Emax

theres only 3 samplers that can perform the single cycle wave modulation and thats ensoniq eps16+ asr10 and asr-x

they are called transwaves and you use single cycle waves upto 128 and use interpolation to get from 1 single cycle to the next so you can have radical change

the good thing about this is the mod wheel can sweep through these cycles 1 at a time so you can have radical changes in timbre from a tiny file 

ensoniq implimented this becuase they went digital with there filters and had no resonance so they designed transwaves with single cycles that added resonance in the upper ctcles 

this way the could emulate a resonant sweeping filter through programming of the synth with out expensive analog filters

ill post 1 in the files section so you can get an idea they are like spectral syntheasis sounds but you can move through the sample rather than playing just the sample like in the emax

if your into hardware and get a chance to own an eps16+ then transwave synthesis is a great media to utilise 


  ----- Original Message ----- 
  From: ss 
  To: emax@yahoogroups.com 
  Sent: Wednesday, July 15, 2009 9:13 AM
  Subject: Re: [emax] Keeping track of "source material"...





  I agree completely, Jammie!

  This is exactly what is wrong with the Ableton Live instruments. You 
  hit the nail on the head, my man! :-)

  Have you thought about creating a group of samples to sell to Ableton, 
  for example? IMHO they need some
  help right now!

  My Prophet VS relies on those single-cycle waveforms for it's stunning 
  sound!

  But Jamie? Remember the Fairlight and the use of slices across the 
  time-domain? That's where the small,
  single-cycle limitation concerns me. I can use the hardware 
  processing of the constant cycle, but I'm also
  looking for some way to have interpolation across the time-domain, say 
  from each single cycle to the next
  in a smooth momentum...?

  You may have just hit the nail on the head for Max/MSP limitations, 
  too! For the most part I hear nothing but
  NOISE coming out of Max/MSP -- absurd, ridiculous, nonsense and 
  atonality that is not dissonant -- it is out right
  discomfort and as I said NOISE by the "artists" I hear who are using 
  it. Could this be solved with single cycle
  waves I wonder? In many cases the raw source going into Max/MSP has 
  been very harmonically rich, but I'm
  thinking it's the fault also of the modulators too perhaps?

  I have more experience with Reaktor than with Max/MSP but now that 
  Ableton has tried to put life back into LIVE
  by incorporating Max/MSP with Live I'm wondering...

  I'm not a fan of the software instruments in Live or in Max/MSP and 
  would only use them on a plane flight to Dubai!
  30 hours with nothing to do!!! ;-)

  :-)

  You're doing this with cSound too, eh!? That's seriously intense, 
  Jammie! And yes I'd love to see what I could do
  with those waveforms in Live and in Melodyne even! Are you on the 
  cSound list that's run out of Bath in the UK?

  I'd like to hear more about how you use the "sweep": I'm not sure 
  exactly what you mean by that... Can you be
  more specific? I'm coming-in late to the conversations on the list, 
  but I hope bringing in some new material.

  The Ensoniq was a classic but people around me didn't know how to use 
  it and it sounded like a buzz-saw or a
  vacuum cleaner and that was one of the reasons I bought an Emax was 
  because of bad experiences, poor implementation
  of the Ensoniq.

  With the VS it's done for you. And the smooth movement between 
  waveforms can be done via programming or using the
  joy-stick in real-time on the VS between the four oscillators.

  Great points as always! Thank you! Yes, please I'd like to see if I 
  can develop some waves of my own using the Ableton tools
  to give them validity in my experience! :-)

  Single cycle waves are the essence of purity in one sense for great 
  source material, no doubt about it.

  On 15 Jul 2009, at 00:37, jammie wrote:

  >
  > i use the comp for sound design and editing samples then i dump them 
  > back to hardware for the synth section and analog filtering
  >
  > the reason virus strings sound warm are the multi saw oscillators 
  > these oscillators are single cycle wave forms i have emulated some 
  > using csound
  >
  > ill post some on the furom site ill do them a 3 cycles long then ill 
  > loop the middle 1 for you they will be in the key of aas its a nice 
  > equal number system for the computer to compute a4 being 100 samples 
  > to 1 single cycle wave
  >
  > these samples will only take up 1-2k each and you can have hundreds 
  > on 1 floppy
  >
  > soft samplers make you lazy in the fact that when wanting a resonant 
  > sweep sound they same the instrument that does it which makes the 
  > sample static for resweeping with out restarting the sample
  >
  > were as you can synthesis it on an emax and can change the sweep any 
  > way you like in real time with use of the onboard modulaters with 
  > out having to restart the sample by pressing a key
  >
  > thats the difference in hardware and software its the limitations 
  > that make you more creative
  >
  > becuse you use programming to get the sound to perform instead of 
  > say the gigabyte piano in giga studio thats been sampled at massive 
  > long takes
  >
  > the perfect piano from ensoniq was only 1 mb in size and sounds 
  > sweet thats the difference you can get outstanding sounds with 
  > little memory and programming i use an ensoniq mirage which has only 
  > 2 banks of 64k but drums sound wicked on it coupled with its digital 
  > distortion of the oscillators and the analog filters its in the 
  > programming
  >
  > the key to being different is experimentation and programming and 
  > single cycle waves

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