Copyright Notice
All samples are copyright(c) 2001 Ian Wilson. All presets/patches are copyright(c) 2016 Ian Wilson. They are provided free to use, but cannot be sold under any circumstances (for profit, loss, or break-even) without the express permission of the copyright owner, Ian Wilson (thewilsonsusa@gmail.com).

HOW TO UPLOAD THE SAMPLES

WARNING

A) Transmitting the samples will overwrite all existing samples on your Sledge. Do so at your own risk. The software does not provide an option to retain the existing samples on the Sledge, or transmit them to your computer for backup, so you will lose whatever samples are in the Sledge.

B) Transmitting the Presets/Patches as-is will overwrite existing patches in locations 800-865 (Pack 1) or 800-842 (Pack 2) on the Sledge. Move them around within Sledge SoundMapper if you want them to occupy a different set of patch locations on the Sledge.


(A) SETTING UP THE SAMPLE PACK

1) Unzipping the file will extract it to a folder called "Bank [x]", containing all the samples (.WAV files) and the XML file for Sledge Spectre, and the presets/patches for Sledge SoundMapper. ([x] is 1 or 2 depending on which bank you unzip).

(B) LOADING THE SAMPLES INTO THE SLEDGE

1) Plug your Sledge into the Computer via USB and turn it on.

2) Launch the SledgeSpectre application and load the XML file (Analoguesque_Sledge_Sample_Pack1-Samples-01-66.xml or Analoguesque_Sledge_Sample_Pack2-Samples-01-43.xml) from the "Bank [x]" folder, by clicking the LOAD button in the Programs section of the screen on the left-hand side.

3) Click the AUDIO/MIDI button and select the Sledge in the ACTIVE MIDI INPUTS and MIDI OUTPUT settings. This will ensure that the SledgeSpectre application is communicating with the Sledge.

4) Click the TRANSMIT button and the samples will be sent to the Sledge, overwriting any samples that already exist there.

5) Your Sledge will indicate if the transfer is successful with the message SAMPLE DATA OK! PLEASE RESET. If you donít see this message on the synth after transmission, then it is highly likely that something went wrong.

6) Exit the SledgeSpectre application and recycle the power on your Sledge.

Your samples should be loaded and ready on the Sledge. Test this by selecting any patch on the Sledge; Press the WAVEFORM button for Oscillator 1 until both the Wavetable and Pulse-Width LEDs light up; then cycle through the samples using the WAVETABLE knob under Oscillator 1. If you loaded Bank 1, you should see OSC1 SAMPLE PRG on the first line of the Sledge screen, and names such as FM SLAP BASS, FM ROLLING BASS, D50 BELLS ...etc, on the 2nd line of the Sledge screen. This indicates that the samples have been loaded.
You can cycle through all samples using the WAVETABLE knob, and create your own patches using them. Or you can simply load the patches I have created using Sledge SoundMapper ....

(C) LOADING THE PATCHES INTO THE SLEDGE

Note:
You donít have to perform this step at all. All it does is load presets that reference the samples so that you donít have to map them yourself.

1) Plug your Sledge into the Computer via USB and turn it on. Do this from scratch - don't leave it plugged in after transmitting the samples.

2) Launch the Sledge SoundMapper application and select the Sledge for MIDI INPUT PORT and MIDI OUTPUT PORT. If you forget to do this with the initial popups or you do it incorrectly, use the menu in the application to select MIDI > INPUT or MIDI > OUTPUT, and set accordingly to the Sledge.

3) Load the .SYX file (Analoguesque_Sledge_Sample_Pack1-Patches-800-865.syx or Analoguesque_Sledge_Sample_Pack2-Patches-800-842.syx) from the "Bank [x]" folder, by clicking the FILE > LOAD menu option.

4) In the left-hand pane (LIBRARY LOAD), highlight all the Patches (800 thru 865, or 800 thru 842) and click on the COPY button to copy them to the right hand pane (LIBRARY SAVE / SLEDGE SEND-RCV).

5) Highlight them in the right-hand pane and transmit them to the Sledge using the SEND button. You should see the SOUND NUMBER field incrementing from 800 up to 865 (or 842 for bank 2), at which point the transmission will end.

6) Exit the SoundMapper application and recycle the power on the Sledge.

7) Assuming there are no issues and that you transmitted without changing anything, the new samples will be referenced in patches 800-865 if you loaded Bank 1, or 800-842 if you loaded Bank 2.


DID IT NOT WORK FOR YOU?

Many people experience problems working with samples on the Sledge. Unfortunately the causes of these are a real crapshoot. Everything from Java issues to incompatibilities, other MIDI equipment interfering with transmission to the Sledge, problems on a Mac Ö etc.

If, after transmitting the samples to the Sledge, you do not see the message SAMPLE DATA OK! PLEASE RESET on the Sledge LCD, there is no point in going further.You need to figure out what is preventing the transmission. There have been issues reported on the Mac, the version of Spectre (you should be using v 2.5.1 if you have v 2.5 of the Sledge OS) Ö etc.


BACKGROUND TO THE SAMPLES
The samples were extracted from banks created for E-Mu samplers (EIV, Emulator X, and SoundFont-compatible soundcards). Unfortunately the sample extract program did not pull all samples so this is a very small collection of what was in the original banks, which in total had more than 1,000 patches and 500 drum sounds. There may be some sounds duplicated between banks 1 and 2, and some samples sound quite similar. This is unfortunate for the Sledge but on the E-Mu Esynth these samples are quite different when moving the loop points around, which is not possible on the Sledge.

The banks were originally designed to provide samplers, and specifically E-Mu samplers, with FM sounds and various analog-style waveforms. The waveforms were generated using custom software based around 4-op FM synthesis, with multiple custom algorithms for modifying waveforms, and a resonant filter. In order to generate sounds that would loop and spread across the keyboard well, the software was designed to fade to simple waveforms at a fixed amplitude with no shifting or FX. Additionally, it could auto-generate the waveforms at pitches A1, A2, A3, A4, and A5. This made it very easy to generate samples that could loop perfectly and spread across the keyboard as multisamples from pitch A1 through A5. Many of the samples have FM attack transients, so they are distinctively FM. However the E-Mu samplers could play back samples starting at any point in the waveform, so you could get many different sounds out of a single sample by shifting the playback start point. You could even remove the attack of the original sample altogether by shifting the start point past the complex attack. Additionally, the loop start can be shifted on the E-Mu samplers, so you were not tied to the original loop point. Since these waveforms faded from complex to simple sounds (close to a sine wave), and they were designed to loop easily, you could vary the complexity simply by adjusting where the loop point started. ie. With a simple sound that fades from a Saw to a Sine, you could move the loop start point into the Saw range or the Sine range of the waveform (or inbetween), giving you one or the other. This stretches the usefulness of a waveform beyond expectation and turns a single sample into a multitude of patches that sound completely different. It's similar to the "Variation" buttons on modern synths like the Roland System 8, which provide variations of the original waveform just by turning a knob. The below (somewhat humorous now) descriptions were taken from my original Analoguesque.com website that had these samples for sale.


EX Traanz (EXB).exb - Traanz
Designed by Analoguesque Sound Designs (Ian Wilson)
Copyright (c) 2004 Ian Wilson

Description
Emulator X Original
This bank has 128 presets of digital and analog emulations. It carries Analoguesque's tradition of emulating other synths using samplers, so you'll get the usual complement of phatt digital and analog sounds, with many geared towards trance enthusiasts. Not only trance musicians will use this bank - There's a host of sounds in here that can be used just about anywhere, especially given the 14 extra controllers available to tweak them live. If you're looking for some heavy bass and lead sounds, this is packed with them. It has pads thrown in because they are essential for trance, but the emphasis is definitely on bass and lead sounds.

EX Analog Dreams (E4B).exb - Analog Dreams
Designed by Analoguesque Sound Designs (Ian Wilson)
Copyright (c) 2001 Ian Wilson

Description
Converted from EOS
This bank has 66 presets of phatt analog and digital sounds to sink your teeth into. Seering leads, thumping basses, mega sweeps, floating pads, and much, much more. All presets are designed on an Esynth keyboard and have been tweaked for Emulator X, so they take full advantage of assignable controllers while digging deep into Emulator X's superior processing power and filters. The waveforms in these banks are generated using our proprietary in-house software so the sounds created are very unique, and retain a familiar analog feel to them. What's more, they are all in pristine 16-bit, 44.1Khz quality, and digital generation leaves them clear of any distortions due to noise or other sampling anomalies.

EX Vintage Vortex (E4B).exb - Vintage Vortex
Designed by Analoguesque Sound Designs (Ian Wilson)
Copyright (c) 2001 Ian Wilson

Description
Converted from EOS
Another 66 presets - The second installment of vintage emulations is an extension of the Analog Dreams genre, and here you will find even more impressive analog and digital presets - a perfect complement to Analog Dreams. There is not much more to be said about these sounds other than what has already been described for Analog Dreams. You get more of the same phatt, pulsating sounds!

EX Vintage Plastique (E4B).exb - Vintage Plastique
Designed by Analoguesque Sound Designs (Ian Wilson)
Copyright (c) 2001 Ian Wilson

Description
Converted from EOS
This adds another dimension to the emulations with another 66 amazing vintage presets. This pumped the EOS operating system to the max, but has been tweaked even further to push Emulator X to its limits! This is just more phatt analog and digital textures to play with!

EX Vintage Synth 2001 (SF2).exb - Vintage Synth 2001
Designed by Analoguesque Sound Designs (Ian Wilson)
Copyright (c) 2001 Ian Wilson

Description
Converted from SoundFont
If you're into Dark Wave, Trance, Techno, Dance, Electronica, Synthpop, and other electronic music, Vintage Synth 2001 is a necessity for your collection! Growling, thumping, and pulsating basses. Screaming leads. Soaring pads. Gritty synths. They're all in here. If the words sweep, grunge, dirty, gritty, screaming, resonating, pounding, and stomping mean anything to you, then this is something you must have! The emphasis is on samples generated using proprietary, in-house software synths, and building instruments from small pieces into a huge crescendo of sound. You're looking at some very unique and highly evolving textures. In total, Vintage Synth 2001 has 128, phatt, mind-bending patches to sink your teeth into - A huge sonic palette to immerse yourself in!

EX Digital Bliss (SF2).exb - Digital Bliss
Designed by Analoguesque Sound Designs (Ian Wilson)
Copyright (c) 2001 Ian Wilson

Description
Converted from SoundFont
Digital Bliss follows in the very ample footsteps of Vintage Synth 2001, but this time with an emphasis on vintage digital and hybrid synths rather than just analog. However, this is not to say that all the sounds are digital. It contains a full complement of 128 patches, concentrating on digital pads, leads, basses, and FX, but still with some analog patches thrown in for good measure because you can't get enough of those! Don't mistake digital to mean thin. This bank has enough low-end ballz to knock an elephant on its back! There is extreme playability, which brings a live feel to your music and allows playback just like old analog synths. There is no description for these sounds!

EX Cheezoids (SF2).exb - Cheezoids
Designed by Analoguesque Sound Designs (Ian Wilson)
Copyright (c) 2001 Ian Wilson

Description
Converted from SoundFont
This is the ultimate Digital emulation SoundFontģ Bank, and follows a path from 1981 to 1984, when analog was dying and the dawn of cheap digital had arrived. Did you miss out on the pioneering years of synth music?  Did you miss out on Hi-NRG, Eurobeat, or Italo Disco? Do you remember Trans-X, Tapps, The Flirts, People Like Us, Lime, or Fancy? Do you remember Speak and Spell from Depeche Mode, Yazoo (Yaz), Blancmange, OMD, and Dare from The Human League? Well this is your chance to get to grips with the type of sounds they were using during those pioneering synth years. A solid 128 patches of the coolest retro digital sounds around, and all with the usual Analoguesque quality. This bank is predominantly Pads and Leads, but still with enough rocking bass thrown in to keep it mixed.