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The E-mu Command Station XL-7/MP-7/PK-7 and Proteus 2500 tutorials Keyboard Synthesizers
Old 4th March 2017
  #181
Gear Maniac
 

Quote:
Originally Posted by Crawling Wind View Post
Maybe bad battery?
IIRC, there is no battery in the Command Station.



Everything is stored in flash memory.

Edit: while we're at opening our units, this trick solves the infamous humming noise in the headphones







Copper Foil Tape FTW.

Last edited by Poumtschak; 15th March 2017 at 02:41 PM..
Old 14th April 2017
  #182
Gear Addict
 
Franz Schiller's Avatar
I'm wondering if anyone has any tips with this, or if I'm overlooking something obvious...

I'm using a multitimbral midi keyboard to control three sound modules. The keyboard outputs midi channels 1, 2, and 3 all at the same time, and each of the sound modules respond to midi channels 1, 2, and 3 respectively.

I have inserted my PX-7 between the multitimbral keyboard and these three modules. I would like to be able to record a pattern in REAL TIME on the PX-7 with midi channels 1, 2, and 3 being recorded to tracks 1, 2, and 3, all simultaneously.

Currently, however, when I insert the PX-7 between the keyboard and the sound modules, the sound modules only respond to whatever channel is currently selected. Which means I can only record one midi channel to one track at a time. Does that make sense?

I have each midi channel set to "external" and I have the midi mode set to "multi."

Again, the goal here is to record all three channels at the same time to their own track, in real time.

Am I overlooking something, or is this not possible?
Old 14th April 2017
  #183
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Quote:
Originally Posted by Franz Schiller View Post
I'm wondering if anyone has any tips with this, or if I'm overlooking something obvious...

I'm using a multitimbral midi keyboard to control three sound modules. The keyboard outputs midi channels 1, 2, and 3 all at the same time, and each of the sound modules respond to midi channels 1, 2, and 3 respectively.

I have inserted my PX-7 between the multitimbral keyboard and these three modules. I would like to be able to record a pattern in REAL TIME on the PX-7 with midi channels 1, 2, and 3 being recorded to tracks 1, 2, and 3, all simultaneously.

Currently, however, when I insert the PX-7 between the keyboard and the sound modules, the sound modules only respond to whatever channel is currently selected. Which means I can only record one midi channel to one track at a time. Does that make sense?

I have each midi channel set to "external" and I have the midi mode set to "multi."

Again, the goal here is to record all three channels at the same time to their own track, in real time.

Am I overlooking something, or is this not possible?

It has been a while, and I'm going from memory, but I'm pretty sure that this is possible.

Somewhere in track settings you can designate each track as multichannel, and you then record all of your MIDI - for all channels - into that track.

You can even then copy the multichannel data to the clipboard and 'explode' it to individual tracks.

The pdf manual and cntrl-f are your friends.
Old 14th April 2017
  #184
Lives for gear
Quote:
Originally Posted by Franz Schiller View Post
I'm wondering if anyone has any tips with this, or if I'm overlooking something obvious...

I'm using a multitimbral midi keyboard to control three sound modules. The keyboard outputs midi channels 1, 2, and 3 all at the same time, and each of the sound modules respond to midi channels 1, 2, and 3 respectively.

I have inserted my PX-7 between the multitimbral keyboard and these three modules. I would like to be able to record a pattern in REAL TIME on the PX-7 with midi channels 1, 2, and 3 being recorded to tracks 1, 2, and 3, all simultaneously.

Currently, however, when I insert the PX-7 between the keyboard and the sound modules, the sound modules only respond to whatever channel is currently selected. Which means I can only record one midi channel to one track at a time. Does that make sense?

I have each midi channel set to "external" and I have the midi mode set to "multi."

Again, the goal here is to record all three channels at the same time to their own track, in real time.

Am I overlooking something, or is this not possible?
I remember having a similar problem. In theory it is supposed to be possible, but in practice I couldn't get it to work as it should either... afraid its been a few years, but you should look at the setting to turn off "rechannelizing" the incoming data as well as the settings for "omni" or multi etc.

Eventually I think I figured out some kind of work around with some midi patchbay routings - something like having the CS not actually play the other synths, but only record the data from the keyboard - they were played "directly" from the keyboard via the patchbay. Next time it looped around the synths were played back from the recorded data on the CS though. Sorry if this is vague - my old thread is https://www.gearslutz.com/board/elec...ut-always.html but was before I figured something out - maybe you get some ideas there, but as I say, seem to recall that the "solution" was external anyway.
Old 18th April 2017
  #185
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balma's Avatar
I have two units, sometimes I transmit the patterns of one of them into the other one, playing all the tracks at the same time. It can record multiple MIDI tracks at the same time if you use the MultiA/MultiB function. You can change the MIDI channel in the Channel Assign screen to MultiA.
But all the tracks will be compressed into a single MIDI track.

Regarding the thread's tutorial, my apologies for not updating it more often, but I'm do it soon.

The main outputs of my central unit, suddenly died, also the headphones' 1/4 Input doesn't work.
This problem forced me to resend the output of everything from MAIN to the SUB2 and SUB3 individual outputs. This means, checking around 5000 tracks from the sequencer, one by one.

But the worst problem is the terrible and unexpected, loud white noise. From time to time, my Command Station suddenly explodes in white noise, with a high risk for my ears and the health of my monitors. It really worries me, because it happens with no advice, and is random, and very annoying. I don't trust it any longer. If that happens during a gig, it could blow some heads/windows.


Anyway, such inventory work, forced me also to check and listen, every single thing I've recorded during almost 10 years of creating sequences.
It is interesting, because this is exactly the case where limitations can take the user to a new level of experimentation with the engine in order to avoid such limitations.

The Commanf Station comes with the ELoader, wich allows you to transmit the patterns to the computer, using only the USB output.
But, it can't save the User patch banks. This is ridiculous, because all the patterns's sounds use a single patch directory. Any modification to the USER Banks, will affect all the patterns/sequences.
If you erase or overwrite a USER patch, the change will affect all the patterns using that patch.
Also, the Command Stations can't record SYSEX. So, you can't make a back up of your patches into a track of the sequencer recording them as sysex data.

So, if you don't have a MIDI interface and a software to record the SYSEX data, you are condemned to use the same USER sounds forever.....

Such limitation, forced me to polish the same user sounds, again and again, during years, and make a very selective usage of every single user patch location. After years of such paranoic patch programming (I can't overwrite patches, I can't overwrite patches.... ) I've ended with a very different instrument from the one I took out from the box....
Now after years of tedious programming, with no intention at all, I developed a super user patch directory , every sound with its own tweaks and modulation routes. A single sound, can inspire a whole track due to its complexity and capabilities to readapt itself to different textures and music.
It worths the effort. This is the system of my dreams despite its flaws....
Old 22nd April 2017
  #186
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balma's Avatar
Some considerations about memory and organization stuff for the Emu Command Stations


The CS has 512 patch user locations, organized in 128 x 4.
Each user patch can use from 1 to 4 sample layers. You can assign to each one of them, an arpeggio from the ROMs onboard or the User's arpeggio bank (100 locations). Also, a second "arpeggio" named as "AUDITION RIFF", wich can be activated pressing the Audition Button.
The amount of audition riffs available per ROM is hard to determine, since they are not enumerated. Every ROM comes with a few hundreds, and every ROM use its own collection. Each time you add a ROM to your command station, new audition riffs are available to be used in your user patches.

Also every ROM comes with its own set of arpeggios. They are organized not in binary banks but in hundreds...
XL7: 300 arp
MP7: 300 arp
QRom: 300 arp
Beat Garden: 100 arp.

BTW, the arpeggios in the XL7 and MP7 are the same.

Every time you add a ROM, new arpeggios are available to be used in your user patches.


There are 100 memory locations for USER arpeggios, wich is VERY useful for patch programming. You can copy any of the ROM preset arpeggios into the user locations and then, perform modifications at your will.

The user arpeggios are permanently stored, they can be modified at any moment, and you don't need to perform saving procedures. If you change any of the user arpeggios, the modifications will also affect the patches using it.

There are 12 User Tuning Tables, available at the Global Menu. They are also permanently stored and you don't need to save them when performing modifications.


There are no USER locations for the AUDITION RIFFs. In other words, the AUDITION function is 100% preset/factory oriented. You cannot change the sequence of notes they have. However, if you enter the Audition Riff (trigger #15 ), and scroll to the left, you'll find a User option for Auditions, but it will say:
Plays: (not installed)

Does somebody has "installed" something in order to be able to create AUDITION RIFFs?


"Super Beats"
I've always considered the Beats/Audition feature, as an extra, extra layer of features on the Command Station. You already have a super flexible and powerful arpeggiator, but there are also hundreds of demostration's sequences wich can be heard just pressing a button.
The Beats section just play a preset sequence of notes for the currently selected patch. Is useful when scrolling sounds and hearing how they sound, without having to play the pads. (really handy for the Proteus 2500, wich has no pads)

But some of the ROMs (not all of them) come with "Super Beats" These are also Audition Sequences with 16 individual tracks.
What you can make with the Super Beats?
Mute/unmute the 16 tracks individually
Latch/Unlatch the 16 tracks individually
Change the keys offset (range -127 to +127)
Change the trigger velocity of the 16 tracks individually
Change the transpose of each track (range -36 to +36)
Assign each track to a "group" (4 groups) in order o trigger them together.
Use a knob to mute/unmute tracks, very, very fast...

These SUPER beats are like a crossover between preset arpeggios, and a multitrack sequencer. You cannot change the notes of the sequences, but you can perform other tricks to fit them into your music. They are also similar to the Accompaniment section of Yamaha's keyboard arranger or the Korg KARMA's arpeggio section.

Super Beats can be sync with the pattern's sequencer, and also, transmitted with MIDI to external devices. They can be played over the pattern's tracks (watch out polyphony....)

no more than 1 Beat/Audition sequence per time...

Not all the ROMS come with super beats. Something curious, the MP7 version, does not have the "bts" category on its preset collection. However, if you browse the Auddition Riff's list, you'll find these super beats. These sequences are totally different from the rest, wich have only one track. You can recognize them for the "BTS"

The XL7 comes with 36 factory presets wich uses the Super Beats function. Honestly, I've use them for some advertisement and documental soundtrack work, they are hyper cheesy and standarized stuff, but very fun to play, and proper for the masses....

***The XL7 has 36 bts presets with this amazing function, but if you browse the Audition Riff list from the patch's edition screen, button 15 (Arp/Riff), you'll find that there are 107 different BTS sequences.
This is a lot of unused material to create beat sequences. Each one of these 107 BTS riffs, have 16 mutable tracks, wich can be used in your User Presets.


***The MP7 has 51 BTS Audition Riffs. Not a single one of the factory ROM presets, use any of these 51 complex sequences. You MUST create your own user presets on the MP7 in order to activate them....

Dig the command station, and find out a LOT more than what you expected. Lots of hidden, unused features everywhere.


The presets of the ROMS can't be erased. Adding more ROMS to an unit, does not add new user preset locations.

ROMS come with 4 or even 5 banks of presets.

XL7 Xtreme Leads ROM:
128 x 5 : 640 Presets
# of samples: 1210

MP7 Mo'Phat ROM:
128 x 4 : 512 Presets
# of samples: 1099

Halo Q ROM
128 x 5 : 640 Presets
# of samples: 443

Beat Garden ROM
128 x 4 : 512 Presets
# of samples: 547

ROMS can be so different between them. Please notice that some of the ROMS previously mentioned, show a big difference in numbers regarding the amount of samples, but all of them are 32Mb ROMs.
Most of the XL7 Rom's samples are short hits. It has an impressive amount of different drum sounds, and a few long, rich formant samples.
The Q ROM has only 443 samples, but they are high bitrate, and studio quality classic sounds, wich require more memory space each one of them. Some of the Q ROM sounds are multisample (many samples inside one single sample location) like the "Perfect Piano" waveforms, wich have several piano notes samples across the pitch scale, in order to provide more realism.

So when, you combine several ROMs, you are mixing samples coming from different musical tendences and creative people. Designed not by a single company, but from separated individuals with their own concept of how to fill a ROM with sounds.

Rob Papen made two ROMs for the Command Stations. The Construction Yard and Beat Garden ROMs.

I have the Beat Garden installed on a unit other 3 ROMs, and it sounds so radically different. Is quite singular. Lots of guitar riff samples, tambourines, and woody, picked basses. And the percussive sounds and effects are very distictive. Some very handy hi-hat collections and superb big toms, crashes, cymbals and drumkits.
However, Rob Papen barely used the arpeggio functions on its presets. Almost all of them have the same arpeggio assigned....

When you combine multiple ROMS in a single unit, something explodes in the sound palette. Depending of the installed ROMS, you get a very unique instrument, with an arsenal of functions available to your creativity.

ROMs can interact between them and produce sinergy. They can provide such a vast selection of sounds of all genres and categories, wich can be manipulate on infinite ways under a complex system of programming and sequencing forms.
Old 8th May 2017
  #187
Here for the gear
 

Hi. Hope to get some help. I have the XL7 command station. Sequencer works fine, however, I get a save failed message after recording. Any suggestions. There's a 0 % in the upper right hand corner of the screen. If it's the memory, how do I add to it? I'm a bass player. New to this...Lol. Help!
Old 8th May 2017
  #188
Quote:
Originally Posted by Dzaire View Post
Hi. Hope to get some help. I have the XL7 command station. Sequencer works fine, however, I get a save failed message after recording. Any suggestions. There's a 0 % in the upper right hand corner of the screen. If it's the memory, how do I add to it? I'm a bass player. New to this...Lol. Help!
As far as I know it's not possible to add memory but you can delete user patterns or songs that aren't necessary. If you don't want to delete them you should be able to save them with a sysex dump, back them up and reload them later when needed.
Old 17th May 2017
  #189
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balma's Avatar
Maybe one or more patterns in the memory could be corrupted and that's the reason you cannot save new data.
If you use the sequencer often, the unit ask you to compress data from time to time. I suppose it also warns you about the remaining memory.
The sequencer's capability is 300.000 notes. I have more than 500 patterns, and the remaining memory is 47%.
Old 22nd May 2017
  #190
Here for the gear
 

Quote:
Originally Posted by balma View Post
The MP7 comes with a big variety of contemporaneous music hits, like short trumpets, vinyl samples, brasses, keychords, etc, plus the cheesy voice samples.
Lots of sounds wich are not looped, and tons of different percussions. There are some very good sub basses and kicks.
They can sound very eerie when modulated with 12 order filters.

To make the short samples to loop while holding a sound, send a clock divider to the SampleRetrigger destination on the mod matrix:

LA PATCHCORDS
Clk8th -> SRetrig +100

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.
The clock is mathematical clock right? is there a good way to invert it to be "musical"/"on the beat clock"? I got it working by feeding it to a gainX4 with inverted polarity (i think)...but that will take up so many modulation slots..you have any tips for getting "on the beat" clock with the Sretrig?

Thanks Balma great tips here!
Old 22nd May 2017
  #191
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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
I get the same result with the clock divider...seems like it is a mathematical divider not a "musical" (on the beat divider)...or maybe we did the same mistake
Old 2nd June 2017
  #192
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CarLofgren's Avatar
 

Quote:
Originally Posted by Poumtschak View Post
IIRC, there is no battery in the Command Station.



Everything is stored in flash memory.

Edit: while we're at opening our units, this trick solves the infamous humming noise in the headphones







Copper Foil Tape FTW.
Hi Poumtschak - could you please tell me what you did here? I tried to add some metal foil tape to the sides, but that didn't help.

/C
Old 2nd June 2017
  #193
Gear Maniac
 

Quote:
Originally Posted by CarLofgren View Post
could you please tell me what you did here?
Used Copper Foil adhesive Tape to ensure good grounding between the bottom and top cover. This solves the humming noise in the phone jack socket.

Old 3rd June 2017
  #194
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CarLofgren's Avatar
 

Quote:
Originally Posted by Poumtschak View Post
Used Copper Foil adhesive Tape to ensure good grounding between the bottom and top cover. This solves the humming noise in the phone jack socket.

Damn - I didn't use copper foil, but aluminum foil tape. Didn't help an inch. I noticed the ground wire in the pictures - do you remember how that was connected? When I checked my unit I noticed there's no wire like that.

/C
Old 3rd June 2017
  #195
Gear Head
 
Ercole's Avatar
Hi all !

my XL1 turbo is coming back from repair next week and THIS thread I am going to read !!!
Old 3rd June 2017
  #196
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Quote:
Originally Posted by CarLofgren View Post
Damn - I didn't use copper foil, but aluminum foil tape. Didn't help an inch. I noticed the ground wire in the pictures - do you remember how that was connected? When I checked my unit I noticed there's no wire like that.

/C
i hear that 12V gooseneck jack can interfere with the sound..may be worth investigating.
Old 3rd June 2017
  #197
Quote:
Originally Posted by Ercole View Post
Hi all !

my XL1 turbo is coming back from repair next week and THIS thread I am going to read !!!
Curious what was wrong with it. I've got a standard XL-1. It'd be nice to know about any future issues that may arise.
Old 3rd June 2017
  #198
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CarLofgren's Avatar
 

Quote:
Originally Posted by mastaman View Post
i hear that 12V gooseneck jack can interfere with the sound..may be worth investigating.
Thanks - the buzzing is really not a big deal since I always use the individual outs. But it would have been cool if the tape solution would have worked for me.

/C
Old 5th June 2017
  #199
Gear Maniac
Quote:
Originally Posted by mastaman View Post
i hear that 12V gooseneck jack can interfere with the sound..may be worth investigating.
definitely, confirmed
when goosnecked, my S/PDIFF out sparkles/clicks/pops
when no lamp attached, pure digital out
Old 5th June 2017
  #200
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abruzzi's Avatar
 

I haven't used any tape on mine, but I have found that the gooseneck is horrible (is it the lamp I have or the socket?). I've also found that whenever I open is to change a ROM, I frequently get noise that I have to loosen the screw and re tighten to minimize. I've considered running a ground wire from top to bottom to see if that makes it more reliable, or a buffing wheel to make a bare spot on both sides that makes better contact when screwed down. Copper is a better conductor than aluminum, but I'd think if the goal is to create a reliable ground connection between the upper and lower half, aluminum should work as well.
Old 27th July 2017
  #201
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balma's Avatar
Quote:
Originally Posted by Ercole View Post
Hi all !

my XL1 turbo is coming back from repair next week and THIS thread I am going to read !!!
I hope so!

I came back to my two units, plenty of new ammo and techniques, thanks to literally 6-8 daily hours of Emu reprogramming during the last months. Yeah, around 300 hours of work during may, june and july 2017 gave me a lot of new material for this thread.
Each time I retake the command station, I realize this synth can literally do anything, there's always a route to follow to achieve "that sound" you want to get.

I finally fixed the issue I had with the two main outputs. I have three units, sacrificed one of them to extract parts for the other two... so now I'm fully on the EMU sound again....

Believe me. This thing can't sound better. So, so much sound to deliver. The most powerful ROMpler of all times is gonna kick some asses....

Fully reprogrammed the 12 tune scales and user arpeggios, reorganized the user patch database, and kept writing everything I did on my PC.
Come back soon!
Old 27th July 2017
  #202
Here for the gear
 

New here, just found this , wow, nice going B, thank a bunch!
I have a question that I have posted around over the years since I bought the Definitive B-3 ROM but still haven't found an answer to.

I can save the patches form the B-3 ROM to user banks but can't edit the layers like I can on others. Particularly the sounds or volume levels on each layer.
I have another ROM that allows me to do this.

I can change the settings of the layers of the B-3 patches digitally, I see the numeric value change, but it makes no change to the sound. So the values change but the sound does not change.
Would this be a glitch with the ROM, P-2500 , or just the way it works?
Old 30th July 2017
  #203
Here for the gear
Hello all! Very glad to have recieved my xl7 this morning. I have a question regarding using midiCC to external devices

I know you can map cc number to the knobs and record the movements into the sequencer which is great!

But what i REALLY wanted to do was use the lovely tempo synced lfos and envs to do this, i assumed you could map an lfo with a patchcord to midiA...P but i dont actually think you can. Is this possible or not? Is there a work around to achieve this at all?

The sexy orange box does everything else id want (so far atleast!) but being able to do this would be perfect

Tha ks for your help guys and thanks bulma for an awesome thread of info and insights!
Old 3rd August 2017
  #204
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balma's Avatar
Quote:
Originally Posted by alan93 View Post
New here, just found this , wow, nice going B, thank a bunch!
I have a question that I have posted around over the years since I bought the Definitive B-3 ROM but still haven't found an answer to.

I can save the patches form the B-3 ROM to user banks but can't edit the layers like I can on others. Particularly the sounds or volume levels on each layer.
I have another ROM that allows me to do this.

I can change the settings of the layers of the B-3 patches digitally, I see the numeric value change, but it makes no change to the sound. So the values change but the sound does not change.
Would this be a glitch with the ROM, P-2500 , or just the way it works?
Most of the ROMS have their own standard knob configuration for all the factory presets.
For example, the XL7, MP7 and PK7 have most of the knobs programmed in the same way.
A: filter, B: reso, C: filter env amount, D, filter decay, E: attack level... etc

Standard configuration goes in this way on most of the ROMS:
A to D: filter related tweaks.
E to H: ADSR amp envelope related tweaks
I to L: velo to amp, LFOs related
M to P: pitch, fine tune, arpeggio tweaks.

BUT, some ROMs have their own knob program setup, (normally a crappy one...)

I haven't use the B3 ROM, but I'm sure ALL the ROMS can be tweaked and programmed exactly in the same way with the Proteus engine, and there's no relation between the ROMs and the possibilities of knob/edition programming.

Could you let me know which are the sentences of the modulation matrix of a common B-3 ROm preset in order to know how are the knobs affecting the layers? Then maybe I can help
Old 3rd August 2017
  #205
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balma's Avatar
During the last days I've been trying to clearly define in my head, what makes the Emu Command Station so special and inspiring, at least in the areas I've implemented it.

Adding extra ROMs, definitely has a sinergic effect on its sound palette. There are ROMs for multiple applications and designed to compose specific genres of music. ROMs for cheesy latin salsa, for hip hop, EDM, acoustic, keyboard performing, ethnic, world, vintage sounds, Rob Papen's taste etc....
When you combine such different set of sounds, into such powerful, versatile engine, then you see how the most cheesy trumpet hit sample adquires a new personality, when combined with the cheesy voice of a hip hop drumkit...
Classic genres, make intense use of certain types of sounds/instruments, while ignoring other ones. When you combine them, they help each other to create a quite interesting arsenal of sounds. Depending wich ROMs you have installed, your command station will sound radically different from other ones. And creating user sounds from the combination of different ROMs, will result on a very particular sound palette.

A rare sound palette, designed by you, after years of slowly sculpting your ideal set of sounds in this synth, can make the difference. A fully expanded command station can make this happen...

The Zplane filters play a very important role in the sound design. You must understand how each one of these filters affect a sample, because they are complex, and fcking rocket science.. The filters allow to extract frequencies of the sound in a variety of ways, emphatizing or substracting specific bands of the sample's spectrum.

There you have 50 different filters, for specific purposes and for experimentation, wich can dramatically morph samples into something unexpected...
Some Zplane filter can produce crazy ringtones, radical stuff, and even some of them must be used carefully, implementing a highly resonant filter over some samples (like the Audity waveform samples from the XL-7)can damage equipment... I've done it...

You can substract tone from 4 samples using 4 different filters, and then layer them to create a single sound. In some way is additive and substractive synthesis at the same time . You filter different samples, to make them complementary with other samples and produce a new sound from the interaction of both.

Now take in consideration that you can control the parameters of each one of these filters inside a preset on realtime with a specific knob. You can split the function of the knobs to modulate the filter affecting the samples inside a patch, and modulate them with 4 knobs. of The polarity of such modulations can be inverted, decreasing the filter while moving the knob to the right. You can also increase the filter of one sample, while decreasing it in another one, with a single knob. That's just a possibility between many.

Then you discern.... f*ck.... I can program the knobs at my will, for each sound. I can improve the functions of these 16 knobs, to make improve my "string pads" a lot! Why?
If I program a pad using the 4 layers, I can change the behavior of the knobs, to serve the particular purposes or implementations of a specific sound category, like strings!.
Strings change their attack time in multiple ways, they tremble, subtle or dramatic, tender, and are not short sounds, they can sound good if holded, and with variations in volume and subtle fine tune changes...
So, as an example, I can focus on these particularities found on stringpads, and focus on attack level and volume realtime manipulation. You can use 4 knobs, to control the attack level of each one of the layers by separated, use 4 more, to control the volume of each one of them...
A single knob, to produce vibrato, creating a patchcord and sending one of the LFOs to the pitch, and then, modulating this patchcord with a specific knob. Another one, can be used to control the LFO speed.
Also, you can change the L/R pan of each sample, with multiple knobs, or produce delicate variations in fine tune, sending the auxiliar envelope to fine tune with a patchord, and then modulate it. Knobs can control specific and global parameters at the same time.

Using the classic knob setup and tweaks of the factory ROMs in your sounds, is like ignoring the 90% of potential... You MUST create your own tweaks and knob functions to awake the monster inside this synth. It is what makes it so good. You can act like a crazy scientist, and create a Frankestein sound, from unusual combination of samples into single sounds, and then, think how you want to control it.


So, command station also allows you to improve the real time performance of each sound you design, rearranging the functions of your knobs to serve your evil purposes muhua ha ha ha ha ha

I'm semi drunk, so I'm leaving for now.. If you want music made with these techniques, let me know.. hic
Old 3rd August 2017
  #206
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manalishi's Avatar
I've been collecting up EMU ROMs for a while: Techno Synth thingy, XLEAD, ORCH1, ORCH2, Vintage Pro. Even for ROMpling, they're a alternative flavour to the Roland I7.

Shamefully, I haven't even tried programming.
Old 4th August 2017
  #207
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balma's Avatar
Quote:
Originally Posted by manalishi View Post
I've been collecting up EMU ROMs for a while: Techno Synth thingy, XLEAD, ORCH1, ORCH2, Vintage Pro. Even for ROMpling, they're a alternative flavour to the Roland I7.

Shamefully, I haven't even tried programming.
gonna be locked in my room for a while.....

Edit

Actually I don't blame you. Is hard to find out what is capable of.
Cheesy/standarized factory presets, fancy colors... romplers aren´t famous for their extensive modulation matrices.....
But the case is that Command Stations are romplers equipped with a huge modulation matrix: 96 connections per preset, with a long list of sources like pink, white noise and different random generators. Clock dividers, crossfaders, 3 ADSR envelopes with +/- polarities, with 6 stages wich can be sync to the tempo, etc...
Between a source and a destination, you can use lag processors, wich modify the signal between two points (example LFO --->Filter).
You can atenuate or amplify the effect of a source, like the pink noise generator, placing a lag processor like the 4GainX and then, send it to the filter, or even, you can "quantize" the random granulations of a white noise and then, send it to X destination.
There are so much tools at your disposition to sculpt an infinite amount of great, original sounds. Each waveform layer inside a preset has its own set of patchcord connections (24 slots per sample)
You can use 8 different LFOs per patch, and there are 15 to choose from, each one of them with its random generator, (known as "variation" parameter) and a start delay wich can be sync with the tempo.
Each voice can use its own chorus effect, and the Chorus amount is a destination too, inside the modulation matrix. That means, you can control it with the ADSR envelopes, the LFOs, whatever... and you can use 4 chorus per preset, and modulate them by separated in different ways.
Three presets can be layered in a single patch with the link function.
That boost the possiblities X3:
24 LFOS per patch
288 patchcords
12 different filters
You can spend a week programming one of those massive supersounds, using three user preset locations to create a single sound.
Now, add a powerful, magnific sequencer integrated, a vast arppegio section and intutitive control of external gear.

Some punk told me on another forum that those E-mu romplers were s*it, but they had "very good oboes" BTW he said the Nord Modular was the king of digital modular synthesis.... That's the common idea about these instruments.
But the reality is another one. It kicks the ass of any other synth I've used, in terms of multifunctionality and sound possibilities. That's a fcking surprise indeed...

Last edited by balma; 4th August 2017 at 12:00 PM..
Old 6th August 2017
  #208
Here for the gear
multiple arps to single ext synth

Can anybody please help me with using multiple arp patches to an external synth

The arps play single notes i have a 4 voice synth can i use 4 tracks with arp patches to play different arps on the one synth simultaneously?

Because you have to route the midi on a track to "both" in order to output the arp notes if i use another track also it doesnt send the 2nd arp to the synth any help please? thanks guys!
Old 6th August 2017
  #209
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Quote:
Originally Posted by AnoNeko View Post
Can anybody please help me with using multiple arp patches to an external synth

The arps play single notes i have a 4 voice synth can i use 4 tracks with arp patches to play different arps on the one synth simultaneously?

Because you have to route the midi on a track to "both" in order to output the arp notes if i use another track also it doesnt send the 2nd arp to the synth any help please? thanks guys!
Do you want to merge 4 arps to 1 midi track?
Is your synth multi timbral ? What synth is it?

I think if you send the arps to separate midi channels it should work...or if you have some option on the midi synth to receive OMNI midi...then you can send out on different channels and it will be "merged" in the synth. (i think
Old 6th August 2017
  #210
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balma's Avatar
Yes, you can trasmit up to 16 different arpeggios at the same time with the sequencer.
-In the ARP Menu, set ARP/RIFF MIDI OUT to "transmit arps"
-Each arpeggio you want to transmit must be set in the Sequencer's Channel Assign screen to "both"
-If doesn´t work, go to MIDI Global Menu and turn the "KEYBOARD OUTPUTS MIDI" to "don't transmit"
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