- MIDI clock sends all the time, I don’t think it can be turned off. If set to auto, it will check for external clock first and sync to that, otherwise it uses internal tempo, set with [MANUAL] and then  or . That means any synth that receives output from the JX will need to sync to it or set up local control so that incoming midi doesn’t affect it.
- Along with MIDI clock, the sequence always send its midi notes to the MIDI output. It will be important to never start a sequence from the JX because it will probably send unwanted notes onwards.
- Chain mode was set to on at first, and this caused problems because it would not send note offs from the MIDI output, which caused hanging notes.
- The JX also sends program change messages, which cannot be turned off. This should be noted for any downstream synths in the chain.
- Some USB ports do not supply enough power to keep the JX on. My phone charge battery for example did not work.
- Not sure about stereo, if the JX receives and/or sends it on with its input/output jacks. The output on the JX is monoaural, except for the chorus output, which is stereo.
A Nice Surprise: Discovering the TB’s Hidden Features
As it turns out, the TB-3 is much more than meets the eye. When it first came out, it was a simple TB-303 emulator with 4 knobs, a touchpad with x/y/pressure control, and a built-in step sequencer. Then in 2014, Roland released an extended sysex document and firmware update (1.10) that allowed you to access more features, including control over a limited VCO section, distortion, and the two effect slots, as well as a 16-slot user patch storage section. If this weren’t enough, it was recently discovered that using an undocumented sysex control method it was possible to access 11 separate sections plus the sequencer, all controlled with midi. These are not novel uses of the effects, these are completely new sections:
- VCO independently control sine, square, saw, ring + pink/white noise
- VCF with ADSR envelope, amount, accent & keyfollow
- VCA with ADSR
- LFO modulates VCO, VCF, VCA with 5 shapes including S&H
- Cross Modulation 8 types combining square, saw, and noise sources
- Ring Modulation 4 mod shapes, separate from FX 1&2
- CV Offset inputs to SAW, SQR, RING, LFO
- Distortion 25 types with Drive, Bottom, Tone & wet/dry mix
- Effect 1 8 types + Pitch Shifter & EQ
- Effect 2 8 types + Reverb
- Parameter Assign
- allows assigning of any parameter to X or Y pad, press modulation, or effect knob with 0-255 value range
- all known parameters can be assigned (±256)
- all four controllers can be assigned simultaneously
WOW! It’s like getting a whole new synth! The only envelope control available before was VCF decay, but now all four stages of VCF/VCA are available and with the new additions you have total control over your sound, whether it’s long drones or staccato stabs, maybe even PWM. The crossmod feature is extensive, for example allowing the oscillators to play at different pitches, and ringmod is especially juicy. Parameter assign lets you control any of the 256 parameters with four selectable mod destinations, like the touchpad or effect knob. In addition, there is complete MIDI control over pattern parameters and portamento types/amounts. With pattern control, you could even write your own software to generate random or semi-random values for the pattern sequencer, although I have not tried editing patterns yet. Finally, you can set and receive the machine’s midi channel and modes remotely.
Still In Search of Parameter Recall
What I had set out to do at the beginning still wasn’t possible though, which was to back up sounds/patches, not to be confused with pattern backup, which was already possible. The sysex document provided with the 1.10 firmware update indicated that the patch, distortion, and fx1/2 sections were available for edit, a great improvement over the front panel alone. I had succeeded in getting a response from the synth as to the current values, but of course there were often many more unavailable parameters that were altering the sound that couldn’t be retrieved.
Then I started looking for editors on the internet to see if anyone else had taken snapshots or otherwise used the synth’s data to populate a visual interface. (Most people would have tried this first, but not me!!) I found one and viewed the sysex data in use and I immediately noticed it used a different, undocumented format and this led me to the TB-3 unofficial MIDI spec which maps out all the known parameters. I emailed him to ask about these undocumented sysex calls and when he answered he detailed what each of the commands returned. For those that are interested, here are the RQ1 commands:
- VCO F0 41 10 00 00 7B 11 10 00 08 00 00 00 00 0E 5A F7
- VCF F0 41 10 00 00 7B 11 10 00 0A 00 00 00 00 0B 5B F7
- VCA F0 41 10 00 00 7B 11 10 00 0C 00 00 00 00 05 5F F7
- LFO F0 41 10 00 00 7B 11 10 00 00 00 00 00 00 0D 63 F7
- Cross Mod F0 41 10 00 00 7B 11 10 00 04 00 00 00 00 0A 62 F7
- Ring Mod F0 41 10 00 00 7B 11 10 00 06 00 00 00 00 0E 5C F7
- CV Offset F0 41 10 00 00 7B 11 10 00 02 00 00 00 00 06 68 F7
- Distortion F0 41 10 00 00 7B 11 10 00 0E 00 00 00 00 09 59 F7
- Effect 1 F0 41 10 00 00 7B 11 10 00 10 00 00 00 00 5F 01 F7
- Effect 2 F0 41 10 00 00 7B 11 10 00 12 00 00 00 00 54 0A F7
- Param Assign F0 41 10 00 00 7B 11 10 00 14 00 00 00 00 12 4A F7
If you send the TB-3 these 11 commands, the machine will spit out all the information it contains in sysex format, and the data the TB3 returns can be recorded. When played back they will load into any location’s edit buffer, user or preset, but will not overwrite any sounds. Program change isn’t even necessary because you are just overwriting the location’s edit buffer. Create a named folder for each new patch and now you have all the information you need to recall a patch’s full parameters. Even though I didn’t technically find patch storage, I found the next best thing — complete parameter recall!
Now you sound designers out there don’t have to settle for a stock preset or worry about overwriting one of your precious 16 user slots. With all these parameters you can seriously mangle a sound, and once you get your main patch designed, use the extensive Equalizer from FX 1 and reverb or delay from FX 2 to add the finishing touches for your mix. Other ideas include using 3 separate ring modulations, dual delays, crossmod into pitch shift/phaser, the possibilities are practically endless, but whatever you come up with, you can save them all to recall for a later session. No longer is the TB-3 just a desktop toy playing preset sounds, it can be a powerful workhorse in your studio. This is now a top-notch machine that I can’t wait to explore and design on.
The TB-3 has many effects and each of those effects has many parameters. There are two separate FX slots and a distortion slot that can all be used simultaneously. The documentation is in very small print though and not easily navigable, so I have put the information into a PDF for easier reference which you can access by clicking on the screenshot of the title page below.
I finally went and bought a Roland Aira TB-3, for a number of reasons. First, I’ve been wanting a dedicated acid machine for quite a while since I sold my FutureRetro 777, but I wanted one updated for modern production. Another thing I absolutely had to have: patch memory. Almost none of the currently available machines have that capability, including the TB-03 and TT-303. There are some vintage machines available with patch memory but I really didn’t want to go that route. I’d heard the sound of the TB-3 and I liked it, so the choice was easy: Roland Touch Bassline TB-3.
Sounds, Patterns, & Notes
It’s not always clear with Roland’s documentation what things mean, and integrating it into my system proved more difficult than I had expected. In the context of the TB-3, there are two main components: sounds and patterns. A “sound” is a “patch” or sound program and refers to the synth parameters, while a “pattern” is a series of notes, gates, slides & accents that form a sequence. Patterns can be saved into 8 banks of 8, and can be saved to a computer. Sounds can be saved to one of the new 16 user slots
and stored on your computer so that you can create a library of as many extra variations as you want. Roland provides no documented way to save patches on your computer, but I did manage to find an undocumented way. Here are some more discoveries I made that might help you.
- To save a sound, stop the sequencer (in keyboard mode), [hold] ENV MOD and turn the value wheel until you pick a desired user slot, then press the PLAY/PAUSE button to save it. Only 16 slots, but plenty for a live show.
- The user patch section is only accessible by the front panel and cannot be accessed without some human intervention.
Once you navigate to the user section, it is possible to send program change to change user slots.If you send program change while in a user slot, it automatically switches to A01. The presets are accessible with program change and bank change.
- The user patch section is only accessible by the front panel and cannot be accessed without some human intervention.
- All patterns are saved automatically unless “Lock” is turned on. To set up Lock mode, turn off any record, [hold] PTN SELECT and then turn the value knob. Pattern variations 1-1 thru 8-8 cannot be changed via midi either, front panel only.
- To change the number of steps (1-32), [hold] STEP REC and turn the value knob.
- To change to triplet timing, [hold] STEP REC and toggle the TEMPO button.
- To transpose the track up or down, turn on REALTIME or STEP REC and then while holding the KEYBOARD button, turn the value knob.
- It’s also possible to associate a particular sound with a particular pattern in the user section.
Bypassing the Internal Sequencer
In a live context, i don’t really like to use a machine’s internal sequencer or arpeggiator because they almost inevitably start out of time or fail to sync when they’re triggered. In the TB-3’s case, the sequencer ALWAYS runs and I would have to select patterns manually live, which is not something I wanted to have to remember to do at every live show. So what I do is just record the arp or sequence’s midi information to a sequencer, turn off the TB-3’s internal sequencer, switch to an empty pattern, and then play the information from my main sequencer. Here’s how I did it:
- Before you start, make sure midi is set to AUTO and not INTERNAL or it won’t respond to external midi clock. I also turned off the midi thru functionality so only the internal stuff is sent through the TB-3’s output. These are both set by restarting while holding down the SCATTER button. Here’s what mine looks like (midi is set to channel 6). Press PLAY/PAUSE to save, exit, and reboot.
- First, clear out a pattern ([hold] PTN SELECT and press the CLEAR pad). I chose pattern 1-1.
- Now choose the pattern you’d like to record into your sequencer. I chose two: 1-6, a straightforward one, and 5-7, a really slide-y one.
- Now get your sequencer ready to record. Make sure there are no feedback loops since you will have midi cables both in and out of the TB-3 (this is where turning off midi thru functionality comes in handy). Press play/record on your sequencer, which should trigger the pattern, and record it into your DAW or sequencer. Stop at the end of the phrase.
- Now unplug the midi out cable from the TB-3, again to prevent feedback loops. If you try to trigger the sequence from the pattern you just played, it will try to play both the notes and slides you’ve just recorded and will start the sequence, resulting in it trying to play two notes at once. There are two ways around this:
- Stop the sequencer on the TB-3 after you’ve pressed play on your main sequencer. Unless play/start is sent again, it should play indefinitely, however, if the sequence is restarted, the same issue will occur…it will try to play both the notes and sequencer.
- Go to the pattern we had cleared out, pattern 1-1, and press play on your external sequencer. Now, no matter if the TB-3’s sequencer is triggered or not, the sequence plays properly. Still though, I go ahead and hit the PLAY/PAUSE button to turn it off.
- If this works, then repeat the same process for the more complex one, pattern 5-7 in my case, to verify that it works. Make sure to pick a simple patch. The sequencer sends out exactly what it plays, so when you play back on an empty pattern, it should sound exactly the same!
Now you can use the TB-3’s internal sequencer to make a sequence, play it into your sequencer, and bypass the TB-3 internal sequencer with no loss of information. Additionally, there is no need to overwrite patterns you want to keep using this method.
Time to Have Fun
Now that we can control the machine externally, go to any pattern, and press PTN SELECT [hold] then press SCATTER to randomize the note pattern and KEYBOARD [hold] then SCATTER to randomize the accents, glides, and octaves. If you press REALTIME REC button in between switching from PTN SELECT to KEYBOARD mode, it won’t erase and start over. Save the pattern by pressing REALTIME REC or simply play the sequence into your sequencer and play it back from there. No need to back up patterns this way!
Check out this document for the rest of the cheat codes. http://airainfo.org/files/tb-3_cheatsheet.pdf
The Keith McMillen QuNexus is a very flexible controller with great software. Even though its main function is a computer USB controller, at which it excels, it also is equally capable in MIDI 5-pin (with the expander) or CV control modes. It will even function as a MIDI-to-CV & CV-to-MIDI converter.
What I’m doing now is using the QuNexus to trigger arpeggiators on separate patches in multimode on my Waldorf Blofeld. Because of the software included, you can route any controller and any channel to any key or range of keys. In addition you can set the keys to “latch” mode so that you can trigger patches and have them stay running until you press the key again. Generally I route the bottom three or four keys to separate channels, in latch mode, and then assign my sound programs (each of which has an arpeggiator) to those keys, allowing me to trigger them like I would on a sequencer. Then, I route about an octave in the middle of the keyboard for the bassline, which I hold and change while performing. I usually leave around five keys above and below this middle section for other parts, so that I can have multiple melody or rhythm lines running, making sure that their transpose range is assigned properly so it matches the key of the main bassline. If I don’t need a full octave for a bassline, I’ll sometimes assign it to the five keys below the main section, or if I need a number of different arpeggiators or samples, I will assign each of those five keys to separate patches.
In one of my more complex tracks, I assign the bottom three keys to a kick, snare, and hihat. With the next four keys, I assign each to a different one-shot sample which I trigger by hand when I want a drum break or want to trigger the vocal sample (to use samples you need the full keyboard version of the Blofeld or LicenseSL). The next section of keys I’ve assigned to a sort of “wub” bass, and the top section is an arpeggiated melody track that lays over the top. For the “wub” bass, I’ve set a modulation slot to vary the speed of the wub sound and then set up the tilt controller so that I can alter it live, and the upper melody section is set up similarly, except tilt acts to raise/lower the pitch of one of the oscillators. It has nine separate programs assigned to this multi, which gives me plenty of variety when trying to make dynamic, live performances.
Of course, the QuNexus is not a sequencer, so it takes practice to trigger the arps exactly on time, and there is even sometimes a bit of a lag in the arp “catching,” but with practice it is doable, and it’s even possible to trigger an arp at a different point in the measure than on the first beat of the measure so that you can creatively alter the rhythm as well, depending on exactly when the arp is triggered in the phrase. In addition, any samples that are set up stop playing as soon as the key is released, so it is easy to say trigger the first part of a sample but not the last part until you hold the key a bit longer.
This is a proposal I wrote for submitting to Unsound Krakow. See more about what inspired this here.
They say that the sooner a smoker has their first cigarette of the day, the more addicted they are, while those who wait until later have a greater handle on their vice. So what does it say about our addictions that so many check their devices before even getting out of bed in the morning? How many smokers keep a pack in the bed with them so that they can grab a few puffs if they wake up in the middle of the night? Do they hold onto their cigarettes throughout the day, carefully cradling them in nearly every conceivable circumstance? This artist believes that our increasing reliance on devices feeds on quietude and rest, something that is increasing every day because of technological advancements and the resulting decline in the need for human labor. Many even consider driving to be an activity that is restful enough to attempt to interact with devices, so the bar to fully engage an audience is set pretty high, and the tendrils extending into the mind’s addiction centers run as deep as anything we’ve ever known.
So how do we combat something that may be more habit-forming than even our most addictive substances? One remedy is activity for which we need to be fully engaged, and the only ones that seemingly meet that standard are primal ones like when we play, eat, make love, or converse with one another. Those moments are “now” moments…ones that require our full attention. That’s one reason why this artist, a Chicago transplant now firmly planted in Krakow, has committed to 100% live electronic music so that every performance is a “now” moment both for the musician and audience, while at the same time shortening the distance between the technology and the art. He’s even taken it further by playing in Krakow’s open areas using only a single synthesizer and controller, which requires him to hand-trigger every sound that is produced, and gives ample opportunity for improvisation, another “now” activity. The artist also participates and contributes to those moments around him by programming facsimiles of the surrounding sounds – like police sirens, church bells, and birdsong – and when their calls appear in his environment, he has a ready response.
When performing like this, one needs to have three things fully engaged: head, hands, and heart, with a goal of inspiring the engagement of those same things in the audience. Head to keep track of everything, hands to translate ideas to action, and heart to forge an emotional connection with the audience. That’s why the artist has responded to the theme “Presence” with a musical project in three parts entitled “Head, Hands, and Heart: H³,” where each part is dedicated to one of the trio. H³ also refers to the name of the most abundant ion in the universe, which exists almost exclusively in the ultra-cool, ultra-slow expanse of interstellar space, and the stillness in which H³ exists is an analogue to the state of being that the music will request from its listeners. It’s not as if people are remarkably different from before we had all this information and entertainment at our fingertips – people still look for the same things, a real connection, a real emotion, things that inspire, and to connect with the now. This artist relishes the opportunity to continue his long-time exploration of genres like ambient and drone, to satisfy those other seekers who search for “presence” through the pure energy of music.
I wanted to see how close I could get my Blofeld to sound like some patches on my MicroWave, so first I made some notes for the settings of the original patch for reference. To understand what values I’m translating from and to follow along at home, you’ll need to reference the table of parameters at the end of the entry.
In general, things seemed to work out one-to-one, for example a 10 filter cutoff on MW roughly equals a 10 on Blofeld as they both go from 0-127. First set both octaves to -16, the equivalent of -1 on mW. Set osc 2 wavetable to #46 PWM Pulse and osc 1 to pulse. As for osc volume, the mWave has 0-7 for wave volume, so a 2 would equal about 36 (around 18 per step) on BF’s 0-127 scale and that translates to about 38-45 on osc 1 and 127 on osc 2, both routed to the same 24dB LPF. To translate the “startwave” and “startsample” wavetable parameters to the Blo, according to the manual
When a wavetable is selected, the parameters Pulsewidth and PWM serve to select the start point of the waves.
so that’s where I’ll be headed in osc 2 to start getting them close. I have the two synths set up and are playing them side by side to get a feel for how close I’m getting, and I have a feeling these are the key settings to get correct.
As it turns out you have to fiddle with the PW and PW Amount a lot to get it close to the sorta overtone but a 30 startwave was about a 30 PW and wasn’t quite sure where 87 startsample was, but a couple of locations in PW Amount near to the extremes seem to get closest, although it’s still not quite right, missing some brash overtones in the mid to upper register even with brightness turned all the way up. The MW also uses stepped (non-interpolated) settings for its wavetable and since the Blofeld is not stepped it would probably take a fair amount of modulations to get that part closer. I think the MW is being overdriven in the wave stage so that’s perfect for dialing in drive on the filter, tube or clipping at 19 or so. Here are my attempts, the first one is MW, and the second is Blofeld. Good headphones or speakers will be necessary to pick up the nuances when the filter is opened a little wider with velocity.
the original MW1 patch
the Blofeld recreation
Even though the tone is sorta there, to me the Blofeld sounds “rounder” on the attack, and the velocity doesn’t seem to open the filter as much. To address those, I changed the filter type to PPG LP, added a little more filter env, modded the amp decay by ampEnv to give a more linear shape to the stage, and added a little pitch mod from filtEnv and got this. Sorry I played it a half step up haha 🙂
same Blofeld sound with linear envelopes/PPG filter
It’s still missing some mid/upper harmonics and the tone isn’t quite right but I think it’s closer than in the previous one in the lows and low-mids. I don’t really think the Blofeld is capable of fully emulating the natural tone of the microWave, there’s just something in the fullness of the basic tone that seems rounder on the Blo, that doesn’t “cut” as well as the MW, but in the context of a track, the patches will perform the same purpose. Below is a chart of the main values of the patch I was trying to emulate. Tell me what you think in the comments!
mWave patch: JCJ LOW BASS
|Shape||square||PWM Pulse R66||Octave||-1||-1||Delay||n/a||0||Shape||sin||Env Amt||63||Cutoff||10|
|Startwave||62||30||Semitone||0||0||Attack||1||0||Rate||1||Env Velo||63||Env Amt||11|
|Env Amount||21||0||Bend Range||0||0||Sustain||18||2||Humanize||off||Mod 1||0||Keytrack||0|
|Velocity||0||0||Pitch Mode||normal||normal||Release||28||13||Level Mod Src||Keytrack||Mod 2||0||Mod 1||0|
|Mod 1||link||Mod 1||Src: LFO1|
|Mod 2||Src: Filt Envelope|
|link||Mod 2||Src: LFO1|
Let’s see if I can re-create this drum pattern, TNGHT’s “Higher Ground,” using the Blofeld’s onboard arpeggiators. It’s not going to be easy, but I’m sure it’s possible, and probably in more than one way. First thing I did was listen to the original track in super slo-mo and mapped out the basic pattern of kick, snare, & clap and put them into a 16th note grid. There is also a hi-hat, a few different snare patterns and rolls, a vocal sample and a lead that I’ll need to add, but I’ll start with the basic stuff.
The kick pattern above sounds like a big 808 kick drum with a long decay and is on a 16th note pattern, but in the last measure, there is a high version of the kick that lands between the beats. It sounds like a triplet to me, so somehow I’ll need to make a kick pattern that has both a regular beat and then a triplet beat at the end. I had already made some of the other parts, the snares, the claps, and one of the snare rolls, along with the sample, but I still couldn’t get that last kick measure right, pitched up an octave and syncopated against the beat, presumably with a triplet pattern.
My first effort was to just make a triplet beat to see if it sounded right. So to make sure I set up a 4/4 kick and then laid a 1/8T beat, no user pattern, with a hihat sound over it. Yes, that worked. Then to try and make the beats land properly according to the grid, I made the 1/8T beat a 12 step user pattern like in the photo and it seemed to work well, coming around when it should against the 4/4 beat, so, I thought, just change the sound for this arp pattern to a kick, and try to lay a straight beat over it for the other sounds. Well, that didn’t work because the kick would come around too soon, essentially it’s in 3/4 and everything else is in 4/4 so I couldn’t get everything in the proper time.
Then I hit on it…I could just trigger the last two notes as a separate arp at the end of the measure. So I set up a copy of the original kick pattern with arp set to 1/8T…and it didn’t quite sound right. Then I changed to 1/8., or a dotted eight note and it sounded I thought exactly correct. Turns out it probably wasn’t a eight note triplet, it was a dotted eighth note. I left the last measure of the original kick pattern blank and trigger this 1/8. pattern for one measure at the end. It may be possible to latch the high triplet kick pattern so that it syncs with the other main kick pattern, but the closest I got was setting clock to 1/4T, note length 1/16, pattern length 12, with notes triggered on step 11 & 12, but that’s not quiiite right, although it’s close. Gotta keep working on it!
Last time I tried to use the Blofeld as essentially a drum trigger/sampler by chopping up the Amen break and placing different parts of it on different keys, which could then be triggered as one-shots by choosing it as the source of an oscillator. This time, I wanted to go further, by taking multiple kick and snare samples and placing them along the keyboard, mapping the root note and highest note to the same value, and then triggering them by playing the appropriate notes. Now that I’ve switched to windows to run Spectre, this should be a breeze, so here’s what I did:
- I loaded two octaves’ worth of kick and snare samples in two different programs. At first I loaded the samples starting on the lowest note, but that didn’t work, so I started on C3 or C4, mapping a different sample to each note for two octaves. I repeated this process on a new program for snares as well.
- My next step was to create an init patch where oscillator 1 was set to the kick sample program and oscillator 2 was set to the snare program, with both levels turned down. This can be the starting point for both kicks and snares simply by turning up the level on oscillator 1 or 2.
- Then I took this init patch and created an arpeggiator with no user pattern, an arp note value of 1/16 and note length of at least 1/8 to 1/4 (1/2 overlaps other notes and shorter than 1/8 cuts off the release), which creates a 4/4 kick pattern.
- Then in the multi, I selected this patch and used the transpose setting to choose which sample played. I noticed that the transpose setting goes high enough in both directions to map a different sample to every note, if desired. I did the same thing for the snare sample and arpeggiator like for the kick in step 3, only I set up a user pattern so it would trigger on just the 2s and 4s. I don’t think fixed pitch does anything when you’re mapping the samples to single notes, and so the snare program was not set up with fixed pitch, but I should double-check that the sample is triggering at the same pitch as the original sample.
- I set up the one-shot trigger for a reverse snare using a sample from the snare program. With no arp enabled, this can be triggered whenever you want, again by using the transpose setting in multi mode to choose which note is played. That way before the end of a measure I can trigger a simple build.
- If you want to change the sample’s amplitude settings, you can shorten the sample using the VCA decay or attack, but you don’t have that much control over note length unless you map a single value across the keyboard range. That of course will change the pitch of the sample considerably as well. I also found that if you change the semitone setting the sample changes completely to whatever is mapped to that note, it doesn’t tune the sample. But, you can tune the sample up maybe a semitone by using the detune knob; past 0 in the positive direction tunes the sample up. Interestingly, past 0 in the negative direction changes to the next lower note’s sample, which prevents you from tuning it down at all. It’s nice to know that there is at least some possibility of editing the note’s properties, and of course, the filters are fully available to shape the sample’s tone.
I now have 8 sound programs assigned: 3 one-shot samples for fills (snare, clap, and reverse snare), 3 drum arps (kick, snare, and hihat), 1 bass arp, and a polyphonic keyboard mapped to the top of the keyboard. Usually I am only playing 5-6 simultaneously, all triggered live from a keyboard, and it didn’t seem to choke or crash very much if it all so in performance-only mode it was pretty stable. I don’t recall it ever dropping voices, although I’m essentially using only mono patches and single voices other than the keys patch. Maybe there was the occasional arp glitch, but I’m not sure that wasn’t due to human error. I did have some issues when triggering many patches at once while simultaneously changing the transpose setting; the synth hung a few times, emitting a loud squeal. It also occasionally wanted to latch the arp when transposing and I had to push shift-play to break out of it. I really don’t think I’m using this synthesizer in the way they might have intended and I assume that is why it’s a little glitchy, but overall, despite the glitches, I’m pretty pleased with how versatile the Blofeld is showing itself to be in the sampling department.
Adding in sampled drums
The last thing I wanted to try was adding drum samples in place of the synthesized versions I’m currently using. So, I started with the Amen break, chopping it up on my MPC. Then I tried to load the samples in.
- At first, I could not get spectre and blofeld to communicate on Mac and could not upload samples. Factory settings were already loaded but every time I transmitted to the Blofeld it didn’t indicate it was receiving data via the screen and no samples were added.
- Next I tried saving the samples as a MIDI file and sending them to the Blofeld that way. This worked, but it took over 2 hours to complete. The amen breaks were loaded, and the factory sounds are overwritten and gone. Would not suggest unless you really have to and you are really sure with how Spectre has mapped the samples to the keyboard.
- I abandoned using Mac to upload samples, and as soon as I switched to Windows, everything went smoothly. Spectre updated the synth in seconds instead of hours. I’m not sure why the USB midi on my mac seems to work so poorly; I probably have something set up incorrectly there as I have trouble with other VST’s that use USB MIDI.
- I mapped samples to specific notes on the keyboard, the white keys starting at C2, and then the white keys starting at C4 for another set. This will enable me to play different drum parts by just moving up an octave. I set root and high notes to the same value with ctrl-click & alt-click. Spectre automatically maps any notes in between assigned pads to pitched and sped up versions of the samples, and I don’t think the “fixed pitch” setting affects this. In fact, in the manual, it says that fixed pitch isn’t implemented.
- Another nice thing about the sampling feature is that all the parts play through a single oscillator, and of course, you can route any filter or env to control it. I can easily route a filter cutoff or volume using the performance features on the controller. The pads/keys can also be played like drum pads, and you can set up different velocity sensitivities per preset, of which there are four.