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Performance Notes

By Mike Peake 


41. SYNSTRING. Drop the Filter Frequency to remove some brightness from this sound. Or, set OSC 2's WAVE to SAW 2. Try OSC 3's WAVE as SINE for an organ-like sound. The ORGAN wave works even better!

42. DX-VIBE. Touch some keys lightly. Now hit them hard. Now move the wheel to 100%. Play! This is literally three sounds in one! I created this for covers of "Tainted Love" and "Grey Matter", as both songs required a marimba-esque sound, and had other strangeness going on too. With DX-VIBE, I was able to play many different parts in the same song. (Yes, you too can be a hero with your SQ...) The strange pan of this sound is OSC 3, whose wave is introduced by using velocity. Try CHIFF, PLUNK, PLUCK, SLAP, PICK1 and 2, or any other wave in it's place. The crossfade is achieved by using VELocity to modulate each sound positively or negatively. Since OSC 2, the MALLET sound, is patched to always feed through DCA 2, we use negative modulation on it's volume, for we want it to disappear when we hit the keys with force. For OSC 3, as mentioned earlier, we use VELocity as a positive modulator of volume. Since DCA 3 has no free-standing LEVEL or volume of it's own, the plunk is silent until high velocity is used. Now, if you use a sustained wave in place of one of the percussive tones, realize that ENV 2 is also positively modulating DCA 3's volume, albeit only with high velocity. Sustained waves used here will sound percussive due to the envelope's settings. Set LI, 2, and 3 to +63, and increase T4.

43. ELECTRIC GRAND. The chorusing comes from the value of OSC 3's FINE. Change it and see what it does to this voice.

44. 2 LUCK. Like PSYCHE of our ESQ patches, an envelope with delay is the interesting part of this patch. In this case, it is envelope 2. TI controls the delay time; the ENV 2 amounts on DCA's 1, 2, and 3 control the delay's volume. Try different WAVEs on all the OSC's simultaneously. All of them sound great! Alter the chorus amount on OSC 3: the FINE control is the key. Reduce the number for reduced chorus! This voice also has lots of sustain, this comes from having both ENVelopes' (1 and 2's) T4 set to an "R" value. Set them to the same digits without an "R". [ENV 1: 14(R), ENV 2: 10(R)]

45. AIRBASS. To decrease the crispness of the "air", decrease the Filter's RESonance. To decrease the prominence of the sustained "air", lower the Filter's FREQuency. ENV 3's T2 controls the "tic", that is, the Filter sweep. Alter it! LFO 3 pans this voice. Alter it's L1 and L2 equally to change the amount of panning; FREQ adjusts it's speed. OSC 2's FINE controls the chorus amount.

46. FOGN1A. Try OSC 1 and 3 with OCT: -1, and then try different WAVEs on both simultaneously. Try VOICE 3, etc. BELL 2 is really nice! The slight pitch-bend comes from ENV 1 modulating OSC l's pitch. Alter it's depth, and adjust the bend time at ENV 1's T2.

47. HARPSY. The wheel controls volume, so set it to where you like it before playing. Set OSC 3 to OCT: +1 or +2 for a brighter tone. OSC 3's FINE controls the amount of chorusing; alter it and hear what this does!

48. BASOON. To alter this tone's resonant character, change OSC 2's SEMI.

49. NYLON. Change OSC 2's WAVE to BELL 2.

50. CLARINET. DCA 2's LEVEL controls the volume of this voice's resonance, and OSC 2's WAVE controls the quality of the resonance. Try using the different FORMNT WAVEs on OSC 2.

51. ELECTRIC BASS. The wheel is set to control brightness, so leave it at 100% (fully advanced) for a crisper tone. Change OSC l's WAVE to BELL, GLINT 1, etc., and try setting AM to OFF on the MODEs page. OSC 3's WAVE determines the timbre of the sustain portion of this sound; try different waveforms and OCTave settings.

52. SYNVIOLIN. If this is too bright for you, reduce the Filter's FREQuency, or set OSC 2's WAVE to SAW 2. If you use SAW 2, set the Filter's FREQuency to 066. Use LFO 3 to modulate the timbre by setting it's FREQuency anywhere from 01 to ? and advancing Ll.

53. DEEPBELL. OSC 3's WAVE determines the sound of the initial attack. Try 4 OCTS, PRIME, REED 2 and 3, the GLINT waves (with the GLINTs, increase the KBD amount on the Filter to -63). CHIFF,  SYNTH 3. DIGIT 2, BREATH, or STEAM. ENV 3 controls the decay of this attack tone; alter T2. Try increasing the ENV 3 amount on the Filter to brighten this voice. To change the chorusing, refer to OSC 2's FINE setting. A value of 08 reduces it to a minimum, while 19 isn't out of the ballpark. LFO 2 introduces a subtle vibrato when you advance the wheel. Alter it's depth on OSC 2, and change it's

54. CARLOS. From the third movement of' "Poem for Bali" on Wendy Carlos' Beauty in the Beast. OSC 3 is the central tonal component of this voice. Alter the WAVE; try SINE, SQR 2, BASS 2. Change it's volume by changing DCA 3's LEVEL. Try CYC. ON on the MODEs page. Also, OSC 1 WAVE: OCTAVE; ENV 3, T4: 20. As with DX-PIANO, setting the wheel at 0 or 100% gives a different quality.

55. SO NICE. Try OSC 3's WAVE: DIGIT 2, BREATH, SAW, SINE, EL PNO, ORGAN, SQR 2, 4 OCTS, etc.! To remove the "reverb", set ENV 4's T4 to 07. or any value without an "R" after it.

56. TIZ I. Set OSC 1 and 2's WAVEs to SAW 2 for a softer tone. To thin this out even more, set DCA 3 to OFF. Even more? Reduce DCA 2's LEVEL to around 45. The bells are from NEW AGE, which this is layered with.

57. RASPBASS. Try OSC 2 WAVE: PLINK, PLUNK, GLINT 3, and BELL 2 (but set the OCTave to -3).

58. CLAV*2. This voice can also be a great lead sound. Use the wheel as you play. Alter OSC 3's FINE to change the chorus. For a really funky sound, set OSC 2's OCT to +1 or +2. ENV 3's T2 controls the sweep. Try a value of 35.

59. CHURCH. Once more we detect the DX-PIANO wheel effect. Try OSC 2 OCT: +0, WAVE: DIGIT 1, BRASS. REED 2, etc. To eliminate the "reverb", set ENV 4's T4 to any value without an "R".

60. R & B BASS. OSC 1 is the bottom end of this bass, try WAVE: SINE, TRIANGL, SQR 2. Try the same with OSC 2 and 3. The difference is subtle, yet could make the difference between this being a bass sound, and the right bass sound. For more sustain, increase ENV 4's L3. Increase T4.

61. FLOOTER. Pressure and the wheel introduce two different kinds of vibrato. This allows a greater degree of expression! A slight instability in pitch comes from LFO 3 modulating OSC 3. Change LFO 3's L1 and L2 to alter it's depth, or disconnect it entirely by setting OSC 3's LFO 3 amount to 00. To have this voice fade in with light velocity, set ENV 4's Ll: +63*, T1: 33-, T2: 00, TIV: 37.

62. MUSICA. Alter ENV 1's TI and 2, and the Filter's RESonance.
63. BRASSISH. There no tricks here. Play!

64. 000 N2.- Reduce the velocity effect: for volume, reduce ENV 4's LV, for tone, reduce ENV 3's LV. If you don't like the "reverb", set ENV 4's T4 to any value without an "R". The wheel introduces a slow semi-random chorus and panning. For less/no panning, set the LFO 1 amount on DCA 4 to 00/less that it's original setting. What, no chorus desired? Reduce the LFO 1 amount on OSC 2 ! If you retain either/both of these effects, try making the effect cyclic by setting LFO I's WAVE to TRL To change the chorusing that is there all of the time, change OSC 2's FINE value. This is bizarre, but of interest to synthesists: set DCA 3 to OFF. The breathy tone you hear is from amplitude modulating the PLUCK WAVE with KICK 2 WAVE, not the BREATH wave.

65. MIAMI+. A customer requested the Miami Vice sequencer sound from the title music. It is a Memorymoog sound, and the SQ just doesn't have the filter necessary, but here is the reasonable facsimile thereof. Change OSC 2's SEMI value, as this determines the tone. Change it's WAVE to NOISE 1. Set the OCT to -2 and try WAVE: DIGIT 1. With OCT at -1, try WAVE: METAL, PICK 1 and 2, PLUNK, CLICK, THUMP. LOGDRUM, etc.!

66. DREAMIN'. A nice floaty organ voice. To shelve the float in this tone, set ENV 4's T4 to 13. To reduce this voice's tonal dependence on velocity, reduce the VEL amount on the Filter, and then set the FREQuency to whatever suits you. For less sensitivity of velocity in volume, reduce ENV 4's LV.

67. DREAMIN' 2. All DREAMIN' edit suggestions apply here.

68. FLOATER. Without intention, this voice turned out sounding nearly identical to the synth in "Love like Blood" by Killing Joke. Alter the LFO FREQuencies, and increase or reduce their amounts on the OSCillators.

69. PRETTY. OSC 1 and 2's WAVEs determine the tonal quality of the sustain portion of this sound. Change the WAVEs and find something you like. Try OSC 3's WAVE: CHIME.
The wheel introduces tremelo to this voice.  LFO 1 generates it; change it's FREQ and WAVE.

70. NEW AGE. OSC 2 is the high frequency component of this voice; change it's volume by altering DCA 2's LEVEL. Also, change OSC 2's WAVE. Try BELL 2, DIGIT 2, GLINT 1, the SYNTH WAVEs, and BELL. Remember, any changes here will also effect TIZ I, because of the layer.

71. SKINNY. Dedicated to the death-synth band Skinny Puppy, whom I no longer listen to. DO NOT PLAY THIS VOICE WITH HIGH VOLUME OR BOOSTED BASS UNTIL YOU HEAR IT AT LOW VOLUME. TECHNOSIS IS NOT RESPONSIBLE FOR DAMAGED LOUDSPEAKERS. This sound is split with PUPPY on the top. This voice is also layered to itself, so when editing, defeat the LAYER to hear what you are doing. To remove the velocity sensitivity, set ENV 3 and 4's LV's to 00, or somewhere in between for less effect.

72. PUPPY. This is also layered to itself. Tap a note lightly, and then hit it hard. Again, watch your woofers!

73. $CI-FL Run a finger from the bottom of the keyboard to the beginning of the top octave. Now do it slower. Now move the wheel to 100% and do it again. Put the wheel at 0%, and OSC l's OCT to -3. Play? Now, set OSC 2's OCT to -3, Leaving OSC 1's OCT alone, set OSC to +0. Set it's WAVE to CHIME, or any other wave, as they all give different effects! If you try the GLINT WAVEs, protect your ears.

74. RHYTHM 2. Hold a key in the middle of the keyboard. While holding it, move the wheel ato 100% and leave it there. The timbre of the sweep is determined by OSC l's WAVE. Try NOISE 1, VOICE 1, SINE. GLINT 3, PLINK, and PLUNK. The sweep speed is determined by LFO 1, change it's FREQ and WAVE. Changing OSC 2's WAVE also yields interesting results; Try VOICE 3. It sounds like the BOWING WAVE!

75. MURPHY. Here's a fat analog bass to keep everyone attentive! Again, this voice is layered to itself; when doing any editing, defeat the LAYER (set it to OFF) so you can hear what you are doing. ENV 3 controls the Filter sweep. Change TI, 2, and 3.

76. REVERSE. Tap a few notes going downscale and wait. It can take practice to determine when to play notes to line them up with the rest of a song, but remember, practice is worth doing to get what you want!

77. DRUM ROLL. Tell a joke and hit a note. You are now the life of the party.

78. SNARE ROLL. You can do roll fade-ins by setting the wheel to 100%, hitting a key, and moving the wheel back to 0%. Pressure controls the speed of the roll. To have the speed of the roll already determined, increase OSC l's SEMI to the speed you like, and possibly remove the pressure effect by setting OSC 1's PRESS amount to 00.

79. ART KICK. This is a split with DRUMVERB. The kick is found at the bottom of the keyboard. Finally, as with DX-PIANO, leaving the wheel at 0 or 100% gives this voice a different quality. It also opens the Filter on it's split patch, DRUMVERB, so refer to it's instructions to alter this. Remove the velocity by setting ENV 4's LV to 00.

80. DRUMVERB. The wheel opens the Filter, so if you don't like that, set the wheel amount on the Filler to 00. Then set the Filter's FREQ to what sounds best to you. ENV 4's T4 controls the reverb decay, so increase or decrease it. Set OSC 3's FINE to 03 and listen to the snare. Enjoy, Musician! God bless you!


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