Since someone was asking about archived pacthcord tips, here you go. I was working on a new FAQ, but couldn't find enough to warrent it: Preset Patchcord Tips And Tricks Granular Drum kits PitchWheel -> Gain4x 100% Gain4x -> Gain4x 100% Gain4x -> Gain4x 100% Gain4x -> SampleRetrigger 100% - pick your favourite drumkit. - program a simple drum loop. - while the loop is playing back use the touch strip in realt time to add a "granular delay" flavour... :) - Leo Cavallo --------------------------------- Bass Guitar Slides Fooling around while watching TV: MIDI N -> Quantize +75% Quantize -> Fine Pitch -6% Quantize -> Pitch -50% MIDI N -> AmpVol -30% MIDI N -> FiltFreq -100% Turning N from 0 to 127 will drop the sound an octave, in half step increments, turn the volume down, and progressively muffle the sound. Oddly enough, since the octave slide is so quick, you pretty much don't hear the individual steps. You could relocate Fine Pitch's input to be MIDI N at -4 or -5% instead to get a little less harsh edge if you hear it. I'm tempted to try making a poor man's differentiator to get a little bit of a buzz at each "fret change" but I'm not sure I'm motivated enough for that tonight. Okay, maybe I am: Quantize -> Gain4X +100% Quantize -> Lag0In +100% Lag0 -> Gain4X -100% Gain4X -> Abs +100% Abs -> FiltFreq +100% So, it's not quite as exciting as I hoped. Maybe with a better filter and the Q up a bit. Or maybe use the same cords on an additional layer with the volume turned down, but route Abs to AmpVol instead. This will give you a pulse of sound at each note change. With a buzzy synth instrument on that layer, it might sound right. (Here's a breakdown of this patch her provided in a later email) I'm doing this off the top of my head so I apologize if I'm not right with something here. MIDI N -> Quantize +75% -------------------------- Quantize divides the input signal into ~16 parts at 98% input. For example, given these inputs, you'll get this output: 0-7 in - 0 out 8-15 in - 8 out 16-31 in - 16 out etc. Since we wanted (or at least I wanted) an octave drop, I set it to 75% (16 steps times 75% = 12 steps). I'm actually oversimplifying here (it's actually 17 steps, and you want 13, but it rounds up...) but trial and error gives the right value. Hook it up to something and count the steps. Quantize -> Fine Pitch -6% Quantize -> Pitch -50% -------------------------- Now that we have a stair step input signal in response to the continuous input, we can route that to pitch. Normally to get an octave on the XL-7, you would route the controller to Pitch at 38% and FinePitch at 6%. Yeah, I know, why the previous engineers didn't choose a round number (like 50% to Pitch = one octave) I don't know, but that's the way it goes. Anyway, 50% here gives us an octave because we already multiplied the input by 75% (hey, whatdya know, 75% * 50% = ~%38) so we route the quantize to Pitch and Fine Pitch (now that I think of it, that 6% probably isn't right in this context). MIDI N -> AmpVol -30% MIDI N -> FiltFreq -100% -------------------------- These two cords simply drop off the volume and Fc as the drop progresses. This is just to model how a bass guitar loses volume and more so brightness when you loose clean contact with a fret. (fingers absorb high frequencies much more than frets do). Now for the hard stuff: Quantize -> Gain4X +100% Quantize -> Lag0In +100% Lag0 -> Gain4X -100% Gain4X -> Abs +100% Abs -> FiltFreq +100% So anyway, here's a breakdown of what this chunk of cords does. Quantize -> Gain4X +100% Quantize -> Lag0In +100% Lag0 -> Gain4X -100% -------------------------- This creates an approximate differentiator. For those who didn't do so hot in Calculus (like me; calc kicked my ass) a differentiator creates a signal that is proportionate to how quick the input signal changes. For a real world example, Acceleration is the derivative of Speed, i.e.acceleration is big when you start increasing your speed quickly. By subtracting a lagged quantity from the original quantity, you get an approximation of how quick you're changing. In our case, since we have a stairstep input (by virtue of the quantizer) each step has a huge acceleration giving us an impulse at each step. Differentiators are *very* useful in synths. Try using one to increase chorus when changing pitch to get a symphonic type sound. Gain4X -> Abs +100% -------------------------- Since the differentiator produces signed output (positive when the steps go up, negative when the steps go down) I'm running it through an absolute value so that no matter whether you're sliding up the fretboard or down the fretboard, the pulse is positive. Abs -> FiltFreq +100% -------------------------- And finally, do something with the differentiated signal. The above cord "pokes" Fc at each fret. It's not terribly exciting. Better would be to copy all these cords to a duplicate layer with a buzzy sound and target AmpVol to increase the level. - Aaron Epolitto --------------------------------- Sax Preset I am using an ART X-15 [aka Ultrafoot]. It has 2 assignable CC pedals and 10 assignable on/off CC [0/127] buttons. The bypass switch can also be programmed as an on/off button. For the octave doubler in my sax preset, I copied L1->L2 and designed the basic switch as follows. I also made a bunch of other changes to L1 and L2, such as glide and responsiveness to portamento on. OCTAVE DOUBLER SWITCH: (1) Art X-15 button 10 assigned to CC83. (2) E-Mu MidiP assigned to CC83 (3) L2 patchcord # 1 = MidiP-->Pitch +076 Presently, I do not compensate for both L1 and L2 being at full volume when CC83/MidiP = 0. As a result, CC83/midiP = 0 seems to sound a little louder than CC83/MidiP = 127. To compensate I might use another patchcord to lower the volume slightly on L2 when CC83/MidiP = 0. However, I also use the pedals to create various sounds/effects. In a certain range, I have a penetrating psuedo-baritone-sax sound with both L1 and L2 at full volume. CC/PEDAL CONTROL OF FILTER PARAMS: (1) Left pedal assigned to CC71/MidiB --> 'FiltRes +85 (2) Right pedal assigned to CC74/MidiA --> FiltFreq +100 Around 1969/1970 I put a pickup on my alto sax and ran it through a wah-wah pedal. The above gives me similar performance functionality with the Casio DH-100 [digital horn]. Before using this pedal control setup with the E-Mu, I used it with sax patches and drum kits on Roland's M-GS64 (Sound Canvas architecture rom sample player). Part of my fantasy design (ie, future development) includes velocity switching and aftertouch control. The aftertouch control was great on the VZ-8m; haven't attempted it on the E-Mu, yet. OTHER BUTTON/SWITCH ASSIGNMENTS: (1) Portomento/Glide: (1a) Portomento switch on DH-100/CC65 = Footswitch 2 (1b) L1 Foot2FF-->Glide +35 (1c) L2 Foot2FF-->Glide +26 NOTE: I tend to use the portomento [glide] when CC83=127 (root plus octave above). I just like the sound of the two different glide rates with the two octaves. Just my personal performance preference with the sax preset. (2) Sustain: (2a) ART X-15 button 8 = CC64 = E-Mu Footswitch 1 (2b) L1/L2 FootSw1-->KeySus +100 - Steve The Composer ---------------------------- rEalm The information transmitted is intended only for the person(s)or entity to which it is addressed and may contain confidential and/or legally privileged material. Delivery of this message to any person other than the intended recipient(s) is not intended in any way to waive privilege or confidentiality. 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Patchcord tips
2004-08-30 by erik_magrini@Baxter.com