@wrl I feel pretty much the same. They are a very satisfying thing to reach for if you want to dramatically change a sound in a pinch. Comb filters do have a "sound", and that sound does get fatiguing and boring quickly IMO.
banks of tuned comb filters can be pretty sweet (Paul Lansky's 'word color' is a personal favorite of mine).
@paul i will check out "word color".
yeah i'm experimenting with putting stuff in the comb filter feedback path – saturators, filters, etc, anything to make the sound a little less... i dunno, bland? trying to find a way to make it a bit spicier.
@wrl well, I've only seen this used in the context of reverbs. they usually use low-frequency signals like sinusoidal LFOs or random line generators to add a bit of jitter. in that context, it simulates a higher-order reverb and smooths out the metallic ringing.
there might be some fun in having an audio-rate signal (sine wave) be the modulation source. then you could get some really messed up FM.
@paul yeaaaah got it. i tried it with noise modulation and it was bad, i'll try like an audio rate LFO or something, that seems like it could be cool
@paul this is usually a move of mine but i have not done it yet. i was thinking about putting an lpf in the feedback path and having the cutoff modulated by the fb signal itself. might be cool
@wrl oooh nice. are you thinking about comb filter banks at all? those could yield some potentially interesting possibilities.
you can pretend comb filters are resonators (maybe with the help of some bandpass filters) and do some modal synthesis: https://csound.com/docs/manual/MiscModalFreq.html
or vowel sounds: http://csounds.com/manual/html/MiscFormants.html
@paul one of my ideas here involves MPE-controlled individual comb filters.
i will check these csound links as well.
The original server operated by the Mastodon gGmbH non-profit