Sequencer Capabilities E-mu XL-7 Vs Yamaha RS7000

[Sir Nose]

I am looking a purchasing either an RS7000 or an E-mu XL-7 (or MP-7/px-7 plus XL ROM card). I understand that the E-mu does not include a sampler and most of the differences in their synthesis capabilities. I am loking for info comparing their sequencing capabilites. Looking to use it in a live setup both to sequence internal sounds and external gear.

[meatballfulton]

A huge difference is the E-Mu has multiple arpeggiators (one per part I believe) while the Yamaha has only one.

E-Mu can sequence over two MIDI ports, Yamaha cannot.

[Sir Nose]

Thanks for the helpful info Multiple arps would be a huge plus.

Can anyone give their opinion on live playability? Can one of the machines perform certain things on the fly the other can not?

[Sir Nose]

Bumpity bump bump

I am still looking for some help here. I have read most of both manuals. (note: maunal reading without the hardware infront on me to tweak sucks poo balls).

I am leaning more towards the Commands Station but still only 60/40.

Can anyone who has used both give their opinion?

Thanks

[masstronaut]

You can do a lot of tweaking live with the E-MUs but you might find it takes a bit of setting up to get the most out of it. But then what doesn't. The synthesis and modulation stuff is very comprehensive (Proteus 2000 engine). There's a good editor out there now as well which makes extensive editing a bit less like hard work. There are 16 controller knobs and they can be assigned to most internal synth parameters per track / patch and also used to control external gear.

The synthesis on the Yamaha is more basic (imo), but of course it has sampling. What it does have is some more esoteric sequencer functions - groove maps (the E-MUs have a nice but simple variable swing quantise), various MIDI effects, different track lengths in the same pattern and so on. The audio effects section is rather more thorough than the basic dual FX block with limited routing you get on the E-MUs too.

So it's swings and roundabouts a bit. The E-MUs are great - the excellent synthesis, arps and control stuff shouldn't be underestimated. Their MIDI timing is also very solid. The RS has sampling and some wacky sequencer stuff.

I'm a big fan of sampling but there's also something kind of satisfying about having ROMs full of nice waveforms to muck about with.

Oh yes, the E-MUs also have 13 velocity and aftertouch sensitive pads where the RS only has two with velocity.

[balma]

Talking about sequencing external gear, the Emu is simple amazing... RS7000 can't even touch it in that area...

There's an option on the Emu sequencer named Multi track, I'll try to explain it:

you record a whole 16 track pattern. Take one track, like the Midi track 1, and then copy all the other tracks from 2 to 16, inside the track 1. Then go to the MIDI options and assign that track 1 as "multitrack A". Now, you have the 16 tracks compressed into a single track, and you can erase tracks from 2 to 16 and record new tracks.

There are 32 tracks on each pattern, 16 MIDI A, and 16 MIDI B. You can compress the 16 A channels into a single track, and also the MIDI B channels.

Compressing all the MIDI channels, can result on patterns of 62 tracks that can be transmit externally. If you assign empty patches to these 62 tracks and all EXT, you won't notice any problem on the poly....

There are 1024 pattern locations, organized on 8 groups, you can browse them on a X, Y basis, go left or right, or go up and down, scrolling patterns. This organization is so intuitive.

Even better, WHILE playing the sequencer, hold rec and play, and you'll be able to access grid'record mode, where you can see the notes on a minimap of 16 steps. Use the knobs to input notes, the range of the knob, will be volume of the note. Play a note, and it won't be recorded, until you move a knob. then, you'll see the note visible on the minimap. The 16 knobs will correspond to the 16 positions of a 1 measure pattern, so moving a knob is like recording a note. Shift a button, and now the knobs will increase/decrease gatetime.

Exit the grid mode, and now shift another couple of buttons. Now you enter MEGAMIX mode, where you can bring ANY track of any pattern location inmediatly to the current sounding pattern. You can bring the track 7 from the patternn 480 to the track 2 of the current pattern inmediatly, it's like a super fast COPY/PASTE track function....

Then, press track edit and you'll be able to access sequencer edition menus, where you can see the information of the events on the tracks. Modify whatever.

What I want to demostrate, with this options, is how cool and fun is to record sequences on the EMU. Is simple, totally addictive. And the best of all: I did all these actions, without pressing the button STOP.

You can make dozens of edition tasks, go in and out from record modes, go crazy with edit functions and recording notes or controllers, or mangle patterns between them, without stoping the music.

Almost everything can be done on the fly. while playing a pattern, press "BEATS" and a new world of prearranged sequences, will be layered over the sounding patttern....

You can create 100 32 step user arppegios, with lots of functions over them, and with 4 ROMS, you have access to around 1200 preset arppegios. Copy one to the user locations while playing. You can have 16 different arppegios at the time, and go to the user arppegios, and modify them on the fly, and you'll hear how the arppegio of the channel 15 changes, go to each one of them without having to enter menus or wathever, and modify their lenght, notes, looping, pitch, etc etc etc, while playing the sequence....



And I just tried to explain the sequencing possibilities. You can do so much with them, you can even modify the lenght of a pattern, while playing. Go from 1 to 32 measures looping, without stoping the sequence or doing boring edition work.

The sequencer is flexible, smart, intuitive, whatever. I can't imagine it better.... and the command station is not just a super sequencer, it has a really deep sound engine. Most people would be reluctant to call a great synth to a ROMS Rompler, this synth can create 12 waves patches, and assign a different setting for each one of the waves on each programmable knob. So you can tweak 12 different parametes with only one knob, with 16 knobs, you have work to do with 192 different tweakings, on a single patch..... and it has a pseudo MODULAR sound design concept, with the PATCH CORD function, where you can link most of the parameters between them, like modulating the LF1 with the envelopes and then modulate this with the LFO2. There is so much to experiment there....

After 5 or 6 years of owning two command stations, I would buy a third one.


I do not understimate the Yamaha RS7000, is a great sampler. Yamaha always take care of certain functions a lot, like the swing/ track effects functions, where you can create layers of swing maps. On a 16 sequencer, go to a groovy effect and change the start position, lenght of each note. Yamaha groovy effects are like a sequencing layer that affects the current pattern on a level-startpoint-lenght-gatetime basis. But, menus go complicated...

The effect section on the command station is 90% c**p. Delays are almost useless, there are only a few cool reverbs, but honestly, command station does not have effects section in all the sense of the word. It has some reverbs, fake flangers, fake phasers..

But, go the Z plane filters section... you will forget what is an effect very soon there.... choose UBULATOR filter, and play with the Q (resonance). Create a patch cord between the Q, and the LFO1 or LFO2, add pink, or white noise to the LFO1 rate, quantize it with a quantizator lag, then assign a envelope to regulate them, and then, assigin a knob to regulate the envelope, that regulates the quantizator that regulates LFO1.
Move the knob, je je.... this s**t is so fun..... EMU Filters are a whole world appart to play with, they are so bizarre and singular, resonances are beatiful, timbres are great on them. The effect setion of the EMU, is the Z-Plane filter section.
Envelopes, are a pain in the a*s to program, but there are "Wholeclock" "HalfClock" "QuarterclocK", loopers, lags, etc, weird parameters that can be linked between them....

I hope these last posts can be considered as "help"

[masstronaut]

I knew you'd reply balma.

I'll tell you what though, the grid mode on the X-7 is a bit dumb - it scrolls in realtime from measure to measure as it plays. So you either have to be super quick and edit before it gets to the next measure, or set a loop point and do one measure at a time, which works but involves quite a few key presses.

And the x-mix is a nice idea - definitely good for live stuff, but is there any way to exit it once you've started and go back to the original pattern?

Don't mean to be down on the E-MU, it's great but I wish there was some chance of these small niggles being sorted out. The last update for the RS sorted out quite a few things, not least being able to perform most functions without stopping the sequencer including going in and out of record. I think you'd also be surprised at how many channels are available on the RS as well.

[balma]

I knew you'd reply balma.
And the x-mix is a nice idea - definitely good for live stuff, but is there any way to exit it once you've started and go back to the original pattern?

Nope, I don't consider that necessary in certain way, just save the current modified pattern, go to it and press any edition button to put the * on the patterns name (that means it's modified) and then go back to pattern that you started to edit.


With the latest O.S., came several functions that are a little bit hard to discover. there are a lot SHIFT+ XX button, that brings new features, like the Measure Loop function, where, while playing, shift + x button will assign the starting loop point, and another type of shift, will assing the loop end point. And other shift, will reset it.... So inside a a pattern, while playing, you can loop inside it from X measure to X measure.

Yes I'm a big fan of them, I said I'm looking for a third one and I'll go for it.., I have several years using and exploring them. I love those machines, that have so much options and possibilities, that you never stop discovering new things...

IMO the EMU is the sequencer to go on live acts.

Something good: the community of owners is very active. On the Yahoo group there's activity everyday, the command station designers are there, giving help to the users.
There's a new software tool released a few months ago for the EMU, so EMU (now Crappycreative Labs) maybe forgot about their customers, but not the command station dessigners...

[Sir Nose]

Thank you both for the detailed replies. They were both very helpful. The price on either machine is pretty stable, so there is not much of a finacial risk. Just time spent learning.

[masstronaut]

A couple of people seem to be trying to charge excessive amounts for RS7000s on UK ebay right now. £670!

£450 would be about right for a good one.

[Sir Nose]

I just picked up an XL-7. It should be here tomorrow or the day after.

[aeon]

Have fun!

I have a XL-7 with XL, TSCY, Vintage Pro, and Protean Drums ROMs.

balma certainly spoke very well to the sequencing power of the Command Station - I've never come close to reaching its limits.

I tend to mainly explore the synthesis on the E-mus - once you begin to make use of the Z-planes, cords, and clock synchronization on the unit, you will begin to see just how powerful this sample-based synthesizer is.


cheers,
Ian

[masstronaut]

I would like it if the Extend Sequence Length and Copy / Paste worked properly with odd time signatures. I was doing something in 9/8 - maybe someone can prove me wrong but I don't think it calculates the bar lengths properly.

With the latest O.S., came several functions that are a little bit hard to discover. there are a lot SHIFT+ XX button, that brings new features, like the Measure Loop function, where, while playing, shift + x button will assign the starting loop point, and another type of shift, will assing the loop end point. And other shift, will reset it.... So inside a a pattern, while playing, you can loop inside it from X measure to X measure.

Yeah this is good, I got it now.

I still wish the x-mix would let you go back to the tracks from the original pattern, that's annoying. Once you've substituted some tracks you can't go back to the original without doing a Revert To Saved which entails stopping the sequencer. You can switch in tracks from any other pattern but not the one you're on, that's a bit silly.

Also I hate to say it but I've noticed some timing glitches when switching patterns in pattern mode, very similar patterns with no program changes I might add. It's OK in song mode, but in song mode the mute holds (shift+pattern change) don't work properly. And yes it's the latest OS.

Oh yes and the pattern changes or triggers don't record in song mode so there's not way to chain a song in real-time - you have to enter the pattern changes as steps, that's a bit disappointing and I'm sure the v2.0 revisions were supposed to address this.

Also it would be better if the 'swing' was overlayed in real time. The problem with doing it as a hard quantize is if you change the sequence any new or moved notes won't automatically have the same swing value.

This machine needs one more OS revision - just a few things...

Don't get me wrong, it's good, but it's a quirky f**k.

[masstronaut]

Here's something cool I discovered though - you can edit the arp patterns in real time while they are playing. That almost makes it like an old school step sequencer - change the intervals / lengths / skip steps...

[balma]

don't be fooled with the low price of the command station. I have owned two of these sequencers during 5-6 years???

And I use them each day of the week. The command station is a very powerful synth. Its intuitive sequencer is the result of a labour of love from several programmers and inventors.

i have user as sequencers:

4 electribes
all the MC series: 307, 505, 909, D2
RM1X
Motif, Triton, Karma, Fantom, W7, EX7 etc etc.....

Not any of these synth with sequencer, can barely touch the command station sequencing concept.

Totally underpriced synth.

And mine have suffered about 2000 hours of hard use, traslation to parties, vomit, beer, cigar smoking, ashes, dust, pie cream....

And they still working.


here's where you can feel the difference between a comercial shitty product, and an invention made with commitment.

The OS is very OK!!!. Mr Aaron Appolito and Bob, both programmers of the Command Station, even made a survey between Emu users, to create the new update of the OS. Now, that's commitment.

Some tips I have wrote aboutt sequencing....

general subjetive tips:
Sometimes, patterns created throught step-by-rec method, results in non-human, boring or repetitive sequences. Recording music with exact perfect timing gives an unnatural feeling to the music, because 100% accuracy isn't normal. When a human foot hits a kick drum, it's leading the tempo of the song, but it has diminute, small innacuracies on the timing. I'm unable to repeat that kick at the exact moment each time when pressing the pedal with my foot. There will be differences of milliseconds, sometimes earlier, sometimes later than the exact 4/4. Also, there is a variation on the strenght of each kick, sometimes, I press a little bit harder, others, softer than expected. These little variations can be almost imperceptible on a good drummer. But the brain can perceive this little differents when listened on a consecutive and acumulative way. And that's the reason why we get bored of listening the same exact loop during several repetitions, because the brain recognizes that the pattern is always the same, with no variations, so, there is no more information to process, only the same picture again and again. We lose interest on the melody.
There are certain process that we can execute in order to give a natural feeling to our music, specifically, the compositions with the EMU command station. When we record a bassline, with any process diferent than realtime rercording with the Quantizer OFF, the notes will be aligned to strict tempo locations after finalizing the recording. This is the result of a recording on realtime, but quantizing the results. Recording on step by rec or GRID will result even in more strict and rigid parameters. This example, is a recording of 16 notes on 1 mesuer, using a resolution of 1/16, according to the EMU Command Station sequencer: Location01-01-000 velo 120 gate time 70 01-01-096 velo 100 gate time 7001-01-192 velo 110 gate time 7501-01-288 velo 100 gate time 7501-02-000 velo 120 gate time 9501-02-096 velo 120 gate time 9501-02-192 velo 120 gate time 9501-02-288 velo 100 gate time 9901-03-000 velo 112 gate time 7001-03-096 velo 127 gate time 9901-03-192 velo 120 gate time 9901-03-288 velo 127 gate time 9901-04-000 velo 100 gate time 9601-04-096 velo 112 gate time 9601-04-192 velo 112 gate time 7001-04-288 velo 127 gate time 99 The programmation of the patch also plays an important role on the patterns' overall sound. So, be sure to include in all your patches, random variations or sensitivity to the key pressure. These cords will help a lot in our goal: give a nature and human feeling to our patterns: CORD 1AmpEnvelope +/- ----> Ampvol +100 CORD 2Velo +/- -----> Ampvol +75 CORD 3Keyrandom1 -----> Fine tune -3 CORD 4Keyrandom2 ----->Ampvol +3 CORD 5Velo + ------> Fine tune +8 On CORDS 3 & 4, the value is small because we don't want to cause an excesive effect of aleatory values, just a little bit. On the natural kicks, for example, if you press harder the pedal, the pitch of the kick sound will rise a little bit, so we try to emulate this, linking the key velocity with a increase on the fine tune. The harder you press the pad, the higher the fine pitch. That's what we tried on the CORD 5. Now, let's change the 16 notes table example. Remember: The range of velocity is 1~127The resolution is 384 per kick We have 16 notes. Why repeat exactly the same value on each note? why repeat a value twice, when we have more than 16 velo options to choose? Let's apply this concept, let's create patterns inside patterns. On the first note, never start at 01-01-000. Give a break to the sequencer, some milliseconds at the beggining of the loop. Let's use 16 different values, on the gate, the velo and the start time. Don't repeat the same value twice inside one measure. don't understimate micro variations on values. Your brain will perceive them, and will find pleasure on them. 1) Modifying the start time 01-01-003 velo 120 gate time 70 +301-01-095 velo 100 gate time 70 -101-01-198 velo 110 gate time 75 +201-01-292 velo 100 gate time 75 +401-01-381 velo 120 gate time 95 -201-02-096 velo 120 gate time 95 =01-02-189 velo 120 gate time 95 -301-02-293 velo 100 gate time 99 +501-03-383 velo 112 gate time 70 -101-03-092 velo 127 gate time 99 -4 01-03-198 velo 120 gate time 99 +601-03-283 velo 127 gate time 99 -501-04-007 velo 100 gate time 96 +701-04-104 velo 112 gate time 96 +801-04-201 velo 112 gate time 70 +901-04-282 velo 127 gate time 99 -6 So, now realize that all the start times are different. This is not absolutely necessary, a couple of values could coincide, that will be natural too???? (repetition, is also a form of change....Brian Eno).We are moving in a range of -6 minimum, and +9 maximun. If we go to far away on unnacuraccy timing, you could lose the tempo. Modifying the velo> 01-01-003 velo 118 gate time 70 01-01-095 velo 98 gate time 70 01-01-198 velo 108 gate time 75 01-01-292 velo 100 gate time 75 01-01-381 velo 110 gate time 95 01-02-096 velo 120 gate time 95 01-02-189 velo 95 gate time 95 01-02-293 velo 105 gate time 99 01-03-383 velo 115 gate time 70 01-03-092 velo 102 gate time 99 01-03-198 velo 112 gate time 99 01-03-283 velo 122 gate time 99 01-04-007 velo 101 gate time 96 01-04-104 velo 111 gate time 96 01-04-201 velo 91 gate time 70 01-04-282 velo 121 gate time 99 Now, on the velo time, we applied a similar concept. But not the exact concept. You'll notice that I didn't repeated a single value, but I kept a pattern: there are groups of three, that end with the same value. The first group, 118,98 and 108, ends with 8, and goes on a range of 20. The same with the 2nd group of three notes, 100,110 and 120.

Use your imagination. Find order inside the chaos. Find patterns between a group of values that seem to have no relation between them. (for a good reference about the world of patterns on the nature and mathemathics, watch "PI, faith in chaos") For example, on a group of numbers, that seems to be aleatory, you can hide a code of order. Use, for example, the FIBONNACCI numbers, or PRIME numbers, inside a group of random values, of, for example, velocity range numbers. some Fibonnacci numbers: 1,2,3,5,8,13,21,34,55,89, On a sequence of 16 notes, on the notes, 1,2,5,,8 and 13, use a velocity on a range between 80 and 90. Just an example.... Could you find a pattern on a sequence of notes like this one???? Maybe you won't find it in a concious way, but be sure, you're subconcious will appreciate it. some Prime numbers:1,2,3,5,7,11,13,17,23,29 Apply prime numbers, on the start time, from backwards, to forwards, using only the 1,2,3,5,7,11,13 and 23 prime numbers.... There are infinite ways, to create hidden ordered patterns inside values that seem have no sense of order. In this way, going deep inside the mathematic world of music, you can create very complex harmonies, that will sound fresh each time you play them, because your brain will discover something new, from time to time....



Focused on the Command Station:

USING 31 TRACKS (plus 15 knob automatization individual tracks) inside a pattern....

For being able to run 31 tracks, no matter the MIDI destination, you must use the MULTI A or MULTI B functions.

You can play the 31 tracks at the same time (watch out for poly, dude) but you won't be able to mute/unmute 16 of them. Mutes for tracks store on Multi A must be recorded as a knob tweak.

Record the 16 tracks that later will be send with the MultiA or MultiB track .

Remember to select for the Multi A or Multi B function, a low number track. They have the highest priority when talking about MIDI flowing.

Suppose you chose TRACK 1 A for this. Copy, one by one, tracks 2,3,4,5,6,7,8,9,10,11,12,13,14,15,16 into it.

OVERDUB not REPLACE.

I higly recommend before doing this, a tip to avoid MIDI overflow, having too much notes starting exactly at the same time. Go to the function "note start time" and increase on track 2, 0,001 to all notes. 0,002 to all notes on track 3, 0,003 to all notes on track 4. And go on until track 16. So you'll have tiny differences on the start time of the notes on each one of the tracks

After this, you'll have a big bunch of MIDI sentences in this track. If notes are not too long, or too much clustered exactly on the same point, MIDI flow will be tight and clean.

Go to the MIDI screens of this pattern, and assign that track 1A as MULTI A.

Erase all tracks from 2 to 16.

Now you have all those tracks from 2 to 16, compressed on track 1. You can activate or deactivate them by separated.

If you used MULTI A, tracks now from 2 to 16, must be assigned to tracks 2 B to 16 B. Despite the tracks 2 A to 16 A are now empty, they still holding information about patch selection, pan and volume, that will affect the info inside the track MULTI A


Something, very, very cool!!!!:

Now you have free way to record 15 new tracks after all these operations. And the other tracks that were copied to MULTI A and then erased, can actually HOLD KNOB TWEAKINGS for all the patches inside Multi A!

Despite the tracks on Multi A, are not able to be muted, you have 15 triggers of note tweakings.


a) TIPS FOR PROGRAMMING CORDS ON THE EMU COMMAND STATION:
One of the most interesting features on the EMU romplers on the patch edit section, is the cords function. Cords function allows you to link certain patch parameters, to create interesting combinations, and control those linkswith the programmable knobs. I present the most simple ideas trying to be creative with the patch cord programming, these are just a few of several routes I tried to explore...others are a headache to write here for a non english speakerThe cords work with the SOURCE/DESTINATION concept. On the EMU romplers, If I want to control the volume of the sound with the key sensivity, I have to link the VELOCITY parameter (source) with the AMP VOLUME (destination) , so, the cord could look like this:
VEL+/- ----> AMP VOL + 127. Creating a wide of phat effect using 4 layers with the same instrument:On the patch programming section, you can specify the start point of the patch, from a range of 0~127.You can assign the sample start point to a knob.But the interesting point is to assign a different start point for each one of the layers, using the same instrument on the 4 layers...
Assign a lead sound to the layer 1, and with the copy layer function, copy it to the locations layer2, layer3 and layer4.Then, go to the cords screen, and create this cord:
Layer 1MIDI A -----> Start Point + 5Layer 2MIDI A -----> Start Point + 10Layer 3MIDI A -----> Start Point +15Layer 4MIDI A -----> Start Point +20
Try moving the Knob A, and listen carefully the effect that produces when the four layers loop and start at different times each one.
A similar effect can be produced, using the knob B to control the fine pitch:
Layer 1MIDI B -----> Fine tune +1layer 2MIDI B -----> Fine tune -1Layer 3MIDI B -----> Fine tune +2Layer 4MIDI B -----> Fine tune -2 Now, activate the chorus function , assigning the same parameter to each one of the layers, program the third cord with these parameters:
Layer 1MIDI C ------> chrsamount +20Layer 2MIDI C ------> chrsamount +40Layer 3MIDI C ------> chrsamount +60Layer 4MIDI C ------> chrsamount +80
A weird sample loop effect with the GAIN4X parameter,GAIN4X can be source or destination. It's at both sides. GAIN4X amplifies, if you can program it correctly.
CORD 4: (For all the layers)GAIN4x -----> Sloop +127CORD 5: (for all the layers)QUantize ----> GAIN4X +0
CORD 6 (fo all the layers)MIDI D -----> CORD5Amount + 127
With these three cords, you will link the gain4x to the sloop. But this will only be activated, when you link something to it from the source and put GAIN4X again but as a destination . You leave this cord in 0, and then, you have to assign a MIDI controller to this 2nd cord, in order to control the amount of both cord programmations. Creating a soft RANDOM effect for alive sounds. On this cord, we'll play with the LFOS, and link it to the ampvolume of the instruments. You can use parameters a little bit different for each one of the layers to create a more unpredictable effect.
this is useful for pads:Program on each one of the layers, on the LFO screen, a LFO1: RANDOM effect. Running free
Then, go to the CORDS section:CORD 1:
LFO1 +/- ----> Lag0IN +100CORD 2LAG0 ----> QUantize +50CORD 3Quantize ----> AMPVOL +25
If you want to control the random effect instead assign a frozen parameter on the CORD 3, you can put the CORD 3 on 0, and then, using fourth CORD to assign a MIDI KNOB to control the CORD 3 on a specified range.There are several ways to create this effect, and using a different one for each layer, will enhance the variety of the patch.CORD 1WHITE(or pink) ----> Quantize + 127CORD 2Quantize ----> AmpVelo + 0
CORD 3MIDI F ----> CORD2Amount + 127
Instead AMPVelo, you can use the filterfrequency.



b) TIPS FOR ENHANCING THE INTERACTION BETWEEN A PATCH AND ITS ASSIGNED USER ARPEGGIO:

The EMU arpeggiator, doesn't allow to record the arpeggio notes on its sequencer (command stations and proteus 2500). This is something rigid, an inconvenience when you want to change some notes on the arpeggio, and get bored of hearing the same sequence of notes time after time.But with this method, you can change certain notes of an arpeggio just moving the knobs. Let's create a USER ARPEGGIO, on the user location 01, with these parameters.. . this is just a simple example, but you can make it longer, with the 32 available positions for each arp:
USER ARPEGGIO 01, velo: velocity
trans: transponse or coarse
dur: duration or lenght of the note.Note 1 velo 55 trans 0, dur 1/16
Note 2 velo 75 trans +5, dur 1/8
Note 3 velo 95 trans +2, dur 1/16
Note 4 velo 105 trans 0, dur 1/16
Note 5 velo 70 trans+12, dur 1/8
Note 6 velo 110 trans 0 dur 1/8
Note 7 velo 50 trans +2 dur 1/16
Note 8 velo 85 trans +5 dur 1/8
1. Go to the patch edition screen. use an "arp template" sound, that one that has default values. Using the COPY LAYER function on the Save menu, copy the layer1, to the locations 2, 3 and 4.2. Go to the velocity zone programmation screen. Input these values:Layer 1 velo range 01~60
Layer 2 velo range 61~80
Layer 3 velo range 81~100
Layer 4 velo range 101~1273. Go to the CORD programmation screen. Input these values:
CORD1
layer 2, 3 and 4 desactivated
Layer 1:
Knob A ----> Pitch +5
CORD2
layer 1, 3 and 4 desactivated
Layer 2:
Knob B ----> Pitch -5CORD3
layer1, 2 and 4 desactivated
Layer 3:
Knob C ----> pitch +2CORD4
layer1, 2 and 3 desactivated
Layer 4:
Knob D ----> pitch +7
4. Go to the ARP programmation screen, and assign to this patch, the USER ARP that we programmed before.Move the knob A. You will notice that only the notes 1 and 7 are affected by the knob movement, changing its transponse on +5Move the knob B. You will notice that only the notes 2 and 5 are affected by the knob movement, changing its transponse on -5Move the knob C. You will notice that only the notes 3 and 8 are affected by the knob movement, changing its transponse on +2Move the knob D. You will notice that only the notes 4 and 6 are affected by the knob movement, changing its transponse on +7
You can program even more complex changes, activating all the layers on each cord, and assign them a different pitch change for each one of the layers, on just a single knob movement. Also, instead modifying the pitch, you could program a specific filter freq for a single note, with a knob movement, ar the attact time, to create a reverse effect on certain notes inside the arpeggio, panning changes, or fading and bringing in and out some specific notes. Use your brain with this,....


c) A TIP FOR CREATING DINAMIC PATTERNS ON COMMAND STATIONS
The sequencer of the command station is simple beatiful. the most intuitive I ever use, despide its low resolution (364). Is one of the greatest tools for music composition on hardware devices, specially for dance scene controlling other devices with MIDI.There is a way to create dinamic patterns, using the Multitrack function. As you know, most of the sequencers, have a separation between the track number, and the MIDI channel number.By default, the sequencer track number, coincides with the MIDI track number. but you can send by MIDI, for example, the track 1A, throught the MIDI channel 5 or 6 or whatever... or play the sound of the track 3 with the notes recorded on the track 1, but this makes no sense if you don't need it.Taking advantage of the MULTITRACK function, you can create patterns, that suddenly can change the parameters of all its tracks, all at the same time, just pressing a track button. Let's use the track #1, as the multitrack channel.Record on the track #2, a kick patch, to guide the beat.Record on the track #3, a hi/hatRecord on the track #4, a clap or a snare sound.Record on the track #5, a bassRecord on the track #6, a synth leadRecord on the track #7, a pad Record on the track #8, a sfx patch.
This is the complex part: on track 1 go to the MIDI assignment screen, where you can designate if the MIDI is internal, external, both or none. Assign the MIDI channel of this track #1, as the track #2. Now you'll have the sound of the track 2, the kick patch, on the track #1. Record some change on it. A slow reduction of the filter, reducing the brightness of the kick. Or mute it at the last measure of the pattern, to create a bridge. SAVE ITNow, Assign the MIDI channel of this track 1 as the track #3. Now you'll have the sound of the track 3, the hi/hat, on the track #1Record some change on it. A reduction of the gate time, or increase its volume, or an aleatory panning. SAVE IT.Now, assign the MIDI channel of this track 1 as the track #4. You already have on that track, information that will affect tracks 2 and 3, you'll keep overwriting it, but that information will remain there. Record some change to the clap or snare sound, on the track 1. An addition of more snare notes at the end of the pattern, or a variation on the frequency. SAVE IT
NOw, assig the MIDI channel of this track 1, as the track #5, the bass track. A change on the transponse with the crappy touchpad of the command station will be cool. SAVE IT.
You have the idea....? Keep doing this if you want to, with all the tracks. Record on the track 1 as many changes as you want, for all the rest of the tracks.
Now, the important part: with the modwheel, change the MIDI track assignment of this track 1A, as "MULTI A channel". You have to move the modwheel completely to the left until the MultiA word appears....
SAVE the pattern with this track 1A MUTED!!!!
Now play the pattern, with all the tracks activated, except track 1. And then, activate the track 1. All the tracks will change according to your programmations on the track 1.
The kick will decrease its filter or be muted at the end of the pattern, the hi/hat will become shorter, the bass will change its pitch, etc. etc...great for bridges, great for controlling several tracks simultaneously, great for changing preset parameters, without having to create a new patch and saving it, consument patch memory. Great for enhancing your realtime performing.
hope to be helpful. This is valious information, if you love your command station.... d)GIVING A HUMAN FEELING TO YOUR COMMAND STATION PATTERNS
Sometimes, patterns created throught step-by-rec method, results in non-human, boring or repetitive sequences.

Recording music with exact perfect timing gives an unnatural feeling to the music, because 100% accuracy isn't normal.

When a human foot hits a kick drum, it's leading the tempo of the song, but it has diminute, small innacuracies on the timing. I'm unable to repeat that kick at the exact moment each time when pressing the pedal with my foot.

There will be differences of milliseconds, sometimes earlier, sometimes later than the exact 4/4.

Also, there is a variation on the strenght of each kick, sometimes, I press a little bit harder, others, softer than expected.

These little variations can be almost imperceptible on a good drummer. But the brain can perceive this little differents when listened on a consecutive and acumulative way.

And that's the reason why we get bored of listening the same exact loop during several repetitions, because the brain recognizes that the pattern is always the same, with no variations, so, there is no more information to process, only the same picture again and again. We lose interest on the melody.
balma







Re: TIPS FOR THE XL7 BY MAURICIO BALMA
balma on Fri Jul 11, 2008 9:37 pm


There are certain process that we can execute in order to give a natural feeling to our music, specifically, the compositions with the EMU command station.

When we record a bassline, with any process diferent than realtime rercording with the Quantizer OFF, the notes will be aligned to strict tempo locations after finalizing the recording.

This is the result of a recording on realtime, but quantizing the results. Recording on step by rec or GRID will result even in more strict and rigid parameters.

This example, is a recording of 16 notes on 1 mesuer, using a resolution of 1/16, according to the EMU Command Station sequencer:

Location
01-01-000 velo 120 gate time 70
01-01-096 velo 100 gate time 70
01-01-192 velo 110 gate time 75
01-01-288 velo 100 gate time 75
01-02-000 velo 120 gate time 95
01-02-096 velo 120 gate time 95
01-02-192 velo 120 gate time 95
01-02-288 velo 100 gate time 99
01-03-000 velo 112 gate time 70
01-03-096 velo 127 gate time 99
01-03-192 velo 120 gate time 99
01-03-288 velo 127 gate time 99
01-04-000 velo 100 gate time 96
01-04-096 velo 112 gate time 96
01-04-192 velo 112 gate time 70
01-04-288 velo 127 gate time 99



The programmation of the patch also plays an important role on the patterns' overall sound. So, be sure to include in all your patches, random variations or sensitivity to the key pressure.

These cords will help a lot in our goal: give a nature and human feeling to our patterns:

CORD 1
AmpEnvelope +/- ----> Ampvol +100


CORD 2
Velo +/- -----> Ampvol +75

CORD 3
Keyrandom1 -----> Fine tune -3

CORD 4
Keyrandom2 ----->Ampvol +3


CORD 5
Velo + ------> Fine tune +8


On CORDS 3 & 4, the value is small because we don't want to cause an excesive effect of aleatory values, just a little bit.

On the natural kicks, for example, if you press harder the pedal, the pitch of the kick sound will rise a little bit, so we try to emulate this, linking the key velocity with a increase on the fine tune. The harder you press the pad, the higher the fine pitch. That's what we tried on the CORD 5.


Now, let's change the 16 notes table example.
Remember:

The range of velocity is 1~127
The resolution is 384 per kick

We have 16 notes. Why repeat exactly the same value on each note?
why repeat a value twice, when we have more than 16 velo options to choose?

Let's apply this concept, let's create patterns inside patterns. On the first note, never start at 01-01-000. Give a break to the sequencer, some milliseconds at the beggining of the loop.

Let's use 16 different values, on the gate, the velo and the start time. Don't repeat the same value twice inside one measure. don't understimate micro variations on values. Your brain will perceive them, and will find pleasure on them.


1) Modifying the start time

01-01-003 velo 120 gate time 70 +3
01-01-095 velo 100 gate time 70 -1
01-01-198 velo 110 gate time 75 +2
01-01-292 velo 100 gate time 75 +4
01-01-381 velo 120 gate time 95 -2
01-02-096 velo 120 gate time 95 =
01-02-189 velo 120 gate time 95 -3
01-02-293 velo 100 gate time 99 +5
01-03-383 velo 112 gate time 70 -1
01-03-092 velo 127 gate time 99 -4
01-03-198 velo 120 gate time 99 +6
01-03-283 velo 127 gate time 99 -5
01-04-007 velo 100 gate time 96 +7
01-04-104 velo 112 gate time 96 +8
01-04-201 velo 112 gate time 70 +9
01-04-282 velo 127 gate time 99 -6

So, now realize that all the start times are different. This is not absolutely necessary, a couple of values could coincide, that will be natural too???? (repetition, is also a form of change....Brian Eno).
We are moving in a range of -6 minimum, and +9 maximun. If we go to far away on unnacuraccy timing, you could lose the tempo. Modifying the velo>

01-01-003 velo 118 gate time 70
01-01-095 velo 98 gate time 70
01-01-198 velo 108 gate time 75
01-01-292 velo 100 gate time 75
01-01-381 velo 110 gate time 95
01-02-096 velo 120 gate time 95
01-02-189 velo 95 gate time 95
01-02-293 velo 105 gate time 99
01-03-383 velo 115 gate time 70
01-03-092 velo 102 gate time 99
01-03-198 velo 112 gate time 99
01-03-283 velo 122 gate time 99
01-04-007 velo 101 gate time 96
01-04-104 velo 111 gate time 96
01-04-201 velo 91 gate time 70
01-04-282 velo 121 gate time 99

Now, on the velo time, we applied a similar concept. But not the exact concept. You'll notice that I didn't repeated a single value, but I kept a pattern: there are groups of three, that end with the same value. The first group, 118,98 and 108, ends with 8, and goes on a range of 20. The same with the 2nd group of three notes, 100,110 and 120.

Use your imagination. Find order inside the chaos. Find patterns between a group of values that seem to have no relation between them. (for a good reference about the world of patterns on the nature and mathemathics, watch "PI, faith in chaos")

For example, on a group of numbers, that seems to be aleatory, you can hide a code of order. Use, for example, the FIBONNACCI numbers, or PRIME numbers, inside a group of random values, of, for example, velocity range numbers.

some Fibonnacci numbers:

1,2,3,5,8,13,21,34,55,89,

On a sequence of 16 notes, on the notes, 1,2,5,,8 and 13, use a velocity on a range between 80 and 90. Just an example....

Could you find a pattern on a sequence of notes like this one???? Maybe you won't find it in a concious way, but be sure, you're subconcious will appreciate it.

some Prime numbers:
1,2,3,5,7,11,13,17,23,29

Apply prime numbers, on the start time, from backwards, to forwards, using only the 1,2,3,5,7,11,13 and 23 prime numbers....

There are infinite ways, to create hidden ordered patterns inside values that seem have no sense of order.

In this way, going deep inside the mathematic world of music, you can create very complex harmonies, that will sound fresh each time you play them, because your brain will discover something new


Balma