Emu XL-7 & MP-7 User's Group

This sounds like something I'd enjoy, esp. if you can do new cool things 
with CCs.  If you explore this, please let me know.  For example, are 
there new patch cord controls (sources/destinations)?

>>>Yes and no.  There's an easier way to access Preset Lag functions, but 
in terms of the usual layer cords, I think they are all the same, though a 
few have been renamed slightly if I remember correctly. It's all in the 
manual, which you can DL from the Emu site. <<<

Also, does the documentation included sysex documentation? 

>>NO sysex. <<<

Among other things, I'd be interested in the chart of filter types.

>>>Sorry for the formatting!

Filter Name Order Type Description
2-pole Lowpass 02 LPF Typical OB type low-pass filter with a shallow
12 dB/octave slope.
4-pole Lowpass 04 LPF 4-pole low-pass filter, the standard filter on
classic analog synths. 24 dB/octave rolloff.
6-pole Lowpass 06 LPF 6-pole low-pass filter which has a steeper slope
than a 4-pole low-pass filter. 36 dB/octave
rolloff!
2-pole Highpass 02 HPF 2-pole high-pass filter. 12 dB/octave slope.
4-pole
Highpass
04 HPF Classic 4-pole high-pass filter. Cutoff sweep
progressively cuts 4th Order High-pass.
2-pole
Bandpass
02 BPF Band-pass filter with 6 dB/octave rolloff on
either side of the passband and Q control.
4-pole
Bandpass
04 BPF Band-pass filter with 12 dB/octave rolloff on
either side of the passband and Q control.
Contrary
Band pass
06 BPF A novel band-pass filter where the frequency
peaks and dips midway in the frequency range.
SweptEQ
1 octave
06 EQ+ Parametric filter with 24 dB of boost or cut and
a one octave bandwidth.
Swept EQ
2->1 octave
06 EQ+ Parametric filter with 24 dB of boost or cut. The
bandwidth of the filter is two octaves wide at
the low end of the audio spectrum, gradually
changing to one octave wide at the upper end.
Swept EQ
3->1octave
06 EQ+ Parametric filter with 24 dB of boost or cut. The
bandwidth of the filter is three octaves wide at
the low end of the audio spectrum, gradually
changing to one octave wide at the upper end.
Phaser 1 06 PHA Recreates a comb filter effect typical of phase
shifters. Frequency moves position of notches.
Q varies the depth of the notches.
Phaser 2 06 PHA Comb filter with slightly different notch
frequency moving the frequency of notches.
Q varies the depth of the notches.
FlangerLite 06 FLG Contains three notches. Frequency moves frequency
and spacing of notches.
Q increases flanging depth.
Vocal
Aah-Ay-Eeh
06 VOW Vowel formant filter which sweeps from "Ah"
sound, through "Ay" sound to "Ee" sound at
maximum frequency setting. Q varies the
apparent size of the mouth cavity.
Vocal Ooh-Aah 06 VOW Vowel formant filter which sweeps from "Oo"
sound, through "Oh" sound to "Ah" sound at
maximum frequency setting. Q varies the
apparent size of mouth cavity.
Dual EQ Morph 06 PROG Please refer to the detailed description on page 79.
Dual EQ +
Lowpass Morph
06 PROG Please refer to the detailed description on page 81.
Dual EQ Morph +
Expression
06 PROG Please refer to the detailed description on page 80.
Peak/Shelf Morph 06 PROG Please refer to the detailed description on page 
81.
Ace of Bass 12 EQ+ Bass-boost to bass-cut morph
MegaSweepz 12 LPF "Loud" LPF with a hard Q. Tweeters beware!
EarlyRizer 12 LPF Classic analog sweeping with hot Q and
Low-end.
Millennium 12 LPF Aggressive low-pass filter. Q gives you a variety
of spiky tonal peaks.
MeatyGizmo 12 REZ Filter inverts at mid-Q.
KlubKlassik 12 LPF Responsive low-pass filter sweep with a wide
spectrum of Q sounds
BassBox-303 12 LPF Pumped up lows with TB-like squelchy Q
factor.
FuzziFace 12 DST Nasty clipped distortion. Q functions as
mid-frequency tone control.
DeadRinger 12 REZ Permanent "Ringy" Q response.
Many Q variations.
TB-OrNot-TB 12 EQ+ Great Bassline "Processor."
Ooh-To-Eee 12 VOW Oooh to Eeee formant morph.
BolandBass 12 EQ+ Constant bass boost with mid-tone Q control.
MultiQVox 12 VOW Multi-Formant, Map Q To velocity.
TalkingHedz 12 VOW "Oui" morphing filter. Q adds peaks.
ZoomPeaks 12 REZ High resonance nasal filter.
DJAlkaline 12 EQ+ Band accentuating filter, Q shifts "ring"
frequency.
BassTracer 12 EQ+ Low Q boosts bass. Try sawtooth or square
waveform with Q set to 115.
RogueHertz 12 EQ+ Bass with mid-range boost and smooth Q.
Sweep cutoff with Q at 127.
RazorBlades 12 EQ- Cuts a series of frequency bands.
Q selects different bands.
RadioCraze 12 EQ- Band limited for a cheap radio-like EQ
Eeh-To-Aah 12 VOW "E" to "Ah" formant movement. Q accentuates
"peakiness."
UbuOrator 12 VOW Aah-Uuh vowel with no Q. Raise Q for throaty
vocals.
DeepBouche 12 VOW French vowels! "Ou-Est" vowel at low Q.
FreakShifta 12 PHA Phasey movement. Try major 6 interval and
maximum Q.
CruzPusher 12 PHA Accentuates harmonics at high Q. Try with a
sawtooth LFO.
AngelzHairz 12 FLG Smooth sweep flanger. Good with vox waves.
e.g. I094, Q =60
DreamWeava 12 FLG Directional Flanger. Poles shift down at low Q
and up at high Q.
AcidRavage 12 REZ Great analog Q response. Wide tonal range. Try
with a sawtooth LFO.
BassOMatic 12 REZ Low boost for basslines. Q goes to distortion at
the maximum level.
LucifersQ 12 REZ Violent mid Q filter! Take care with Q values
40-90.
ToothComb 12 REZ Highly resonant harmonic peaks shift in
unison. Try mid Q.
EarBender 12 WAH Midway between wah & vowel. Strong
mid-boost. Nasty at high Q settings.
KlangKling 12 SFX Ringing Flange filter. Q "tunes" the ring
frequency.

Programmable Morphing Filters
There are four user-programmable morphing filters which have the ability 
to change
their response over time. Now you can design your own custom filters that 
morph
between filter types. Take the time to learn about these powerful filters 
because they are
extremely useful and sound great.
The frequency response graphs are especially helpful to understand the 
action of these
complex filters since the control functions are slightly different for 
each filter.
Dual EQ Morph
This is a programmable 2-frame Morphing filter with two EQ sections. As 
the Morph
value is increased, the filter interpolates from the low to high settings. 
The Gain of each
section remains constant during the Morph, but can be scaled at note-on 
time by
controlling the Initial Gain parameter.
This filter can be used to create your own vocal formant filters.
(Try the settings shown and modulate with the + filter envelope or +LFO.)
Frequency
Amplitude
Morph
Low EQ 1
High EQ 1
High EQ

rEalm





 






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