TECHNOSIS PROSELECT BANK 1B
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TECHNOSIS ESQ PROSELECT VOLUME ONE - BANK B

Performance Notes

By Mike Peake 

 

41. PLEASING. This patch is comprised of three sine waves, all at the same pitch. The interesting part is that OSC 2 and 3 are slightly delayed in time by the envelopes on their associated DCA's. OSC 3 is delayed the most, so let's play with it first. ENV I is it's controller, change the value of TI to vary the delay time. Higher values will increase the delay time, so that you will be able to hear it clearly. With high settings, you will have to sustain notes to make up for the amount of delay time. You can also set CYC to ON (MODES page) so the envelopes will automatically play out their pre-programmed drama without sustain. However, if you have large delay times, you should set ENV 4's T4 to a value high enough so that the overall sound will fade out after the delays have occurred. Play with ENV 2's TI for
the same effect on OSC 2. The most effective usage of this effect is when you have each oscillator play a different WAVE. This will allow you to hear the delays more easily. LFO's 2 and 3 generate continuous vibrato, so change 2's L2 and 3's L1.
 

42. DREAMER. Play the wheel for added expression! Change ENV 1's settings for tremelo that varies with time. For instance, decrease T4 for an increase in speed as the sound dies away. Try different waveforms on OSC 1, such as SAW, SQUARE, etc! This will change the “shape” of the tremelo. Same for OSC 2! This will change the tonal quality of the patch. On OSC 1, replace ENV I with KYBD 2 for even tremelo across the keyboard.
 

43. PLEASANT. This is basically as sine wave (OSC 1), vibrato'ed by LFO 1, panned by LFO 3 (change it's MOD level on DCA 4), and accented by having a synch'd OSC 2 tuned to the third harmonic and made percussive by ENV 1 (change T2 for the decay time and DCA 2's ENV I amount to control it's volume). Change OSC 2's WAVE to alter the quality of the accent. Try SINE, SQUARE, NOISE 1, 2, and 3, etc. Change ENV 4's T4 to control the release time.
 

44. LEAD ME. This tonal quality of this patch is velocity sensitive. Lower the filter frequency to have the softly played notes more mellow in character. Now increase ENV 3's filter MOD level to allow the hard-hit keys to have enough brightness. You can move between these two to get the range of velocity to tone you want. However, if an ENV 3 filter MOD value of +63 isn't bright enough for you, you can select ENV 3 on the other, unoccupied, filter MOD input. Increase it's amount in the positive (+) direction until you have the range you want. I like it when the filter frequency is at 00 and ENV 3 is at +63 on both filter MOD inputs. Change ENV 3's T3 to alter the filter sweep. AM is the basis of this patch. Change OSC 2's WAVE. PULSE gives a nice raspy quality. NOISE 3 makes it rude.  PIANO and PRIME are also nice. Change OSC 2's OCT. Try AM: OFF on the MODES page. OSC 1 and 3's FINEs control the amount of chorusing. LFO 2 pans the sound. Change it's amount on DCA 4. Try setting LAYER to ON, with LEAD ME as the patch you are layering this to. It makes the vibrato sound ultra-cool!
 

45. PIPES + is the nice floaty pipe organ. It sounds great layered with SYN BRASS, GLASSY, SOFT VIBES and especially the next five metallic sounds (CLAVNA through METALA) or any thick sound. Give it stereo chorus and some bright reverb. The 'floaty' quality of the patch comes from the three LFO's modulating pitch, volume and each other at different rates. Speed 'em up or slow 'em down! Change their depth on the DCAs and OSCs! Give it some release by increasing ENV 2 and 4's T4 to taste!
 

46.  CLAVNA. ENV 3's L1 controls the crispness of this patch's initial attack. Set it to taste. For a meaner tonal quality, set OSC 2's OCT to -2. Increase ENV 3 and 4's T4 equally to get some release. LFO 1 is responsible for vibrato. It puts out a little continuously, so change the amount of this on LFO l's L2. Try 00 for none.
 

47. METAL KEYS. Lower the filter frequency for a mellower lone. OSC 3's FINE controls the chorus. OSC 2's SEMI controls the tonal quality. Play with this for the most fun!  Increase the filter's RESONANCE (Q) for more edge. Increase ENV 3 and 4's T4 equally for more release.
 

48. HARPSY. Practice your Bach! An easy way to change the thickness of this voice is to vary the filter's RESONANCE (Q). Increasing it makes it sound thinner. What? You don't like the key-up glitch? You can do this: reduce OSC 2's ENV I amount, and of course, increase it for more! ENV 4's T4 (i.e., experiment with!) Try different octaves on OSC 2. and OSC 1. OSC l's FINE controls the chorus amount. To have less or no velocity control of volume, reduce ENV 4's LV.
 

49. GRUNGE can sound very mean in the right context. If you find the bass louder than the high notes, increase the KBD 2 mod amount on all three DCA's equally. However, for much richer bass, set all DCA KBD 2 amounts to 001 Try dropping the filter frequency a little. ENV l's T2 value controls the pluck effect when you play with high velocity. Increase! Play the wheel! To have the attack speed always be the same, set ENV 4's TIV to 00 and alter TI (attack) to taste.
 

50. METALA. (Pronounced "Meh-tahleh") This patch is real Science Fiction! DON'T do any pitch bends unless you are fond of aliasing! This sound is fantastic for really mean sequencer bass lines, the kind PLUCKED is also great for. OSC 3 provides a really dissonant attack transient that is shaped in volume by ENV 2. Reduce ENV 2's amount on DCA 3 to have less of this tone; change it's T2 for a different amount of decay. Change OSC 2's OCI' for the most drastic difference in tone, use SEMI to fine tune it. I have set this patch up so that the level of the bass remains pretty constant, but that velocity controls the the volume levels of the metallic tones. To have them remain stable at a certain volume with less dependence on velocity, reduce the VEL amounts on DCA 2 and 3. Also reduce ENV 2's LV. Now increase DCA 2 and 3's LEVELs to taste!
 

51. GLASSY. OSC l's tuning makes this patch sound unique. It is somewhere above the 24th harmonic (my self-calculated chart only extends to the 24th) and Amplitude Modulates OSC 2. Try different WAVEs on OSC 1. Change OSC 2's OCT. +1 sounds great. OSC 3 creates the bass. You can change it's volume at DCA 3's LEVEL. but distortion begins at about 60. Change the filter frequency. To have velocity control the volume of this patch, set ENV 4's LV to taste. (Higher values mean you will have to play harder to get full volume.) LFO I does the vibrato. To change the continuous amount, alter it's L1, LFO 3 pans the sound. Try setting it's MOD to *OFF*, and then setting Ll and L2 to taste. You might then want the wheel to control the panning depth; simply select LFO 3's MOD and set it to WHEEL,
 

52.  SYN VIBES. Increase ENV 3's T4 to get the brightness to decay longer. AM is the root of this patch. OSC 3 is not used at all. So, change OSC l's WAVE to SQUARE, PULSE, and SYNTH 2. Try OSC 2 at OCI' +0. Setting the filter's RESONANCE (Q) to 07 brightens this sound. ENV I bends the pitch of both oscillators. Change it's L1 for depth control, and T2 for time.  LFO 2 sweeps the filter. Change it's depth on the filler and it's frequency (found on LFO 2).  LFO 3 pans the sound all around town. Change it's frequency and depth (DCA 4).
 

53.  NICE. Nice bell stuff followed by an organ tone. Let this one sustain, and add vibrato. Try this with syncopated echo with lots of feedback. Chorus! Check out ENV 1 with T1 at 091
 

54. DARK STAR. The root of this patch's tonal quality are two PRIME waves (OSC I and 2) at the same frequency, but slightly detuned for animation. Change OSC 2's FINE to take control of this. OSC provides the unusual character of the attack. Change it's OCT and try WAVE OCT +5. ENV 3 sweeps the overall lone; Ll determines the initial brightness. Change ENV 4's T4 for different amounts of release. LFO 3 pans the patch. LFO 1 vibrates. Change both of their L1's.
 

55. MEADOW. OSC 3 is tuned to the 5th harmonic. Change it's WAVE to SYNTH 2. On OSC 1, substitute these WAVEs: SQUARE, SYNTH 1. LFO 2 gives OSC 1 tremelo; alter it's frequency and L2. Increase the filter's RESONANCE (Q) for more brightness. Drop the filler frequency for a more "mellow" sound. Find a new release setting on ENV 4's T4. Reduce the amount of velocity control by reducing ENV 3 and 4's LV's equally.
 

56. LUV IS. is velocity sensitive. It's layered with GLASSY. Raise the filler frequency!  Decrease ENV 4's T4. Chorus and quiet echo!
 

57.  NICER. was in the TRANSONIQ HACKER, It's rootless feel comes from OSC 2 being tuned to a fourth four octaves below the fundamental (OSC 2) and reduced in volume, so as not to attract too much attention. OSC 3 has delayed square wave vibrato for an unusual feel. Try CYC: OFF. Try changing OSC 1's OCT, SEMI, waveform, and volume.
 

58.  BOWED BELL. is pitch bent by ENV 1. Change it's L1 to alter the amount of bend, and mess with T2 to get different time factors. Try OSC 1's OCT at +1, and PULSE for it's WAVE. ENV 3's T2 controls the initial filter sweep, and T3 controls the secondary decay toward "muting". ENV 2 pans this sound in an unusual way, It is set so that it quickly sends the sound to opposite sides. (Thus the extreme settings of +63 and -63.) To hear this effect more clearly, reduce ENV 2's LV, but leave enough so that the sound remains at audible center. Change the speed of the effect by increasing or reducing TI, T2, and T3 equally. Change the amount of panning on DCA 4. This patch sounds best when played melodically instead of in chords.
 

59.  PLEZUR. The pitch bend is ENV l's T2 sent to OSC 2 and 3 in different amounts. Change it! You can vary the chorus amount at OSC's 2 and 3's FINE controls. ENV 3's T4 controls the amount of time it takes the tone to "mute" after you release the keys. ENV 4's T4 controls the amount of time it takes the volume to fade to silence after you release the keys. Try increasing them both equally. Enjoy!
 

60.  NICEST. has built in echo, just advance the wheel and play. LFO l's frequency controls the echo's speed. On DCA 1, Try LEVEL: 63, LFO1: -27. Try HUMAN: ON (LFO 1). Try different LFO waveforms! Isn't it just the nicest?
 

61. CHORUS is layered with SAY AH for real thickness. You might like this better with a couple oscillators down one octave, so it mixes better with SAY AH. Try changing ENV 4's T4. Try a different filter frequency.
 

62. SAY AH has a velocity dependent stereo sweep. LFO 3 is responsible for this; change it's speed and wave, 11 also detunes oscillator I and 3. More or less? Vary it's depth on 1 and 3! If you don't want velocity to control the depth of the effect, set the MOD input on LFO 3 to WHEEL (or just OFF).
 

63.  HEAVY. This is excellent for adding big and mean accents to a chord progression, or for meaty bass drones in octaves. Change OSC 2's SEMI to alter the tone. LFO 1 sweeps OSC 2; change it's L1 and frequency. Change the filler frequency to get a buzzier or more mellow quality. ENV 3 sweeps the filter; T3 is where you should attack. Increase ENV 3 and 4's T4 equally. Try setting OSC 2's WAVE to SQUARE for a classic analog synch effect. This patch can be made to be quite a bit louder. Simply increase DCA 4's ENV 4 amount.
 

64.  TAH.   TAH? TAH TAH TAH. Raise the filler frequency. Increase ENV 2's T2 and T3 to lengthen the 'T'. Increase ENV 4's T4 to increase the time it takes to die away after you release the keys.
 

65.  CHAMBER. Isn't this wild? Drop the filter frequency to make this sound seem more distant. Try BELL or SYNTH 2 for OSC 2's WAVE. The effect speed is controlled by ENV l's T4.
 

66.  HOLLOW. OSC 1 produces the "breath" effect. Change it's volume on DCA 1's LEVEL.  Change OSC l's SEMI for different breath qualities. Change OSC 3's LEVEL on DCA 3. ENV 3's T2 controls the length of the "chiff" you hear when you play with force. Change it! Add some release to ENV 3 and 4's T4.
 

67.  CLARINET. Change OSC 2's SEMI for different resonant tones. OSC 3 creates the third harmonic, which is prominent in bass clarinets. Change it's volume at DCA 3's LEVEL. Play conservatively with the filter frequency and RESONANCE (Q). LFO 1 gives the vibrato; change it's continuous amount by altering it's L2. ENV I creates a pitch bend. L1 is it's depth, and T2 is it's speed. Play till you're satisfied!
 

68.  BASOON. OSC 2 again produces the resonant part. Change it's SEMI. Alter it's volume at DCA 2's LEVEL. Play with the filter parameters, but again, not too much. LFO 1's L2 again controls the continuous vibrato level.
 

69.  FIDDLE. AM once again! Hold the pitch wheel down and slowly bring it up when you play a chord. Change OSC l's WAVE . Try OSC 2 at OCT +1. To thin this patch or fatten it, alter DCA 3's LEVEL. ENV I bends the pitch. Change it's T1 and T2. LFO 2's L2 controls the continuous vibrato.
 

70. THE FLY is great onstage when it's not too obvious...The middle keys sound best. To have the wheel control the volume, give it a mod depth of -63 on DCA 2. Give this one room type reverb, or long echo! Confuse people! Make friends! You're welcome!
 

71. POP BASS. As in the style of playing, not the style of music. OSC 2 is responsible for the metallic "pop". Change it's OCT, then it's SEMI. ENV 3 controls the filter. For more "snap", increase Ll; increase T2 for a snap with more decay. Raise L2 for more brightness after the initial snap. To reduce this patch's need for velocity in regards to brightness, decrease ENV 3's LV. Don't pitch bend? I'm sorry there is aliasing, but you have to live with it to have a patch that sounds like this one!
 

72. PSYCHE was called DOUBLEPLUCK, because you get two plucks for one keystroke! This makes it perfect for continuous sequencer-like bass lines. Tap the keys, don't sustain them. The repeat speed is controlled by ENV 3's Tl. You can set this any where, but for settings above 21, increase ENV 4's T2 so you can hear it! The repeat's "volume-" is ENV 3's depth on the filter. To change the pluck lengths, alter ENV 2's T2 and ENV 3's T3 equally, or differently 'for effects. The wheel adds panning when all the way up; LFO 3 is the culprit.  Change it's speed and wave! Change it's amount on DCA 4! Drop the filter's frequency! For more thickness, set OSC 3's OCT setting to -2, then reduce DCA 2's LEVEL to 52. LFO 1 sweeps the synch'd OSC 2. Change it's FREQ.
 

73. SCI440. is the excellent copy of the Studio 440's bass. Reduce the FINE on OSC 3 to "even up" the phasing; to thin this sound out even more, set OSC 2 to -2. ENV 2's T2 and 3 are responsible for the filter sweep, so go ahead and change these. Drop the filter frequency! Light, light reverb!
 

74. D’ BASE is, of course THE bass! It's so cool because I sync'd a noise waveform and swept it with ENV 1. Velocity is important with this one! ENV l's T2 setting gives the initial "pluck" speed, and T3 gives the speed of movement after that. Vary them, Musician! Try 63 to get a "growl" at high velocity. To have less "snap" at the attack of this patch, bring DCA 3's ENV 1 amount closer to +00. You might also want to leave the mod wheel at a point you feel it sounds best and play from there. Or, set the filter freq where you like it best and disconnect the wheel mod on it and OSC 2 (depth: 00), and increase OSC l's LFO 1 depth to +03 so you get vibrato! Try OSC 1 OCT: -2, OSC 3 SEMI: 00.
 

75.  KICK BASS. This patch is layered to KlCK A. It is great for rhythmic figures, that is, adding punch to a fill or ostinato. Set OSC to OFF on the MODES page for a free-running chorus. OSC 1' s FINE controls this amount.
 

76. KICK A is a variable pitch kickdrum. Vary the mod wheel while playing until you find the right sound. Or use the wheel while playing for a dynamic percussion pattern! For a tight "rock" sound, decrease ENV 4's T2, or for a fatter "rap" sound, increase it! Try 16 and then 36.
 

77.  SNARE varies it's pitch and decay across the keyboard, a bit like tuning a sample. To thin it out, turn off DCA 2. To simulate the subtle rise in pitch on a hard hit snare I gave ENV 1 some LV. For a more drum machine like snare, set this to 00. How about increasing the resonance and changing the filters' frequency?
 

78.  HI-HAT1 finally allows you to do complete drum patterns on the ESQ 1. The decay reduces as you move up the keyboard, so the first notes can be the 'open' portion and the top the "closed". Play this patch with two hands, one at each end of the keyboard. Choose the note(s) up top for the continuous tapping, and play it with one finger. Another finger can be used to double your speed by alternating keys, or by just adding accents. For the open/closing sound, tap (don't sustain) a key with your left hand, toward the bottom of the keyboard. As it rings, tap a high key with your right hand. This cuts off the open portion's sustain, like a real hihat closing. Think of this program as being just like playing the pads on a drum machine, but with your choice of decay for each! This patch is really fun when you master it! Use the wheel to determine tone color. Oh! Edits! On OSC 2, change Semi to 04, or whatever you like. And on ENV 4, try L3: +52 and T3: 29.
 

79. SIMMONS.   OSC 2 makes the noise part. It's volume is shaped by ENV 2. To change the volume of- the noise, alter DCA 2's ENV 2 amount. Increase ENV 2's T2 for more decay on the noise. ENV 3 controls the filter sweep. Change it's MOD amount on the filter. Change it's T21 OSC 3 is the pitched tone. It is bent by ENV 1. To have velocity control the pitch, increase ENV 1's LV. Change T2 to alter the speed of the bend. To raise the tone's pitch, increase OSC 3's SEMI.
 

80.  RIDE CYMBAL. For a more metallic sound, decrease LFO 1's Ll. Increase it for more noise! Change ENV 4's T3!
 

 

SPLIT AND LAYER COMBINATIONS

The Proselect patches are set up to work best with the format you have purchased them on. The Data Cassette and SQ-80 Disk have the splits and layers set up to work properly only when they are in the internal memory, the "on board" portion. The splits and layers function on the cartridges when they stay in the locations they originally came in, i.e. cartridge bank A and B. All of this is because the Ensoniq machines remember the split and layer locations by PROGRAM NUMBER and not by PROGRAM NAME. (Program number means that the internal sounds have numbers form one to forty, and those in cartridges occupy numbers forty-one to one-hundred and twenty.) So, you need to know that the patches are arranged so that all splits and layers are set to be self-contained in each batch of forty. There are no layers or splits across banks. Cassette and Disk owners can load up either bank of forty and use a cartridge containing entirely different sounds and not experience problems (unless the cartridge has sounds set to be split etc. with an internal patch.) When you transfer the patches from internal to cartridge, or vice versa, you need to know what to set for the splits etc. for regular operation.
 

JUST TO SEE HER

LAYER: ON

DX-PIANO

 

MAD BRASS

SPLIT= LOWER:

BACKBONE

KEY # 060

BIG PAD

LAYER: ON

A PAD

 

MO' BEEF

LAYER: ON

BACKBONE

 

BIG BASS

LAYER: ON

BIG BASS

 

GROWLY

LAYER: ON

GROWLY

 

ZAP BASS

LAYER: ON

ZAP BASS

 

MOOG BASS 3

LAYER: ON

MOOG BASS 3

 

PLUCKED

LAYER: ON

PLUCKED

 

STIFFY

LAYER: ON

STIFFY

 

BACK BONE

LAYER: ON

BACK BONE

 

TECHNO

LAYER: ON

TECHNO

 

SYN VIBE

SPLIT= LOWER:

POP BASS

KEY # 060

LUV IS

LAYER: ON

GLASSY

 

CHORUS

LAYER: ON

SAY AH

 

CHAMBER

SPLIT= UPPER:

SYN VIBE

KEY # 060

KICK BASS

LAYER: ON

KICK A

 

KICK A

SPLIT= UPPER:

SNARE

KEY # 048

SIMMONS

SPLIT= LOWER:

KICK

KEY # 048

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