SQ-80 — Musician's Manual
an excellent attack for digital/FM-type piano sounds. Bright yet mellow.
> SLAP. The initial "pop" from a electric slap bass. This attack can be combined with the BASS
Waveform to create some extremely punchy and realistic bass sounds.
− PLINK. Created through additive synthesis, then resynthesized using the Karplus-Strong
Plucked String Algorithm. This and the next two Waves add a bright, hard attack to any sound,
and can sound warm or metallic depending on the context.
> PLUCK.
Also created using additive synthesis, and resynthesized with the Karplus-Strong
Algorithm. It is similar in character to PLINK but higher and clearer.
− > PLUNK. This attack started life as the sound of two wine glasses being clinked together. The
sample was then resynthesized using the Karplus-Strong Algorithm. Like PLINK and PLUCK, it
gives a sound an edge which will cut through the mix.
− > CLICK. Just what it sounds like — a click. Use this Wave to give bite to keyboard-type sounds,
to recreate the click caused by dirty contacts in electric organs. etc. For best results, eliminate
the pitch tracking of the Oscillator playing this Wave (assign KBD2 to modulate the OSC pitch.
with a modulation depth of -63, then tune the Octave and Semitone to taste).
____ > CHIFF. The breathy "chiff' from the attack of a flute. This Wave is good for putting a little
"breath" into the attack of any sound.
____
> THUMP. This Attack Wave is sampled from the actual sound made by a piano's hammer hitting
the string, but with all the strings muted so that you only hear the thump. Less aggressive than
CLICK, it lets you put a realistic thump into the attack of piano. bell and other "hammered"
sounds. As with CLICK, it works best if you eliminate the pitch tracking.
9) DRUM/ATTACKS
This unique group of Waves serves two purposes. All are actual samples of real Drum sounds.
Their inclusion in the
SQ-80 gives you realistic, punchy drum sounds to use, either individually or
as an entire set (see #10 below). In addition, most of these Waves also make great Transient
Attacks when used with other Waves within a Program. For example, the TOMTOM Wave,
when played in the range at which it was sampled, sounds like a TomTom. But when used as an
Attack Wave and transposed above its natural range, it takes on a whole new character.
Experiment with using these Waves both as Drums and as Transient Attacks.
> LOGDRM. A Log Drum is a hollowed log with slits cut in the top. played with mallets. It has a
nice, rounded sound. LOGDRM makes an excellent Attack Wave as well as a good drum sound. It
makes a unique "percussion" attack on Organ sounds, for instance, when tuned up an octave plus
a fifth from the fundamental.
− > KICK 2. A tight Kick Drum, with plenty of bottom, but with a nice "pop" to it. Unlike the KICK 1
Waveform, which is a single cycle, this is the entire sound of a Kick Drum and is not looped. Try
adding this Kick Drum right into the attack of a Bass sound.
____ > SNARE. A bright, punchy Snare drum, with a good amount of room ambience.
TOMTOM. This is a sample of a rotary-type TomTom, played in a big reverberant room. It has a
nice descending pitch component. As mentioned above, it makes an extremely interesting
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Section 3 — Voice Programming
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