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Pro Effects Disks File Listing
Pro Effects Disks File Listing
Files 1 through 20 are available on the EPS-16 Pro Effects Disk; all
38 files are available on the ASR-10/88 version. (Files 21 through 38 use effects algorithms
that are only available on the ASR.)
1. DECIMATOR (Effect Algorithm: PHASER+REVRB)
2. METAL CHORUS (Effect Algorithm: CHORUS+REVRB)
3. TRIPHOP DRUM (Effect Algorithm: CHOR+REV+DDL)
4. SECTION WASH (Effect Algorithm: CHORUS+REVRB)
5. FUNKY WAH PD (Effect Algorithm: DIST+CHO+REV)
6. UNIVR LESLIE (Effect Algorithm: ROT.SPKR+REV)
7. VERSATILE 3 (Effect Algorithm: CHOR+REV+DDL)
8. PAD FATNESS (Effect Algorithm: CHORUS+REVRB)
9. DIST-WAH PED (Effect Algorithm: DIST+CHO+REV)
10. MU-TRON PHAZ (Effect Algorithm: PHASER+REVRB)
11. WHEEL WAH (Effect Algorithm: DIST+CHO+REV)
12. BASS COLOR (Effect Algorithm: WAH+DIST+REV)
13. TREMOLO FLNG (Effect Algorithm: FLANGER+REVRB)
14. DRUM EFX (Effect Algorithm: CHOR+REV+DDL)
15. FLANGE WHEEL (Effect Algorithm: FLANGER+REVRB)
16. FAT-N-FLANGY (Effect Algorithm: PARALLEL EFX)
17. REGGAE DUB (Effect Algorithm: CHOR+REV+DDL)
18. WASH-N-ROLL (Effect Algorithm: CHORUS+REVRB)
19. IN-YOUR-FACE (Effect Algorithm: CMP+DIST+REV)
20. VELOCITYEDGE (Effect Algorithm: DIST+CHO+REV)
22. TELEPHONE (Effect Algorithm: PARAM EQ)
23. CHATTERPHZ (Effect Algorithm: PHASER+DDL)
24. BLUES GUITAR (Effect Algorithm: CMP+DIST+REV)
25. FLOYD TRMDL (Effect Algorithm: EQ+TREM+DDL)
26. SYNTHOBESITY (Effect Algorithm: PITCH SHIFT)
27. LOONEY PITCH (Effect Algorithm: PITCH+DDL)
28. WHEEL PEAKS (Effect Algorithm: PARAM EQ)
29. METAL MORPH (Effect Algorithm: 44DDL+CH+REV)
30. MINOR-MAJOR (Effect Algorithm: PITCH SHIFT)
31. WIDE LOAD (Effect Algorithm: EQ+CHOR+DDL)
32. JIMI WAH (Effect Algorithm: WAH+DIST+REV)
33. SPLASHER (Effect Algorithm: EQ+DELAY LFO)
34. TEK FITER (Effect Algorithm: PHASER+DDL)
35. COMPRESS (Effect Algorithm: EQ+COMPRESSOR)
36. RESONANT-WHL (Effect Algorithm: VCF+DISTORT)
37. RAZOR-REZO (Effect Algorithm: VCF+DISTORT)
38. OCTAVE FAT (Effect Algorithm: PITCH+DDL)
If you want to get a lo-fi sound from your samples - a popular technique in hip-hop, techno, and industrial tracks - DECIMATOR offers a nice way to get there. It also gives an interesting Mellotron flavor to a sample - try using a string or choir sound for this.
This is a great metallic chorus effect, ideal for techno sounds. It was inspired by the filter matrix setting on the old Electroharmonix "Electric Mistress" flange pedal.
TRIPHOP DRUM gives a distinct metallic flavor to a drum track.
Great for giving evocative tracks lots of spatial depth, this effect works great on synth pads or string beds.
This is an effect that you can really have some fun with - it turns your CV pedal into a wah-wah pedal. (If you don't have a CV pedal, you can easily convert this effect
to use the mod wheel instead. This patch works great on bass, clav, synth, and many other types of sounds - even drum sounds if you want to really get crazy. Herbie Hancock used a similar effect on a Rhodes piano, and got wonderful results.
Universal Leslie is a rotary speaker effect that works on just about anything - from guitars to vocals to drums. Try it out on vocal pads - it really livens up the sound!
This effect is simply a versatile selection of three discrete effects - which allows for easily programming a number of quite different patch selects. Routing a bass sound, for instance, to Bus 1 gives a chorused patch with no reverb. Bus 2 provides a nice, natural reverb, and Bus 3 gives a stereo ping-pong delay, where the CV pedal increases the delay feedback.
For making pad sounds big, wide, and silky smooth, this is the type of effect that works great. Try this out with strings, choirs, and synth pads.
Like Effect 5 (FUNKY WAH PD), this one turns the CV pedal into a wah-wah controller. This patch is set up for guitar samples; a bit of distortion gives it a nice edge.
This effect produces a rough simulation of the old Mu-Tron Phaser pedal. MU-TRON PHAZ works great for recreating the phase-shifted guitar and keyboard sounds popular in the late 60's and early 70's - even some vocals were sometimes effected this way during that period.
The mod wheel here controls a clean wah-wah effect that works great on guitar and synth patches.
Take a bass sound and run it through this effect, and it will be colored in a very interesting way. This effect compresses and filters the sound, and is set up for one-note bass lines.
This effect was set up not so much as a flanger, but more as a tremolo effect with reverb. The effect sounds like an LFO is applied to the volume and the filtering of the sound.
This is an effect designed to fatten up drums, and give a feel of room ambience to the sound. It gives the drum track a nice ambience while keeping it from getting too cluttered.
A slow shallow flanging with heavy reverb makes for a nice ethereal wash. But spin the mod wheel up, and the flanger kicks into heavy feedback. A cool effect for spacey moments.
This effect offers a very slight flanging along with reverb to really fatten up synth and bass sounds. Routing instruments through Bus 2 applies a stereo ping-pong delay with a bit of reverb.
This program creates what can be used as a "dub" effect popular in reggae music. The dub effect is basically a digital delay set on infinite repeat, with repeats timed to the beat of the music, and - most importantly - controlled in real time, so that the effect is brought in and out at will.
For adding a nice bit of "widening" to a string bed, electric piano patch, or other ballad-type sound, this effect will give it a "wash" of reverb, and a gently "rolling" chorus.
Intended for hard-hitting drum tracks, this effect program was designed to really put the drums in your face, in two different ways. Routing through Bus 1 provides a
compression program that effectively brings everything up to a maximum consistent level, as well as adds a bit of flanging for more beefiness. This is a good program
for dance tracks, as it will take a drum track with inconsistent hits (say, for instance, that the snare hits on the backbeats are at different levels throughout the song) and
max them all out. The Bus 2 routing provides a second in-your-face effect, by using a stereo reverb program with a reverb time of zero. The result is a very wide
sound, without any noticeable reverb.
A really cool effect for use on analog synth samples as well as many other types of sounds, this
program adds some distortion, chorusing, and reverb to really add an edge to a solo or a bass
line. But the thing that really gets this one cooking is the resonant filter sound that is
controlled by key velocity. Play a repeating staccato note, softly at first then gradually
louder, and listen to how the resonant filter changes. This works very nicely on instruments
that are not velocity sensitive. Take a fat Moog patch that doesn't respond to velocity, for
instance, and copy this effect onto it. Now, changing how hard you strike a key changes the
filtering.
This program simulates an analog synth's sample-and-hold effect.
TELEPHONE is a parametric equalizer patch that duplicates the infamous "telephone" filtered sound, such as the nasally spoken voice in the Beatles' song "Uncle Albert". (We're so sorry, Uncle Albert, but we haven't done a bloody thing all day...) Most of the "guts" of the audio spectrum have been removed, leaving a hollow, tinny sound. (Telephones do seem to work better these days, but this overemphasized EQ setting still works well in productions.) This effect not only works for vocal lines, but is effective for drum loops in hip-hop tracks (try it for breaks in a tune), or even for entire mixes during a portion of a song.
The CHATTER BOX effect in the Ensoniq MR-61 keyboard was the inspiration for this effect; it's a heavy phase shifter that has a quality almost like a human voice. Pop it on a clavinet or a guitar sound for a really interesting sonic recipe.
The proverbial amp-in-a-room blues guitar sound was the goal of this effect, which uses one of the tube amp variations.
With this effect, you get a Pink Floyd style of delay with a tremolo effect happening, too. Not only that, the echoes are synced with the tremolo, in triplets. The tremolo parameters are set to evoke a Duane Eddy type of sound. Finally, the EQ parameters were set to beef up most electric guitar samples.
The classic way to fatten up a synth sound is to add in a second oscillator to the sound, and detune it slightly from the first oscillator. Another fattening method is to add in an oscillator tuned a fifth higher. Both these techniques are applied in SYNTHOBESITY; the result is a downright obese sound. This effect will work wonders on synth bass and lead synth patches.
This effect is a really wacky pitch shifter that raises the pitch of the input in steps. The pitch shifter raises the pitch of what is sent through the digital delay. This signal is then fed back into the delay, and the output is then raised another notch, and then another, etc. Each delay is in stereo, and as the pitch bumps up, it also bounces from side to side in the stereo field. Copy this effect onto a tuned percussion sound like a marimba or xylophone, and you'll sound like you're laying down the music and effects for a Bugs Bunny cartoon!
This effect was inspired by one of the effect algorithms on the Kurzweil K2000: the twin-peaked filter. In this ASR effect, the mod wheel controls where the two EQ "bumps," or peaks, are. Try this effect out on some synth pads, especially really breathy ones. It really sounds cool to fade a chord in (or out) by moving the mod wheel.
Here is another version of a great metallic chorus effect, this one based on a new algorithm that is not in the ASR's ROM effects. The overall "color" of this effect is controlled by the mod wheel.
Based on the ASR's Pitch Shift algorithm, this effect is set up to take the input signal and play it back as a minor chord. The mod wheel is used as a modulator of the pitch of this second output; by rolling the wheel forward, the pitch shift changes from 3 semitones (an interval of a minor third) to 4 semitones (a major third).
WIDE LOAD is a nice effect to use on pad and lead synth sounds to really beef them up, and it is also very interesting on drums and voice samples.
Jimi Hendrix inspired this effect patch, which uses the CV pedal as a distorted wah-wah effect to get that Voodoo Chili type of sound. (If you don't have a CV pedal, you can switch to use the mod wheel to work the effect.) Try this one out with guitar or clavinet-type samples; rappers may like using on bass sounds. 'Scuse me while I kiss the sky!
Designed especially for drums and sounds of a percussive nature, Splasher makes a sample sound as if it were thrown into the water.
A very techno-oriented sample-and-hold effect can be applied to any sound using this effect. Even a bland straight-eight drum beat really takes on a new life with Tek Fiter.
This one is a straight full-on compressor that will give bass guitar sounds a nice round compressed tone. It also works well for vocals, and for adding an interesting effect to a drum track. COMPRESS effectively removes the dynamics from a track, so when applied to a drum track, for instance, every hit will be at a maximum level, adding a great energy to a dance mix.
In this effects patch, the mod wheel turns into the Filter Cutoff knob of an analog synth, controlling a resonant filter. Patch a straight synth brass sample or a fat and buzzy synth bass through this one, and then wail on the wheel. Here's the controllable resonant filter you always wish the ASR had!
This effect adds a razor-sharp resonance to a sample, with a bit of envelope following for control of the filter, and a slight distortion for more of an edge. Key pressure controls both a high-pass filter and the cutoff frequency of the resonant filter, so you can control the sound in an interesting way by pressing harder on the keys.
Similar to the old Octave Doubler stomp boxes, this effect doubles the sound an octave below the original pitch. The sub octave is panned to each side with a slight delay for some spatial ambience.