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The double P-ART Sound Set for ESQ-1 / ESQ m (& SQ-80)
P A T
C H P
A R T MANUAL |
This second set of four banks with 40 new PART-patches for ESQ-1 is not a second variation to the P-ART A- set.
New horizons will be explored: the power of alternate modulation and multi-splits.
The classic/pop-patches will be extended to a wide spectrum of instrumental sounds.
That are the reasons why this PARTB- set of 40 patches will not be issued without the first bank.
P A R T B
Note: Don't forget to change the PITCH BEND-RANGE in the MASTER-page to +01,
if you like to control the subtle WHEEL-modulation in the following set B of PART- patches.
Scroll down to bottom
B1. MELORG lead try other waves in OSC1 & OSC2B19. P.GLAS minimal music layerpatch
The first sound of the second pARTB-soundset is a killer patch:
it represents an emotional ORGANsound which fits to all styles and is especially well as lead.
The soft vibrating aspect of this MELORG is affected by the ENV3-data modulating the FILTER- function.
The patch consists of two SINE and one BELLwaveforms.
>>>> If you select other waveforms (SQUARE , SQR2 ...) in OSC1 and 2, other interesting sounds derived from MELORG will certainly appear.
Save one or more of those MELORG variations.
B2. HAMD W. Lesley wheel (CV-pedal)
A typical Hammond sound (B-3) with a flexible Lesley -effect.
>>>> This rotating sound will be more pronounced if you move the WHEEL( affecting LFO1). You can also increase the level of LFO1 to +63.
>>>> Increasing the value of the WHEEL (or change WHEEL to CV-PEDAL) to +8 (or more), you will modulate the color of HAMMD1.
B3. CEREMO weddings CV-pedal
This intimate organsound is particulary appropriate for weddings and ceremonies(CEREMO).
This patch illustrates that good sounds are possible without modulation :
there is NO modulation in the OSCILLATOR-page;
the filter is fully open: the OCT+5 and OCTAVE waveforms are completely transparant.
OSC3(OCTAVE)is augmented with 7 half steps(a perfect fifth) and could be stressed by full play (attack of ENV1 affecting DCA3). This enhances the typical ceremonic touch.
>>>> Turn OSC3 of CEREMO off and then there is the unforgettable WURLITZER. Store WURLITZER.
>>>> If you like two possibilities in one : switch all DCAs on, decrease DCA3 to 0 and install PEDAL as second modulator in DCA3. Increase this PEDAL modulation to +54 (or higher) . You will control the switching between two sounds by foot! And store this variated sound as CEREMP.
Read more about the use of pedal and XCTRL modulation on the ESQ-1 in Transoniq Hacker, Issue # 70, April, 1991, p. 21.
B4. SOFY+5 jazz dual chordsound finger-touch
In this synthpatch you play two sounds in one. The tuning level of OSC2 is 5 seminotes higher than OSC1 (= a perfect fourth).
In this patch listen to the dynamic touch of your fingers (VEL). The response is very attractive for a dynamic 'jazzer'.
B5. 'ADBAS touch + filter by CV-pedal
'ADBAS is a full synthpatch (based on hidden WAVE032 and WAVE033) with a spacing bass.
>>>> Don't forget the PEDAL.
>>>> If you don't have a PEDAL or if you like a more pronounced attack, increase the level of the FILTER.
B6. PAD CV-pedal
Although for this synthpad the ordinary SAW-wave is selected, it sounds great.
>>>> If you like more control of power, turn the level of one or more DCAs to 0 and bring the PEDAL-modulation to a high level you like.
Store this variation as PADPED .
B7. TRMPTO ENV
In this TRUMPET-like (= TRUMP) theatre-organ (=O) the 3-dimensional effect is due to ENV3 in OSC1 (attack) and
the global sound is affected by modulation of all ENV in the DCApage.
B8. 'GLANS two manuals in one oscillator
'GLANS is a rich lightly grand organsound useful in the whole keyboard- range.
The volume of hidden wave # 46 (WAVE045) is modulated by the first oscillator WAVE063 (= AM).
The sparkling touch of this full organsound is achieved by the high octaved hidden waveform # 34 (WAVE033) in the third oscillator.
The interesting point of this ESQ-1 sound considers OSC3.
WAVE034 ( octave-tuning level= +3) enables a low tuned full right hand and a counterpoint played in the lower part of the leftside.
It is like playing with two hands separately on two manuals of a 'grand' organ while in reality there is no layered or splitted keyboard.
>>>> Turn the AM of 'GLANS OFF. OSC1 and OSC2 are dead. Decrease the octave-tuning of OSC3 from +3 to +1. Increase the amplitude-modulation LFO1 ( 0) to 63.
This actual relationship between LFO3 and LFO1 evocates the realistic reverb of a pure sounding organ inside an old church:
imagine yourself playing romantic music in an European historic church. Store this adapted patch as '3GLANS .
>>>> If you like to play this organsound only in the right hand, replace the modulators of the FILTER-section. Modulate the filter only by KDB=+63 and you won't hear the sound anymore in the lower part of the keyboard. You can store this adapted patch as 'UPGLS (GLans UPper keys). Read again chapter V of the general PART- manual: volume scaling on the ESQ-1/SQ-80. (p. 8)
B9. REPSYN space (VEL2) panning by wheel (pedal)
This is a typical SYNTHpatch whose luxus is builded on the interference of the fully leveled SQUARE-LFO1 (modulated by ENV3) on the envelopes of the different DCAs.
>>>> The REPetitive effect which evokes space can be stressed by velocity (VEL2!) in the FILTER with RESONANCE (Q)= 19 and will start again by every new key (RESTART voice, env, osc ON). Attention: the waveform in the 3 OSCs is SAW.
B10. DRYBAS
Programming new patches is like the black art of alchemy. How do you change a REED-sample into a dry BASS-like sound?
If you are disappointed by making samples on your own, this patch gives you more hope.
It is not only the sample that determines the typical instrumental sound; it is the ART of programming that fascinates.
The dry bassy effect of this synthpatch is caused by ENV3.
>>>> Changing the value T2 of ENV3 to +45 (or try +24 or +3 or +63) metamorphoses the patch DRYBAS into a completely different sound. Make your choice!
B11. ENS*P piano & strings ENV1 of DCA2
How do you program a concertgrand on your simple 8-bitter ESQ-1?
Indeed, it is a real ART to program quality sounds; There are no general rules that guarantee quality. You don't always need a perfect acoustic sample.
More, in many cases you don't even need the logical related waveform.
ENS * P is a nice example of experience.
What has a PIANO to do with a simple SINE-wave? In this case everything.
The more or less unmodulated SINE-OSC3 affects the PIANO-OSC1 : it gives the piano the touch of GRANDEUR.
This elementary SINE-wave enhances full strings (OSC2), the same allure of a grand ensemble.
The PIANO is the figure and the STRING ENSEMBLE operates in the background, due to the envelope (ENV1) of the strings (OSC2) in DCA2.
>>>> If you wish so, play only OSC2(= strings). Store as ENS*.
>>>> Perhaps, you may like a CV-pedal (or wheel) modulation of the volume (DCA2).
B12. 'ENS*C baroque
This patch uses the unintentional splits of the hidden multisampled waveform # 38 (WAVE037) to produce cembalo and string ensemble.
>>>> Listen to the tuning(OCT) of OSC1 to experiment with splits. Turn off DCA2 and DCA3 .
OCT-2 : split in the middle of the keyboard (key # 29).
On the left: pianolike; On the right: cembalo-like.
OCT-1 : split 1octave lower (key # 17)
OCT+0 : the whole keyboard sounds cembalo-like, except keys # 1 to # 6
The octave tuning -1 of the CEMBALO allows the best results for a BAROQUE STRINGS ENSEMBLE: a lightly affected SAW in OSC2 by LFO.
The highest notes of OSC1 are not intended to be listened at their own: the sample is underpainted in the high pitches (keys)
but contains sufficient harmonics to produce sparkling harmonics in OSC2 . DCA2 is dominated by ENV1.
The third oscillator loaded with the SINE-waveform - we have learned about this effect in the ENS*P patch - covers the allure of grandeur in this nice ensemble.
It was only possible to program 'ENS*C because of the incomplete samplewave mapping of hidden WAVE037.
As you see, you don't always need perfectly polished waveforms to make perfect patches.
B13. CLAV*E strings & clavichord
color & dynamic by VEL2
is a very nice ensemble-patch. You can control the volume of each voice with the push of your fingers on the keys.
The sensitivity is presented in the color-page (VEL2 in FILTER).
The CLAVichord in OSC3 (VOICE1) is controlled by ENV1 in the VOLUME-page and would be characterized by a short attack (T1=+63 and T2 of ENV1 in DCA3).
The String Ensemble (OSC 1 and 2 = SAW) appears from the dark due to the retarted start (ENV2).
>>>> When you play a fast clavichord-line in the right hand, you don't hear the background of the ensemble. That is one good reason to enjoy this amazing CLAV*E.
>>>> Modulating DCA3 by PEDAL (or wheel)= -20 , the attack isn't anymore on the foreground.
B14. BELLO bell modulation : octave + T2 (ENV)
This percussive BELLsound has a pretty undulant resonance(and release), due to the FILTER (Q) pulled down by the small ENV1-modulators of the oscillators.
T2 in the ENV-modulation of the DCAs determines the time of each soundcycle (CYC= ON!).
>>>> If you like a more CELESTA percussion sound, increase OCT to +3 and decrease ENV1 to -63 in the OSC-page.
The effect is glorifying due to the synchronisation of OSC1 to OSC2 (SYNC= ON in MODE-page).
B15. HORSY LFO effect
This patch illustrates the power of a LFO in the soundpatch. The characteristics of a SAW-wave in the LFO1 stress very much the setting of the LFO-data modulating the VOLUME. The delayed start of the LFO to L2 (+63) produces a horse running away at the horizon of the Far West.
>>>> With WHEEL (or CV-PEDAL)- modulation you control the panning of the global sound field (and detuning of the voice).
B16. DEEPBL LFO2 in OSC3
DEEP BELL has a clear sprankly BELL-tremolo (LFO2 in OSC3).
>>>> Decrease the low frequency (FREQ) or change the LFO2- waveforms SQR,NOI,SAW,TRI: you hear very clearly the influence of the different LFO-waves on the tremolo. Store as DEEP1.
>>>> Listen to the normal BELL-sound: turn off the LFO2-MODULATION of OSC3. If you like this change, don't forget to store the unmodulated BELL.(NORMBL)
B17. PEGGIO repeated prefect fourth
T2 of ENV1
This EL.PIANOsound has a pretty arpeggio-style in the envelope when playing melodies (legato) or notes of a chord.
Each oscillator (EL PNO) is tuned differently. The trick is to delay the start of the real tones.
ENV1 decreases the pitchlevel.
>>>> Decreasing T2 of ENV1 eliminates the detuning-factor.
When increasing T2 of ENV1, the repeated notes(interval= + 5 semitones) are gone: the echoing note is the normal pitch of the oscillator and never comes back, if you set T2 of ENV1 to +63.
B18. DWINDLE chord (L) 1 finger C4-C6
is a patch more or less without pitch (KBD2-63 ) in OSC 2 and 3 (2 SAWs) deduced from a rhythmic LFO-echo of the first waveform:
the metallic NOISE3 has of course no pitchlevel.
DWINDLE makes a pretty metal tune in the release of each note if you play from low to high.
For instance, put a back chord (rhythmic sustain/release) on the left side and run with one finger over the highest two octaves: you hear a fascinating rhythm.
Look to the panning: the sound switches from left to right.
>>>> If you prefer more echo in DWINDLE, decrease L1 of LFO2 to zero. The character of this patch is dominated by the values of LFO1 and 2.
>>>> If you like, alternate the waveforms in the OSC-page. For instance, VOICE1, PULSE 1 and 2 are very nice. Store your choices as DWINDV0, DWINDP1, DWIND2P.
B27. POLY3P expansive percussion
Play a monophonic melody on the highest keys. Each note produces a minimalistic rhythmic BELLpattern around this note, in reminiscence to the early musicstyle of Philip GLASS.
>>>> The tuning of the little notes and the volume allow us to LAYER this patch as a decoration for full tuned patches.
Try for instance MELORG, 'GLANS, CEREMO, DRYBAS, BELLO or select your favourite layersound.
B20. POWER attack / ENV2
is a dualvoice patch (7 seminotes: C-G is a perfect fifth) which is sensitive by attack (when playing staccato) and sustain (when playing legato).
The total volume of POWER can be increased to gigantic dimensions.
The capital point is ENV2 : it varies the swelling time.
B21. 'JZ AC P accordion pedal(color)
'JZ AC P is a very intringuing accordion patch suitable for all music styles but especially for jazz.
It is based on ONE wonderful HIDDEN waveform # 63 (WAVE062) in OSC2. The harmonics sound very rich.
Who dares to say that the hidden waveforms don't enhance the ESQ-1-capabilities?
You don't require any modulation of the sound. The color is perfect.
If you ever played a real accordion, you understand that this lovely patch is yours!
To accomplish the realism of the accordion, use the CV-PEDAL to control the tone-color in a flexible way.
B22. TNG D'A bass (L) & melody (R)
TANGO D'AMORE is another type of accordion that is used in the Argentine tangos Ö la PIAZZOLA.
There isn't any modulation here. The selected waveforms are SINE,VOICE 1 and 2.
Play the melody with the right hand and the basses of your accordion in the lower part of the keyboard.
B23. 'HARM+ white keys bassharmonica C1-C4
On a diatonic harmonica (based on hidden waveforms # 63 and #46) you play on the white keys in a limited section of the keyboard: the first 3 octaves(C1-C4) .
There is a subtle tremolo in the nasal expansion of the sound.
OSC3 enriches only the lower keyboard side with deep bassnotes.
B24. EX FL P Japanese flute ped(LFO)
OCT+5, SQR 2 and SAW are the 3 waveforms used in this exotic(EX) Japanese SHAKUHACHI flute (FL).
The exotic link to ancient Japan is caused by the subtle modulation (VEL,VEL2,KDB) of the oscillators.
The long natural flow(ENV) in EX FL P(edal) is dominated by LFO1 controlled by PEDAL change (or WHEEL if you like).
>>>> Depending on your intentions: search for other negative or positive values around 0 in these OSC-modulators.
B25. 'AXIGO bass(L) line or chords(R)
'AXIGO is a fluty patch with a twinkling release based on hidden waveform # 40( WAVE039) in only OSC3.
The keyboard is a normally tuned scale. However the upper octaves (keys # 41- # 61) don't generate the normal chordnotes that you expect to hear. That 's fun !
Key # 49 begins again on the frequency of G3 (key # 32);
key # 58 repeates the same note as key # 46 !
The progression in the high keys isn't related to consecutive higher notes.
The played chords (f.E. C5-E5-G5 or E4-E5) surprisingly produce alternate chords.
Play normal BASSlines in the left hand and pretty MELODIES or chords in the right hand.
B26. N2KICK drum
percussion
The sound is produced by a double NOISE2wave(in OSC1 and 2) colored in the high area by the variable KICK tune (due to the VEL2modulation in OSC3).
The velocity-setting in OSC1(=NOISE2) varies the same NOISE2-waveform in OSC2 (MODE SYNC=ON!).
Play a percussive lead in the left and produce staccato percussion riffs in the right hand. In any case, the drumpart covers the melody.
In this patch the KICK-waveform has a satisfying influence on the global sound because of the extremely high out- of-normal tuning level (OCT=+5).
>>>> Turn OSC 1 and 2 off and you are surprised by the variability of pitch AND color due to the maximum velocity- modulation in the FILTERpage.
>>>> Do you prefer a more dwindling sound? Increase the frequency of LFO1 to +63 (and perhaps L1 to +63): your soft or hard touch simply do influence LFO1-modulator VEL2.
patch template
rhythmbox
POLY3P sounds like a widely spaced PERCUSSION based on the NOISE 3- wave.
You clearly hear the mallet texture (three times the same waveform).
POLY3P reacts to velocity- change (look at LV of ENV4) and has a pretty soundtexture.
Otherwise, it is a very simple patch without special setting or modulation.
The development of the sound is a very normal ENVelope with a full sounding release.
That's the reason why you clearly hear all other waveforms in this patch too.
>>>> Take 3 times the same waveforms: for instance BELL, SINE, SQUARE, BASS, SYNTH2, E PNO2. They do the job very well.
You can store this waveform-sound(s) as the patchs of your choice without modification.
Shortly, POLY 3P is a handy patch-TEMPLATE.
B28. ETNPER ethnic percussion
What do you do with NOISE1- wave? Listen to ETNnic PERcussion. The CYC is ON (MODE-page). NOISE1 is a random-waveform.
All oscillators are high tuned (OCT-setting). The velocity-modulation of OSC1(= +5 octave tuned) arranges the randomizing effect of the played key.
You can play percussive melodies by touching rhythmically the same note; you are playing an ethnical (ETN) percussion- instrument (PER).
>>>> Change all waveforms: take 3 times the KICKwave, the randomizing tune of a key sounds more melodically due to the extremely high pitch tuning of OSC1. One of the most exciting KICK-patches for ESQ1. If you like, store it as ETNKIC.
B29. 'CLAWY toy music
sounds as a very exciting and lovely TOY BELL sound. CLAWY is based on waveform # 48 (WAV047) in OSC1, 2 and 3.
The voice- scaling are differently.
Classic chords produce alternative harmony. There is no standard scale.
In OSC2 there is a 13-tone scale (13 equal steps in 1 octave instead of 12 normal semitones).
>>>> Experiment with alternate scales by changing the KBD-modulator in OSC2 from negative to positive values.
>>>> You can hear the beautiful sounding waveform # 48 at its best in OSC3 (turn off OSC1 and2). This patch can be saved as CLAW3.
>>>> OSC3 is modulated by ENV1: try -53 for L1,2,3 (all other values 0) and you can layer this little BELLpatch with other classically tuned patches.
'CLAW3 works at its best without OSC1 and OSC2. 'CLAWY has a complexe texture if all oscillators are ON.
But it is not always the most complex patch that works. Watch. Listen.
B30. BARO low hollow sound: pitch velocity
The lowcut frequency and high Q-resonance (FILTERpage) affect the SQUARE-waveform (only OSC2) and produce a strange dry hollow sound.
Velocity modulates pitch and gives a variable image especially in the lower part of the keyboard.
Experiment with ENV3-data (L1,L2,L3) while varying the pitch.
If DCAs = ON, you change the sound fundamentally because you activate the other oscillators (= same waveforms).
B31. 'LFO74 waves: variability
LFO-velocity
is a killerpatch of incredible complexity and internal variability over the entire keyboard.
The volume of hidden wave #75 (WAVE074!) is controlled by the SQR waveform in the LFO1- modulation (super-humanized by LFO3).
The frequency of each oscillator is different. The 3-tones interval (F-C-G) of the 'LFO74 - patch can not be heard as a normal harmonic chord:
the frequency level of the LFO and most of all the increased tune of the oscillator (by ENV2 =+63) cause a very sharp level of pitch.
The LFO is modulated by velocity (=touch) and enables the very complex texture and variability of this samplewave from high to low (in the upper side).
You play a sea of wavemotions which come and go.
The glissando (+7) limits the shock effect. This modus enhances artificial waves and wind when playing legato.
>>>> Modulate the oscillators in 'LFO74. This is one of the interesting options.
Experiment with other modulators at +63 (LFO2 and LFO2 /LFO1 &LFO2/ ENV1 & LFO2).
Store your variation as 'VAR 74.
>>>> Turn OSC 2 and 3 OFF. Scrolling through the waveforms of OSC1 enhances very well the soundtexture of waves 071, 070 or 069.
>>>> Turn OSC 1 and 3 off. Descending through the waveforms of OSC2: undulant waves 073 or 038.
>>>> Turn OSC 1 and 2 off. The soundtemplate of 'LFO74 (=OSC3) enriches waves 037 and 033.
>>>> Combine your favourite waveforms of OSC1, 2 and 3 in new patches. Store your choices.
B32. MEETME flexible harmonic metings (ARPEGGIO)
pitch festival
The waveforms of OSC 1 and 2 are both melody-oriented ( SQUARE & SQR2).
Instead of modulating the amplitudes with LFO, the LFOs of MEETME are used to influence the pitch in an arpeggio sense.
The key of F3 produces first C#2 and G4 before arriving into the normal F3pitch-end.
>>>> However, different levels of LFO1 and LFO2 are possible to vary the return to the normal pitch of each key.
The falling-down-pitch(LFO) of both oscillators is a dual pitch interval. Turn off the LFO-MODs and play at different places of the keyboard especially in the lower part :
enjoy the fantastic harmonic meetings between two different levels of pitch at each key.
The end-pitch is duophonic because each oscillator is modulated by other KDB-values. OSC1 is tuned in a 14-tone scale.
The confrontation of this scale with 16 equal half steps for one octave in OSC2 (=16-tone SCALE) makes this pitch-festival completely fascinating.
B33. 'LFO3 1 wave = 2 sounds (only U)
rhythm(L) melody(R)
The rhythm effect of LFO 3 in this OSC3-sound is based on hidden waveform # 34 (WAVE033). 'LFO3 can only be heard in the upper part of the keyboard.
The lower part of the keyboard is mute because of KBD2 in the volume- and the filter-pages. Read about volume scaling chapter V of the general PART.
>>>> Play the LFO-rhythm with the left hand in the middle area of the keyboard and the normal melody with the right hand in the highest keys (C5-C6).
In this way you play with the same flute-sample # 34 two different sounds!
>>>> Decrease the rhythmicalized LFO3 in DCA3 to level +15 : only area C3 - C4 are LFO-affected.
Increase to level + 63: all keys in the upper half are LFO-affected. Level +40 , only around C3 (middle area).
Save your prefered LFO-patch as 'LFOMID.
B34. 'BASSY bass(L) melody(R)
B40. 'BS ORG organ C4-C6 volume scaling & merge
TATATAAtataTATATAA: This is the repeat-pattern of each note in 'BASSY.
Based on hidden WAVE045 (only OSC3) this patch includes a flexible rhythm box.
>>>> Layer MELORG on 'BASSY and you make MUSIC! KBD2 pronounces the bassregister.
LFO2 controls the amplitude-evolution of the only used oscillator(=OSC 3).
>>>> Increase the level of LFO2 (L1=+63).
Wave SQR in LFO2 and LFO3 hardly stresses the rhythm pattern.
The main point is that LFO3 is incorporated in the frequency modulation of LFO2 .
All variations of rhythmical patterns are open.
>>>> Change the frequency and level of LFO2 and/or LFO3.
Play a bassline with the left hand and hold keys down while playing a melody with the right hand .
B35. MENUET repeated notes
Dance a menuet on this patch music.
All oscillators are based on the SQUARE-waveform.
The rhythmic repeat of the played notes is not due to the LFO-setting but to the interaction between ENV1 and ENV4 in the VOLUMEpage.
B36. NOISY grooves
The specific aspect of NOISY is certainly the noisy sound with a rhythm support (sustain). ENV1 (T3 and L2 maximum level) pronounces this color-effect.
Experience the rhythm structure of the sample while playing one note-lines, arpeggios or chords.
B37. 'TUNY reversed scale from high to low
'TUNY is extremely fascinating : it is a meeting of two flexible tuned oscillators.
>>>> The first SINEwaveform you should hear when turning OSC2 off is a reversely tuned oscillator (KBD2 -63, KBD2 - 19 ):
key #1 sounds high and key #61 sounds low.
Listen to OSC2: the tuning is not constant, the starting tune extremely is augmented by LEVEL 1 (= +63) in LFO1.
The tuning level of each key is very variable because of the VELocity- modulation on OSC2. An other tune platform appears when changing the LFOwave.
>>>> Turn OSC1 and 2 again ON.
Play a bass octave (E1-E2-E1-E2...) and play a dynamic (slow and/ or fast) melody in the upper part of the keyboard:
you are absorbed by this amazing meeting of notes(high-low,lower-higher).
B38. 'OBSES skiving flutes
is a real obsessive sound due to the release time of the 50th hidden waveform (WAV049 in OSC1). The Pygmies dance on repetitive percussive music, while skiving flutes. Hold chordnotes down.
>>>> Experiment with LFO1-modulation in OSC1(= +63).
B39. 'MID flute organ volume scaling & multisplits
'MID is based on a single hidden waveform # 49 (wave048) in OSC1.
The volume is normal in the MID- area of the keyboard between A2 (key # 22) and C4 (key # 37).
Look at the DCA1-page. The amplitude (DCA1= +63) is controlled by KBD2 -63. It includes an interesting dualsplit-feature for solo music on the lower keys of the highest zones on another soundmodule without switching buttoms. Try and see (listen).
>>>> If you prefer to play 'MID only in the highest octave, decrease the level of DCA1 to zero and change the MOD = KBD2 from neg.values to +63 . The result is: 4 blank octaves in the same oscillator without using the split-page.
>>>> Finishing touch: to adjust the relative amplitude, decrease the second modulator KBD of ' MID, for instance to -11.
Decrease the volumelevel with KBD (= -11) modulation, if it sounds to loud. KBD can only affect the upper part of the keyboard.
Finally, store this new setting as 'HIGH.
>>>> Layer 'MID (which sounds only in the middle of the keyboard) with ANDAL (sound #A22) that sounds only very low (guitar) and very high(flute). In this way you achieve a multisplit on ESQ1.
Read "Sam S. MIMS, Multisamples on the ESQ-1 and SQ-80: How to Misuse Them Effectively. Transoniq Hacker, #49 , Juli, 1989, p. 6-7".
flexible multisplits
In this patch I used only the third OSC with hidden waveform # 46 (WAVE045).
When scaling the volume over the entire keyboard (by KBD2=+63 and KBD=-63 in the DCA-page) you play this special organ sound in the two highest octaves.
The rest of the keyboard is mute.
>>>> You are free to make a dualsplit with a sample in the lowest keyboard area without any change in the LAYER- and SPLIT-page.
This second patch appears in the lower part of the keyboard and disappears (decrescendo of the volume) into the upper area (caused by KBD2 = -58 and KBD = +14 of DCA).
>>>> If you like to hear the sound over the entire keyboard, set all KBD2- and KBD-modulators of DCA3 to 0 .
If you wish, adjust L1, L2, L3 of ENV4 to +63 and change all other values in this ENV-page to 0.
Again, read chapter V (Volume Scaling) in the GENERAL PART OF THE MANUAL
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