Post by jiffy on Sept 27, 2009 9:45:19 GMT
Page 7
www.promusicproducts.com/forum/phpBB2/viewtopic.php?f=34&t=4970&start=90
Half normal, half ARP.
With a single Program, if you assign an ARP to it, but set its Range to stop halfway up the keyboard, you can use your left hand as an auto-accompaniment as it triggers ARP chords/rhythms, while you can noodle away on the right hand with great solos.
A kind of 'ghetto' MIX mode.
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TRANSPOSE OCTAVE alternative
Using LOC + (keyboard note) to transpose the Fusion is fine if you're not in the middle of a performance. But in the heat of the moment, it's often not the best way to quickly access that next higher octave outside the keyboard's range. Most keyboards have +/- Octave Switch buttons on the front panel, so you can switch octaves on the fly.
You can still achieve this effect on the Fusion. Of course, you could always assign a Switch to do the job, but those controllers are often already assigned to something else. Better yet, the method below is a hands-free way to switch octaves in the middle of playing. Great, for example, if you are playing the 6HD but need to jump up an octave just to reach a few notes temporarily...
OCTAVE FOOTSWITCH
PROGRAM/EDIT
/Mod/Add Mod
Source: Controller
...Index: Foot Switch
Destination: Pitch
Type: Additive
Amount: 12.00% (1 octave)
With this mod, when you step on your footswitch, the Fusion plays up an octave higher. Let go of the footswitch, and it switches back to the original octave.
To make it "stick", so you can remove your foot from the footswitch, but keep the Fusion transposed until further notice, then you'll want to get yourself one of those footswitches that "latch" when you press them, then unlatch when you press them again.
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COPY
Quick list of some things that you can copy using the STORE button's clipboard:
Envelopes
Filter
LFO's
Master EQ
Effects
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Rezzy fizzy analog sounds
By default when you make a new Fusion analog program, it puts the ENV ==> Main Filt Cutoff at 100%. You can achieve quite a few more analog-like sounds by doing 2 simple things:
1) lower (additive) ENV ==> Main Filt Cutoff to around 10% up to maybe like 40%. This works well if you lower the overall Filt Cutoff to around 200 MHz in the first place... it gives you more headroom for Velocity, and is some kind of sweet spot anyway.
2) Ditto for any (additive) Velocity ==> Main Filt Cutoff. Greater than 60% is indeed drastic, but it blasts you right by the sweeter subtleties. Try between 10-40%.
Of course, this all assumes a fair amount of resonance, and a filter type like LP (2p, Arp 4p, or 8p), standard HP, or upper-mid BP where you can actually hear the effects. You won't get self-oscillation, but you will get heavy rezzy sweeps.
* -- Esp nice is using negative ENV amounts with a short Filter Decay for '80's bass patches
* -- Besides sawtooth, a pulse wave around 10-50% is also full of harmonics
* -- Using long ENV Filt Attack (50ms - 150 ms) adds sweet fullness when normal ENV Amp attack remains quick
* -- Decreasing ENV Filt Attack and ENV Amp Attack using Velocity adds a great deal of expressiveness
* -- Using the SHAPE parameters to tailor attack responsiveness (-100% to +100%) helps customize the feel of the sound to your playing style
* -- Using the Smoothing Parameter, usually around 75-85%, helps achieve more analog-like responsiveness, esp when used for Filt Cutoff, ENV amp, Keytracking, Velocity, and Aftertouch.... much like the limited but critical parameters on an Analog
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www.promusicproducts.com/forum/phpBB2/viewtopic.php?f=34&t=4970&start=90
Half normal, half ARP.
With a single Program, if you assign an ARP to it, but set its Range to stop halfway up the keyboard, you can use your left hand as an auto-accompaniment as it triggers ARP chords/rhythms, while you can noodle away on the right hand with great solos.
A kind of 'ghetto' MIX mode.
--------------------------------------------------------------------------
TRANSPOSE OCTAVE alternative
Using LOC + (keyboard note) to transpose the Fusion is fine if you're not in the middle of a performance. But in the heat of the moment, it's often not the best way to quickly access that next higher octave outside the keyboard's range. Most keyboards have +/- Octave Switch buttons on the front panel, so you can switch octaves on the fly.
You can still achieve this effect on the Fusion. Of course, you could always assign a Switch to do the job, but those controllers are often already assigned to something else. Better yet, the method below is a hands-free way to switch octaves in the middle of playing. Great, for example, if you are playing the 6HD but need to jump up an octave just to reach a few notes temporarily...
OCTAVE FOOTSWITCH
PROGRAM/EDIT
/Mod/Add Mod
Source: Controller
...Index: Foot Switch
Destination: Pitch
Type: Additive
Amount: 12.00% (1 octave)
With this mod, when you step on your footswitch, the Fusion plays up an octave higher. Let go of the footswitch, and it switches back to the original octave.
To make it "stick", so you can remove your foot from the footswitch, but keep the Fusion transposed until further notice, then you'll want to get yourself one of those footswitches that "latch" when you press them, then unlatch when you press them again.
--------------------------------------------------------------------------
COPY
Quick list of some things that you can copy using the STORE button's clipboard:
Envelopes
Filter
LFO's
Master EQ
Effects
--------------------------------------------------------------------------
Rezzy fizzy analog sounds
By default when you make a new Fusion analog program, it puts the ENV ==> Main Filt Cutoff at 100%. You can achieve quite a few more analog-like sounds by doing 2 simple things:
1) lower (additive) ENV ==> Main Filt Cutoff to around 10% up to maybe like 40%. This works well if you lower the overall Filt Cutoff to around 200 MHz in the first place... it gives you more headroom for Velocity, and is some kind of sweet spot anyway.
2) Ditto for any (additive) Velocity ==> Main Filt Cutoff. Greater than 60% is indeed drastic, but it blasts you right by the sweeter subtleties. Try between 10-40%.
Of course, this all assumes a fair amount of resonance, and a filter type like LP (2p, Arp 4p, or 8p), standard HP, or upper-mid BP where you can actually hear the effects. You won't get self-oscillation, but you will get heavy rezzy sweeps.
* -- Esp nice is using negative ENV amounts with a short Filter Decay for '80's bass patches
* -- Besides sawtooth, a pulse wave around 10-50% is also full of harmonics
* -- Using long ENV Filt Attack (50ms - 150 ms) adds sweet fullness when normal ENV Amp attack remains quick
* -- Decreasing ENV Filt Attack and ENV Amp Attack using Velocity adds a great deal of expressiveness
* -- Using the SHAPE parameters to tailor attack responsiveness (-100% to +100%) helps customize the feel of the sound to your playing style
* -- Using the Smoothing Parameter, usually around 75-85%, helps achieve more analog-like responsiveness, esp when used for Filt Cutoff, ENV amp, Keytracking, Velocity, and Aftertouch.... much like the limited but critical parameters on an Analog
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