Hi fellow LP (and hopefully CP-251) users. I’ve been having a blast with this combo and it’s been nice adding to the already lovely feature set of the LP - but I’ve got one issue I can’t seem to alleviate. When patching the s&h to the filter CV in on the LP, I don’t seem to get the wide range of random fluctuation that I do on my other analog synths that feature it, such as a JP-6 or Odyssey. Those feature a much wider range of fluctuating values and consequently, a more wild sound.
I’ve tried various patching configurations that should boost or amplify the voltage to what I think should be a wide range, but it still seems to hover around a quite “tame” range. One of the main reasons I bought the CP-251 was for the s&h ability that was lacking in the LP - but that feature just isn’t as satisfying as I had expected.
Not to be coy here, but wait for the announcement at NAMM. Despite what has already ‘slipped out’ concerning new products, there are still some surprizes in store, and one of them addresses your issue.
While not totally wild:) I think I’ve had good results with the CP251 and Little Phatty doing S/H. of course any new fun gear to add is always welcome . I’ve found with the CP251 you get most of the rates and effects you can do on the Voyager… YTM(Your Tweaking May Vary)
If you haven’t try this config. On the Little Phatty play around with Cutoff and Res… and filter env.
On the CP251 take S/H1 out to input 1 on the Four Input Mixer
Take S/H out 2 to the lag “module” adjust rise and fall to taste take the output to input 2 of the Mixer.
Take the + output from the mixer to the multiple
Send one Mult to Attn1 then send it to the Filter CV on the LP
send another Mult to the other Attn and assign to pitch.
If you want some other fun spacy effects set the source on the LP LFO to pos saw and assign to pitch or filter or any other combos.
I haven’t recorded and posted any examples with this set up yet, but there are some similar ones that use the LP/CP/Ring Mod and MuRF up on MoogSpace.
Have fun
Brian
Thanks for the suggestion - but I just patched it according to your example (haven’t used the multi yet until now) and got the same lack of depth in terms of filter modulation. The best configuration I’ve found so far is to:
Send s&h output 1 to multiple-input.
Send all multiple outs to mixer inputs
Mixer + output directly to LP filter CV input
Use mixer master and offset knobs to tweak depth and range live. This is about as good as I can get it and it’s nearly there - deeper burbling definitely
Don’t get me wrong, the CP is very handy and quite good at what it’s supposed to do - I just seem to feel that it could go deeper - like an fast engine with a governer/limiter hobbling it.
By now, you’ve probably read the reports that the Little Phatty Stage Edition has new built-in Sample & Hold and Noise modulation sources. These new sources allow you get a wider range of modulation control than the S&H and Noise sources from the CP-251. To demonstrate what this wider range can sound like, I’ve posted a few audio examples on MoogSpace:
This post is very interesting to me. I think I know what you mean. I got a chance to briefly play an LP Stage Edition at Guitar Center. I tried modulating filter cutoff with S/H and I too was hoping it could sound more wide/wild. I don’t know if it’s the right term, but the overall excursion of the s/h was more narrow than I would have liked. What is the S/H sampling? Noise?
In the mid-1970’s I had a Minimoog and a Moog 1125 Sample and hold, pictured here. It’s been so long I don’t remember each of the controls, but I remember being able to shape the S/H to be very evenly stepped or patterned or random. How was this accomplished in the 1125? Also, the “excursion” could be very great.
Any insights about the LP’s S/H or S/H in general would be much appreciated.
of course any new fun gear to add is always welcome