> THats actually pretty interesting..
>
> But could you give us some more details on how you did it??
> I can't seem to see what you actually did to get the sound that
you're
> talking about...
I'll confess, the technique itself is fairly straitforward, but it
can be a bit time consuming (but the reward well worth it). I'll
give a VERY basic example of the technique step by step. It will
probably help if you have a patch editor for the P2500/P2000 series
handy. I will note that I am not currently at the synth and so the
values I give for the Real Time Crossfade paramater may be a bit
off. I would suggest giving this example a go and if you run into
problems let me know; I'll rewrite the steps with the synth next to
me so as to make sure I can be much more specific as to what values
need to be where.
I. Select two waves that are different but somewhat similar in
character.
II. Edit the two waves in parrallel. That is to say, give them the
same filter slope, place the same EG effects on both, etc. The only
thing that should initially be different between the two slots is
the waveforms being used. BE SURE TO LEAVE AT LEAST ONE CORD SLOT
OPEN in the patching section AND to leave at least one LFO
unassigned to anything. *I'll note that you may want to mute one of
the slots after a wave has been selected until the conclusion of
step V*
III. After the patch as been completed to satisfaction, head to
the "Real Time Crossfade" section of the patch for the first wave.
On the low end, you should have "0" & "0" selected, and "127"
& "127" selected. The second wave slot should have somewhat of a
reverse, that is to say "0" & "127", and "127" & "0".
IV. For both slots, assign either a slow moving sine or triangle
wave to LFO1 or LFO2 (pick whichever LFO you left unassigned).
V. In the patch cord section, assign the LFO from step 4 to effect
the realtime crossfade of both waves fully.
Press and hold down a key(s) and you should notice that the timbre
of your patch will slowly morph from utilizing the first wave you
selected on to the second. This action will alternate with the ebs
and flows of the LFO. *I'll note that this would probably be easiest
to notice if you leave the filter completely open*
Now to take these steps a bit farther, for something like PPG
emulation you would probably want to utilize more than just two
waves (AT LEAST 4) and to do so you would simply first divide the 0
to 127 range by 4 and adjust the amounts of fade in times for each
wave as needed. You then (as with the PPG) could use the LFO or an
envelope (in this case, even a dedicated envelope and not simply an
envelope shared with the filter) to cycle through the waves. As it
is possible to Link 2 patches, you can utilize a pretty hefty amount
of waves in this regard (considering that a single patch can
actually be composed of 4 wave slots plus 2 patches comprised of
linked patches!).
To hit into the more complex action of "timbral sequencing" that I
described before, these same basic underlying principals are used,
though you may find at times that having straight forward crossfades
between the waves may not be desirable. Further, should you treat
each slot as it's own independent synth (rather than things totally
being ran in parralels), the point is reached where "timbral
sequencing" (something much more akin to vektor synthesis) begins to
become possible. As with the joystick on the wavestation, there are
also numerous ways one can begin moving through the "timbres" via
hands on control.
I will post up some audio examples for here later.
Regards,
Al
>
>
> On 05/07/06, Alien Nesby <23rdsigil@...> wrote:
> > Aighty, essientially a copy of a letter I recently wrote to a
mate of mine
> > concerning (mainly) a synth feature I recently ran into that I
was pretty
> > darn excited about. Perhaps some of you might find some of this
interesting
> > as well.
> >
> > -Al
> >
> >
> >
> >
> > The EMU CS/P2500 has once again come to shock me. Despite being
a CS owner
> > for what must be around 5-6 years now, I recently found a facet
of it's
> > capabilities that I had never used or even known of.
> >
> > First off, what's odd is I've had a hard on for two forms of
synthesis
> > lately. Vector (wave sequencing) and Transwave. Excluding the
Legacy
> > collection I recently got to help establish if I actually wanted
to invest
> > in a Wavestation, about the closest thing I had to these two
forms came in
> > the form of the Malestrom (though granted, I could build up some
sort of
> > Vector type synth in Reaktor).
> >
> > The feature the CS/P2500 had was right up this type of synthesis
> > alley......in a way it was more like vector synthesis than
transwave, but
> > ultimately it's different than either ("Timbral Sequencing"
might be an
> > adequate term). Basically, there are numerous cross fading
paramaters that
> > can be set between waveforms (ala vector synthesis), and these
cross fades
> > can be modulated by any number of means (LFO, EG, knob, mod
wheel, etc.),
> > thus, the placement of where things are in the "timbral
sequence" can be
> > made to go back, forward, remain stagnant, etc. (ala transwave
synthesis).
> > Ultimately you are limited to only eight of these crossfade
types, so you
> > can't set up nearly as high an amount of cross fades as you
could in the
> > wavestation; but unlike the wavestation, the waveforms are not
limited to
> > being routed to just one filter and MANY modulation sources can
be set (as
> > opposed to the Wavestation's two souces). Ultimately, you can
deal with
> > each waveform/oscillator on an individual basis; each having
it's own filter
> > type, filter settings, EGs, LFOs, etc. Thus why I say it's more
like
> > "timbral sequencing", as it's more like each wave within a
wavestation being
> > it's own synth and thus ultimatley, you shifting through synths
rather than
> > waves.
> >
> > I'd start off exploring this capability taking sort of a
PPG/Microwave
> > approach (i.e. setting up the waves to function as wavetables),
and met with
> > some pretty satisfying results. On my second go, I wouldn't
limit myself
> > nearly as much and lets just say that once again, the CS would
once more
> > seem to scream out at me "I'm the most powerfull thing you've
got....."
> >
> > Well o.k., maybe not the most powerfull (I'll still give that to
Reaktor),
> > but a hefty beast none the less....and a beast that I'd be hard
pressed to
> > emulate even with things like Reaktor as CPU usage would just
jump out of
> > the ceiling! I actually have a Reaktor emulation made to
emulate SOME of
> > the capabilities of the CS/P2500 filters, and this by itself
carries a
> > load....multiplying the amount of these filters running at once
by just 4
> > (never mind 8) would just make my system take a crap I'm sure.
> >
> > The second CS/P2500 has proved itself interesting as of late as
well. It's
> > duty doesn't deal with synthesis so much as drumming. It's
finally capable
> > of carrying out most of it's duties, being an electronic
drumming beast, and
> > a darn solid acoustic drumming module as well (though this is
still being
> > expanded). It's been sitting around doing nothing as I was
still getting it
> > to the point of being able to carry out it's job, but with it
now being
> > nearly complete, I took to the second phase of getting it ready
and began
> > setting up patches and what not....on the electronic end, the
result has
> > been a beast capable of some VERY interesting and unique drum
timbres as
> > well as a decent 909 and 808 emulator. The 909 and 808
emulation doesn't
> > stop at the sound though, as it finally gives me a 909 style
sequencing
> > machine with quirks. Head into record mode, and I'm free to
start
> > sequencing drums in realtime in TR style...but I can also drop
in and out of
> > record mode at will. Dedicated knobs for every drum paramater I
want
> > realtime access to (volume, tuning, decay amounts, AND EVEN
FILTERING). The
> > ability to expand and contract sequences on the fly (make a 1
measure loop
> > into a 8 measure [or more] loop and contract it back to 4
measures, 1
> > measures, 3 measrues, etc.) and ultimately, IMMEDIATE access to
a selection
> > of 64 drum sounds at any given time (though it's only feasible
to have up to
> > 16 of these sequenced), dedicated mute buttons for the sequence
of each
> > sound (or actually, 16 of them).....
> > Anyhow, absolutely BEASTLY.
> >
> > Regards,
> >
> > Al
> > --
> > 93/93
> >
> >
> > [Non-text portions of this message have been removed]
> >
> >
> >
> >
> >
> > Yahoo! Groups Links
> >
> >
> >
> >
> >
> >
> >
>Message
Re: Interesting Synth Capabilites
2006-07-23 by Alien