╞OR MANY PEOPLE, THE HARDEST PART OF TRANSCRIBING A ╙╔─ SONG IS FINDING THE RIGHT ┴TTACK, ─ECAY, ╙USTAIN, AND ╥ELEASE (┴─╙╥) ENVELOPE PATCH FOR THEIR ╙╔─. ┴S A PUBLIC SERVICE, THE ╙╔─ COMMUNITY OF ╚┴╠╞ ═╧╧╬ ╠┴╦┼ ┬┬╙ HAS JOINED TOGETHER IN AN EFFORT TO PREPARE AN INTRODUCTION TO ┴─╙╥ PATCHES FOR ╙╔─ SONGS.
┬EFORE ╔ CONTINUE, ╔ WOULD LIKE TO THANK ╨AUL ╠ABEAUD, ╘HE ╘ROOPER, ╨AUL ╘RAUTH, ╩EFF ╧LSEN, AND ╩OE ╟RAU FOR CONTRIBUTING PATCHES, COMMENTS, AND ADVICE TO THIS COLLECTION. ┴ND A "SPECIAL" THANK YOU TO ╩ABBA ╚UTT AND HIS PARTNER IN CRIME, ┬OBBYE, FOR MAKING A PROMISE THAT ╔ ENDED UP KEEPING FOR THEM. <GRIN>.
╬OW FOR THE DISCLAIMER. ╤UITE FRANKLY, IT'S NEAR IMPOSSIBLE TO EXACTLY DUPLICATE A PARTICULAR SOUND ON THE ╙╔─ CHIP. ┘OU CAN TRY AND GET A REASONABLE APPROXIMATION OF MOST INSTRUMENTS, SOMETIMES. ┴ND WHAT MIGHT SOUND GOOD ON ONE ╙╔─ CHIP MAY NOT SOUND QUITE THE SAME ON ANOTHER DUE TO THE LOOSE MANUFACTURING SPECS OF THE ╙╔─ CHIP. ╘HIS IS ESPECIALLY TRUE WHEN USING THE FILTERS.
╘HE ╙╔─ PATCHES THAT FOLLOW ARE NOT ETCHED IN STONE, BUT ARE EXAMPLES FOR YOU TO EXPERIMENT WITH. ╘INKER WITH THE PATCHES UNTIL THEY SOUND RIGHT TO YOU ON YOUR ╙╔─ CHIP. ┴DD TO OR SUBTRACT FROM THE VARIOUS VALUES IN THE ┴─╙╥ PATCH TO PRODUCE DIFFERENT PATCHES. ╙EVERAL OF THE EXAMPLES IN THIS COLLECTION ILLUSTRATE HOW MODEST CHANGES CAN RESULT IN DIFFERENT SOUNDS.
┬E AWARE THAT THE SOUND PRODUCED BY PARTICULAR PATCHES CAN BE AFFECTED VERY STRONGLY BY THE TEMPO OF THE SONG AND THE NOTE DURATIONS. ╫HAT SOUNDS GREAT WITH EIGHTH NOTES AT 100 COULD BE A DISASTER WITH 16THS AT 150. ╬O SINGLE PATCH IS GOING TO WORK FOR EVERY SONG. ╫HICH IS WHY A COLLECTION OF PATCHES IS NEEDED.
╙OME ENVELOPES ARE VERY SENSITIVE TO PITCH. ╞OR SOME REASON, PATCHES USING THE ╨ULSE ╫AVE IN OCTAVES 0, 1, AND SOME OF 2 CAN SOUND OUT OF TUNE. ╘HE ╘RIANGLE ╫AVE CAN BECOME TOO SHRILL IN THE OCTAVES 6 AND 7. ┬E CAREFUL AND FOREWARNED. ╧NE SOLUTION IS TO ╘RANSPOSE THE OFFENDING NOTES INTO A DIFFERENT OCTAVE. ┴NOTHER IS TO TEMPORARILY MODIFY THE PATCH WHILE THE NOTES ARE IN THAT RANGE. ╘HERE IS NO RULE THAT A SINGLE ┴─╙╥ PATCH MUST LAST THE ENTIRE SONG FOR EACH VOICE.
═ANY ╙╔─ARRANGERS WILL NOT USE THE FILTER COMMANDS DUE TO THE DIFFERENCES FROM MACHINE TO MACHINE. ╚OWEVER, ALWAYS SET ╞-╪ "ON" AS THIS COMMAND FILTERS OUT SOME OF THE BACKGROUND NOISE THE ╙╔─ CHIP PICKS UP FROM THE COMPUTER CIRCUITRY. ╔T CAN MAKE A BIG DIFFERENCE ON SOME 64S AND DOES NOT EFFECT THE QUALITY OF THE PATCH. ┴LSO, THE ╙╔─ CHIP IS DESIGNED TO FILTER ONLY ONE VOICE AT A TIME. ╒NLESS YOU ARE TRYING TO ACHIEVE SOME SPECIAL EFFECT, DO NOT FILTER TWO VOICES AT ONCE.
┬E CAREFUL TO NEVER LET TWO VOICES USING THE SAME WAVEFORM PLAY NOTES OF THE EXACT SAME PITCH AT THE VERY SAME TIME. ─ETUNE ONE OF THE VOICES FOR A MORE HARMONIC EFFECT. ┘OU CAN ALSO MAKE A SLIGHT CHANGE (LIKE ADD OR SUBTRACT 1) TO THE ╙USTAIN AND ╥ELEASE VALUES OF ONE VOICE TO MAKE A RICHER, FULLER SOUND.
╔T'S BEEN RECOMMENDED PREVIOUSLY NOT TO USE ┴TTACK = 0 FOR ALL 3 VOICES AT THE SAME TIME. ╙OME ╙╔─ CHIPS CANNOT QUITE HANDLE IT AND YOU GET ONE VOICE SOUNDING SLIGHTLY OFF-BEAT. ╙ETTING ┴TTACK = 1 SEEMS TO RESOLVE THIS PROBLEM.
╘O QUOTE ├RAIG ├HAMBERLAIN DIRECTLY, "─ON'T OVERLOOK THE SUBTLE BUT SIGNIFICANT EFFECTS THAT DIFFERENT ENVELOPE SETTINGS CAN HAVE ON A SONG. ┼NVELOPES SEEM TO BE ONE OF THE MOST IGNORED ASPECTS OF SONGS." ┴ND YET IT IS ONE OF THE LEAST DOCUMENTED AREAS OF ╙╔─WRITING. ─ON'T ALWAYS BE SATISFIED WITH THE FIRST PATCH THAT SOUNDS ALRIGHT FOR YOUR ╙╔─. ╘RY SOME DIFFERENT WAVEFORMS AND EXPERIMENT.
╬OW FOR THE ╔NTRODUCTORY ┴─╙╥ PATCH COLLECTION, ╓OLUME 1...
------------------------
╨AUL'S ╞UNKY ┬ASS ╟UITAR
------------------------
╔F YOU DON'T LIKE FOOLING AROUND WITH FILTERS, YOU CAN ELIMINATE IT AND IT STILL SOUNDS FUNKY.
╫AVEFORM: ╨ULSE
╨ULSE ╫IDTH: 1800
┴TTACK: 0
─ECAY: 10
╙USTAIN: 0
╥ELEASE: 10
╥ELEASE ╨OINT: 2
╞ILTER: ┘ES
╞ILTER ═ODE: ╠
╥ESONANCE: 10
┴UTOFILTER: 10
------------------
╫HISPERING ╚ARMONY
------------------
┘OU CAN USE THIS ENVELOPE WHEN YOU WANT A VOICE TO BE HEARD, BUT NOT AS OVERPOWERING AS THE REST.
╫AVEFORM: ╙AWTOOTH
┴TTACK: 2
─ECAY: 10
╙USTAIN: 8
╥ELEASE: 10
╥ELEASE ╨OINT: 2
------------------
╚ARRY ┬RATT'S ─RUM
------------------
╘HIS DRUM SOUNDS GOOD IN THE FIRST AND SECOND OCTAVE. ┘OU NEED TO INSERT THE ┴┬╙OLUTE ╙ET ╨ITCH COMMAND BEFORE EVERY NOTE TO BE PLAYED BY THE DRUM, BUT IN AN OCTAVE HIGHER. ╥EFER TO YOUR MANUAL FOR PRECISE INSTRUCTIONS ON USING ┴┬╙.
╫AVEFORM: ╨ULSE
╨ULSE ╫IDTH: 2048
╨ULSE ╙WEEP: 20
┴TTACK: 0
─ECAY: 8
╙USTAIN: 0
╥ELEASE: 8
╥ELEASE ╨OINT: 1
╓IB. ─EPTH: 3
╓IB. ╥ATE: 2
╨ORTAMENTO: 85-90
---------------------
├ASTLE ═USIC ┼NVELOPE
---------------------
╘HIS ENVELOPE SOUNDS LIKE IT SHOULD GO WITH ANY MEDIEVAL OR CASTLE MUSIC YOU MAY HAVE LYING AROUND.
╫AVEFORM: ╘RIANGLE/╨ULSE
╨ULSE ╫IDTH: 2048
┴TTACK: 0
─ECAY: 10
╙USTAIN: 8
╥ELEASE: 10
╥ELEASE ╨OINT: 2
-----
╧RGAN
-----
╞OR AN ORGAN SOUND, TRY THIS ONE. ╓ARY THE ╨ULSE ╫IDTH TO RANGE THE SOUND FROM A FULL ├HURCH ORGAN TO MORE OF A HURDY-GURDY SOUND. ╔T IS SENSITIVE TO NOTE DURATION.
╫AVEFORM: ╨ULSE
╨ULSE ╫IDTH: 1000
┴TTACK: 5
─ECAY: 15
╙USTAIN: 0
╥ELEASE: 12
╥ELEASE ╨OINT: 2
---------------------------
╩OHN ╥OACHE'S ╥AGTIME ╨IANO
---------------------------
╞OR A GOOD RAGTIME PIANO SOUND, TRY THIS TESTED AND TRUE ENVELOPE.
╫AVEFORM: ╨ULSE
╨ULSE ╫IDTH: 1500
┴TTACK: 2
─ECAY: 9
╙USTAIN: 1
╥ELEASE: 1
╥ELEASE ╨OINT: 1
----------
╙OFT ┬ELLS
----------
╘WO VOICES PLAYING THE SAME NOTES SOUND GOOD WITH THIS ONE. ╫ORKS WELL WITH CLASSICAL MUSIC.
╓OICE 1 ╓OICE 2
╫AVEFORM: ╘RIANGLE ╘RIANGLE
┴TTACK: 0 1
─ECAY: 10 10
╙USTAIN: 0 0
╥ELEASE: 10 10
╞ILTER: ┘ES ╬O
╞ILTER ═ODE: ╠ -
╥ESONANCE: 10 -
┴UTOFILTER -10 -
─ETUNE 0 10
-----------------------------
╘HE ╘ROOPER'S ═ETALLIC ╟UITAR
-----------------------------
╠OOKING FOR THAT RIGHT SOUND FOR YOUR HEAVY METAL COMPOSITION?
╫AVEFORM: ╙AWTOOTH
┴TTACK: 0
─ECAY: 7
╙USTAIN: 9
╥ELEASE: 7
╥ELEASE ╨OINT: 1
╨ULSE ╙WEEP: 10 - 15
-------------
┴ ├LASSIC ─UO
-------------
╞OR SOME CLASSICAL SONGS, THIS PAIR OF VOICES WORKS QUITE WELL. ╘HEY WORK BEST WHEN USED WITH ╓OICE 1 AND 2 BOTH PLAYING ╘REBLE NOTES. ╞OR SONGS THAT REPEAT MEASURES, SWITCH THE ENVELOPES TO PLAY THE OTHER'S NOTES FOR A DIFFERENT SOUND, THEN BACK AGAIN WHEN NEW MEASURES START, TO ADD A LITLE CONTRAST TO THE SONG.
╓OICE 1 ╓OICE 2
╫AVEFORM: ╘RIANGLE ╘RIANGLE
┴TTACK: 5 9
─ECAY: 10 13
╙USTAIN: 12 0
╥ELEASE: 13 15
╥ELEASE ╨OINT: 1 1
----------------
┴ ╬ICE ┬ASS ╠INE
----------------
╧NE OF THE HARDEST THINGS TO DO WITH SOME SONGS IS FINDING A GOOD ENVELOPE FOR THE BASS LINE. ╚ERE'S ONE THAT HAS PROVEN SUCCESSFUL IN THE PAST. ┘OU'LL PROBABLY HAVE TO ADJUST THE ╙USTAIN AND ╥ELEASE VALUES TO MAKE IT WORK FOR YOUR NOTE DURATION AND TEMPO.
╫AVEFORM: ╨ULSE
╨ULSE ╫IDTH: 1800
┴TTACK: 1
─ECAY: 10
╙USTAIN: 1
╥ELEASE: 10
╥ELEASE ╨OINT: 1
╞ILTER: ┘ES
╞ILTER ═ODE: ╠
╥ESONANCE: 11
┴UTOFILTER: -10
--------------
┬ASS ─RUM ╠INE
--------------
┴GAIN, THIS DRUM REQUIRES SETTING THE ┴┬╙OLUTE ╙ET ╨ITCH COMMAND PRIOR TO EACH NOTE IN THE BASS LINE. ╘HIS ONE IS RECOMMENDED TO BE SET TWO OCTAVES HIGHER THAN THE ACTUAL NOTE.
╫AVEFORM: ╨ULSE
╨ULSE ╫IDTH: 2042
┴TTACK: 1
─ECAY: 8
╙USTAIN: 11
╥ELEASE: 0
╥ELEASE ╨OINT: 1
╨ORTAMENTO: 250
---------
╞LUTE-OID
---------
╞OR A DIFFERENT LILTING SOUND, TRY THIS ONE.
╫AVEFORM: ╙AWTOOTH
┴TTACK: 1
─ECAY: 4
╙USTAIN: 14
╥ELEASE: 5
╥ELEASE ╨OINT: 1
╓IB. ─EPTH: 30
╓IB. ╥ATE: 1
----------------
┴ ═IDNIGHT ╨IANO
----------------
┴ NICE PIANO SOUND. ╫ORKS WELL IF A SECOND VOICE PLAYS THE SAME NOTES WHEN DETUNED 10 TO 20.
╫AVEFORM: ╨ULSE
╨ULSE ╫IDTH: 2700
┴TTACK: 2
─ECAY: 11
╙USTAIN: 5
╥ELEASE: 0
╥ELEASE ╨OINT: 3
-----------------
─├ ╙TAR'S ╙NAPPER
-----------------
╘HIS ONE IS A LITTLE HARD TO DESCRIBE. ╔T MAKES FOR A GREAT BASS COUNTERPOINT WHEN THE TEMPO AND NOTE DURATIONS ARE JUST RIGHT. ┴DDS JUST A LITTLE SOMETHING EXTRA TO A SONG.
╫AVEFORM: ╬OISE
┴TTACK: 0
─ECAY: 8
╙USTAIN: 0
╥ELEASE: 6
╥ELEASE ╨OINT: 4
----------------------
╩OE ╟RAU'S ╚ARPSICHORD
----------------------
╘HIS SET OF VOICES WILL EMULATE A HARPSICHORD. ┬E SURE TO DETUNE ╓OICE 2. ╘INKER WITH THE ╨ULSE ╫IDTHS FOR DIFFERENT SOUNDS. ╓ALUES FROM 100 TO 750 SEEMS TO WORK BEST.
╓OICE 1 & 2 ╓OICE 3
╫AVEFORM: ╘/╨ ╘/╨
╨ULSE ╫IDTH: 500 650
╨ULSE ╙WEEP: 8 8
┴TTACK: 0 0
─ECAY: 12 11
╙USTAIN: 0 0
╥ELEASE: 10 9
╥ELEASE ╨OINT: 1 1
╞ILTER: - ┘ES
╞ILTER ═ODE: - ╠
╞ILTER ├UTOFF: - 1800
╥ESONANCE: - 15
---------------------
═ADRIGALS AND ├HORALS
---------------------
╘HIS ONE HAS BEEN USED SUCCESSFULLY ON A NUMBER OF MADRIGALS AND CHORAL MUSIC. ┬E SURE ON VOICE 1 TO ╘RAN╙╨OSE 12.
╓OICE 1 & 2 ╓OICE 3
╫AVEFORM: ╘RIANGLE ╨ULSE
╨ULSE ╫IDTH: - 700
┴TTACK: 3 7
─ECAY: 0 8
╙USTAIN: 14 14
╥ELEASE: 4 4
╥ELEASE ╨OINT: 1 1
╘RANSPOSE: 12/0 -12
╞ILTER: - ┘ES
╞ILTER ═ODE: - ┬
╥ESONANCE - 0
┴UTOFILTER: - -20
-------------
╓IOLA/╙TRINGS
-------------
╘HIS ONE IS TOUCHY, VERY SENSITIVE TO BOTH NOTE DURATION AND TEMPO. ╔T CAN WORK WHEN EVERYTHING IS RIGHT, ESPECIALLY AS A COUNTERPOINT HARMONY.
╫AVEFORM: ╙AWTOOTH
┴TTACK: 9
─ECAY: 0
╙USTAIN: 12
╥ELEASE: 8
╥ELEASE ╨OINT: 0
---------------
─OWNHOME ╞IDDLE
---------------
╔F THE TEMPO IS QUICK AND THE NOTES ARE SHORT, THIS FIDDLE ENVELOPE WILL BRING ANY JADED LISTENER TO THEIR FEET.
╫AVEFORM: ╨ULSE
╨ULSE ╫IDTH: 3600
┴TTACK: 5
─ECAY: 3
╙USTAIN: 7
╥ELEASE: 0
╥ELEASE ╨OINT: 3
----------
╨IPE ╧RGAN
----------
╘HIS ONE IS A HAUNTING PIPE ORGAN, INVOKING IMAGES OF ┼UROPEAN CATHEDRALS.
╫AVEFORM: ╨ULSE
╨ULSE ╫IDTH: 2000
┴TTACK: 3
─ECAY: 6
╙USTAIN: 6
╥ELEASE: 3
╥ELEASE ╨OINT 3
------------
╩AZZ ╘RUMPET
------------
─EPENDING ON THE SONG'S TEMPO, THIS RANGES FROM A LIVELY JAZZ TRUMPET TO A SOULFUL BLUES DIRGE.
