TECHNOSYS SHARED INFO
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A note from the webmaster:

Although some of this info is duplicated, it contains a lot of useful tips.  If youíve read the first part I also encourage you to read the MasterPatch SQ80 section on the bottom, as it contains some new additional tips.

Also, just as salient as when it was written is the section on not stealing these patches. They are still for sale commercially, so you will not see them here for download.  SoundEngine.com is the license-holder of the Technosis properties.  You should obtain legal copies of the patches through them for a nominal fee.

GENERAL ESQ HINTS AND TIPS (from the Psyche Shriek bank

 Envelope 4 will always control the sound's final volume shaping. Increasing T1 will add a fade-in before the sound reaches full volume. L3 sets the soundís sustain level. T4 will always determine the fade-out characteristics of the sound after you release the key(s). LV sets how much velocity will be required to bring a sound to full volume, with a setting of 00 always loud, and 63 requiring you to use force to get the sound out. LV settings with an "X" require even more velocity. The ENV 4 amount on the DCA 4 page will always set the volume for the entire sound.

 Assign random sounds to a sequence. Play it, and keep the sounds that fit. Find new sounds to fit the remaining parts. You can find "new uses" for old, "useless" sounds. Even use a whole new batch of patches; just press play after loading them!

 Write a complete sequence, song, or melody using only the ten sounds that are there in the display.

 Copy a track on the sequencer and as it plays (looping helps), step through every sound available by using the up/down increment keys (while you are on the MIX/MIDI PROGRAM NUMBER page). Great layers and unison lines can be found this way.

 Envelope delay is had by setting levels one and two to 00, level three to +63, and level four to 00. Time delay is determined by TI, and decay by T3. You may set CYC to ON (MODES page) to get the envelopes to automatically complete their task, as on the patch MEMORY. With CYC OFF, you would have to hold down all notes played to allow the delayed envelopes to sound. However, the advantage to this is that you could set up a patch (such as an edit of MEMORY) that is a lead sound, with CYC OFF, with a long delay set. What you do is solo away, and when you are done, hold down the notes you have just played to have the delay only appear on them!

  If you haven t been exposed to these musicians, find their recordings.

  • ART OF NOISE / CLUSTER / DALISí CAR / ENO / JAPAN / KRAFIWERK / PUNISHMENT OFLUXURY / RESIDENTS / KLAUS SCHULZE / TANGERINE DREAM / THE THE / TUXEDO MOON / ULTRAVOX / WHO / YELLO.

Very creative (but kinda negative) artists you should also broaden your horizons with:

  • BAUHAUS / FAD GADGET / FOETUS / FRONT 242 / KILLING JOKE / SKINNY PUPPY / SLAP / SPK (pre-1985 material)

Send me recordings of the music you make with these voices. I want to hear it all! I'm interested in how others approach these voices!

Don't ignore this. Software swapping and piracy are detrimental to everyone involved, and hereís why:

  1. If you could "copy" the ESQ-1, or any piece of hardware, there would be one for everyone on Earth. No one would design or build anything, and where would we be then? The point is, programmers (and even independent musicians) simply fail to continue to create when it becomes ridiculous to continue! Then YOU get to do it all for yourself, or be at the mercy of the People Who Donít Care and their Slice/Dice/Julienne Fry machines, wondering where all the quality went.
  2. Like anyone else, I simply want to do what I love as my life s focus. Iím trying to advance the State Of The Art so that others might follow suit! Donít YOU want to continue doing what you love exclusively without delivering pizza on the side? (1 don t mean piracy!!!)
  3. Expect software for other instruments from D.P.M.I. If a few parasites spoil everyoneís fun, well, what can I do?

Thank You for your Patronage!

TECHNOSIS

GENERAL HINTS AND TIPS (from ProSelect Volume 1)

□ Envelope 4 will always control the sound's final volume shaping. Increasing TI will add a delay before a sound reaches full volume. L3 sets a sound's sustain level. T4 will always determine the fade-out characteristics of the sound after you release the keys. LV determines how much velocity will be required to make a sound achieve it's full volume, with settings of 00 and slightly above holding the sound at full volume irregardless of velocity. LV settings with an "X" require more velocity than others for full volume. The ENV 4 amount on DCA 4 will always determine the sound's final volume.

□ Assign random sounds to a sequence. Play it, and keep the sounds that fit. Find new sounds to fit the remaining parts. You can find "new uses" for old, "useless" sounds. Even use a whole new batch of patches, just press play after loading them!

□ Write a complete sequence, song, or melody using only the ten sounds that are in front of you in the display.

□ Copy a track on the sequencer and as it plays (looping it helps), step through every sound available by using the up/down increment keys (while you are on the MIX/MIDI PROGRAM NUMBER page). Great layers and unison lines can be found this way.

□ Envelope delay is had by setting levels one and two to 00, level three to +63, and level four to 00. Time delay is determined by TI, and decay by T3. You may set CYC to ON on the MODEs page to get the envelopes to automatically go through their motions. (With long delays, you would have to hold down the played keys until the delayed ENV cycles through. You could use this on solos, that is, having a long delay available, but only allowing the last notes of a run to echo...

□ If you haven't been exposed to these musicians, find their recordings.
ART OF NOISE / CLUSTER / DALIS' CAR / ENO / JAPAN / KRAFTWERK / PUNISHMENT OF LUXURY / RESIDENTS / KLAUS SCHULZE / TANGERINE DREAM / THE THE / TUXEDOMOON / ULTRAVOX / WHO / YELLO.


Very creative but kinda negative bands you should also broaden your horizons with:
BAUHAUS / FAD GADGET / FOETUS / KILLING JOKE / SKINNY PUPPY / SLAP / SPK (pre-1985)
Remember: The "underground" is usually "mainstream" in a few years! Get a jump on it!
 

□ Send me recordings of the music you make with these voices!

Software swapping and piracy are detrimental to everyone involved, and here's why:
1. If you could "copy" the ESQ-1, or any piece of hardware, there would be one for everyone on Earth. No one would design or build anything, and where would we be then? The point is, programmers (and even independent musicians) simply fail to continue to create when it becomes ridiculous to continue! Then YOU get to do it all for yourself, or be at the mercy of the People Who Don't Care and their Slice/Dice/Julienne Fry machines, wondering where all the quality went.
2. Like anyone else, I simply want to do what I love as my life's focus. I'm trying to advance the State Of The Art so that others might follow suit! Don't YOU want to continue doing what you love exclusively without delivering pizza on the side? (I don't mean piracy!!)

Thank You for your Patronage!

GENERAL SQ-80 INFORMATION

□ Envelope 4 will always control the sound's final volume shaping. Increasing T1 will add a delay before the sound reaches full volume. L3 sets a sound's sustain level. T4 will always determine the fade-out characteristics of the sound. Settings here with an "R" after the digits adds a pseudo-reverb. LV determines how much velocity will be required to make a sound achieve it's full volume, with settings of 00 requiring no velocity for full volume. Settings with an "X" require very hard velocity to achieve full volume. The ENV 4 amount on DCA 4 will always determine the sound's final volume.

□ Layering a voice to itself will fatten it up, but will also reduce the amount of available notes you can play to six. When sequencing with layered voices, you will notice that sometimes another sound or note will cut off or disappear; this is because you have used up all of the available voices and the machine must "steal" a voice (note) to produce the new note. This becomes of special concern with these layered voices,
such as DEATH BASS. GO BASS, SKINNY PUPPY, etc., as they increase the likelihood of the requirement of stealing a voice. Get around this by planning your sequences out carefully, so that more voices than the machine has available at one time will not be called for.

□ One nice trick you can achieve is saving memory on your drum machine by having one of the SQ's sequencer tracks play fills and flams. I was able to perform the song "Infected" by The The with only one one-bar pattern on my TR-505, which contained the kick drum. The snare notes, rolls, and other percussion were all on track eight. The key is to create or notate the eventual pattern and fills you will want in the finished piece, and find the smallest repeating part. Few pop kick drum patterns are more than four bars long, and even then have only minor variations from that over the course of a song. Enter the minimum pattern, and set the machine to sync to the SQ. Set the machine to listen to, say, MIDI channel 16, and set the SQ sequencer track to the same channel. Now, if your machine allows it, and most new drum boxes do, set each individual drum sound to certain notes on the SQ keyboard that are easy to remember, and start recording! Use a few different tracks, one for each of the sounds or fills, until you have what you want. Save this to disk. Now merge these tracks into one and erase all but the final track. Enter all the rest of your music? If you want to delete something, you will have the version with the unmerged tracks on disk. You can get an entire set into your drum box this way!

We at TECHNOSIS ask of you in all sincerity to NOT COPY OR TRADE THESE PATCHES. We understand you want all the sounds you can get, we feel the same way. However, we make a living selling these patches. This is not a multi-million dollar business, and all software companies need to SELL their product in order to survive the competition AND develop new and better products. Some people feel that because "they're just patches" that they have the right to do what they feel like with them. So, when software is traded, the parent company loses not only the sale they deserve (someone wanted the product enough to trade for it, right?) but just another sale is not the issue. It costs an ungodly amount of money to advertise a product, to purchase the instruments the software is for (Ensoniq does not give their third-party software developers any sort of professional discount. We buy them at the same prices as you.), spend the time creating it, and all of the accounting, book-keeping, tax records, shipping, inventory, (don't think this part is easy). You probably know that E2PROM cartridges are hard to come by. This is because the manufacturer of the actual chip, SEEQ, only sells them in industrial quantities at a rather sleep price, about as much as a Buick.) and so on. We try our best to bring a product to you that is at the top of the market. When a company loses money, they shut their doors. Another example of this are the large record companies. They don't take chances putting money into new or different acts. One day YOU could be a "new or different act" that they won't take a chance on. So, no one hears your music, because the monetary return is not there. Similarly, a software company cannot continue creating a quality product-or even a product at all-when there is no money. We persevere, knowing the bills are coming in, even though we know someone is going to just up and give away the product of our labor. At TECHNOSIS, our goal is not world domination; it is to produce the finest, most inspiring musical tools for your and our music. Period. Profit goes into new instruments to continue this support. We love what we are doing! We love to make music, and to explore the newest technology, and to share the results with you at a price that allows us to continue, and for you to not have to think twice about trying out something new. So here's to your music, may we all hear it someday, and we hope to be a continuing part of your adventure in technology!

Thank You for supporting TECHNOSIS!

 

 

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