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 don’t 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 don’t have to perform this step at all. All it does is load
presets that reference the samples so that you don’t 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 … 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) … 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 SoundFont®
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.