| T.R | Title | User | Personal
Name | Date | Lines |
|---|
| 338.1 | ELP - Touch and Go | MENTOR::COTE | Balking Tackwards | Wed Jun 04 1986 13:18 | 20 |
| This may be a bit difficult for anyone who doesn't own the same
synths as me (DX21, JX3P, Mirage), but here goes...
DX21 - Set to dual mode
"Bright Brass" factory patch loaded to both banks
set both patches - middle C = C2
set dual detune to 18 - 20 cents
JX3P - Patch A1 (low strings)
Mirage - Factory Trumpet sample. Set the level low so all
you hear is the initial "spit".
Set 'em all up so that one is controlling the others. Don't use
the Mirage for this, the velocity send doesn't cut it.
Have fun.
Edd
|
| 338.2 | New DX100 owner | BARNUM::RHODES | | Mon Jun 23 1986 18:34 | 7 |
| As a recent recipient of a DX100, I will be happy to post patches
under this topic as they develop. Do you DX21 and DX27 guys have
192 presets too? If not, I can provide the ones that you don't
have that came with mine (via cassette?).
Todd.
|
| 338.3 | Like sardines in a can? | MENTOR::COTE | Mr. Dobolina. Mr. Bob Dobolina. | Mon Jun 23 1986 19:19 | 4 |
| Todd, how do they pack 192 patches into that unit? My dx21 has only
128. (16 groups X 8 voices).
Edd
|
| 338.4 | Patches ... Do I got Patches?!!! ... | LEAGLE::GOLDSTEIN | Rich Goldstein | Mon Jul 07 1986 17:05 | 12 |
| To answer two questions with one stone...
1. The DX27 has 192 patches just like the DX100 (in fact, the
two instruments are identical except for key size, no battery power
for the DX27, and the DX27 has an extra octave on the keyboard.)
2. The way you get 192 presets is as follows: 24 instrument
keys X 4 banks X shifted/unshifted mode(2) = 192 patches
Rich Goldstein
|
| 338.5 | patch template | BARNUM::RHODES | | Fri Jul 25 1986 12:32 | 44 |
|
To get the ball rolling for 4-operator DX patches, here is a
generic template. Let's display some patches, guys.
AME OP
+-----+-----+-----+-----+-----+-----+-----+-----+-----+--+--+-----+-----+-+
| | | | | | | | | | | | | |4|
| | | | | | | | | | +--+-----+-------+
| | | | | | | | | | | | | |3|
| | | | | | | | | | +--+-----+-------+
| | | | | | | | | | | | | |2|
| | | | | | | | | | +--+-----+-------+
| | | | | | | | | | | | | |1|
+-----+-----+-----+-----+-----+-----+-----+-----+-----+--+--+-----+-----+-+
| ALG | FB |WAVE | SPD | DLY | PMD | AMD |SYNC | PIT |AMPL |EG BI|K VEL|
| | | LFO | MOD SENS | |
+-----+-----+-----------------------------------+-----------------------+
OP
+-+----+-----+-----+-----+-----+-----+-----+-----+-----+-----+-----+
|4| | | | | | | | | | | |
+-+----+-----+-----+-----+-----+-----+-----+-----+-----+-----+ |
|3| | | | | | | | | | | |
+-+----+-----+-----+-----+-----+-----+-----+-----+-----+-----+ |
|2| | | | | | | | | | | |
+-+----+-----+-----+-----+-----+-----+-----+-----+-----+-----+ |
|1| | | | | | | | | | | |
+-+----+-----+-----+-----+-----+-----+-----+-----+-----+-----+-----+
| FR | DTN | AR | D1R | D1L | D2R | RR |O LEV|RATE | LEV |TRANS|
| OSCIL | ENVELOPE GENERATOR | OPR |KBD SCLING | |
+----------+-----------------------------+-----+-----------+-----+
+----+-----+-----+-----+-----+-----+-----+-----+-----+-----+-----+
| | | | | | | | | | | |
+----+-----+-----+-----+-----+-----+-----+-----+-----+-----+-----+
|P/M | PBR |MODE |TIME |FT SW| PIT |AMPL | PIT |AMPL | PB |EG BI|
| | |PORTAMENTO | | WHL RANGE | BREATH RANGE |
+----+-----+-----------+-----+-----------+-----------------------+
|
| 338.6 | "Soft Analog Strings" patch | BARNUM::RHODES | | Fri Jul 25 1986 12:37 | 43 |
| Here is a patch that I have entitled "Soft Analog Strings". This is
the closest I have been able to get (thus far) to a good analog
string sound. I am very pleased with it. --Todd.
AME OP
+-----+-----+-----+-----+-----+-----+-----+-----+-----+--+--+-----+-----+-+
| | | | | | | | | | |0 | 0 | 0 |4|
| | | | | | | | | | +--+-----+-------+
| | | | | | | | | | |0 | 0 | 0 |3|
| 5 | 7 | TRI | 31 | 14 | 16 | 1 | OFF | 5 |0 +--+-----+-------+
| | | | | | | | | | |0 | 0 | 0 |2|
| | | | | | | | | | +--+-----+-------+
| | | | | | | | | | |0 | 0 | 0 |1|
+-----+-----+-----+-----+-----+-----+-----+-----+-----+--+--+-----+-----+-+
| ALG | FB |WAVE | SPD | DLY | PMD | AMD |SYNC | PIT |AMPL |EG BI|K VEL|
| | | LFO | MOD SENS | |
+-----+-----+-----------------------------------+-----------------------+
OP
+-+----+-----+-----+-----+-----+-----+-----+-----+-----+-----+-----+
|4|4.71| -3 | 19 | 7 | 14 | 0 | 2 | 70 | 0 | 0 | |
+-+----+-----+-----+-----+-----+-----+-----+-----+-----+-----+ |
|3|4.71| -3 | 7 | 31 | 15 | 0 | 3 | 99 | 0 | 0 | C-1 |
+-+----+-----+-----+-----+-----+-----+-----+-----+-----+-----+ OR |
|2|4.71| +3 | 19 | 7 | 14 | 0 | 2 | 78 | 0 | 0 | C-2 |
+-+----+-----+-----+-----+-----+-----+-----+-----+-----+-----+ |
|1|4.71| -3 | 7 | 31 | 15 | 0 | 3 | 99 | 0 | 0 | |
+-+----+-----+-----+-----+-----+-----+-----+-----+-----+-----+-----+
| FR | DTN | AR | D1R | D1L | D2R | RR |O LEV|RATE | LEV |TRANS|
| OSCIL | ENVELOPE GENERATOR | OPR |KBD SCLING | |
+----------+-----------------------------+-----+-----------+-----+
+----+-----+-----+-----+-----+-----+-----+-----+-----+-----+-----+
| P | | | | S | | | | | | |
+----+-----+-----+-----+-----+-----+-----+-----+-----+-----+-----+
|P/M | PBR |MODE |TIME |FT SW| PIT |AMPL | PIT |AMPL | PB |EG BI|
| | |PORTAMENTO | | WHL RANGE | BREATH RANGE |
+----+-----+-----------+-----+-----------+-----------------------+
|
| 338.7 | Start the BUBBLE*** Machine | LEAGLE::GOLDSTEIN | Outrageousness!!? Just a way to WAKE PEOPLE UP! | Wed Jul 30 1986 21:17 | 51 |
| This is a fun patch. Many of the numbers are meaningless since
I adapted the patch from the PINK NOISE factory patch, but I really
don't have the patience to remove the useless numbers.
Try it, you'll like it!
---------------------------------------------------------------------------
BUBBLE*** (also good as basis for other sound effects)
(Change WAVE| for other sounds)
v AME OP
+-----+-----+-----+-----+-----+-----+-----+-----+-----+--+--+-----+-----+-+
| | | | | | | | | | |0 | 0 | 0 |4|
| | | | | | | | | | +--+-----+-------+
| | | | | | | | | | |0 | 0 | 0 |3|
| 4 | 7 | saw | 40 | 0 | 99 | 0 |off | 7 |0 +--+-----+-------+
| | | up | | | | | | | |0 | 0 | 0 |2|
| | | | | | | | | | +--+-----+-------+
| | | | | | | | | | |0 | 0 | 0 |1|
+-----+-----+-----+-----+-----+-----+-----+-----+-----+--+--+-----+-----+-+
| ALG | FB |WAVE | SPD | DLY | PMD | AMD |SYNC | PIT |AMPL |EG BI|K VEL|
| | | LFO | MOD SENS | |
+-----+-----+-----------------------------------+-----------------------+
OP
+-+----+-----+-----+-----+-----+-----+-----+-----+-----+-----+-----+
|4|2595| -3 | 18 | 8 | 5 | 1 | 3 | 0 | 0 | 0 | |
+-+----+-----+-----+-----+-----+-----+-----+-----+-----+-----+ |
|3|0.5 | -3 | 20 | 7 | 5 | 1 | 3 | 0 | 0 | 0 | 0 |
+-+----+-----+-----+-----+-----+-----+-----+-----+-----+-----+ |
|2|5.19| -3 | 20 | 11 | 9 | 4 | 1 | 0 | 0 | 0 | |
+-+----+-----+-----+-----+-----+-----+-----+-----+-----+-----+ |
|1|0.5 | +3 | 15 | 6 | 12 | 0 | 15 | 99 | 0 | 0 | |
+-+----+-----+-----+-----+-----+-----+-----+-----+-----+-----+-----+
| FR | DTN | AR | D1R | D1L | D2R | RR |O LEV|RATE | LEV |TRANS|
| OSCIL | ENVELOPE GENERATOR | OPR |KBD SCLING | |
+----------+-----------------------------+-----+-----------+-----+
+----+-----+-----+-----+-----+-----+-----+-----+-----+-----+-----+
| p | | | | s | | | | | | |
+----+-----+-----+-----+-----+-----+-----+-----+-----+-----+-----+
|P/M | PBR |MODE |TIME |FT SW| PIT |AMPL | PIT |AMPL | PB |EG BI|
| | |PORTAMENTO | | WHL RANGE | BREATH RANGE |
+----+-----+-----------+-----+-----------+-----------------------+
|
| 338.8 | Hihat patch | BARNUM::RHODES | | Tue Aug 05 1986 10:24 | 47 |
| This is a homemade hihat patch that I feel sounds great. Play the
keys in the 4th octave (C4 to G4). Use an inverse Yamaha sustain
pedal (ie: normally open) if desired. Holding a key down keeps
the hihat "open". Tapping a key quickly with a quick release emulates
a "closed" strike.
Todd.
AME OP
+-----+-----+-----+-----+-----+-----+-----+-----+-----+--+--+-----+-----+-+
| | | | | | | | | | |0 | 0 | 0 |4|
| | | | | | | | | | +--+-----+-------+
| | | | | | | | | | |0 | 0 | 0 |3|
| 2 | 5 | s/h | 86 | 0 | 99 | 0 | off | 2 |0 +--+-----+-------+
| | | | | | | | | | |0 | 0 | 0 |2|
| | | | | | | | | | +--+-----+-------+
| | | | | | | | | | |0 | 0 | 0 |1|
+-----+-----+-----+-----+-----+-----+-----+-----+-----+--+--+-----+-----+-+
| ALG | FB |WAVE | SPD | DLY | PMD | AMD |SYNC | PIT |AMPL |EG BI|K VEL|
| | | LFO | MOD SENS | |
+-----+-----+-----------------------------------+-----------------------+
OP
+-+-----+-----+-----+-----+-----+-----+-----+-----+-----+-----+-----+
|4|19.03| 0 | 31 | 31 | 14 | 0 | 0 | 92 | 0 | 0 | |
+-+-----+-----+-----+-----+-----+-----+-----+-----+-----+-----+ |
|3|20.76| 0 | 21 | 28 | 11 | 6 | 0 | 82 | 2 | 0 | |
+-+-----+-----+-----+-----+-----+-----+-----+-----+-----+-----+ F#2 |
|2|1.57 | 0 | 25 | 22 | 11 | 0 | 1 | 88 | 1 | 0 | |
+-+-----+-----+-----+-----+-----+-----+-----+-----+-----+-----+ |
|1|7.85 | 0 | 31 | 31 | 10 | 7 | 6 | 90 | 2 | 0 | |
+-+-----+-----+-----+-----+-----+-----+-----+-----+-----+-----+-----+
| FR | DTN | AR | D1R | D1L | D2R | RR |O LEV|RATE | LEV |TRANS|
| OSCIL | ENVELOPE GENERATOR | OPR |KBD SCLING | |
+-----------+-----------------------------+-----+-----------+-----+
+----+-----+-----+-----+-----+-----+-----+-----+-----+-----+-----+
| P | 5 | f.t.| 0 | sus | 50 | 0 | 0 | 99 | 50 | 98 |
+----+-----+-----+-----+-----+-----+-----+-----+-----+-----+-----+
|P/M | PBR |MODE |TIME |FT SW| PIT |AMPL | PIT |AMPL | PB |EG BI|
| | |PORTAMENTO | | WHL RANGE | BREATH RANGE |
+----+-----+-----------+-----+-----------+-----------------------+
|
| 338.9 | With who? | JAWS::COTE | Luckless pedestrian... | Mon Nov 10 1986 08:56 | 51 |
| "Soft Organ (with Leslie)"
This patch makes a nice, soft, almost distant organ. The LFO creates
the Leslie effect about .5 seconds after the key is depressed. Use of
the breath controller will introduce a more pronounced "Leslie". Vary
the LFO speed and delay to suit. (I liked these.) Or use a square LFO
wave for a more distinct "rotation". At the low end of the keyboard
there is a slight hint of "air", like from a bellows, as the tone
starts.
"Init Voice" before editing. If some parameters aren't mentioned, assume
initialized default values.
_________________________________________________________________________
Algorythm 6 Pmod Sens 6
Feedback 6 Amod Sens 0
LFO Wave Tri EG Bias 0
" Speed 32
" Delay 31 BC Pitch 8
" PMD 4 BC Amp 50
" AMD 46 BC EG Bias 28
" Sync On BC Pitch Bias 50 Chorus On
Op 1 Op2 Op3 Op4
Freq. 1.00 .50 5.00 3.00
Detune +3 -3 +1 0
AR 15 15 15 31
D1R 22 22 22 31
D1L 15 15 15 15
D2R 0 0 0 0
RR 7 8 6 5
Output Level 99 82 62 28
KS Rate 0 3 0 0
KS Level 57 44 0 51
Key Velo * 1 0 0 0
PEG PR1 42\
PEG PL1 51 \
PEG PR2 57 \
PEG PL2 50 / ------ These parameters are subtle. DX100 users can probably
PEG PR3 99 / skip them without TOO much effect.
PEG PL3 50/
*I don't know why this makes a difference, but it does. OP1 is louder when set
to 0.
|
| 338.10 | DX Cross-fades... | JAWS::COTE | Any major dude will tell you... | Thu Jul 02 1987 11:28 | 15 |
| Not a patch, but this info might help some of you come up with
some interesting results...
Use Algorythm 6... 4
/ | \
/ | \
1 2 3
... to create 'cross-fades'. By futzing with the attack and level
of OP4, you can use it to modulate OPs 1-3.
I've set up a so-so patch where a DX Rhodes cross-fades into some fat
horns using this method.
Edd
|
| 338.11 | This note is not being written | BARNUM::RHODES | | Mon Jul 06 1987 09:25 | 10 |
| I still havn't tried out the organ patch in -.2 yet, Edd. There is a factory
patch on the DX that is a combo electric_piano/strings that kinda crossfades
due to the staccato nature of the e. piano, and the slow attack of the strings.
I gotta get back into twiddling DX patches, especially now that I have
a librarian for the C64 and don't have to futz with that grumpy cassette
interface.
Todd.
|
| 338.12 | discussion of 4-op DX/TX patches moved here... | AITG::WELLS | Left of Center | Thu Jul 23 1987 15:18 | 9 |
| re .5 This is the template, Edd.
re .9 (Edd's Leslie)
What are the PEG PR1-3 and PL1-3 parameters? I don't see what
this maps to on the TX81Z.
Richard
|
| 338.13 | Pitch envelope generator... | JAWS::COTE | The Revenge. This time it's personnel. | Thu Jul 23 1987 15:41 | 8 |
| Pitch envelope generator R(ate) and L(evel). I used them in an attempt
to simulate a subtle doppler effect cause by a rotating speaker.
You can decide if I was successfull.
The TX may not have something similar. I don't believe the DX100
or DX27 have a PEG.
Edd
|
| 338.14 | | JAWS::COTE | The Revenge. This time it's personnel. | Thu Jul 23 1987 15:49 | 10 |
| Oh yeah, another thing...
My DX21 doesn't have a velocity sensitive keyboard, and this patch
doesn't take advantage of it.
Why the key-velocity on op1 makes a difference is beyond me.
If your keyboard sends velocity, disable it.
Edd
|
| 338.15 | bumma | BARNUM::RHODES | | Thu Jul 23 1987 17:15 | 6 |
| Nope, the DX100 doesn't have a pitch envelope generator. How am I supposed
to program great percussion patches with constant pitch? I want the pitch
to droop over time...
8^(
|
| 338.16 | | JON::ROSS | Network partner excited first try!{pant} | Fri Jul 24 1987 11:44 | 11 |
| use the bend wheel.
oh, silly me, you probably dont have your hands free...
ok, so design a midi-to-linear motion converter that is linked
to the bend wheel and senses when theres a note being played
and 'pushes' the wheel....
I'd love to see it....
|
| 338.17 | mono bass, mono lead, ghosties | BARNUM::RHODES | | Mon Jul 27 1987 15:17 | 126 |
| Here are the three requested 4-op factory DX patches; MONO BASS, MONO LEAD,
GHOSTIES:
MONO BASS
AME OP
+-----+-----+-----+-----+-----+-----+-----+-----+-----+--+--+-----+-----+-+
| | | | | | | | | | |0 | 0 | 0 |4|
| | | | | | | | | | +--+-----+-------+
| | | | | | | | | | |0 | 0 | 0 |3|
| 4 | 6 | TRI | 28 | 0 | 6 | 0 | OFF | 6 |0 +--+-----+-------+
| | | | | | | | | | |0 | 0 | 0 |2|
| | | | | | | | | | +--+-----+-------+
| | | | | | | | | | |0 | 0 | 0 |1|
+-----+-----+-----+-----+-----+-----+-----+-----+-----+--+--+-----+-----+-+
| ALG | FB |WAVE | SPD | DLY | PMD | AMD |SYNC | PIT |AMPL |EG BI|K VEL|
| | | LFO | MOD SENS | |
+-----+-----+-----------------------------------+-----------------------+
OP
+-+----+-----+-----+-----+-----+-----+-----+-----+-----+-----+-----+
|4| .5 | 0 | 31 | 13 | 4 | 25 | 8 | 63 | 0 | 0 | |
+-+----+-----+-----+-----+-----+-----+-----+-----+-----+-----+ |
|3| .5 | -3 | 31 | 10 | 11 | 15 | 8 | 81 | 1 | 0 | |
+-+----+-----+-----+-----+-----+-----+-----+-----+-----+-----+ C2 |
|2| .5 | +3 | 31 | 9 | 0 | 0 | 8 | 60 | 1 | 0 | |
+-+----+-----+-----+-----+-----+-----+-----+-----+-----+-----+ |
|1| .5 | 0 | 31 | 8 | 0 | 0 | 8 | 99 | 1 | 0 | |
+-+----+-----+-----+-----+-----+-----+-----+-----+-----+-----+-----+
| FR | DTN | AR | D1R | D1L | D2R | RR |O LEV|RATE | LEV |TRANS|
| OSCIL | ENVELOPE GENERATOR | OPR |KBD SCLING | |
+----------+-----------------------------+-----+-----------+-----+
+----+-----+-----+-----+-----+-----+-----+-----+-----+-----+-----+
| M | 2 |FNGR | 65 | SUS | 50 | 0 | 50 | 0 | 50 | 0 |
+----+-----+-----+-----+-----+-----+-----+-----+-----+-----+-----+
|P/M | PBR |MODE |TIME |FT SW| PIT |AMPL | PIT |AMPL | PB |EG BI|
| | |PORTAMENTO | | WHL RANGE | BREATH RANGE |
+----+-----+-----------+-----+-----------+-----------------------+
MONO LEAD
AME OP
+-----+-----+-----+-----+-----+-----+-----+-----+-----+--+--+-----+-----+-+
| | | | | | | | | | |0 | 0 | 0 |4|
| | | | | | | | | | +--+-----+-------+
| | | | | | | | | | |0 | 0 | 0 |3|
| 6 | 7 | TRI | 35 | 0 | 0 | 0 | OFF | 6 |0 +--+-----+-------+
| | | | | | | | | | |0 | 0 | 0 |2|
| | | | | | | | | | +--+-----+-------+
| | | | | | | | | | |0 | 0 | 0 |1|
+-----+-----+-----+-----+-----+-----+-----+-----+-----+--+--+-----+-----+-+
| ALG | FB |WAVE | SPD | DLY | PMD | AMD |SYNC | PIT |AMPL |EG BI|K VEL|
| | | LFO | MOD SENS | |
+-----+-----+-----------------------------------+-----------------------+
OP
+-+----+-----+-----+-----+-----+-----+-----+-----+-----+-----+-----+
|4|1.0 | 0 | 31 | 11 | 13 | 0 | 10 | 70 | 0 | 10 | |
+-+----+-----+-----+-----+-----+-----+-----+-----+-----+-----+ |
|3|1.0 | 0 | 31 | 31 | 15 | 0 | 13 | 99 | 0 | 0 | |
+-+----+-----+-----+-----+-----+-----+-----+-----+-----+-----+ C2 |
|2|1.0 | 0 | 31 | 31 | 15 | 0 | 13 | 99 | 0 | 0 | |
+-+----+-----+-----+-----+-----+-----+-----+-----+-----+-----+ |
|1|1.0 | 0 | 31 | 31 | 15 | 0 | 13 | 99 | 0 | 0 | |
+-+----+-----+-----+-----+-----+-----+-----+-----+-----+-----+-----+
| FR | DTN | AR | D1R | D1L | D2R | RR |O LEV|RATE | LEV |TRANS|
| OSCIL | ENVELOPE GENERATOR | OPR |KBD SCLING | |
+----------+-----------------------------+-----+-----------+-----+
+----+-----+-----+-----+-----+-----+-----+-----+-----+-----+-----+
| M | 5 |FNGR | 50 | SUS | 50 | 0 | 0 | 0 | 50 | 0 |
+----+-----+-----+-----+-----+-----+-----+-----+-----+-----+-----+
|P/M | PBR |MODE |TIME |FT SW| PIT |AMPL | PIT |AMPL | PB |EG BI|
| | |PORTAMENTO | | WHL RANGE | BREATH RANGE |
+----+-----+-----------+-----+-----------+-----------------------+
GHOSTIES
AME OP
+-----+-----+-----+-----+-----+-----+-----+-----+-----+--+--+-----+-----+-+
| | | | | | | | | | |0 | 0 | 0 |4|
| | | | | | | | | | +--+-----+-------+
| | | | | | | | | | |1 | 0 | 0 |3|
| 5 | 7 | TRI | 34 | 10 | 63 | 70 | OFF | 6 |1 +--+-----+-------+
| | | | | | | | | | |0 | 0 | 0 |2|
| | | | | | | | | | +--+-----+-------+
| | | | | | | | | | |1 | 0 | 0 |1|
+-----+-----+-----+-----+-----+-----+-----+-----+-----+--+--+-----+-----+-+
| ALG | FB |WAVE | SPD | DLY | PMD | AMD |SYNC | PIT |AMPL |EG BI|K VEL|
| | | LFO | MOD SENS | |
+-----+-----+-----------------------------------+-----------------------+
OP
+-+----+-----+-----+-----+-----+-----+-----+-----+-----+-----+-----+
|4|2.0 | -3 | 31 | 15 | 13 | 0 | 3 | 62 | 0 | 0 | |
+-+----+-----+-----+-----+-----+-----+-----+-----+-----+-----+ |
|3|2.0 | -3 | 15 | 31 | 15 | 9 | 5 | 99 | 0 | 0 | |
+-+----+-----+-----+-----+-----+-----+-----+-----+-----+-----+ C3 |
|2|4.0 | +3 | 31 | 15 | 12 | 0 | 4 | 40 | 0 | 0 | |
+-+----+-----+-----+-----+-----+-----+-----+-----+-----+-----+ |
|1|2.0 | +3 | 15 | 31 | 15 | 9 | 5 | 99 | 0 | 0 | |
+-+----+-----+-----+-----+-----+-----+-----+-----+-----+-----+-----+
| FR | DTN | AR | D1R | D1L | D2R | RR |O LEV|RATE | LEV |TRANS|
| OSCIL | ENVELOPE GENERATOR | OPR |KBD SCLING | |
+----------+-----------------------------+-----+-----------+-----+
+----+-----+-----+-----+-----+-----+-----+-----+-----+-----+-----+
| P | 12 |FULL | 69 | SUS | 99 | 99 | 0 | 0 | 50 | 0 |
+----+-----+-----+-----+-----+-----+-----+-----+-----+-----+-----+
|P/M | PBR |MODE |TIME |FT SW| PIT |AMPL | PIT |AMPL | PB |EG BI|
| | |PORTAMENTO | | WHL RANGE | BREATH RANGE |
+----+-----+-----------+-----+-----------+-----------------------+
|
| 338.18 | Performance set-up.... | JAWS::COTE | Practice Safe Sysex | Fri Aug 28 1987 12:14 | 27 |
| The latest issue of "Aftertouch" had an interesting piece on creating
"feed-back". I played around with it and adapted it to work under
a variety of circumstances.
The idea was to get "feedback" out of an electric guitar patch.
The concept was to layer 2 patches by use of "DUAL" mode. One
patch was kept normal, the other was transposed (they used 12 and
19 (?) semitones) up and was given a long attack. As the notes
were played, the original voice would slowly be overtaken by the
transposed "feedback".
All well and good, *if* you want the same amount of feed-back coming
in at the same time on every note. That didn't sit too well with
me, so I suggest you use the balance fader to regulate the amount
of feedback. By setting the "feedback" patch to MONO and leaving
the "clean" patch on POLY, you can play a nice clean chord and then
take a lead run into eternal feedback. Kinda fun...
The technique works equally well as a "cross-fade" between totally
dissimilar instruments. Patches that use algoryhthms with only one
carrier are easiest, as there is only one operator which needs it's
attack rate diddled. Playing with the attack rates and levels of
modulators can get weird.
Check it out.
Edd
|
| 338.19 | phoney pheedback phacts | BARNUM::RHODES | | Fri Aug 28 1987 17:44 | 11 |
| I made a "guitar with feedback" patch on the DX100 via a crossfade technique
between operators (no multitimbrality necessary!)
I don't remember whether or not I used two carriers (one with fast attack
and slow decay + one with gradual attack) or if I used one carrier, using
one of the modulators to inject the apparent feedback via gradual attack.
I, er, probably should post it here, tho. ...and will if there is interest.
Todd.
|
| 338.20 | Bunch of ways... | JAWS::COTE | Practice Safe Sysex | Fri Aug 28 1987 18:04 | 21 |
| If you use Alg 5....
2 4
1 3
...you can have an "additive crossfade" (I made that up) by having
a fast attack rate on one carrier and a slower rate on the other.
In this method neither sound "dies", it just gets covered up.
I you use Alg 6...
4
1 2 3
... you can set the attack rate on 4 to be slow. As it comes up,
it will change the timbre of 1-3 creating a "timbral crossfade".
(Hey, you folks got better terms??? :^) )
Edd
|
| 338.21 | Undocumented (on the FB01) | DFLAT::DICKSON | Network Design tools | Mon Aug 31 1987 09:58 | 6 |
| So where do I learn about all this "algorhythm" and "operator" stuff?
The manual that came with my new FB01 says nothing about what all this
means, although it does show the format of the MIDI codes to set them.
Are there any books on programming 4op FM synthesizers? I don't even
have so much as a chart of the algorhythm diagrams.
|
| 338.22 | Gotta couple years? | DARTS::COTE | Practice Safe Sysex | Mon Aug 31 1987 10:39 | 39 |
| Operators can be likened to oscillators. Each operator can be set
to a frequency, a level, and have it's own envelope generator.
Algoryhtms are the way in which a given operator(s) interact with
the others in the machine. Best shown be example...
Algorythm #6...
Op4
/ | \
/ | \
/ | \
Op1 Op2 Op3
In this example Op4 is a "modulator" and 1-3 are "carriers". Only
carriers can be heard. Modulators can only be "heard" as the result
of their effectc on a carrier. In this example Op4 will modulate
the other three depending on it's frequency and level.
Algorythm 8
Op1 Op2 Op3 Op4
In this algorythm we have 4 carriers and no modulators. A sort of
additive synthesis can be done using this algorthym. (It should
be noted that there is usually one operator capable of self-modulation.
(These are often blind and have hair on their EGs :^) ) ).
Four op synths have 8 algorythms (although more may be possible)
and 6-op (DX-7 etc.) have (I think) 32.
I've never seen a good explanation of just how they all work, but
after futzing with my DX for 2 years now, I've started to get an
intuitive 'feel' for what's happening.
Edd
|
| 338.23 | I Know It's Hard To Spell, But... | DRUMS::FEHSKENS | | Mon Aug 31 1987 10:59 | 7 |
| It's ALGORITHM. No Ys in it. (Ys is someplace else...).
Not to be confused with Algae Rhythms, the swaying that green stuff
in the pond does when the Loch Ness Monster swims by...
len.
|
| 338.24 | Take this Fyhskyns!!!! | DARTS::COTE | Practice Safe Sysex | Mon Aug 31 1987 11:56 | 3 |
| Sorry len, but you all know I'm a real Y's guy....
Ydd
|
| 338.25 | Hyy myn, yyy knyw Fryy Byrd? | DRUMS::FEHSKENS | | Mon Aug 31 1987 13:16 | 4 |
| Youse guys got no culchur. Doncha know about Ys?
Lynyrd Fyhskyns, aka lyn.
|
| 338.26 | What a ness | MINDER::KENT | | Wed Sep 02 1987 04:40 | 9 |
|
Did you know that the Loch Ness monster plays Farfisa organs
exclusively. I hear he's very "into" the reeds !
Paul,
|
| 338.27 | speaking of patches... | BARNUM::RHODES | | Wed Sep 02 1987 09:48 | 28 |
| No, but I hear bigfoot plays a mean sax.
Seriously tho, on the subject, I'd like to take the opportunity to fireball
the Dr. T DX100/27/21/FB01 patch editor for the C64. It is just as easy
to edit directly on the DX as it is to edit using this editor! It basically
displays all the information that you get on the DX, and in the exact same
textual format (ie. no graphical representation of *anything* [not even
the EGs!]). It is also slower to change a parameter on the editor than
it is to change one on the DX.
Process:
Parameters are organized on the screen in rows and columns. Go to the
correct parameter using the joystick, press the fire button to go into edit
mode on that parameter, move the joystick up or down to scroll to the correct
value [slower than using the data slider on the DX], press the fire button
to complete the edit, and use the joystick to get to the next parameter, etc.
Of course, whilst using the joystick to change parameters one must be
hitting notes on the DX (for sonic feedback purposes), so one needs three
hands, and the DX must be within arms reach of the computer. Yeech.
I thought that (at least) the EGs would be "point and click" - geez. While
it is sometimes important to "see" all of the parameters at once (makes
it easy to jot down patches, etc.), it is rather useless if all you can see
is a bunch of numbers that can be accessed quickly on the DX anyhow.
The patch librarian part of the package is fine.
Todd.
|
| 338.28 | Maybe they could jam???? | JAWS::COTE | Note stuck? Try Kawai... | Wed Sep 02 1987 10:09 | 16 |
| Despite all the gas that FM takes with regards to programming, it's
really not that hard. Admittedly, I still can't say "I'm gonna make
a string patch" and then sit down and whip one off, but if you just
dabble with the parameters a while, you start to develope an intuitive
feel for what's happening.
Probably the hardest part is learning how the (oh god, I forgot
how to spell this... forgive me) algorithm (zat right?) effects
the final timbre. Even at that, alg. 6 & 8 are pretty obvious
(we be talking 4-op FM here), so that only leaves 6 to conphuze
me...
... and I never did analog synthesis before I started FM, an added
disadvantage.
Edd
|
| 338.29 | Bessel-est way to learn FM. | CTHULU::YERAZUNIS | People explode all the time. Natural causes. | Wed Sep 02 1987 14:41 | 5 |
| The easiest way to understand FM programming is to understand Bessel
functions.
After that, it's easy. :-)
|
| 338.30 | no FM'n way | JON::ROSS | synapses unite ! | Wed Sep 02 1987 16:21 | 14 |
|
Ed, I dont think a basis in analog synth is gonna help anyone
really with FM....its just tooo different a beast. Disclaimer is
the Korg unit that trys to map FM into parameters that are more
intuitive. Anyone have opinion on their success?
Bessel functions are great on graphs.
Never heard one I didnt like.
Never heard one at all, tho.....ya know?
[End of Buffer] ;'{
|
| 338.31 | No Free Lunch (or Piano) | AQUA::ROST | You used me for an ashtray heart | Wed Sep 02 1987 17:37 | 20 |
|
A friend of mine who designs for Bose and got his masters in digital
synthsesis algorithm research claims that the bessel functions that
are produced in FM synthesis are both its strong point and its weak
point.
The sounds that DX fans rave about can be shown to be easily modeled
with Bessel functions. Those that can't (like pianos) will never
sound very good.
Anyway, why is the *piano* sound the Holy Grail these days anyway?
Seems to me, that since good digital pianos like the MKS-20, Ensoniq,
etc. are available, why beat your brains out trying to make a (INSERT
YOUR SYNTH NAME HERE) sound like a piano?
I suppose once the piano is conquered, the tenor saxophone will
be next....... 8^)
|
| 338.32 | Ah yes, The Joy Of Sax.... | JAWS::COTE | Note stuck? Try Kawai... | Wed Sep 02 1987 17:46 | 11 |
| Trying to get a good tenor sax patch will make pianos look like
sine waves in comparison.
...just too damn much 'person' in the sax. Not that pianos are
unexpressive, but the current state of synthesis seems to have
most of the bases covered. We still have a long way to go before
winds will be synthesized well.
Even my sax samples are all but useless....
Edd
|
| 338.33 | Read my lips... | AKOV75::EATOND | Finally, a piano. | Wed Sep 02 1987 17:47 | 11 |
| RE < Note 338.31 by AQUA::ROST "You used me for an ashtray heart" >
> Seems to me, that since good digital pianos like the MKS-20, Ensoniq,
> etc. are available, why beat your brains out trying to make a (INSERT
> YOUR SYNTH NAME HERE) sound like a piano?
Because FM units (at least the 4 op stuff) is *CHEAPER* than an MKS-20
or an Ensoniq!
Dan
|
| 338.34 | FM is just a Matrix-12 w/i funny oscillators! | MAY20::BAILEY | Steph Bailey | Wed Sep 02 1987 18:46 | 10 |
| Understanding analog CAN help you with FM. Not in the form of getting
a particular timbre out of a stack, but certainly in how to combine
the stacks to get a particular sound.
In other words, it is very easy to view FM synths as x-oscillator
synths where x is the number of stacks in the algorithm (of course
you can certainly get away from this idiom in programming DXs, but
is there and fairly easy to understand).
Steph
|
| 338.35 | Trumpet Full Of Spit | JAWS::COTE | 115db, but it's a DRY thud... | Wed Sep 16 1987 09:31 | 43 |
|
Everytime I use this patch I have an uncontrollable urge to clear
my throat. This trumpet needs to be emptied!!!
Edd
**********************************************************************
Op1 Op2 Op3 Op4
Frequency 1.00 1.00 3.14 1.00
Detune +3 +3 +3 0
AR 20 15 13 18
D1R 31 31 15 5
D1L 15 15 0 0
D2R 0 0 0 0
RR 9 8 8 8
Level 85 51 59 66
Rate Scale 1 0 0 1
Level 0 0 0 0
PEG Rate 1 99 Algo. 3
Level 1 46 Feedback 7
Rate 2 99 LFO Wave Tri
Level 2 50 Speed 35
Rate 3 0 Delay 24
Level 3 55 PMD 4
AMD 0
Sync Off
P Mod Sens 6
A Mod Sens 0
E Bias Sens 0
Key Velo. 0
Mode Poly
PB Rng. 2
Porta. Full Time Chorus On
Porta Time 0 Transpose C3
MW Pitch 0 Name Spit Horn
BC Pitch 0
Amp. 0
Pitch Bias 50
EG Bias 0
|
| 338.36 | Ack! Another Rhodes... | JAWS::COTE | If you's a viper... | Mon Oct 12 1987 09:17 | 53 |
|
Just what the world needs, another FM "Rhodes". Well,
this one's kinda nice. (I use it more often than any of
the factory 'Rhodes'.) If you can live with a reduction
in polyphony, it sounds real nice stacked on itself and
detuned about 15 cents.
It's my first velocity sensitive patch. Hit it harder
and you'll hear lots of tine. Play it soft and it gets
real 'mushy', a la Billy Joel's "Just The Way You Are".
Is anybody actually trying these? I'd love some feedback.
Edd
-----------------------------------------------------
Op1 Op2 Op3 Op4
Frequency 1.00 1.00 1.00 20.41
Detune +3 -3 +3 -3
AR 31 31 31 31
D1R 8 8 9 11
D1L 0 0 0 0
D2R 21 0 0 0
RR 8 7 15 6
Level 95 72 95 46
Rate Scale 0 0 0 1
Level 0 0 0 13
Key Velo. 4 0 0 4
PEG Rate 1 99 Algo. 5
Level 1 50 Feedback 4
Rate 2 99 LFO Wave Tri
Level 2 50 Speed 24
Rate 3 99 Delay 0
Level 3 55 PMD 2
AMD 0
Sync Off
P Mod Sens 6 (1111)
A Mod Sens 0 (0000)
E Bias Sens 0 (1111)
Mode Poly
PB Rng. 2
Porta. Full Time Chorus On
Porta Time 0 Transpose C2
MW Pitch 0 Name Edds Rhodes
BC Pitch 0
Amp. 0
Pitch Bias 50
EG Bias 0
|
| 338.37 | Wack! Another Cote | BARNUM::RHODES | | Mon Oct 12 1987 09:59 | 9 |
| I've tried (and saved) all of yours, Edd. I don't have a velocity sensitive
keyboard yet, so I probably won't try the Rhodes patch until I do.
I wish I had an automated way of dumping patches from my Dr. T patch librarian
to VAX without going the human route. If I could, I'd dump more of my home
brew patches.
Todd.
|
| 338.38 | Eeek!! A Mouse!!! | JAWS::COTE | If you's a viper... | Mon Oct 12 1987 10:04 | 6 |
| HA! Nice comeback, Todd...
BTW - .35 works just fine without a velocity sensitive board. A
moderate amount of tine is the V64 default... Try it.
Edd
|
| 338.39 | Nice Rhodes, Edd! | THE780::FARLEE | Dyslexics Untie!! | Wed Oct 28 1987 19:04 | 10 |
| I punched the Rhodes patch into my TX81Z last night
(gotta get a patch editor!!!) -
sounds real nice - I like a bit more dynamics, so I
upped the KVS params... The bass range seems to kinda
fade out... thats my only criticism. it sounds
beautiful in the midrange!!
good job!
Kevin
|
| 338.40 | Tweak! | JAWS::COTE | BIM me up, Scotty!!! | Thu Oct 29 1987 08:32 | 9 |
| Thanks!
Try dweebin' with the rate and level scaling parameters to bring
up the bottom half of the keyboard. I found that keeping the bottom
up levelwise caused a real muddy mix when used in conjunction with
a bass patch or sample, so I scaled it back.
Edd
|
| 338.41 | patches, patches everywhere.... | VIDEO::ORSHAW | | Wed Dec 30 1987 16:28 | 14 |
| Well, the first patches were posted here in 1986. It's been quite
a while since then so there must be a big stockpile of patches
somewhere. The presets on my DX100 are getting a little stale. I'd
love to get my hands on some new sounds either by having them posted
here or by having them dumped onto a handy cassette that I would
be overjoyed to supply. I even have a sound creation or two of my
own if anyone is interested. Any one got any neat stuff??
Is there a stockpile of patches on the USENET somewhere?
Jim
btw - My entire system consists of a solitary DX100. I am in the
market for a used drum machine and/or 4-track studio.
|
| 338.42 | -<-<-<-<-<-<->->->->->-> | JAWS::COTE | So I'm back to the velvet underground... | Wed Dec 30 1987 16:37 | 7 |
| I've found my TX81Z to be a pretty good source of 4-op patches.
Some are compatible, some aren't, depending on the waveform used
in the TZ...
Edd
|
| 338.43 | Pedal Steel Guitar | JAWS::COTE | Are you buying this at all?? | Thu Jun 02 1988 09:27 | 46 |
| Well, my "Pedal Steel" past it's audition with flying colors! (It
actually stopped practice when one of the guitarists was taken back
by it.)
Like any guitar, there is no one sound to emulate. This one did
a good job on the song it was intended for (Ronstadt's "Blue Bayou").
The pitch bending is an integral part of the sound. I just can't
imagine it being as effective with all the notes bending at once.
Edd
**********************************************************************
OP1 OP2 OP3 OP4
Freq. 1.00 1.00 1.00 1.00
Detune 0 +3 -3 -3
AR 20 21 31 31
D1R 31 31 31 31
D1L 15 15 15 14
D2R 4 9 9 0
RR 6 6 6 5
Output 99 84 91 54
KSR 0 0 0 0
KSL 0 0 0 0
PR1 99 99 99 99
PL1 53 53 53 53
PR2 99 99 99 99
PL2 50 50 50 50
PR3 99 99 99 99
PL3 50 50 50 50
ALG: 5
FEEDBACK: 7
LFO WAVE: TRI
SPEED To suit (I used 31)
Delay 14
LFO PMD 5
LFO AMD 0
Sync nah...
P MOD SENS 5
A MOD SENS 0,0,0,0 Chorus: On
E Bias Sens 0,0,0,0 PB Range: 2
Key Velo 0,0,0,0 Bend Mode: HI
|
| 338.44 | FM PWM Lead patch | AKOV68::EATOND | No, no, no... 47!! | Mon Jun 13 1988 23:36 | 44 |
| Here's my first FM patch. Of course, its an attempt to imitate analog.
The fatter it can be made, the better. I layered it against itself, detuning
19 cents. I found adding a chorus also helped a bit.
I created it starting with a ROM patch called FM PULSE. I'm sure the
rest of you more experienced programmers will see a lot of guess-work thrown in
to this patch, but, hey, it sounds pretty good to me. Any improvements will be
graciously rec'd, as long as there is an explanation of what the improvement
buys.
**********************************************************************
OP1 OP2 OP3 OP4
Freq. 1.00 2.00 2.00 1.00
Detune 0 +3 +3 +3
AR 17 15 18 18
D1R 9 10 11 11
D1L 10 15 15 10
D2R 0 0 0 0
RR 8 15 7 15
Output 99 50 99 53
KSR 0 0 1 0
KSL 0 0 50 0
PR1 99 99 99 99
PL1 50 50 50 50
PR2 99 99 99 99
PL2 50 50 50 50
PR3 99 99 99 99
PL3 50 50 50 50
ALG: 1
FEEDBACK: 0
LFO WAVE: TRI
SPEED 11
Delay 32
LFO PMD 4
LFO AMD 0
Sync off
P MOD SENS 6
A MOD SENS 0,0,0,0
E Bias Sens 1,1,1,1
Key Velo 0,0,0,0
Chorus: On (definately!!!)
|
| 338.45 | Flutar | AKOV88::EATOND | Where d' heck a' we! | Sat Jul 09 1988 13:57 | 44 |
| My second FM patch. This time I started from scratch (init voice).
I used algorythm 5, as I thought I'd layer two separate patches. This turned
out (with no intended goal) to sound to me like a very pleasant flute, layered
with a sitar. Strange, I know, but it sounds nice to my ears. My wife said
the sitar sounded somewhat like a harpsicord... Anyway, try it out.
There's no feedback on op 4, but I found by adding it you could remove
the sitar and replace it with the breath sound of the flutist. Kind of
intersting...
**********************************************************************
OP1 OP2 OP3 OP4
Freq. 1.00 1.00 2.00 1.00
Detune 0 0 0 -3
AR 16 31 18 31
D1R 15 31 14 11
D1L 11 15 12 0
D2R 0 0 4 31
RR 10 15 6 5
Output 99 59 71 99
KSR 0 0 0 0
KSL 0 0 0 0
PR1 99 99 99 99
PL1 50 50 50 50
PR2 99 99 99 99
PL2 50 50 50 50
PR3 99 99 99 99
PL3 50 50 50 50
ALG: 5
FEEDBACK: 0
LFO WAVE: TRI
SPEED 31
Delay 43
LFO PMD 4
LFO AMD 1
Sync off
P MOD SENS 6
A MOD SENS 1,1,0,0
E Bias Sens 0,0,0,1
Key Velo 0,0,0,0
Chorus: On
|
| 338.46 | Testing. "1-2-3"... | WEFXEM::COTE | Name changed to protect innocence | Thu Sep 29 1988 16:06 | 11 |
| I put this here 'cuz it's a 4-op FM patch note. Maybe Mr. Mod
could change the title???
Is anyone interested in my TX81Z patch/performance set-up for
doing the lead line to Gloria Estefan/Miami Sound Machine's
tune "1-2-3"??
I did a real nice job, but it's more work to type in than I care
to do if no-one's gonna use it.
Edd
|
| 338.47 | Change topic title to "4-Op Patch Exchange"? | MAY26::DIORIO | | Thu Sep 29 1988 16:38 | 6 |
|
Our band is supposed to learn that tune soon, and I'm supposed to
get a TX81Z soon. So I could be able to use is soon. Does
that count?
Mike D
|
| 338.48 | Details tomorrow | WEFXEM::COTE | Name changed to protect innocence | Thu Sep 29 1988 17:07 | 3 |
| Have I got a patch for you....
Edd
|
| 338.49 | "1-2-3", Miami Sound Machine Patch... | WEFXEM::COTE | Name changed to protect innocence | Fri Sep 30 1988 09:36 | 78 |
|
To create this sound you must create one patch and then layer it
in a performance with a factory preset...
The patch:
ALG: 7
FEEDBACK: 7
LFO WAVE: TRI
LFO SPEED: 29
LFO DELAY: 6
P MOD DEPTH: 15
A MOD DEPTH: 0
SYNC: ON
P MOD SENS: 4
AMS: 2 (OFF,OFF,OFF,ON)
EBS: 0,0,0,0
KVS: 3,0,0,0
POLY MODE
P BEND: 0
FULLTIME PORTA
PORTA TIME: 0
FC VOLUME: 99
FC PITCH: 0
FC AMP: 0
MW PITCH: 50
MW AMP: 0
BC PITCH: 0
BC AMP: 0
PC PITCH BIAS: 0
BC EG BIAS: 0
MIDDLE C= F2 (That's right, F2)
REVERB RATE OFF
OP 1 OP 2 OP 3 OP 4
FREQ (ALL RTO) 1.51 1.50 1.49 22.49
WAVE 6 6 2 6
DETUNE -3 -3 +3 -3
AR 31 30 31 24
D1R 10 19 12 1
D1L 0 0 0 0
D2R 4 2 3 0
RR 6 6 7 5
SHIFT OFF OFF OFF OFF
OUTPUT 99 91 13 99
RS 0 0 0 0
LS 0 0 0 0
Got that?
Now you make a performance...
ASSIGN NODE: NORMAL
PATCH 1 PATCH 2
NAME "1-2-3" KRYSTL CHOIR (FROM ROM)
MAX NOTES 2 2 ((Still leaves you four voices)
CHANNEL n n
LIMIT/L C2 C2
LIMIT/H G8 G8
INST DETUNE 0 -2
NOTE SHIFT 0 -12
VOLUME 99 99
OUT ASSIGN set them both the same
LFO select 1 1
MICROTUNE: OFF
EFFECT SELECT: OFF
That's it. I'd appreciate any comments or tweaks.
Edd
P.S. Sure seems like alot of work for, what, 20-30 notes in the
song?
|
| 338.50 | Only The Lonely | WEFXEM::COTE | It was a dark and stormy night... | Sun Oct 16 1988 22:03 | 37 |
| ARGH! Not *ANOTHER* FM electric piano!!! Sorry dudes and dudettes,
but playing in a cover band does this to ya. I plead temporary
insanity...
This patch sounds like the electric piano in The Motels' tune
"Only The Lonely". I like it with lots of chorusing, like patch
60, 61 or 62 on an MVII, in addition the internal chorus (if applicable).
It can be loaded into any of the Yamahaha 4-op synths.
Edd
* * *
Op1 Op2 Op3 Op4
Freq. 1.00 .50 1.00 15.00
Detune +3 -3 -3 +3
AR 31 31 31 31
D1R 18 15 18 14
D1L 15 15 14 9
D2R 6 5 6 15
RR 6 7 6 14
Output 99 87 99 49
Rate Scale 0 0 0 3
Level Scale 0 0 99 0
Key Velocity 7 4 3 7
Algo: 5
Feedback: 6
LFO wave: Tri
LFO delay: 0 Chorus: On
LFO Speed: 20 C= C3
PMD: 1 Poly Mode
AMD: 2
Sync: Off
P Mod Sens: 4
A Mod Sens: 0
EG Bias: 0
|
| 338.51 | here goes! | HAMER::COCCOLI | blinded by science | Tue Jan 31 1989 21:02 | 59 |
| Acoustic Guitar
The patch:
ALG: 2
FEEDBACK: 0
LFO WAVE: TRI
LFO SPEED: 28
LFO DELAY: 0
P MOD DEPTH: 0
A MOD DEPTH: 0
SYNC: Off
P MOD SENS: 7
AMS: 0(OFF,OFF,OFF,OFF)
EBS: 0,0,0,0
KVS: 5,5,5,4 (for midi guitar)
POLY MODE
P BEND: 3
FULLTIME PORTA
PORTA TIME: 0
FC VOLUME: 99
FC PITCH: 0
FC AMP: 0
MW PITCH: 50
MW AMP: 0
BC PITCH: 0
BC AMP: 0
PC PITCH BIAS: 0
BC EG BIAS: 0
MIDDLE C= C3
REVERB RATE OFF
OP 1 OP 2 OP 3 OP 4
FREQ (ALL RTO) 1.00 1.00 6.00 3.00
WAVE 1 1 1 1
DETUNE 0 0 0 -3
AR 31 31 31 31
D1R 2 9 8 31
D1L 0 15 13 15
D2R 9 6 5 9
RR 9 7 7 5
SHIFT OFF OFF OFF OFF
OUTPUT 89 61 80 56
RS 0 1 2 2
LS 0 0 0 0
COMMENTS. you might have to tweek the sensitivity section..
*I* like it...........rich
|
| 338.52 | and another.. | HAMER::COCCOLI | blinded by science | Tue Jan 31 1989 21:16 | 58 |
| Holdsworth II
The patch:
ALG: 5
FEEDBACK: 3
LFO WAVE: TRI
LFO SPEED: 29
LFO DELAY: 0
P MOD DEPTH: 0
A MOD DEPTH: 0
SYNC: OFF
P MOD SENS: 6
AMS: 0 (OFF,OFF,OFF,OFF)
EBS: 0,0,0,0
KVS: 0,0,0,0
POLY MODE
P BEND: 3
FULLTIME PORTA
PORTA TIME: 0
FC VOLUME: 99
FC PITCH: 0
FC AMP: 0
MW PITCH: 50
MW AMP: 0
BC PITCH: 0
BC AMP: 0
PC PITCH BIAS: 0
BC EG BIAS: 0
MIDDLE C= C3
REVERB RATE 3
OP 1 OP 2 OP 3 OP 4
FREQ (ALL RTO) 1.00 1.00 1.00 1.00
WAVE 7 6 2 8
DETUNE -3 0 +2 +3
AR 31 31 5 7
D1R 24 25 31 31
D1L 15 15 15 15
D2R 1 1 1 1
RR 6 9 15 15
SHIFT OFF OFF OFF OFF
OUTPUT 90 78 81 87
RS 0 0 0 0
LS 0 0 0 0
COMMENTS. With a midi guitar, sounds like Holdsworth when he was
with U.K.(whatever he was using then?). With a keyboard, I take the fifth!
Rich C.
|
| 338.53 | and another.. | HAMER::COCCOLI | blinded by science | Tue Jan 31 1989 21:31 | 59 |
| Slapbass
The patch:
ALG: 4
FEEDBACK: 0
LFO WAVE: TRI
LFO SPEED: 29
LFO DELAY: 0
P MOD DEPTH: 0
A MOD DEPTH: 0
SYNC: OFF
P MOD SENS: 6
AMS: 0 (OFF,OFF,OFF,OFF)
EBS: 1,1,1,1,
KVS: 1,3,7,7
POLY MODE
P BEND: 3
FULLTIME PORTA
PORTA TIME: 0
FC VOLUME: 99
FC PITCH: 0
FC AMP: 0
MW PITCH: 50
MW AMP: 0
BC PITCH: 0
BC AMP: 0
PC PITCH BIAS: 0
BC EG BIAS: 0
MIDDLE C= C3
REVERB RATE OFF
OP 1 OP 2 OP 3 OP 4
FREQ (ALL RTO) 1.00 .50 9.00 6.00
WAVE 1 1 1 7
DETUNE 0 -3 +3 +3
AR 31 31 31 28
D1R 0 23 8 18
D1L 15 12 14 9
D2R 5 5 9 15
RR 8 8 8 9
SHIFT OFF OFF OFF OFF
OUTPUT 99 86 49 99
RS 2 0 1 1
LS 0 0 0 0
COMMENTS. Beats the hell out of those TX81Z preset basses.
Sounds like a real funkythang.
|
| 338.54 | and another (pant)... | HAMER::COCCOLI | blinded by science | Tue Jan 31 1989 22:10 | 62 |
| Atonal Dominion (try fitting that on yer screen)
by Rich Coccoli
The patch:
ALG: 7
FEEDBACK: 7
LFO WAVE: TRI
LFO SPEED: 10
LFO DELAY: 0
P MOD DEPTH: 4
A MOD DEPTH: 6
SYNC: OFF
P MOD SENS: 2
AMS: 0 (OFF,OFF,OFF,OFF)
EBS: 0,0,0,0
KVS: 2,1,2,2
POLY MODE
P BEND: 3
FULLTIME PORTA
PORTA TIME: 0
FC VOLUME: 99
FC PITCH: 0
FC AMP: 0
MW PITCH: 50
MW AMP: 0
BC PITCH: 0
BC AMP: 0
PC PITCH BIAS: 0
BC EG BIAS: 0
MIDDLE C= C1
REVERB RATE OFF
OP 1 OP 2 OP 3 OP 4
FREQ (ALL RTO) 4.00 6.00 12.50 24.00
WAVE 2 2 2 2
DETUNE +3 -3 -3 +3
AR 31 31 31 29
D1R 17 12 13 9
D1L 15 12 15 10
D2R 7 6 8 5
RR 4 6 4 6
SHIFT OFF OFF OFF OFF
OUTPUT 99 93 94 80
RS 2 2 3 1
LS 0 0 0 0
Comments: Since I never play cover music, I can get away with using sounds
like this in my songs. I use this in a funk tune with the previous Slapbass
and my sax player honking over it in dissonance heaven!
|
| 338.55 | Ooops... | WEFXEM::COTE | Another day, another segue... | Thu Sep 21 1989 21:45 | 10 |
| Some of the patches I've posted in this note were created on my DX21.
Although the 4-op architecture is shared amongst a varity of units
some of the patches don't make the transistion to another platform all
that well. Most notable is "Only The Lonely" which utilizes the onboard
chorus and *lack* of velocity sent from the DX21 keyboard. Too bad, I
really think I nailed the Motels' sound on that one...
I'll post the instrument in the future....
Edd
|
| 338.56 | TX81Z "Nylon Bass" | WEFXEM::COTE | Another day, another segue... | Thu Sep 21 1989 22:00 | 43 |
| Tired of twangy basses that compete with the cymbals for the top
end? Does the mere mention of Rickenbacker make you cringe? Do you want
a bass that does nothing but put a BOTTOM in your track? Here you go.
This is my workhorse bass patch. It's only got about 2 usable octaves
(NBD-IMHO) and sounds better in the mix than it does solo. I modeled
it after my Gibson with the black tape wound strings played thru my
tubed Ampeg B25-B. It's nice and round, and VERY compressed.
Edd
Nylon Bass (only uses 2 operators) for TX81Z
Op1 Op2
Freq 1.00 .50
OSW W1 W2
DET 0 -3
AR 31 31
D1R 9 1
D1L 9 0
D2R 0 0
RR 9 8
Output 99 67
RS 0 3
LS 99 63
Alg. 3
Feed. 7
LFO wave Tri
speed 28
delay 0
PMD 0
AMD 0
Sync Off
PMS 5
AMS Off, off
EBS 7,7,0,0
KVS 3,0,7,3
C= C(pick your own octave)
|
| 338.57 | "TwiliTone" | DCSVAX::COTE | Bain Dramaged | Thu Mar 29 1990 20:56 | 45 |
| A friend of mine (and fellow COMMUSICeer) was over last night listening
to my sequence of The Manhattan Transfer's "Twilight Tone". He liked
the eerie voices I used in the intro so I promised I'd post the patch.
It works equally well on the DX or the TX81Z. It's layered, but the 2
voices are identical except for the portomento rates.
Edd
"TwiliTone"
Alg: 2
Feedback: 5
LFO Wave: Tri
Speed: 32
Delay: 43
PMD: 17
AMD: 0
Sync off
PMS: 6
AMS: 0,0,0,0
op 1 op2 op3 op4
Freq: 1.00 1.00 6.92 10.38
Det: +3 -3 -3 +3
AR 8 11 21 19
D1R 31 31 14 18
D1L 15 15 9 10
D2R 1 3 6 4
RR 5 10 10 4
Output 95 73 56 49
Rate Scale 1 0 0 0
Level Scale 0 86 99 58
PEG = All rates 99, All levels 50. (No PEG)
EBS all 0
K Velo all 0
Mono Mode
Fingered Porta
Porta Time 28 on one patch, 34 on the other
Dual Detune 45 on DX21, +5, -5 on TX81Z
All other parameters at default.
|
| 338.58 | I enjoyed the patch - have questions tho | NWD002::EVANS_BR | | Thu Apr 19 1990 09:43 | 22 |
| Edd -- I tried the Twilitone on my DX11, and I'm not sure I have it all
set correctly.... do I need to setup 2 voices patches and have the
performance refer to both, or just one voice and the performance refers
to it 2 times (what I did). I'm confused since the porta time (28 on
one, 34 on other) makes me think I need to setup 2 "slots" in the voice
bank (Twilitone1, and Twilitone2....) -- I'm using Opcode's editor
for the DX11, by the way -- makes setup pretty nice.
The only other question I have is that the screen display for a voice
shows 4 operators, and I set them all to algorithm (SP?) #2. was this
correct?
I'm a little new at this, and having fun discovering how much
difference it makes to hear just the single patch versus the
performance of the same patch -- in this case, I was rather put off by
the single voice (sounds to me like the hand-held, bowed triangular
musical folk instrument (name escapes me)) , but like the
liquid-y/echo-y of the performance! I'll have to go back and re-visit
several of those previously "discarded" voices I thought I did not
like!!
Thanks for posting this patch -- I liked it!!
|
| 338.59 | 2 slots | WEFXEM::COTE | A friendly stranger in a black sedan | Thu Apr 19 1990 10:04 | 4 |
| Yes, you need two seperate patches, and then refer to both of them in
the performance.
Edd
|
| 338.60 | 'Rain on the pavement' | DCSVAX::COTE | It's wierd in your neighborhood... | Sun Aug 19 1990 11:09 | 31 |
| Tom, try this as a starting point for rain on the TX81Z...
ALG 5
FEEDBACK 7
LFO WAVE S/H
DELAY 0
PMD 99
AMD 99
SYNC ON
PMS 6
AMS 3
EBS 0
KVS 0
USE ONLY 2 OP'S....
OP1 OP2
FREQ .50 .50
WAVE W2 W5
DET +3 -3
AR 20 31
D1R 0 0
D1L 0 0
D2R 6 10
RR 1 1
OUTPUT 99 99
Nothing else matters too much....
Edd (who, considering the weather, wonders why he spent any time on an
FM rain with a sampler set-up just below...)
|
| 338.61 | | MILKWY::JANZEN | | Sun Aug 19 1990 11:32 | 2 |
| Thanks Ed I'll try it.
Tom
|
| 338.62 | Erratum... | DCSVAX::COTE | It's wierd in your neighborhood... | Sun Aug 19 1990 13:58 | 3 |
| ooops, set the LFO speed to 99...
Edd
|
| 338.63 | tom has a synth? | NORGE::CHAD | Ich glaube Ich t�te Ich h�tte | Mon Aug 20 1990 11:19 | 5 |
| does this mean tom has an 81z?
:-)
Chad
|
| 338.64 | FB01? Brass? | DECWIN::FISHER | Locutus: Fact or Fraud? | Mon Sep 24 1990 13:49 | 12 |
| The keyword FB01 is on the base note here, but I don't think it is mentioned
anywhere else. Does anyone have reason to believe that these work on an FB01?
Also, does anyone have a decent high brass patch (or even low)? The factory
ones (IMHO) are not anything that I would call brass (wrong attack, not bright
enough, etc etc). In fact, I think a lot of the factory patches sound a lot
like all the other factory patches in many ways! (Maybe it is the music I am
playing!)
Thanks from a new FB01 owner.
Burns
|
| 338.65 | | WEFXEM::COTE | To play, turn bottom up... | Mon Sep 24 1990 17:07 | 7 |
| I don't think you can directly sys-ex to the fb01, but if you have
an editor you can probably figure out how to load them in.
I'm not that familiar with the fb01 architecture, other than it's kind
of the "black sheep" of the 4-op line...
Edd
|
| 338.66 | | KOBAL::DICKSON | | Mon Sep 24 1990 17:31 | 4 |
| Sure the FB01 takes SYSEX. It is all in the back of the manual.
The trouble is the format is ugly and not at all similar to the
other Yamaha equipment. Like they pack bits for several parameters
into the same byte.
|
| 338.67 | | DECWIN::FISHER | Locutus: Fact or Fraud? | Mon Sep 24 1990 18:52 | 12 |
| I've got an editor, and the parameters that can be edited are at least similar
to the things that are listed in these patches (algorithm, pitch offset, LFO,
etc). I guess I was wondering if they "mean" the same thing. I.e. if I copy
the patches by parameter name and get them into the right place on the FB01,
do they have any liklihood of sounding right.
If not, let's remove FB01 from the keywords here and start and FB01 patch note,
OK?
Thanks,
Burns
|
| 338.68 | 4-op R us | WEFXEM::COTE | To play, turn bottom up... | Mon Sep 24 1990 19:48 | 4 |
| Why not post the fb01 parameters here (along with their range of
values) and we can match 'em up...
Edd
|
| 338.69 | | DECWIN::FISHER | Locutus: Fact or Fraud? | Tue Sep 25 1990 13:28 | 4 |
| Thanks...that's a good suggestion. I'll do that tonight. In fact, I will try
a couple of the patches already in here and see what they sound like.
Burns
|
| 338.70 | Parameters in FB01 | DECWIN::FISHER | Locutus: Fact or Fraud? | Tue Sep 25 1990 22:49 | 53 |
| Ok, here are the parameters available on the FB01. I have not gotten
the ranges (too painful for the moment!) *ed items are ones that I
could match up with parameters in "Spit Trumpet" somehow (usually it
was fairly obvious...a few I guessed at abbreviations)
For each of the 4 operators:
Operator Enable
*Total Level (TL)
TL Velocity Sens
*Attach Rate
Attack vel sens
*Decay 1 rate
Sustain level
*Decay 2 rate
*Release rate
Scaling Curve (Linear or Exp)
KB Level depth
Adjust for TL
Rate Depth
*Detune
*Frequency ratio
*Modulator/Carrier (Select one)
=================
For the whole voice:
LFO Enable
*LFO wave form (Triangle or ??)
*LFO Speed
*LFO sync note on (Binary)
*Amplitude mod depth
*Amplitude mod sens
*Pitch mod depth
*Pitch mod sens
*Algorithm (1-8)
*Feedback
*Portamento time
*Mode (Poly or ??)
PMD Controller
*Pitch bender range
?Transpose (same as Pitch bias?)
There were some missing parameters specified in the Spit Trumpet also.
For example, D1L, Rate Scale, Level (there were 2, but one was all
0s...I assumed the other to be Total Level), PEG Rate, LEvel and Rate
1,2,3, etc etc. Anyway the result of my attempting to load Spit
Trumpet was Total Silence. Not even a disgusting squawk.
Sigh.
Burns
|
| 338.71 | | DCSVAX::COTE | To play, turn bottom up... | Wed Sep 26 1990 07:32 | 55 |
|
For each of the 4 operators:
Operator Enable This parameter exists on the other machines, but
I usually omit it, assuming they are all ON.
*Total Level (TL)
TL Velocity Sens
*Attach Rate
Attack vel sens
*Decay 1 rate
Sustain level decay 1 level
*Decay 2 rate
*Release rate
Scaling Curve (Linear or Exp)
KB Level depth
Adjust for TL
Rate Depth
*Detune
*Frequency ratio
*Modulator/Carrier (Select one) Covered in the ALGORHYTM selection.
You get 8 options.
=================
For the whole voice:
LFO Enable
*LFO wave form (Triangle or ??)
*LFO Speed
*LFO sync note on (Binary)
*Amplitude mod depth
*Amplitude mod sens
*Pitch mod depth
*Pitch mod sens
*Algorithm (1-8)
*Feedback
*Portamento time
*Mode (Poly or ??)
PMD Controller
*Pitch bender range
?Transpose (same as Pitch bias?) Nope. This simply shifts the keyboard
by semi-tones. Pitch bias is a
frequency shift induced by some
modulation source, like BC.
>There were some missing parameters specified in the Spit Trumpet also.
>For example, D1L, Rate Scale, Level (there were 2, but one was all
>0s...I assumed the other to be Total Level), PEG Rate, LEvel and Rate
>1,2,3, etc etc. Anyway the result of my attempting to load Spit
>Trumpet was Total Silence. Not even a disgusting squawk.
Check your operator levels and their carrier/modulator assignments.
You need at least 1 carrier with a level higher than 0.
More later,
Edd
|