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Equip. SetUp

Notation Used Timing Information Note Information Guitar Information
Audio SetUp Bass Sounds String Sounds Bell & Other Sounds Recording Plan ProMix-01 EQ
Parameter Settings Ensoniq EPS Yamaha TX-802 Patches Alesis D-4 setup AI-2 Sync
Old Patches & Things TX-802 SH-101 CZ-101 DX-100 CX-5 Blank Forms

Notation Used

Because of technology, music has changed a lot. It has become more accessible to many people who were not classically trained. Although I had some classical training at an early age, I feel that its notation doesn't really reflect the way in which music is written today. As such, I have over the years devised my own method of notation which I hope will be more readily understood by most.

Please take time to read about my system of notation as that is the method I am using to transcribe my songs. If you like my notation system, please feel free to use it for your own songs.

Timing Information

I use a system which uses markers to indicate Time within a Bar of music. The system is simple and can be used to "mark out" 1 bar, 2 bars or 4 bars. The (~) marks make things more presentable.
[+] = Bar Mark       [:] = Beat Mark       [.] = Extra Marker

4 bars [+] with 4 beats/bar [:] marked at 8ths of a bar [.]
~ + . : . : . : . + . : . : . : . + . : . : . : . + . : . : . : . 

2 bars [+] with 4 beats/bar [:] marked at 16ths of a bar [.]
~ + . . . : . . . : . . . : . . . + . . . : . . . : . . . : . . . 
Depending on the rhythm of the song (and the width of the "page"), the timing could be 4 bars or 2 bars or even 1 bar. The [.] extra marker would be equivalent to a sequencer's "grid resolution".

Note Information

Wouldn't it be great if we could just write down the notes to be played like A, B, C, D and everyone would understand? Actually, once the timing positions are determined (as above), then you actually can just write down the notes to be played.
[/] = Up               [\] = Down

Bassline Example
~ + . . . : . . . : . . . : . . . + . . . : . . . : . . . : . . . 
  A   A   A  \G/A   A  \G/A  /C  \F   F   F   F/G   G G   G   C  
In the above example, the note info is literally positioned under the timing info. This is a lot like a sequencer display. The slashes [/] and [\] tell you whether the next note is up or down from your current position. This is much easier than writing down "absolute positions" like A3, G3, F3, C4 etc.
 [^] = Trigger Mark

Melody Example
~ +  .  .  .  :  .  .  .  :  .  .  .  :  .  .  .  
  ^        ^        ^        ^        ^     ^
  A A A A A\G/     A A A A\G/B/
  C C C C\A/G\     F F F/G G G 
The above example is another way of presenting the same information by using "trigger" marks. This is useful for songs with repetitive timing. The trigger marks tell you when the notes should be played while the actual notes are declared separately. This harkens back to the old days when I would use one drum-machine sound output to "trigger" a sequencer (eg accent output of TR-808 to trigger the gate of SH-101 in "sequence play" mode).
String Chords Example
~ + . . . : . . . : . . . : . . . + . . . : . . . : . . . : . . . 
  ^                               ^
  ^                               ^               ^
Am7 (E G A C)     G6  (E G B D) 
FM7 (E F A C)     Dm7 (D F A C)     Em7 (E G B D)
The above example is a similar concept except that (a) the trigger marks are in 2 lines (in this case, to represent a 4 bar sequence), and (b) the declared notes are actually chords. Actually, only the chord notes are needed. The chord-names are not absolutely necessary but I prefer it cos I like to know the chord root and invertedness (if any). Sometimes it's easier to remember with the chord-name declared.
Drum Pattern 
[B] = Bass/Kick Drum    [S] = Snare Drum         [R] = Rim Shot
[H] = Closed High-Hat   [O] = Open High-Hat      [Y] = Cymbols
Example
~ + . . . : . . . : . . . : . . . + . . . : . . . : . . . : . . . 
  B       S     b     B   S B     B     b S   B     b     S     B 
  H   O   H h   h H   O h   h O   H h   h H   O h   h O   H h   h 
This example describes a drum sequence. One basic drum rhythm may take several lines to describe (because of the voice overlap). This example only uses 2 lines because (a) the bass-drum and snares do not overlap, and (b) the only other drum voice is the high-hats. I also use lowercase to denote softer notes and uppercase for louder notes. I mostly only provide notation for the basic drum-rhythm and not for the drum fills.

Guitar Information

For guitars, I use the "standard internet format" which is the CRD format for chord descriptions and the TAB (tablature) format for notation. You can find plenty of information on these on the net [at news:alt.guitar.tab or news:rec.music.makers.guitar.tablature or http://www.olga.net]. However, for chord names, I use the system which is described in this site under Scales.
Crd format examples
Chord Name [e a d g b e]    [e a d g b e]    [e a d g b e]
Amin7      [x 0 2 0 1 0] or [x 0 2 0 1 3] or [5 7 5 5 5 5]
G          [3 2 0 0 0 3] or [3 2 0 0 3 3] or [3 5 5 4 3 3]
Dmin7      [x x 0 2 1 1] or [x 5 7 5 6 5] or [x 5 7 5 6 8]

Tablature format
~ + . : . : . : . + . : . : . : . + . : . : . : . + . : . : . : . 
E-----------------------------------------------------------------
B-----------------------------------------------------------------
G-----------------------------------------------------------------
D-----------------------------------------------------------------
A-----------------------------------------------------------------
E-----------------------------------------------------------------

[h] = Hammer On      [b] = Bend Up         [x] = Muted or Choppy
[p] = Pull Off       [r] = Release Bend    [t] = Tap (with strum hand)
[/] = Slide Up       [v] = vibrato 
[\] = Slide Down     [~] = vibrato
Below is a handy little reference for working out guitar chords. The left contains notes by fret position and the right is a transposition table.
Guitar / Note Reference         | R  b2 2  b3 3  4  b5 5  b6 6  b7 7
E  F  F# G  G# A  Bb B  C  C# D | C     D     E  F     G     A     B
B  C  C# D  D# E  F  F# G  G# A | D     E  F     G     A     B  C   
G  G# A  Bb B  C  C# D  D# E  F | E  F     G     A     B  C     D   
D  D# E  F  F# G  G# A  Bb B  C | F     G     A     B  C     D     E
A  Bb B  C  C# D  D# E  F  F# G | G     A     B  C     D     E  F   
E  F  F# G  G# A  Bb B  C  C# D | A     B  C     D     E  F     G   
0  1  2  3  4  5  6  7  8  9 10 | B  C     D     E  F     G     A   

Audio SetUp

 ++=====================>================++
 ||                                      ||
 ++=<=[Line Out     1]--<--[1      in 1]-+|
      [             2]--<--[2      in 2]--+
      [             3]--<--[3          ]
      [ Yamaha      4]--<--[4   Alesis ]
      [ ProMix      5]--<--[5     ADAT ]
      [ -01         6]--<--[6      -XT ]
      [ mixer       7]--<--[7          ]
      [             8]--<--[8          ]
      [              ]
      [             9]--<--[L  Ensoniq ]
      [            10]--<--[R      EPS ]
      [              ]
      [            11]--<--[1   Yamaha ]
      [            12]--<--[2   TX-802 ]
      [              ]
      [            13]--<--[L   Alesis ]
      [            14]--<--[R      D-4 ]
      [            15]--<--[Aux  Drums ]
      [              ]
      [            16]--<--[    Guitar ]
      [              ]
      [     Stereo In]==<==[out       1]--<--[    Roland ]
                           [          2]--<--[    MKS-80 ]
                           [ Boss     3]
                           [ KM-60    4]
                           [ mixer    5]--<--[        CD ]
                           [          6]--<--[    player ]

Bass Sounds

The main bass is the Ensoniq EPS sample. Sample comprises a mix waveform of (i) 2 MKS-80 patches I made and using unison detune [ie 16 oscillators], (ii) a Moog VCO sample and FM Bass sample from Ensoniq's Library. These waveforms are mixed/merged into one sample (of course, biased to my MKS-80 sample). Then I use 3 of these samples to form the core bass; 2 detuned and 1 an octave down.

This main EPS bass is good and industrial/ machine sounding but lacks bottom rumble. Originally I wanted to use the MKS-80 but the patch buttons didn't work (and had go in for repairs). So I decided to separately make a TX-802 low-end support bass using 8 patches detuned.

The TX-802 support bass is made up of my own patches (with number only) and TX-802 Presets (prefixed with "A" or "B"):-

TX-802 Bass Set
Name     --Cantonese---      --SolidBases--   PitchaPad  StringBass ---JazzBass---
Patch#    09        09        28        28       B41       B02       B07       B07
Level     70        70        90        90        80        82        99        99
Detune    +3        -3        -2        +2         0         0        +1        -1
Output     I        II         I        II       both      both        I        II

String Sounds

Aaaarrggghhh! I haven't finished this part yet...

TX-802 strings are "Glass Strs" and "Crystaline" mixed at volume 88 and 99 respectively.

TX-802 String Set
Name     Glass Strs---4 linked pairs----     Crystaline---4 linked pairs---
MidiCh     6       {-       {-       {-        6       {-       {-       {-
Level     80       {-       {-       {-       99       {-       {-       {-
Detune    -1       {-       {-       {-       +1       {-       {-       {-
Output     I       {-       {-       {-       II       {-       {-       {-

Bells and Other Sounds

Oh yeah! Still under construction!

EPS uses (1) Vibraphone / Kalimba , (2) PPG [little used], and (3) Gamelan. TX-802 is supporting using (1) Metallofon

TX-802 Bell/Perc Set
Name     BellDreams-2-     Metallafon-2-     SynthHarp-2--  Bellarimba Cantonese
MidiCh    11       {-       11       {-       11       {-        3        1
Level     78       {-       71       {-       75       {-       67       70
Detune    +2       {-       -2       {-        0       {-        0        0
Output     I       {-       II       {-      both      {-      both     both

Recording Plan

Before you commit an entire album to tape, it's worthwhile taking some time off to analyse your music. Basically you are trying to predict your mixing needs of the instruments (eg effects & dynamics) and determine your multi-track assignments for your songs. There should be a pattern somewhere as we humans tend to have some method in our madness.

For example, analysing my music, I found that I could generalise my songs into 2 types (a) guitar songs, and (b) synth songs. My guitar songs tended to be sparse (with only drums, bass and a bit of strings) with no bells or other percussion. My synth songs tended to have lots of bells and percussion but no (or little) guitar.

The analysis was something like this:-

\  INSTRUMENTS USED          Drums   Bass    Strings  Bells    Percs    Guitar   Guitar
SONG TYPE                                             Gamelan  FM       Rhythm   Lead
Synth Songs (no guitar)      yes     yes     yes      yes      yes      -        -
Guitar Songs                 yes     yes     yes      -        -        yes      yes
Mixed Song (little guitar)   yes     yes     yes      yes      -        yes      -
It then becomes obvious that drums, bass and strings can be recorded on the same track numbers throughout. The next 2 track numbers would be used for the last 2 instruments: For Synth Songs = Bells & Percs ; for Guitar Songs = Rhythm & Lead; for Mixed Songs = Bells & Rhythm.

I also made the decision to record Drums and Bass mixed together as a stereo pair. Sometimes I just like a challenge, he he! So the total count is trks#1&2 = Drums&Bass, trk#3 = Strings, trk#4&5 = the last 2 instruments... which leaves trk#6,7,8 for vocals and anything else. Good thing I did this cos trk#7 then began to act suspiciously.

Yamaha ProMix-01 EQ settings

Recording Bass & Drums ~ Stereo Mix to Tracks 1 & 2
     |         Low   Mid   High  |         Low   Mid   High  |
     | Drums Main                | Kick Drum   
Gain |         + 5   - 6   +11   |         -12   -12   + 7   |
Freq |         180   900   9.0k  |         250   315   3.2k  |
Q    |         1/2   1/3   1oct  |         1/4   1/4   3/2   |
     | EPS Bass                  | TX-802 Bass 
Gain |         + 6   - 4   + 4   |         + 6   -13   - 9   |
Freq |         110   800   2.8k  |          70   400   1.0k  |
Q    |         1/2   1/6   1/6   |         1/2   1/6   Shlf  |

Recording Strings ~ Mono Mix to Track 3
     |         Low   Mid   High  |         Low   Mid   High  |
     | EPS                       | TX-802 
Gain |         - 5   - 8   + 5   |         - 6   -10   + 7   |
Freq |         400   2.2k  5.6k  |         250   800   4.5k  |
Q    |         1/4   1/4   3/2   |         1/4   1/3   1/2   |

Recording Bells ~ Mono Mix to Track 4
     |         Low   Mid   High  |         Low   Mid   High  |
     | EPS                       | TX-802 
Gain |         + 7   + 4   + 8   |         + 4   - 5   + 7   |
Freq |         160   1.2k  4.5k  |         700   2.0k  9.0k  |
Q    |         1/2   1/2   1oct  |         1/3   1/4   1oct  |

Recording Percs ~ Mono Mix to Track 5
     |         Low   Mid   High  |         Low   Mid   High  |
     | EPS                       | TX-802 
Gain |         + 6   - 6   + 9   |         + 5   - 5   + 7   |
Freq |         315   1.4k  4.0k  |         450   2.5k  12.k  |
Q    |         1/3   1/3   3/2   |         3/4   3/4   1oct  |

Parameter Settings

This section contains patches which I'm currently using. Unfortunately, any sampler settings are useless without the raw samples. But I'm providing the settings anyway to give an idea as to how the sound banks are organised.

Ensoniq EPS sampler

Ensoniq EPS (Classic) is a 13 bit sampler and most of my sounds were sampled at 30kHz. Basically it has 8 instruments and each instrument can have up to 8 layers. And each layer can have as many samples as there are notes but I usually only use one sample per layer. Everything is subject to available memory and I'm using the "x 2" memory expansion.

In addition, the EPS has a pair of patch select buttons to which you can assign different layers. Basically not pressing them is patch 1 (equiv Ctlr70=00), pressing the right button is patch 2 (equiv Ctlr70=32), pressing the left button is patch 3 (equiv Ctlr70=64) and pressing both is patch 4 (equiv Ctlr70=127). My setup is as follows:-

Inst.  |    Patch 1            Patch 2            Patch 3            Patch 4
MidiCh |    Ctlr70=00          Ctlr70=32          Ctlr70=64          Ctlr70=127
1      |  Vibe + Kalimba     Kalimba x2         Vibraphone x2      -
2      |  PPG + ChinaVio     Slitbell x2        PPG / ChinaVio     PPG x2
3      |  Gamelan + Bell     -                  -                  -
4      |  Guitar             -                  -                  -
5      |  OrchStr + Choir    OrchStr x2         Choir x2           EnsembStr Slow
6      |  SynthStr Fast      SynthStr Med       -                  SynthStr Slow
7      |  SynthBass          -                  -                  -

Yamaha TX-802 patches

VOICE NAME:__Cantonese______________________
   OpSync  Key  Feedback  Algorithm#          PMD   PMS   AMD  Wave Spd  Dly  Sync
   +-----+-----+=======+===================++-----------------+-------------------+
   | On  | C3  | 4     | 16                ||  16 :   0 :   0 | sin: 11 :  0 : off|
+==+=====+=====+=======+===================++=================+-------------------+
|Op|FREQ .fine |OUTPUT/ L1 , L2 , L3 , L4 / | KRS /BrkPt\ AMS | 
|  |mode \dtun | Vel / R1 , R2 , R3 , R4 /  |LDep,LC : RC,RDep|  Pitch Envelope
+==+===========+====+======================++========|========+   +---------------+
|1 |   1 . 0   |   99 / 99 , 90 , 50 , 00 / |  3  /  C3 \     |  / 51, 50, 50, 50/
|  |     \   0 |  1  / 99 , 36 , 43 , 33 /  | 75 , +E: +E, 50 | / 99, 85, 99, 99/
+--+-----------+----+----------------------++--------+--------++---------------+
|2 |   1 . 0   |   86 / 99 , 80 , 00 , 00 / |  1  /  E3 \     | 
|  |     \  +3 |  0  / 99 , 80 , 50 , 33 /  | 35 , +E: +L, 15 |         :Poly/Mono:
+--+-----------+----+----------------------++--------+--------+ 
|3 |   1 . 0   |   88 / 99 , 72 , 26 , 00 / |  3  /     \     |            Rng Step
|  |     \  -4 |  1  / 99 , 77 , 26 , 23 /  |    ,   :   ,    |  PitchBend:   :   :
+--+-----------+----+----------------------++--------+--------+ 
|4 |   1 . 50  |   71 / 99 , 75 , 25 , 00 / |  7  /     \     |      Mode Glis Time
|  |     \  -6 |  7  / 99 , 31 , 17 , 30 /  |    ,   :   ,    | PortaM:   :   :   :
+--+-----------+----+----------------------++--------+--------+ 
|5 |   1 . 0   |   59 / 99 , 68 , 19 , 00 / |  0  /     \     |    Rng Pit Amp EnvB
|  |     \  +2 |  1  / 99 , 50 , 26 , 19 /  |    ,   :   ,    | MW:   :   :   :   :
+--+-----------+----+----------------------++--------+--------+ FC:   :   :   :   :
|6 |   1 . 50  |   78 / 99 , 87 , 10 , 00 / |  3  /  C0 \     | BC:   :   :   :   :
|  |     \  +5 |  7  / 99 , 76 , 46 , 27 /  | 99 , -L: +L, 99 | AT:   :   :   :   :
+==+===========+====+======================++========+========+ 

VOICE NAME:__Metallafon_____________________
   OpSync  Key  Feedback  Algorithm#          PMD   PMS   AMD  Wave Spd  Dly  Sync
   +-----+-----+=======+===================++-----------------+-------------------+
   | On  | C3  | 6     | 22                ||  4  :  2  :  4  |sine: 46 : 23 : off|
+==+=====+=====+=======+===================++=================+-------------------+
|Op|FREQ .fine |OUTPUT/ L1 , L2 , L3 , L4 / | KRS /BrkPt\ AMS | 
|  |mode \dtun | Vel / R1 , R2 , R3 , R4 /  |LDep,LC : RC,RDep|  Pitch Envelope
+==+===========+====+======================++========|========+   +---------------+
|1 |   1 . 01  |  99  / 99 , 85 , 60 ,  0 / |  0  /     \  0  |  /   ,   ,   ,   /
|  |     \  -7 |  1  / 98 , 40 , 20 , 36 /  |    ,   :   ,    | /   ,   ,   ,   /
+--+-----------+----+----------------------++--------+--------++---------------+
|2 |   9 .     |  95  / 99 , 75 , 50 ,  0 / |  1  /  G2 \  0  | 
|  |     \   0 |  2  / 98 , 55 , 30 , 38 /  | 15 , +L:-L , 15 |         :Poly/Mono:
+--+-----------+----+----------------------++--------+--------+ 
|3 |   1 .     |  99  / 99 , 85 , 60 ,  0 / |  0  /     \  0  |            Rng Step
|  |     \   0 |  0  / 99 , 40 , 20 , 35 /  |    ,   :   ,    |  PitchBend:   :   :
+--+-----------+----+----------------------++--------+--------+ 
|4 |   0 . 995 |  99  / 99 , 85 , 60 ,  0 / |  0  /     \  0  |      Mode Glis Time
|  |     \  +7 |  1  / 97 , 40 , 20 , 36 /  |    ,   :   ,    | PortaM:   :   :   :
+--+-----------+----+----------------------++--------+--------+ 
|5 |   1 . 99  |  99  / 99 , 85 , 60 ,  0 / |  0  /     \  2  |    Rng Pit Amp EnvB
|  |     \  +7 |  1  / 96 , 40 , 20 , 37 /  |    ,   :   ,    | MW:   :   :   :   :
+--+-----------+----+----------------------++--------+--------+ FC:   :   :   :   :
|6 |   7 .     |  88  / 99 , 75 , 50 ,  0 / |  1  /  D3 \  0  | BC:   :   :   :   :
|  |     \   0 |  2  / 97 , 68 , 30 , 38 /  |  5 , +L:-L , 15 | AT:   :   :   :   :
+==+===========+====+======================++========+========+ 

VOICE NAME:___Bellarimba____________________
   OpSync  Key  Feedback  Algorithm#          PMD   PMS   AMD  Wave Spd  Dly  Sync
   +-----+-----+=======+===================++-----------------+-------------------+
   |  on |  C3 |  7    |   5               ||   3 :   2 :   3 | tri: 48 : 14 : off|
+==+=====+=====+=======+===================++=================+-------------------+
|Op|FREQ .fine |OUTPUT/ L1 , L2 , L3 , L4 / | KRS /BrkPt\ AMS | 
|  |mode \dtun | Vel / R1 , R2 , R3 , R4 /  |LDep,LC : RC,RDep|  Pitch Envelope
+==+===========+====+======================++========|========+   +---------------+
|1 |   1 .     |  97  / 99 , 86 , 10 ,  0 / |  4  /  C3 \  0  |  /   ,   ,   ,   /
|  |     \  +6 |  1  / 99 , 34 , 15 , 26 /  | 12 , +L:-L , 12 | /   ,   ,   ,   /
+--+-----------+----+----------------------++--------+--------++---------------+
|2 |   7 . 05  |  92  / 99 , 33 ,  5 ,  0 / |  2  /  C3 \  0  | 
|  |     \  -7 |  3  / 98 , 37 , 21 , 27 /  | 18 , +L:-L , 20 |         :Poly/Mono:
+--+-----------+----+----------------------++--------+--------+ 
|3 |   1 .     |  95  / 99 , 80 , 10 ,  0 / |  3  /  C3 \  0  |            Rng Step
|  |     \  -5 |  2  / 96 , 37 , 13 , 25 /  |  6 , +L:-L ,  6 |  PitchBend:   :   :
+--+-----------+----+----------------------++--------+--------+ 
|4 |   6 . 95  |  87  / 99 , 40 ,  5 ,  0 / |  2  /  C3 \  1  |      Mode Glis Time
|  |     \  +7 |  4  / 97 , 42 , 18 , 28 /  |  5 , +L:-L ,  9 | PortaM:   :   :   :
+--+-----------+----+----------------------++--------+--------+ 
|5 |   1 .     |  99  / 99 , 20 , 10 ,  0 / |  4  /     \  0  |    Rng Pit Amp EnvB
|  |     \  -1 |  0  / 93 , 22 , 22 , 26 /  |    ,   :   ,    | MW:   :   :   :   :
+--+-----------+----+----------------------++--------+--------+ FC:   :   :   :   :
|6 |   7 .     |  86  / 99 , 46 ,  5 ,  0 / |  2  /  C3 \  0  | BC:   :   :   :   :
|  |     \  +6 |  3  / 99 , 47 , 15 , 27 /  | 12 , -E:+E , 12 | AT:   :   :   :   :
+==+===========+====+======================++========+========+ 
Obtain F=7.05 and 6.95 by starting with CoarseFreq=5

VOICE NAME:__BellDreams_____________________
   OpSync  Key  Feedback  Algorithm#          PMD   PMS   AMD  Wave Spd  Dly  Sync
   +-----+-----+=======+===================++-----------------+-------------------+
   | On  | C3  | 7     | 10                ||  4  :  2  :  4  |sine: 37 : 27 : off|
+==+=====+=====+=======+===================++=================+-------------------+
|Op|FREQ .fine |OUTPUT/ L1 , L2 , L3 , L4 / | KRS /BrkPt\ AMS | 
|  |mode \dtun | Vel / R1 , R2 , R3 , R4 /  |LDep,LC : RC,RDep|  Pitch Envelope
+==+===========+====+======================++========|========+   +---------------+
|1 |   1 . 01  |  99  / 99 , 80 , 50 ,  0 / |  0  /  A2 \  0  |  /   ,   ,   ,   /
|  |ratio\  -7 |  1  / 99 , 35 , 20 , 36 /  |  5 , -L:   ,  0 | /   ,   ,   ,   /
+--+-----------+----+----------------------++--------+--------++---------------+
|2 |   3 .981Hz|  75  / 90 , 99 , 90 ,  0 / |  0  /     \  0  | 
|  | fix \   0 |  0  / 99 , 20 ,  5 , 15 /  |  0 ,   :   ,  0 |         :Poly/Mono:
+--+-----------+----+----------------------++--------+--------+ 
|3 |   7 . 07  |  90  / 99 , 65 , 40 ,  0 / |  2  /  G3 \  0  |            Rng Step
|  |ratio\  -7 |  3  / 99 , 72 , 20 , 31 /  | 20 , +L: -L, 20 |  PitchBend:   :   :
+--+-----------+----+----------------------++--------+--------+ 
|4 |   0 . 995 |  99  / 99 , 80 , 50 ,  0 / |  0  /  B2 \  0  |      Mode Glis Time
|  |ratio\  +7 |  1  / 99 , 35 , 10 , 38 /  |  5 , -L:   ,  0 | PortaM:   :   :   :
+--+-----------+----+----------------------++--------+--------+ 
|5 |   4 . 96  |  91  / 99 , 70 , 40 ,  0 / |  1  / C#4 \  2  |    Rng Pit Amp EnvB
|  |ratio\  +7 |  3  / 99 , 55 , 20 , 32 /  | 15 , +L: -L, 15 | MW:   :   :   :   :
+--+-----------+----+----------------------++--------+--------+ FC:   :   :   :   :
|6 |   6 .310Hz|  70  / 80 , 99 , 91 ,  0 / |  0  /     \  0  | BC:   :   :   :   :
|  | fix \  -7 |  0  / 70 , 21 ,  6 , 16 /  |  0 ,   :   ,  0 | AT:   :   :   :   :
+==+===========+====+======================++========+========+ 

VOICE NAME:__Synth-Harp_____________________
   OpSync  Key  Feedback  Algorithm#          PMD   PMS   AMD  Wave Spd  Dly  Sync
   +-----+-----+=======+===================++-----------------+-------------------+
   | on  | C3  |  7    |    3              ||   4 :   3 :   1 | tri: 31 : 40 : off|
+==+=====+=====+=======+===================++=================+-------------------+
|Op|FREQ .fine |OUTPUT/ L1 , L2 , L3 , L4 / | KRS /BrkPt\ AMS | 
|  |mode \dtun | Vel / R1 , R2 , R3 , R4 /  |LDep,LC : RC,RDep|  Pitch Envelope
+==+===========+====+======================++========|========+   +---------------+
|1 |   2 .     |   99 / 99 , 88 , 96 ,  0 / |  0  /     \  0  |  /   ,   ,   ,   /
|  |     \  -7 |  1  / 99 , 75 , 50 , 40 /  |    ,   :   ,    | /   ,   ,   ,   /
+--+-----------+----+----------------------++--------+--------++---------------+
|2 |   1 .     |   82 / 99 , 82 , 50 ,  0 / |  0  /     \  0  | 
|  |     \  -6 |  2  / 90 , 38 , 18 , 38 /  |    ,   :   ,    |         :Poly/Mono:
+--+-----------+----+----------------------++--------+--------+ 
|3 |   1 .     |   83 / 99 , 71 , 25 ,  0 / |  1  /     \  1  |            Rng Step
|  |     \  -5 |  3  / 80 , 39 , 23 , 36 /  |    ,   :   ,    |  PitchBend:   :   :
+--+-----------+----+----------------------++--------+--------+ 
|4 |   1 .     |   99 / 99 , 88 , 95 ,  0 / |  0  /     \  0  |      Mode Glis Time
|  |     \  +7 |  1  / 95 , 76 , 30 , 38 /  |    ,   :   ,    | PortaM:   :   :   :
+--+-----------+----+----------------------++--------+--------+ 
|5 |   2 .     |   78 / 99 , 70 , 50 ,  0 / |  0  /  C4 \  0  |    Rng Pit Amp EnvB
|  |     \  +6 |  2  / 85 , 39 , 17 , 36 /  |  0 ,   :-L , 23 | MW:   :   :   :   :
+--+-----------+----+----------------------++--------+--------+ FC:   :   :   :   :
|6 |   3 .     |   74 / 99 , 82 , 30 ,  0 / |  1  /  E4 \  3  | BC:   :   :   :   :
|  |     \  +5 |  3  / 70 , 38 , 17 , 35 /  |  0 ,   :-L , 33 | AT:   :   :   :   :
+==+===========+====+======================++========+========+ 

VOICE NAME:__Glass Strs______________________
   OpSync  Key  Feedback  Algorithm#          PMD   PMS   AMD  Wave Spd  Dly  Sync
   +-----+-----+=======+===================++-----------------+-------------------+
   | On  | C3  |  7    |    2              ||   7 :   1 :  0  | tri: 31 : 75 : on |
+==+=====+=====+=======+===================++=================+-------------------+
|Op|FREQ .fine |OUTPUT/ L1 , L2 , L3 , L4 / | KRS /BrkPt\ AMS | 
|  |mode \dtun | Vel / R1 , R2 , R3 , R4 /  |LDep,LC : RC,RDep|  Pitch Envelope
+==+===========+====+======================++========|========+   +---------------+
|1 |   2 .     |   99 / 99 , 99 , 99 ,  0 / |  0  /     \  -  |  /   ,   ,   ,   /
|  |     \  -7 |  2  / 60 , 99 , 99 , 50 /  |    ,   :   ,    | /   ,   ,   ,   /
+--+-----------+----+----------------------++--------+--------++---------------+
|2 |   1 .     |   88 / 90 , 90 , 90 ,  0 / |  0  /     \  -  | 
|  |     \  -6 |  0  / 99 , 99 , 99 , 20 /  |    ,   :   ,    |         :Poly/Mono:
+--+-----------+----+----------------------++--------+--------+ 
|3 |   1 .     |   99 / 99 , 99 , 99 ,  0 / |  0 /      \   - |            Rng Step
|  |     \  +3 |  2  / 60 , 99 , 99 , 50 /  |    ,   :   ,    |  PitchBend:   :   :
+--+-----------+----+----------------------++--------+--------+ 
|4 |   1 .     |   78 / 90 , 90 , 90 ,  0 / |  0  /     \  -  |      Mode Glis Time
|  |     \  +3 |  0  / 99 , 99 , 99 , 20 /  |    ,   :   ,    | PortaM:   :   :   :
+--+-----------+----+----------------------++--------+--------+ 
|5 |   2 .     |   88 / 90 , 90 , 90 ,  0 / |  0  /     \  -  |    Rng Pit Amp EnvB
|  |     \  -7 |  0  / 99 , 99 , 99 , 20 /  |    ,   :   ,    | MW:   :   :   :   :
+--+-----------+----+----------------------++--------+--------+ FC:   :   :   :   :
|6 |   1 .     |   82 / 90 , 90 , 90 ,  0 / |  0  /     \  -  | BC:   :   :   :   :
|  |     \  -7 |  0  / 99 , 99 , 99 , 20 /  |    ,   :   ,    | AT:   :   :   :   :
+==+===========+====+======================++========+========+ 

VOICE NAME:__Crystaline______________________
   OpSync  Key  Feedback  Algorithm#          PMD   PMS   AMD  Wave Spd  Dly  Sync
   +-----+-----+=======+===================++-----------------+-------------------+
   | on  | C3  |  7    |    2              ||   8 :   3 :   0 | sin: 32 : 40 : off|
+==+=====+=====+=======+===================++=================+-------------------+
|Op|FREQ .fine |OUTPUT/ L1 , L2 , L3 , L4 / | KRS /BrkPt\ AMS | 
|  |mode \dtun | Vel / R1 , R2 , R3 , R4 /  |LDep,LC : RC,RDep|  Pitch Envelope
+==+===========+====+======================++========|========+   +---------------+
|1 |   1 .     |   99 / 99 , 98 , 97 ,  0 / |  2  /     \  -  |  / 49, 51, 50, 50/
|  |     \  -7 |  2  / 49 , 24 , 20 , 35 /  |    ,   :   ,    | / 80, 95, 95, 60/
+--+-----------+----+----------------------++--------+--------++---------------+
|2 |   1 .     |   79 / 99 , 98 , 97 ,  0 / |  1  /     \  -  | 
|  |     \  -5 |  0  / 92 , 12 , 17 , 26 /  |    ,   :   ,    |         :Poly/Mono:
+--+-----------+----+----------------------++--------+--------+ 
|3 |   1 .     |   99 / 99 , 90 , 89 ,  0 / |  2  /     \  -  |            Rng Step
|  |     \  +7 |  1  / 50 , 24 , 20 , 34 /  |    ,   :   ,    |  PitchBend:   :   :
+--+-----------+----+----------------------++--------+--------+ 
|4 |   1 .     |   78 / 99 , 94 , 93 ,  0 / |  1  /     \  -  |      Mode Glis Time
|  |     \  +3 |  1  / 92 , 34 ,  0 , 26 /  |    ,   :   ,    | PortaM:   :   :   :
+--+-----------+----+----------------------++--------+--------+ 
|5 |   1 .     |   82 / 99 , 98 , 97 ,  0 / |  1  /  C4 \  -  |    Rng Pit Amp EnvB
|  |     \  -3 |  0  / 92 , 31 , 25 , 27 /  |  - , - : -L, 23 | MW:   :   :   :   :
+--+-----------+----+----------------------++--------+--------+ FC:   :   :   :   :
|6 |   1 .     |   77 / 99 , 97 , 96 ,  0 / |  1  /  E4 \  -  | BC:   :   :   :   :
|  |     \  -7 |  0  / 92 , 24 , 13 , 27 /  | 28 , -L: -L, 33 | AT:   :   :   :   :
+==+===========+====+======================++========+========+ 

VOICE NAME:_SolidBases______________________
   OpSync  Key  Feedback  Algorithm#          PMD   PMS   AMD  Wave Spd  Dly  Sync
   +-----+-----+=======+===================++-----------------+-------------------+
   | off |  C1 |   7   |   14              ||   7 :   4 :   0 | tri: 25 :  0 : off|
+==+=====+=====+=======+===================++=================+-------------------+
|Op|FREQ .fine |OUTPUT/ L1 , L2 , L3 , L4 / | KRS /BrkPt\ AMS | 
|  |mode \dtun | Vel / R1 , R2 , R3 , R4 /  |LDep,LC : RC,RDep|  Pitch Envelope
+==+===========+====+======================++========|========+   +---------------+
|1 |   1 .     |  97  / 99 ,  0 ,  0 ,  0 / |  1  /  C3 \     |  /   ,   ,   ,   /
|  |     \  -2 |   0 / 99 , 33 ,  0 , 58 /  |  0 , +L: -L,  0 | /   ,   ,   ,   /
+--+-----------+----+----------------------++--------+--------++---------------+
|2 |   2 .     |  77  / 99 ,  0 ,  0 ,  0 / |  0  /     \     | 
|  |     \  +3 |   1 / 99 , 55 ,  0 , 59 /  |    ,   :   ,    |         :Poly/Mono:
+--+-----------+----+----------------------++--------+--------+ 
|3 |   1 .     |  99  / 99 ,  0 ,  0 ,  0 / |  1  /  C3 \     |            Rng Step
|  |     \  +1 |   0 / 99 , 33 ,  0 , 58 /  |  0 , +L: -L,  0 |  PitchBend:   :   :
+--+-----------+----+----------------------++--------+--------+ 
|4 |   1 .     |  74  / 99 ,  0 ,  0 ,  0 / |  1  /     \     |      Mode Glis Time
|  |     \   0 |   0 / 99 , 33 ,  0 , 59 /  |    ,   :   ,    | PortaM:   :   :   :
+--+-----------+----+----------------------++--------+--------+ 
|5 |   2 .     |  71  / 99 ,  0 ,  0 ,  0 / |  1  /     \     |    Rng Pit Amp EnvB
|  |     \  -4 |   0 / 99 , 57 ,  0 , 59 /  |    ,   :   ,    | MW:   :   :   :   :
+--+-----------+----+----------------------++--------+--------+ FC:   :   :   :   :
|6 |   2 .     |  80  / 99 , 44 ,  0 ,  0 / |  0  /     \     | BC:   :   :   :   :
|  |     \   0 |   1 / 99 , 54 , 27 , 60 /  |    ,   :   ,    | AT:   :   :   :   :
+==+===========+====+======================++========+========+ 

Alesis D-4 setup

## Note Set ##  Out  Tun Lev Pan  Name
36 C1   Kik 68  Aux
37 C#1  Kik 23   |
38 D1   Kik 27   |
39 D#1  Kik 99   |   -3  90  {3   Coliseum
40 E1   Kik 40  Aux
41 F1   Snr 19  Main
42 F#1  Efx 69   |   -4  80   1}  Clatter
43 G1   Snr 64   |
44 G#1  Cym 18   |   -2  90  {1   WetHalf
45 A1   Snr 57   |
46 A#1  Cym 16   |   -2  99  { }  Wetter
47 B1   Snr 06   |
48 C2   Snr 39   |
49 C#2  Snr 14   |   -1  90  { }  MediaHyp
50 D2   Snr 99   |
51 D#2  Snr 55   |
52 E2   Snr 82   |
53 F2   Snr 66   |
54 F#2  Snr 91   |   -4  88  { }  Stick
55 G2   Snr 86   |
56 G#2  Prc 53   |   -2  66  {3   LngCabsa
57 A2   Snr 53   |
58 A#2  Prc 34   |    0  65   2}  LoAgogo
59 B2   Snr 95   |
60 C3   Tom 46   |   -3  80   3}  XLoCan
61 C#3  Prc 33   |    0  65  {2   HiAgogo
62 D3   Tom 45   |   -2  80  {3   LoCan
63 D#3  Prc 64   |   -4  88   2}  HandClap
64 E3   Tom 57   |   -1  80  {2   AmbMdClr
65 F3   Tom 56   |    0  80   2}  AmbHiClr
66 F#3  Prc 27   |   -1  83  {2   LoCow
67 G3   Cym 55   |   -1  71  {2   BigL&R
68 G#3  Prc 55   |   -4  77   3}  Tambrine
69 A3   Cym 54   |   -2  72   2}  Lft&Rght
70 A#3  Prc 22   |
71 B3   Cym 25   |    0  79   1}  WetRattl
72 C4   Cym 30  Main -4  84  {1   WetFoot

Alesis AI-2 Synchroniser

----- Terms Used
• W/C = WordClock • Rdr = Reader
• TC = TimeCode; usually expressed as "hh:mm:ss:ff" (hours: minutes: seconds: frames).
----- Using AI-2 ver.2.00 Local Play
• In my case, I want the ADAT to be the master and get the AI-2 to send out slave information to the sequencer. To do this, set menu= Control\Mode\ [Auto] (as long as it's NOT "Reader Chase"). It is also advised to allow manual ADAT track arming using set menu= Tracks\Selection\ [Local]. Since I'm not using any Video equipment, might as well also do set menu= Reference\Input\ [Int Fix], and set menu= Control\Emul\ [AI-2].
----- Connections
• AI-2 SyncOut ~to~ ADAT SyncIn
• AI-2 GenOut(LTC) ~to~ Sequencer SMPTE-In.
----- About Cues
• ADAT tape-headers can store 20 Cues. Activate Cues by set menu= Cue\UseTimes\ [On]. Pressing DISPLAY scrolls between Info, OffSet, ReaderInput and PositionError. With Cues the display also adds CueStartTime and TapeStartTime. To select a Cue, set menu= Cue\Name or Start or Tape, press UP and DOWN to select [CUE#].
----- About Offset TimeCode
• Offset = AdatTime - AI2Time. You may want the AI-2 (which synchronises your sequencer) to start at 00:00:05:00 but your ADAT tape to start at 00:05:00:00 in which case you need an Offset of 00:04:55:00 to be synchronised.


Old Patches & Things

"Patches? We don't need no stinkin' patches!" Perhaps not... but these are my old favourite patches for various synths. Actually, I'm not exactly sure what they all sound like (getting old, you know). But they MUST have been good because I wrote them down. Try them if you have the synths (and the time), OK?

Yamaha TX-802

VOICE NAME:__Rub Metal______________________
   OpSync  Key  Feedback  Algorithm#          PMD   PMS   AMD  Wave Spd  Dly  Sync
   +-----+-----+=======+===================++-----------------+-------------------+
   |     | C3  |  5    |   10              ||     :     :     |    :    :    :    |
+==+=====+=====+=======+===================++=================+-------------------+
|Op|FREQ .fine |OUTPUT/ L1 , L2 , L3 , L4 / | KRS /BrkPt\ AMS | 
|  |mode \dtun | Vel / R1 , R2 , R3 , R4 /  |LDep,LC : RC,RDep|  Pitch Envelope
+==+===========+====+======================++========|========+   +---------------+
|1 |   2 .     |   99 / 75 , 95 , 88 ,  0 / |  2  /  G3 \  -  |  /   ,   ,   ,   /
|  |     \  +6 |  0  / 99 , 58 , 28 , 37 /  |  5 , -E: +E, 25 | /   ,   ,   ,   /
+--+-----------+----+----------------------++--------+--------++---------------+
|2 |   2 .     |   88 /  0 , 95 , 75 ,  0 / |  1  /  E3 \  -  | 
|  |     \  +7 |  0  / 89 , 50 , 16 , 34 /  |  3 , -E: +E, 35 |         :Poly/Mono:
+--+-----------+----+----------------------++--------+--------+ 
|3 |   2 .  02 |   83 / 67 , 85 , 82 ,  0 / |  6  /  C3 \  1  |            Rng Step
|  |     \  -7 |  1  / 79 , 40 , 13 , 33 /  |  3 , -E: +E, 50 |  PitchBend:   :   :
+--+-----------+----+----------------------++--------+--------+ 
|4 |   2 .     |   92 / 72 , 98 , 94 ,  0 / |  3  /  D3 \  -  |      Mode Glis Time
|  |     \  -6 |  0  / 91 , 57 , 32 , 37 /  | 50 , +L: -L,  3 | PortaM:   :   :   :
+--+-----------+----+----------------------++--------+--------+ 
|5 |   1 . 99  |   83 / 84 , 93 , 95 ,  0 / |  1  /  F2 \  -  |    Rng Pit Amp EnvB
|  |     \  +7 |  0  / 74 , 10 , 11 , 34 /  | 15 , +L: -L, 15 | MW:   :   :   :   :
+--+-----------+----+----------------------++--------+--------+ FC:   :   :   :   :
|6 |  28 .     |   76 / 94 , 94 , 87 ,  0 / |  3  /  C2 \  -  | BC:   :   :   :   :
|  |     \  -7 |  1  / 64 ,  2 , 24 , 33 /  |  4 , +L: -L, 50 | AT:   :   :   :   :
+==+===========+====+======================++========+========+ 

Roland SH-101

Parameters are basically from left to right on the actual synth.

            -VCO--  -----SOURCE------  -------VCF------  VCA  ------ENV------
            PW Mod   Sq Sw Sub  Oct N   Fr Re En Mod Kyb #    #  A  D  S  R
Bass1       3  env    7  4  10  2Sq -   5  1+  6  0  5   env   -  0  2+ 1  2+
LongBass1   4+ env    7  4  10  1Sq -   3  2   5  0  7   env   -  0  2  2  5
LowBass1    2+ env    8  6  10  1Sq -   2  1  10  0  3   env   -  0  4  3  2
Bass2       5  env    8  7  10  1Sq -   5  2   5  0  4   env   -  0  4  3  3
LongBass2   5  env    8  3  10  2Sq -   3  4   6  0  2+  env   -  0  4  3  7
Bass3       6+ env    6  4  10  1Sq -   5+ 3   5  0  5   env   -  0  3  2  2
Bassline2   1+ env   10  8+  6  1Sq -   4+ 2   5  0  5   env   -  0  3  2  2
"+" means half
Believe it or not, while doing this table, I have only just realised that, for bass sound, I was always modulating the pulse width using the envelope (instead of LFO). Thinking about it, it makes sense because you want a high amount of attack "buzz" and the aftermath is not so important as bass sounds are fairly short anyway. Also notice that all the envelopes are spike-type settings.

Casio CZ-101

Detune parameters  : O=Oct / N=Note (SemiTone) / F=Fine
Vibrato parameters : W=Wave / D=Delay / R=Rate / A=Depth(Amount)
Wave parameters    : 1=dco1 / 2=dco2 / a=WavePt1 / b=WavePt2
Wave select#       : 1=Saw / 2=Square / 3=Spike / 4=SpikeSine / 5=ArcSquare 
                     6=FuzzSaw / 7=FuzzTri / 8=FuzzClipSaw

 O   W   1a
 N   D   1b |------------- D C W -------------| |------------- D C A -------------|
 F   R   2a  KF  L1  L2  L3  L4  L5  L6  L7  L8  KF  L1  L2  L3  L4  L5  L6  L7  L8
     A   2b  : R1  R2  R3  R4  R5  R6  R7  R8    : R1  R2  R3  R4  R5  R6  R7  R8
HiString    |---------------------------------| |---------------------------------|
 0   1   1   2   99s 00e                         2   99s 00e
 0  11   -   : 99  34                            : 96  35
 7  51   Single Osc. Mode only
    13   NA 
BowString   |---------------------------------| |---------------------------------|
 0   1   1   7   99  87s  00e                    0   68  99s 00e
 0  50   -   : 93  60  27                        : 75  55  35
 7  51   1   8   99  86s 00e                     2   68  99s 00e
    10   -   : 85  40  22                        : 73  53  34
SlowString  |---------------------------------| |---------------------------------|
 0   1   1   0   30  60  85  60s 40  00e         3   50  99  90s 45 00e
 0  65   4   : 99  60  29  35  30  20            : 99  45  20  40  35
 9  56   2   3   45  75  87  60s 40  00e         4   60  99  85s 50 00e
     7   5   : 99  50  25  25  40  25            : 99  40  15  40  30
PluckHarp   |---------------------------------| |---------------------------------|
 0   1   5   6   85  55  40  50  40  45  40s 00e 5   99  85  55s 00e
 0  55   1   : 99  80  35  35  35  35  35  30    : 99  60  40  34
11  56   3   2   70  50  40  50  40  50  40s 00e 3   99  80  55s 00e
    18   -   : 99  65  40  35  30  25  20  25    : 99  65  20  38

On SlowString, you can apply a small    :   03  00e
amount of Pitch Env to DCO2 as follows  : 60  25

Yamaha DX-100

DX-100 NAME :      Algrtm FeedBk Key Wave  Spd Dly  Sync PMD  PMS  AMD  AMS
_Cantonese________ |  4   | 4  | C2 | tri, 16 , 33 , off| 5  , 6  , 4  ,    |
+==+==========+====+======+====+====+====+====+====+====+====+====+====+====+
|Op|FREQ .fine|dtun|OUTPUT| A  , D1 , S  , D2 , R  |Vel |RatS|LevS|EnvB| AM |
|#1|   2 . 0  |  0 |  99  | 31 , 11 ,  6 ,  1 ,  4 | 0  | 2  | 0  | 0  | 1  |
|#2|   2 . 0  | +3 |  95  | 31 , 18 , 11 , 10 ,  5 | 1  | 1  | 0  | 0  | 0  |
|#3|   2 . 0  | -2 |  75  | 31 , 15 ,  8 ,  5 ,  1 | 0  | 0  | 0  | 0  | 0  |
|#4|   3 . 0  | -3 |  86  | 31 , 20 , 12 , 12 ,  2 | 2  | 2  | 0  | 0  | 0  |
+--+----------+----+------+====+====+====+====+====+----+----+----+----+----+

DX-100 NAME :      Algrtm FeedBk Key Wave  Spd Dly  Sync PMD  PMS  AMD  AMS
_Solid Bass_PRESET |  2   |  7 | C2 | tri, 25 ,  0 , off|  7 ,  5 ,  0 ,    |
+==+==========+====+======+====+====+====+====+====+====+====+====+====+====+
|Op|FREQ .fine|dtun|OUTPUT| A  , D1 , S  , D2 , R  |Vel |RatS|LevS|EnvB| AM |
|#1|   0 . 5  |  0 |  99  | 31 ,  9 ,  0 ,  0 ,  8 |  0 |  1 |  0 |  0 |  0 |
|#2|   0 . 5  |  0 |  67  | 31 ,  9 ,  0 ,  0 ,  8 |  0 |  1 |  0 |  0 |  0 |
|#3|   1 . 0  | -3 |  64  | 31 , 17 ,  0 ,  0 ,  8 |  0 |  1 |  0 |  0 |  0 |
|#4|   1 . 0  |  0 |  70  | 31 , 16 ,  3 ,  7 ,  8 |  0 |  0 |  0 |  0 |  0 |
+--+----------+----+------+====+====+====+====+====+----+----+----+----+----+

Yamaha CX-5

Don't forget that CX-5 synths numbers their operators the opposite way round from the DX synths.

Tr=Transpose (key) / LFO=[Off,On] / Syc=LFOSync / Wf=WaveForm
IF=InharmonicFreq (fine) / Dt=Detune / Vs=VelocitySens
Rk= Rate Key-Scaling Depth
Ks= Key-Scaling (direction) [0= -ve =down@right, 1= +ve =down@left]
Kd= Key-Scaling Down (amount)

CX-5 NAME :        Algrtm FeedBk Tr  LFO  Syc   Wf  Spd  PMD  PMS  AMD  AMS
_________Tokyo____ |   5  |  6 |    |    ,    ,    ,    |    ,    ,    ,    |
+==+==========+====+======+====+====+====+====+====+====+====+====+====+====+
|Op|FREQ . IF | Dt |OUTPUT| A  , D1 , S  , D2 , R  | Vs | Rk | Ks , Kd | Aj |
|#1|   7 . 0  | +3 |  110 | 31 , 15 ,  7 ,  5 ,  4 |  3 |  2 |  1 ,  2 |    |
|#2|   1 . 0  | -3 |  127 | 29 ,  7 ,  0 ,  0 ,  4 |  1 |  1 |  0 ,  0 |    |
|#3|   5 . 1  | -3 |  118 | 31 , 12 ,  5 ,  7 ,  4 |  3 |  2 |  0 ,  3 |    |
|#4|   1 . 0  | +3 |  124 | 31 , 11 , 13 ,  5 ,  4 |  1 |  1 |  0 ,  2 |    |
+--+----------+----+------+====+====+====+====+====+----+----+----+----+----+

CX-5 NAME :        Algrtm FeedBk Tr  LFO  Syc   Wf  Spd  PMD  PMS  AMD  AMS
__________Breath__ |   5  |  7 |    |    ,    ,    ,    |    ,    ,    ,    |
+==+==========+====+======+====+====+====+====+====+====+====+====+====+====+
|Op|FREQ . IF | Dt |OUTPUT| A  , D1 , S  , D2 , R  | Vs | Rk | Ks , Kd | Aj |
|#1|   2 . 1  | +3 |   65 | 20 ,  4 , 12 ,  4 ,  5 |  3 |  0 |  0 , 15 |    |
|#2|   3 . 0  | -3 |  127 | 18 ,  5 , 12 ,  5 ,  5 |  1 |  0 |  0 ,  3 |    |
|#3|   2 . 2  | -3 |   65 | 28 ,  4 , 14 ,  4 ,  5 |  3 |  0 |  0 , 15 |    |
|#4|   3 . 0  | +3 |  127 | 22 ,  5 , 14 ,  5 ,  6 |  1 |  0 |  0 ,  3 |    |
+--+----------+----+------+====+====+====+====+====+----+----+----+----+----+

CX-5 NAME :        Algrtm FeedBk Tr  LFO  Syc   Wf  Spd  PMD  PMS  AMD  AMS
__________Poppies_ |   8  |  7 |    |    ,    ,    ,    |    ,    ,    ,    |
+==+==========+====+======+====+====+====+====+====+====+====+====+====+====+
|Op|FREQ . IF | Dt |OUTPUT| A  , D1 , S  , D2 , R  | Vs | Rk | Ks , Kd | Aj |
|#1|   6 . 0  | -2 |  120 | 31 , 18 ,  7 ,  6 ,  5 |  4 |  0 |  0 ,  1 |    |
|#2|   1 . 0  | +3 |  127 | 28 , 15 , 15 ,  9 ,  5 |  1 |  2 |  0 ,  0 |    |
|#3|   3 . 0  | -3 |  127 | 30 , 15 , 15 ,  7 ,  5 |  3 |  0 |  0 ,  2 |    |
|#4|   2 . 0  | +2 |  121 | 29 , 15 , 15 ,  8 ,  5 |  2 |  0 |  0 ,  0 |    |
+--+----------+----+------+====+====+====+====+====+----+----+----+----+----+

CX-5 NAME :        Algrtm FeedBk Tr  LFO  Syc   Wf  Spd  PMD  PMS  AMD  AMS
_________RoseBass_ |   6  |  5 |    |    ,    ,    ,    |    ,    ,    ,    |
+==+==========+====+======+====+====+====+====+====+====+====+====+====+====+
|Op|FREQ . IF | Dt |OUTPUT| A  , D1 , S  , D2 , R  | Vs | Rk | Ks , Kd | Aj |
|#1|   0 . 0  | -1 |  121 | 31 ,  9 , 11 ,  5 ,  5 |  4 |  2 |  0 ,  1 |    |
|#2|   0 . 0  |  0 |  105 | 30 ,  7 ,  7 ,  6 ,  6 |  4 |  2 |  0 ,  1 |    |
|#3|   1 . 0  | +1 |  125 | 31 ,  5 ,  4 ,  5 ,  6 |  4 |  1 |  0 ,  4 |    |
|#4|   1 . 0  | -1 |  125 | 31 ,  6 ,  4 ,  4 ,  6 |  4 |  1 |  1 ,  4 |    |
+--+----------+----+------+====+====+====+====+====+----+----+----+----+----+

Blank Forms

VOICE NAME:_________________________________
   OpSync  Key  Feedback  Algorithm#          PMD   PMS   AMD  Wave Spd  Dly  Sync
   +-----+-----+=======+===================++-----------------+-------------------+
   |     |     |       |                   ||     :     :     |    :    :    :    |
+==+=====+=====+=======+===================++=================+-------------------+
|Op|FREQ .fine |OUTPUT/ L1 , L2 , L3 , L4 / | KRS /BrkPt\ AMS | 
|  |mode \dtun | Vel / R1 , R2 , R3 , R4 /  |LDep,LC : RC,RDep|  Pitch Envelope
+==+===========+====+======================++========|========+   +---------------+
|1 |     .     |      /    ,    ,    ,    / |     /     \     |  /   ,   ,   ,   /
|  |     \     |     /    ,    ,    ,    /  |    ,   :   ,    | /   ,   ,   ,   /
+--+-----------+----+----------------------++--------+--------++---------------+
|2 |     .     |      /    ,    ,    ,    / |     /     \     | 
|  |     \     |     /    ,    ,    ,    /  |    ,   :   ,    |         :Poly/Mono:
+--+-----------+----+----------------------++--------+--------+ 
|3 |     .     |      /    ,    ,    ,    / |     /     \     |            Rng Step
|  |     \     |     /    ,    ,    ,    /  |    ,   :   ,    |  PitchBend:   :   :
+--+-----------+----+----------------------++--------+--------+ 
|4 |     .     |      /    ,    ,    ,    / |     /     \     |      Mode Glis Time
|  |     \     |     /    ,    ,    ,    /  |    ,   :   ,    | PortaM:   :   :   :
+--+-----------+----+----------------------++--------+--------+ 
|5 |     .     |      /    ,    ,    ,    / |     /     \     |    Rng Pit Amp EnvB
|  |     \     |     /    ,    ,    ,    /  |    ,   :   ,    | MW:   :   :   :   :
+--+-----------+----+----------------------++--------+--------+ FC:   :   :   :   :
|6 |     .     |      /    ,    ,    ,    / |     /     \     | BC:   :   :   :   :
|  |     \     |     /    ,    ,    ,    /  |    ,   :   ,    | AT:   :   :   :   :
+==+===========+====+======================++========+========+ 

DX-100 NAME :      Algrtm FeedBk Key Wave  Spd Dly  Sync PMD  PMS  AMD  AMS
__________________ |      |    |    |    ,    ,    ,    |    ,    ,    ,    |
+==+==========+====+======+====+====+====+====+====+====+====+====+====+====+
|Op|FREQ .fine|dtun|OUTPUT| A  , D1 , S  , D2 , R  |Vel |RatS|LevS|EnvB| AM |
|#1|     .    |    |      |    ,    ,    ,    ,    |    |    |    |    |    |
|#2|     .    |    |      |    ,    ,    ,    ,    |    |    |    |    |    |
|#3|     .    |    |      |    ,    ,    ,    ,    |    |    |    |    |    |
|#4|     .    |    |      |    ,    ,    ,    ,    |    |    |    |    |    |
+--+----------+----+------+====+====+====+====+====+----+----+----+----+----+
                     Portamento  FootSwitch  WheelRange    BreathCtlrRange
    Mode    PBrange  Mode Time   Port Sust   Pitc Ampl   Pitc Ampl PitB EnvB
|Poly/Mono| |    |  |    |    | |    |    | |    |    | |    |    |    |    |
+---------+ +----+  +----+----+ +----+----+ +----+----+ +----+----+----+----+

CX-5 NAME :        Algrtm FeedBk Tr  LFO  Syc   Wf  Spd  PMD  PMS  AMD  AMS
__________________ |      |    |    |    ,    ,    ,    |    ,    ,    ,    |
+==+==========+====+======+====+====+====+====+====+====+====+====+====+====+
|Op|FREQ . IF | Dt |OUTPUT| A  , D1 , S  , D2 , R  | Vs | Rk | Ks , Kd | Aj |
|#1|     .    |    |      |    ,    ,    ,    ,    |    |    |    ,    |    |
|#2|     .    |    |      |    ,    ,    ,    ,    |    |    |    ,    |    |
|#3|     .    |    |      |    ,    ,    ,    ,    |    |    |    ,    |    |
|#4|     .    |    |      |    ,    ,    ,    ,    |    |    |    ,    |    |
+--+----------+----+------+====+====+====+====+====+----+----+----+----+----+


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