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Performance Notes

By Mike Peake 


1. DX-PIANO. The root of this sound is Amplitude Modulation, which produces the bell-like portion.  For different effects, change OSC 1ís WAVE, and try OSC 2 at OCTAVE +1. OSC 3 generates the body of the sound; change itís WAVE for different sustain characteristics. This OSC is also given tremolo by LFO 2 modulating itís amplifier, DCA 3.  For less initial tremolo, reduce LFO 2ís L1.  For less overall tremolo, reduce LFO 2 level on DCA 3.  The tone of this sound is controlled by ENV 2. To add more ďringĒ, or sustain to the bell, increase T2.

2. SQUARE PIANO. This is a square wave (OSC 1) mixed at equal volume and frequency with a piano wave (OSC 2), giving a unique piano sound.  Alter OSC 2ís FINE control to change the amount of detuning, or chorus. OSC 3 adds bite to the attack. Change the ENV 1 level on DCA 3 to hear more or less.  Since ENV 1 shapes itís volume, you can mess with itís parameters for different effects. Alter T1 and T2!

3. GRAND PIANO. This is two piano waves (OSCís 1 and 3), like most ESQ piano sounds, except that OSC 2 is synchíd and tuned to the 13th harmonic, which is often very prominent in actual pianos.  Increase the ENV 1 level on DCA 2 to hear it more clearly.  To give it more initial decay, increase ENV 1ís T2. ENV 2 quickly sweeps itís pitch, simulating a heavily struck string.  Since this would sound ridiculous at low velocity (lightly struck strings arenít being hit hard enough to actually bend out the shape and thus bend the pitch), the ENV is set to a high level of velocity sensitivity to duplicate this fact. To increase the chorusing, increase OSC 1ís FINE amount.  Alter ENV 3ís T2 to vary the initial tonal pluck.

4. ATTACK PIANO. OSC 1 and 3 produce piano waves at the same frequency and volume, with a slight detuning on OSC 3, to alter the chorusing. OSC 2 is the unusual part; it is a NOISE 3 WAVE, synchíd and given a sharp attack and decay with no sustain. This is most obvious when you play hard. For more decay on the noise, increase ENV 2ís T2.  Alter the LV amount for different velocity effects.  To change the tone of the noise attack, alter OSC 2ís SEMI and/or WAVE.

5. DEPTH. Again, two piano waves, but this time, there is a sine wave at the same frequency to add life-like piano fullness. (The piano waves are nice but, pardon the pun, lack depth.) ENV 2 slightly detunes OSC 2, and also OSC 3 (but even less).  Try increasing ENV 2ís T2 to 12 for a more ďnaturalĒ effect. It is very subtle, but does make a difference. Alter OSC 1ís FINE to change the amount of chorusing.

6. DX-PIANO 2. Like DX-PIANO, this voice uses AM to create the digital bell effect, with OSC 3 producing the body and sustain of the tone. The tunings are different on the AM oscillators are also tuned differently to produce an unusual kind of tone. This time, the mod wheel is used to tune the bell component, allowing two quite different tonal qualities when the wheel is set at zero, or fully down, and 100% (fully up).  It sounds best when you set the position and play, instead of moving the wheel while you play.  Try changing OSC 1ís WAVE.  Change OSC 3ís WAVE to get a different quality to the sustain tone. LFO 2 gives the sustain tone tremolo on DCA 3; ENV 3 controls itís depth.  Decrease ENV 3ís T2 to make it speedier, Increase L1 for more initial level. Change LFO 2ís FREQ to alter the tremolo speed.  ENV 2 controls the tonal characteristics of this sound; T2 sets the initial decay, L2 the decay level, and T3 the final decay.

7. FM PIANO. You will notice a bell tone with echo if you play hard. This is OSC 3; change itís WAVE and OCT to have a different tonal quality to the echo. The echo is achieved by having two envelopes modulate OSC 3ís amplifier, DCA 3, together, but by delaying the onset, or attack, of one of them.  This delayed envelope is ENV 2. Alter T1 to change the delay time;  increase or decrease itís level on DCA 3 to adjust the ďvolumeĒ of the echo. To eliminate the echo, set the levels of DCA 3 envelopes to +00, and the main LEVEL to taste.

8. NEW PIANO. The unusual qualities of this sound come from synchíing OSC 2, which is generating waveform NOISE 2, to OSC 1. The relative tonal character is determined by the pitch of OSC 2, so go ahead and change the OCT and SEMI to your heartís content (the original settings are OCT: -1, SEMI: 09, FINE: 28). OSC 3 is tuned to produce the third harmonic; Change DCA 3ís LEVEL to hear more or less of it.  Change OSC 3's WAVE. Envelope 3 controls the filter (tone). Mess with T2, and change the filter's RESONANCE (Q). LFO 2 has convinced this sound to pan all over the place. To have your way in this matter, change the LFO 2 amount at DCA 4's PAN MOD function. Also, change LFO 2's FREQ and WAVE, LFO 1 gives a slight vibrato; it is set to produce it without help from the wheel. Change the amount of this by fooling with LFO l's Ll and L2. Set them both to 00 to have no vibrato without the wheel. Also, and unfortunately, if you use the pitch wheel on this sound, you will hear horrible aliasing (digital pitch distortion) due to having a noise wave in the patch. This is a compromise between having an unusual sounding patch, and the drawbacks relating to it. POP BASS and METALA also share this balance.

9. ELECTRIC PIANO. Change OSC l's WAVE. LFO 3 gives this wave tremelo and pans the entire sound. Change it's frequency. Change it's L1 for more or less continuous vibrato. Try OSC 3's OCT at +0. Change ENV 4's T4 for a different release time.

10.  DX-PIANO 3. Once again, AM is the root of the patch. OSC 3 is again the sustain waveform. Change each OSC's WAVE and OCT to vary the character of this sound. ENV 2 and 3 control the tone, each has it's own "shape". Play with the T2 of each. LFO 2 pans the sound (change the amount at DCA 4's PAN MOD depth) and gives tremelo to OSC 3 at DCA 3 (alter it's level on DCA3). Change LFO 2's FREQ and WAVE.

11.  SYN BRASS. All three oscillators are pitch bent by ENV I in different amounts, and in different directions. OSC 2 is bent in the opposite direction of OSC 1, which increases the initial detuning effect which is inherent in the brass family of instruments. The pitch bend rises to an envelope value of +1 (this amour*: would be almost insignificant if there were less depth on the oscillators; high values, such as are used here, allow a larger amount of modulation from a source with a small output), falls to a value of -1 in the same amount of time, and then takes a slightly longer period of time to rise back to +00, or "no modulation". This pitch bend is the most important part of the sound. A proper bend attached to even non-brass analog synth waves can be very convincing! So, try changing the levels on ENV I to hear what they do. Then change each time amount (TI, 2, and 3) and hear what they do. The original values are Ll= +1, L2= -1, L3= +00, TI= 5, T2= 5, T3=6. Try changing all of the "T" values equally and at the same time. Next most important in a proper brass sound is achieving a "wow" on the filter, that is, having an envelope quickly alter the lone from "muted" to "bright". This is ENV 3. T1 controls the time it takes the envelope to go from no effect to maximum modulation. Set it to 00 and you will get a "plucked" or percussive quality, for there is no delay to the maximum level (brightness). Set it to 20, and you will hear an obvious "wow" sound. The trick is to align the filter effect with the pitch bend, which takes more intuition than science. (The original value of T1 is 04 in case you lose it while editing).

12. JAMAICAN. This was not intended to be a steel drum, there are many available, but if you try this edit, you can certainly have one: MODES page: CYC=0N. ENV 3: L1= +22, L2= +63, T2= 15, T3= 63, T4-35. ENV 4. T2= 19, T3= 30, T4-30.

13. "JUST TO SEE HER". Many people phoned to request this sound from Smokey Robinson's 1987 hit single of the same name. Admittedly, this is not quite it, as it was a DX-7 in the song, and that synth can run circles around the Ensoniq in the brass department.  Anyway, here is a reasonable facsimile thereof; the sound is comprised of the brass portion (resident in this memory location) and also the layered part, DX-PIANO. To edit, I suggest that you change the filter frequency to taste. Try OSC 3 with OCE= -1. Alter the balance between the piano and the brass on the DCA 4 page, the LEVEL control. Check out the hints for SYN BRASS and apply them here!

14. SOFT VIBE. Thereís a lot to modify, so here we go... Since this sound has a long decay, it is best to alter the decay and release components of the volume (ENV 4) and "tone" (ENV 3) envelopes equally, at once. This means change both envelope's T3 and T4 together! Reduce the keyboard tracking amount on the filter and raise the filter frequency to have the low end as bright as the top. There is tremelo on DCA's 1 and 3. The culprit is LFO 2; change it's frequency for starters. The wheel is set to increase the amount of tremelo, so if you want only the wheel to introduce it, set LFO 2's L1 and L2 to 00. (L1 and L2 control the amount of tremelo that will always be there, no matter what. You may want more of this than zero, so increase L1 for more tremelo at the attack of the sound, and increase L2 for more at the "tail end". Increasing the DELAY will reduce the amount of time it takes the LFO to go from L1 to L2 after the key is struck. You could have L1 at 63 (full) and L2 at 00 to have total tremelo when keys are struck, and set DELAY to let it fade to no effect. Try the other way around, and in betweens! LFO 1 gives vibrato, and like LFO 2, has L1 and L2 set to produce the effect without advancing the wheel. Alter L1 and 2 in the same way as outlined for LFO 2. LFO 3 pans the sound, but is delayed so that the maximum panning occurs after the sound has fallen into silence. Change LFO 3's DELAY and the PAN MOD level on DCA 4.  ENV 2 sweeps the pitch of OSC 1 and 2. Change it's T2, and MOD amount on the OSC's. Change
OSC 1's WAVE; try BELL, etc.

15. MAD BRASS. Play at low velocity and this sounds like just another brass sound. Play harder and you will hear OSC 1, which is tuned an octave down from the rest of the sound to provide an edge. This is accomplished by having this oscillator's DCA (#1) LEVEL at a bit more than half, so as to not pass too much of it's sound. Velocity is then selected to positively modulate (increase the volume of) DCA 1. This means that when you play softly, you will hear a little of the "edge", and that hitting keys hard will cause OSC 1 to become louder. (Alter DCA 1's LEVEL for more or less at every volume.) Try OSC 1 at OCT -3. Change the filler frequency to alter the overall tone of the sound.
n NOTE: The Hammond organs 1, 2, and 4 have OSC 2 as a percussive element. This is achieved by setting DCA 2's LEVEL very low to off, and having an envelope with a percussive shape control the volume of the tone. On each of these patches, alter ENV 3's T2 to control the pluck length. Change ENV 3's level on DCA 2 to alter the volume of this tone. To eliminate the percussion, set the ENV amount to +00 and the DCA LEVEL to taste. Try points in between these.

16. HAMMOND #1. LFO 1 gives vibrato and panning. Increase it's L1 for more of both, all the time. Change it's frequency. Change OSC 2's OCT.

17. HAMMOND #2. LFO 1 again creates vibrato and panning. LFO 3 provides tremolo to OSC 2 on DCA 2. OSC 2 is tuned to the third harmonic.

18. HAMMOND #3. OSC 3 is the key click. It's a KICK wave, with KBD 2 modulating it's pitch so that every key has the same frequency (a value of -63). Reduce this amount to get the sound to ascend in pitch across the keyboard; the closer toward +00 the number is, the more variance in pitch there will be. Change the SEMI and FINE to alter the click's tonal character. Increase the filter frequency. Try OSC 2 WAVE: ORGAN. Yes, once again, LFO 1 provides vibrato and panning.

19. HAMMOND #4. OSC 2 is tuned to the 6th harmonic. Try it at OCT +2. Wow, LFO 1 gives vibrato and panning, why don't I change it's frequency? LFO 3 also provides vibrato.

20. HAMMOND #5. ENV I bends the pitch of OSC 1 slightly. Change it's amount on OSC 1. LFO 1 vibrates and pans all over the gosh-darned place. Tame that sucker by gittin' a hold o' it's frequency! This doesn't really sound like a Hammond organ, but it does have a nice quality to it. Try different waveforms on the oscillators, focusing on the last few available: OCT +5, 4 OCTS, etc.

21. STRINGS. OSC 1 is slowly detuned by ENV 1; change the ENV's L1 and L2 amounts. T1, T2, and T3 control the time variables of the detuning; change them! LFO 1 and 2 are responsible for the vibrato. LFO 3 controls the panning. Change it's amount on DCA 4. Try increasing DCA 1 and 2's LEVELs. ENV 3 controls the filter; change L1 and T2. As the sound originally comes, ENV 3 (the filter ENV) is set to reach its peak of brightness before the volume does when you play lightly. This is caused by the filler ENV having a short attack time that remains stable. And that is because it's TIV is set to 00, or no effect. ENV 4, the volume ENV, has the TIV at a high level. This means that the amount of attack, or the time it takes the sound to build to it's highest volume is dependent upon how hard you play the keys. When you strike with force, the time is almost zero, and thus you can hear the tone is bright because the filter is open (the filter ENV has a quick attack.) So, when you play lightly, you will hear a soft, mellow tone, and when you play with force, the attack reduces enough to allow you to hear the open filter. You can have this work for you in different ways. You can set the amount of attack modulation to increase or decrease by altering ENV 4's TIV. Larger amounts mean that the difference between soft and hard playing will be greater, and vice versa.

22. THE PAD. Pulse waves are used here because they have "bite". The wheel is set to increase the filter frequency; in other words, advancing the wheel will brighten the sound. Change the amount of this effect by altering the amount of modulation the wheel has on the filter. Larger positive values will allow the wheel to add more brightness, and negative values will let the wheel dull out or darken the tone. For the wheel to have no effect on tone, set the MOD amount next to WHEEL on the filler page to +00. LFO 1 creates the vibrato, so change it's frequency to taste. LFO 3 pans the sound and gives OSC 1 a slight tremelo. Change the amount of each, respectively, on DCA 4's PAN MOD amount, and DCA l's LFO 3 amount. Change LFO 3's frequency. ENV 3 controls the filter. Increase T1 to have a "wow" effect, as with SYN BRASS, and change T2 to have different tonal decay times. Try OSC 2 WAVE= SAW.

23. BIG PAD. This patch is layered to THE PAD. To make it sound bigger than it is, you can play four note chords with your right hand, and play bass notes between the chords. It's not hard, and allows this patch to sound like it has eight note polyphony. Decrease ENV 3's Ll to reduce the crispy attack. Increase OSC 3's FINE for a bigger sound; try a value of 08. ENV 1 detunes OSC 3 a bit; to have more effect, set the ENV I MOD amount on OSC 3 to a larger negative value. and vice versa. ENV 1's T2 controls the bend time, so fiddle with it, hear what it does, and set it to taste. LFO 1 produces vibrato. The wheel again adds brightness, this time to match THE PAD. Follow THE PAD's instructions in this regard. Try increasing ENV 4's T4 equally on both patches to get more decay, instead of such a choppy, staccato

24. ANALOG. Pulsewidth modulation! It comes from OSC 2 being a synch'd square wave and set an octave LOWER than the master oscillator (OSC 1); velocity and LFO 1 modulate the resulting pulse width. To remove the velocity effect, reduce ENV 3's LV to 00; then vary it's depth on OSC 2. For the wheel to control the sweep, set LFO 1's L1 and L2 to 00, and set MOD: WHEEL. Then set LFO 2's depth on OSC 1 to 00. Change LFO l's speed and waveform! Replace LFO 1 on OSC 2 with WHEEL for manual PW control! Change ENV 3's rates and levels!

25. SO THICK has a nice bright attack for adding some punch to a chord progression or some edge to a solo. For a choppier sound, set ENV 4's T4 to 05. Try these values too: Filter frequency: 062, ENV 3's L2: +31, T2: 07, T3: +11! Also try OSC 1 OCT to -2 so it all sounds thicker.  Try layering it with one of the bell sounds in bank 2.

26.  MORTAL. Set ENV 4's TI, the amount of time it takes this sound to build to full volume, to taste. This makes MORTAL a wonderful sustained "pad" sound, for background chords. You can change the ENV MOD amount on the filler to get a darker or brighter sound. Or, you can change the envelope parameters: set L2 to +63 for more brightness, or try +00 for a slight "bowing" effect. Change T2 to alter the amount of time it takes the tone to mute, or become dark.

27. AFTERNOON. To get more "body" in this sound, increase the level of DCA 1.  Change OSC 3's OCT. Lower the filler frequency for a less crisp tonal character. Change the filter's RESONANCE (Q). The main component of this sound is OSC 2, which is synch'd (do you get the impression that I love to use the synch function?) and is swept by LFO 3. Change OSC 2's WAVE (the main tone). OCT (primary interest), SEMI (secondary interest), and also LFO 3's frequency to alter the sweep speed. The volume envelope has the same dynamic attack characteristics as STRINGS, so refer to those instructions to alter this.

28. ORGANUM. Change OSC 3's WAVE to ORGAN, and other waveforms. Select the MODE page and set AM to OFF. To reduce the long decay on this sound, decrease ENV 4's T2, 3, and 4 equally. Also reduce ENV 3's T3 along with them, as it sweeps the tone . Try reducing the filter frequency. LFO 1 gives vibrato; change it's frequency and levels. (L1 for immediate vibrato, L2 for the final amount, and DELAY to determine the time factor between the two. To tame this sound even further, set CYC: OFF (on the MODES page), along with the reduced decays. You can even set ENV 4's L2 and 3 to higher levels to have more sustain in this case.
29. MIDNIGHT. In the swamp, that is. The main component to this patch is OSC 2, which is synch'd to OSC 1, and swept in pitch by LFO 3. The wheel is set to increase the pitch, and thus, the resonant quality of this patch. To change the volume of the resonance, alter DCA 2's LEVEL. To alter the sweep speed on the resonance, change the frequency of LFO 3. Change it's WAVE, too. Try increasing the filter's RESONANCE (Q) amount. To add more "body" to this patch, increase DCA 3's LEVEL. Change OSC l's WAVE to SINE, SQUARE, NOISE 3, EL PNO. etc.

30.  FLOWIN' floats nicely. Increase or decrease the three LFO's speeds, as they control the effect. For a bit more brightness, increase the filter's frequency; to effect only the upper notes, increase the filter's KEYBD amount. Try decreasing ENV 4's T4 and increasing Ll. Use different waveforms on oscillators one and three; try PULSE 2 and SYNTH 1, 2, and 3, respectively. Decrease ENV 4's TI for a shorter attack. You can get a lot of mileage from this voice if you EXPERIMENT!

NOTE: All of the bass sounds that follow (except STRINGED and BACK BONE) are set to sustain at full volume if you hold the key(s) down. To have these sounds decay to silence (or something below full volume) when a key is held, set ENV 4's L3 to +00 (or above, respectively). T3 will then determine the amount of time it will take for the sound to fall to the level you have chosen.

31. MO' BEEF. This sound is layered with BACK BONE. When you are editing, you can best hear what is going on by silencing the second half of the patch, BACK BONE. Do this by selecting the SPLIT/LAYER page and setting LAYER to OFF. Now all you hear is what you can edit. The filler is the most important part of this sound. First, change the RESONANCE (Q) amount. A higher value gives a more funky sound, and less, a more mellow tone. ENV 3 controls the filter, and here's how to attack it:

  • L1 controls the initial amount of brightness.
  • T1 controls the time it takes the filter to go from dull to bright. (It is set to 00, or instantaneous movement to brightness. Increase T1 and hear a "wow" effect.)
  • T2 is the main point of interest! It is the "pluck" speed. Alter it's value to taste. 
  • LFO 1 gives vibrato.
  • LFO 2 pans the sound. Change their frequencies.
  • Alter the panning amount at DCA 4's PAN MOD.
  • Try OSC 2 at OCT -1. When you want different release times, remember that the value should match BACK BONE's, or you will get one sound fading out before the other. You may want this, however.
  • You could set BACK BONE's ENV 4's T4 to around 35, and MO' BEEF's to 10, and have an interesting effect...

32.  BIG BASS. This is two square waves at the same pitch, with a synch'd and swept OSC 2 to give a very thick and analog sound. This patch is also monophonic, so it helps to play staccato (release all notes before hitting another, or you will not re-trigger the filter sweep). If you don't like this, select the MODES page and set MONO to OFF. However, in MONO, the advantage is that you can hold down a note and hit another, rapid-fire, to get really fast trills.  The filler and OSC 2 are both swept by ENV 3. To have a more "plucked" sound, set T2 to a smaller value, or just set it to taste. To get the buzzy effect to sustain, set L2 and 3 to +63. Panning is from LFO 2 at DCA 4.
33.  GROWLY. is a kind of a cross between MO' BEEF and BIG BASS- a resonant filter sweep, and a monophonic playing technique. It is different in that ENV 2 and ENV 3 sweep the filter at the same time. ENV 2 provides a sharp, quick pluck with a little velocity sensitivity; ENV 3 is roughly the same shape as BIG BASS. To start editing, I advise setting LAYER to OFF, and either ENV's level on the filter to +00, or "no effect". Now you can hear what the remaining ENV does. Now set this ENV to +00 and bring the  other ENV back up to +63, the level they both started at. Knowing what each contributes to the final sound, you will have a better idea of what you want to do with it. Increase ENV 2's T2 to alter the "pluck" time. Try setting different ENV levels on the filter. LFO 2 is responsible for the panning, so change it's frequency and depth on DCA 4. Change the filter's RESONANCE (Q).

34. ZAP BASS. OSC 2 - is the main part of this patch. It is synch'd and swept by ENV 3, which also sweeps the filter. ENV 3's T2 controls the initial sweep speed, and T3 the secondary. Reduce it's LV to lessen the need to play hard for "brightness". If you want a really neat, fuzzy lead sound, set ENV 3's LV to 00, and increase the filter's frequency till it's nice and bright. Now play with the RESONANCE (Q). OSC 3 has slightly more vibrato (by setting the vibrato LFO 1 to a higher value than the other OSC's). This gives a bigger sound. For a more even quality to the vibrato, set OSC 3's LFO 1 level to +01. LFO 3 pans the sound. Change L1 to alter the continuous level. Try MOD: WHEEL to have the wheel also control the pan depth. Remember, set LAYER back to ON if you are going to save an edit! (This holds
true for all the layered sounds.)

35.  MOOG BASS 3.  Like MO' BEEF, a quickly swept resonant filter is the main component of this sound. Set LAYER to OFF and begin. Change the filter's RESONANCE (Q).  Change ENV 3's T2. Change OSC 2's WAVE to SAW or PULSE. Change OSC 2's SEMI. Change LFO 3's frequency to alter the amount of movement you hear when you sustain a note. Change the amount of that movement by altering the level of LFO 3 on OSC 2. LFO 2 pans the sound.

36.  PLUCKED.  I created this one especially for those who love sequenced bass lines ala KRAFTWERK, TANGERINE DREAM, and KLAUS SCHULZE. It sounds best in continuous patterns of the same note value, i.e., eighth or sixteenth notes. Put echo on this one! To have an even decay on every keystroke (especially effective in sequenced bass lines), set CYC to ON (on the MODES page). Now change ENV 3 and 4's T4 equally to get just the right amount of sustain on the (hopefully) quickly released notes. ENV 3's L1 controls the initial "crispness" of the sound; raise the value for more and decrease it for less. T2 controls the length of the "pluck", so set it to taste. Increase the filter's RESONANCE (Q) to add some "wetness" to the sound. OSC 2's FINE controls the amount of chorusing. Try values of 00 and 05. To get velocity to control this patch's volume, simply increase ENV 4's LV to suit you. For tone, do the same to ENV 3's LV. Put this patch through a compressor to make it sound really punchy!

37.  STIFFY. Try setting OSC l's OCT to -2. (Remember to temporarily set LAYER to OFF.)  Try PIANO for OSC l's WAVE. Set ENV 4's T4 to 20 for a less staccato style. Set CYC to OFF on the MODES page to allow a different, "free" type of chorusing. OSC 2's FINE controls the amount of chorusing. With CYC: ON, different settings on this control will increase the detuning, allowing anything from subtlety to the outrageous.

38. STRINGED.  Here's a nice cross between an upright bass and a fretless electric bass. Reduce ENV 1, 2, and 4's LV's so you don't need to play as hard to get volume and tone out of this patch. Set ENV 4's T4 to 21 to "tighten up" the release! This gives a more staccato feel, like a fretless. Set ENV 3's L2 to +30 to have more "tone", or string resonance. Reduce the filter's frequency for more "body", but less tone. -LFO 1 produces the overall vibrato. Change it's frequency to taste. LFO 2 gives OSC 2, the OSC producing the string resonance, its own independent vibrato that quickly fades in. Alter the fade-in time at LFO 2's DELAY, and the amount of it at L2. Change it's frequency, too!

39.  BACKBONE. This patch is intended to be a generic electric bass sound; fat, but not quite interesting enough to attract attention to itself. This makes it the perfect back bone for songs with other instruments demanding the center of attention. Set LAYER to OFF before editing. Now, change the filter frequency to have a different tonal quality. LFO 1 introduces a bit of vibrato independent of the wheel; change the amount of it at LFO l's L2.

40. TECHNO.  The unusual qualities of this patch come from having OSC 2 a synch'd NOISE wave. Set LAYER to OFF and attack OSC 2's SEMI, as this control determines the main tonal quality of this sound. ENJOY! ENV I determines the volume of this OSC; change it's amount on DCA 2 to change the volume of this part of the sound. Reduce ENV 1's LV so you won't need to play as hard to hear it. ENV 2 controls the characteristics of the filler sweep. Change T2 for the most effect. Try these for OSC 2's WAVE: NOISE 3, OCTAVE, and OCT +5. For OSC 2's WAVE, try NOISE 1 and 2, SAW, and PULSE.