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:
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). Paper Moon- for MC8
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. Jazz Guitar-for MC7
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. Handel's Largo
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. Celesta
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: Bagpipe
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