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The E-mu Command Station XL-7/MP-7/PK-7 and Proteus 2500 tutorials Keyboard Synthesizers
Old 25th July 2014
  #31
Quote:
Originally Posted by balma View Post
There´s a nice feature on the MP7, on the sample 0758 "rom: Thru Memory". If you hold it, it will go through the 1099 samples on sequential loop. No other ROM I´ve used has such feature.
First off, very cool thread! I bought my XL-7 for drum programming but also for getting into sound design since it's a very deep machine, so I've been reading (and will read) this thread with interest. Second, Kurzweils have this ability -- you go into a sample and set the start point to be after the end point on a ROM sound, and it will cycle through all of ROM. This is cool because you can start loops from different points in the ROM and thus create more variation. IIRC there may have been some personnel overlap between the E-MU folks and some of the early Kurzweil people, which may account for some of the interesting parallels in their OSes.
Old 25th July 2014
  #32
Quote:
Originally Posted by balma View Post
To make the short samples to loop while holding a sound, send a clock divider to the SampleRetrigger destination on the mod matrix
I've been trying to figure out how to loop a short sample on my MP7 forever. How in the world did you figure this out? Does this technique give you a way to modulate the sample loop point?
Old 25th July 2014
  #33
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balma's Avatar
Quote:
Originally Posted by plexicube View Post
I've been trying to figure out how to loop a short sample on my MP7 forever. How in the world did you figure this out? Does this technique give you a way to modulate the sample loop point?
The clock dividers are Yes/No operators. Sending one of them to the Sample Retrigger destination, will make them to repeat according to the operators clock tempo.
Normally they work with values of 1/16 or 1/8, depending of the sample´s duration.
In most of the cases, if you use 1/4, the sample will end before the next repetition and it won´t loop, but with low pitch notes it will.

This sound has such trick, you can hear a MP-7 short hit looping inside the pad. Then, you can send free run modulations like a LFO or a Envelope to make it change across time.

Regarding the sample loop point, I´ve tried several methods to make it work.
It seems to be easier to manipulate it, using the Gain4x operator like this:


LAll PATCHCORDS #01
LFO1 -> Gain4x +000

LAll PATCHCORDS #02
Gain4x -> SLoop +100

Then, just program a knob to activate it:

LAll PATCHCORDS #3
MidiA -> C01Amt +100

The Gain4x amplifies a signal of a source before affecting the destination. Looped Envelopes, pink or noise generators, etc can produce strange stuff over it. It´s not a requirement to use it depending of the sample´s lenght.

To illustrate how an Aux Envelope can affect the SLoop, I selected a basic sample from the MP7, 0002 bas:Hummertime (on the 4 layers), and programmed a tempobased Aux Envelope to modulate it.

LAll PATCHCORDS #1
AuxEnv+ ->Sloop +100

And then, a LFO1 over them

LAll PATCHCORDS #2
LFO+ -> C01Amt +100

This is the result:
Old 25th July 2014
  #34
I can't understand why E-MU, with an existing OS great at manipulating loops, wouldn't just port the functionality of their EOS samplers to the Proteus engine. You'd think setting a loop point would be a basic feature for a machine like the MP-7 that includes lots of vinyl samples. At any rate, I now need to spend a few days incorporating these new ideas. Every one of your posts is like a Pandora's box for my available free time.

Thanks!
Old 25th July 2014
  #35
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robot gigante's Avatar
There is also SStart (Sample Start), which you can assign to a controller. Although if you are using Balma's method to retrigger/loop the sample, it won't affect the sound until you hit the note again.

A few fun things about the sequencer, maybe these are a little obvious but:

-"Double time" in grid mode. With the sequencer running, you select a location in the grid and hit the repeat button, which increases the grid resolution to however many repeats you decide. It can easily get fast enough to reach audio range. Between this, automation, and being able to tweak gate and velocity with the knobs, tracker-style micro-edited sequences are pretty easy to do.

-Different delay/swing settings for each track, which is good to get a better groove going. I just wish you didn't have to stop the sequencer to apply swing.

-There are some workarounds to be able to do multiple time signatures at the same time. Use step mode, the arpeggiator, or play it live in a different time signature in realtime mode.
Old 26th July 2014
  #36
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balma's Avatar
Three destinations to experiment with:
SStart
SRetrig
Sloop


The SStart determines the start point of the sample, SRetrigger retriggers the waveforms, and the Sloop seems to compress and expand looped waveforms, at least that´s my conclusion after using it in several ways.
SStart is not a realtime parameter, it requires midi notes to make effect. (Same case for "Q" on the filter section.)...
The SRetrig is realtime and is mostly a yes/no destination. Setting a value of +02 over it activates it. The retriggering effect is produced inside the patch, and can affect each waveform by separated, but it does not produce midi events.

So I thought... well, maybe this retriggering will make the start point to transit the waveform backwards and forward if I send a LFO+- to the start point and the SRetrig at the same time, but didn´t work, since the SStart, requires midi note retriggering, and not waveform retrig. That´s for transwave synthesis....

I still learning and trying to full understand the second patchcord section, the PRESET PATCHCORDS, wich are 12 global patchcords apart from the 96 of the big one. There you can control the effects amount and several arpeggio parameters with the knobs.

But this second patchcord section also has PLagAmt and PLagIn destinations, and a DC source. They are also present on the big modulation matrix, so I wonder if there´s some way to send the Sretrig to one of those Lag Processors, and control it from the global Preset Patchords, maybe then It could affect the SStart point while holding a sound.

The Sloop can produce interesting and unexpected effects over some waveforms. It works splendid with the wav category sounds, and also with looped percussions like the ones found on the XL-7, from the 0140 to 0191 (52 looped percussions).

Some examples on the way
Old 27th July 2014
  #37
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Rusty_OHara's Avatar
 

Quote:
Originally Posted by balma View Post
Insert stereo cables on each suboutput of the E-mu, they must have two outputs at the other end. Connect the white to the line in and the red one into the line out of a effects processor. then it will work like an In/Out plug, sending the sound to the effects unit, receiving the processed signal with the stereo ring, and sending it out again through the main outputs.

You can add external effects and even apply them individually to the layers inside the patches, so the CS allows to integrate external effects to its engine almost like the internal effeccts section.
Sorry, haven't even trtied it out yet. Just managed to jam for a few hours on a saturday night... had fun, good start.

Does that mean you can then use each of the four busses as seperate send/return effect busses?
Old 29th July 2014
  #38
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I wanted to contribute something that was not immediately obvious to me, and took some time to work-out. Maybe it will save others some time.

Flexible FX Routing

On the Command Stations there are 2 FX units and four busses, meaning that you can set variable FX amounts for each bus. All sounds are routed through one of the four busses, which can be selected per preset or per channel.

Further, it's easy to setup a dedicated FX preset that gives you hands-on control over the send amounts to the FX busses, and to record any knob changes as required.

This greatly improves the flexibility of the FX units. Although they are not the greatest sounding FX, they are useful in their own way.

How it's done:

- For this to work, multichannel MIDI must be enabled in the MIDI menu.

- In the global menu, ensure FX are enabled and set FX MULTIMODE CONTROL to use the preset on channel 16A. You can use another channel if you wish.

- Go back to Pattern view, press TAP and Sequencer button 16 (shortcut to select channel 16A). Make a blank preset i.e. make sure there are no sounds on any of the 4 layers. Still in the Preset Edit menu, setup the desired FX in parallel, and set all of their bus outputs to 0%.

- Now to setup the patchcords. Note that, apart from the 24 patchcords, there are an additional 12 'PRESET PATCHCORDS' that allow modulation of global parameters, including FX send amounts. To access these, in Preset Edit mode, press Sequencer button 11 repeatedly until the relevant page appears. I mapped Knobs I-L to FXASend1 - FXASend4, and knobs M-P to FXBSend1 - FXBSend4, using a modulation depth of about +20%.
Finally, remove any mapping conflicts to these knobs in the 'standard' patchcords.

- Save this preset and name it FX1. It can be used as a template to make as many FX presets as you want and switch between them mid-performance.

- To use it, while a pattern is running, Switch to track 16 (TAP + Seq button 16) and start twisting the assigned knobs.


Sounds can be routed to the 4 busses by two methods, as specified in the MIX OUTPUT screen of the Global Menu.

1: Per preset layer. Each of the 4 layers of a preset can be sent to a different bus! Saved in the preset (NB if you change to another channel without saving, you will lose your settings - so save often!).

2: Per MIDI channel. The advantage of this method is that you can switch the bus assignment using MIDI events. Controller 79 is hard-coded to the Mix Output parameter, just insert the relevant CC into the pattern using the Event Editor of the PATTERN EDIT menu:

0 = Use Preset
1 = Send 1
2 = Send 2
3 = Send 3
4 = Send 4

This opens-up some crazy potential. It's an Atomsmasher tip I picked-up from the XL-7 list some years back.


If using an external FX unit, Sub 1 occupies Bus2 and Sub2 Occupies Bus 3. In this case, the dry signal is sent to the outputs, but the bussed output doesn't. Quite strange, but has it's own creative potential. I've hooked-up an Ensoniq DP-4 and having quite some fun with this self-contained setup.

Last edited by jarlywarly; 29th July 2014 at 10:14 AM.. Reason: typos!
Old 31st July 2014
  #39
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baethku's Avatar
I just purchased a beautiful XL-7 today based on all of the descriptions of what they can do by people like balma. I am excited to learn this incredible beast of a synth/sequencer. So complex!!!
Old 31st July 2014
  #40
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balma's Avatar
I didn´t think about that trick of using an empty patch to control the effects, that´s great.

So good to own a synth during 10 years, and still getting surprises and finding new ways to use it. Is so, so vast..

Pandorange: a 12 layer huge patch:
Explaining it, will require like 3 pages, but I´m documenting what kind of programmation I used to create it.
I programmed indepent control for the volume of each one of the layers, and a long chain of chaotic sources affecting predictable modulations.

This is a sound, not a sequence, not even played. Even if stills amateur modular sound design, it shows very well, how far you can go, twisting and mangling samples with the modulation matrix. And it took me several days to make it... still sculpting some details of this singular formula of chaos and order.
There are multiple elements interacting on each one of the layers.
One layer brings noise
another one, a distant drone
Also, a singular cricket/insect chant comes and go. It is a maraca looped, shaped by two interacting ADSRs, controlling the filter and the SLoop destination. Such interaction is affected by an LFO1, and the LFO2 makes the pitch come and go. At the same time, the LFO is also modulating the rate of the LFO2. The result is fascinating.
Also there´s a lead. a low pitched vocal, a choir affected by a irregular LFO,
a whistle, wich has small variations on the pitch producing tremolo.
Another looped machinary sfx sample. wich moves on multiple directions....

And all of them, trying to oscillate in the same direction, creating a fauna of sounds into a single scene.


Pandorange

Does somebody recognizes the ROMs used in this sound?heh

And it´s rompler. My Fizmo must be jealous....
Old 31st July 2014
  #41
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Muied Lumens's Avatar
Great work! Very inspiring to hear what you can do.
Old 1st August 2014
  #42
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baethku's Avatar
Talk about a dense patch! Fantastic work.
Old 7th August 2014
  #43
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balma's Avatar
The following sound template is aimed to control the volume of each layer by separated, using individual knobs.
Knobs I,J,K abd L were reprogrammed for such purpose, allowing to fade in/out each sample.

Xcrossfading vocal + machinery pad.
ROM: MP7 "moPhatt"


Programmation for this sound:

INSTRUMENTS:
l1 0353 vox: TB Pad 2
l2 0316 str: SP Loooopy
l3 0264 hit: Weird Nylon
l4 0122 gtr: chord Bed

TUNING:
L1 TUNING
Coarse: +0 Fine: +2
L2 TUNING
Coarse: +0 Fine: +0
L3 TUNING
Coarse: -12 Fine: -2
L4 TUNING
Coarse: +7 Fine: -6

AMPLIFIER
L1
Volume: -1dB Pan: 14L
L2
Volume: +0dB Pan: 34R
L3
Volume: -12dB Pan: 16R
L4
Volume: -15dB Pan: 34L

L1 CHORUS WIDE
32% 5%
L2 CHORUS WIDE
6% 0%
L3 CHORUS WIDE
15% 23%
L4 CHORUS WIDE
4% 47%


FILTERS

L1 BassTracer 12 EQ+
L2 AceOfBass 12 EQ+
L3 DeepBouche 12 VOW
L4 DeadRinger 12 REZ

FILTER
L1 Freq: 64 Q:0
L2 Freq: 0 Q:12
L3 Freq: 16 Q:0
L4 Freq: 128 Q:34


LFOS

L1 LF01 SHAPE SYNC
sine+noise key sync
LFO1 RATE Delay Var
2/1d 0 0
L1 LF02 SHAPE SYNC
hemi-quaver free run
LFO2 RATE Delay Var
1/4 0 0

L2 LF01 SHAPE SYNC
sine key sync
LFO1 RATE Delay Var
2/1 4 0
L2 LF02 SHAPE SYNC
sine 1,2 free run
LFO2 RATE Delay Var
1/8 0 0

L3 LF01 SHAPE SYNC
sine 1,2 key sync
LFO1 RA1TE Delay Var
0.15Hz 0 3
L3 LF02 SHAPE SYNC
sine+noise free run
LFO2 RATE Delay Var
1/2 0 0

L4 LF01 SHAPE SYNC
sine 1,3,5 free run
LFO1 RATE Delay Var
0.11Hz 0 4
L4 LF02 SHAPE SYNC
pat: Fifth+Oct free run
LFO2 RATE Delay Var
1/8 0 0

Soon the rest of the chart. I promise to provide the complete chart for each posted sound and templates for diferent categories. I´m making emphasis on atmospheric/long evolving sounds, since they demostrate very well some aspects of the modulation matrix programming tips.

This sounds consumes a lot of polyphony. The four filters used are twelve order filters.
Old 7th August 2014
  #44
Gear Nut
 

Hi,

Just wanted to chime in w/ thanks for this. Will be following closely.

CHeers,

d
Old 10th August 2014
  #45
Gear Maniac
Quote:
Originally Posted by balma View Post
There´s a nice feature on the MP7, on the sample 0758 "rom: Thru Memory". If you hold it, it will go through the 1099 samples on sequential loop. No other ROM I´ve used has such feature.
hello,

many thanks for this deep delving quest...
i've been imaging how i could (MIDI clock) quantize events since i read the manual, now it starts to appear/come clear...

is there any way we could use this skippin' through the samples to modulate other destinations?
is there a way you can control this skippin'? (a->b, z->a, ...)

-as i can do this in my wavesequencing waldorf?-

what do you mean with sequential loop(ing) ? another sample on each note-on in a sequence?

have a nice one,
jay
Old 28th August 2014
  #46
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CarLofgren's Avatar
 

Balma - you don't know how inspirational your explanations are. Thanks a lot for doing this. Slightly OT - are you aware of any way to save all your settings in the CS? I feel there should be but I might have missed where it is.

/C
Old 31st August 2014
  #47
Lives for gear
Quote:
Originally Posted by balma View Post
The following sound template is aimed to control the volume of each layer by separated, using individual knobs.
Knobs I,J,K abd L were reprogrammed for such purpose, allowing to fade in/out each sample.

Xcrossfading vocal + machinery pad.
ROM: MP7 "moPhatt"


Programmation for this sound:

INSTRUMENTS:
l1 0353 vox: TB Pad 2
l2 0316 str: SP Loooopy
l3 0264 hit: Weird Nylon
l4 0122 gtr: chord Bed

TUNING:
L1 TUNING
Coarse: +0 Fine: +2
L2 TUNING
Coarse: +0 Fine: +0
L3 TUNING
Coarse: -12 Fine: -2
L4 TUNING
Coarse: +7 Fine: -6

AMPLIFIER
L1
Volume: -1dB Pan: 14L
L2
Volume: +0dB Pan: 34R
L3
Volume: -12dB Pan: 16R
L4
Volume: -15dB Pan: 34L

L1 CHORUS WIDE
32% 5%
L2 CHORUS WIDE
6% 0%
L3 CHORUS WIDE
15% 23%
L4 CHORUS WIDE
4% 47%


FILTERS

L1 BassTracer 12 EQ+
L2 AceOfBass 12 EQ+
L3 DeepBouche 12 VOW
L4 DeadRinger 12 REZ

FILTER
L1 Freq: 64 Q:0
L2 Freq: 0 Q:12
L3 Freq: 16 Q:0
L4 Freq: 128 Q:34


LFOS

L1 LF01 SHAPE SYNC
sine+noise key sync
LFO1 RATE Delay Var
2/1d 0 0
L1 LF02 SHAPE SYNC
hemi-quaver free run
LFO2 RATE Delay Var
1/4 0 0

L2 LF01 SHAPE SYNC
sine key sync
LFO1 RATE Delay Var
2/1 4 0
L2 LF02 SHAPE SYNC
sine 1,2 free run
LFO2 RATE Delay Var
1/8 0 0

L3 LF01 SHAPE SYNC
sine 1,2 key sync
LFO1 RA1TE Delay Var
0.15Hz 0 3
L3 LF02 SHAPE SYNC
sine+noise free run
LFO2 RATE Delay Var
1/2 0 0

L4 LF01 SHAPE SYNC
sine 1,3,5 free run
LFO1 RATE Delay Var
0.11Hz 0 4
L4 LF02 SHAPE SYNC
pat: Fifth+Oct free run
LFO2 RATE Delay Var
1/8 0 0

Soon the rest of the chart. I promise to provide the complete chart for each posted sound and templates for diferent categories. I´m making emphasis on atmospheric/long evolving sounds, since they demostrate very well some aspects of the modulation matrix programming tips.

This sounds consumes a lot of polyphony. The four filters used are twelve order filters.
Wow...very inspirational.

I bought an MP-7 for dirt cheap a couple of years ago and added an XL-7 rom for like 10 bucks. I was finding a lot of older gear cheap around that time, but made only 2 beats with the MP-7, mainly because the "save/copy" button doesn't work. I considered replacing the whole board, but instead created a midi sysex command for the button press that I can fire it off from my DAW, MPC, or tablet. Even so, that was enough of a buzz kill that made me just put it on the shelf.

I'm a big manual reader, so I learned most of my way around the beast. Luckily it was interesting enough that I've kept it around. This thread has given the old girl new life at least in my imagination. Hopefully you'll use one of the 3rd party editors and upload some these crazy experimental patches and effects template. Speaking of editors, it looks like Prodatum was updated this year!


Any of you guys also on the Command Station yahoo group?
Old 1st September 2014
  #48
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balma's Avatar
The command station´s yahoo group is vry active, there are several knowledgeable members.

In the downloads section, there are some .mid files I made for the XL-7 users, around 16 patterns. (..they are quite old)

Sorry for leaving some of the posts in pause, but I´ve been inmersed on some tracks and also programming intensively other synths like the Tempest.

I´m even improving some of the sounds from the E-mu, thanks to this thread, since writing down the sounds I´ve programmed, made me realize about some inconsistences or reiterative programming that could be improved.

One of the sounds I designed for describing some of the tips, became the main sound of a recent recent track.

Is a huge and dirty sound. Makes me remember an Akai AX 60 I had on early 2000. It´s dirty and distorted.


Main evolving wall pad: XL-7 ROM
Drums: DSI Tempest:
Old 21st September 2014
  #49
Cool thread. Thanks for sharing!
Old 29th September 2014
  #50
Gear Guru
 
zerocrossing's Avatar
Finally got into cracking into my Mo' Phatt, but this time armed with the Prodatum editor... and I have to say I remember why I abandoned sound design on my XL-7 in the first place. The vast depth of this silly purple thing is pretty intimidating. Straight off the bat I can't even figure out why when I have a sound with a filter enabled it seems like there must be a filter mix control somewhere... but I've yet to find it. Anyway, great thread and much thanks to Balma: God of E-MU for the sweat and tears it must take to not only create these patches, but to share and explain the concepts.
Old 30th September 2014
  #51
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GYang's Avatar
Beyond expectations !!
When you decide publish your PayPal account for donations.
Old 30th September 2014
  #52
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balma's Avatar
Quote:
Originally Posted by GYang View Post
Beyond expectations !!
When you decide publish your PayPal account for donations.


Goddamned! That´s the best post I´ve read on a long time, I'm so f*cking broke....

Not necessary. Exposing my findings about this engine also forces me to understanding it better and getting new ideas. And it worths the effort, because this machine is defining my sound and is the core of my music. Other synths I have, like the DSI Tempest or the V synth, provide with more sounds and efficiency during the composition process. But the command station is the one wich makes the most interesting, peculiar and intrincate stuff.
I needed several years using it, to finally realize about its unleashed power.

But it wasn´t such a good idea to try to put in paper, several sounds of this instruments. I must sit a whole afternoon and night to do one or two.... and maybe nobody is gonna take such amount of time programming just one sound.



When using multiple waveforms to create a single sound, you can use several different filters to have presence on multiple bands of the frequency spectrum.
there are specific filters for vocalizations, to emulate phasers, to boost mid range frequencies, to create sub effects of vintage basses. Some of them really emphatize resonanting timbres. When combined with some samples, they must be treated carefully, otherwise you can hurt your ears due to an unexpected high peak on the resonance!

This sound uses 12 different filters. You can control each one of them by separated reassigning the control knobs:

There are no sequences or arpeggios, not even two hands over this patch. Is a single patch created with 12 waveforms, and being modulated with the knobs. Full of elements wich can be modulated on intrincated ways to perform a whole environment of different sounds during a performance:




Xfade-vocal machinery:
This is weirder than the FIZMO itself. And it's just an innofensive rompler MP-7:

Old 30th September 2014
  #53
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GYang's Avatar
Quote:
Originally Posted by balma View Post


Goddamned! That´s the best post I´ve read on a long time, I'm so f*cking broke....


This sound uses 12 different filters. You can control each one of them by separated reassigning the control knobs:

There are no sequences or arpeggios, not even two hands over this patch. Is a single patch created with 12 waveforms, and being modulated with the knobs. Full of elements wich can be modulated on intrincated ways to perform a whole environment of different sounds during a performance:




Xfade-vocal machinery:
This is weirder than the FIZMO itself. And it's just an innofensive rompler MP-7:


Man, make some collection or library with such programming gift.
For V-Synth, Tempest and Proteus.
For example I use all those machines and appreciate them much.
I am too lazy to program, so I would honour other guy's sincere efforts
Old 30th September 2014
  #54
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Rusty_OHara's Avatar
 

Quote:
Originally Posted by GYang View Post

Man, make some collection or library with such programming gift.
For V-Synth, Tempest and Proteus.
For example I use all those machines and appreciate them much.
I am too lazy to program, so I would honour other guy's sincere efforts
This and above x2. I'd pony up cash for a good programming guide (like Anu Kirks for Evolver) or a good patch collection. Credit where credit is due.
Old 30th September 2014
  #55
yeh x3 it's been inspiring reading all this in-depth patch work... looking forward to applying some of it to my recently acquired p2500. thx for posting all this great info.
Old 30th September 2014
  #56
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balma's Avatar


well, help me know how can I help you and what you would like to improve in the following machines:

E-mu Command Station XL-7, MP-7, Pk-7, proteus 2500

Roland V-synth

DSI Tempest

Korg Electribe ESX-1

Yamaha EX-5

I´m far skilled on the previous mentioned instruments and know them like the palm of my hands. I have more machines but these ones specifically, I know every function and tons of tricks.

Regarding the E-mu, I'm pretty confident over the reached level, wich is far from most of the owners, and I'm very willing to share everything about it. I´m not one of those jerks who try to use knowledge as an advantage and keep it jealously. I think there are more benefits sharing these things than hidding them from others.

About the Tempest, well, I´ve used it 2 or 3 hours per day during the last 2 years. 1000 hours of experience.

Never thought in getting any remuneration, but if you insist
Old 30th September 2014
  #57
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rockreid's Avatar
 

my P2500 is having a strange issue with Grid Recording. Step 8 is always on with a flickering Volume bar and I cannot turn off that step. All other Steps 1-16 work fine. However, I cannot move the cursor to any other step, it is stuck at Step 8. All other functions of the 2500 seem to work fine. I opened up the unit to see if any ROMS were unseated. All appear to be seated correctly and I see no obvious caps that are leaking or any other electrical issues. Any ideas?
Old 1st October 2014
  #58
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balma's Avatar
Wich OS do you have installed.

During grid mode, the knobs can be used for note input and gate time adjustment.
The problem could be a faulty knob, in this case, the #8/H, wich is producing jumping values.

Look on the Yahoo groups for the diagnostic modes. There's a diagnostic for all the encoders.

You can also check if the red light of the knob 8 turns on with no reason. A red light means a modified value, so you can verify if the knob is causing the problem.

I had experienced similar issues, and they dissapear after a detailed cleaning of the encoders.
Old 1st October 2014
  #59
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Spectralwaves's Avatar
Loving your Emu CS sound design Balma, & I really appreciate all the time & effort you are putting in to document it for us & your generous attitude. May you be richly rewarded! I have read your posts on the Emus for years in 3 different forums.
Old 1st October 2014
  #60
Gear Guru
 
zerocrossing's Avatar
Quote:
Originally Posted by balma View Post

Never thought in getting any remuneration, but if you insist
Why not sell a patch bank? I bet a lot of us would find it useful to see a patch on the machine and go from there instead of the lame factory presets.
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