Here are your rankings from Cybronica:
Read on for Cybronica's reviews!
This time around I listened to everything 4 times before sitting down to reviews. Loved the songs, interesting to see what themes kept popping up with this challenge - particularly the cyclical nature of life.
I want to clarify that in a few of these reviews I refer to Tonicization vs Modulation - to put it simply, both are traveling to a new key, but tonicization is a trip where you live out of your suitcase, and modulation is a trip where you unpack into the hotel’s closet and chest of drawers.
Stacking Theory - Sea Change
First impressions: Cool how you make “baby- baby- baby-” into the beat at the start, would have liked to hear more of that vox-turned-beat texture.
Orchestration, production, and performance: I like how you’ve put fuzz on the guitar that makes it sound a bit like the white noise of ocean waves. Paired with the pure tones on the arpeggiated guitar chords that sound like ripples, you really make the water theme apparent. You’ve matched the timbres across the song really well, from the buzzy drone down to the filter on the voice and the whispery vocal performance, but there’s something a little tooooo white noisy about the production. The whole thing is like a charcoal drawing that someone swept their hand across. A cool effect! But not my preference. It’s especially annoying to my ear when you give up on vocalizing the notes and just whisper the words. It sounds contrived. I will say, though, I love when you sing in harmony with yourself. It adds a lot of depth to the music.
Concept and Lyrics: Aside from the really cool water aesthetic based around a C/Sea/Key Change pun (love the pun!), there really isn’t any there there. Not getting a story, not a lot of poetical imagery, do like the came saw conquered line, but it feels like a cool idea poorly executed, lyric wise.
Challenge: Really love that descending line that takes us to the new key at sea change, and it does go back - the transition is smoothly done. Nice.
Mandrake - Chaotic Thought Process
First impressions and Concept: Oh, yet another song I feel viscerally. Not everyone is going to get this feeling, but IYKYK, you know? It can be so frustrating, standing there, paralyzed by an unexpected obstacle.
Orchestration: That shooty sound in the beat is cool. Also the way the synth lines curve down at the ends.
Production: I realize you dont have processing on your vocals, but the mic is doing unsavory stuff for you - I highly recommend going into the EQ for your vocal line and increasing the frequencies from 2k up, with an extra boost between 2k and 4k. That will really help with the whole deadened quality to the sound. A high pass filter (or low cut filter) on the master track of the whole song would also help brighten up the whole sound.
Lyrics: Not a lot in terms of poetry or imagery here. Even though the words really capture
Performance: You have a really good ear, and your vocal performance is good, but I think you could add more expressiveness to the vocal line. Right now it sounds as if you are going just for hit each note right, and that is creating a bit of a chop py, syl la bic per for mance that doesn’t allow for a through line of tone. Use your breath and support to keep the air moving between notes, especially on the longer held lines. This will also help with the pitchiness that happens in between the lead and backing vox.
Music and Challenge: LOVE the contrary motion you use in the vocal lines. It’s so uncommon to hear that in this kind of music, and I love the kaleidoscopic feeling it gives to the track. I’m also such a fan of the less well known modes youre using, but I dont think the chorus is phrygian… its a major third mode, not minor, but I’m not going to spend time figuring out which it is. Suffice it to say, you DO meet the challenge. To paraphrase Justice Potter Stewart, I know it when I hear it. The slide back into the original key is a bit heavy handed; felt like someone grabbed me by the shoulders and dragged me back to the room I just walked out of.
iveg - Kara Lost the Keys
First impressions: Loooove the vocal harmonies on the chorus
Production: Vocals are a little hot, and would benefit from a boost in the upper partials to alleviate the boominess and match the timbre to the brighter synths in the mix.
Concept: I like the “lost the key” pun a lot- its a clever way to build a song out of this key changing challenge. Are Kara’s band member’s hiding the keys from her? It kinda sounds like that’s what you’re doing, like, to get to her. Could be that this song is the band making fun of her for being a scatter brain and hiding shit to mess with her, or it’s a justifiable complaint about the disorganized member of the band who also tends to be overly dramatic… interesting how you could interpret it either way.
Lyrics: The ABAC rhymescheme in the verses is really unsatisfying, almost disoriented. Im gonna give the benefit of the doubt, and ask if that was on purpose? Like, she’s losing everything, and the disorientation is meant to give us that same feeling. I like the “na na na na” in the bridge, it emphasizes school yard bullying from the band mates, I just would have personally pronounced it more “nyah nyah nyah” than “nuh nuh nuh,” but that’s splitting hairs
Challenge: I think I’m following the key changes in your song bio, but the notes on the choruses confuse me a little. The main thing is, you are in g in the first verse, move away from it, and then comeback to it. I like how the return to G isn’t just the next verse- the fact that the keys are different in the different sections adds to the feeling of, “Wait, where did I leave that thing I just had?” It’s effecting text painting in the music.
Glennny - No Fool At All
First impressions: I like the sound of this song a lot. It’s a little dreamy, a little easy listening, a jaunty ditty, but the music and the song feels like it would lend itself very well to a harder sound. The guitar solo hints at that tighter, darker, darker edge sound. This song floats around in a pastel cloudscape, but longs for a night palette of jewel tones. Also, the end is very abrupt. Unless the narrator dies at the end, I would like it to ring more.
Orchestration: The mandolin is an interesting choice. I really like the song, but its jolly sound is I think part of what makes the soundscape sound mismatched to the content of the song.
Production: I dont mind the processing on the backing vox because it makes a very specific texture, but on the lead vox its too much. We lose so much of the actual sound of your voice (which I know sound really good); I would like to hear more you.
Concept and lyrics: Beautiful story, heartbreaking. I like how Mike’s perspective morphs throughout the verses as the infirmity gets worse. You’ve crafted the story well, and the words around it flow really nicely. Good use of repetition both for emphasis, and in the story telling; it’s like those moments are him trying to convince himself of the reality he’s experiencing.
Challenge: Met, thank you for writing the changes out so clearly!
Cavedwellers - Don't Take It Lightly
First impressions and orchestration: Getting major Raffi/Raining like Magic vibes from this song. The brass and bouncy fun bass line are giving ska. This music is bright and fun! Then the chorus gets a little dark, but still has that jaunty feel to it. God those call backs on “you take a life” the first time around are soooo delicious. I realize later on you dont bring them back right away so you can have adding them in be the *moment*, but it leaves something to be desired that way. I would leave the call backs in and then add another layer to shake it up when you repeat that section.
Concept: The circle of life and death- seems like an address directly to god, asking that human lives not be fodder but be considered in the grand plan? That’s what I’m getting from it, at least.
Lyrics: Love how you invert the verse lyrics from white/wedding to black/funeral. Its a really nice way to turn the phrases. The bridge feels like its mostly filler words to string together the [ərd] sound. I acknowledge and appreciate once again inverting the meaning of the lines for “Freedom is…” but its not as elegantly done as in the verses, and similarly “Eden’s Bastards” is a bit clunky. I think this would have benefited from further workshopping.
Challenge: Met, thank you for writing the changes out so clearly! I think we need a pivot chord between the sections. The changes each feel a bit abrupt.
Phlub - In Memory
First impressions and challenge: Oooh spooky mandolin. That one to flat two motion in the verses is SO COOL. What a wild progression ride! This was one of the coolest songs harmonically, and while I could could split some hairs about the difference between modulation and tonicization in the choruses, you start off in D and come back to it in the end after all your chordal shenanigans, so that def a pass.
Orchestration: Again, spooky mandolin!! Its a simple arrangement and orchestration with the mando/guitar/bass/hand perc, but its done well, gets the point across. Actually, really love that build into bringing in the shaker. Great payoff with such an often overlooked instrument.
Concept and Lyrics: I would not have gotten that this is about loss if I hadn’t read the bio. I do really like the lyrics. They are not particularly poetical from a phonemic stance, but the IMAGERY you use - it’s so good. So vivid, so evocative, and I feel like it takes me through a story, even if I can’t follow the plot.
Performance: I’m loving this phase of phlub with a clear singin voice. You sound great.
Siebass - Turn the Key
First impressions music: You win this round’s “Fastest song to Get cybro to sing along” prize, as I was singing along by the second chorus my first listen through. A catchy song! I love a singable song. That little minor tonicization in the prechorus is so so soooo good. I know you said chord changes arent your thing, but that little change up creates a huge amount of depth. Really well done.
Concept: Nice concept, no notes. I think you did a good job incorporating the UP story without completely stealing it.
Lyrics: You do some cool things here, particularly how you mess with the meanings of specific words depending on context (handle, the choruses, etc). I think connected to that is your use of repetition; I’m particularly thinking of “savor,” which really treads the line between poetic reinforcement and overly repetitive. I’ll give it to you, but be aware that while you have really good instincts, the lyrics could use some more polish. That will come with practice, though, so youre on the right track!
Performance: You put sooooo much weight on your voice, and it makes you sound a little whiney and makes your tuning go a bit haywire. You’re supporting with your throat muscles instead of with your breath, and long term that can cause damage, so I really encourage adding some breathing exercises into your routine to get a more consistent tone. You can still have the sound youre going for this way, it just will help your voice last into your 80s Challenge: Met
The Pannacotta Army - No For An Answer
First impressions: Major Simon and Garfunkel vibes here, which I’m digging.
Orchestration and production: Love that plinky synth that comes in as a call back in the second verse in my right ear. It’s a lovely precursor that pulls us into the chorus where it does more to fill out the texture. Ooh, and then is it back with… more reverb in the last verse? That’s a cool effect. I’ll have to stick it in my back pocket. This is a pleasant, light, easy listen.
Concept: Another song from the perspective of my ex husband! Lol just kidding. This is beautiful song of heartbreak, and I think you did a great job of capturing the ambivalent sense of ennui that comes when you are still emotionally involved but its still past time to let go. I just want to walk up to the narrator, give them a hug and say, “It’s time to move on. You’ll be better for it in the end”
Lyrics: There’s not a consistent rhythm in the lyrics themselves, but read on the page AND heard sung, they have a smooth flow, which is helped along by your use of rhyme and assonance. For ex, ‘answer’ and “chance I’ll” dont rhyme, but you make them work. I think its the relaxed calm of the over all vibe that lets us relax and just enjoy the phonemic ride you have us on.
Performance: Beautiful. No notes.
Challenge: Met. I like the transition into the couplet modulations. It’s very brief, almost just a tonicization, but I’ll take it. Just, that moment when we get there, with the cymbal coming in, its like a starburst transition, so very visual in my synesthetic mind. It’s bombastic in a subdued sort of way, perfectly in keeping with the aesthetic of this song.
Tunes By LJ - Modulate Me
First impressions, Concept, and lyrics: I really like the idea of this song, but if you’re going to go for the pun, please commit! You make mention of sinking/swimming, and even sanding in the second verse, but (in the words of Ariel), who cares, no big deal, I want mooooooooore- I’d love a line about being at the ocean/on the shore. You have two parts to this lyric- the concrete story of getting away from it all, and then the metaphorical bit about stepping outside your comfort zone. All your ocean related vocab is in the metaphorical state, and to really tie it all together, i want even just one line about it in the concrete story. Particularly because the ocean is on opposite side of the story between the concrete and the metaphorical: The sea is something new to explore, while the C is the comfort zone. This juxtaposition is so good, but you really gotta commit!
Challenge: Met. I was almost going to say the change is more of a tonicization than a modulation, but I think it lasts long enough to count FWIW, I think you dont go back to C until the verses. “Modulate me back to safety/And let the C reclaim me” still feels like its in the new key. At most may its the transition material. Oh, nice transitions btw! Very smooth.
Sober - The First Will Be The Last
First impressions and music: This song is so invigorating! I love your transitions between sections, especially how it each is different, and it SOUNDS like each one is just a little turn that keeps us in the same key, but then we get that planing chord progression into the new… It’s like doing a dance, and your partner is pulling you into each section with an expert hand, making sure youre right where you need to be.
Lyrics and concept: I love how you weave in biblical language without making this a religious song. It’s giving this song a particularly 20th century Middle-Americana vibe, like Copeland’s The Tender Land. I’m intrigued by your use of rhyming words with themselves (last, foretold, all). It feels purposeful, like another nod to the cyclical nature of life you’re singing about here. I’m really liking it.
Performance: I really like how organically you go from the lower reaches of your voice into the highest by the end. It’s very smooth, and you do a great job letting the quality and comfort of your voice in each part of your range drive the energy of the song. It’s like you took the accelerando of klezmer music and did that with key changes instead of tempo. A+
Challenge: There are a couple song that have this take on the challenge, essentially going through a series of chord changes that even bring us back to the top, and I think yours is my favorite execution of this method. Outlining a chord with the key changes is very Wagner’s Tristan chord, and I’m here for it. The whole way you put together the song gives it a great build. Love it!
GFS - Ready
First impressions and concept: Very Musical Theater (complementary), like the “i want” song right before the hero goes and has their journey. I find it interesting that you decided to return to the Ab at the end of the song. In my mind, that portends a sad ending for our hero, indicating that despite all their struggles, they will end up right back where they started at the beginning of the show. :(
Orchestration and Production: The piano is gorgeous, and I’m glad you ended up adding a little extra production, cause it really makes the song come alive. Love the hard panned pulses in my ears, the gated snare, the whistley synth, the reverby guitar chords, that backwards synth right at the end… It’s really well done.
Performance: Brava on the piano. I’m so impressed by people who can play piano well and in one take… I took over a decade of piano lessons and still my piano lines are all in tiny sections with lots of takes lol.
Challenge: Met.
The Dutch Widows - A Moderate Alligator
First impressions and concept: What a fun idea. Feels very 20th century scifi magazine short story. There’s something here, but I’m missing the connecting tissue on the story. Why is this for human kind? Wouldn’t it be for you, really? It’s almost Kafka meets roid rage… I’d love to read the fleshed out novella.
Orchestration: That texture on the outro is so nice. Is… is that an english horn?? How unexpected! Delightful!
Lyrics: You use a lot of, as my SAT prep course would call them, $5 words, and I find them delightful in my listens of hearing these interesting words I don’t usually find in songs, but I’m having trouble stringing these tasty popcorn balls together. Again, I think its related to the story wanting to be more fleshed out. I will say, better to be full of interesting words rather than uninteresting words.
Challenge: Met
Ominous Ride - Drift Asunder
First impressions: I like non verse/chorus form of this, just free flowing poetry. It’s very floaty, jam band of a song, and I like it, but the flange effect on the [bass? Rhythm guitar?] is tiring to the ear. I’d like that either lower in the mix or to come in and out a bit in the orchestration.
Production: This is mixed really low. I think all the vocals could actually be a bit louder in the mix, as well as that melodic guitar line. This is especially true in that bit before the last stanza, in which it is almost impossible to hear those vox, and in the final instrumental section, where the guitar gets lost, and its so nicely played I want to hear more of it.
Concept and Lyrics: I think you certainly got what youre going for, and it ends up coming across as something like whitman. Def have that head cold fog feeling right
Challenge: Met
chewmeupspitmeout - you don't belong to me
First impressions and performance: Your singing is so undersupported that enunciation is lost and tuning is often out the window. Your doubled vocals are together, so youre consistent, but its consistently falling flat. More breath worth, make sure sure your drive the fore of your voice with your air, not with the throat. I’m pressing on this point because I think this song would really shine if it wasn’t held back by your relaxed-to-the-point-of-falling-asleep vocal take.
Orchestration: A lot of preprogrammed synths, and while I am def NOT one to shy away from those, this song feels like a lot of ‘turn it on/turn it off,’ as opposed to really thinking about what sounds you are choosing and purposefully piecing them together.
Concept and Lyrics: I like this concept, and I really like how you set up the lyrics the space language that really sews together the AI and futuristic scifi concept of the song. Then you bring it back to the grounded humans with the the last verse… I think the kite to story arc stanza is one of my favorite piece of lyric in the fight.
Challenge: Met
Hot Pink Halo - Shape Shifter
First impressions lyrics and concept: I love how you weave crafting vocab into your songs, and this one is no exception! The juxtaposition of vibrant imagery in the verses and standard rock vocab in the choruses is really nice, especially with the Sh SH SH - having that contract brings out the best of both kinds of lyrics.
Orchestration and performance: This wants to be a big hard punk song, and you get very close in the chorus! I just find the whispery vox in the verses not quite the right fit. Not sure if it’s just too low in your voice, or if you don’t really connect to your chest voice in the verses - I think its a mix of both, which is why the choruses are so rocking, especially as you keeping modulating up. You cant go that high without locking into your breath and getting a little power from the chest voice in there. Try and bring that feeling into your low voice.
Challenge: Met, love the endless mods at the end.
The Popped Hearts - Hey Jane
First impressions and lyrics: you know the way to my heart, and that is classic arcade games and puns. Loving how you weave the Easter eggs into the lyrics here, particularly “my Space you chose to Invade” and “wakka wakka wakka wakka walking back.” My main issue is that this song is too short. It’s leaving something to be desired, and not in the way I desire. All around, it’s a really good demo of an unfinished song, and I’d like to get that last verse in about how these two kids grew up and apart and how they found their wakka way back to each other, for good or for ill.
Orchestration: great use of synths to get that arcade sound happening, and loving the sound effects that punctuate the lyrics. I think the “hey jane”s need a Little something more to differentiate them from the lead vocal than just the panning. I think maybe triple tracked with a chorus effect would make it sound more like a good natured crowd than a single desperate plea.
Concept: really cute meet cute. This song could play between the levels of Ms. Pacman
Performance: your singing is a bit pitchy, and that is the main drawback in this song. You sound like you’re just really unsure of the melody, or maybe how to get the notes of the melody into your voice. You hide it with the speak sing style, but the voice is sliding around for the pitch like a plug finding the outlet. Practice the song some more, get a bit more confident, and then do another take. Maybe play the melody in another instrument so you have the guide in your ear. If you had the lead voice a bit more tuneful, that would make the shouted “hey Jane”s more distinct and then you might not even need to triple track them.
Challenge: met
nightingale's fiddle - Chicago
First impressions and production: I appreciate the adjusted recording set up- still recommend having a pretty heavy compression and gain boost on the full master track because you have some dramatic dynamic swings, which both made it hard to hear some parts and blew my ears out at the chorus and the high points of the verses.
Orchestration: beautiful playing, love the Gal and Harp.
Concept: I looked it up and damn that is an expensive collection of samples. I’d be mad too! I love how your channeled this anger into the song, and appreciate the warning next time I head to the Windy City.
Lyrics: you certainly got the whole story in there, but I’m missing poetry from the lyrics. They aren’t particularly rhythmic or melodic on the page, and unfortunately they dont sound like they were written to fit the music, cause the declamation still gets a little awkward at times (“you’re such a fucking asshole” in particular).
Performance: Your playing is beautiful and you have a lovely voice, but there are times when it is clear you are pausing because you need to get your fingers in place (or maybe you’re adjusting the pedals?) and it disrupts the flow. This could be hidden by your vocal line if you held the note with a bit of a crescendo, moving into the next section, that way we might hear it as a fernata. As it is though, your voice falls away and we can practically hear you thinking about the adjustments you’re making in your instrument. I realize you’re play and singing at once, something I do not claim to be able to do, but practice a bit more, and this could be a winner. But it needs to be faster, cause at the moment it drags a bit.
Challenge: met
Jealous Brother - Time Has Its Orders
First impressions: I really like this vibe. The little harmonic turn in the chorus is neat.
Orchestration: love your use of several guitar sounds layered on each other to get so many different colors in the music. Andd…. Is that an accordion? No, it’s another guitar line! Very cool.
Concept: not sure what this about - a dysfunctional couple? American politics? A toxic lack of communication in some relationship? Unclear. Would have liked that in the bio. As it is, I’m vibing even if I don’t know why.
Performance: the way you sing the chorus makes it sound soooo much more profound than when I read them on the page. Great work there.
Challenge: met. I am judging in part based on your explanation cause if you didn’t spell it out it would have taken me a month to do a harmonic analysis of all these songs lol. But worry not- I was able to follow, and it tracks with what I’m hearing. I do really love that dreamy thing you’re doing in the bridge. Gives me space oddity vibes in an otherwise old style country song. It’s a really nice change up.
Brain Weasels - Intervention
First impressions and production: The first verse vox (and final line) on this song are holding it back, and its specifically the way they are mixed. They are drier than the rest of the track, and sit a little too loud. It makes you sound younger/greener than you are. I know this because the stuff you did vox on the prechorus, chorus, backing vox, second verse, etc let them blend in perfectly. The doubled vox in particular nestled right as rain into the mix. The reason why it being the first verse is such an issue is that it sets up our expectations for the whole thing. You want to make a good first impression, and this song didn’t, unfortunately. Fix the levels on the voice, and this song will really shine. Another note: the song seems to drag on a bit. Do we need aaaaall these repeated sections? I think some editing there would have really helped out.
Concept and performance: “Just another way to say I'm sad“ is such a great sentiment, and I love how you’ve built the song out from there. You really sing the shit of this song, really carrying the emotional range of the situation. You’ve clincked into something that others sometimes struggle to understand: if you are worrying about the notes or how you sound, that trepidation will be in the voice, and no amount of editing can fix it. If, however, you sing with conviction, the voice will be supported and youre less likely to lose their air under you, AND even if you do fuck up the notes or the rhythm, that can be fixed in post.
Challenge: Met
Jim Tyrrell - The Fall
First impressions, production, and orchestration: Every time this song came on, I was like, oh hell yeah!! And then something would feel off. This song is so close to being it, but your vox have waaaaaaaaaay too much processing on them. It’s distracting and unpleasant, like looking at the mona lisa but her face is pixelated. You’ve got a cool timbre and do fun swoopy things with your singing, but all that is washed away by the auto tune (the little turn at the end of the chorus is almost not there at all!). The epic sandcastle becomes a pile of mud in the tide. It’s especially jarring since your ensemble is meant to have this live big band sound, and the over processed vocals completely clash with that. As I was listening closely to to vox, I then realized that the instruments sound pretty disjointed, too. In their case, they dont sound like they were all recorded in the same room. Check your reverbs and filters match between the instrumental groups. In particular I hear this between the piano and percussion.
Concept: A relationship headed towards an end. Tried and true song fodder.
Music: Love the bup bup bups toward the end. For some reason, that really give me Katamari Damacy nostalgia, and I love that sound track.
Challenge: Met
Pigfarmer Jr - Say Goodbye To The River
First impressions: </3 So sorry about your mother. This song is a beautiful tribute.
Orchestration and Production: Something I’ve noticed in your songs is that the vox don't always nestle into the mix. I can’t tell if its that they are too loud, or there is not enough reverb to match the rest of the instruments, or maybe its that you have a really heavy low cut filter on them? I know you have a lovely tenor voice, but even so, I think there’s a boominess missing that makes it float above the rest of the track (usually the reverse is the issue, so go figure!). If its not a low cut doing it, maybe play around with adding in another instrument with a higher range, so the tessitura of the whole ensemble is filled out a bit more.
Concept: Beautiful. No notes.
Lyrics: You say a lot in very few words. It’s very effective the way you have the central metaphor of the river, and all of your imagery flows (pun intended) from that visual.
Challenge: Your chord progression in the A# section is really beautiful.
Governing Dynamics - Where's The Fire
First impressions, Lyrics, and concept: You have a loooooot of images in this song, and while I really like how you say them, its getting to the point of to many cooks in the kitchen. We have: Thunderstorms, a movie script, a fire, climate change, poison, light, and the concrete jungle. None of these are connected; even vignettes have a unifying theme, but these dont. As a result, not really sure what this song is about. You think your partner is blowing things out of proportion? Maybe? A lot of things are said, but nothing is communicated here.
Orchestration: Really well put together ensemble, with well unified timbres. Love that big bassy tone in the solo. Its really exciting as that whole section builds toward the solo, and then the guitar comes in! I think, while it does a lot to unify the timbre, we could pull back the fuzz on everything by about 10%. As it is, there’s a lot of collateral white noise on the track.
Performance: Re: fuzz on everything/white noise, I’m not wild about the whispery affect on your singing voice. It ends up making things sound really strained as you reach for the highest or most climactic points and undercuts the moments. I also would like you take another look at your declamation. There’s a couple spots (“Never did quite figure you out, though / And I'm left wondering” to name one) where the word dont fit in the line and you end up tripping over them.
Challenge: Met
Shadows:
Jon Porobil feat. Cybronica - Couches (SHADOW)
Jon gets all the credit for this song, I just had fun hanging out on the couches. As I was singing, the music he’d written started demanding extra harmonic lines, so i jammed out on the backing vox. Its a groovy song and i can’t help but dance it comes on - literally I’m dancing in my seat right now. If I could go back, I’d like like to tweak some of my tuning cause I boarder on sharp a few times throughout the song.
▷ - Bottles (SHADOW)
Hahaha what a fun song. Love the chip tune sounds; they are ear candy to me. The song overall and the vox especially need more upper partials. Please boost 2k+ hz. You could also boost the EQ over all and then put in a high pass filter.
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