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Wave sequence
This is the third major entity in the WS, and is effectively a list of waveforms, plus a few other parameters. At patch level, instead of choosing a waveform you may choose a wave sequence, which acts like a constantly changing complex waveform, as the steps in the wave sequence are stepped though, each wave is played in turn.
So if I make a wave sequence of three steps, using like this:
Sawtooth wave
Square wave
Sine wave
The resulting sound will first play a sawtooth wave, then a square wave, then the sin wave, one after another. You can tell the WS to loop around various waveforms to form constantly changing sounds (the WS speciality).
http://music4moment.com/Stan/music/ws-answers.html#waveseq2
There are mod source, mod amount and start step parameters. If you for example set the mod wheel as the mod source, and a corresponding positive amount (the exact amount will depend upon the amount of steps in the wave sequence), then moving the mod wheel will sweep the oscillator though the wave list in real time.
Selecting velocity as the mod source will result in higher velocities starting further up the wave table. You can use this to give some very nice velocity dependant sounds.
http://music4moment.com/Stan/music/ws-answers.html#waveseq2
-wavesequencing: the synth is capable of rapidly playing a series of waveforms for which you can set the order, pitch, tempo, etc as if you were entering in notes for your computer's sequencer to play. When you hold down a key on your controller, the wavestation plays the entire sequence as you programmed it. This is the WS's claim to fame.
Wavesequencing is one of the two techniques that separate the
Wavestation by most other synths (the other is vector synthesis, and
OK, I know, the VS had it, the SY-22 had it, and now the SY-35).
Wavesequencing really is about playing back a series of samples and
using this series as an oscillator wave. So, you can do drum loops with
wavesequencing pretty easily, and the good bit is that the playback
speed is constant as you transpose.
The more creative uses of wavesequencing involve crossfading between
samples so that you're served a seamless, evolving wave that can sound
great and that you can use to greatly impress people with. In the
Wavestation, wavesequencing is used to create all sorts of sounds, even
resonant sweeps (which aren't as good as a real resonant sweep but it's
all you can use for resonance if you have a WS. Damn Korg). You can do
simple stuff, like using an attack transient and another wave as the
body of the sound, or smoothly sweep through tens (or even a coupla
hundreds) of waveforms. You won't believe how many films sport a
Wavestation sound (in fact, unchanged factory patches and in the case
of the WS, these REALLY can be spotted very easily, not a mile but a
parsec away and it seems pretty silly if you have one). You can also
have loops in the wavesequence.
In a nutshell, it's a good synthesis technique, not that hard to
implement, and used to great effect on the WS. The Ensoniq TS-10/12
uses the same technique only it can have very few samples in each
wavesequence and its sample bank is not tuned for wavesequencing the
way the Wavestation's is.
http://machines.hyperreal.org/manuf...s.Microwave.txt

Normaal gebruik je een joystickje, maar Wave Sequencing kan je dit automatiseren in een patch.
Origineel geplaatst door Slipperman
transwave is gewoon afgeleiding van wavetable. gewoon 3 golfvormen die je kan layeren en op iedere golfvorm envelopes, effect, LFO, controllers etc.

Transwaves are essentially wavetables made up of multiple short samples (or Frames; the terminology derives from celluloid film, where 24 snapshot frames per second make up the semblance of a moving image). The frames may be sonically related to each other or completely unrelated, and although the order of frames in a Fizmo wavetable is fixed, the user can introduce further sonic variety by changing the start point of a transwave, or modulating it. Each Transwave constitutes a Fizmo 'oscillator', and as with the output from oscillators in analogue or other sample-based synths, the Transwaves may be processed by a collection of traditional synth parameters (envelopes, filters, effects, and so on). The arrangement of two oscillators and their attendant synth parameters is called a Sound. The sonic upshot of this architecture is a synth with more timbral depth, movement and variety than the average sample-based instrument. Though the transwaves are composed of samples, the way the technology is used means that the Fizmo almost never betrays its sampled provenance through dead loops or obvious multisample crossover points.