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Update documentation with new sound slot and link examples

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Victor Giers
2026-07-14 00:27:52 +02:00
parent 559fac2a8f
commit 69a4edd1e3
2 changed files with 7 additions and 3 deletions
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7
docs/research/ep133-musician-audit/IMAGINARY_PROJECT_NEON_LAUNDROMAT.md
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@@ -63,6 +63,7 @@ This is intentionally *not* part of the archived sonic oracle. The official 1.1.
| 601–608 | spoken vocal and laundromat field recordings | one source phrase reused as several trims | | 601–608 | spoken vocal and laundromat field recordings | one source phrase reused as several trims |
| 620 | internal stereo resample | punch-in/filter performance and live Delay X/Y movement baked into audio | | 620 | internal stereo resample | punch-in/filter performance and live Delay X/Y movement baked into audio |
| 621 | resampled external polysynth | external MIDI result made self-contained as audio | | 621 | resampled external polysynth | external MIDI result made self-contained as audio |
| 699 | imported zero-PCM utility sample | lets C12 sequence external MIDI without adding local audio |
Chopping is non-destructive in this project: several pads point to one source slot with different trim regions. Slot 620 and 621 are different: they are newly rendered samples whose creation history is no longer editable. Chopping is non-destructive in this project: several pads point to one source slot with different trim regions. Slot 620 and 621 are different: they are newly rendered samples whose creation history is no longer editable.
@@ -81,7 +82,7 @@ Chopping is non-destructive in this project: several pads point to one source sl
| A9 | 335 `conga_low.wav` | Low percussion; ONE; AMP `85`; pitch `-5`. | | A9 | 335 `conga_low.wav` | Low percussion; ONE; AMP `85`; pitch `-5`. |
| A10 | 370 `garage_break_2bar.wav` | Two-bar mono break; BPM mode from source `89.6 BPM`; AMP `48`; retriggered before the tail finishes in one fill. | | A10 | 370 `garage_break_2bar.wav` | Two-bar mono break; BPM mode from source `89.6 BPM`; AMP `48`; retriggered before the tail finishes in one fill. |
| A11 | 236 `crash_dirty.wav` | Crash; ONE; AMP `70`; long tail. | | A11 | 236 `crash_dirty.wav` | Crash; ONE; AMP `70`; long tail. |
| A12 | sound `000` | Silent sequenced pad used only as an additional sidechain note source. | | A12 | **same slot 041** | Silent sidechain trigger; ONE; AMP `0`; sequenced notes still drive the note-triggered sidechain. |
Audible requirements: Audible requirements:
@@ -100,7 +101,7 @@ Audible requirements:
| B4 | 420 `reese_loop_90.wav` | Reese phrase; BPM stretch from `90 BPM`; AMP `78`. | | B4 | 420 `reese_loop_90.wav` | Reese phrase; BPM stretch from `90 BPM`; AMP `78`. |
| B5 | 421 `bass_fret.wav` | Fret/noise accent; ONE; AMP `55`; pan R18. | | B5 | 421 `bass_fret.wav` | Fret/noise accent; ONE; AMP `55`; pan R18. |
| B6 | 422 `bass_fall.wav` | Reversed bass fall; REV; AMP `80`. | | B6 | 422 `bass_fall.wav` | Reversed bass fall; REV; AMP `80`. |
| B7 | 309 `shaker_soft_22050.wav` | Reuses A8's global slot, but trims one low transient, pitches it `-18` and treats it as bass percussion. | | B7 | 309 `shaker_soft_22050.wav` | Reuses A8's global slot, but trims one low transient, pitches it `-12` and treats it as bass percussion. |
| B8 | 430 `sub_drop.wav` | One-bar drop; BAR `1`; AMP `75`. | | B8 | 430 `sub_drop.wav` | One-bar drop; BAR `1`; AMP `75`. |
| B9 | 412 `moog_D2_long.wav` | Soft-attack double of B1; KEY; AMP `128`; slower attack and shorter release. | | B9 | 412 `moog_D2_long.wav` | Soft-attack double of B1; KEY; AMP `128`; slower attack and shorter release. |
@@ -121,7 +122,7 @@ B1 contains the LEG test: a D2 note remains held when an A2 note begins, so the
| C9 | 570 `rhodes_phrase.wav` | First live-chopped slice; trim 0–0.48 s; pan L30. | | C9 | 570 `rhodes_phrase.wav` | First live-chopped slice; trim 0–0.48 s; pan L30. |
| C10 | **same slot 570** | Second slice; trim 0.48–1.02 s; AMP `76`; centered. | | C10 | **same slot 570** | Second slice; trim 0.48–1.02 s; AMP `76`; centered. |
| C11 | **same slot 570** | Third slice; trim 1.02–1.63 s; AMP `69`; pitch `+5`; pan R30. | | C11 | **same slot 570** | Third slice; trim 1.02–1.63 s; AMP `69`; pitch `+5`; pan R30. |
| C12 | sound `000`, MIDI channel 3 | External-synth sketch pad, root D3. Pattern C90 drives a polysynth but is not used in the song list. | | C12 | 699 `midi_silence.wav`, MIDI channel 3 | Zero-PCM external-synth pad, AMP `0`, root D3. Pattern C90 drives a polysynth but is not used in the song list. |
C1 contains a single-pad polyphony test: notes D, F, A and C overlap. C2 exercises the known negative fractional-pitch edge case. C9–C11 require separate playable instances of one WAV. C1 contains a single-pad polyphony test: notes D, F, A and C overlap. C2 exercises the known negative fractional-pitch edge case. C9–C11 require separate playable instances of one WAV.

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docs/research/ep133-musician-audit/README.md
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@@ -59,4 +59,7 @@ The imaginary project is not a claim that a particular TAR already exists. It is
- [Music Room Academy: from an empty project to a finished track](https://musicroom.academy/blog-from-empty-project-to-finished-track-step-by-step/) — useful for role-based groups, motif development, energy-shaped scenes and song form. - [Music Room Academy: from an empty project to a finished track](https://musicroom.academy/blog-from-empty-project-to-finished-track-step-by-step/) — useful for role-based groups, motif development, energy-shaped scenes and song form.
- [Rochefsky EP-133 tutorials](https://www.rochefsky.com/learnings/TeenageEngineering-EP-133) — useful for the practical load-sounds → record-patterns → commit-scenes → perform-with-effects workflow. - [Rochefsky EP-133 tutorials](https://www.rochefsky.com/learnings/TeenageEngineering-EP-133) — useful for the practical load-sounds → record-patterns → commit-scenes → perform-with-effects workflow.
- [Nick Hook: workflow walkthrough](https://www.youtube.com/watch?v=TediZP7N3G4) and [beat from scratch](https://www.youtube.com/watch?v=l21WosCU4vc) — useful demonstrations of building a playable project around groups, patterns and fast variation.
- [Nick Hook: fader](https://www.youtube.com/watch?v=5RGpsUWsdTs) and [effects](https://www.youtube.com/watch?v=p-8ee1XIVsM) — useful for the performative role of recorded fader moves and temporary FX gestures. These early videos predate OS 2.x, so they are not used for current feature limits.
- [SON WU: OS 2.5 hands-on](https://www.youtube.com/watch?v=wS4KeyWSxfk) — a musician-facing view of later workflow additions; official release notes remain the authority for exact firmware behavior.
- [Sound On Sound EP-133 review](https://www.soundonsound.com/reviews/teenage-engineering-ep-133-ko-ii) — useful for the hands-on commit/performance perspective, but written before later firmware added resampling, sidechain and song mode; obsolete feature-limit claims are not used here. - [Sound On Sound EP-133 review](https://www.soundonsound.com/reviews/teenage-engineering-ep-133-ko-ii) — useful for the hands-on commit/performance perspective, but written before later firmware added resampling, sidechain and song mode; obsolete feature-limit claims are not used here.