Peavey DPM V3 Owner's Manual page 78

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300 available programs, you have the space!). These can be "generic" wind, plucked,
percussion, and string patches which can serve as a point of departure for related
EX,
programs. Example: The generic wind patch can provide a good foundation for
creating sax, clarinet, trumpet, oboe, and similar sounds.
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Here are some techniques you might want to try to spice up your patches.
Pressure-controlled pitch This is just the thing for guitar patches when you want to
press on the keys and get pitch bending. Also, use this with acoustic bass patches to
give more of a "fretless" feel.
Envelope-controlled pitch effects Adding a slight amount of upward pitch bend to
wind instrument and vocal patches, can increase the realism of the sound.
Using velocity with amplitude and filtering It is often not sufficient to use just
velocity to vary the dynamics of a signal. Although this varies the level, with "real-
world" instruments timbre usually changes in response to dynamics as well. Having
higher velocity values raise the filter cutoff slightly can create a much more realistic
effect.
Other pressure tricks Pressure is excellent for crossfading between two different
sounds, such as a straight guitar sound and a "feedback" guitar sound an octave
higher. Assign the same sound to both oscillators; on DCA1, use pressure as a
modulator with amount equal to -99 and level equal to 99. On DCA2, again use
pressure as a modulator; but this time, set the amount equal to +99 and level equal
to 0. Increasing pressure will fade out DCA1 and fade in DCA2.
Another common application for pressure is to add vibrato or tremolo after a note is
held down.
The advantages of dual LFOs When creating orchestral string patches, remember
that in a real orchestra each player's vibrato will be at a slightly different rate.
Therefore, modulate one oscillator with LFO1 set to a particular frequency, and
modulate the other oscillator with LFO2 set to a slightly different frequency. This helps
create a more randomized effect.
Volume balancing As you develop a set of patches, you'll probably want them to
have similar overall volume levels. Usually the easiest way to adjust this is with the
signal processor L parameters. However, when switching output modes, remember
that with individual outputs Effect 2 is inactive; this may affect the overall volume.
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