TECHNOSIS PSYCHE SHRIEK
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TECHNOSIS PSYCHE SHRIEK BANK

Performance Notes

By Mike Peake 

1. YERASS was printed in the September 1987 MUSIC TECHNOLOGY magazine. It has a nice ensemble effect when you move the wheel up a little and leave it there. To have the ensemble effect all the time, set LFO lís L1 to 17. Put OSC 3 to OCT-1. Try SAW, SINE, or SQUARE 2 for OSC 1ís waveform. Try different waves on both OSC 2 & 3 simultaneously, such as BASS 2, PRIME, etc! For an even decay, set ENV 2ís T4 to 27, or ENV 4s T4 to 00.    

2. SHRIEK is the nasty velocity sound. Use this to cut through any amount of noise! You can drop the filter frequency... 045 is great! Echo!

3. LUV IS This is layered with HIGH R. Try decreasing ENV 4ís T4 for a quicker fade out.

4. SCARY 2. is the great icy explosion. It sounds best on the bottom keys. The wheel controls the filter, and ENV3s T2 the ďiceísĒ sweep. Try reducing ENV 4ís T4 and increasing T1. 37 and 28 sound great, respectively! Replace KBD 2 on DCA 4 with LFO 1. Chorus and reverb! Lots of long echo.

5. MEMORY really echoes. Play up to eight notes (any more steals voices from the echo) and let magic happen. Transpose OSC 2 & 3 (SEMI) to interesting intervals; change their waveforms, etc. Change their volumes by reducing their DCAís mod depths. To change the echoís speed, have beer. Have more beer. Ready? Have MORE beer. Now de/increase ENV 1 & 2ís T1 equally. Happy? Now you may want to change their decays. First note: change LFO 2 delay time. The echoís decays are on ENV 1 & 2ís T3. Now the pan stuff; LFO 1 pushes the pan right, ENV 3 shoves it back left. Trick is, increase LFO 1ís speed and reduce ENV 3ís T2 for shorter echoes. Reverse is true! The hard part is getting the pan to occur between a noteís decay and the next noteís beginning!  Perfect alignments are not always possible! Focus on one segment at a time. For quick slap echo, set ENV lís T1 to 16; ENV 2ís T1 to 06; on DCA 3, set ENV 1ís amount to .+44; and on DCA 4, put PAN to 08 with the mod depth to 00. For a longer echo along the lines of the original, try LFO 2 D: 5; LFO 1 SP:06; ENV 1 T1:47; T3:40; T4:46; ENV 2 T1:41, L3 +48; ENV 3 T2:46!

6. BRZRKR imitates the classic sample and hold effect. The wheel introduces a tone for more of a solid feel. Play chords, but hit the notes simultaneously. It only sustains for 53 seconds, so be sure to remember to either retrigger the same notes or to have a new note ready! The speed is controlled by ENV lís T settings. Then ENV 2ís, as it extends the available sustain. Values around 38 give a ring modulator effect. Hmm, think of the electronic snare or toms you could create... Hey! Why not use an LFO on OSC 2 in place of ENV 1 and 2? A SAW wave with RESET: ON works best really slow, but try NOIse!

7. BADPNO          is for all those dirty leads youíve been hiding.. The grunge is from OSC 3. Change itís volume by altering the ENV 1 amount on DCA 3. ENV 1ís T2 controls the decay time of the grunge. ENV 2 produces a non-velocity sensitive pluck or click at the attack of the sound. Change the length of this by altering T2. Give it velocity sensitivity by increasing ENV 2ís LV while playing until you like it. A value of 59 will match it with the rest of the sounds sensitivity. LFO 1 produces the vibrato. Change its FREQ. The original BADPNO had these differences; OSC 1, OCT -2, LFO 1: +63. OSC 2, OCT: +0, LFO 1 +05. OSC 3, OCT:-2. LFO 1 FREQ: 20.

8. BUZBAS is perfect for funk or robotic bass lines. Try OSC 1 and 2 an octave or two down. Increase ENV 1 and 3ís T2 and T3 for a less sharp feel. Then lower the filter frequency!  Reduce ENV 4ís T4 for a shorter release, or increase it so the sound ďhangs onĒ for a while before it fades.

9. "  3  " has nothing to do with Emersonís new group, though he can use this sound at any time. Try ENV 4ís T4 at 14. You might like OSC 3 SEMI: 00. FINE: 00, DCA 3 Level: 45, KBD2: 00.

10. STEREO         is layered with STIREO, both of them being the same program, panned hard opposite each other. OSC 3 on both is detuned slightly to give the phasing between channels. When editing this sound, because it is a layer, I like to listen to only one side while I edit. I make note of all changes, WRITE the sound back on itself, and then edit the other part, STIREO, giving it the same changes. The resonance and filter frequency are high, to help this patch naturally cut through a mix. Try seriously cutting the midrange on this one with art external equalizer, and phase shifting it. Or, tone down the buzz (1 couldnít resist the pun) by decreasing the ENV 3 amount on the filter. You can make the buzz fade away more rapidly be decreasing ENV 3ís T3. T2 controls the toneís initial attack speed, so go after this. Change OSC 2ís SEMI and ENV 4ís T4.

11. ATMOSPHERE (ATMSFR)  is great played staccato or as a chord with sustain (stagger the notes! Try CYC:ON and ENV 4ís T4 near 54.

12. SMACK Where can you use this? Anywhere. Drop OSC 2 down an octave or two. ENV 3 gives a slight pitch sweep on OSC 1, 2 and 3, which you might want to augment, reduce or vary its time factors. Mainly, T2!  For a less percussive sound, increase ENV 4ís L2/T2 and L3/T3. Reverb!  Or for a built-in Ďreverbí, increase ENV 4ís T4! 30 sounds good. For a less dramatic smack, set the filter FREQ to around 090 and reduce the amount of ENV l modulation. Now after ENV 1ís T2 to control the toneís pluck length.

13. HIGH R is the string-like patch to allow you to add something above everything else. I like it high! Check out what velocity does! Change ENV 4ís T4 for more fun. Chorus!  If you have a pedal, you can set DCA 1, 2, and 3ís MOD inputs to PEDAL and set a large positive amount on each to let the pedal; increase itís volume. I like to set one of the OSCillators MODS to Pedal and give it a value just enough to detune it, and then set another to do the same but with the same amount of modulation, but negative, so there is more detuning. This can be a great effect for soundtracks!

14. POW-ER         is the electronic pipe organ. Try OSC 3 with WAVE: SYNTH 1 and other waveforms. Change the filter frequency and resonance!

15. AM BASS Try AM: OFF; change the filter Freq and ENV 3ís T2. Use different waves/OCTs on OSC 1 and 2! Flange it and vary your velocity.

16.  NEATO sounds great with different waveforms on OSC 2: PRIME, SQUARE 2, PULSE 2, the Formats, REED, ETC!  Try Ďem all. One easy way to make this patch brighter or muted: vary the filter resonance! If you donít like it to become muted when you advance the wheel, set the wheel amount on the filter to 00. And by all means, vary ENV 1ís rate and level settings! (The ENV 1 depth on OSC 2 controls the sweep depth.) For varied velocity effects, change the LV setting on ENV 1!

17. LO-O-O is like HIGH R in that it punches through where no instrument has gone before! Playing hard introduces a strong fifth. This is great for single-note gated technobass, or even for chords. Try different waveforms, and reverb. Try ENV 4 L2:45, L3:30, T4 to 00. For a more robotic sound, set OSC lís fine to 00. For a longer fade out, increase ENV 4ís T4.

18. OCTAVE is layered with Al for six square waves, each an octave apart. Itís a great heavy sound to add accents with, or drop the filter on both programs and vary ENV 3ís T2 and T3 to get a big bass! On OCTAVE, all the oscillators are VCAíd by ENV 4. On A1., all oscillators are sustained differently by different envelopes. Vary their mod depths and envelope shapes!     

19. MELLOW can have different waveforms for OSC 1; SAW, FRMNT 1 and ELPNO 2 work nicely. The ďstringyĒ effect comes from OSC 2, so vary its volume on DCA lís ENV 1 depth. Itís ďwidthĒ is controlled by varying OSC 2ís SEMI and FINE settings!   

20. GOSTBL sounds best in the lower octaves, and will experience vibrato if you play hard. Set OSC 1 to OCT +2; then set it back to +3 and set OSC 3 to OCT +2. Try some light echo.

21. MODWRX is the PW/sync/lead/funky/tone. If you have a pedal, or a keyboard with pressure, replace the WHEEL mod on OSC 2 and the filter with either of these and set LFO lís L2 to 00. If neither, choose whether you want the wheel to control the sync sweep or vibrato. If sync sweep, leave the patch as found! If vibrato, set the wheel depth on OSC2 to 00, and on LFO1, L2 to 00, but MOD to WHEEL! You can also have velocity control the sync sweep by replacing the OSC 2 MOD: WHEEL to VEL. You can set the sweep position manually by setting the OSC 2 MOD amount to +00, and altering the SEMI and OCTAVE settings.

22. WETBAS This ones great with echo. Edit: Filter: FREQ: 014, KBD: 40. Change ENV 2ís T2!

23. PD7.ZIE gets itís rolling effect from having two LFOs (1 and 3) sweeping pitch independently. OSC 3 provides a strong fifth that really shows up if you sustain notes. You can reduce itís volume on DCA 3 (ENV 2 depth) or by changing ENV 2ís shape. Maybe increase ENV 4ís L3 for more sustain, and reduce T4 for less ďringĒ.

24. LEADIN is for them great 1970ís leads. Do guitar-like stuff by sustaining a note with one finger and repeatedly bashing other note. Sounds like a trill, but you can play ultra-fast this way. Donít forget the pitch and mod wheels! Because this sound is MONOPHONIC, you can choose where you want the attack glitch to sound by playing staccato to hear it every note OR, by sustaining any note and then playing, it doesnít sound! I built in a pitch-bend if you play a note lightly and sustain it. Higher velocity results in a pitch glitch. Remove it? Sure!  Reduce the ENV 1 mod amount on OSC 1 & 3. To keep it but eliminate the pitch sweep, reduce ENV 1's T1! Try it poly or with glide! DCA 3 ON/OFF! Echo!

25. UNAMIT sounds a bit like a guitar with ENV 3's T2 at 25. Reduce the filter resonance for a banjo-like sound in the upper octaves! Otherwise, this is a good plucked sound.

26.  BASSER is humorous when injected sparingly. Velocity controls the amount of stereo movement. ENV 1 controls the "shape" of the repeat; LFO 1's depth on the filter controls it s "volume". Several  people have asked how to get this sound to have only one attack, and some sustain. First, set the LFO 1 MOD amount on the filter to 00, then set PAN MOD to *OFF* on the DCA 4 page, then set CYC to OFF on the MODES page. Now set ENV 4's L3 to +63. You can now manually control the sustain! Also, try setting LFO 2's FREQ to 29. Set CYC back to ON and set ENV 4 s L3 to 00.

27. KKKK  is NEATOs big brother. Velocity controls the sweep depth. Change the filter frequency! Try  LFO 1 wave: SAW, freq 11, or wave: NOI, FREQ 1-2. Hold down a chord! CHORUS and definitely ECHO!

28. 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 4s LV, and Tone is had at ENV 3s LV. Increase these values to get the amount of sensitivity you desire. Perhaps, balance the values. Reduce DCA 3's LEVEL for a less full sound.  The wheel introduces panning and vibrato. ENV 3 controls the tone of this patch. L1 sets the initial snaps volume, L2 sets the brightness of the sustain, and T3 the time it takes the sustain to dull out. OSC 3s FINE controls the chorus depth.

29. A1. is the top half of BIG ONE. Here, it is layered with MOOG BASS 2 for some depth. Regarding OCTAVE, Al. produces the fourth, fifth, and sixth octave timbres. Envelopes 1, 2, and 3 vary them in  volume over time, respectively. Alter their shapes, DCA mod depths, and waveforms, and listen to what all this does to OCTAVE after you've saved the edits!

30.  STIREO.  See STEREO, #10.

31.  KICK B 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" like sound, increase it! Try 16 and then 36.

32. KICKVERB is a split with layers on each side:

SPLIT /LAYER =on: SNRVRB LAYER =on: KICK B
SPLIT = UPPER=UR2 SPLIT KEY=048

You might want POUND 3, BA2, or & to replace UR 2, so the original configuration is printed here to rely on in case of mistakes. The resident patch here is just the reverb sound, so you know what you re editing. The wheel balances the kick and snare reverb volumes. If you want velocity to, replace WHEEL on each DCA with VEL. Now for fun! Vary the filter frequency. Create different reverbs: ENV 4 is our hero! Gates are gotten by decreasing T4 to around 08 (any less gives a very abrupt end,) so T3 controls the gate length! Then decrease L3 and notice the sound goes from a flat sustain to a full decay to silence at a setting of 00. Bring L3 back to +63, then create reverse reverb by decreasing L2! You can shape the reverb any way you want it! Bring L2 back to +63, and we11 create some pre-delay! T1 is the control we want... Increase it! A setting of 63 works, but takes a very long time. Yow! Try delayed gates! Try VC: ON on the modes page for reverse or unusual reverbs; this gives the effect of a drum machine or sampler stealing decay! Here are the settings for the meaty sound:

FILTER: 043 RES: 03 KBD: 00 ENV 3: +63.
ENV 3: +63, +35, 00, 00, 00, 00, 10, 30, 00, 00.
ENV 4: 00, +63, 00, 00, 00, 00, 34, 03, 09.

33. KICKVERB 2 is an alternate sounding reverb. Its split with BA 2. It's shape follows the same ENV 4 rules as KIKVRB. I gave it chorus by allowing VELocity to detune OSC 2. Set it to 00 or increase it! Change the filter frequency.

34. MURPHY is the biggest bass I have yet squeezed out of the ESQ. This voice is layered to itself; if you want to edit it, first set LAYER to OFF. Now you can edit. ENV 3 controls the filter sweep.

35.  UR 2. Noise mixed with a kick drum gives interesting electronic percussion. Tap it or sustain it; try CYC: ON for a tom-tom like sound. For that, set ENV 4 s TK to 50. The wheel sets pitch. I gave it chorus by increasing Fine on OSC 3!   Reduce/increase!

36.  BA 2 is a Ďsnare replacementí.  You can also play it melodically. Try CYC: OFF, or leave it on and alter ENV 4's T3 to vary the sustain. The wheel controls the tone color by injecting noise from LFO 2.

37. SNAREVERB is layered with UR 2.. The wheel controls the volume of the reverb. For reverb all of the time, increase the LEVELs on DCAs 1, 2, and 3. All of the edit hints for KIKVRB apply!  EXPERIMENT PLEASE!

38. TCHAH is useful for replacing the hihat, or for adding percussion anywhere. You have heard  ďBackbeatĒ by Art of Noise and "Dig It" (album version) by Skinny Puppy, haven t you? Use it for fills or accents. ENV 1's T3  controls the sweep speed; try a value of 28. Slap echo!

39. & ("AND") is another noise percussion tone. Tap it (the decay is then determined by ENV 4 s T4) or sustain it. Advancing the wheel introduces a pitch bend; again, tap or sustain. Reverse the bend s direction  by setting LFO 1's depth on all three oscillators to +63. The bend s speed is LFO 1's FREQ. Set it to 00 for no bend, or use the wheel to determine the pitch by replacing all LFO 1 mods on the oscillators with WHEEL!

40.  POUND 3 is a good noise slap controlled by velocity. Change the sweep speed by altering ENV 3s T2.  Change ENV 4's T2 to cut off the volume where you want it. Increase the filters resonance!




SPLIT AND LAYER COMBINATIONS

These patches are set up to function properly in the format you purchased them in. The Data Cassette and SQ-80 Disk have the splits and layers set up to function best in the internal memory of the machine. Since these synths remember the splits and layers by program number and not by program name, and since you might want to edit the patches or dump them to a different location, here is the chart of how they are set up.

LUV IS

LAYER: ON

HIGH R

STEREO

LAYER: ON

STIREO

OCTAVE,

LAYER: ON

Al

GHOST BELL

SPLIT= UPPER:

PD7.ZIE

KEY# 073

Al

LAYER: ON

MOOG BASS 2

STIREO

LAYER: ON

STEREO

KICK B

SPLIT= UPPER:

UR 2

KEY# 048

KICKVERB

SPLIT/LAYER: ON

SPLIT= UPPER:

LAYER= ON

UR 2

SNAREVERB

KICK B

KEY# 048

KICKVERB 2

SPLIT/LAYER: OFF

LAYER= ON

SPLIT= UPPER:

KICK B

BA 2

KEY# 048

MURPHY

LAYER: ON

MURPHY

SNAREVERB

LAYER: ON

UR 2



 

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