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

Hi,

I just checked that solo mode ,íf you use multiple trigger, the envelopes
retrigger again, the XX-7 
acts as a monophon instrument, and it sounds more mechanical...
Do anyone use the other solo mode keyboard algorithms?


The main difference between analog and digital in my opinion is the fact,
that you have to control 
sources (not the right word, just my english), the one in modular systems
called CV, the other 
gate.
MIDI just have one called Gate.
For example a 303 you can use CV to control the Pitch (Keyboard), now you
can use Gate to 
retrigger the envelopes f.example.
I think that´s the typical sound of the 303 sequences. I thought to do that
with arpeggios, but I 
can`t find a real way to simulate that, I think that´s a limit at MIDI.

I just read an excellent book, it´s german issue, don`t know if U can get in
english:

http://www.amazon.de/exec/obidos/ASIN/3932275063/qid=1039448778/sr=2-3/ref=sr_2_3_3/0
28-3179857-7882104

cy,
Christoph


-- 
Neu: Fakten testen jetzt noch günstiger 35% billiger + ein Geschenk Ihrer
Wahl!!
http://bonus.gmx.net/?gid=41442879&prid=687

[Non-text portions of this message have been removed]

emulating classic analog monophonic keyboard triggering is somewhat
problematic for a ROMpler because each new note can potentially result in a
new sample 9from the multisample) being needed.  So I believe the
"mechanical" sound you are hearing is just that, restarting samples.
Unfortunately there is not much that can be done directly about this.

You very correct about the lack of flexibility with many current generation
instruments because they do not have separate gate and pitch controls.

One of the disappointments in Emu's "patch cord modular" control scheme is a
general lack of being able to separate envelope triggers from MIDI note
events.  Only the auxiliary envelope offers a trigger input as a modulation
destination and it still always triggers when a MIDI note is received.

You can though do some "CV modulation" like effects because you can route
any of the internal modulation sources to pitch.  The special pattern LFOs
really show what is possible with this because you can set up little
arpeggios and mini-sequences using those and or the various tempo clocks in
combination to generate note-like changes in pitch all the while the
envelopes and the base pitch are controlled from MIDI notes (pads or
external keyboards for example).  Certainly worth exploring for some classic
modular synth-like sequences.

You also can route one or more MIDI CC values to control pitch directly.
This would allow you, for example to use MIDI note events as a type of gate
signal (normally sending at the same pitch) and the CC's could be separately
sequenced as a substitute for CV values.  You can get some pretty convincing
analog sequencer patterns going with this approach and even use some of the
available step/analog sequencer products to do the actual sequencing.  One
possible problem is that if you use a wide range of pitch change from the
root key (the one you play for triggers) you will be pitch shifting the
sample into a range it is not normally used so the timbre may change
noticeably.  Also the default pitch sensitivity in the patch cord routing
makes for very limited pitch control range.  You will need to use the Gain4X
and or multiple patch cords with the same routes to increase the control
range to cover one or more octaves.  So as a use it is best to restrict each
layer to a limit of about an octave or so of pitch.


drk

www.delora.com/music
www.mp3.com/zdrk
drk.iuma.com

On 12/9/02 10:49 AM, "pocketd@..." <pocketd@...> wrote:

> Hi,
> 
> I just checked that solo mode ,íf you use multiple trigger, the envelopes
> retrigger again, the XX-7
> acts as a monophon instrument, and it sounds more mechanical...
> Do anyone use the other solo mode keyboard algorithms?
> 
> 
> The main difference between analog and digital in my opinion is the fact,
> that you have to control
> sources (not the right word, just my english), the one in modular systems
> called CV, the other
> gate.
> MIDI just have one called Gate.
> For example a 303 you can use CV to control the Pitch (Keyboard), now you
> can use Gate to 
> retrigger the envelopes f.example.
> I think that´s the typical sound of the 303 sequences. I thought to do that
> with arpeggios, but I
> can`t find a real way to simulate that, I think that´s a limit at MIDI.
> 
> I just read an excellent book, it´s german issue, don`t know if U can get in
> english:
> 
> http://www.amazon.de/exec/obidos/ASIN/3932275063/qid=1039448778/sr=2-3/ref=sr_
> 2_3_3/0
> 28-3179857-7882104
> 
> cy,
> Christoph
>

Hi,

what a great idea to use a controller as pitch source, I`ll check that
out...
I read something of an amount of +38 routed to Pitch in the patchcords, but
how many 
semitones are that?
I think the worst thing about XX-7 are the manuals.
Thanx, again drk....

Christoph

-- 
Neu: Fakten testen jetzt noch günstiger 35% billiger + ein Geschenk Ihrer
Wahl!!
http://bonus.gmx.net/?gid=41442879&prid=687

[Non-text portions of this message have been removed]

I think that depends on the LFO you use....  Hemi-quaver right?

rEalm



I read something of an amount of +38 routed to Pitch in the patchcords, 
but how many semitones are that?






[Non-text portions of this message have been removed]

On 12/10/02 10:04 AM, "pocketd@..." <pocketd@...> wrote:

> Hi,
> 
> what a great idea to use a controller as pitch source, I`ll check that
> out...
> I read something of an amount of +38 routed to Pitch in the patchcords, but
> how many 
> semitones are that?
> I think the worst thing about XX-7 are the manuals.
> Thanx, again drk....
> 
> Christoph

The +38 was a side of the page comment made in the manual about what the
various LFO pattern waveforms do when modulating pitch.  As I have
experimented with the XX-7 modulation it appears that with a full range
control signal (like a MIDI controller all the way up to 127) a modulation
amount of +38 will produce an octave change in pitch.

The +38 factor is somewhat a puzzling choice (any one from Emu care to
elaborate on this) because it precludes an easy way of getting all of the
useful music intervals since it is not divisible evenly by 12.

It seems that the full scale change in pitch you can achieve by modulating
the Pitch destination with full amount is a bit over two octaves and a 5th.
If you set the Pitch modulation amount to +99 I think it will produce
exactly two octaves and a 5th (31 semitones) when a MIDI controller
producing a full value of 127 is input (which I think the XL-7 equates to a
full-scale internal control signal).

Here's what I think is going on based on some tests.  The pitch range
internally for the XX-7 is 0-127 semitones, which is also the MIDI range.
Emu has chosen the scaling factor of the Pitch modulation to be 1/4 of that
range.  So a full level input modulating Pitch with an amount=100 will
produce a change of 1/4 that range.  Unfortunately 127/4 is not an whole
number.

The range is 127*100/4 cents (one cent = 1/100 of a semitone).  so if you
assign a midi controller to Pitch, or use Key as the modulation source you
will find that each value increment is 1/4 a semitone, 25 cents.  Stated
another way MIDI controlling pitch uses an equal-tempered scale of 48 tones
per octave. 

Here are some handy facts (if I understand this correctly)

When using a clock like the Clock Divisors; the logic modulations sources
like the FlipFlop or the Switch; or a MIDI source at full value = 127 then
the following scale factors are useful to remember:
    1. each increment of modulation amount is about 31.75 cents.
    2. an interval of a 4th is right at a modulation amount of 16 (its a bit
sharp)
    3. an interval of a 6 semitones is a modulation amount of 19
    4. an interval of a 4th is right at a modulation amount of 22
    4. an interval of one octave (12 semitones) is a modulation amount of 38

    other intervals can be calculated by solving interval*100/31.75

The Gain4X is handy if you want to have MIDI values cover the whole pitch
range.

You can do a lot with this beyond controlling pitch with clocks or MIDI
controllers.  You can if your clever have different pitch scales for each
layer in a preset, or at least each preset.  You can also do things like
invert the keyboard for that authentic Josef Zawinul ARP2600 playing style
:-)


drk

www.delora.com/music
www.mp3.com/zdrk
drk.iuma.com

> I think that depends on the LFO you use....  Hemi-quaver right?

I don't think there's such a thing as a hemiquaver. Hemisemiquaver
perhaps - but that's an interval of time, not pitch.

-- 

  nick rothwell -- composition, systems, performance -- http://www.cassiel.com

There is a Hemiquaver LFO, page 171 of the manaul (rev D)  refers to the 
hemiquaver lfo to pitch scenario we are talking about.

rEalm




I don't think there's such a thing as a hemiquaver. Hemisemiquaver
perhaps - but that's an interval of time, not pitch.

-- 

  nick rothwell -- composition, systems, performance -- http://www.cassiel.com

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[Non-text portions of this message have been removed]

> There is a Hemiquaver LFO, page 171 of the manaul (rev D)  refers to the 
> hemiquaver lfo to pitch scenario we are talking about.

Ah yes, that one...

Rather an odd name, since (i) there's no such thing as a hemiquaver
and (ii) the time interval for the LFO steps would depend on the LFO
speed in any case...

-- 

  nick rothwell -- composition, systems, performance -- http://www.cassiel.com

On 12/11/02 8:52 AM, "erik_magrini@..." <erik_magrini@...>
wrote:

> There is a Hemiquaver LFO, page 171 of the manaul (rev D)  refers to the
> hemiquaver lfo to pitch scenario we are talking about.
> 

All of the LFO pattern waveforms are "designed" so that when use with a
pitch modulation amount of +38 they produce the intervals stated in the name
or description.  The infamous hemiquaver is actually repeating pattern of
scale-confined random-like (it repeats every sixteen notes I think) sequence
that mimics an old-style S/H pattern.  It is playing I think using 32nd
notes, which is where the term hemiquaver may have been derived.  It is not
a term that I can find a reference to elsewhere though.  But I do know it is
a rhythmic reference and not a pitch one.  At least I think I know...


drk

www.delora.com/music
www.mp3.com/zdrk
drk.iuma.com