emusonacid! legacy

ok

my emu is pretty new to me and i want to get my production sounding playable on a big system asap..

in the cords section:
sources:
fenv~, fenv+, fenv<, ftsw1/2/ etc, xfdrnd, key+ etc, vel+/~/<, rlsvel, gate, ft1ff etc, thmff,
~/+ ????????
krand,

destination:
keysust, chrsamt, 'chrsitd, 'sstart, sloop, sretrig, amp pan, venvrts, fenvtrig, lfo1rt, lag0in, sum, switch, abs, diode, flipflop??? wtf? ,

any help on wot these mean/do much appreciated!!!!!

also to get my bass sounding bad, lfo?, vel< - amp vol, ftsw1 - keysust
which of these are essential?

and, say i have a bass sound, 3 voices all diff octaves, i have now fine tuned em up and down a bit, is this gon help?
or shud i get 2 basses, same oct and finetune em up/down....?

fire away wit ya tips and techniques as i think we all can benefit here!!!!

Si

well first part of the thread is easily answered in the sticky thread at the top, or near the top of the knowledge forum. check those out for examples and definitions. all of us have been pretty hard at work throwing out definitions and examples of uses for those as best we can. that should get you sorted. also, the manual is sort of good, providing that you have synth basics down. seems that you don't, and beleive me, i didn't either untill i read that manual, a few times... and a few more times after that. basicauly what those are are a simulation of an analog synth. they are virtual patch cords that allow you to control your sound.

moving on....

to get your bass sounding bad, that is really up to you and what you like. you can make your own sounds and tweak them as you see fit. nothing is essential for making a bad bass, just what ever sounds good. i have a good sounding bline that uses just envelopes, others that just use lfo's, others that use nothing. others where i have copied the same wave and detuned them a bit. creating a kind of a reese sound.

you can do the octave thing that you are doing and get good results. i typically just transpose the wave over the entire keyboard. so will say that this isn't the best because of interpolation errors. but i haven't had an issue... yet.

but then i am making my sounds from scratch on the sampler. oh and look for a thread that i started called "bad ass" it will tell you how to make the bline from bad ass by mickey finn and aphrodite. that might get you a good idea of what to do with the sampler.

as for the bass sound good on a pa, that might be best for a doa, since that is more of a production forum for mastering and such.

hope this helps a bit, if you have some specifics ask, and i am sure one of us will be able to help you.

yo, cheerz for the help and pointing out the cords stuff at da top! all good....


i have been detuning bass sounds with each other now, it is giving it a better rumble.....

im into havin the bass on the edge of distorting/resonating, but real nice and wide n fat also

will b bak to my machine soon

anyone else got any tips for fattening up sounds, apart fr the obvious ones, ie compression, eq, ?

you can always try the z plane filters at the end of the filter list in your emu. i am think specifically the peak shelving filter. set those right and you will have enormous bass. but becareful, the signal can get so loud that the sampler will even distort.

that is about all i have time for. I am sure other people will be able to give some good advise as well on this subject.

Ahoy-hoy big dawg.

The elusive, professional sound that you speak of is accomplished primarily through a good mixdown (EQing and levels). The only thing that I could recommend that is universal is to EQ (with a highpass or your mixing board) the bass off of everything that doesn't need it. Aside from that, you really just have to train your ears. Oh yeah, read hypnotic's EQ tutorial - the best comprehensive explaination that I've ever read. You can find a link for that on dogsonacid.com.

As far as sound design with the EMU goes, it seems like you're beginning to get the picture. Your EMU is just like a synth ... a synth that uses samples as oscillators.

So really everything that you mentioned can help to make more interesting sounds. IE: multiple copies of a sound (same modulation) slightly detuned (2 is usually good but hey, whatever sounds good, right?) or maybe another copy over the top that is highpassed, resonated, and on an LFO. The possibilities are endless. Get to know your edit voice/group/all functions (tuning, filters, cords). Multiple layers can do wonders for sounds.

But really getting it to sound "pro" is much more to do with the mixdown than anything else. You can have a pro sounding track with really simple sounds.