You want a pretty filter? Go play somewhere else.

The Model 11 Evil Twin Bandpass Filter is the antithesis of the Model 12 Multimode. While it can be harnessed into calmer states, when left to itself it'll rip your ears, speakers and nerves to shreds.

Truly schizophrenic, the manual and VC controls of the 11 have been scaled a bit past normalcy and into its extremes. Picture a Moog 904-C after twelve cans of Monster. In short, you may want to keep the lights on while using it.

Discrete Component Core

Utilizing an all-discrete core comprising twice the vactrols found in the mellifluous Model 12, the Evil Twin's open architecture takes advantage of circuit nodes which would be buried inside op-amps of conventional filters: a capacitance-coupled Twin Feedback path which engages an aggressive yet stable distortion mode not available anywhere but the 11. Brought into the circuit via a switch, the Twin Feedback generates timbres normally reserved for tube-based distortion units

Full Voltage Control

The ET Bandpass is equipped with three inputs for external voltage control: Two for Center Frequency - one with bipolar attenuation and a second AC-coupled input geared for VCO's and other AC sources, along with a separate bipolar control input for Bandwidth.

VC Resonance

The Evil Twin has no dedicated VC input for Resonance. However it is easily achieved by VC'ing its Bandwidth, as the M11 will not go into high Q with a large band. Narrowing that via external control brings it's manual Resonance into high Q yielding same effect if an external controller were applied directly to the Resonance itself.

Dual Outputs

Both the 6dB and 12dB stages of the M11's state-variable core have been brought to the faceplate which when coupled by the Twin Feedback switch forges timbral pallets ranging between chaos and control, from nail-biting, gut wrenching rasp to Moog-like warmth.

Self Oscillating

The Evil Twin will self oscillate. The VC Inputs are not scaled to 1V/oct - they're actually hotter than that - nor was the 11 designed to track in this manner (this one sings like Yoko, not Celine).

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Sound Samples:

1) We'll start you off easy: 6dB output with medium bandwidth, low resonance. four beats without FM, four beats with a sine wave FM tuned a 5th below the input frequency, four again without, four again with. click

2) 12dB output with medium bandwidth, 2/3rds resonance - Twin Feedback not engaged and frequency swept by a Heisenberg's Smooth output: click. The identical patch with Twin Feedback engaged: click. The same patch again, this time with maximum resonance and NO SIGNAL INPUT with sine FM added click

3) A single Model 15 Sawtooth into the filter, with it's twin feedback engaged giving a good sonic example of the dual feedback path capabilities. Notice it's picking off two distinct frequencies simultaniously. NO DELAY was used in this patch. 12 dB example click. 6dB example click

4) Ripped bass line. A single M15 (saw and square output toggled by a M14 Crossfader controlled by a M24 Heisenberg Stepped Random voltage which is smoothed slightly by a M26 Slew). Crossfader output routed into the M11 Evil Twin set to 'twin' feedback, then through a M25 VCA which is fed into the M25 Waveshaper. The M15's Square Out is PWM'd by the M24 Heisenberg's Smooth Random output which is also panning via the prototype M18 Mixer/Panner. A second M26 Slew Limiter is used as an A/R envelope for the VCA and Waveshape VC. The prototype M21 Milton, which is direction-controlled by a second M24 Stepped Random voltage is used to control pitch (bank 1), M11 Freq (bank2) and M11 Bandwidth (bank 3). Pacing via an M28 Tap Clock. Shreaking sounds caused by manually switching the TWIN mode off on the M11. click Go here to see the patch

Model 11 demo track from REwire:

Model 25 Demo's from REWIRE:

1) REwire riffs:

With Twin Feedback engaged: sample 1. •. sample 2. and without: sample 3

2) Demo My Evil Twin (3:20) click.

via REwire: "This is a demo/song using the New Plan-B Model 11 Evil Twin Bandpass Filter. I used the Prototype version and ran just one or two oscs, drums and some vocals all through the filter (with a bit of Reverb and Delay in my DAW). It has a 6db and 12db output that I frequently panned left and right for stereo effects. I patched all sorts of LFO's, ENVs, Filter FM and hand control to twist every patch through the ringer. Can't say I've heard anything like this that wasn't coming out of a vacuum tube!"