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sorry guys, im in the middle of moving back to ohio, I can't give necessary time for a valid attempt

I think until the 7th for voting gives a good week for anyone that has trouble finding the time to sit down and really listen to the patches. And then I'm indifferent to either the 7th or 10th to the end of the month for the challenge.

There's also a great set of tutorials called "synth secrets" on the soundonsound site:

http://www.soundonsound.com/sos/allsynthsecrets.htm

Whose "okay" do we need in order to approve the extension for this challenge?

Haha axxim, well if the deadline is extended, and this competition stays "friendly," then I would consider having a go at making something to submit. But like X-trade, I've never used an R3 either. Pure Radias blood flows in these veins. That doesn't mean the restrictions would be a problem though.

Just for curiosity: are there unfriendly (or whatever) sound competitons too? Oh yes. Sometimes you get caught in some bad deals with people to whom you owe music and sound design patches. They bring you into a room where you can only hear soft murmuring as you've been blindfolded on the way for ...

I was actually thinking of looking into getting a Xio for something small and portable to mess with, but I may just have to save some more money up now.

I just found out there are friendly competitions on sound design?! When is this one going to finish? I want to vote this time around and see what everyone can come up with.

The good thing about lessons are it forces you to not only play music, but play things you may not have picked to play in the first place, thereby exposing yourself to different melodies and rhythms. I've been in a rut lately as far as self-compositions, so I've pulled out the sheet music and have ...

Haha X-trade, and thanks for the welcome. And vesa, what I really mean when "I want this and that" are all the different synthesis options various synthesizers and modules can give. Yes, I realize the radias is a WEALTH of possibilities, but it still can't do it all (and I by no means claim to have ...

Thanks guys, this all helps a lot. Much of the literature I've found talking about what frequencies were best used for basic tone or adding passing effects (such as using growl for the beginning of a brass sound) always gave it to me in Hz. So my reason for asking was basically to find out so I ...

Ah! The inverse! That makes sense now. Thank you axxim for the clarification. So in a sense the parallel filters are a glorified notch filter (or at least when running the oscs mixed together)? Timo, I'm highly visual in nature so that diagram was a good aid as I thought about the audio path and ...

I'm a tad confused how this module works. I can't follow how the same timbre flows through the two filters at the same time to produce a sound different from the serial filter configuration.

What types of sounds or tricks is the parallel filter best used for?

The one thing that has worked for me is trial and error. You make something up and play it over and over and then you get bored so you play something else over and over, and then sometimes you surprise yourself by coming up with a really nice progression or melody or rhythm.

Hello fellow Korgles, A quick introduction. The more I explore synthesizers, the more I love 'em. My main rig for now is a Korg Radias and a Nord Stage 88. Enough, I think, to get some great practice on creating sounds and all things SYNTHESIS as well as some weighted keys for traditional playing ...