

829
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This is a modern jazz number featuring sax and trumpet solos,
and "live" drums performed on an octopad by Tim Pleasant.
I was surprised by the very wide range of velocities produced by
the octopad.

CLOUD
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This "new age" sounding song makes use of my favorite drum sound,
the Sturdo.

DALWEIR
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More Sturdo drumming. The unusual instrumentation this tune what
it is, and also hard to classify. I've tried re-arranging with
more traditional instrumentation, without success.

DIGGER
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A bouncy R&B (I guess) in 6/4 time. I used the Sturdo here, too,
to substitute for the bass drum.

FOOTNOTE
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This is a work for symphony orchestra in F# minor.

OLDWINE
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This is a work for symphony orchestra in C major.

TWINKLE
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Here I tried to fit together as many arpeggios as I could, and
managed to exceed the polyphony of the SCC-1, even though there
are not a lot of tracks, just a lot of notes.

Notes:
I have some general observations about the sound canvas card
(SCC-1). I'm not doing anything out of the ordinary with sysex or
other alterations to the GM/GS voices, other than a little reverb
(CTL 91, value 80) and chorus (CTL 93, value 20). I tend to use
these settings on everything. Probably some voices would sound
better with more or less reverb and chorus.

I've found that velocity of an individual voice effects the sound
quality, some voices more than others. For example, the piano
voices sound kind of dead at the velocities lower than 90 or so.
Brass patches are also sensitive to velocity in this way, too
loud or too soft, they tend to lose realism. I also spend a lot
of time balancing velocities across voices.

I've found the note range suggestions for each voice that appears
in the SCC-1 manual helpful in maintaining realism. Going
drastically outside these ranges can produce some original
sounds, as well.
