Ensoniq Corporation Transoniq Hacker Archive Issue #148 Th 148
Ensoniq Corporation Transoniq Hacker Archive Issue #148 th_148 Ensoniq Corporation - Transoniq Hacker Archive - Issue #148
User Manual: Ensoniq Corporation Transoniq Hacker Archive Issue #148 Ensoniq Corporation - Transoniq Hacker Archive - Issue #148
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F
The Independent News
Magazine for Ensontq Users
MR Patch: TineDrectm
Robby Barman
-
It.---n'IJ'|¢£
TineDream is an ethereal three-layer
electric-piano-+ based sound I created
on my MR-Rack. its ethereality (call
the word policeli) is based on a
synth wave that floats behind the
main electric piano tone. The synth
wave is tuned upward by a fifth, so
this sound is best played a couple of
notes at a time (playing two-handed
chords requires a more harrnonieally
open mind than rests atop my
knotted shoulders.) In addition to the
electric piano and synth components,
I've added in a touch of glockenspiel
for a slightly err aggerated, but pretty,
tine effect.
It all started, as I dimly recall, with
one of the factory electric pianos. I
lopped off everything but a single
ISSUE NUMBER 143. $2.50
layer, which is Layer 1 in TineDream. I softened the response of the
wave to reward a tender touch, since
I was" after something dreamy to
soothe my tired noggin and help
summon the Muse. For the same
reason, I set the wave to pan back
and forth in stereo using a nice, soft
sine-wave LFO. (I'm getting sleepy
just thinking about it.) Though I set
up the glockenspiel to pan together
with the electric piano, I programmed the synth wave to pan as a
result of the application of smoothed
noise. The effect is similar to what I
did with the LFUs, but not ettactly
the same. My intent was to get
everything softly swintrning around,
but to create some conflicting motion
with the synth wave. Being a headphone user, I find stereo panning effects like this to be quite enjoyable.
Oh, about the LFOs: I set them to
normal mode, but if you're sequencing, you can set them to one of the
values that synchronizes them to the
tempo of your sequence -- you can
get things swinging hither and yon in
time, if you like. I wasn't sequencing
with this sound. In any event, Pm
kinda fond of the little accidents that
Articles:
MR Patch: TineDreant
Robby Bernutn .................................. .. cover
Play That Sound Card!
'
Duane Frybarger ....................................... 4
Ensequencing - Part T: Step Editing
Incl: Stephen Tc-tin ..................................... 5
"Vintage Synths - ESQISQ-EU
Boosting Bass and Treble
Kiri: Siinlcnrd
‘I
Memory Management in the ASH
PotF:'nnigrtn .......................................... .. ll]
Reviews:
Basement Tapes: Roshan & Shivani
Stave Vincaru ......................................... .. I3
Regulor Stuff:
Random Notes ........................................... 3
Hacker Reinitialiaation
SQfl(St'KTt"E-Prime -— Effect Algorithms
Clark Salisbury .................................. .. I5
Classifieds ............................................. .. 13
Trattsortiq-Net .......................................... 13
The Interface
I9
Current 0.5.
2'?
Hacker Booteeq ....................................... 31
OCTOBER, 1997
»
occur when everything isn’t tightly synchronized.The
LPOs are also used for vibrato here — which should
only be gently applied -- and I left the synth wave's
LFO tmtriggering in artother attempt at randomness as
the vibrates of the first two layers and the third argue a
little when the mod wheel is subtly raised.The trick of
tuning a single wave up a fifth is not a new one, but can
produce sounds that are inherently interesting, especially when the fifth is played by a different teature than the
basic note. Other intervals work well also, particularly
fourths and siaths. One other programming note worth
mentioning: When adding a bell tone such as the glockenspiel, it‘s not a bad idea to scale its volume as you get
lower on the keyboard. What’s tinkly on top can easily
turn nasty on the bottom.
MR Stondcrrd Sound Fetch Sheet:
Pitch Parameters
I
2
3
KeyTrack
PitehThl
Off
PitchTbl
Off
Pfitcl1T|:t1
Off
D
U
U
D
D
ID
I
Keyboard
FM EPHO A
Forward
U
Off
2
Tuned-Perc
3
Off
Off
Off
I
2
3
I
3LP,t' ILP
On
1
Off
2
2l..Pt'1HP'
Off
2
Off
3
l
C-'-‘I
E9
#5
1
Off
TtneDre-om
And with that memorable aphorism hanging in the
ilII'.... —
Pitch Mod
Mod Amt
Mod Range
Robby Barman
Envl Amt
LFO Amt
Strand Parameters
Layers in Sound
Bend Down
Bend Up
Restrilte Limit
Pitch Table
Held PBend
Sound Category
Demo Sound?
User Sound‘?
Sound Bank #
Sound Patch #
Use MIDI Chan
Use Handshake?
On
1
Select Parameters
‘ltolume {dB}
Pan
I
Semi Tune
Fine Tune
Trigger On
Low Key
High Key
‘rel lo
‘Val hi
snag,
fl
Keydown
At]
CS
D
12‘?
Off
Trigger Ctrl
Ctrl Low
Otrl High
Glide
Glide Time
‘Juice
Bend
Sustain
Keyflrp
Layer Delay
Wave Class
Wave Name
Direction
Start Ind es.
Wave lvlod
‘Wave Mod Amt
Shift Mode
Shift Amourtt
Envelope I Parameters
l
Yes {live}
Edit Contest Parameters I
Edit Layer
Enable
Use Lyr
Wave Parameters
3
2 down
2 up
Default
EqualTemper
Off
PNOLYR-E
Off
On
1
l 27
Time 1
Time 2
Time 3
Z
On
2
2
-st
3
On
3
Time 5
Level 1
Level 2
Level 3
Level 4
3
ll
I-{eydown
All
CS
El
12’?
Off
-Jfiéh
fl
Keydown
All
CS
ll
12'?Off
Off
Off
Off
Poly
On
On
Off
ll
Poly
On
On
Off
PolyP
On
O
U
ES
Time 4
On
Off
-1
-1
-i
i
1
‘i
i
-i
1
Filter Parameters
Mode
Flt 1+2 Link
Filter 1 Parameters
FCI Mod
Ftll Mod Amt
KeyTraelt
l{eyT Erealspoint
FC1
Env2 Amt
Filter 2 Parameters
FC2 Mod
FC2 lsiod Amt
D
Off
i
Attack Vel
‘Val Curve
Waveform
Analog Pt’? E
Forward
-
Level ‘Val
Key Scale
Release Mod Amt
Env Ivlode
Glocltenspiel
Forward
U
Off
jl
1
1
1
SLPIILP
Off
3
Off
-1-
B1
TE
2
Off
l
C4
£2
56
3
Off
If,eyTraclt
KeyT Brealrpoint
PO2
Bnv2 Amt
1
O4
127
ll
Enveinpe 2 Parameters
2
Time l
Time 2
Time 3
D
22
115
37
2i]
12'!
115
93
Timehase
Rate
Normal
23
Depth
Delay
Phase
Depth Mod
Depth lvlod Amt
Rate lvlud
Rate Mud Amt
125
O
O
Modllfhl
12'?
Off
-
Time 4
Time 5
Level l
Level 2
Level 3
Level 4
Level ‘fol
Attack ‘Jel
1
Off
4D
33
,
‘-D
Key Scale
U"t._|- HI-*Ci:flLs-is-J‘:
$395‘-*~D'-*l‘P-*Lflb-JI* G|'-l
‘GE!’-lfl
ISE1!-tl.-flI-l 3s'"2-J1I’‘I-Ii
-J
Release Mod Amt
Env Mode
Val Curve
ll
Linear
fl
Normal
Linear
fl
Numtal
Linear
Amp Parameters
I
2'
Amp Mod
Amp lvlod Amt
Pan Mod
Pan Mod Amt
Rulloff Mode
Slope (dB,t'uct}
Key
Noise Rate
Noise Sync
Off
‘Jelocity
‘T
LFO
SD
Off
3
Off
Normal
LFO
SO
Off
64
Normal
64
Normal
Smooth
Ell
Off
64
Normal
Envelope 3 Parameters
Time l
Time 2
Time 3
Time 4
Time 5
Level l
Level 2
Level 3
Level 4
Level lfel
Attack ‘iiel
I‘- l"—*C'-lib-I -Iiflfl
flfit-'l"=" "
ll
121'
120
SO
4
SO
ll
55
20
12’?
121
toe
l
45
U
Key Scale
Release Mud Amt
Env lvlude
‘lfel Chtrve
U
U
Normal
Linear
3
ll
Normal
Linear
fl
ll
Normal
Linear
LFO Parameters
I
LFO Shape
Retrigger
Sine
On
2
Sine
On
Normal
23
12'?
tl
it
Modlhtbl
121
Off
3
Triangle
Off
Normal
65
ll
U
tl
sraavna
121
Off
Efieel Parameters
Alt FX Bus
Send Insert FX?
Input Mitt
Insert Che lviir
Insert Rvb Amount
Insert FX Name
Default
On
5’?
U
fl
Phaser-Rev
Insert Efiect Settings: Phaser-Rev
Input lvli:t=44.4'¥a wet
GluhalReverb amount=[l
Global Cltutus=Ft1l.l Dry
LFO Rate=El.3Ha
LFO Shape=Sine
Phaser Depth='l'i]
Phaser Center=52
Notch Depth=l [lll%
Mod Stc=Off
Feedback=-46%
Rev !vIi1=22.D% wet
Deeay=2.1 sec
HF Damping='?.l]ltHz
I-IF Bandwidth=l5.6kHz
Diffusion l=4l
Diffusion %9l
Dcf'tnitiun=-43
Bio: Robby Barman is (altogether now) a rnnsicton
living in New York’ s scenic mid-Hudson Volley, where
the big news these days is the arrival of two new kittens.‘
the 23-toad Mia, and the rninci-boggiingiy cure Perseus.
=a=ae=a n =“
His latest aibnm is, aw, the heck with it.
RND (nu)
Our Transoniq Hacker web site address has changed to:
httptiiwn=w,transuniq.com. (You no longer need the
trailing ,'-trnsuniq.) The old address will work for a
while, but you should probably update your bookmarks.
SDP-1, ESQ-1, SQ-80, and EPS. We've asked for a little elaboration on the tenn “technical support" so we'll
know what’s included and what's not included. We
should have more info neat month. Meanwhile, Ensoniq
is looking for other resources to support users of these
older synths. If you know of any possibilities please
contact either us or Ensuniq.
Ensoniq tells us that they are no longer offering technical support fur a few older products such as the Mirage,
Ensoniq will be showing Paris and the ASR-X at the upcoming AES show (Oct. 1). More info to follow...
Hacker News
Ploy that Sound Cord!
Dnone Frybarger
One day as I logged on to my email account, I
received a message from an email pal in Toronto,
Canada. She told me that she was at a really cool website that was playing a MIDI file on her computer. She
said I ought to write something like that for her website and asked me if I'd give it a shot.
I had already encountered MIDI files on the Web. The
first one I heard was done by Scott Garrigus, a multimedia musician and music joumalist whose articles
appear in Electronic Musician. I had read an article he
wrote about putting up a website on AOL and I
cruised on over to check it out. I wrote him email errplaining how I found him and how I enjoyed his site. I
invited him to my website, which he subsequently
visited. He downloaded some of my album clips and
I wrote a little Asian-sounding tune using a Kalimba
patch for both the bass and a background arpeggio
part, a Steel Drum patch for another background part
and a couple of other patches that worked well irt this
contest. It took quite a bit of experimentation to find
patches that worked.
At the time I was writing this first tune, I had previously done all of my own drum tracks. However, the
percussion sounds were so limited, I ended up using a
little drum pattern I found with a demo tune on the sequencer I downloaded. This eventually led to my discovering how great MIDI drum files are and how
much they can add to a piece. It ultimately changed
the way I compose — as a keyboard player, it can be
rather inspiring to play along with a drum part
was very supportive of my work. He encouraged me to
submit my work to Keyboard Magor-:ine’s Discoveries
column, which led to my appearance in the September
1996 issue. He later added a MIDI file to his website
recorded by a professional musician.
and invited me to come check it out.
Piano patch for the lead and comp part and again, a
It was really impressive and I started poking around in
my Cakewalk program to see if I could figure out how
to do it myself. I just couldtft figure out how to access
my sound card‘s sounds and after a while, I decided it
was more trouble than it was worth. But then my
friend from Canada asked me to give it a try and so I
decided to cruise around the net and download a few
shareware sequencers. I installed them one-by-one and
with each installation, attempted to play a demo file.
When I found one that was properly configured to play
my sound card, I started working with that.
The biggest challenge in writing tunes for sound cards
is the lack of decent sounds on most old andlor inespensive sormd cards. I have a Sound Blaster Pro and I
briefly considered upgrading. However, I know that
most people that cruise the web have a sound card
similar to mine, so I figured if I could make a tune
sound good on this card, chances are that it would
sound good on most other cards.
After writing this first tune, I started working on
another piece in more of a jazz style. I used an Electric
Kalimba patch for the bass. I soon found the shareware sequencer I downloaded to be too limited for my
needs. There were no editing frmctions — I could only
re-record a track. And so I went back into Cakewalk
and finally figured out that I could play that sormd
card after all. It turned out I needed to go into the Set-
tings Menu and change the MIDI Output Port to
Yamaha OPLZIOPLS Synthesis.
This made the writing of the neat couple of pieces
much easier, since I had all of the editing power of
Cakewalk at my disposal. I was still limited by the
sound palette of an FM sound card, but that forced me
to concentrate more on the melody and harmony.
I eventually ended up with three cool runes that are
now up on my website. When people come itr to my
main page using Microsoft‘s Internet Ertplorer, they
are greeted with a little tune playing on their sound
card. I tried making it available for Netscape users,
however Netscape requires a "plug-in" and if the user
doesn’t have it, then a window pops up asking the user
if hetshe would like to go get it. I often encountered
that pop-up window and found it very annoying.
Microsoft's browser simply ignores the command to
play any sound filo (.wav, MIDI, etc.) if a sound card
is not available. I’ve since discovered that there is a
little Java script program that will detect a browser,
but I haven’t yet looked into implementing it. I
decided to just go with the IE command to play the
MIDI card, however, on my website, I've included the
instructions and code for both browsers.
MIDI files are great because they download so quickly. A fifteen-second .wav file will be 300-400k in size
and take several minutes to download. A 2-minute
MIDI tile can be as small as Zilk and download in a
few seconds — on the Web, that's instant music! It
takes some creativity to use the sound cards limited
palette effectively, but it was a good learning oz.perience for me. And as I mentioned earlier, it led me
to using MIDI dmm files in my other projects. In fact,
I’d like to write more "sound card" tunes, but I’m
having too much fun in my MIDI studio with my
MIDI drummers! Bip: Dunne Frjyhorger is rt composer who lives in Sch
Francisco but spends much of his free time in
cyberspace. His iotest CD is “A Musical Feast" and
his Web site is ct http.'Hwww.creetive.hert-ethane.
Ensequencin
Port 7 —- Step Lively, Wong Your Step
Jock Stephen Toiih
As I was listening to Petra the other day, I couldn't
help but notice the lightning fast lines played by Mr.
Lync-man himself, John Lawry. Having seen Petra in
concert, I can attest to the fact that he actually plays
all of his stuff live — or, at least he can. Another
Christian artist who amazes me along the same lines is
Mr. Yes-man himself, Rick Wakeman. About this particular player, so much has already been said.
press with those kind of lightning fast lines without
having to actually play them real-time. Recording
would be such a nuisance unless you were able to slow
the tempo down massively. Sometimes, however, not
even that is enough. Sometimes we could just make
things so much easier. “Sometimes building ivory
towers, sometimes knocking castles down."
For a good way to demonstrate this feature, step
Another artist I have to admit I am impressed with is
myself. I amaze myself every time I listen to music I
make with my SQ-I and ASR-10. The textures are incredible! And those lightning fast lines are just so intricately played. You see, it really is not a narcissistic
thing at all. It‘s more knowing how to use the equipment you‘ve got. Ensoniq truly creates the technology
that performs — even if they do change their slogan.
The trick is knowing how to use it properly.
At any rate, the point here this month is recording in
what we refer to as step editing. This is the little secret
for those of us who probably will never play as fast as
either Lawry or Wakeman. It's a nice little way to im-
through the following instructions. Although I will be
using an SQ-1, there should be a similar way to use
this with any new(er) Ensoniq sequencer — check
your owners manual for specifics.
Create a 16-beat sequence at 100 beats per minute
with drums on one track — the bass dmm hitting once
on each odd numbered beat and the snare dmm hitting
once on each even numbered beat. Make sure that the
effect you happen to have on the sequence is not a
long reverb. On another track, find a sound you would
like to use to experiment with the step function directly. For our ezample, this sound must be tonal with a
quick attack and very short sustain (no pads please).
Some sounds that might do well would include tnarim—
ba, vibes, certain bells, certain guitars, certain pianos,
and so on.
With this new track selected, do the following: Go to
the Control Bank. Find the Step Entry parameter. Set
it to ON. Press Record and hit Play. Notice that you do
not hear the drums playing as you normally would in
any other recording mode, although you should hear
the thump of the first bass dmm. (I am presuming that,
if you are following this so far, you are either playing
through speakers or through a headset so that you can
indeed hear what you are doing.)
The screen now prompts you in some way, shape or
form to let you know that you are currently “Step
Recording!" and will notify you as to whether or not
Auto Step is ON. If you ignore this prompt, it will
remain on whatever setting it tells you when it comes
up. For our example, we will be using Auto Step =
ON, so you can adjust accordingly. This little helpful
feature will allow you to choose between having the
sequencer stepping after each key press or note hit, or
having yourself press Enter when you are ready for the
sequencer to step. Auto Step = ON will not allow the
recording of nice little things called chords, and, as
they say in ASL, "that's why."
Now, press the right arrow or Enter, and you come to
the Gate= page. This will detennine the duration of the
notes entered while step recording. There are three,
count them, three choices at this point: MANUAL,
STEP, FIXED. MANUAL allows you to determine
how long a note sustains by simply holding it down
until enough clocks have gone by as engineered by
you -— when you are ready to release, then release.
STEP allows the duration to be detennined by the Step
parameter (on the SQ, it's on the next screen) — each
key will be of the same duration. FIXED is much like
the previously listed option in that all the notes
recorded will have the same duration, but with a major
exception — the length of the note is actually determined by an additional parameter on the next page
especially made for this option.
This last one is what we will be using for our example,
that is, FIXED. Hit Enter and select or change the note
value to sixteenth notes, or a note with a stem with
two flags on it. Then press the right arrow. This is the
very last screen you will need to he on for this example.
At this point we will be entering information from the
keyboard. The information itself as to what you will
be playing is actually up to you, but follow these
guidelines: For the sake of simplicity, begin near the
center of the keyboard and, working your way up, play
the notes to a scale: major, minor, blues, pentatonic,
harmonic minor, or so on. Do it this way: Begin near
or on middle C; just go right up the scale until you get
to the highest note and then work your way back down
until the sequencer goes into audition mode; with each
note, play only one at a time, and hold each down for
about a second. You will notice that, as you play, the
drums will kick off every now and then as you step
past them. When the sequencer goes into audition,
take a listen and hear what you think.
This is just one example of how the Step function
works and what it sounds like. Go back and try the
same thing at different step sizes, like sixteenth note
triplets, etcetera. Also, so that you can get a better feel
for what kind of things you can use creatively, try following the same recording procedure for a scale, but,
instead of recording it the way you did for the first
shot, try recording it by playing one step down for
every two forward. For example, in the key of C
major, play C, D, E, D, E, F, E, F, G, F, G, A, and so
on. Try this at 32nd notes or 32nd note triplets.
I am convinced that this is a feature that is fun and
adds that fun to your music. Maybe you will even be
taken for the next Steve Morse of the keyboard!
Well, that’s all for this month. Bye for now, everyone,
and keep your sequences on track! -
I
' Bio: Jack currently attends
Nazarene Theological Seminary
and works for Sprint in mach,
mach, mach of his spare time.
Vintoge Synth Comer
Boosting Boss and Treble on
ESQ and SQ-80 Patches
Kirk Siinkard
Have you ever wished that you could turn up either the
bass or treble of an ESQ or SQ-80 patch right at the
synthesizer? Maybe just one patch needed a little extra
brightness or depth to stand out more in the mix? Or
maybe the waveform you were using wasn't quite
dramatic enough by itself. Well, here is a couple of
techniques that might give you some extra tone that
you might not have thought you could get "from your
synthesizer. All four demonstration patches in this article start with the same basic PULSE-wave sound and
show specific methods for boosting the bass and
treble. They all sound alike until you move the mod
wheel forward, then each one demonstrates a different
effect.
Treble
The first two patches “BRITEl." and “BRlTE2."
demonstrate treble-boost. BRITE2. is not shown, but it
is exactly the same as BRITEl., except that its "Q"
value on the FILTER page is set to 16 instead of 31.
They both use the low-pass filter to ADD brightness to
the patch. This may sound incongruous at first, but
since the ESQISQ-80‘s low-pass filters have
resonance, they can be used to place emphasis on any
frequency in the audio range (but of course, the frequencies above its setting will be filtered out). If the
resonating filter‘s cutoff frequency is set at the upper
limit of the synthesizer‘s frequency response range,
only the highest frequencies will be boosted, and the
filtering effect falls outside of the range of the instrument. This is most noticeable on waveforms that are
brighter to begin with. That‘s why I used the PULSE
wave for these demonstration patches. They aren‘t in-
tended to sound really nifty, just bright.
setting all the way up to 31. This places maximum emphasis at the cutoff frequency and places minimum
emphasis on the frequencies in either direction. The
second patch “BRITE2." turns down the resonance to
the halfway point, and consequently emphasizes more
frequencies, but none of them quite as much as the
first patch. Compare these two patches with the MOD
WHEEL all the way forward. The different Q settings
give slightly different personalities to the treble boost.
ESQ PATCH: “BHITE1 " by Kirk Sllnkarcl
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The first patch “BRITE1." has the filter‘s resonance
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BESS
The SINE wave is very useful for adding some bottom
to a sound. In fact, for decades l‘ve thought of this
particular waveform as “the bass-boost wave." On a
subtractive synthesizer like the ESQs or SQ—SU, it
doesn‘t seem to have a whole lot of other uses. Well,
O.K. —- maybe for percussion or specific drawbars in
Hammond-type patches. And I've seen it modulated
by LFOs for some pretty cool mmbly-type sormds and
Star Trek phasers. And don‘t forget test-tones. Oh, all
right, back to the subject! The "DEEP" patch starts
with the same basic PULSE sound, and then as you
move the MOD WHEEL forward, the SINE wave in
OSCILLATOR 1 is gradually introduced into the
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"13
notes, it actually becomes more of a “mid-boost."
So the “BRIDEP" patch (short for BRJGHTIDEEP,
not “Bride of P") uses the KBD2 to make the SINE
wave in OSCILLATOR l work mainly on the lower
' Note: same as BRITEL, but filter Q set at 16.
OCT
This particular patch doesn't sound exactly the same
as using the bass control on an arnpiifier or stereo system. Where an extemal bass control would boost
mostly the lower frequencies _in the lower notes, here
the fundamental of each note is boosted equally, no
matter where you are on the keyboard. So on the upper
Both
ESQ PATCH: “BHlTE2" by Kirk Slinkard
OSU 1
:
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