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The E-mu Command Station XL-7/MP-7/PK-7 and Proteus 2500 tutorials Keyboard Synthesizers
Old 3rd April 2016
  #151
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Chapterhaus's Avatar
Quote:
Originally Posted by balma View Post
yes, enter preset edition mode, press the trigger 11 CORDS, there you'll access the PRESET PATCHCORDS menu. The first 8 destinations are for controlling the amount of the FxASend1 to FxBSend4, with a range of -100 to 100. Put the knobs you want to use to control the FX amount on the source. (MidiA to MidiP)
This works no matter if you are using the main or the sub outputs.

The MIX OUTPUT wich can be access from the global menu, must be "use preset" at the midi channel you are using

Thanks for the response, though I am still confused about some things. Can you write out how this would look on the screen? Do I adjust the C01Amt for this?

So it should just be as easy as this?:

PRESET CORDS #01
Midi A --> FXASend1 +100

Will that make my FXA Send 1 go from Dry to Wet when fully turned?
Old 3rd April 2016
  #152
Lives for gear
 
balma's Avatar
Quote:
Originally Posted by Chapterhaus View Post
Thanks for the response, though I am still confused about some things. Can you write out how this would look on the screen? Do I adjust the C01Amt for this?

So it should just be as easy as this?:

PRESET CORDS #01
Midi A --> FXASend1 +100

Will that make my FXA Send 1 go from Dry to Wet when fully turned?
Yes, that's how the screen looks like in order to control the dry/wet amount of each FX send with the knobs.
FX programming is confusing at the beggining, because there are two screens for them, one is located at the GLOBAL Menus, and the second one inside the Patch programming at trigger 11. In order to make the changes effective inside the FX patch programming, the FX assignation in the Global menu must be on "use preset".

Actually I don't use the FX section very much. It's pretty basic and not as flexible as the rest of the engine, because the Z-Plane filters are so good, that they can play the role of "effects". Even the most cheesy sample can turn into something strange and new when tweaking the filters and combining different samples.

Also, consider that you can add external effects to the command station's sounds, and send them through the main outputs.
Old 3rd April 2016
  #153
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balma's Avatar
I took 4 of the most vulgar, cheesy samples and applied some patch cord programming:

4 different filters
Uborator for the low pitched vowel sound
MeatyGizmo for high resonance
Bass-o-matics for the machinery
LowPass1 for the HPL-like sound

then I applied clock modulators to slice some sounds, sending them to the LFOs presence. Then, I use the aux envelope to gradually modulate the presence of the clock modulator that is affecting the LFO

AuxEnvelope to Clock modulator
Clock modulator to LFO
LFO to filter

Other patchcords

Noise to filter envelope
LFOs to the pan
AuxEnvelope to LFO speed
Clock modulators to auxenvelope

I put the aux envelope to loop, and then use quantized tempo values for each one of the stages of the aux envelope. You can synchronize the ADSR stages with the tempo (range 1/64 to 16/1) one by one, on each one of the 4 layers, using different timing for each one of them.

That's how I get the effect of the machinery.

The high resonance is the meatygizmo filter. Some samples will sound horribly resonant and can blow a tweeter.... but it can dramatically change the texture of any sample.

Also there are around 8 different LFOs working in this sound. Some of them are really organic, like the sine+noise LFO, and you can add random variations to them.

Emu machinery sound:
MEATYGYZMO


Combining different tempos to each ADSR stages of the envelopes of the 4 layers, and controlling them individually with the knobs can result in multiple types of evolving sounds, where there are several different variations involved and creating the effect of motion....


I used flat samples for this soundscape, going almost from basic scratch waveforms, and shaping several of their particularities with the modulation matrix, creating mechanic variations over them.
I mostly do the "tricks" with the modulation matrix, and then, I decide the things I want to modulate on realtime with the knobs.


Once you realize what you can do with this engine, you won't stop enjoying the infinite amount of possibilties this engine can produce, starting from basic elements, and then sculpting "movement" into them with modulation matrix combinations, at your willing. It worths the effort to dig it.

And... emulating the Fizmo with the Command Station:



For those e-mu owners who feel secret desires for the Fizmo, they already have the closest thing to it... (but getting some extra ROMs will help a lot...)

Last edited by balma; 3rd April 2016 at 12:54 PM..
Old 10th April 2016
  #154
Gear Head
 

Quote:
Originally Posted by balma View Post
Actually I don't use the FX section very much. It's pretty basic and not as flexible as the rest of the engine, because the Z-Plane filters are so good, that they can play the role of "effects". Even the most cheesy sample can turn into something strange and new when tweaking the filters and combining different samples.
This is an excellent point which many people who use E-Mus (among others) don't intuitively appreciate. Many people tend to think of effects as either built-in FX chips/processors or external FX processors. However, the P2K synth engine is so rich, it is capable of producing effects--far more robust than applying delay, reverb, chorus, flange, etc. to the entire audio signal. With the P2K synth engine, you can have totally different synth engine based effects on each layer and use CCs, patchcords, envelopes, etc to activate complex interactions between them. Using filters is one excellent technique, but the rest of the E-Mu can be used to create FX as well, such as the examples you have provided here.

Probably one of the best things to spark creativity in sound design is to turn off the built-in FXA/FXB chips and explore the potential of the synth engine based FX.

Steve
Old 10th April 2016
  #155
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Chapterhaus's Avatar
For the Programmable Knobs I have some questions. Firstly, Quick Edit is for Cords, and Program is for programmable knobs, correct? Also, are the Programmable Knobs global, ie, stay the same throughout track changing?

Is it possible to use the Programmable Knobs to control the cutoff filter for one or multiple tracks at once? What would the CC commands be, and what screen do I enter them into?

For example, I'm hoping to assign Program knobs to control the cutoffs for kick snare and hats, and I'd also like to use two Programmable Knobs for FX send levels. Also the earlier mentioned by Balma (page 1) sample retrigger technique that subdivides the clock to doubletime parts. I enter in the proper cords and nothing happens except a wierd offtime trigger when I turn the knob from 0 to 1 percent.

Ahhhhh
Old 10th April 2016
  #156
Gear Head
 

Quote:
Originally Posted by Chapterhaus View Post
For the Programmable Knobs I have some questions. Firstly, Quick Edit is for Cords, and Program is for programmable knobs, correct? Also, are the Programmable Knobs global, ie, stay the same throughout track changing?

Is it possible to use the Programmable Knobs to control the cutoff filter for one or multiple tracks at once? What would the CC commands be, and what screen do I enter them into?

For example, I'm hoping to assign Program knobs to control the cutoffs for kick snare and hats, and I'd also like to use two Programmable Knobs for FX send levels. Also the earlier mentioned by Balma (page 1) sample retrigger technique that subdivides the clock to doubletime parts. I enter in the proper cords and nothing happens except a wierd offtime trigger when I turn the knob from 0 to 1 percent.

Ahhhhh
There are other factors which you don't seem to be considering. For example, Quick Edit knobs parallel midi in. So whatever CCs you have assigned globally for MidiA -> MidiP, in quick edit mode or via midi, that's what you get. (See Realtime Controller CC assignments.) So in that sense they are global.

However, what those knobs/CCs do depends on other things--such as your patchcords. Factory presets tend to have somewhat consistent assignments within sound ROMs, but really, you can set the CCs/quick edit knobs to do whatever you want. In that sense, they are not global but idiosyncratic to each preset.

Your second paragraph has me scratching my head because on the one hand you are talking about the synth engine (cutoff filter) and the other hand you are talking about the sequencer (tracks). The programmable knobs let you route CC data to the synth engine (int), to external gear (ext), to both, or to the sequencer. Is that what you are asking about? (BTW, I also find it helpful when I start getting lost in the staggering possibilities to think in terms of each system separately--the synth engine, the sequencer, the arpegiators, the midi i/o, etc.)

However, your third paragraph seems to me to be about the synth engine, not the sequencer. Trying to read into what you are saying, I suppose it would one set of answers if you were using using the E-Mu as a sound module--playing sounds live, and another set of answers if you were using the sequencer. And if its the latter, I think it would depend on how you are using the sequencer--if I understand what you are trying to do (not sure that I do, though).

I am not sure this solves what you want to do, but I hope it moves you in the direction of where you are trying to go.

Steve

PS: So far as I understand your last paragraph, I am not sure why you can't do that with the knobs in quick edit mode. Perhaps you use those settings for one set of controls and you if effect want to keep those and switch to another set of knob assignments by using the QE/Prog/Vol/Pan button.

Of course, if you were using the sequencer, I'd suggest using embedded sysex to change the controller assignments in QE mode depending on your song/patterns.
Old 11th April 2016
  #157
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Chapterhaus's Avatar
Dr Steve, thanks for attempting to sift through my confusing post. I suppose it may be better to explain how I am using my CS first, to get a better understanding of the whole situation. It's pretty straightforward;

I use the MP7 with Mo Phatt, Protean Drums, and Beat Garden as my drum machine. Channels 9-16, with the Kick going to Send1, and the rest of the drums going to Send2, my Verb send. I use the MP7 to sequence my Access Virus KB on channels 1-4. I have channels 5-8 open, which I plan to use for motion sequences.

I'm not looking to control anything on the Virus with the MP7 aside from sequencing. It has enough knobs to play with already. So that leaves the "Quick Edit"/"Program" knobs open to be used for drum modulations. I have set channel 8 as my "FX" channel in an attempt to do what I thought I could do with the Program knobs (which are Global and don't require me switching channels to alter), which is to simply adjust the FXA level on Send2. So I have a preset called FX on channel 8, and Quick Edit Knob A adjusts the FXA level of Send2, which is reverb. Cool, that works! It's not exactly what I wanted, but it's close!

Now, what I actually want is to have a "Program" (not "Quick Edit") knob to control that parameter (the FXA level on Send2). I also want a Program knob to control the FXA level on Send 1, a knob for the FXB on Send1, and another for FXB on Send2... So then I could adjust the FXA and FXB of the kick/drums separately with their own knobs. Isn't this possible?

I'd also like to control the filter cutoff frequency of my Kick (Channel 9) with a "Program" knob. And then I want a "Program" knob to control the filter cutoff frequency of tracks 9-16. And a resonance knob to accompany each of those filter cutoff knobs, naturally.

Finally, I'm not sure how to word this... I'd like some "Program" knobs to control the clock subdivision of the Kick (Channel 9), Snare (10), Clave (12) and Closed Hat (13). What I mean is when I turn the knob, it doubles (or 4x, or etc...) the clock of the part, so then a Kick that normally hits every beat would then hit every 8th note, and if I turn the knob further, 16th note, 32nd note, etc... Isn't that clock subdivision of the sample retrigger, or something? I have no idea what I'm talking about, that's what I'm trying to make happen though.

Do these things have to be controlled per channel with "Quick Edit" knobs, or can I control them with the "Program" knobs with CC commands (is that even what they are, CC commands?)

EDIT: To clarify, I use the same Multisetup on the MP7 for all of my songs/patterns, keeping drum sounds the same. I change multis on the Virus to change tones in songs, which are everything except drums. Not sure if this information is needed, but I left that out.
Old 11th April 2016
  #158
Here for the gear
 
Chapterhaus's Avatar
One more post here, not related to my problems, but some cool Command Station tips I found on some French site:

E-MU Command Stations
Tips and Tricks
Ver 1.02


PRESET TIPS AND TRICKS

Using the XX-7 filters as EQ's

The XX-7's don't have EQ per se, but because an EQ is really nothing more than a filter, you can approximate the same effect via the filter for each Preset (Patch in XL-7 speak). So if you wanted to remove some of the lowend for a sound, you could use a high-pass filter,
etc. Just think of the filter cutoff as the EQ frequency, and the resonance as the amount of boost. Roughly speaking of course.

- rEalm

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Faking PWM

A good way to get PWM with static sampled waves is to sum a saw and an inverted detuned copy of itself...change the detune and you will change the PWM rate.

- Aeon

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Preset Navigator

The preset navigator finds caps before lower case letters-- Arp:xxxx before Xrp:xxxx, aRp:xxxx before arp:xxxx. Useful for locating high use presets.

- Dr. Steve the Composer

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Permanently Erasing Note Layers

To permanently "erase" layers, set their Instrument (pressing Trigger 1 twice in Preset Edit mode) to be None.

- Aaron Eppolito

It's quicker to do this by changing the bank from XX-7 to User or vice versa than by scrolling thorugh all 128 presets to get to None. Just a time saving FYI.

- rEalm

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Getting Phatter Drum Sounds

The key is to work on layering the BD and Snare presets. I go into the Save menu, and copy the Layer and Cords from Layer 1 to Layer 2 on both the BD and Snare Presets, then Save them. Next I'll start playing with the Transpose settings of Layer 2 in both Presets, which effectively changes the sample used on that layer since I'm using a prc Preset dedicated to those type of sounds. I'll keep playing with this, changing the Amp Vol between the two layers until I get something full and clear sounding that fits what I'm trying to do, then I save.

- rEalm

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Weird Preset Ideas:

The Preset Patchcord Destination "Sloop" offsets the instrument loop points. The loop length stays the same. Interestingly, with the Gain4x cord, you can actually push the loop points *into the next sample* making for VERY weird and somtimes cool sounds.

MidiX -> Gain4x 100%
Gain4x -> SLoop 100%

- Aaron Eppolito

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More Human Sounding Drums.

If you go into the Preset Edit menu, and then the Patchcords screen, there's a simple way to make your songs sound more human, and less robot like. Create the following patchcord:

KeyRand1(or KeyRand2) ---> AmpVel = X

Where X is the value that provides the best amount of randomization for your needs (typically I use somewhere between 1 and 10). Now, each time you press a key or the sequencer plays a recorded note, the velocity of that note will be modified randomly. Works great on HH's!

- rEalm

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Patchcord Order Matters

In general, cords that modify the amount of another cord should be placed in an earlier slot than the cord they're modifying. This is because the cords (unlike an analog synth) run sequentially instead of simultaneously. Because cords run sequentially, you can create "filters" with the patch bay with multiple cords, using the order of the cords as a delay element. You can also create "latching" cords to perform effects like sostenuto with the
patchbay too.

- Aaron Eppolito


Sequencer Tips and Tricks

Sub Outs and Effects Send Clarification

When you insert a plug into a Sub Out jack, only the DRY signal is removed from the Main Outs. The WET signal will still be present at the Main Outs, but the send amount can be set to 0% for that send to prevent this.

- Aaron Eppolito

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Finding Notes In Grid Edit

Here's one solution to the problem of FINDING your drums in Grid Edit mode (if you're performing you don't want to be wasting time frantically scrolling the note field):

Make custom presets for each of your patterns. If you assign your drum sounds to different tracks (T1 is kick, T2 is snare, etc.) you're probably only using one or maybe two notes on each track. So once you've picked the sound, go into the Preset and transpose the layer up or down so that the sound you're using is always on the same note. You can either put ALL drum sounds on the same note (like Middle C), or use a different key within the same octave for each type of drum (C is kick, D is snare, etc.) The important thing is that you're consistent. Then when you jump into Grid Edit mode and are looking for a particular drum you no longer have to wonder which octave and key it's on. Voila.

- Robotchas

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Trigger Mode Direct Pattern Access In Song Mode

This does work in song mode and is an easy way to try out how another pattern would fit in a Song. It works in the following way: If you use the Direct Pattern Access function it overrides the pattern at the step, but it uses the mute configuration that is stored in the song. This may lead to the fact that tracks appear activated even if they do not contain any MIDI data. The track led lights up anyway. One thing doesn´t work in song mode, it is not possible to use the play+stop shortcut to fire the pattern instantly. It just stops the sequencer.

- Alexander Ruesberg

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Recording Arp and RIFF Patterns to a Track

Connect a midi cable from the midi out to the midi on of the MP-7, and make sure MIDI Thru is off. You may need to manually erase the 'trigger' note, as well as shift the start times of the arp notes too if they are delayed slightly. Very easy to do with OS 2.0 BTW.

- rEalm

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Recording Triggers

To record into the internal sequencer, set the TRIGGERS destination to be "seq" instead of "int" or "ext" This way, the triggers will be routed to the sequencer, which will then decide where to route it based on the track settings (provided you have Rechannelize on).

- Aaron Eppolito

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Odd Time Signatures In Grid Mode

In order to get to the second half of a measure in grid mode using odd time signatures, you sometimes have to hit play and then stop to advance the grid to the second half of the "bar".

-Nodal Terror

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Using Arps to create polyrhythms

The obvious method, of running tracks of different lengths or time signatures in parallel, is not possible on the XL7. You can cheat by using longer sequences - for instance, a 12-bar pattern with tracks in 3/4 and 4/4 - but this is clumsy and won't work in many instances. You're in luck, though: what will work is to use the arpeggiators. They'll loop at whatever length you determine, so you can easily play different time signatures against each other. If the note or notes triggering the arp are recorded into the pattern (instead of played live), the arp will be retriggered each time the pattern loops, which will throw this off. To avoid this, add a "sustain pedal=on" event (CC #64 of >63) to your pattern so the note is held across the pattern loop rather than retriggered. Now the polyrhythm will last until you change patterns.

- Robotchas

Miscellaneous Tips And Tricks

Some Organization Tips

- Always save your Presets independently for each Pattern. That way you avoid accidentally erasing or overwriting a Preset that may be in use in another Pattern.

- Save your Presets with a name that reflects the Pattern name too. Ie, if you Pattern is called "Composite Blue" (hehehe), call your Presets Blue Bass, Blue BD, Blue Snare, etc. Don't just use names like "Preset 1", or something too vague to know what it is later on.

- Overwrite the factory Presets that are doubled in the User banks with the Default Preset (usually the last one in each ROM). That way, it's very easy to see where your next free User Preset when you're working and want to save a Preset. These are the same as the Presets in the non-User banks, so you're not losing anything.

- Back up daily. The last thing I do each day after working on the XL-7, is to E-load all of my Patterns to the computer. Use a separate folder for each day, and name it with the date. That way if you accidentally change something and save it to the PC by mistake, you can always go back and get it from an earlier date. MIDI data is tiny compared to today's
huge harddrives, so it's not about saving space anymore.

- The above is also true for Presets. If I've made changes to a Preset bank by saving new Presets, or tweaking old ones, I'll do a Preset Bank dump into SX. I use a seperate track for each day, and name it according to the bank, ie "05-28-03 BankA". Don't forget to burn yourself a back up CDR of this and the Patterns once in awhile too, hard drives DO fail.

- Unless it's critical to your Pattern, use the Erase Events function to strip away Aftertouch data in your patterns on all tracks. It just takes up space, and is one more thing trying to compete for transfer space in your midi setup. Again, this only applies if you don't use AT as a controller for something. Alternately, just turn Off Aftertouch completely in the Controllers menu.

- The same can be said of controller data, thin it out or erase it if it's not needed, or if you plan on tweaking manually live.

- Save often. No, seriously, save often. Did you get that? SAVE OFTEN! As you work, it's easy to forget to save, and then you accidentally tweak something beyond repair and you have to start over. If you're really anal, you can even save to a new location everytime, so that you have a chronological record of your work for the day. You can tweak with impunity then, and always know you can go back to an earlier version of your Pattern/Song. At the end of the day, just pick the one Pattern that you feel is the best of the day (usually this is the last one), and delete the rest.

- rEalm

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Downloading Patterns To Different Locations Using E-Loader

You can change the Pattern location and the order of your Patterns from within E-Loader itself. Select the Patterns you wish to wish to download (and in the order you want then to appear in the XX-7) in the E-Loader download screen. Press CRTL+A to select them all, then CTRL+I to open the a new screen from which you can change the Type of Download (Song/Pattern), the Download Bank Location, and the Pattern Number you wish the download to start at. All of the Patterns will now be renumbered and have their Pattern destinations changed automatically before they start to download.

- rEalm

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Using The Quick Edit Knobs To Control Effects Parameters

This is possible because you can save FX per preset, though the FX engine of the command station can only process one FX preset at a time, so in a typical pattern with 16 presets, only one Preset can be actively set to control the effect at a time. This can cause problems. I've come to the conclusion that my 16B midi channel will be my "master" FX channel in each pattern i have. I just save a separate preset w/ FX settings per pattern and use those FX on a global level. This way I can just flip over to channel 16B and use the Quick Edit knobs to do FX control in realtime since the Knobs are assigned to control these parameters in the Patchcords section.

- Joe Sapo


Advanced Tips And Tricks

Recalling Multisetups From Within a Pattern or Song.

In pattern edit go to Event and enter program change data and Bank select change data. For Multisetups : MSB=80, LSB=00 and then the Program change = the Multisetup number.
You have to make shure that program change is enabled for that particular midi channel and you have to set the Track Destination "Both".

- HonkeyHindu

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Changing MIDI Channel Effect Sends From Within A Pattern

Sends are saved on a per-track basis based on a simple cc event. Insert a cc:79 event for whichever track you want to change the Send for. Use the following values dependant on which Send you want to use for that channel:

v:0 = use preset
v:1 = send1
v:2 = send2
v:3 = send3
v:4 = send4

- Joe Sapo

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Automate Restoring More Than One Multi

CAUTION: If you create a midi sysex file to automatically restore Multi's, the restored Multi's will replace ones currently in the E-Mu memory. You will not be asked, "Are you sure?"

The bottom line: Backup, backup, backup before attempting this!

OS2.0 allows you to transmit the current Multisetup as sysex data. You can then save each multi on the storage device of your choice. You can restore each multi by (1) sending the sysex data to the E-Mu's edit buffer and (2) saving the multi in any user location.

Automatic restore:

The E-Mu sysex specification has a copy function which will allow you (with 11 bytes of data) to copy the edit buffer to a specific memory location.

Example: F0 18 0F 00 55 2C 7F 7F 01 00 F7
F0 18 0F ID 55 2C ss ss dd dd F7

F0 18 0F 00 55 2C = E-Mu sysex command to copy Multi (ID=00)

ss ss = source 7F 7F = edit buffer
dd dd = destination 01 00 = multi 001
F7 = EOX (end of midi sysex transmission

For each multi you wish to restore with this command, you will need a different sysex command. Change dd dd for other destinations-00 -> 3E for locations 000 -> 062. [sysex digits are in hex, base 16]. You can append a copy-edit-buffer-to-memory sysex command to a single Multi sysex. As soon as you send the multi + copy command back to the E-Mu, it will overwrite whatever is in the specified location with the multi you want to restore.

If you have 8 Multi's in locations 000-003 and 010-013, you can create a *.mid file to automatically restore those 8. You can then create new Multi's in other locations and update your master multi file (or create separate files for different multi banks). I f you want more than 1 bank load of Multi's, you can have several banks. Perhaps you consistently use locations 30-60 for performance specific Multi's. You can automate a bank to restore just those. Allow enough time between "playing" sysex dumps from a sequencer (if that's your storage device of choice) so the E-Mu doesn't choke on the data.

Note 1: This is just one of many possible solutions. It is based on Multi's having been stored from the front panel. It may also be possible using sysex to save and restore subsets of the Multi data.

Note 2: In my tests, viewing angle did not appeared to be transmitted via the sysex dump. It does appear to be saved and restored with internal/front panel storage.

- Dr. Steve The Composer

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Turning Rechannelize On Via Sysex

Parameter Value Edit Command:
{F0h, 18h, 0Fh, dd, 55h, 01h, 02h, xx, xx, vv, vv, F7h}

dd = Device ID (probably 0)
xx, xx = Parameter Number, {LSB, MSB} <- so for 420, {24h, 03h}
vv, vv = Value, {LSB, MSB} <- so for 1, {01h, 00h}

- Aaron Eppolito

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Click and Pops While Using The SPDIF Output



I too was having problems with my SPDIF output. In fact it did not work at all. It was a grounding issue. Here is how I fixed it.



For this fix you will need: about 4 inches of speaker wire. a screwdriver. about ten minutes.



1. Open the case up like you would to replace a ROM.

2. Wrap some of the bare speaker wire around one of the chassis screws, between the two case panels (a wire sandwich).

3. Reassemble the unit.

4. Take the (bare) loose end of the wire and wrap it around the SPDIF jack.

5. Plug in your spdif cable tight enough that it holds this wire on. (you could probably solder it with no concern).

6. You're done!



I havent had so much as a hiccup since doing this. You must ground the wire to the Chassis, the various screws on the back face of the unit did not work for me.



- n6i6s6

Feel free to contact me if you see any errors and/or omissions in this Tips and Tricks document, or if you have any additional questions about specific Command Station features. Please, do not contact me asking me to compare the Command Station’s to other gear, or for advice on how to make music. I do not work for E-Mu and only have time available to answer those questions directly related to this Tips and Tricks document. This document may be copied and distributed freely, provided proper credit and notice of use is given to the author.


Peace and beats,
rEalm
http://rEalm.iuma.com
[email protected]
Old 11th April 2016
  #159
Lives for gear
 
balma's Avatar
Quote:
Originally Posted by Chapterhaus View Post
For the Programmable Knobs I have some questions. Firstly, Quick Edit is for Cords, and Program is for programmable knobs, correct? Also, are the Programmable Knobs global, ie, stay the same throughout track changing?

Is it possible to use the Programmable Knobs to control the cutoff filter for one or multiple tracks at once? What would the CC commands be, and what screen do I enter them into?

For example, I'm hoping to assign Program knobs to control the cutoffs for kick snare and hats, and I'd also like to use two Programmable Knobs for FX send levels. Also the earlier mentioned by Balma (page 1) sample retrigger technique that subdivides the clock to doubletime parts. I enter in the proper cords and nothing happens except a wierd offtime trigger when I turn the knob from 0 to 1 percent.

Ahhhhh
Quick Edit is for realtime control (and edition) of single sounds. By default, knobs will control filter, reso, attact, level, LFO etc as any other synth with hardware controllers will do. You can see their function of each knob entering patch edit mode and pressing button 11. Such function assignments can be modified at your will. In button 12 INITIAL CONTROLLERS you can see the position and value of each knob for each patch.


PROGRAM uses the SySEX 127 MIDI realtime control Chart. They can be used to modulate parameters of external devices on realtime using MIDI.
You can change their function on the CONTROLLERS Global Menu, and such programmation is saved when you save the Multisetups.

Program modulations won't be recorded on the E-mu's sequencer unless you change their destination to "seq" (available destinations: int/ext/both/seq).

The Quick Edit knobs have specific functions and value positions per patch/ track. There are not global setups, neither a way to change a value on the 16 tracks at the same time.

Regarding the weird effect you are getting when trying to retrigger a sample despite you see a range of -100 to + 100 on all the patchcords, some of the source/destinations act like a SWITCH. A switch has only two possible values: on or off.
The SRETRIG destination works as a switch.
For example, create a patchcord use the Clk16th source, and send it to SRETRIG destination. Leave the value on Zero.

PATCHCORDS 01
Clk16th -> SRetrig +000

Then, use another patchcord location to program a knob as a switch, just moving the knob to the right, no matter the value, will activate the 1/16 retriggering effect.

PATCHCORDS 02
MidiA -> C01Amt +001
Old 11th April 2016
  #160
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balma's Avatar
Quote:
Originally Posted by Chapterhaus View Post
I'm not looking to control anything on the Virus with the MP7 aside from sequencing. It has enough knobs to play with already. So that leaves the "Quick Edit"/"Program" knobs open to be used for drum modulations. I have set channel 8 as my "FX" channel in an attempt to do what I thought I could do with the Program knobs (which are Global and don't require me switching channels to alter), which is to simply adjust the FXA level on Send2. So I have a preset called FX on channel 8, and Quick Edit Knob A adjusts the FXA level of Send2, which is reverb. Cool, that works! It's not exactly what I wanted, but it's close!

Now, what I actually want is to have a "Program" (not "Quick Edit") knob to control that parameter (the FXA level on Send2). I also want a Program knob to control the FXA level on Send 1, a knob for the FXB on Send1, and another for FXB on Send2... So then I could adjust the FXA and FXB of the kick/drums separately with their own knobs. Isn't this possible?

I'd also like to control the filter cutoff frequency of my Kick (Channel 9) with a "Program" knob. And then I want a "Program" knob to control the filter cutoff frequency of tracks 9-16. And a resonance knob to accompany each of those filter cutoff knobs, naturally.

Finally, I'm not sure how to word this... I'd like some "Program" knobs to control the clock subdivision of the Kick (Channel 9), Snare (10), Clave (12) and Closed Hat (13). What I mean is when I turn the knob, it doubles (or 4x, or etc...) the clock of the part, so then a Kick that normally hits every beat would then hit every 8th note, and if I turn the knob further, 16th note, 32nd note, etc... Isn't that clock subdivision of the sample retrigger, or something? I have no idea what I'm talking about, that's what I'm trying to make happen though.

Do these things have to be controlled per channel with "Quick Edit" knobs, or can I control them with the "Program" knobs with CC commands (is that even what they are, CC commands?)
Now you have to check the manual.

Program knobs are standard, universal MIDI controllers. So if you want to modulate the filter with a program knob, you must check the Appendix MIDI Chart. I think filter is 74.

Clock divisors are sources inside the modulation matrix, you can't control patchcords with standard midi controllers. You must use the quick edit if you want to create "roll" effects with them.
Also, The repeat button can be used for that but in record mode. It can create roll effects on normal record mode, or several types of tripplets and repetition effects on grid mode
Old 1st June 2016
  #161
Quote:
For the Programmable Knobs I have some questions. Firstly, Quick Edit is for Cords, and Program is for programmable knobs, correct? Also, are the Programmable Knobs global, ie, stay the same throughout track changing?

Is it possible to use the Programmable Knobs to control the cutoff filter for one or multiple tracks at once? What would the CC commands be, and what screen do I enter them into?

For example, I'm hoping to assign Program knobs to control the cutoffs for kick snare and hats, and I'd also like to use two Programmable Knobs for FX send levels. Also the earlier mentioned by Balma (page 1) sample retrigger technique that subdivides the clock to doubletime parts. I enter in the proper cords and nothing happens except a wierd offtime trigger when I turn the knob from 0 to 1 percent.

Ahhhhh
Quote:
Originally Posted by apolloturner View Post
Figured out for those who care and put each drum sound on its own channel I figured out how to map most each channels parameters in knob controller mode so that you don't have to click through 3 other modes.

Controller mode:

twist knob you want to change

Ctrl is 7=Vol
75= Decay
85=Sustain
77=filter
82=resonance
83=Modulation
3=pitch
so I set mine up as channel 1A= Kick
So...
K1 controls volume so ctrl=7 ch=1A internal
K5 controls pitch so ctrl=3 ch=1A internal
K9 controls decay so ctrl=75 ch=1A internal
K13 controls mod so ctrl=73 ch=1A internal

I did this for the first 4 tracks which I use as Kick/Snare/clap/ and high hats so I can control all 4 channels at the same time from one menu making live use much easier. I did figure out as I said in other post that if you are using the same kit, make a copy and save to your user bank otherwise you will be controlling both with any knob movement.

Works great.

I answered this several months ago. Works great. There are other things you can map to the programmable knobs, but this is what I found most useful.
Old 3rd August 2016
  #162
Here for the gear
 
Chapterhaus's Avatar
Arps

Well I'm back with another odd request, maybe not?

I'd like to use the Arpeggiator on the EMU to do my doubling and halving of beats, instead of trying to use the Clock Modulation to do that (because I couldn't figure that out, if it *is* possible.)

So let's take a four on the floor kick drum beat. I want to have my Arp for that Preset set to "1/8" and when I turn the Arp for that Preset to "On", I want the kick drum to play on every eight note, essentially double time. I was able to do this on my Virus with the same concept, having a note playing every quarter note, turn my Arp on, and use an Assignable knob set on Arp Clock to modulate. It was flawless.

When I try to program the MP7 to do this, it will only play the Arpeggio for the length of one quarter note. Sometimes it sounds like it plays the start of the next note, but cuts off. My Preset Arp settings are: Up, 1/8, Gate 100%, Duration off, Pre/Post Delay Off, Recycle off, Latch On. I've tried with Gate at 0% thinking it may be the note duration or something simliar, nope.

When I hit the kick note on the drum pads instead, it works perfectly. I can use my master encoder to scroll through all of the different Arp divisions and it works great. I hit the same kick note on the pads and it unlatches, like it should. But it doesn't work with my sequences, like I said. If I have Channel 9 (my kick) playing a four on the floor beat for a one measure pattern, for example, what ends up happening is it will play the arpeggio for one quarter note (be it 1/32 or 1/16, or anything, only plays the arpeggio for the first quarter note).

Does this make sense?
Old 3rd August 2016
  #163
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KingVidiot's Avatar
 

one of the best GS threads ever
E-mu was way ahead of its time in a lot of ways, I've always had and loved their gear

however, this thread provides such a wealth of info that Dave Rossum should pay balma for his clever insight into this series of modules and helping to keep a great series of his legacy hardware alive and well

Creative Labs never did sh*t for E-mu, just killed them slowly
Old 25th October 2016
  #164
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BezowinZ's Avatar
Anyone know where I can get a replacement rotary knob?
Old 25th October 2016
  #165
Quote:
Originally Posted by BezowinZ View Post
Anyone know where I can get a replacement rotary knob?
try here:

Welcome to EPRElectronics.com - Palm Harbor, Florida - Emu, Alesis, Ensoniq, Korg, Soundtracs and more, SP-3 SCSI interface for ASR-10
Old 14th November 2016
  #166
Lives for gear
A bit of Command Station porn I thought might interest a few on this thread. This turned up on my local auctions over the weekend. Put in a few low-ballish bids (also had issues with occasionally not recognising the ROM) as it was a bit hard to justify getting myself a third CS and I'm having a bit of a broke month anyway. Sold for $300ish in the end FWIW - around here thats a reasonable, if not super cheap price for a working one, and also wasn't sure which ROM it had.

I'm not typically into circuit bent sounds, but was pretty curious about this - the listing didn't detail the mods specifically - and then again, think this thread shows that you could get most of the way there through programming anyway.... Anyone else running a bent machine out there?
Attached Thumbnails
The E-mu Command Station XL-7/MP-7/PK-7 and Proteus 2500 tutorials-emu-cs-custom-01.jpg   The E-mu Command Station XL-7/MP-7/PK-7 and Proteus 2500 tutorials-emu-cs-custom-02.jpg   The E-mu Command Station XL-7/MP-7/PK-7 and Proteus 2500 tutorials-emu-cs-custom-03.jpg  
Old 22nd November 2016
  #167
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BezowinZ's Avatar
Thanks. It was the 1st place someone else recommended. Unfortunately, they're out of stock.
Old 6th December 2016
  #168
Here for the gear
 

Hi!
Does anybody know how to program reversed sample playback patches on command stations?
Old 13th December 2016
  #169
Quote:
Originally Posted by balma View Post
1) the command station has 6 outputs, the 3,4,5 and 6 have stereo jack detectors. If you plug a stereo 1/4 jack in one of them, the stereo ring detector will change the output from mono to stereo, and will send a dry signal of the sound in one line and the effect on the second one, or....:

Adding external effects to the Command Station's engine.

get these cables:



Connect the stereo jacks to the suboutputs of the command station and use an effect unit or a synth with line in (ex: Radias, Electribes, Vsynth, waldorf Q, etc etc etc), one mono line to the input, another one to the output. Then, you´ll be able to hear the sound of the command station processed by the external unit through the main outputs.

2) did not understand your second question, sounds too generic.
I'm having a difficult time wrapping my head around this, as I always do for some reason when it comes to send/returns and TRS/TS jacks and whatnot. Yeah, I can get around some very complex synths and have a mental grip on crazy Reaktor ensembles but for some reason this simple stuff doesn't fully compute.

My goal is to use the MP-7 for a live gig early next month and I was wanting to use my iPhone as a sample playback device triggered by the Command Station. I was trying to avoid bringing a mixer so I could just plug in the main 1/2 outputs of the MP-7 into the PA.

Is it possible to use a stereo minijack coming out of the iPhone with two standard left/right TS jacks into the sub outputs of the MP-7 to use as a simple mixer so I don't have to bring a little mixer and extra cables? I'm not looking to output sounds from the MP-7 and back in for external effects routing. I just want to use the sub outputs as a mixer to blend my iPhone output to the MP-7s main outputs. I hope this is clear enough to understand.
Old 13th December 2016
  #170
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abruzzi's Avatar
 

Quote:
Originally Posted by plaid_emu View Post
I'm having a difficult time wrapping my head around this, as I always do for some reason when it comes to send/returns and TRS/TS jacks and whatnot. Yeah, I can get around some very complex synths and have a mental grip on crazy Reaktor ensembles but for some reason this simple stuff doesn't fully compute.

My goal is to use the MP-7 for a live gig early next month and I was wanting to use my iPhone as a sample playback device triggered by the Command Station. I was trying to avoid bringing a mixer so I could just plug in the main 1/2 outputs of the MP-7 into the PA.

Is it possible to use a stereo minijack coming out of the iPhone with two standard left/right TS jacks into the sub outputs of the MP-7 to use as a simple mixer so I don't have to bring a little mixer and extra cables? I'm not looking to output sounds from the MP-7 and back in for external effects routing. I just want to use the sub outputs as a mixer to blend my iPhone output to the MP-7s main outputs. I hope this is clear enough to understand.
This should work fine with the caveat the the emu has no control over the level of the signal coming from the iphone. In addition, if you are using the headphone output of the iphone, that is an amplified signal and will be way hotter than what the emu is expecting. Ideally you would want to take a line level out of the iphone with an adapter, but you can probably get away with the headphone and lower the volume so the iPhone doesn't distort. If you get an insert cable like in balmas image, all you need is an adapter to take the 1/4" TRS jack to a 1/8" TRS jack. The TRS goes to the iPhone, an each of the TS jacks go to the the left or right of one of the sub outputs.

The trick with using it this way is the TS jacks dont get pushed all the way in on the command station. You just push the most of the way in, to the first click. Now audio out of the iPhone should be mixed with the command station at the main outs.

EDIT: this cable will do exactly what you need: http://www.sweetwater.com/store/detail/CMP159
Old 13th December 2016
  #171
Quote:
Originally Posted by abruzzi View Post
This should work fine with the caveat the the emu has no control over the level of the signal coming from the iphone. In addition, if you are using the headphone output of the iphone, that is an amplified signal and will be way hotter than what the emu is expecting. Ideally you would want to take a line level out of the iphone with an adapter, but you can probably get away with the headphone and lower the volume so the iPhone doesn't distort. If you get an insert cable like in balmas image, all you need is an adapter to take the 1/4" TRS jack to a 1/8" TRS jack. The TRS goes to the iPhone, an each of the TS jacks go to the the left or right of one of the sub outputs.

The trick with using it this way is the TS jacks dont get pushed all the way in on the command station. You just push the most of the way in, to the first click. Now audio out of the iPhone should be mixed with the command station at the main outs.

EDIT: this cable will do exactly what you need: Hosa CMP-159 - 10', 3.5mm TRS to Dual 1/4" TS Stereo Breakout | Sweetwater.com
Thanks for the quick response! Trying to get this sorted ASAP so I know what to expect.

Okay, so this might be a possibility. I already have the right cable. It's a minijack-minikack with a dual left/right TS adapter on the end. I think I might even have another one without the adapter part somewhere, mini to dual TS, not like that should matter. Now my main questions are about plugging these TS cables in partially (sounds weird, never heard of doing that), and is there a configuration I need to make on the Command Station for it to recognize the input instead of output (might have to dig into the manual)?
Attached Thumbnails
The E-mu Command Station XL-7/MP-7/PK-7 and Proteus 2500 tutorials-img_5531.jpg  
Old 14th December 2016
  #172
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abruzzi's Avatar
 

Quote:
Originally Posted by plaid_emu View Post
Thanks for the quick response! Trying to get this sorted ASAP so I know what to expect.

Okay, so this might be a possibility. I already have the right cable. It's a minijack-minikack with a dual left/right TS adapter on the end. I think I might even have another one without the adapter part somewhere, mini to dual TS, not like that should matter. Now my main questions are about plugging these TS cables in partially (sounds weird, never heard of doing that), and is there a configuration I need to make on the Command Station for it to recognize the input instead of output (might have to dig into the manual)?
No software config necessary. See, whats happening is this--those sub-out are configured as inserts, like on a mixer channel. The way they are wire with a TRS cable is the T (tip) is send, R (ring) is return, as S (sleeve) is common or ground. So when you plug in an insert cable fully to an effects processor, you get whatever signal is assigned to that output sent to the effects unit on the (T)ip, the FX processes the sound and sends it back on the (R)ing. If you ignore the (T)ip, the (R)ing can function as an input. The trick is the two TS plugs in your cable there have the right or left signal from the iPhone on the (T)ip. The problem is on the command station (and basically all E-mu modules since the original proteus) the (T)ip is for signal coming out of the CS, not signal coming in, so you need to connect the (T)ip of those TS connectors to (R)ing of the of the input jacks.

This is done by inserting to the first click. I thought the emu manual had a diagram, but it doesn't, though it does briefly mention this setup. The partial insertion isn't as solid as a full insertion, but I've never have a problem with it making contact. I found a image in a mackie manual (the old early 90s mackie mixers was where I first leaned this trick) Ignore the text and just look at the first and third image. the third image is what happens when you insert a TRS jack. The lower connector touches the (T)ip and sends the emu signal out, the upper connector touches the (R)ing and takes the signal back in. When you plug in a TS plug the way that is diagrammed in the first example, i.e. partially, the (T)ip of the plug touches the internal connecter intended for the (R)ing and sends whatever signal into the unit.

I've also attache a clip from the PX-7 manual (page 17) that diagrams how those sub outs are wired up and has the brief cryptic comment about using it as extra inputs.

I hope this post wasn't too confusing. Its not easy to explain with words (pictures are better, but I couldn't find any that explained it completely.
Attached Thumbnails
The E-mu Command Station XL-7/MP-7/PK-7 and Proteus 2500 tutorials-screen-shot-2016-12-13-4.36.35-pm.png   The E-mu Command Station XL-7/MP-7/PK-7 and Proteus 2500 tutorials-screen-shot-2016-12-13-4.52.37-pm.png  
Old 14th December 2016
  #173
Quote:
Originally Posted by abruzzi View Post
No software config necessary. See, whats happening is this--those sub-out are configured as inserts, like on a mixer channel. The way they are wire with a TRS cable is the T (tip) is send, R (ring) is return, as S (sleeve) is common or ground. So when you plug in an insert cable fully to an effects processor, you get whatever signal is assigned to that output sent to the effects unit on the (T)ip, the FX processes the sound and sends it back on the (R)ing. If you ignore the (T)ip, the (R)ing can function as an input. The trick is the two TS plugs in your cable there have the right or left signal from the iPhone on the (T)ip. The problem is on the command station (and basically all E-mu modules since the original proteus) the (T)ip is for signal coming out of the CS, not signal coming in, so you need to connect the (T)ip of those TS connectors to (R)ing of the of the input jacks.

This is done by inserting to the first click. I thought the emu manual had a diagram, but it doesn't, though it does briefly mention this setup. The partial insertion isn't as solid as a full insertion, but I've never have a problem with it making contact. I found a image in a mackie manual (the old early 90s mackie mixers was where I first leaned this trick) Ignore the text and just look at the first and third image. the third image is what happens when you insert a TRS jack. The lower connector touches the (T)ip and sends the emu signal out, the upper connector touches the (R)ing and takes the signal back in. When you plug in a TS plug the way that is diagrammed in the first example, i.e. partially, the (T)ip of the plug touches the internal connecter intended for the (R)ing and sends whatever signal into the unit.

I've also attache a clip from the PX-7 manual (page 17) that diagrams how those sub outs are wired up and has the brief cryptic comment about using it as extra inputs.

I hope this post wasn't too confusing. Its not easy to explain with words (pictures are better, but I couldn't find any that explained it completely.
I think I get it now.

You, sir... You are a gentleman and a scholar. I truly appreciate the help and look forward to testing it in the next couple days.
Old 14th December 2016
  #174
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abruzzi's Avatar
 

Quote:
Originally Posted by plaid_emu View Post
I think I get it now.

You, sir... You are a gentleman and a scholar. I truly appreciate the help and look forward to testing it in the next couple days.
no problem. I have my PX-7 hooked up in my bedroom for noodling around, and I play it with my reface DX, and I have the reface audio running into the PX is basically the same way.

Presumably since there are two pairs of sub-outs, you could jack in two stereo units this way if you wanted a third thing on the same output pair (hmmm, a proteus 2000 with the composer and world rom is on the way here, in addition to the drum, xl, and two orchestra roms in my PX, maybe I'll try that.) BTW, those returns also show up in the headphones (how I use it at the moment.)
Old 14th December 2016
  #175
Quote:
Originally Posted by abruzzi View Post
no problem. I have my PX-7 hooked up in my bedroom for noodling around, and I play it with my reface DX, and I have the reface audio running into the PX is basically the same way.

Presumably since there are two pairs of sub-outs, you could jack in two stereo units this way if you wanted a third thing on the same output pair (hmmm, a proteus 2000 with the composer and world rom is on the way here, in addition to the drum, xl, and two orchestra roms in my PX, maybe I'll try that.) BTW, those returns also show up in the headphones (how I use it at the moment.)
Mmm. Yeah.

Now I have to fish out my Beverly Hills Cop and Full Metal Jacket DVDs. I've got a couple covers in mind. Faltermeyer's Axel F and 2 Live Crew's 'Me So Horny'. I'm pretty sure this thing will pull that off with the ROMs I've got installed, no problem.
Old 16th December 2016
  #176
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balma's Avatar
I'll try to provide more tips wich can help users to improve their user patch database



At the beginning of the list, I have several "template patches", wich have been programmed to perform and tweak different categories of sounds.
From these template patches, I create the rest of the sounds that will fill the user patch database.


Since the whole knob setup can be reprogrammed to better suit the user's needs and preferences, is a good idea to program the knobs functions according to the type of sound. Each patch, can have its own knob setup.


What can a knob do on E-mu?

Each patch has 4 layers of samples

-Knobs can modulate all the 4 layers at the same time or just 1,2 or 3 of them.

-Knobs can modulate more than 1 parameter for each one or all the layers. You can stack up to 24 parameters in a single knob for each one of the layers.

-Knobs can modulate positive and negative parameters at the same time. The range of values for a knob is -100 to +100.
For example, you can increase the volume of layer 1 from 0 to 100, while decreasing the volume level on layer 2.

-knobs can modulate the depth of the modulation of other knobs.
For example: you can program Knob A to modulate the filter from 0 to 64, and program Knob B to increase that range, sending the KnobB to +/- modulate the Knob A. So knobs can also interact between them.

In LINK mode, where you can stack three patches into a single patch (12 layers), knobs will follow the program stored on each one of the 3 patches. But each patch has its own knob position setup. Link mode is a function where you can "call" other two patches into the current patch you are editing. So there's a main patch and two subordinated patches. The position of the knobs will follow the program of the main patch. The other two patches will adopt the knob positions of the main patch.
Example:
Range of knobs: 0/127
Patch1 Knob A position: 74
Patch2 Knob A position: 0
Patch3 Knob A position: 12

So, if you are calling patches 2 & 3 from the patch 1, the knob A positions will change to 74, wich is the position of patch 1.

If you are not reprogramming the knobs of your user patches on the Emu Command Station, you are leaving intact the 50% of the engine's capabilities.
Yes, the splendid knob's versatility for modulating the sounds, is one of the best features of this instrument.

By default, the knobs' functions are very similar for the Factory patches of the XL7, MP7 and PK7 models.
This is the classic combination:
Knob A filter
Knob B resolution
Knobs C & D: filter ADSR envelope
Knobs E,F,G,H: Amp ADSR envelope
Knobs I,J: Vel/Amp
Knobs K,L: LFOs
Knobs M,N: Tune & fine tune
Knobs O,P: arp

Such general knob function programming can be a limitation for sound expressiveness. Because there are short & long sounds. Slow attack and fast attack sounds. Effects, voices, vocals, drones, wind instruments, ethnic instruments, etc etc.
So, depending of the sound, maybe it's not necessary to tweak the attack level, or LFO results innecessary. Better to reassign the functions to better suit the needs and characteristics of the patch.

Creating a template patch to produce new drum sounds:

In the case of a DRUM patch with 4 layers, I can reprogram the 16 knobs to:
4 knobs to modulate the volume value of each layer by separated.
4 knobs to modulate the filter value of each layer by separated
4 knobs to modulate the pitch value of each layer by separated
4 knobs to modulate the start point of each layer by separated

In the Filter section, I select four different filters. 1 filter of 2order, 1 of 4order, 1 of 6, 1 of 12order.
In the tune section, I variate the fine tune on each one of the layers.


Then I save it as a new category of sound like DRT with the name of "Template Drum 1".

I'm layering 4 drum samples, and I have detailed control over the volume, filter, pitch and start point for each layer by separated. I'm sacrificing other things that the knobs could do, but focussing on a method very useful to produce new cool drum sounds. It's easier to tune or match two samples, if you can accurately modulate the filter, filter and pitch of each one individually. Even more if you have 4 samples layered. Now you just have to browse with the wheel on the samples and tune them with the knobs. After some practice, you'll get great results.


Just browse the drum samples on each one of the layers, or all at the same time and hear the results they produce with different knob positions. When something cool appears, save it now as a new User Patch. Lots of new percussion sounds can be created just using different samples on the layers, and modulating the filters.
Modulating the filters by separated can also produce amazing effects if you record such modulations on a individual track. Go to the MIDI channel assignation screen and use the same channel on two tracks. USe one to record notes, and the other one to record the knob movements.


This is one of the ways I've use to slowly sculpt a dynamic sound database wich takes advantage of the modulation matrix flexibility and the reprogrammable knobs, creating sounds that can give new life to the ROM samples and wich can interact in interesting ways with note sequences.

Creating a specific knob function setup for each category of sound, is a good way to squeeze the hidden potential of the E-mu's sound engine.

There are 16 fully reassignable knobs, so, let's adapt them to satisfy specific sound requirements.
Let's think on what do you want to control on a sound like a guitar or a pad, and then imagine different knob setups for that type of sound.

In my taste, I like dense pads. But I also want to slowly turn them into thin pads, or turn them into a chord.

I also want to have control of the attack time, the decay time, and be able to
crossfade between the different layers of the pad, making them come and go at my will.

Also, to trigger a modulation of the LFO over parameters like volume or filter with the knobs.

There are things that you don't need to control in some sounds, but they are a valuable resource for expression in another ones.


More flexible sounds, result in more expressive sequencing. And maybe, better music.


I must type the charts of the modulation patchcords, to create templates for pads, hit sounds, chorded organs, different types of effects and vocals.

BTW, now I mentioned Vocal pads, they are one of my favorite sounds of the Emu They sound so fkin good, because there are great filters for voices. I love to stack 4 voice samples, reprogram the notes to modulate the filter by separated, create variations of the fine tune with the knobs, and control in detail the attack time and the volume of each sample layer. This gives a really nice control over the voice pads, they sound more interesting if their components act like independant entities, not just 4 rigid samples following the same rules, but 4 individual elements wich interact and produce sinergy between them, to behave as a single dynamic sound. That's a healthy practice when programming sounds on the Emu.
Old 2nd March 2017
  #177
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Entrainer's Avatar
 

Hello,

I'm at a friend's house helping him setup his studio.

His Proteus 2500 occasionally functions correctly. At other times, when being first powered up, it freezes with a black bar on the LCD and all of the LED lights illuminated.

Has anyone experienced this and know a solution?
Old 2nd March 2017
  #178
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Quote:
Originally Posted by Entrainer View Post
Hello,

I'm at a friend's house helping him setup his studio.

His Proteus 2500 occasionally functions correctly. At other times, when being first powered up, it freezes with a black bar on the LCD and all of the LED lights illuminated.

Has anyone experienced this and know a solution?
On the Command Stations you can get into diagnostics mode by, IIRC, holding down both cursor buttons (under the big knob) when powering-on.
Old 4th March 2017
  #179
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balma's Avatar
Quote:
Originally Posted by Entrainer View Post
Hello,

I'm at a friend's house helping him setup his studio.

His Proteus 2500 occasionally functions correctly. At other times, when being first powered up, it freezes with a black bar on the LCD and all of the LED lights illuminated.

Has anyone experienced this and know a solution?

Same problem with an E-mu Halo. It's frozen most of the times. It seemed like a circuit somewhere... Sometimes I also get only random characters.

I opened it and carefully cleaned all the boards ( btw they say "Ensoniq " ) changed the slot of the ROM, tighted all the knobs..
And didn't work
At leastr in my case I can't enter any diagnostic mode since It's stuck at the moment I turn the power on....
Old 4th March 2017
  #180
Gear Addict
 
Crawling Wind's Avatar
Maybe bad battery?
Topic:
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