Perfect companion synth for the EMX?

Hugo · Post by **Hugo** » Wed Feb 20, 2013 11:39 pm

I plan om picking up a synth or synh module to use with my EMX, any good suggestions? The Alesis Micron would seem a perfect option, with four part multitimbral capacity, but i might be hard to come by. I'm also considering the Waldorf Blofeld, which has the added bonus of the sample playback option.

What do you guys use, any recommendations?

robosardine · Post by **robosardine** » Thu Feb 21, 2013 10:25 am

Hi- what about the Novation Nova- It's 6 timbres- I think- and highly rated.

neotechtonics · Post by **neotechtonics** » Thu Feb 21, 2013 10:59 am

I've been happy with the synth capabilities of my EMX for a long time now. They need plenty work to get the most out of them but they are pretty capable. I recently bought an Access Virus B desktop but I don't intend on using it with my EMX. I'll be sequencing it with my MPC to get the most out of it.
I've used my microkorg with the EMX but it takes up too much space for use as just a synth module.

multi-timbrality would be the first thing to look for.. so even if the sequence from the EMX is monophonic it will still have a full synth sound.

The Waldorf Blofeld is a fantastic desktop synth, I've only had limited experience with it tho.

The EMX can really use a sampler to supplement it tho. For this I use a Roland SP-404 mostly.

sohatyi · Post by **sohatyi** » Thu Feb 21, 2013 11:00 am

I also came here to recommend the Nova. The sound is massive... Three oscs (all of which can have supersaw), loads of modulation options, filter combinations and full envelope control etc. You can even just use the EMX to trigger the arp on the Nova. Works like a charm and the best thing is that you can pick a Nova up for ~£150 or maybe even less if you're lucky.

For the money, it's a really powerful piece of kit. The only downside is that the effects are fairly outdated in comparison to modern units.

Hugo · Post by **Hugo** » Thu Feb 21, 2013 12:45 pm

Yeah, the Nova would be cool. I actually had one several years ago, but couldn't afford to keep it. Maybe I'll buy one again, if I come across one. I also had a Blofeld a couple of years back, but had to sell that one too, due to lack of cash. The Blofeld has a huge plus in the ability to play back samples, although I've heard sample transfer is incredibly slow (plus it's a paid upgrade).

I do have a Roland SP-606, but would really like a multitimbral module first and foremost as a companion to the EMX.

Although I should probably delve a little deeper into the EMX's own synthesising abilities, as you say neotechtonics

neotechtonics · Post by **neotechtonics** » Thu Feb 21, 2013 1:05 pm

I've had the EMX nearly 4 years and only recently have I felt like I'm really getting a lot out of it. But only because I took the time to dig deep with the synth engines last year. Its not the greatest synth but its not nearly as bad as some people believe it is. The lack of polyphony and decent envelope control means having to be creative to get the most out of it, but it's well worth the effort because what you learn thru that process will be useful with more powerful synths.

sohatyi · Post by **sohatyi** » Thu Feb 21, 2013 1:27 pm

Agreed, the synth is actually pretty decent, but it doesn't quite cut it when it comes to sounds that require a lot of modulation (unless you want to do a lot of knob motion recording). Another lfo and more osc layering options would have made it a killer.

Hugo · Post by **Hugo** » Thu Feb 21, 2013 2:24 pm

Do you know of any useful articles on synthesis programming on the EMX?

neotechtonics · Post by **neotechtonics** » Thu Feb 21, 2013 2:38 pm

I could try write some haha (when I eventually get around to recording some vids for youtube, if there's any demand I might do some tutorial vids at a later stage). I'm 100% self taught. General synthesis techniques should translate for the most part. I'm not a fan of "painting by numbers" I just use my ears, you'll learn and discover more that way IMO.

sohatyi · Post by **sohatyi** » Thu Feb 21, 2013 3:11 pm

Hugo wrote:Do you know of any useful articles on synthesis programming on the EMX?

Here are my very basic notes...

1) Use the EG time knob on the amp section (sustain/release kind of) and the EG time on the filter section (filter attack) to shape your sound. These two alone make a huge difference to the raw sounds. The square EG time setting is far too bland for a lot of applications.

2) The drive adds a nice "colour" to your sound if you want something that cuts through the rest.

3) Motion sequencing can almost simulate having a second LFO if you're willing to record it or step sequence it. e.g. set LFO1 to pitch, motion sequence the Level knob through the pattern to simulate an amp LFO.

4) If you want drones, you can set up a long gate time, a little delay or a long release and you can make an almost unbroken stream of oddity, even when the pattern loops.

5) Switch the ARP to reverse mode and a useful scale, maybe add some portamento and jam away XD lots of fun!

neotechtonics · Post by **neotechtonics** » Thu Feb 21, 2013 3:50 pm

+1 for all those tips especially #5.. Completely revolutionized how I write patterns.

Especially nice for long sustained notes using square/hold envelope with a little pitchbend/slide (an example of this can be heard in "persistance" on my soundcloud account.. Also kinda acidic with sweet settings on drive, cutoff and resonance, also with a subtle cutoff LFO for some added motion.)

If you have a synth part that you aren't already using the LFO on, it always nice to add a subtle cutoff LFO so it isn't so static/flat.

Play around with the different synth parts and the filter section.. Different synths will behave differently thru the filters so it can take a little experimentation to find sweet-spots with the cutoff, drive and resonance to the point where you can get some sick acid sounds or self-oscillation.

Some of the PCM sounds are incredibly versatile as they have differing envelopes of their own (because of the waveform used) experimentation is key here. For example: the flute PCM if pitched way down creates an awesome "breathy" bassline

As an exercise it might be good training to force yourself to write patterns using just one synth engine to see the range of sound you can get from it.

If you want to flesh out a harmony or melody that doesn't have long sustained notes you can add simulated polyphony with a delay altho many people will say this is bad practice, sometimes it has to be done to squeeze more from the EMX and get a fuller sound.

Hugo · Post by **Hugo** » Thu Feb 21, 2013 5:39 pm

Excellent advice there, guys, thanks a lot!

Telengard · Post by **Telengard** » Thu Feb 21, 2013 10:00 pm

The one piece of advice that made all the difference for me was to move the knobs in very small amounts as subtle changes can make huge differences in the synths. There is a whole world of sound in between min and max on the knobs!

Hugo · Post by **Hugo** » Mon Feb 25, 2013 2:07 pm

Telengard wrote:The one piece of advice that made all the difference for me was to move the knobs in very small amounts as subtle changes can make huge differences in the synths. There is a whole world of sound in between min and max on the knobs!

Yes, that it is a good advice indeed, thanks for sharing.
I wound up ordering a Roland SH-32, which, judging from the demoes on youtube, looks like an excellent companion to the EMX. One very cool feature is chord memory, which lets you play chords by triggering only one note. This can be coupled with the programmable arp, so it should be able to fire of complex arp patterns from just one note from the EMX. Can't wait!