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

> So my question is: Why did EMu put so much effort in sound fiddling 
> possibilities and offer such a limited effect section? An extended 
but 
> easy to use efx section is what most users are after, I guess. So 
do I. 
> How many of you are really (!) working with the programming 
features of 
> the XX-7? 

IMHO the basis for all of this that 
A) Analog or Virtual Analog creates nearly infinate sound based on 
the equivelant of two to four samples such as a sine sample, a 
triangle sample, a square sample, etc.  Sure you can manipulate it a 
little better, like changing a pulse width, but in essence it's very 
simple.  Imagine that your new XL7/MP7 has the ablility to have not 4 
to 16 wave types but 512+.  It has all the envelopes, all the LFO's 
per layer, all the tools needed to really really make stuff no one 
has heard.  The only real difference is there aren't enough 
knobs/sliders.
B) Essentially the original soundsets are based off of rack mount 
sounds, many of which weren't made for you.  No problem, you make 
your own.  More importantly they added control to it.  You now own 
one of the most impressive sound modules out there WITH full controll 
over just about everything, AND a sequencer.

C) If you think that these effects are too few, and the programing 
too hard, get a Yamaha DX7.  FM (Frequency Modulation) programming is 
orders of magnitude harder, it's crazy.  Chances are you even own the 
equivelant in your computers sound card.  But the large number of 
analog synths, and even newer synths have very few effects in them, 
and when they are included you won't want to use them- they won't 
sound as good as outboard anyway.

D) Nine times out of ten you may want to use a preset, but you think, 
MAN! They set the preset up without making the aftertouch copy the 
mod wheel and I need all ten fingers for the solo!  I can fix it 
quickly and voila!  Or maybe I want a long slow filter sweep to 
happen automatically etc.  But maybe I want the leslie effect to 
speed up or slow down like a real leslie. Well on most synths, I'd 
have a hard time, but not the command stations!  Just a few quick 
patchcords and it sounds like an effect!  

E) I can totally fake a huge number of effects, because all they are 
are the same sounds offset in time or panned differently or 
whattever.  For instance, make a drum track.  Duplicate it and it's 
parameters.  In your external sequencer, shift the new track a little 
bit later, voila instand flanging, then phasing then delay lines 
etc.  Put an LFO on the pan position and sync to midi clock, a synced 
envelope on amp envelope, voila multi tap panning delays.  Sure it 
eats up some polyphany, but you don't use the effects and you can get 
away with a ton.

F) The basics for the sounds are the same accross the grand number of 
manufacturers.  Four samples with crossfaded velocities two to four 
envelopes, two to four syncable LFO's, Filters, etc.  The only thing 
that changes is the modulation matrix/patch cords and the number of 
stages in the envelopes.  The rest is candy for fine tuning.  
Examples: Alesis QS series, Roland MC505-XV88, All EMU gear, Access 
Virus.  Getting your head round this stuff will make everyones gear 
that much easier.  Of course I agree the manual is pretty shoddy in 
this area.

G) You paid god knows how much money for the command station, it will 
be able to grow with you, especially when you get sick of whatever 
patches are loaded in 000.


And to make this all worth while, here is an incredible resource to 
learning what synthesis is all about:

http://www.sospubs.co.uk/search/query.asp?
Synth+Secrets+Part

Andre