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Performance Notes

By Mike Peake 


1. DX-PIANO. This voice has different qualities with the wheel fully up and down. (Don't move the wheel while playing, it sounds terrible. Set it and play!) Set OSC 1's WAVE to SINE for a "glassier" tone; also try OSC 3 WAVE: EPNO 2, OCTAVE, OCT +5, or REED 3. The tremelo is from LFO 2; change it's FREQ (speed). To decrease the tremelo, bring DCA 3's LFO 2 amount closer to 00. ENVelope 3's T2 controls it's fade-in. Change it and have fun! LFO 3 gives this sound a slight chorusing; alter it's depth on OSC 1.

2. VIBRAS. The airy quality in the lower half of the keyboard is OSC 2's WAVE, BREATH. Change it to CHIME (but beware the top octave), the three SYNTH waves, etc.  The wheel deepens the swirling effect. If you'd like for there to be less/no swirling, decrease LFO 2's L1 and L2. You can also add velocity sensitivity to this voice's volume: Increase ENV 4's LV. For tone, increase ENV 3's LV.

3. BREATH. To thicken this voice, drop the filter's RESonance to 00. To decrease the chorusing, diminish OSC 2's FINE parameter. The wheel is set to control tone; advancing it introduces OSC 3 by increasing DCA 3's LEVEL. Set OSC 3's OCT to +0, WAVE to BREATH, and DCA 3's LEVEL to 60. To use velocity to control volume, set ENV 4's LV to whatever setting suits you.

4. CLAVINET. As with DX-PIANO, setting the wheel at 0 and 100% gives this voice different qualities. Try OSC 3 OCT: -1.

5. ALIENS. I love the sound of this voice! It's set up for chordal or melodic work as the release time is very short. Increase ENV 4's T4 for a longer decay. Numbers with "R" give a reverb like decay. Tremelo is introduced with key pressure; LFO 1's level on DCA1 controls it's depth. The wheel adds a different effect, with LFO 2 and 3 patched to DCA 2 and 3, respectively, with each offering their own speed of tremelo. Alter the LFO's speeds and waves!

6. BITES. Pressure gives a pitch bend, and the wheel gives vibrato. For pressured vibrato, set LFO 1's MOD to PRESS, and the PRESS level on OSC 1,2, and 3 to 00. How about some more "bite" for BITES? Set ENV 3's L1 to +63. Less? Reduce the Filter's FREQ. ENV 3's T3 controls the "mutingo speed.

7. LITTLE BELL. Try CYC: OFF (MODES page), ENV 4's T2 to 19, T4 to 10R or 10 for a more "staccato" type sound.

8. OBERHEIM BRASS. Try OSC 2 WAVE: SQUARE, EL PNO, BASS 2, GRIT 3, CLAV, DIGIT 2, PICK 1, SLAP, CHIFF, etc[ The "wow" effect comes from ENV 3 sweeping OSC 2. Alter ENV 3's TI! OSC 3's FINE controls the chorusing.

9. FAIRLIGHT. The wheel increases panning and detuning. To disable the panning, set LFO 3's amount on DCA 4 to 00. Or, change LFO 3's FREQ. For less/no detuning, set all LFO 2 and 3 amounts on OSC's 1, 2, and 3 to 00. Change LFO 2 and 3's FREQ's for different detuning speeds. To have less of the continual chorusing, reduce OSC 3's FINE. To make this sound "choppier", set ENV 4's T1 to 00, and decrease T4. To remove a bit of the h)breath", reduce the Filter's RESonance.

10. WISPS. This is great for adding some tension to a tune! Hold down a low note and off you go. This voice is percussive if you hit the notes hard, and to fade in for a light touch. To keep it percussive, set ENV 4's TI to 00. Now decrease T4. Also, try GRIT 1 for OSC 1 and 2 simultaneously. For OSC 3, try WAVE: METAL, BREATH. and the same GRIT wave as currently used on OSC 1 and 2.

11. WHISTLE. was created for a cover of "Burning Down the House." The attack has the characteristics of WISPS, so experiment. I suggest setting ENV 4's TIV to 00 and setting T1 to wherever it makes you happiest.

12. TREMELONDE. Strings. Hold chords, don't play notes. The wheel controls the "bowing" speed, and LFO 3's amount on DCA 4 controls the amount of panning. Change LFO 3's FREQ.

13. CELLO. Play like a cellist! Alter OSC 2's SEMI to change the resonant characteristics.

14. STRINGY. A string hybrid. Play light or hard, and change ENV 4's T4 to suit yourself.

15. ARCO*. is the fat orchestral voice. It is terrific for adding big background strings. Again, alter ENV 4's T4 to suit yourself.

16. LUCKYMAN. Here's a dose of classic ELP, without the horrible beating in the top octave, as in the song! If you play hard, you will hear a little "breath" in this voice; to change this, set ENV 3's LV to 00 to eliminate to velocity effect, or reduce the Filter's RESonance. Also, you can change the amount of glide on the MODEs page; also try this voice as a poliphonic by setting MONO to OFF.

17. HAND DRUM. Add some Latin to your music! This voice can go a long way as a generic percussion tone. I used it in a cover of "Mexican Radio". As on DX-PIANO. The wheel makes a difference in tone at it's extremes.

18. ELECTRIC PIANO 2. Try changing OSC 3's WAVE to ALIEN, DIGIT 2, EL PNO, etc.

19. CRISPY. Here is a nice raspy lead for you. Remove the volume velocity on ENV 4's LV parameter. Use the wheel sparingly, as it introduces a ring mod effect.

20. BIGBEN. This is a great struck "pipe" sound with ENV 4 set to these modifications. T2: 18, T4: 11&, TK: 25. For other edits on the original, know that the wheel gives vibrato by introducing LFO 1. Pressure gives a different vibrato by increasing LFO 2's level. Change the LFO's FREQ's and select each OSC to see where these LFOs are causing the vibrato.

21. PLUCKBASS. Try OSC 1 or 2. WAVE: SLAP, MALLET, PICK 1, etc.
22. SLAP BASS. Set OSC 2 to OCT: -2 for a fatter but less distinctive voice.

23. MOOG BASS. Set OSC 2 to OCT: +0. The slight detuning introduced by velocity comes from ENV 3 modulating OSC 2. Increase or decrease the mod amount on OSC 2, and alter ENV 3's T3, which controls the detuning speed. LFO 2 also sweeps OSC 2; change it's OSC 2 depth and LFO FREQ. The wheel brightens the sound.

24. MOOG BASS 2. A true analog bass, in that it uses true analog waves and is not velocity sensitive. Add velocity sensitivity: Volume is at ENV 4's LV, Tone is at ENV 3's LV. Also try setting OSC 2's WAVE to TRIANGL, as it gives a warmer mid-bass quality. Reduce DCA 3's LEVEL for a less "full" sound. The wheel brightens the tone of this voice by modulating the Filter's FREQ, as with the other MOOG BASS. ENV 3 controls the tone. L1 sets the initial snap's volume, L2 sets the brightness of the sustain, and T3 the time before the sustain dulls out. OSC 3's FINE controls the chorus depth.

25. MELLOW BASS. A smooth bass with fingered glide for all those tunes needing just that! Remove the glide on the MODEs page (GLIDE: 00), and make it polyphonic by turning MONO to OFF.

26. DX-BASS. This sound is so cool because the "bite" component is a synch'd snare drum! Knowing this, try different WAVEs on OSC 2, especially the drum and attack waves. There is chorusing on the sustain portion of this tone; OSC 3's FINE parameter controls the amount (increase for more, etc.). Try reducing OSC 2's OCT. The clarity of this voice depends on the filter envelope, which in this case is ENV 3. T2 controls the pluck, so alter it's amount. For longer sweep times, I would suggest increasing this same Envelope's LV. Also, try setting ENV 4's LV to 00 and then the ENV 3 parameters the way you like them, so you don't have to fight with velocity for tone and volume.

27. LOW'2. A low droning bass, created for a cover of "Icehouse" by ICEHOUSE. Try different waves on OSC 1 and 2 simultaneously, TRIANGL and SAW 2 give a less raspy but hollow lone. The chorusing is very heavy; to reduce it, decrease each OSC 1 and 3's FINE parameter equally and simultaneously. To have velocity controlling volume, increase ENV 4's LV. You can also increase it's T4.

28. MR. MEAT. Slap bass layered with DEATHBASS for farness itself. I enjoy this more without velocity sensitivity, so set ENV 3 and 4's LV's to 00.

29. GO BASS. Created for a cover of "GO" by TONES ON TAIL. This is layered with MELLOW BASS. so it sounds best when played melodically. Refer to the MELLOW BASS instructions to make it polyphonic. As is, this voice can produce some interesting glide effects. Simply slur your notes occasionally. You can also layer this with any other voice, or defeat the layer entirely! (Press SPLIT/LAYER and set LAYER to OFF.) ENV 3 controls the Filter sweep; play with L1, T2, and T4. Enjoy! Reduce OSC l's FINE for more chorus.

30. DEATH BASS. FAT. This voice is layered to itself. This presents a problem when attempting to edit this voice: one-half of the layer will retain the characteristics of the original at all times except when the edit is written over the original. Then you can hear the edit on both voices. To avoid this, I suggest that you disable the layer. Press the SPLIT/LAYER button (after you have selected DEATH BASS) and set LAYER=ON DETHBS to OFF. Now edit to your heart's content. ENV 3's T2 controls the Filter sweep; it's original value is 25. Experiment! Again, try having all OSC's use different WAVEforms simultaneously. Try SAW.

31. THE KICK. Most drum machines offer one pad per sound, so no one is confused or slowed by choice. In this case, just choose one key that fits your song and go! This makes it easy. Since this sound offers a lot of sustain, or "fatness", you can cut back on it if you need less by reducing ENV 4's T4. Tone is velocity controlled, though I have set the wheel to allow the full snap to pass at any velocity so long as it is at or near full. To reduce or eliminate the velocity effects for a more "machine-like" - kick, reduce ENV 3 and 4's LV amounts.

32. SIMMONS. What drum kit is complete without a Simmons imitation? For a machine-like sound, set ENV l's LV to 00. This removes velocity sensitivity from the pitch-bent oscillator, OSC 3. Do you now want less pitch-bending? Reduce ENV l's amount on OSC 3. Want to change the shape/speed of the bend? Alter ENV l's T2. ENV 3's T2 does the same for the Filter. To get the high toms to have a quicker sweep than the lower toms, increase the pitch (ENV 1) or Filter (ENV 3) ENVelope's TK setting(s). For a different tonal quality on the pitch-bent tone (OSC 3), change it's WAVE. Try KICK, REED, PULSE 2, TRIANGL, DIGIT 2, and METAL.

33. DRUM ECHO. The wheel controls the echo speed. To increase the wheel's effect, increase it's amount on OSC 1 (to a larger negative number). To achieve the odd but useful effect of having the echo speed increase across the keyboard, decrease the KBD 2 amount (bring the numerical value closer toward 00) on OSC 1. ENV 4 controls the number of echo repeats you can hear, and the shape of their decay. For instance, the ."regeneration/feedback" is controlled by T4. Set this to 40. Play and see! Now try 17R. Now 17, and set T2 to 30. T2 gives sustain. So, adjust each for the effect that pleases you.

34. KICK/SNARE. This is a split with THE KICK. The snare begins at C4. Advancing the wheel increases the "ambience". To have ambience ALL the time (heck, who doesn’t), increase DCA l's LEVEL to somewhere above 45, which is where you can start to hear it. If, at a value of 63 (full), you need MORE, do the same to DCA 2.

35. DRUM KIT 1. No special tricks here; just play!

36. HIGH HAT 2. Lot's 'o tricks here! I love this voice! The key to this being a great sound is it's EXPRESSION. You will notice that the decay is scaled across the keyboard, so that the notes at the right are "closed" and "open" at the left, with the full range in between. What YOU do, Musician, is choose the closed note of your liking, and the open note too. Tap a rhythm with your right hand on the closed note (don't sustain them). and hit the open note between the closed hits. Hit an open, and then hit a closed when you want to cut off the open. It is as easy as having two pads on a machine labeled open and closed. Play notes in the middle for added expression. Now for the best part. Lightly tap a note in the keyboard's middle. Now, hit it repeatedly, but keep hitting it harder. The decay increases? You can play very expressive patterns with this voice by just altering your velocity! For quick patterns, use another finger on your right hand to add notes to the closed pattern, just like trilling between notes1 To change the tone of this voice, alter the Filter's RESonance. To go a step further, alter OSC 3's SEMI. This is the metallic part of the tone. Try OCT: -1, SEMI: 09. Also, OCT: -1, SEMI: 05 for an analog machine sound.

37. TOM REVERB. To give the high toms more sustain, decrease ENV 4's TK. This will also increase the audibility of the tom sample's truncation. You should then listen to the edited voice in the context of the mix you will use it in to determine if the cut-off is noticeable. To get a swishy chorus effect. increase OSC 2's FINE. (Actually, any OSC will do.) Try 03 and 09.

38. TOM GATE. Gate length is controlled by ENV 4's T2, and the shape of the cut-off is controlled by T3. Alter them both, and enjoy what happens. You can get the same. chorus effect as described in TOM REVERB by following the same procedure (increase an OSC's FINE...).

39. KICK GATE. The actual kick is located on the bottom seven keys: the rest is from a split/layer with DRUM KIT 1. Reduce ENV 4's LV for a more machine-like character, remember to do this to DRUM KIT 1 in an equal amount, or you will have a loud reverb effect and little kick at low velocity. Hit the kick repeatedly and advance the wheel at the same time. To have the initial gate tone to match the panned effect, set OSC 2 to OCT: -3, SEMI: 02. LFO 1 controls the panning when the wheel is advanced. Alter it's FREQ and WAVE. Now alter KICK GATE's Filter FREQuency and RESonance.

40. SNARE GATE. Once more, alter ENV 4's T2. Advancing the wheel adds some grit to the sound. Adjust the grit by altering OSC 3's OCT.



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