The Unexplained Applications of

The Unexplained Applications of
Applications of
Table of Contents
Section 1: OMS and The Patch Names Editor
Writing personalized patch names
Setting up Patch Libraries with
Using Patch Names in
Sending Patch changes in real-time within
Section 2: Using
Phrase Sampler
as a Dedicated
I. Advantages and Disadvantages
II. Sampler Session Setup
III. Recording, Chopping, Editing,
Sequencing, and Bouncing
Section 1:
OMS - Patch Names Editor
Do not open OMS patch names editor without OMS on your
system, your computer will crash!!!
Writing personalized Patch Names for synthesizers
and Samplers no longer supported By Open Music
Software (OMS)
When you first open the Patch names editor provided for you, you
will see a window looking like this…
• The left column is a list of all the instruments you have included in your
OMS Studio Setup.
• If the instrument you plan to write Patch Names for is not listed in the
left column you must exit the patch editor, and create a new device in
OMS studio setup for this instrument.
Using the Patch Editor:
• Click on the icon for the instrument for which you plan to write the patch
• This instrument should be highlighted with a black bar, as it is above.
• Go into the pull down-Menu Bar > Names > New Patch Document.
• The new window that appears will look like this…
• In this window you need to single click on the bulls eye in front of row
Two, in the column labeled MIDI.
• You must now go into the Menu Bar Patches > Bank Select / Numbering.
• A new window will appear. It looks like this…
When original MIDI specifications were developed, synths had only about 8
to 40 different patches. At that time, to be able to choose from no more than
128 different patches was not much of a limitation. Because of this initial
128-patch specification, all banks are grouped into 128 patches.
As technology grew MIDI specifications had to grow along with it, and now
multiple banks are used in order to accommodate the growing sounds on
synths. It was decided that Bank select commands would use what is called
Continuous Controllers 0, and 32 to identify a bank of instruments. These
continuous Controllers or CC’s allow up to 16,384-banks of 128-patches.
Continuous Controller’s make it possible for Bank selections to be made on
individual MIDI channels.
Continuous Controller 0, or CC 0, is the MSB (Most Significant Byte).
Continuous Controller 32, or CC 32, is the LSB (Least Significant Byte)
Normally you need to send both MSB and LSB controllers to implement a
bank change.
Using the Patch Editor:
• This is where you must know the MSB and LSB of your specific synth.
Look in the index of your synth manual for “Bank selection”, or
“Program Change”. Remember every new bank that you write
needs a new MSB, and LSB specification.
• The prefix box is going to be the name of the bank. Name the banks
according to your synth’s bank names.
• Leave GM box unchecked. Click OK and this window will appear.
• Start typing in the empty box at MIDI 0.
• As you get further and add more banks it will help you to know how
OMS is organizing your patch names. This is what your patch names
editor will look like as you get further.
• The MSB number, LSB number, and patch number are shown in the
MIDI column, respectively (MSB/LSB/Patch).
• The bank number, and patch number are shown in the number column
Bank Number, and Patch Number with no separation.
MSB, LSB, and Patch number.
Setting Up OMS Patch Libraries with
• The Finder will not always recognize these libraries on its own. You
must put these libraries at the same level as your digidesign folder. All
this means is that you need to be able to see your digidesign folder, and
OMS names library at the same time without any folder open.
• Re-open the OMS Names Application. In the Device column single click
your synth to highlight the instrument.
• In the Names menu bar, click subscribe.
• A finder will appear when you do this. Go to the hard drive where your
library is saved and choose the appropriate library, its icon will replace
the highlighted icon.
• For your Instrument the patch names editor window should look like
• Quit, and you are now ready to use this library in Pro Tools.
III. Using OMS Patch Names in
• Open a session in
• Create a MIDI track.
• In the Mix Window choose an instrument and a MIDI channel.
• On that same MIDI track, click on the
• A blank window will appear with the word “none” and the numbers
• Click on the word
in the upper right hand corner.
• This tab will give you a listing of the banks that you have just written in
the OMS names Patch Editor.
• When you click on one of the patches, a midi signal will be sent to your
synth, and change your synth’s preset patch to the patch you have just
chosen on that particular midi channel.
• The Window looks like this…
• You are now sending program changes from
IV. Sending Patch Name changes in real-time within Pro
• This is a very strait forward function and can be very powerful when you
have your synth’s banks, and patch names declared in OMS.
• Go into the edit window within
• On the MIDI track that you have just created click the tab that changes
track view, and click program change.
• Go to the measure in the sequence were you are changing the existing
patch to a new patch.
• Some synth’s stutter when you give them a program change. It is
suggested that you do a program change when that channel is silent.
• When you click on the position in the sequence you want to insert the
program change. The patch names list will pop up just as it does when
you click the
button in the mix window.
• When you have finished choosing your synth’s instrument, the program
change view should look like this.
• You are now sending MIDI program changes mid-sequence.
Section 2:
as a dedicated
Phrase Sampler Sequencer
is most widely known for its ability to chop and sequence audio
in its four editing modes, grid, slip, spot, and shuffle. By becoming
proficient at using Slip and Grid mode
can become the world’s
most powerful music recycler. I use
to in order to sequence a
group of one-shot samples usually and eighth note or quarter note in length.
I use these samples from one or more songs in order to sequence a new
phrase that then can be bounced to a single audio track. This method can be
very time consuming but because of
precision of audio editing
you can create sequences that seem as if they were not rearranged at all.
• Use of editing modes in order to fine tune sample sequence.
• Use of
generator in order to find individual
samples root note or key.
• Use of
Audio Suite Gain Function
) in order
to change sequence dynamics.
• Use of
Audio Suite reverse function in order to smooth transitions
between samples.
• Use of
Audio Suite’s Pitch shift in order to create half step note
variations in sample Sequence.
• Use of
Audio Suite’s Time Compression/Expansion in order to
change note duration from that which it was originally sounded.
• Use of all Audio Suite functions to change original sound of one-shot
• Use of
Fade Generator in order to make sample transitions
• Use of pans and volume fader automation in order to give a bigger
stereophonic sound.
• Use of
Bouncing in order to create multiple mix-down
versions of your sequence.
• Ability to redraw aiff wave’s to eliminate crackles and pops that occur
when sampling from records.
• Mix-down samples can then be exported to hardware sampler.
Disadvantage: (non-plural)
• This process can often be very time consuming.
Sampler Session Setup
• Create a new session.
• Create three stereo audio tracks and two mono audio tracks.
Recording, Chopping, Editing, Sequencing and
• First things first, you must choose your sample.
• Record it onto the stereo track.
• You are going to have to find the tempo of this sample, so truncate
everything at the beginning and end of your loop in slip mode.
• Now that your loop is isolated, sounds clear, and does not stutter, put
in grid mode.
• Put this sample on the downbeat of one of the grid marks.
• Change the tempo of the session until your sample begins and ends on
one whole measure. Click on the tempo values in the Transport window
so that the tempo is highlighted. Use the up and down arrows until
sample fits perfectly into grid marks. (there are many ways to do this,
this is just one method)
• If the sample does not end precisely on the bar, then click on the markers
at the top of the screen and move them to the bar as shown below.
• Now play the selection and see if the loop is still precise. If it is,
consolidate the selection and rename it.
• This gives you the ability to duplicate samples and maintain the session
• Go back into slip mode and edit the main sample into its individual
components. Be sure to use the magnifying tool to zoom in on waveform
while changing the loop points on the time line with the markers as
shown above.
• Be sure to cut all samples at the zero Y-axis.
• When this one-shot sample comprised of the first note of the “main”
samples phrase is looped properly, it should be cleanly repeating the first
note of the main sample.
• Follow through and do this to the remaining elements of the original
sample, getting the largest amount of individual one-shot samples out of
the main sample.
• If your main sample looked like this…
• After breaking it down, it may look like this…
These samples are monophonic, some are only from left and
others are only from the right of the original stereo file. More
on that later in “Editing Tricks (1)”.
• Now that you have individualized each sound from the main sample,
redraw the beginning and end points so that they occur on the zero y-axis.
• Knowing the note of the one-shot sample can be very helpful for
sequencing. Using the
generator in the Digidesign
Audio Suite Pitch Shift plugin is the easiest way to find a samples root
• Set the decibel level to about –30.
• When
is enabled, and note is edit enabled as it is here in
the yellow….
• You can now use the up and down arrows on the keyboard to change the
signal pitch.
• When you press
your sample will sound against the reference
• Find the root note of that sample and rename the sample with its
corresponding sample name and pitch.
Editing Tricks:
Using Individual Monophonic Files from Stereo Files
to Accent Different Instrumentation
• Look and listen to the individual parts of the stereo sample that you have
chopped and listen for differences in left and right channel.
• If left or right channel accents a certain instrument more, you can use that
left or right channel as a monophonic sample by pulling it from the
region bin.
Using Pitch Shift Function to Create Tonal Variation
• If some of your samples are only single notes and not chords use the
pitch shift AS function to give you tonal variation and name the new
sample accordingly.
• Make sure to pitch shift the duplicate of the sample, not the only
remaining one-shot sample. You could pull this sample from the region
bin, but often samples get lost in the bin
(NOTE: This number labeled “semitones” represents half steps, not
chromatic steps through a scale)
Using Reverse Function for Transitions
• Use the (AS) reverse function to subtly bring you into a new note
• The highlighted note is the note reversed.
Using the Fade in and out Function to Create
Smoother Transitions
• Use the Fade function in
pull-down edit menu to create smother
transitions from one note to the other.
• Notice the fade just before the downbeat of bar three.
This is bar 3
• For a fade-in you must highlight the blank space before, part of the
sample, and the portion of the sample you want the fade-in to. Then go to
Edit -> Fade. (Apple F)
Using the Gain Function to Create Dynamics
• Use the gain function to change dynamics of different samples
• This can lead to a very large region bin
• If you want to get ride of all of the samples in region bin you are not
using, push the audio tab on the top of the region bin and select “select
unused” -> and then “Clear selected”.
Warning: This removes every sample that is not used in the audio
edit window.
Using Time Compress Function for Variation of Note
• Time Compress and expand your one-shot samples so that you can use
variation in the note duration of your samples.
• I do not suggest compressing or expanding your sample past half the
samples original length, i.e., Don’t make a quarter note sample longer
than a dotted quarter, and do not make it shorter than an eighth note.
7) Eliminating Clicks and Pops from Samples Recorded
from Vinyl.
• First, zoom in on the section of the sample where you are hearing the
click or pop.
• Zoom until you are at sample level, as shown below.
• Use the pencil tools to redraw and eliminate the pop.
Before Pencil Tool…
After Pencil Tool
Now that your one-shot samples and loops are set to fit the grid tempo of
your session you can now use
as you would with Sonic
Foundry’s Acid.
• You can use the time line cursor to set up a loop that you want to
• Highlight an eight bar progression and push the play button.
• It is best to set up a general chord progression first.
• Use the samples that you have figured out the root note of and create a
defined chord progression with them.
• You can edit the sequence in real time while it plays.
• However, many producers use the idea of “Squaring” when making loops
on computers.
• If you were to start with a drum line, it is common to start with the bass
• The Squaring technique is to make a simple one bar loop, and then
duplicate it.
• After duplicating the phrase, alter the duplicate to give you a slightly
different phrasing.
• Now duplicate the two bar bass drum loop and then again slightly change
the phrasing of the last bar, in order to create a resolution to the first bar
(keep it simple, it’s a bass drum).
• This technique works because it keeps the rhythmic ideas and makes the
ideas resolve into that instruments main idea.
• This technique also works for all instruments.
• However, it is easiest to start with a looped drum line and work on the
melody with this technique applied to the instrumentation.
• Enjoy making music…
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