©  WersiClub International
Home Page.
OAS-7.
Did You Know? Archive P1.
Downloads Summary.
Drawbars.
Drumsets.
MIDI Files.
New to OAS-7?.
OAS Articles.
OAS-7.1 Updates.
OpenArt Arranger (OAA).
Rhythm Designer.
Sequencer.
Sound Effects.
Sounds.
Styles.
Total Presets.
Wersi Classical Pipe Organ.
OAS-7 Sounds.
The OAS Technology Project.
The Club for all Wersi owners world-wide
Site Design and Construction : Colin Moore
SOUND FACTORY
SOUND FACTORY
The Sound Factory Optional Package for OAS-7.1

This package was first made available in Revision 44, January 2011

It provides a very extensive Sound Editor facility whereby the actual samples and layers used in a sound can be changed in a multitude of ways. As such it is a complex package.

The top panel below contains the downloads for the Sound Factory Master Classes Project started in October 2012

The second panel provides some audio mp3 downloads to demonstrate some sounds produced using Sound Factory. This list will be added to from time to time. Eventually, an explanation of how to produce these sounds will appear in a Master Class.

The lowest panel contains a distillation of material provided by members during 2011, in the early days of Sound Factory being available.

This can be downloaded as a pdf file from the above link.

The Wersi Sound Factory Master Classes

by Ian Terry, Jeff Ormerod and Colin Moore

 

Master Class 13 : More LFOs within Sound Factory (LFO/Matrix Tab - Part 7)  (Summer 2016)

 

There are two more LFOs contained within the Matrix itself. This Class investigates their use.

Jeff has provided the following audio file to demonstrate using these LFOs to provide a trumpet trill:

Trumpet Trill

 

Master Class 12 : The LFO/Matrix Tab - Part 6  (Spring 2016)

 

This Master Class completes our investigation into the three Low Frequency Oscillators (LFOs) provided within Sound Factory. Jeff has provided the following audio files to demonstrate some of the sounds which can be produced in this way. The Master Class contains information as to how he set up these demonstration sounds.

1. The Balalaika

2. The Concertina

 

Master Class 11 : The LFO/Matrix Tab - Part 5   (Winter 2016)

 

We return to the Matrix page and start looking at the Low Frequency Oscillators (LFOs) available, beginning this time with LFO3. There is also an Appendix which takes a more technical look at some of the points included within this Master Class.

Jeff has provided the following audio file (Whistle) as a demonstration, referred to in the Master Class.

 

Master Class 10 : The Play-Mode Panel on the Sample Page  (Autumn 2015)

 

In this Master Class, the Play-Mode panel which was introduced into Sound Factory on the Sample Page in OAS-7 Revision 46 in 2012 is spotlit. It has not been covered before in these MasterClasses so we’re interrupting the Matrix sequence to provide it now.

 

Jeff Ormerod has provided two sound files to demonstrate how some of the procedures included in the Master Class can be used to extremely good effect.

1. The Hymn to the Fallen -  final section (two-note chords - the Clarinet takes the top note and the Oboe takes the bottom note).

 

2. Lullaby of Birdland (This provides the George Shearing sound using block chords, where the Piano plays all the notes while the Vibes play only the top note and the Jazz Guitar plays only the bottom notes. Moving the Modulation Wheel fully reverses the positions of the Vibes and Guitar.)

 

Master Class 9 : The LFO/Matrix Tab - Part 4 ( Summer 2015)

 

In this Master Class, the way Sound Factory provides a special way of using the Sound Controls feature is investigated. Jeff has provided two sound files demonstrating how he has used the features described in this Master Class. Links to those files are below:

 

         1. The Hymn To The Fallen (Monophonic Clarinet over Polyphonic Choir)   2. Panis angelicus (Church Organ)

 

Master Class 8 : The LFO/Matrix Tab - Part 3 (December 2013)

 

In this Master Class the Matrix is again the centre of attention. This time we start investigating the many controllers in the Source and Modifier lists. These lists consist of two kinds of controller: physical and electronic. In this Class, various examples are given to explain the possible uses of: Off; Constant; Random; Velocity; Key; Pitch; MW; Aftertouch; Pitch Bend; SusPed; SoftPed; LFO3. In addition, two Modifier controllers are investigated: Switch; X-Fade. Jeff has provided this audio demonstration of the result of modifying the Brass Sforzando sound (placed in the Lower Manual) so that one of the two samples included in that sound rises by one octave when the keys are played with more velocity (in the second half of this example).   X

 

Master Class 7 : The LFO/Matrix Tab - Part 2 (October 2013)

 

Continuing to use the Modulation Wheel as a Source Controller, this Class from Ian Terry covers all the  remaining items in the list of Destinations from the Manual, apart from LFO3 Rate, Mod Env and LFO3 Depth which will be covered much later on. Some fascinating achievements are possible and Jeff Ormerod has produced an audio demonstration of a new Jazz Guitar sound to illustrate the example he provides in this Master Class. You can hear that demonstration by clicking on this symbol.  X

 

Master Class 6 : The LFO/Matrix Tab - Part 1  (August 2013)

 

This is the first in a sub-series of Sound Factory Master Classes about the Matrix (the LFO section of the tab will be dealt with later). Whereas all sections of Sound Factory which we have covered so far have enabled us to change the sound in some way, the Matrix allows us to control the sound - under what circumstances the sound can be made to do certain things, which physical controls can be adapted to provide specific functions etc. The possibilities are many and varied and Ian Terry is our guide.

 

Jeff Ormerod has provided the following mp3 audio file to demonstrate using the Modulation Wheel as an Octave Coupler with classical pipe organ sounds, though the process can be used with any sounds.   X

Within the Master Class, Jeff explains how he set up that example using Sound Factory.

 

Master Class 5 : The Envelope Tab (June 2013)

 

In this Class the Envelope tab is investigated in detail, explaining the functions of the parts of the Envelope as well as giving some examples to follow. For those who do not have Sound Factory, Jeff has provided three audio files to demonstrate his three examples of sounds whose Envelopes he has modified. These three mp3 files can be heard from the links below:

a)  Hedwig’s Theme -  demonstrating a modified Musicbox Envelope;

b)  Exodus Theme - demonstrating a modified Classical Piano Envelope;

c)  Also Sprach Zarathustra : Sunrise - demonstrating the fade in of the organ sound on the final chord (another way).

 

Master Class 4 : The Filter-Map Tab (April 2013)

 

This Class explains the three tables within this tab, the way the values of the parameters can be changed and the effects of those changes.  It concludes with some examples of sound designs which exploit changing some of those values.

Jeff Ormerod has produced a modified Celesta sound by changing values in this tab, in order to achieve a sound like the Celesta used in the Buddy Holly hit song, “Everyday”. Here is an mp3 audio demonstration of Jeff playing that Celesta riff using his newly developed sound, which you may be surprised to find did not start with a Celesta sample.  X

 

Master Class 3 : The Wersi Pipe Organ Registrations (February 2013)

 

This Class is a convergence with the Wersi Classical Pipe Organ Project’s final part. Each of the Registrations there (except where only one sound is used) is represented in this Master Class by its Sound Factory equivalent, where all the sounds in the Registration are contained within just one sound by combining the relevant samples and adjusting the balance. Samples from the Wersi Sacral Sound Package are used throughout. This Master Class has been produced in association with Jeff Ormerod who wrote the final article for the Pipe Organ Project and who produced the Registrations used.

 

Master Class 2 : The “Samples” Tab Part 2 (December 2012)

 

This Class completes the remaining parameters of the “Samples” tab with the exception of the “Play-Mode” feature introduced with OAS-7 R46. That will come in a later Master Class. Volume/Pan Key, the Pitch Table, the Sample Edit Table and the Sample Delay Table are all covered in depth in this Class.

Wave Start (in the Sample Edit Table) is used to edit the Bagpipe sound [091-000-066] to adjust the ‘turn’ at the start of the sound. Here is an mp3 audio demonstration of the edited sound which results:    X

Also included is an analysis of the 1 Finger Plucker sound [082-000-004] and the designs for modifying that to become the Harp Arpeggio which is demonstrated as the first audio file in the panel below, as well as the Acoustic Guitar Major 7 Arpeggio. Ian has also provided sections on ‘Velocity’ and using Wave Start to produce a ‘Comb Filter’.

 

Master Class 1 : Introduction and the “Samples” Tab (October 2012)

 

This Class provides an overview of the series and begins with a close look at how to use some of the features available when clicking the “Sample” tab. Most of the remaining features of that “Sample”screen will be covered in the next Class.

The design of one new sound is covered in the article. Here is an mp3 audio demonstration of that sound:   X

Only that sound is being played in one Selector in the Upper Manual. The sound has been named “Rich Mantovani Strings”

SOUND FACTORY MASTER CLASSES

 

Audio Demonstrations by Colin Moore of some sounds designed by Ian Terry using Sound Factory

 

Harp arpeggio. There are actually two sounds, an ascending and a descending harp arpeggio of 9 notes each. One is in Upper Manual 1 and the other in Lower Manual 1. One finger of each hand was used to produce this demo. How this sound was made up will be revealed in a future Master Class.

 

Pan Pipe. This is slightly different from the Wersi sound, with a built-in delayed vibrato (acknowledgements to Robert New for that design) plus a slight detune controlled by After Touch.  How this sound was made up will be revealed in a future Master Class.

 

Acoustic Guitar Major 7 Arpeggio. By holding down just the tonic note of the key, this is the result. It can be done with any sound though percussive sounds like guitar and piano/harp work best. It’s suitable for the end of a piece of music, when the final chord is played by both hands and one finger from the left hand can reach to a tonic note on the Upper Manual where this sound has been placed in a suitably set-up split. The speed of the arpeggio is fixed in the sound but can be changed to produce another sound. How this sound was made up will be revealed in a future Master Class.

 

Sunrise Final Chord. This is just the final C major chord of Sunrise from Also Sprach Zarathustra by Richard Strauss. The chord is simply held for the duration, the sound design providing the fade-in of the pipe organ. How this sound was made up will be revealed in a future Master Class.

 

7-Stroke Timpani Roll. This is achieved by just playing and holding one key for the duration.

 

Digital Choir. A mixed choir with slow bass entry and the volume of all parts controlled by after-touch.

 

Wunder Bell. This provides a sound akin to one used by Klaus Wunderlich.

 

Timpani Roll and Timpani Roll + Cymbal Crash. There are many variations and extensions to these.

 

George Shearing - the sound not the playing! This is a single sound in Selector 1 of the Upper Manual, played with the right hand alone. Piano plays all notes while Vibes play the top note and guitar plays the lowest note.

 

Reiterating Xylophone - designed by Jeff Ormerod who has produced this as his first Sound Factory sound and is demonstrating it here.

21 February 2011

Downloads:

Globals - this gives the values available in the Global panels under the General Tab.

LFO-Matrix - this provides lists of all the Source, Modifier and Destination possibilities: not fully conversant with all these yet!

Samples in Sounds - this gives a table of all the Sample Banks and the Samples contained therein - several pages of data!

Some Sound Samples - one of the most interesting observations while using this software has been to look at the samples actually used in the sounds. This document charts just a few of those sounds with the samples they contain. Of course, you have to look a little deeper to see how those samples have been set up in order to obtain the full picture, and that’s quite involved and requires a lot of experimenting - great fun, though. That’s when the editing possibilities show themselves.

 

23 July 2011

Wah-Wah Trumpet Sound from Ian Terry:

 

Pick a Trumpet to edit, I used (for this example):- 090-000-055 Trumpet Muted *. (This sound already has the 'mute' attached to the instrument, we only need to make a small edit to turn this into the sound we would want, and to be able to control this in real time from the instrument).

 

Activate Sound Factory to edit this sound.

Once in Sound Factory activate 'Expert Edit'

Go to the 'Filter-Map' page,

 Change Cutoff to 26%

 Resonance to 0%

 Velocity to 0%

 Key to 12%

 

Now the clever bit.

Go to 'LFO/Matrix' page, (working from left to right in the Matrix),

 Pick a free/empty slot in the 'Source' column, (number 6 for example), select the source box so it's highlighted (red), and using the 'Data Wheel/Encoder' dial in the words 'Mod Wheel'.

 In the next column (to the right, called 'Modifier'), dial up the word 'Off'. In the next (Modify) set to 0%. {These two columns are used for 'Side Chaining' to give us further control over modulations, we don't need these in this example).

 In 'Destination', dial in the word 'Cutoff'

 In the last box, set the value to 35%.

So just to recap, you should see from left to right:- Mod Wheel, Off, 0.0%, Cutoff, 35%. (I decided to use the Mod Wheel for this as it allows the player to 'mimic' the left hand behaviour that Trumpet players do to create the effect that we are after).

 Switch off any other 'Mod Wheel' destinations (in the Matrix), as they will interfere with our effect.

Save with a suitable title into your user database.

 

When you call this edit up to play make sure that 'Mod Wheel' is enabled in the 'Selectors' page of OAS.

 

That's basically it, here's a small teaser of what it can sound like. It's all controlled from the instruments 'Pitch' and 'Mod Wheels' in real time via the left hand. The Mod Wheel controls the filter to open and close the mute, just as Trumpet players would. Right hand plays the keyboard to trigger the notes. This is straight out of the instrument and recorded into Logic Pro for preparation and conversion to MP3.

 

Wah-Wah Trumpet Solo.mp3

 

 

4 October 2011

From David Dunlap.

Here is a PDF article about creating a new sound in Sound Factory. It's actually an alternative to Ian Terry's suggestion for a "wah" trumpet.