instrument in a layered fashion, probably to glue together one or more pad sounds, to create something a little unusual – better yet, unidentifiable – because what it’s really good at is adding fizz and sparkle to a mix. I found it especially easy to blend with other sounds and it has plenty of cut-through so it doesn’t just disappear in a ‘busy’ mix, which is often a problem with delicate, shimmering effects. Steve has created something more than a little bit different.