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JEAN-MICHEL JARRE PCG file. (Triton )
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PostPosted: Thu Mar 28, 2002 3:39 pm    Post subject: JEAN-MICHEL JARRE PCG file. (Triton ) Reply with quote

[mem]No I'm not kidding.  ;D

This post will be in parts, so here's the first part.

JEAN-MICHEL JARRE PCG file.
Click on this link.

http://www.irishacts.com/support/triton-pcg/jean-michel-jarre.zip

More to come.....  ;D

[/mem]
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PostPosted: Thu Mar 28, 2002 3:42 pm    Post subject: Re: JEAN-MICHEL JARRE PCG file. Reply with quote

[mem]
INTRODUCTION

In 1976, the French musician Jean-Michel Jarre presents/displays one of essential works in the world of electronica music, " Oxygene ".
This work approaches the great public the electronic sound of a fresh way, moved away in certain way of less popular " works " - not less important for that reason - of hand of the Germans Tangerine Dream, Klaus Shulze or Kraftwerk for example.
Jarre presents/displays to the great public an excellent taste in the production of sounds and process of mixtures.
The disc is a success quickly repeating the same situation in 1978 with " Equinoxe " a second disc of rÌtmico character but conserving to a large extent that " sonorous " magic of Oxygene. Equinoxe counts on some memorable fragments in which the sound seems to summon up life.
Some, not even habreis oido to speak of Jarre, to others will sound to them and the rest will remember very some of its magnificent subjects.

In pack an image of Jarre in the concerts of China is included. Detras of is appraised his rack of sintetizadores EMS (VCS3/AKS) and to their left the Fairlight station, one of first samplers of the market.
These documents treat mainly on like synthesizing and controlling this type of sounds in the Triton series of a satisfactory way.
One is not complex sounds, nor " artifices " like many of presets to which we are customary with one orientacion purely Dances " absorbing " of effects.
Orientacion aqui is different. So if they interest to you, disfrútalos.

INSTRUCTIONS

The explanations go destined those people who already have a certain level in the handling of the Triton. Despite always it is indicated in that page and sub-page is the parameter to publish.
For example: * MENU > P3:Edit-Filter / Filter 1 indicates that or the parameters to publish are in page 3, " sub-page " (it labels inferior) Filter 1.
I have tried that the names of the parameters are clear and it is not easy since within each page there are different sections and one can get to be confused. The commented parameters do not leave such as, with the values by defect that has the used group.

These explanations estan cradles in the classic Triton but also they will be possible to be used to work with the version " Him " or in the Karma. Despite it is possible that you must make different adjustments like for example the effects in the version " Him ".

File JARRE_1.0.PCG contains a bank of programs with the sounds that are detailed in texts. Are 5 sounds located in programs 0, 1, 2, 3 and 4.
The rest is the sounds bases or " groups " of ediccion that use personally. These groups are not more than sounds base by defect that use to synthesize from zero. " QOff " (program 5, and from the 7 to the 127) that it is a sound bases on way of an only oscillator and " QOffX2 " (program 6) one in double way.
It records the file in a floppy disk to be able to load them in the Triton. You can load all the bank in the internal bank that you wish, for example, the E.
Also you can only load the main sounds plus the two groups in the numbers of program and the bank that you wish. All this is allowed you from the Disk way of the Triton
[/mem]

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PostPosted: Thu Mar 28, 2002 3:43 pm    Post subject: Re: JEAN-MICHEL JARRE PCG file. Reply with quote

[mem]
Oxylead 1,0 " (1,0 - 2/3/02)

Introduction

One of the most interesting subjects of Oxygene is " Oxygene Part II ", that recently has been used " to musicalizar " one of the announcements of the campaign of the Citroen C5. In this subject it appears a sound that contrasts with the rest due to its simplicity but that it magnificently solves the second part of this subject.
Basicamente is a sound that uses a wave of triangular type (perhaps square) and with a semipercusivo character, a simple sound type lead (solista), briefly.

Programming

We left from the QOff " group " since single we will use an oscillator.

* Menu > P1:Edit-cBasic / Osc BASIC
OSC1 Multisample = 275:Triangle-MG3
Octave = +1 (4´)

* Menu > P2:Edit-Pitch / Osc1 P.Mod
Lfo1 Intensity = +00.10

A smooth vibrato.

* Menu > P5:Edit-Common / Osc1 Lfo1
Frequency = 70

* Menu > P3:Edit-Filter / Filter1
Frequency = 00
Resonance = 04

The filter is closed and controlled totally only by its surrounding one as we see more ahead.

* Menu > P3:Edit-Filter1 / Filter1 Mod
Key High = C5
Ramp High = +99
Keyboard Track Intensity to To = -70
Filter EG Intensity to To = +82

The adjustments tracking made aqui determine that from the note C5 the filter is closed progressively while more advance when touching until practicamente not obtaining sound some. One is to smooth so that we do not have in hand a very annoying sound when we interpret in high notes.

The last fit parameter indicates closely together that the filter is controlled by its surrounding one in a level of +82 totally, of the maximum.

* Menu > P3:Edit-Filter1 / Filter1 Eg
Level - > Start = +99
Time - > Attack = 70, Release 70

With these adjustments we dealed with which the timbre is " roundest " possible, smoothing it slightly.

* Menu > P4:Edit-Amp / Amp1 Eg
Level - > Start = +00, Break = +00, Sustain = +00
Time - > Attack = 18, Decay = 40, Release = 35

The surrounding one of amplitude is fit of form similar to the one of the filter.

* Menu > P8:Edit-Insert Effect / Routing
All OSCs to = IFX1

When complex combinations with effects are not required is advisable to use those of insertion avoiding to us this way to make adjustments of envio and returns.

* Menu > P8:Edit-Insert Effect / Insert Fx
IFX1 = 044:Stereo/CrossDelay
IFX2 = 052:Reverb Hall
Chain = activates the first square to connect both effects in series.

* Menu > P8:Edit-Insert Effect / Ifx1
L Delay Time = 0.0
R Delay Time = 400.0
L Feedabck = +0
R Feedback = +30
High Damp = 88
Spread = +30
Wet/Dry = Wet

The process is simple and of a good estereo image, of form to similiar to as many of the sounds in the first works of Jarre were mixed. So single the right channel is processed totally (wet) with delay (400 milliseconds and one feedback of 30). We will hear the clean sound in the izquiero channel and the processing by the right.

High Damp progressively cushions discharges frequencies during the repetitions, in other words, " extinguishes " the sound. He is similar to which ocurria in old delays based on magnetic tape so this badly using it not to obtain one better emulation.

* Menu > P8:Edit-Insert Effect / Ifx2
Reverb Time = 2.0
High Damp = 52
Pre Delay = 0
Pre Delay Thru = 0
Wet/Dry = 8:92

Reverb adds something of espaciosidad to the sound and with these adjustments it is obtained well mannered.
[/mem]

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PostPosted: Thu Mar 28, 2002 3:47 pm    Post subject: Re: JEAN-MICHEL JARRE PCG file. Reply with quote

[mem]
Oxy E310 1.0
Introduction

The Eminent company was basicamente dedicated to make electronic devices. Among them the model E310, one of
machines more used by Jarre in his first works.
Also it must to Eminent the sound String Ensemble also known based keyboard in presets made and sold
despues by Arp. The Solina sound also appears in some works of Jarre and the one of a good handful of musicians between
they Mike Oldfield, a lover of this sound, extremely pleasant sound of cords and with a characteristic harshness.

The model E310 is a device of double keyboard. Jarre processed its sound with an effect to phaser obtaining with it
characteristic organic " sound " of cords of his first discs.
We also will use an effect to phaser, and for it Korg counts on a good effect of this type.

Programming

In order to recreate we will leave it from the sound soles " QOffX2 ". One is a group in way of oscillating double.
We will use this way to obtain a denser sound thanks to the use of two oscillating slightly desafinados between if,
ademas of a small delay (delay) in one of them.

Suitable elejir one wave in sinte PCM (based on samples) is one of the heaviest tasks. I have chosen by
to only work with basic material, waves of type triangle, sine, saw and similars.
For this case we will decide on the use of wave " 264:Saw-MG3 " (Single Waves). It has a suitable thickness.
If we have the expansion " Vintage Archives " (EXB-05) we can use a material more suitable base, " 132:StrEns-Slina ", a good sample of perfectly valid Solina sound.

From now on ediccion we will carry out it on an only oscillator, preferably number 1. Once finished the same one we will use the oscillating copy function.

* Menu > P1:Edit-cBasic / Osc BASIC
OSC1 Multisample = 264:Saw-MG3
OSC1 Octave = -1 (16´)

* Menu > P2:Edit-Pitch / Osc1 P.Mod
Lfo2 Intensity = +00.26

With the LFO2 we will create an pleasant vibrato effect very important to obtain a warmer sound and vintage.

* Menu > P5:Edit-Common Lfo / Osc1 Lfo2
Frequency = 70

* Menu > P3:Edit-Filter / Filter 1
Frequency = 62
Resonance = 20
Resonance Mod by AMS = Ribbon:CC#16 - > Intensity = +75

The intention that there is behind assigning the resonance ribbon is the one to obtain an interesting effect as we see more
it advanced.

* MENU > P3:Edit-Filter / Filter 1 lfo Mod
LFO1 Intensity to To = +05

With this we will modulate the filter slightly, we will equip with more dynamism the sound.

* Menu > P5:Edit-Common Lfo / Osc1 Lfo1
Waveform = Sine
Frequency = 08

* Menu > P4:Edit-Amp / Amp1 Mod
Velocity Intensity = +64

* Menu > P4:Edit-Amp / Amp1 Eg
Level - > Start = +00
Time - > Attack = 78, Release = 78

With these adjustments we obtain a sound of slow development, perhaps too much for some situations.
We always have " Publishing Performance " and knobs to fit and " to clear " the sound according to the necessities, if no
we want to sail by menus, logicamente.

Arrived east point we are going to copy all the adjustments conducted in oscillator 1 to oscillator 2 and despues we will fit
some parameters of independent form. For it we unfolded the superior menu (right corner of the screen) and
we selected " Copy Oscillator ":
From = Osc1
To = Osc2
In Program we must escojer the sound that we are publishing. We pressed Ok and voila.

Now we will carry out the last adjustments before putting to us with the effects.

* Menu > P2:Edit-cBasic / Osc BASIC
Osc2 Tune = +0008
OSC2 Delay = 0012ms.

With these adjustments in the second oscillator, we obtain a ampler " sound " by the difference of refining between
oscillating (one to 8 hundredth of tone over the other).

* Menu > P4:Edit-Amp / Amp1 Lvl-Pan
Bread = L001

* Menu > P4:Edit-Amp / Amp2 Lvl-Pan
Bread = R127

Now we have the oscillating panoramizados in opposed sides, one in the left channel and another one in the right. This
it causes a ampler sound.

Let us go with the effects:

* Menu > P8:Edit-Insert Effect / Routing
All OSCs to = IFX1

When they are not required complex combinations with effects are advisable to use those of insertion avoiding to us of this
way to make adjustments of envio and returns.

* Menu > P8:Edit-Insert Effect / Insert Fx
IFX1 = 032:Stereo Phaser
Ifx2 = 043:l/c/r Delay
Chain = activates the first square to connect both effects in series.

043:L/C/R Delay is an effect that poporciona a magnificent " vistosidad " to the sound.
The feedback in this single effect is applied to the central channel (c) obtaining with it a compact sound thanks
also to the process to phaser, a sound with certain touch vintage.

* Menu > P8:Edit-Insert Effect / Ifx1
Lfo Waveform = Sine
Lfo Frequency = 0.12
Src = Js X
Amt = +0.32
Manual = 96
Depth = 50
High Damp = 6
Wet/Dry = 84:16

A rank of frequency of between 0,10 and 0,15 very ambient in some subjects of Jarre is adapted to obtain the effect more. Ideal for the calmest lines.
The frequency is modulated with the Joystick in its horizontal axis. Phaser accelerates if we move the Joystick towards
right.

* Menu > P8:Edit-Insert Effect / Ifx2
Wet/Dry = 80:20

More adjustments do not make lack although the most interesting parameter with the one than to experiment is the feedback (Feedback).
By defect one is to +10 but with values of up to +30 it can be useful without getting to soil remarkably.

Last notes

It is a sound with which to interpret great agreed, a sound of symphonic cut. The original one is a more modest " sound " really.
In order to oir as interactua ribbon on the resonance " calmly " walks your finger on the east and oiras a pretty one
effect. Also you can " strike " ribbon with two fingers quickly.

Control

Ribbon - > Resonance
Js X - > Phaser Lfo Frequency

[/mem]
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PostPosted: Thu Mar 28, 2002 3:51 pm    Post subject: Re: JEAN-MICHEL JARRE PCG file. Reply with quote

[mem]
OxyVCS3 Fx II 1,0 (1,0 - 2/3/02)

Introduction

The VCS3, also known as " The Putney " is a small sintetizador made by the British there company/signature EMS by year 1969. In summary, one is a sintetizador without keyboard (although despues it had an external keyboard) equipped with 3 oscillating, a resonant filter and a matrix of pins dedicated to the modulation, all located it in a double panel.
Sintetizadores they were very appreciated by the amount of strange effects that podian to generate, so appreciated that they comprised in some laboratories where was experienced with its sound.
EMS also constructed other worthy sintetizadores of mention like enormous Synthi 100, Synthi AKS (a compacta/desmontable version of the VCS3 with keyboard) or some vocoder like the 3000.

Jarre fué at its moment one of his more usuary faithfuls. In the direct ones of China (1981) it is possible to be appreciated as it has rack with 6 units VCS3/AKS, like podreis to observe in the image that there are including in pack.
The French mainly used it like generator of " marcianadas " like bubbling, effects laser type and others. " OxyVCS3 Fx " is a sound of this type. Let us see as it is synthesized in the Triton.

Programming

In order to recreate it we are going to take advantage of one the qualities of the filters of the Triton, " the elf-oscillation ", like in some old analogical sintetizadores and new the Virtual Analog. One is not a very good elf-oscillation (some dirian distorsion) but is perfectly U.S.ABLE for this type of " marcianadas " and another type of effects.

But that is the elf-oscillation. Basicamente is the capacity of some filters " to sound in case single " when the resonance levels (amplification of the frequencies near the one of cut) are very high. In these cases the filters oscillate by themselves generating a wave sine. The Triton is able of it and telling ademas with the parameter " Trim " in the section of filters it puts the easiest things to us as we will see more ahead.

We left from the sound soles " QOff ", a sound in way of an only oscillator.

* Menu > P1:Edit-cBasic / Osc BASIC
OSC1 Multisample = 278:Sine

Although he will be " almost " inaudible due to the adjustments in the filter, is advisable to use this type of waves by his under harmonic content since it will be easier " to disguise " despues.

* Menu > P3:Edit-Filter / Filter1
Trim = 01
Frequency = 38
Resonance = 99
Resonance Mod. by AMS = KnobMod2:#19 - > Intensity +99

The parameter " Trim " determines the amount of originating signal of the oscillating that will happen through filter. If this fit to 99 indicates us that all the 00 signal is filtered and if however this to no signal is filtered and we will not obtain sound some.

With the adjustments conducted until now, when touching the keyboard we will hear a species of pitido of atonal character. This signal this generating only the filter single in case, that is to say, this car-oscillating.
If we fit Trim to 99, we will hear ademas of this signal, also the sine wave that we have assigned to the oscillator. If on the contrary we fit trim to 00 we will obtain signal some the one of the filter not even. In such case the recommended adjustment is 01, oimos to the single filter in case that is what it interests to us and very " underneath " (practicamente inaudible) the sine wave
assigned to the oscillator. This situation is ideal for the sound that we treated.
Test to experiment now closing and opening the filter with knob 1 in way To and you will hear as car-it is oscillated to different frequencies. The resonance we will control it by means of knob2 in way B (assignable 2).

* Menu > P3:Edit-Filter / Filter1 Mod
Filter To Ams1 = KnobMod1:#17 - > Intensity = +99

This allows to open and to close the filter us with knob 1 in way B (assignable 1). Now already we have the complete control of the filter (cutoff and resonance) in knobs assignable 1 and 2.

* MENU > P3:Edit-Filter / Filter1 lfo Mod
LFO1 Intensity to To = +30

LFO 1 will modulate in an amount of 30 to the filter To that he is the unique one that we are making use.

* Menu > P5:Edit Common Lfo / Osc1 Lfo1
Waveform = Saw 180
Frequency = 28
Frequency Modulation Ams1 = KnobMod3:#20 - > Intensity = +99

This type of wave for the LFO is adapted in this case because she is steep obtaining with it an aggressive sound. A 28 frequency of or near is useful like departure point, by defect before fitting the same one in real time manually.

Touching the keyboard you will hear " the searches " of the filter and if you move knob 3 (it remembers that in way B) you will be able to control the speed of these searches.

* Menu > P4:Edit-Amp / Amp1 Mod
Lfo1 Intensity = +99

With this we fit the level of a dynamic form like the filter. We will obtain more aggressive and sharp " searches. "

* Menu > P4:Edit-Amp / Amp1 Eg
Level - > Start = +00
Time - > Attack = 70, Decay = 52, Release 32

These adjustments for the surrounding one of amplitude provide a slow average attack and a quite fast relaxation. We obtained with them a sound that attacks relaxed and disappears quickly.

* Menu > P8:Edit-Insert Effect / Routing
All OSCs to = IFX1

When complex combinations with effects are not required is advisable to use those of insertion avoiding to us this way to make adjustments of envio and returns. We will do it of this form since single we are going to use an effect.

* Menu > P8:Edit-Insert Effect / Insert Fx
IFX1 = 044:Stereo/CrossDelay
L Delay Time = 0.0
R Delay Time = 450.0
L Feedback = +0
R Feedback = +20
Wet/Dry = Wet

The process is simple and of a good estereo image, of form to similiar to as many of the sounds in the first works of Jarre were mixed. So single the right channel is processed totally (wet) with delay (450 milliseconds and one feedback of 20). We will hear the clean sound in the izquiero channel and the processing by the right.

In certain situations he is advisable to use a limitor. Preferably like first effect of insertion and secondly delay, both connected in series.
In this sound the level changes remarkably depending on the open thing or closed that is the filter.

Until aqui the programming.

On Vcs3 Fx II 1.0

Basicamente is the same sound but its control efectua with the Joystick in both directions.
This way we obtained one more " a " more real emulation of the control of a VCS3 since this disponia of a Joystick (similar to the one of the Wavestation) diriamos that like main source of control in real time. Despite more practice than with the use of knobs is required.

Last notes

The VCS3 disponia of LFOs but their matrix permitia not to use a convenccional oscillator to modulate.
The result is that of this form when using an oscillator as LFO conseguian impossible effects of another form so that these last ones normally did not get to oscillate to frequencies of audio (from 20 Hertz and to a 20 maximum of khz), thing that if it were possible with a normal oscillator. Podriamos to even speak of synthesis FM, something primitive, the truth is said.
Of this form " the bursts " that conseguia Jarre are impossible to emulate the Triton because their LFOs is convenccionales and they do not arrive at the frequencies from audio.
Few are the present sintetizadores whose LFOs arrives at these frequencies. Podriamos to speak of some models of Novation like the Super/Nova.

When the LFOs of the Triton works at very high speeds takes place a species of chaos in the somewhat annoying cycle and not very usable. This also happens in other sintetizadores Korg like for example in the series X. So he is recommendable that when varying the speed of the LFO by means of knob 3 considers to obtain the possible homogeneo sound.
He is recommendable that moves at the most until the position of " the 3 óclock ".
Also you can program switch so that when pressing it the LFO oscillates at their suitable terminal velocity.

It is quite probable that you realize of which from this sound it is very easy to synthesize percusivos sounds, as the typical big drum Dance or HiQ (" Zap " as it denominates Korg). Test to see so that...

Control

Vcs3 Fx 1.0:
Knob 1 - > Cutoff
Knob 2 - > Resonance
Knob 3 - > Lfo1 Frequency

Vcs3 Fx II 1.0:
Js+y - > Cutoff +
Js-y - > Cutoff -
Js X - > Lfo1 Frequency

[/mem]

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PostPosted: Thu Mar 28, 2002 3:52 pm    Post subject: Re: JEAN-MICHEL JARRE PCG file. Reply with quote

[mem]
Oxywind 1,0 " (1,0 - 2/3/02)

Introduction

The more important base ambient at least in Oxygene, is the synthesized wind. Most important to obtain a wind effect it is a modulation of the filter or similar. The natural sound of the wind in more or less extreme conditions remembers much a considerable resonance. For that it travels in meter will be able to verify a semblante sound covering his oido little by little while it travels.

Jarre uses the filters and the effect to phaser ademas of the typical effect delay. Nonsingle it uses east sound like " mattress " if not also like percusivo effect. In order to obtain that effect we will use switches of the panel both, one in momentary way and
another one in normal. First it will modulate the amplitude so that when some stays pressed is not heard sound and the second diminishes the time of attack and release simultaneamente.

Programming

We will leave from the QOff " group " since single we will use an oscillator.

* Menu > P1:Edit-cBasic / Osc BASIC
OSC1 Multisample = 251:Noise
Osc1 Octave = +1 (4´)
Osc1 Transpose = +12

Unfortunately this sample is something heavy. Later we will try " to alijerar it " with the adjustment of one of the parameters of delay.

* Menu > P1:Edit-cBasic / Controller
Sw1 Mode = Momentary

This switch single will operate while it stays pressed.

* Menu > P1:Edit-Filter / Filter 1
Frequency = 68
Resonance = 25

The filter is closed of remarkable form.

* Menu > P1:Edit-Filter / Filter 1 Lfo Mod
LFO1 Intensity to To = +10

The filter will be modulated by the LFO1 with the idea slightly to obtain to a sound something more dynamic than solely with phaser.

* Menu > P1:Edit-Common Lfo / Osc1 Lfo1
Waveform = Sine
Frequency = 10

With this we completed the modulation of the filter that will be opened and closing progressively.

* Menu > P1:Edit-Amp / Amp1 Mod
Velocity Intensity = +64
Amp Modulation Ams = Sw 1:cc#80 - > Intensity = -99

With these adjustments for switch 1 we obtained that when maintaining it pressed the level of the sound it lowers to the minimum and therefore nothing will be heard. When loosen it, if still we maintain a key pressed, we will return to oir the sound but this changes with the next adjustments.

* Menu > P1:Edit-Amp / Amp1 Eg
Level - > Start = +00
Time - > Attack = 90, Release = 80
Time Modulation Ams1 = Sw 1:cc#80 - > Intensity = +99 - > Rl = -
Time Modulation Ams2 = Sw 2:cc#81 - > Intensity = +40 - > AT = - - > Rl = -

The sound is of slow development, attacks slow and release equally slow. The control of release of this surrounding one on the part of switch 1 must to the intention to make " disappear " the sound if while we maintain pressed switch 1 we loosen to the key or keys that we are touching. In this case when we pressed switch 1 release happens to be 0, we modulated with an amount of +99 of negative form (Rl = -). Otherwise, when loosen switch still despues of to have loosen the touched key, it is possible that we hear " the tail ". The intention is the one to obtain to an effect mute.

Secondly, when pressing switch 2, the surrounding one becomes faster and we obtained this way a percusivo sound. With an intensity of +40 the time of attack diminishes as much as the one of release.

Let us go with the effects:

* Menu > P8:Edit-Insert Effect / Routing
All OSCs to = IFX1

When complex combinations with effects are not required is advisable to use those of insertion avoiding to us this way to make adjustments of envio and returns.

* Menu > P8:Edit-Insert Effect / Insert Fx
IFX1 = 032:Stereo Phaser
IFX2 = 044:Stereo/CrossDelay
Chain = activates the first square to connect both effects in series.

* Menu > P8:Edit-Insert Effect / Ifx1
Lfo Waveform = Sine
Lfo Frequency = 0.10
Manual = 94
Depth = 28
Resonance = +60
Wet/Dry = 90:10

A rank of frequency of between 0,10 and 0,15 very ambient in some subjects of Jarre is adapted to obtain the effect more.
Adjustment +60 for the Resonance parameter provides a sound something rougher.

* Menu > P8:Edit-Insert Effect / Ifx2
L Delay Time = 0.0
R Delay Time = 350.0
L Feedabck = +0
R Feedback = +10
Low Damp = 35
Wet/Dry = Wet

The process is simple and of a good estereo image, of form to similiar to as many of the sounds in the first works of Jarre were mixed. So single the right channel is processed with delay (350 milliseconds and one feedback of 10). We will hear the clean sound in the izquiero channel and the processing by the right.
Low Damp cushions the lowest frequencies, we were able thus to clear something of thickness to the sound since in this sample in question it is as a somewhat annoying murmur.

Last notes

The rank of suitable keyboard to touch this sound is between C3 and higher C4. causes that too much is appraised loop of the sample.

Control

Sw 1 - > " Mute "
2 Sw - > Amp Eg

[/mem]
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PostPosted: Thu Mar 28, 2002 3:54 pm    Post subject: Re: JEAN-MICHEL JARRE PCG file. Reply with quote

[mem]
Phew.. There ya go.

I had to convert all this from an official Spanish KORG website. But by hell does it make good reading.


And to get you hands on a PCG file that the Master of Synth created ??? Priceless.
[/mem]
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PostPosted: Thu Mar 28, 2002 3:57 pm    Post subject: Re: JEAN-MICHEL JARRE PCG file. Reply with quote

I can't to try it out

Thanks Sharp!!
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Daz
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Joined: 01 Jan 2002
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PostPosted: Thu Mar 28, 2002 4:01 pm    Post subject: Re: JEAN-MICHEL JARRE PCG file. Reply with quote

Nice work, dude, thanks.

Daz.
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Sharp
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PostPosted: Thu Mar 28, 2002 4:13 pm    Post subject: Re: JEAN-MICHEL JARRE PCG file. Reply with quote

I’m just delighted I spotted this. It was pure fluke actually.
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Vesa
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PostPosted: Thu Mar 28, 2002 5:22 pm    Post subject: Re: JEAN-MICHEL JARRE PCG file. Reply with quote

Nice patch programming !

Thanks for being the 'digger', Sharp !

Vesa
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S0C9
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PostPosted: Fri Mar 29, 2002 12:39 am    Post subject: Re: JEAN-MICHEL JARRE PCG file. Reply with quote

Sheesh....
Wonderful work Sharp....
Now if only I had a Triton into which to put the pcg !!
Someday ???  ??? ......

Steve
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Sharp
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PostPosted: Fri Mar 29, 2002 9:07 am    Post subject: Re: JEAN-MICHEL JARRE PCG file. Reply with quote

Well join the club. I don’t have a Triton either. .. LOL..
(( Trinity ))

So I can’t even test the PCG myself.
Ooohh.. Can’t wait until the Triton Studio is out.


[quote author=S0C9 link=board=korgsupport;num=1017347960;start=0#11 date=03/29/02 at 00:39:38]Sheesh....
Wonderful work Sharp....
Now if only I had a Triton into which to put the pcg !!
Someday ???  ??? ......

Steve[/quote]

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Sywaro



Joined: 29 Jan 2002
Posts: 9

PostPosted: Fri Mar 29, 2002 11:37 am    Post subject: Re: JEAN-MICHEL JARRE PCG file. Reply with quote

Thats beautiful work man.
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Tomcat
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PostPosted: Fri Mar 29, 2002 11:41 am    Post subject: Re: JEAN-MICHEL JARRE PCG file. Reply with quote

Oh well!  Got my question answered before I even got to ask it, which was "is this close enough so that I can use it in my Trinity?"  Toooooo bad.

MC Tom ;D
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