Ensoniq Corporation Transoniq Hacker Archive Issue #121 Th 121

Ensoniq Corporation Transoniq Hacker Archive Issue #121 th_121 Ensoniq Corporation - Transoniq Hacker Archive - Issue #121

User Manual: Ensoniq Corporation Transoniq Hacker Archive Issue #121 Ensoniq Corporation - Transoniq Hacker Archive - Issue #121

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The

independent

News

Magazine

for

Ensonlq

Users

Sample

This:

0.s.

3.08

I

'

CI

I!-T-II

5*-

i

__..-

Produet:

AER-10

0.8.

3.03.

For:

ASH-10.

Prioe:

Free

From:

Ensoniq

Authorized

Dealers.

It's

a

bit

of

a

rarified

atmosphere

over

St.

Louis

at

35.000

ft.

but

what

an

ap-

propriate

area

to

describe

sueh

an

ele-

vated

operating

system

for

the

ASR-10.

Yes,

folks.

it"s

finally

here.

The

ability

to

read

Roland

and

Akai

CD

samples

is

a

more

floppy

disk

away.

Although

it

seems

rather

like

some

inventive

(liab-

ler-type

programming

here,

it

was

ae-

tually

a

hereulean

effort

invoking

the

names

of

the

entire

eode

eranl-ting

war-

riors

of

Malvem.

After

mueh

griping

and

whining

about

how

the

Kursweil

would

read

all

of

these

other

formats

(like

eomparing

a

Young

Chang

“sam-

pler"

that

doesn't

even

offer

sampling

in

its

base

form

to

a

digital

audio

reoording

workstation

is

even

remotely

valid;

“Yeah.

right,

as

if"),

we

now

have

this

eommensurate

funetionality

for

the

‘i0.

I-Iere's

the

long

and

short

of

it...

'

Pot

F

irtrtigrrn

(A)

You

CAN

read

Akai

S1000!S100

samples.

You

oannot,

I

repeat,

CAN-

NOT

read

S3000-format

sample

files.

I

l-mow,

this

may

seen

to

be

a

serious

oversight,

given

the

availability

of

S3000

stuff,

but

hey,

let‘s

try

to

keep

the

OS

down

to

a

manageable

size

(this

ain't

a

PPC601

w,i4Mb

Rfillrls

yet!)

And

given

the

majority

of

the

Akai

library

is

primarily

in

S1000

forrnat

it

seems

the

logieal

ehoiee

to

support.

Again,

perhaps

this

may

be

oonsidered

an

oversight;

En-

soniq

obviously

felt

the

need

to

aeeess

the

broadest

base

of

Altai

samples.

Yeah.

you

upseale

boomer

types

will

eurl

your

nose

at

this

limitation:

we

real-world

types

only

pursue

perfection

without

regard

to

the

soeial

implantation

of

another

“leading

studio

sampler."

We

already

got

it.

(B)

You

ean

now

read

Roland

S-series

CD-Rfillrls.

This

more

than

makes

up

for

the

omission

of

the

Akai

S3000

format.

sinee

it

preeludes

any

further

nose-eurl-

ing

by

offering

aoeess

to

another

one

of

those

“leading

studio

samplers."

And

let's

faee the

reality

of

our

eraft

and

be

brutally

honest:

every

keyboard

manu-

faeturer

absolutely

does

one

thing

best:

you

ean't

get a

better

whip

eraek

than

an

Ml

provides:

you

ean‘t

get

more

ae-

eurate

steel

string

aeoustie

than

the

Roland

sound

library,

you

ean’t

get

the

shimmering

22K

wash

of

a

TXSl6

fmm

anyone

but

Yamaha.

And

you

ean‘t

get

a

better

eolleetive

representation

of

all

of

Articles:

TS-

10,-"

12

CD-RUM

Compatibility

Anthony

Ferraro

.....................................

4

Static

Free

Transwaye

Samples

—

Part

ll

John

Lsjfirtl:

.............................................

..

5

Waveform

Mutilation

-

Transwaves

Joel:

Stephen

Tolirr

...................................

..

9

Tips

and

Triel-.ts

for

Litre

Playing

and

Sequeneing

Steve

Vincent

.........................................

..

1 1

More

on

DPI4

Reverb

Parameters

Roy

Legnini

...........................................

..

13

Reviews:

Sample

This:

0.5.

3.08

Pet

Finnigan

.....................................

..

eover

Syntaur

-—

TS

Set

I

Robby

Berrnan

.........................................

..

T

Big

Fish

Audio

-

Ross

Garfield

CD

Pot

Finnigerr

...........................................

..l5

Sytttaur

-

Kiel-tin

Drums

Sample

Set

#3

Jeremy

Ryan

..........................................

..

19

Regular

Stuff:

Random

Notes

.........................................

.. 3

Hypersoniq

............................................

..

20

Classifieds

.............................................

..

Z0

Haekerpatehes

—

Jeffletron

SQr’KSl'I(T:

Lemongate.J'stton

21

The

In

terfaoe

..........................................

..

22

Transoniq-ltlet

........................................

..

26

Current

+0.5.

..........................................

30

Hacker

Booteeq

.....................................

..

31

“H

H

JULY

W95

l

ISSUE

NUMBER

l2l,

$2.50

.

l

these

forms

in

a

seamless

integration

without

an

ASR-10.

So

we

now

have

an

avenue

of

viable

access

to

the

escellent

Northstar

sotmd

libraries,

free

rein

over

the

Kemiy

Iaegcr

String

libraries:

in

one

fell

swoop,

the

ASR-l0

library

has

im-

mediately

quadrupled.

And

that

implies

access

to

tenabytes

of

wave

data.

that's

why

we

real-world

types

curl

our

noses.

(C)

All

of

this

ftmctionality

comes

with

a

price,

however:

given

the

ASR-10's

limitations,

you

can

only

import

sample

files

of

16

Mb

or

less.

This

precludes

the

32Mh

pianos

and

such,

but

with

careful

attention

to

detail,

many

waves

can

be

imported

into

layers,

uimmed,

and

our

old

friend

“copy

wave

params?”

comes

to

the

rescue

here.

Besides,

if

yotu

piano

sound

is

that

important,

you

should

be

pounding

a

Yamaha

C‘?

or

equivalent

anyway.

Works

for

Dave

Grusin,

anyway.

But

to

quote

Demtis

Miller;

"Then

again,

I

could

be

wrong.”

Yeah

right;

and

raptors

are

vegetarian.

Restricting

key

range

and

layers

when

importing

will

help

overcome

the

lfilvlb

wall,

but

there

comes

the

rare

sample

which

actually

er-tceeds

the

1st.-to

ASR

limit.

Ensoniq's

answer

in

the

table

of

hints

is

a

simple

"Sorry,"

which

ap-

pears

quite

humorous

upon

discovery.

Then

again,

it

makes

you

wonder

what

plans

Malvern

has

on

the

drawing

hoard

for

the

ASR-11,

'cause

I've

never

heard

Ensoniq

say

"Sorry"

in

print

without

hidhtg

something

up

its

collective

sleeve.

Don't

forget

their

change

of

slogan

to

"Leading

the

World

in

Sound

innovation“

—

they're

definitely

into

being

a

multimedia

company.

That

makes

you

realise

the

ASR-10

is

showing

its

age

(a

mere

year

and

a

coupla

months:

how

many

babies

do

you

know

this

powerful

that

have

gone

thru

this

number

of

revs?

Chill...)

The

Audio

Tracks

feattues

are

improved:

the

ability

to

delete

temporary

”Atrks”

is

a

real

blessing

to

recovering

lost

HI)

space.

Digital

lit)

baekupirestoreiverify

seems

improved

and

more

robust,

although

the

manual

notes

hmnid

conditions

still

may

cause

a

verify

error

although

the

tape

is

actually

good.

Maybe

SIPDIF

is

hygroscopic

or

something.

You

can't

“scrub”

audio

yet,

and

given

the

limits

of

SCSI

disk

technol-

ogy

and

available

RAM

buffers,

don't

count

on

seeing

it

in

an

ASR-l

1.

You'll

still

need

Digidesign,

er,

Avidd

for

that...

In

general,

this

version

of

0.5.

seems

much

more

robust

and

less

prone

to

crash

than

3.0.

I

can't

tell

if

it's

cleaner

code

or

what,

but

I

don't

cttperience

anywhere

near

the

“Error

12571-Reboot?"

numbers

I

got

in

the

previous

OS.

Somebody

did

something

here:

the

new

code

acts

as

if

all

segments

must

complete

their

run

before

any

other

interrupt

or

button

press

can

unload

them.

In

simple

terms,

“it

don't

crash

no

more!”

Period.

I'm

not

saying

you

can't

force

a

crash

by

feeding

it

250

BPM

64tlt's

on

all

tracks

in

lvlulti

mode

from

the

entemal

Sequencer

from

Hell;

you

have

to

intentionally

try

to

force

a

crash

in

three

or

four

ways

to

get

an

error

code

out

of

the

ASR-l0

now.

Very

cool

stuff,

this

spin

of

the

OS.

Elbviously

there's

new

magic

going

on

in

the

ho:-t

again,

and

the

changes

are

literally

transparent.

This

is

both

cool

and

not

cool:

cool

for

us

manic

button

pushers

who

appreciate

not

being

able

to

“outpace”

the

system

as

in

the

previous

0.5.

[remember

how

sluggish

some

commands

behavedlt),

and

not

cool

for

the

programmers

whose

laborious

cranking

of

code

is

reflected

in

the

seamless

simultaneous

operation

of

key-

boardtsequencer,-TIARIIJPI

not

recognised

for

the

redefini-

tion

of

a

new

product

but

the

enhancement

of

an

old

(year-old

baby?)

product.

Then

again,

the

successful

revolution

is

the

one

that

no

one

realises

has

taken

place

until

it's

over...

Specifically,

handling

of

import

samples

from

one

format

to

another

is

a

risky

business,

tenuous

at

best.

It's

not

as

easy

as

writing

a

translator,

coding

it

and

watching

it

work.

Load-

ingiunloading

foreigntnative

segments

dmdng

enecution

is

not

enactly

a

Sunday

drive

thru

the

park,

folks.

Ensoniq

doesn't

have

lvlclroliiorks

Codellimrior

utilities

to

convert

foreign

data

into

native

Ensoniqspeak.

They're

still

torquing

680)-£0

code

to

meet

and

supersede

the

incessant

demands

we

make

of

such

an

elegant

user

interface.

What

we

have

here

is

an

en-

tremely

bright

and

diligent

pro

granmring

team

which

not

only

cranks

effective

and

powerful

cnecutable

code

in

an

un-

believably

small

ROM

space,

but

maintahts

an

unbelievable

focus

of

vision

when

it

comes

to

identifying

which

direction

the

market

is

moving,

and

responding

intrnediateiy.

That's

why

we

curl

our

noses...

The

test

suite

consisted

of:

(A)

ASR-10

SN#12S32,

SCSI,

DEX,

lfillllh

installed

(4

41:8,

'.'0r.s

SIMM

RAM}

(B)

Quantum

T30

Lightning

{formats

to

T00}-db}

SCSI

HI]

in

Frye

case

{C}

Scagate

Barracuda

2.lGb

SCSI

I-ID

in

Diskovery

case

lffc:

audio

tracks)

(D)

Toshiba

‘ZX

CDRUM

drive

{E}

TrippLite

line

stabiliaertconditioner

‘Without

fail,

all

sounds

within

the

16

Mb

or

312?-1

block

limit

(how

we

used

to

slave

to

stuff

4096!),

0.5.

3.05

per-

formed

flawlessly.

1

did

sttunble

over

a

few

Roland

"tern."

filesflandmines

("read

me"

in

lvlacspeak)

that

woolen’:

load,

but

you're

warned

of

this

anomaly

in

the

addendum

tflilte,

as

if,

tent

files

were

valid

wavedata,

yeah,

right,

as

if},

so

'nuff

about

that.

Without

a

DAT

I

couldn't

verify

any

further

crashworthinessirobustness

of

the

DIU

from

the 1.5

or

3.0

O.S.

spec,

but

when

you've

quadrupled

your

sound

library,

you

might

wanna

think

about

a

DAT

for

hacking

up

those

hours

of

edits.

The

only

quirk

I

noticed

was

the

inability

to

change

tempo

of

a

song once

I

had

recorded

audio

tracks

to

the

Barracuda.

After

about

20

minutes

of

diddling,

it

dawned

on

me:

to

properly

sync

sequence

and

audio

track

playback,

tempo

has

to

be

locked.

If

it

wasn't,

how

could

“Attics”

chase

sequence

tempo?

Kudos

to

Ensoniq

for

anticipating

a

gnarly

problem

at

this

OS

inception

and

forward

thinking.

This

omission

could

have

turned

any

work

irt

progress

or

final

edit into

a

real

nightmare...

In

summary,

what

is

already

one

of

the

most

esoteric

samplers

out

there

(absolutely

the

most

esoteric

sampling

workstation

under

$3500)

has

turned

more

Synclavier

on

us.

Solid

audio

track

recording,

bulletproof

operation,

more

FX

processing

than

most

dedicated

PX

bones,

an

unparalleled

user

interface,

and

the

best

track

record

and

most

used

sampler

in

the

industry

set

the

ASR-ll)

another

doaen

light-

years

ahead

of

the

competition

with

the

O.S.

3.08

release.

To

quote

Thomas

Wolfe

from

The

Right

Stuff:

“Our

Gennans

are

better

than

their

Germans."

But

power

is

relative:

some

ASRers

routinely

push

the

envelope

to

the

entremc.

So

if

all

you

power-user

types

still

have

to

gripe

about

not

RND(Ln)

Ensoniq

News

Ensoniq

is

offering

a

special

bundle

for

purchasers

of

the

KT-"id

and

KT-SS.

Get

an

attractive

wood

keyboard

stand

and

the

MS-l

music

stand

for

only

$69

fa

$500

value)

when

purchasing

a

KT

between

Ivlay

l5

and

September

30,

1995.

For

more

infor-

mation

contact

your

local

Authorised

Ensoniq

Dealer

or

call

Ensoniq

at

(S00)

553-5151.

ASR

Sounds

SCH-1'.

Ensoniq's

first

Signature

Series

release

on

CD-ROM

features

the

band

Chicago.

This

collection

includes

their

trade-

mark

vocals

and

hom

section,

as

well

as

bass,

guitar,

organ,

drums,

and

percussion

loops.

SCI)-I

contains

over

600

MB

of

data,

and

aLso

includes

a

special

audio

demo

track

(playable

on

a

regular

CD

player)

featuring

Jason

Schcff.

SCD-I

retails

for

$249.95

and

will

start

shipping

late

in

I

uly.

SCD-2.

Rap,

hip-hop,

and

ll].

effects

from

I1].

Janey

Jeff

and

A

Touch

Of

Jana.

The

definitive

collection

from

one

of

the

originators

and

masters

of

the

form.

Retail

price

$249.95,

avail-

able

in

August.

SUD-3

—

Steve

Gadd

“ElrumScores."

Drum

sounds

and

perfor-

mances

from

this

legendary

artist

—~

no

hype

needed.

Retail

price

$249.95,

available

in

August.

lIlrumScores

is

also

avail-

able

as

a

2-disk

audio

CD

for

$1'i9

from

Q-Up

Arts

—

call

(S00)

454-4563,

or

fan

(S01)

944-9l5'l"l'.

ASIUTS

Sampled

Sounds

AS-J5:

“Tcch.no,tAmbient."

A

five-disk

set

of

sampled

sounds

being

able

to

import

S3000

samples:

{A}

Weigh

the

competition's

lack

of

onboard

rnatittiattthie

effects

processing

of

this

flenibility.

(B)

Record

Direct-to-Illisk

on

a

K2000

or

an

S3000

for

over

54

minutes

@

44.1K

and

call

me

back.

(C)

Repeat

(B)

stereo

and

call

me

back.

(D)

Plug

your

S3000

or

K2000

outs

to

your

sample

inputs,

process

PX,

and

make

[Ill

audio

tracks.

(E)

Get

it

fined

in

less

than

a

week

if

it

breaks.

(F)

Get

customer

support

from

an

enperienced

ASR-I0

hurnan

every

time

you

call

with

a

pilot

error.

(G)

Find

sorrtething

better

or

more

flenibletpowerful

at

10X

the

price

and

call

me

back.

(H)

Call

their

Germans.

(I)

Rent

an

S3000

and

sample

your

anal

retentive

derierre

off.

After

all,

we

ASR-types

are

too

busy

making

music

to

notice

anyway...

-I

for

the

ASR

and

TS

instruments

covering

synth

dance

sounds.

Suggested

list

price

—

$39.95.

AS-Id:

“Techno;'Trance."

More

sampled

sounds

for

the

ASR

and

TS

instruments,

covering

different

synth

dance

trends.

Sug-

gested

list

price

-—

$39.95.

TS

Sounds

TED-1006.

A

broad

collection

of

synth

sounds

for

the

TS-12

and

TS-10.

Suggested

list

price

-—

$19.95.

KT

Sounds

ETC-2.

Contents

160

diverse

ethnic

and

vintage

sounds,

modeled

after

the

TS

"World

Piece"

collection

(TED-l‘

005).

In-

cludes

20

Performance

Presets

and

a

demo.

Suggested

list

price

—

$99.95.

KT

C

-3.

160

sounds

for

church

and

gospel

music

performance,

programmed

by

Music

tit

Sound

Associates

{Clark

Salisbury

and

Erick

Hailstone).

includes

20

Performance

Presets

and

a

demo.

Suggested

list

price

—

$99.95.

Hacker

News

We'd

like

to

welcome

a

new

advertiser

[and

budding

entre-

preneur),

the

SS

Gray

Company.

Be

sure

to

check

out

their

inovative

keyboard

stands.

We

have

a

bit

of

a

warm

spot

for

keyboard

stands

—-

our

very

first

advertiser

in

our

very

first

issue

(ten

years

ago

this

month)

was

for

keyboard

stands.

Which

brings

us

to...

10

Years

ago

in

the

Hacker

—

Eight

whole

pages.

Featuring

Clark

Salisbury's

very

first

article:

A

First

Look

at

the

Mirage.

Erick

Hailstone

gave

us

a

MIDI

lesson,

there

were

a

couple

of

questions

and

answers,

and

that

was

about

it.

Hacker

writer

and

all

around

good

guy

Craig

Anderton

has

yet

another

book

out

of

interest

to

our

readers

{DPl-4

fans

in

par-

ticular):

Maltiefiects

for

Musicians.

The

book

is

published

by

1

Amsco

Publications,

covers

multieffects

in

Craig's

usual

com-

prehensive

mamter,

and

should

be

available

at

music

stores.

Corrections

for

Issue

#120:

The

Fan

number

for

Cybersounds

in

the

Sample

Bank

review

should

be:

I-519-745-0953.

The

Basement

Tape

review

gave

one

of

Tom

Shear's

(many)

old

ad-

dresses.

It

should

be:

T26

Fourth

Ave.,

Williamsport,

PA

l'l"l0l.

TS-

10/12

CD-ROM

Compatibility

Many

people

{myself

included)

use

a

powerful

instrument

like

the

TS

as

an

all-in-one

music

composition

environment.

Most

people

who

use

the

TS

alone

without

a

sampler

opt

for

a

CD-ROM

drive.

This

gives

the

user

quick

access

to

many

sounds

through

the

many

Ensoniq

and

third

party

compat-

ible

CD-ROM

disks

available.

When

the

TS's

SIlvlMs

capacity

is

enpanded

to

a

full

S

meg

of

Sampled

Sound

memory,

this

results

in

S114

blocks

(4

meg)

of

available

RAM

in

BankSet

S8

and

8191

blocks

in

BankSct

S9.

In

other

words,

the

largest

each

instrument

location

can

contain

is

a

4

meg

sampled

instrument.

All

of

the

enisting

Ensoniq

CD-ROM

disks

will

load

a

majority

of

their

sounds

into

a

fully-expanded

TS

via

SCSI.

Obviously,

you

will

need

to

have

the

SP-4

SCSI

option

installed

to

take

advantage

of

this

capability.

CD-ROM

Compatibility

The

formats

for

CD-ROM

drives

that

are

currently

known

to

work

with

our

TS

series

synths

include

Sony,

Toshiba,

and

Chinon

435

and 535

model

mechanisms.

Check

En-

soniq

document

number

0015

entitled

"Approved

SCSI

Storage

Devices

for

Ensoniq

Products”

on

our

Automatic

FAX

Retrieval

System

(1-800-25'?-1539)

for

up-to-date

in-

formation

about

compatibility.

Special

Note:

TS

0.5.

Yer-

sion

3.00

will

allow

a

TS

to

work

with

an

Apple

CD-150

model

CD-ROM

drive.

To

arrange

for

the

upgrade,

call

our

Technical

Support

number

(610-64?-3930)

to

find

the

Authorised

Ensoniq

Repair

Station

nearest

you.

Macintosh

Compatibility

There

are

problems

inherent

with

addressing

the

internal

CD-ROM

drive

found

in

some

Macintosh

computers

from

an

enternal

SCSI

device

like

the

TS.

The

TS

SCSI

Interface

manual

explains

this

somewhat

more

thoroughly,

but the

two

most

important

issues

would

be

that

of

termination

and

SCSI

ID

number.

Your

best

bet

is

to

buy

an

entcmal

CD-ROM

drive

that

is

compatible

with

both

your

TS

and

your

computer.

Entemal

CD-ROM

drives

(vs.

internal)

tend

Anthony

F

erroro

to

be

much

easier

to

deal

with,

since

termination

and

SCSI

ID

number

are

more

conveniently

accessed

and

resolved

when

working

with

an

enternal

SCSI

peripheral

device.

PC

Compatibility

PC-compatible

computers

generally

do

not

interface

direct-

ly

with

SCSI

peripheral

devices

such

as

CD-ROM

or

enter-

nal

hard

drives.

PCs

are

generally

configured

to

work

with

IDE

(Integrated

Drive

Elecuonic)

interface

devices,

which

are

lower

in

cost.

This

is

due

to

the

fact

that

they

incor-

poratc

drive

controller

functions

directly

on

the

IDE

device,

rather

than

receiving

commands

by

connecting

to

a

con-

troller

card.

The

IDE-type

drive

connects

directly

to

the

PC's

mainboard.

In

order

to

get the

PC

to

address

the

enter-

nal

CD-ROM

drive

(or

any

other

SCSI

peripheral

device,

for

that

matter),

you

would

first

need

to

install

a

SCSI

adapter

card

into

the

PC.

SCSI

adapter

cards

are

available

from

Adaptec,

QLogic

and

others.

SCSI

adapters

for

the

PC

may

cost

in

the

general

area

of

$150-300

dollars,

depending

on

the

features

needed,

whereas

a

compatible

CD-ROM

drive

might

cost

approximately

$200-500,

depending

on

the

speed

(Zn,

3:-t,

4:-t,

etc).

Of

special

interest

to

PC-compatible

users

is

Gicbler

Enterprise's

Ensoniq

DISK

MANAGER

software

applica-

tion

and

its

use

with

the

PC's

CD-ROM

Drive

(IDE

or

SCSI).

This

program

enables

you

to

read

EPS

and

ASR

sample

instrument

files

directly

from

Ensoniq

format

CD-

RCllvIs

using

the

PC's

CD-ROM

drive.

EPS

and

ASR

files

can

be

saved

to

the

PC's

hard

disk

drive,

and

then

written

to

Ensoniq

format

floppy

disks

which

can

be

loaded

into

your

TS.

if

your

PC

already

has

a

CD-ROM

drive,

this

software

can

provide

easy

access

to

the

Ensoniq

CD-ROM

library

without

purchasing

any

additional

hardware.

For

more

in-

formation

call

Giebler

Enterprises

at

610-933-0332.

I

Bio."

Anthony

Ferraro

has

written

for

Electronic

Musician,

Recording,

and

Keyboard.

He

is

still

hard

at

work

on

some

new

“snappy

ditties,”

and

is

playing

concerts

in

the

Phila-

delphia

area.

Call

21.5-7'42-0?'3flfor

concert

info.

Static

Free

Troinswciive

Samples

Pflrl

ll

A

long,

long

while

back

some

questions

were

raised

in

the

Interface

concerning

Transwaves

on

the

EPS-16

Plus.

Since

I'm

not

in

the

sample

marketing

business

anymore,

I

thought

I‘d

share

some

of

my

“trade

secrets."

After

many

hours

of

e:-rperimentation,

I

have

come

up

with

the

follow-

ing

hard

and

fast

rules

for

smooth

Transwave

creation.

Last

month

we

covered

the

first

two

-—-

new

fer

the

remainder.

1.

Use

single

oscillator

samples

only.

2.

Make

sure

all

frequencies

have

zero

phase

shift.

3.

Sample

at

22,321

I-la,

32,894

I-Ia

or

44,642

on

the

note

D.

4.

Use

multisamples

fer

rapidly

modulated

Transwaves.

5.

The

Wave

Mod

Amount

range

of

99

will

cycle

through

128

“loops.”

6.

Best

results

can

be

achieved

using

computer

synthesis.

T.

Resynthesis

may

transform

a

peer

Transwave

into

a

good

Transwave.

John

Lofiiirrk

3.

Brute

force

sample

editing

can

work

somewhat,

but

is

tedious.

9.

Phase

shift

effects

from

filtering

can

be

avoided

by

editing

tricks.

Rute

3:

Sample

at

22,321

Hz,

32,894

Hz

or

44,642

Hz

on

the

note

D.

It

is

possible

to

make

clean,

click

and

pep

free

Transwaves,

given

the

right

conditions.

If

you"ve

tried

turning

any

old

sampled

sound

into

a

Transwave,

you

probably

get

a

bunch

of

clicks

and

pops

as

you

modulated

through

the

sample.

The

point

to

remember

is

that

every

repetition

of

the

trans-

forming

waveform

in

the

loop

should

retain

near

perfect

acre

transitions.

Transwaves

apparently

switch

on

whole

number

ratios.

The

fractional

part

of

the

loop

end

has

a

no

effect

on

the

sound.

To

be

able

to

sample

on

a

standard

note

pitch,

it

fellows

that

the

sampling

frequency

should

be

a

l

i-|

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Technology

“T

he

hints

Si

tips

alone

are

the

worth

the

price

of

admission..."

-Denis

Labrecque,

‘JP

Channel

Marketing,

Passport

Designs

Inc.

“The

videos

really

do

accelerate

the

learning

curve."

-Chris

Rice,

Marketing

Director,

Twelve

Tone

Systems

near

multiple

of

the

note

frequency.

In

other

words,

the

sample

root

frequency

times

some

integer

should

equal

the

sampling

rate.

I-lang

on,

I've

already

done

those

calculations

on

a

spread-

sheet.

Sampling

on

note

“D”

with

the

sampling

rates

of

22,321

Hz,

32,394

Hz

or

44,642

Hz

results

in

an

error

of

just

0.04

Hz

at

D5=Slil7.3

Hz

and

0.09

Hz

at

D6=11'l'4.'i'

Hz.

The

loop

period

will

equal

T6

sample

words

for

D5.

Sample

Root

Frequency

x

Integer

=

Sampling

Frequency;

5313

x

’i'6

=

44,634,

which

is

near

the

EPS-16

Plus

standard

sample

rate

frequency

of

44642

Hz.

Looking

at

it

another

way,

128

periods

(the

maximum

Transwave

modulation

amount)

of

T6

sample

words

is

9,?2S

words.

And

(44,642

I

5813)

*

128

=

9'i29.6.

So

at

the

maximum

modulation

amount

the

error

between

the

ideal

sample

points

and

the

actual

sample

points

is

only

9'i'29.6

—

9?28

words

=

1.6

words,

which

is

a

tolerable

amount

for

most

cases.

Alternately,

you

may

dctune

the

source

before

sampling

to

create

a

frequency

that

is

a

submultiple

of

the

sampling

fre-

quency.

Rule

4:

Use

multisamples

tor

rapidly

modulated

Transwaves.

If

the

modulation

source

for

the

Transwave

is

the

modula-

tion

wheel,

pressure,

or

a

foot

pedal,

you

may

be

able

to

get

away

with

single

sample

Transwave

instruments.

However,

rapid

modulation

by

the

LFO,

an

envelope

or

an

over-

anxious

wheel

twiddler

(an

evolutionary

descendant

of

the

knob

twiddler

of

the

analog

days)

can

cause

the

EPS-16

Plus

to

choke

in

the

lower

registers.

Apparently

what

hap-

pens

is

that

the

Transwave

needs

to

transition

through

the

sample

faster

than

one

loop

per

cycle,

since

the

bass

cycles

are

proportionately

longer

than

the

higher

ones.

The

instru-

ment

ends

up

skipping

cycles

unevenly,

causing

abrupt

shifts

in

timbre.

The

solution

is

to

multisample

on

octaves,

using

less

samples

for

each

lower

octave.

I

advise

using

only

5

to

15

cycles

for

samples

as

low

as

D2,

and

10

to

30

cycles

for

samples

as

low

as

D3.

Since

D3

=

146.3

Hz,

at

a

44,642

sampling

rate

each

cycle

will

consume

304

sample

words

per

period

for

a

total

wavesample

size

of

3040

to

9120

sample

words,

or

12 to

36

blocks.

Conversely,

using

too

few

cycles

in

the

upper

registers

will

cause

not

so

subtle

shifts

in

timbre

as

the

Transwave

is

modulated.

You

could

call

this

a

kind

of

timbral

quantiza-

lion.

Rule

5:

The

Wave

Mod

Amount

range

of

99

will

cycle

through

128

"loops."

The

Wave

Mod

Amount

doesn't

have

a

one-to-one

cor-

respondence

to

the

number

of

loops

cycled

through

as

sug-

gested

in

the

EPS-I6

Pius

Musicians

Munuoil.

For

instance,

a

Wave

lvlod

Amount

of

+8

cycles

through

ten

loops,

not

eight.

By

experimentation,

I've

found

that

the

ratio

of

the

selected

Wave

Mod

Amount

to

actual

Wave

Mod

Amount

is

Ti’

to

I00.

To

cycle

through

a

25

waveform

cycle

from

your

modulation

source,

you

would

set

the

Wave

Mod

.4.moi.uit

to

19,

because

25

x

'i"i'l'l00

=

19.25.

This

makes

the

maximum

waveform

count

equal

to

roughly

123

cycles,

not

99.

Rule

6:

Best

results

can

be

achieved

ufing

computer

synthesis.

The

best

solution

for

Transwave

creation

is

to

use

computer

synthesizer

software

that

implements

interpolation

synthe-

sis.

You

can

also

use

additive

synthesis

provided

that

frequency

modulation

envelopes

are

flat.

You

can

even

emulate

resonant

waves

with

additive

or

interpolation

syn-

thesis

if

you

understand

your

basic

synthesis-

Just

make

sine

all

your

waveforms

begin

and end

on

a

zero

crossing.

Best

of

all,

with

computer

synthesis

software

you

can

force

the

sampling

rate

to

values

22313

Hz,

32890

Hz

or

4-4635

Hz

which

yield

near

perfect

integer

values

for

the

Trans-

wave

cycles.

The

slight

pitch

change

that

this

causes

is

in-

audible.

Looking

at

the

previous

example

of

sampling

on

D5

at

44k

Hz,

the

number

of

samples

would

he

i;-14,635

I

5813)

x

128

=

9'i'28.0,

giving

an

error

of

virtually

zero.

However,

you

should

cheek

your

synthesis

software.

be-

cause

its

method

of

generating

frequencies

may

not

be

that

accurate.

Mine

wasn‘t.

Synthesis

and

modification

techniques

to

avoid

as

pitch

shifting,

detuned

oscillators,

ring

modulation,

d1-mic

fil-

tering,

echo,

reverb,

chorusing,

phase

shifting

and

frequen-

cy

modulation.

I‘ll

give

a

few

tips

for

various

synthesis

methods

that

do

work

below.

Additive:

Use

whole

number

ratio

harmonics.

Don't

use

fre-

quency

modulation

envelopes.

Vector,

Pseudo-Additive,

Interpolation

(different

waveform

mixing

techniques):

Make

sure

all

waveforms

begm

mil

end

on

zero

crossing

points.

Don‘t

use

frequency

raiodulation

envelopes.

Distortionlwaveshaping:

The

input

sample

should

not

have

any

DC

content

(the

sample

should

be

centered

around

zero).

Make

sure

the

zero

points

of

your

esprit

are

not

shifted

by

the

distortion

or

waveshaping

pr:-ccss.

For

non-linear

waveshaping,

this

means

that

the

iiiiraveshaping

table

will

cross

through

the

origin

of

the

X

mid

Y

axis.

Most

envelope

controlled

clipping,

doubling,

sanction

or

fuzz

type

distortion

effects

will

work

fine.

Phase

Angle

Modulation:

lvlake

sure

both

the

carrier

and

modulator

waveforms

begin

and end

on

zero

crossing

points.

Graphic

Eq,lParametric

Eq,l‘Low

Pass

Filters:

Use

mild

filtering

and

hope

that

the

phase

delay

of

the the

harmonics

is

not

too

great.

A

better

tip

for

filtering

is

given

below

in

rule

9.

Plunging:

Avoid

LP-‘Cl

modulation

of

the

flanging

rate.

If

possible,

set

the

delay

to

an

exact

multiple

of

a

waveform

cycle.

Depending

on

the

input

waveform,

you

may

still

en-

counter

Transwave

clicking.

Rule

T:

Resynthesis

may

transfomi

a

poor

Transwave

into

a

good

Transwave.

Another

avenue

worth

trying

is

resynthesis.

This

process,

available

on

some

sample

editor

programs,

analyzes

the

fre-

quency

content

of

the

sample

and

then

regenerates

the

sound.

In

most

cases,

only

the

frequency

content

would

be

preserved,

while

the

phase

content

would

remain

constant.

This

means

that

the

process

could

remove

any

phase

shifts

occurring

in

the

sound.

However,

you'll

still

need

to

follow

rule

l

for

your

input

sample.

Rule

B:

Brute

force

sample

editing

can

work

somewhat,

but

is

tedious.

Jack

Schieffer

wrote

a

very

good

article

on

the

brute

force

creation

of

a

Transwave

using

only

the

Ensoniq

sampler's

internal

editing

commands

(TH

January

1995).

While

I

feel

that

'i'

Transwave

cycles

he

used

as

an

example

will

create

rough

sounding

transitions,

his

technique

could

easily

be

extended

to

the

creation

of

more

cycles.

The

Invert

Data

and

Scale

Data

command

could

be

used

to

warp

a

square

wave

for

various

timbral

modifications.

A

computer

based

sample

editing

program

might

expedite

matters

somewhat,

but

would

still

be

tedious

in

my

book.

Rule

9:

Phase

shitt

effects

from

filtering

can

be

avoided

by

editing

tricks.

I've

had

a

problem

with

aliasing

distortion

in

the

upper

oc-

taves

of

my

BPS-16

Plus.

Assuming

that

the

high

frequen-

cies

cannot

be

removed

from

the

sampling

or

synthesis

method,

the

obvious

solution

is

to

filter

the

high

frequencies

out

after

the

sample

is

created.

But

that

would

cause

the

problem

of

phase

shift

from

the

filter.

Here's

a

u'icky

solu-

tion

that's

possible

from

most

computer

waveform

editors:

filtering

the

sample

twice.

Begin

the

process

by

reversing

the

entire

waveform

and

filtering

it.

Then

reverse

and

filter

the

waveform

again.

What

you've

just

done

is

cancel

out

the

phase

delays!

The

resulting

filter

effect

is

a

squaring

of

the

original

depth.

You

may

need

to

create

an

excess

head

and

tail

to

your

sample

that

you

can

truncate

after

the

filter-

ing,

because

the

filter

will

usually

have

a

transient

response

that

distorts

the

first

few

cycles

(and

last

few

cycles

as

well,

when

the

waveform

is

reversed).

The

Windup

Creating

Transwaves

is

lot

like

creating

good

loops

—

it

takes

a

lot

of

skill,

patience

and

praying.

Hopefully,

the

in-

formation

I've

given

here

will

get

people

started

on

the

right

track.

Bio:

John

Lafiink

is

not

a

racket

scientist,

he's

an

elec-

rroni

cs

engineer

for

NASA's

Special

Projects

Laboratory

at

the

Kennedy

Space

Center.

He

had

been

hanging

our

at

the

Shear

mailbox

to

intercept

that

free

AER-IO

Ensoniq

was

supposed

Io

he

sending

Tom,

ant

Tam

moved

so

many

times

the

FBI

mast

have

ended

up

getting

it.

Pedal

to

the

Mettle

From:

Syntaur

Productions,

5401

W

43rd

St.,

Houston,

TX

TT092.

Phone:

(S00)

334-1235,

[T13]

682-1960,

fax

{T

l3)

632-20'i'2.

Product:

T5’

Set

I,

60

patches

on

a

disk.

Price:

$39.95.

For:

TS-10

and

TS-12.

Okay,

I'm

greased

up

and

ready

to

kick

some

Hacker

butt

(not

yotus,

okayi).

I've

got

my

CV

pedal

plugged

in

to

my

Robby

Barman

TS-10,

my

Data

Entry

Slider

set

to

TIMBRE

(on

the

third

System

page)

and

my

headphones

on

and

cranked.

I'm

in

receipt

of

Syntaur

Productions‘

$39.95

TS

Set

l’,

a

floppy

containing

60

patches

for

the

TS-10

and

TS-12.

Syntaur

is

not

only

a

major

source

for

sounds

and

samples

for

Ensoniq

instruments,

it's

also

the

home

base

of

Sam

lvlims,

who

has,

of

course,

guided

us

through

many

a

programming

twist

and

turn

in

the

Hacker.

The

sounds

in

TS

Sci

I

were

pro-

grammed

by

lvlims

and

fellow

Syntaurist

Todd

Spoor.

Though

I‘m

only

now

sitting

down

to

write

this

review,

I

confess

that

as

soon

as

I

got

the

floppy

in

the

mail,

I

tore

open

its

defenseless

little

bag

and

immediately

shoved

it

into

the

disk

drive.

The

disk,

that

is.

I

was,

of

course,

intrigued

to

see

what

such

a

knowledgeable

-—

okay,

maybe

"smar-

typants"

is

a

better

word

—

programmer

as

Ivlims

would

come

up

with.

There‘s

no

accounting

for

personal

musical

taste;

I

wondered

would

he

like

to

program

what

I

like

to

hear?

Not

to

worry

-

“wow”

is

the

word

that

springs

to

mind.

Though

at

first

I

was

surprised

to

see

no

demos

in-

cluded;

after

a

couple

of

moments

I

could

see

why

the

Syn-

taur

team

felt

them

unnecessary

--

these

sounds

pull

you

right

in.

My

quickie

preview

let

me

know

I‘d

have

to

get

out

my

CV

pedal

and

engage

my

Timbre

slider

for

the

actual

review;

Syntaur's

sounds

really

use

what

the

TSs

have

to

offer.

The

60

Sounds

in

TS

Set

I

are

arranged

in

groups

of

siz;

each

screenful

is

basically

a

different

category

(though

there

are

two

sestets

of

pads).

The

groupings

are

pads;

keyboards;

organs;

loop

splits

and

drums;

basses;

bass

synths;

synths;

guitars

and

brass;

and

wind,

plucked

and

sound

effects.

As

you

can

see,

rather

than

concentrating

on

one

area,

this

set

aims

wide

(Warning:

no

strings

attached}.

The

amazing

thing

is

that

Syntaur's

programming

skills

are

so

deep

that

they

pull

all

these

different

types

of

Sounds

off

admirably.

The

very

first

program,

RAINFOREST,

immediately

clues

you

into

the

operating

programming

sensitivity.

On

very

first

blush,

the

Sound

strikes

one

as

a

close

relative

of

the

factory

GENESIS

-—--

oh

no,

the

boidies

again

--

but

a

little

playing

reveals

it

to

be

more

expressive

than

that.

The

PANFLUTE

wave

is

enveloped

and

filtered

into

a

light

breeze.

The

CV

pedal

fades

the

birds

out

(and,

okay,

I

admit

it,

back

in).

Long,

long

notes

gently

fade

in

delicately

wavering

VOCAL-OOHS.

I’rn

in

love

again.

And

that‘s

just

the

00

Patch

Select.

I

got

quite

lost in

*0,

where

the

muted

pads

are

eventually

sprinkled

with

a

light

forest

rain.

Ooh,

that‘s

tricky;

the

rain

is

just

the

top

end

of

the

until-now

muted

IIOCAL-OOHS

fading

in.

Oh

man,

this

is

eaciting.

lt"s

been

a

while

since

l’ve

found

myself

scratching

my

head

over

how

something‘s

done

in

my

TS.

I'm

not

going

to

describe

every

Sound;

however

the

very

neat

one

is

also

worth

mentioning:

LAND-HO.

Beautiful.

A

vocal

pad

with

tinkling

bells

which

suddenly

drops

an

octave

with

the

mod

wheel

(and

the

mod

mister},

Patch

Selects

with

seagulls

reminiscent

of

the

laughter

loops

in

The

Beatles‘

"Totnorrow

Never

Knows."

The

pads

are

all

lovely,

actually.

Each

one

is

somewhat

dazzling;

they’re

not

the

uanoticeahle

kind.

Let

me

just

mention

some

of

my

favorites

in this

ezcellent

set

There's

lfALEN-TENES,

an

electric

piano

notable

for

the

delicateness

built

into

its

velocity

response,

something

that

immediately

whispers

to

you

to

play

soulfully.

There's

also

the

beefy

VITAL-ORGAN

(l

just

now

got

the

joke).

As

for

the

Hyper-Wave

rhythm

Sounds,

I

gotta

tell

you,

they

display

the

presence

of

an

unusual

sense

of

rhythm,

and

Ilm

not

saying

that

euphemistically.

The

grooves

are

rock-solid,

but

they‘ne

also

cool,

challenging

stuff.

Well

done.

FENDER-BASS

goes

immediately

into

my

everyday

collec-

tion.

CLICK-BASS

is

a

whistle-clean

stereo

sequence-style

bass.

SKANK

GUITAR

is

perfect

for

the

reggae

upbeat

(one

Patch

Select

even

plays

a

major

triad

for

you),

and

HAPPY-GUITR

is

a

pleasing

full-bodied

version

of

a

TS

Stratocaster.

Look,

these

are

just

some

of

my

favorites.

So

often,

in

reviewing

sound

sets,

a

reviewer

finds

hirntherself

in

neutral

territory,

not

knowing

what

to

recommend.

But

that's

not

the

case

here.

Buy

TS

Set

I

(you'll

like

it

even

more

if

you‘ve

got

a

CV

pedal).

The

Sounds

are

terrific:

they

sparkle,

they‘re

useful,

they're

distinctive

and

they're

thoughtful.

The

accompanying

documentation

is

also

well-

done,

a

good

thing

since

it

provides

the

key

to

finding

all

the

enjoyable

amenities

Syntaur

has

built

in

to

these

Sounds.

And,

as

a

bonus,

if

you

want

to

really

learn

new

to

program

your

TS,

you

could

find

no

bet-

ter

esample

of

the

art.

-

a._.

:l"*-!'"""°"

anvil‘

Bio:

Robby

Bermon

is

o

musician

sqairreled

away

cut-

side

of

iifoodstoclc,

New

Perl:

with

his

ngfe

ertdfive

cots

{who

ii

are

not

eiiev.-ed

to

mess

with

the

squirrels).

His

most

recent

ttlbttrrt

ts

"Rings

and

Rings."

Back

Issues

Hack

issues

are

$2.{lil

each.

(Overseas:

53

Issues

1-

till,

61,

ET

--

T4,

Tl,

T9

anti

E2

—

35

are

no

longer

as-1tLI..“ie_

Subscriptions

will

he

E-1-

tendetl

an

equal

number

of

issues

ice

any

isI.:o-::s

paid

for

that

are

not

available

at

the

tirne

we

receive

your

c-r"..=:.r.

E-Q-1

coverage

started

with

Issue

#13.

SQ-Bl]

coverage

started

with

ii‘-3,

{although

most

ESQ-l

coverage

also

applies

to

the

SQ—-Sfljt

EPS

ca:-terzrlge

got

going

with

#35

[and

also

applies

to

the

ASH-Ill].

ET-"K

c-._-v-enge

tfwhiclt

also

applies

to

the

Slls}

got

started

in

#43.

The

Sqs

got

gorng

in

#153.

(SQ

articles

also

apply

to

the

KS-32

tit

K'I'-Ttifh-3.}

DP

4

wfiage

flartecl

in

#33

[much

of

which

also

applies

to

the

ASH-I'll

TS-lfi-12

coverage

got

going

with

#93

but

owners

should

also

checi.

tar:-pi:

reviews

EEPSIASR}

and

SD

tit

‘JFK

programming

Lips.

?c"rr:'_‘..ts'-.c|s

his

been

given

to

photocopy

issues

that

we

no

longer

have

av.|:'l1"c~t'—:

—

checlrt

the

classifieds

for

people

offering

them.

A

free

back

ts-s'.;—c

emit-":1

tr

zvailahle

which

contains

the

tables

of

content

for

all

issues

ii.-rm

F'.a:.i:-er

43.

Waveform

Mutilation

101

Return

of the

Living

Tronswoves

The

scene

is

set;

a

dark

night

over

a

small

town

in

the

lvlidwest.

A

heavy

fog

slowly

rolls

over

the

countryside.

Drivers

are

cautious

and

traffic

is

slow.

lvlost

people

are

hidden

inside.

There

are

memories

of

the

old

tales

of

the

town

—

long

forgotten

mysteries

of

an

ancient

curse

—

that

one

day

they

would return

—

ancient,

long-forgotten,

huge,

elongated

slimy

things

that

supposedly

had

lived

beneath

the

town,

crawling

ever

so

surely,

changing

the

very

atmos-

phere

of

the

entire

community.

There

is

a

sense

of

forebod-

ing,

of

dread.

Could

this

be

the

night

that

these

poor

ignorant

fools

will

become

victims

of

the

“Return

of

the

Living

Transwaves?“

This,

of

course,

leads

us

to

our

topic

today.

If

you

listen

to

a

transwave

straight

from

the

machine

without

adding

any

frills

or

modulators,

you

will

probably

not

be

too

extremely

impressed

with

what

you

hear

(although

you

may).

Of

course,

it

would

be

the

same

with

just

about

any

other

wave

or

waveform

in

the

table.

But,

to

better

inform

you,

the

reader,

from

whence

I

come,

let

me

explain

what

my

motivation

is

for

writing

this

article.

As

you

may

have

noticed,

the

newer

synthesizers

by

En-

soniq

do

not

provide

filter

resonance

—

Q

— like

the

older

ones.

And,

as

you

may

have

read

in

the

pages

of

the

Heck-

er,

Transwaves

can

be

used

to

simulate

resonance,

but

Q‘?

If

an

SQ-1,

VFX,

SD-1,

KS-32

or

KT-T6

can

sound

like

it

has

filter

resonance,

why

is

it

that

no

one

seems

to

believe

that

it

is

true?

Well,

anyway,

this

article

does

not

really

deal

with

the

issue

of

filter

resonance

per

se,

but

it

actually

arose

out

of

my

trying

to

do

an

article

on

that

very

subject.

Ah

well.

If

you

have

an

SQ

synth

(all

except

for

80),

try

the

follow-

ing.

lf

you

have

any

other

synth

that

has

transwaves,

then

try

something

along

the

same

lines.

You

should

still

ex-

perience

the

same

kind

of

result.

Find

some

of

the

organ

sounds

in

your

selection

--

not

pipe,

mind

you,

just

some

generic

organ

sounds.

The

SO-1

includes

Organs

1-4.

Select

the

first

one.

Next,

select

the

first

voice

—-

page

U

in

the

Wave

bank.

Next,

select

page

I

and

switch

Wave

(class)

to

Transwave,

and

try

each

transwave

out

one

by

one.

You

will,

of

course,

also

try

changing

voice

2

in

the

same

way.

You

will

probably

find

that

not

only

will

you

come

up

with

a

new

usable

organ

sound,

but

you

also

have

a

new

lead-type

sound

in

the

upper

registers

(which

would

go

nicely

with

some

digital

delay).

You

can

even

change

the

Jack

Stephen

Tc-tin

Start

Index

value

on

page

3

to

alter

each

variation

further.

Continue

with

trying

all

the

organ

sounds

you

have

in

the

same

manner.

Lesson

number

one:

Plain

transwaves

are

very

usable

without

even

tapping

into

their

covert

changing

ability

to

make

the

sound

change

over

time.

Now,

for

you

SQ

users,

put

the

program

“LivingTrans-

waves”

into

your

synthesizer.

This

program

is

intended

to

display

certain

qualities

of

synthesis

including,

of

course,

the

changing

ability

of

the

transwaves

as

well

as

some

other

anomalies.

The

“living”

aspect

of

the

transwaves

is

in

the

fact

that

they

change

over

time.

It

is

this

way

that

the

sound

literally

crawls

along.

This

is

an

example

of

how

you

might

program

one

nanswave

into

a

program

with

one

(or

two)

other

wave(s)

in

order

to

give

that

program

some

sense

of

motion

or

change

over

time.

With

“LivingTranswaves,"

you

simply

have

all

voices

doing

something

similar

with

the

nanswaves

but

in

different

ways.

Each

transwave

is

programmed

to

have

its

Start

Index

(page

3)

modulated

by

its

voice’s

LFO

by

+99.

You

will

notice

that

all

the

LFOs

have

the

exact

same

settings.

However,

this

effect

does

not

allow

each

individual

voice

to

sound

the

same

because

of

a

very

simple

feature:

Restart

=

OFF

[LFO

bank,

page

2).

Every

time

you

press

a

key,

the

synthesizer

will

randomly

decide

the

level

of

the

setting

at

which

to

ini-

tially

trigger.

Because

the

full

modulation

value

of

99

is

taken

advantage

of

(Wave

bank,

page

3

“*

+99";

LFO

bank,

page

1

“Level,”

page

2

“Wave

=

POSISINE”),

at

some

point

within

the

context

of

the

sound

cycling

through

we

can

hear

all

possible

“indexes”

of

each

transwave.

Before

we

continue,

just

ai

note

about

the

“POSISINE”

wave.

The

reason

that

POSISINE

is

used

here

rather

than

SINE,

is

this:

We

are

using

the

LFO

to

modulate

something

in

such

a

way

that

any

value

as

a

modulator

will

begin

from

value

U.

In

the

Start

Index,

we

are

modulating

a

feature

(the

start

index

itself}

from

value

U,

hence,

“Start

Index

=

DU.”

If

we

set

the

Wave

on

page

2

of

the

LFO

bank

to

“SINE,”

we

will

no

longer

hear

the

whole

effect

of

the

Wave

because

half

of

it

will

be

in

unmodulatable

territory.

Consider

this

analogy:

We

are

on

the

border

of

the

U.S.

and

lvlexico,

but

just

on

the

U.S.

side.

This

is

the

value

of

the

start

index,

regardless

of

what

the

actual

value

is

set

to.

Traveling

north

andfor

south

would

be

the

effect

of

the

modulator

[in

this

case

the

LFO).

Here

is

the

catch:

We

are

only

allowed

to

travel

a

maximum

distance

of

99

miles

before

we

have

to

return

again

(Wave

bank,

page

3,

“*

+99”).

Here

is

the

other

catch:

We

have

to

actually

traverse

a

full

range

of

99

miles

altogether.

Deciding

that

we

only

want

to

stay

within

the

U.S.,

we

set

our

home-base

(start

index)

at

99

—-

the

U.S.fMexican

border

—

and

we

setour

course

(wave)

for

POSISINE

-

travel

into

the

U.S.

only

and

back

again,

and

so

on.

IF

we

set

our

course

for,

let’s

say,

U.S.

and

Mexico,

we

might

try

to

just

lay

in

SINE

for

wave.

But

here's

the

problem:

After

having

traveled

the

99

miles

into

the

U.S.,

by

the

time

we

arrive

back

at

the

bor-

der,

we

no

longer

have

any

authorization

to

enter

Mexico

(the

start

index

cannot

have

a

negative

value}.

But

we

can't

just

up

and

leave,

going

back

to

our

regularly

scheduled

cotuse

into

the

U.S.

again.

We

actually

have

to

wait

the

amount

of

time

it

would

have

taken

for

the

jaunt

into

Mexico

before

we

can

go

back

into

the

U.S.

again.

What

a

waste

of

time!

After

all,

that

would

have

been

half

the

jour-

neyl

If

we

want

to

go

to

both

the

U.S.

and

lvlexico,

we

have

to

set

the

border

to

a

different

value,

like

Start

Index

=

59.

This

is

still

the

border

between

the

two

countries,

but

we

just

call

it

something

different

——

59

instead

of

99.

This

also

allows

us

to

go

into

both

countries

about

the

same

distance,

49

up

and

59

down.

If

we

wanted

to

allow

the

Start

Index

to

be

50,

we

would

also

set

the

Mod

(right

under

it)

to

be

modulated

by

+49,

and

the

LFO

Wave

would

be

set

to

SINE.

If

you

do

this,

you

will

be

amazed

to

find

that

there

is

no

noticeable

difference

between

this

way

and

the

one

previous.

The

filters

in

“LivingTranswaves"

are

there

to

add

some

variety

among

the

voices.

Of

course,

the

settings

for

all

three

filters

are

the

same,

but

since

they

are

modulated

com-

pletely

(with

the

exception

of

velocity

*

+19)

by

Envelope

2,

these

settings

are

more

crucial

in

effecting

the

t1lter’s

response.

I

have

taken

and

altered

three

default

settings

for

each

voice‘s

filter

envelope:

SLOW

STRING

for

voice

1,

PIANO

DECAY

for

voice

2, and

BRASS

FILTR

for

voice

3.

Though

each

offers

different

filter

response,

I

wanted

the

whole

program

to

sound

more

as

if

it

were

three

parts

work-

ing

together

as

one

rather

than

three

distinct,

unrelated

parts.

Therefore,

attacks

are

all

equal

to

99

and

releases

are

all

equal

to

59,

LevV=96,

Atcl-rV=53,

and

VelCurv=QUIK-

RISE.

As

a

result,

each

ENV2

will

respond

the

same

to

key

velocity

(though

different

envelopes

themselves)

and

will

all

attack

and

sustain

together.

You

may

just

want

to

experi-

WARE

SQ,

KS,

KT

Prog:

LivingTranswaves

B

:

Jock

Ste

hen

Toltn

‘WP

hi

‘III

y

P

Initial

2

3

Select

Voice

Wave

Glass

Wave

Delay

Time

Wave

Direction

Start

index

MODSGH

MODAMT

H99

l.i'l'i.

1

2

9

LFO

1

On On

On

1

2

TranswaveTransvvaveTranswave

Ftesi

-it

999

99

LFO

+99

99

H999

-I

999

99

LFO

+99

99

Puisei

-it

999

99

LFO

+99

99

LFO

Speed

Holee

Ftate

Level

Delay

MODS

HO

Wave

Hestart

99

99

99

Oil

Post

Sine

Oil

1

2

99

99

99

Oit

Poe.-“Sine

Oi!‘

12

99

99

99

Oil

PuatS|ne

Oil

PITCH

1

.-

FILTER

1

2 3

OB'lB.li|'B

—

—

—:—--Jun

Bemitone

Fine

EH91

LFO

MODSC-Fi

MODAMT

H99

Ptch

Track

Glide

-|‘.3_i_id_e

Time

+9

+99

+99

+99

+99

Off

On

Ofi

9

E3

t

-

+9

+9

+99

9

-es

+en

+99

on

On

Off

+9

+99

+99

+99

Oil

Off

Filter

1

Fliter

2

FO1.

Outofl

EH9

2

FO1

KBD

MOOSOH

MODAIHIT

FO2

Outoii‘

EH92

F92

It-ZED

FO1

MOD-FO2

2l.o

Pass

2HiPase

929

+99

+99

‘iteioc

+19

999

-99

+9-9

at

2Lo

Pass

2HlPase

929

+99

+99

Voice

+19

999

-ee

+99

Oil

2LoPase

2HlF'aea

929

+99

+99

‘velcc

+19

999

-99

9

Peait

Breai-t

Sustain

Attack

Decay

1

Decay

2

Fielease

‘v'e|-Levei

'v‘el-Attack

'v'e|

Curve

Mode

KBD

Traci-t

1

on

ee

es

ee

99

29

29

29

19

99

Ouii-trise

Norm

ei

+99

89838888

re

as

Or..-

in-so

hit:-r-rat

+99

993338889

99

O-uiirrlsei

Hmmm

I‘

+c-eji

'

oureur

1

HI lnl

+99

if

_

EHV1

1

2

3

ENV2

1

2

3

VOL

Boost

MODS

H9

MOOAIWF

HBO

Scale

Hey

Flange

Output

Eius

Priority

Pan

99

Oil

Pedal

-29

+99

A9

O9

Fifi

l't'l99|-:,,.-'.-

-59

tgsa

9];-+

-Oi.

A29-9

ii?"--'-

-519

'v'ei

window

999

It-9

999

_

'-

s

959

+999

A9

C-B

Fl-(1

Hen

+99

initial

P99.|'i

Break

Sustain

Anacit

Decay

‘i

Decay

2

Hetease

'v‘el-Le

vei

-l-

-

-

1

'

lnitlai

Peak

Brealr.

-

i

Sustain

lfel-Attack

-

Attacit

Decay

1

Decay

2

Fie-i

eaee

'v‘el-Level

lfel-Attach

ltel

Gurve

‘-tel

Curve

Mode

"

Mode

HBO

Tracit

-

-

L_|{_BO_'[racit_

59

99

94

94

99

42

4-B

59

99

59

Ciuil-trise

Normal

+99

99

99

T5

94

99

32

99

54

99

99

EFF

ECTB

FJ'f.-

1

Fill-2

9-VOICE

CHOFI

US

99

59

59

22

Chorus

Hate

99

re

99

Ohorus

Depth

59

99 59

Ohorue

Center

5-9

99 99

53

Ciuil-trlee

Normal

Hormel

+99

+29

19

Fee

ribacir

MOD

{Best}

59

Ouiirrise

Ei‘|"

(MOO

SHO}

MODM'v'|'l'

-2?

Flam

lvioc-r-e-e-

+99

Notes:

Try

also

Wave

bank,

page

9,

“Se1ectVOICE:ALL";

Filter

bank,

page

2,

“lvIod=-=:OFF:=-”;

ENV2

bank.

page

3,

ENTER

(Try

each

one!

Remember

to

continually

adjust

your

CV

pedal.)

OR

try

the

same

thing

with

the

Amp

bank

defaults.

Mix

and

match!

ment

with

different

ENV2

settings

by

soloing

one

particular

voice.

This

is

easier

in

telling

the

differences

of

the

in-

dividual

default

settings

(if

you

want

to

play

around

with

the

default

settings

specifically).

The

S-VOICE

CHORUS

is

being

used

here,

as

you

may

have

seen

(and

certainly

have

heard

by now,

righti).

I

have

used

the

S-‘VOICE

CHORUS

here

not

only

because

it

generally

sounds

good,

but

because

of

the

nice

way

it

read-

justs

the

voices

you

heat

in

the

stereo

sound

spectrum.

In

other

words,

though

voice

l

is

more

in

the

left

channel

and

voice

2

in

the

right,

the

chorus

takes

everything

and

throws

it

all

over

the

place.

You

still

hear

voice

1

predominantly

in

the

left

channel

and

you

do

hear

its

echo

over

in

the

right

channel.

You

will

be

able

to

hear

this

effect

much

better

if

you

follow

along

with

the

notes

I

included

with

the

program

sheet

for

“LivingTranswaves.“

I

find

the

chorus

a

very

nice

blending

tool,

a

glue,

an

adhesive.

Aaah,

real

time

controllers.

Where

would

we

be

without

them?

Things

would

certainly

be

more

static,

to

be

sure.

The

Cb’

pedal

changes

the

mix

between

voices

I

and

2

since

voice

3

is

the

main

voice

around

which

the

other

two

voices

are

ornamented.

In

normal

position,

voice

l

is

heard

at

a

higher

volume

than

voice

2.

Full

modulation

applied,

voice

2

will

be

louder

than

voice

1.

The

modulation

wheel

adds

a

nice

bit

of

much

higher

rate

chorusing,

Although

many

people

will

not

be

willing

to

trade

this

effect

in

for

a

more

realistic

vibrato,

well

here

it

is

anyway.

Applying

pres-

sure

decreases

the

volume

of

voice

3.

Obviously

this

patch

was

put

together

as

a

way

of

playing

among

the

three

voices.

Try

anything

here

that

amuses

you

for

future

projects.

Keep

in

mind

that

much

of

whatever

you

may

be

learning

here

can

be

easily

used

as

fodder

for

other

synthesizers

and

even

some

samplers.

Many

of

the

techniques

are

trans-

ferable.

Also,

as

you

program

whatever

it

is

you

may

own,

keep

in

mind

that

what

you

are

participating

in

is

actually

a

manner

of

artistic

creativity.

Have

fun,

try

new

things,

.

experiment.

-

‘

Bio:

Jack

has

been

married

now

since

Si20t'94

to

Janice

Fay,

programs

ai-

ternative

music

with

a

contemporary

flavor,

and

tries

his

best

to

take

ex-

perimental

sequencing,

synthesis

and

sampling

to

new

heights.

Tricks

for

Live

P

crying

and

Sequencing

One

of

the

Best

Things

about

being

a

faithful

reader

of

the

Transoniq

Hacker

for

the

past

eight

years

has

been

all

of

the

nifty

tricks,

tweaks

and

turnarounds

that

I

have

learned

from

my

fellow

keyboardists.

Now

it's

my

turn

to

offer

some

of

my

own

tidbits,

geared

especially

toward

those

of

you

on

the

front

lines,

playing

live

in

smoky

dives

night

after

night,

or

in

the

sanctuary

on

Sunday

mornings,

or

anywhere

in

between

(like

smoky

sanctuaries

on

Sunday

nights'l).

This

is

a

potpourri

of

miscellany,

some

of

it

very

basic.

some

of

it

just

a

little

less

basic.

Here

it

is,

straight

from

the

trenches...

Slick

Click

Track

Intros

The

oxymorouic

decision

to

play

live

to

sequences

carries

with

it

some

good

news

and

some

bad

news:

the

good

news

is,

you‘ve

found

a

perfect

way

to

torture

the

drummer!

The

bad

news

is,

if

the

drummer

ain't

happy,

then

nobody's

gonna

be

happy.

My

first

bit

of

advice,

geared

toward

your

Steve

Vincent

pouring

drummer,

is:

Split

the

click

track

and

the

sequen-

ce’s

audio

tracks

to

separate

outputs,

one

panned

hard

left,

the

other

hard

right.

Isolating

the

click

track

will

allow

you

to

send

one

line

just

to

the

monitors

and,

ideally,

to

the

drum

mer’s

headphones.

In

one

band,

I

further

split

the

click

track

output

using

a

Y-adapter,

sending

one

line

to

be

processed

by

the

board

for

the

monitors,

and

the

other

line

directly

to

the

drummer‘s

private

headphone

amp,

so

he

could

have

his

very

own

private

click

trackfmonitor

mix.

Depending

on

the

venue,

it

is

likely

that

the

audience

will

never

hear

the

click

track

if

it

isn't

coming

out

of

the

main

speakers.

I

can

hear

some

of

you

whining,

“But

the

music

won‘t

be

in

stereo!“

Relax

—

save

the

stereo

stuff

for

your

home

studio

projects.

Nobody

in

alive

audience

is

going

to

miss

the

stereo

sound

if

it's

not

there,

and

you

certainly

won’t

be

able

to

appreciate

its

subtleties

from

your

perch

behind

the

monitors.

On

a

couple

of

songs,

specifically

“I999”

by

Prince

and

"Black

Cat"

by

Janet

Jackson,

there

are

some

sampled

phrases

that

occur

a

number

of

measures

before

the

beat

begins,

and

we

didn't

want

the

click

track

to

obscure

those

measures.

Unfortunately,

you

can't

program

the

click

track

to

wait

until

the

eighth

bar,

click

for

a

meastue,

and

then

stop.

The

workaround

is

to

create

your

own

click

sound,

and

sequence

it

into

the

song

just

like

any

other

keyboard

sound.

I

used

a

snippet

of

a

clave

sample

that

I

had

made,

and

it's

a

dead

ringer

for

the

EPS's

click

sound.

You

could

cop

your

own

click

sornid

from

just

about

anywhere

(there's

a

Hackerpatch

just

waiting

for

the

adventurous

program-

meri),

even

creating

one

from

scratch

on

the

EPS,

using

the

CREATE

WAVESAMPLE

command,

which

will

give

you

a

nice

(well,

tolerable)

sine

wave

sample.

The

click

sample

will

take

almost

no

memory,

and

you

can

insert

it

anywhere

in

the

sequence.

So,

you

can

push

“PLAY,”

the

tiger

can

snarl

“Rrowwr,

rrowr,

RROOwwwwr!,”

Janet

Jackson

can

say,

“Ain‘t

no

acid

in

this

house,"

then

you

(but

not

the

audience)

hear,

“CLICK,

click, click,

click,"

and

if

every-

thing

goes

right,

the

drummer

will

go

“SlvIACK”

on

the

snare,

and

you’re

into

"Black

Cat."

Just

make

sure

that

you've

panned

your

custom

click

the

same

as

the

on-board

click,

or

the

drummer

will

be

coming

after

you

with

one

hand

wielding

a

menacing

cymbal

stand,

and

the

other

cupped

over

his

deafened

ear.

Sending

Program

Changes:

I

don't

think

so.

I

know

there

are

probably

many

reading

this

who

have

been

using

your

keyboards

to

send

program

changes

to

outboard

effects

modules

with

perfect

success.

I

hate

you.

No,

I

don't

really

hate

you,

but

it's

been

my

experience

that

the

MIDI

utopia

we

read

about

in

the

ads

where

your

flawless

sequen-

ces

spew

out

perfectly

executed

patch

changes

to

your

lights,

your

lviidiverb,

your

drummer's

D4

module,

your

guitar

effects,

and

orders

a

drink

for

the

lady

at

the

third

table

—

well,

it

just

don't

happen.

I've

spent

billions

and

billions

of

hours

attempting

to

get

my

EPS

to

change

my

SGX-2090

guitar

module

from

the

“Steve

Howe

Clean"

patch

to

the

"Steve

Howe

Fifths”

patch

for

the

guitar

solo

in

"Owner

of

a

Lonely

Heart,“

and

I'm

halfway

through

the

solo

before

"Fifths”

drops

in

for

a

short

visit,

the

Midiverb

changes

to

a

reverse

gate

on

the

vocals,

the

lights

go

out,

and

I

find

out

that

I

MIDl'ed

a

Shirley

Temple

to

the

guy

at

the

second

table.

No,

I'll

use

my

X-I5

foot

controller

in

conjunction

with

my

God-given

appendage

to

do

it,

thank

you.

Unless

you're

a

solo

act

and

you

really

depend

on

your

sequencer

to

orchestrate

the

mixing

and

patch

change

duties,

I

highly

suggest

you

have

a

real

human

being

change

the

outboard

effects.

If

you

want

to

automate

“just

because

III!

(I88

Case:

for

Ensoniq

Now

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from

factory

(except

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Category

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SQ-2

Module

rack

cases:

3-space,

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American

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Dealer

Inquiries

Welcome!

Shown:

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with

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PLUS

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2-space

rack,

Eagle-I

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case

OPTI-CASE

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FIT.

6,

BOX

235

-

HENDERSON,

TX

75652

-

FAX;

903-657-6030

you

can,"

it

may

not

be

worth

the

headaches.

(Please,

no

letters

defending

sequenced

patch

changes

—

I

know

it

can

work!

Sam

Ivlims

once

showed

me

his

patch-change

con-

figurations

during

a

break

at

one

of

his

gigs,

but

that

doesn‘t

count

—

he's

Sam

Ivlims.)

Creative

Use

of

Pitch

Tables

(Cheating,

Part

1}

Legitimate,

trained,

and

disciplined

musicians

may

want

to

skip

the

next

few

sections.

For

the

rest

of

us,

there

are

times

when

you

don't

want

to

condemn

your

band

to

playing

along

with

a

sequence

and

click

track

just

for

the

sake

of

four

measly

chords,

but

your

guitar

duties

won‘t

allow

you

to

reach

over

and

grab

the

keys

for

even

a

moment,

and

you

don‘t

quite

trust

the

lead

singer

to

play

those

four

chords...

what‘s

a

hacker

to

do‘?

Pitch

Tables

to

the

rescue!

Our

band

was

covering

"Anyway

You

Want

It“

by

Journey,

and

I

thought

our

female

lead

singer

would

look

cool

actually

playing

the

keyboard

for

those

four

chords,

but

she

just

couldn't

nail

‘em.

I

decided

to

program

some

“one-note

wonders"

which

would

allow

her

to

play

those

four

triads

by

merely

poking,

in

descending

order,

middle

C,

B,

A

and

G.

Everyone

knows

that

you

can

make

one-key

chords

by

Layering

sounds

of

different

pitches,

but

changing

the

inter-

vals

from

key

to

key

is

a

bit

trickier.

Using

the

above-mentioned

“Anyway

You

Want

It"

chord

changes

as

our

example,

we

want

to

set

up

the

EPS

(or

ASR

or

TS-n)

so

that

when

these

four

notes

are

played

on

the

keyboard,

these

are

the

chords

that

"come

out":

i

I

i

55!.

I

lI'll"ll*

I

H

I

IHH

I

ll

Pitch

Tables

on

the

EPS‘s

and

ASR

apply

to

Layers,

so

each

Layer

can

have

a

different

Pitch

Table.

The

goal

here

is

to

create

three

Layers

so

that

the

above

triads

can

be

played

by

pressing

one

note

per

chord.

The

first

thing

to

do

is

to

pick

a

sound.

For

this

example,

you

must

begin

with

a

one-Layer

sound,

preferably

a

lush

organ

sound.

To

begin

with,

COPY

your

organ

LAYER

three

times

—

this

will

yield

four

Layers

of

the

same

sound

to

work

with:

three

copies,

plus

the

original

(you’1l

want

to

keep

the

original

Layer

intact

for

one

normal

patch

select).

We'll

be

creating

new

Pitch

Tables

for

Layers

2,

3

and

4

to

form

the

chords.

Starting

with

Layer

2:

Solo

Layer

2

by

choosing

Layer

2

only

on

the

0'0

PATCH

=

-

2

---

-

-

-

page.

Now

make

sure

you’re

editing

the

correct

Layer

by

pressing

EDIT,

LYR

=

2.

To

get

to

the

Pitch

Table

command,

press

COM-

NLAND,

PITCH,

then

choose

EDIT

PITCH

TABLE,

YES,

then

CREATE

NEW

PITCH

TBL‘l,

YES

again.

This

brings

up

the

screen

where

you

program

new

pitches

for

any

key

on

the

keyboard.

For

the top

notes

of

our

triads,

enter

the

following

information:

KEY

C5

=

D5

U

CENTS

KEY

B4

=

D5

I]

CENTS

KEY

A4

=

ES

U

CENTS

KEY

G4

=

E5

U

CENTS

After

this,

scroll

to

the

right

to

name

your

new

Pitch

Table:

TBL

NAME

=

CHEAT

LYR

2.

Next,

solo

Layer

3,

then

make

sure

you‘re

only

Editing

Layer

3

on

the

EDIT

page.

Hit

COMMAND,

PITCH

again

and

say

YES

to

EDIT

PITCH

TABLE

I

CREATE

NEW

PITCH

TABLE?

again.

Now

for

Layer

3,

you

are

creating

the

middle

note

of

our

four

triads,

so

create

the

following

Pitch

Table:

KEY

C5

=

B4

U

CENTS

KEY

B4

=

A4

0

CENTS

KEY

A4

=

B4

U

CENTS

KEY

G4

=

C5

0

CENTS

Finally,

for

die

bottom

notes

of

the

four

triads,

make

sure

you’re

Editing

Layer

4,

then

enter

the

following

values:

KEY

C5

=

G4

U

CENTS

KEY

B4

=

F-4+

0

CENTS

KEY

A4

=

G4

0

CENTS

KEY

G4

=

G4

I]

CENTS

Now,

having

programmed

Layers

2,

3

and

4

with

unique

pitch

tables,

Layer

these

three

Layers

together

by

going

to

the

PATCH

select

page

and

enabling

U0

PATCH

=

-

2

3

4

-

- -

-.

If

you

did

everything

right,

you'll

get

Figure

2

when

you

play

Figure

1.

This

is

just

one

extremely

simple

application

of

Pitch

Tables

to

The

Real

World

of

live

playing,

but

it

gives

you

an

example

of

some

of

the

programming

power

at

your

fingertips.

Creative

Key

Mapping

(cheating,

Part

2)

Another

way

to

make

live

playing

a

bit

easier

is

to

split

your

keyboard

into

different

zones

for

playing

different

keyboard

parts

as

they

come

in

and

out

rapidly

during

a

song.

Now,

before

you

say

"duh"

and

turn

to

the

Clas-

sifieds,

consider

that

not

only

can

you

map

different

instru-

ments

to

different

zones,

but

those

instruments

can

each

do

a

pretty

unique

thing.

For

example,

on

Amy

Grant's

"Goad

Fer

Me,"

I

had

three

different

sounds

mapped

across

the

keyboard:

at

the

far

left

was

the

piano,

in

the

middle

was

the

synth

pad,

and

the

upper

two

octaves

covered

the

Ham-

mond

B3

duties.

On

the

recording,

the

simple

piano

melody

was

just five

notes

with

a

slapback

echo.

Rather

than

tie

up

an

effects

processor,

I

programmed

those

five

notes

to

repeat

the

note

on

key

up

--

perfect!

But

lacking

keyboard

dexterity

in

my

left

hand

(alas,

my

early

childhood

training

was

on

accordion),

it

was

difficult

for

me

to

play

the

highly

syncopated

and

percussive

synth

jabs

with

my

right

while

poking

the

piano

melody

with

my

left,

so

I

programmed

the

synth

pad to

[you

guessed

it)

play

one-note

chords

a

la

the

above-mentioned

Pitch

Table

technique.

So

all

I

really

had

to

do

was

to

sorta

slap

the

correct

note

to

the

right

beat,

leaving

my

true

powers

of

concentration

for

the

left-hand

piano

melody.

Then

when

the

B3

solos

came

up,

I

was

ready

to

wail

with

my

right

hand

and

switch

the

synth

com-

ping

to

my

left

hand.

Schizophrenia

would

help.

The

Guitar-Possessed

Keyboard

(Cheating,

Part

3}

While

I'm

not

above

a

little

bit

of

cheating,

I

absolutely

refuse

to

sequence

keyboard

solos

for

live

gigs.

I'm

sorry,

but

watching

an

EPS

spit

out

passionate

pre-recorded

solos

unattended

is

going

a

bit

too

far.

But

what's

a

guitarist!

keyboardist

to

do

when

you

want

to

play

the

keyboard

solo,

but

can't

do

without

the

rhythm

guitar

backing‘?

Nothing

could

be

simpler:

sample

the

guitar

part

and

sequence

it

into

the

song!

Our

band

did

a

Santana

medley,

and

I

played

the

organ

intros

live,

then

let

the

sequencer

take

over

the

organ

parts

when

my

guitar

came

in.

Since

I

wanted

to

play

the

organ

solos

live,

I

just

sampled

myself

playing

the

rhythm

guitar

part,

which

was

just

two

chords,

and

sequenced

the

suumming

into

the

song.

It

was

an

absolutely

seamless

tran-

sition:

not

one

guitar

chukka

was

lost,

and

the

audience

was

treated

to

a

live

organ

solo.

And

since

I

sampled

the

guitar

directly

from

my

own

guitar

rig,

the

sampledlsequenced

guitar

part

was

identical

to

the

live

playing.

SCSI-fy

If

you

really

want

to

add

convenience

to

live

playing,

get

yourself

a

SCSI

drive

if

at

all

possible.

Scour

the

clas-

sifieds,

haunt

the

swap-meets,

beg,

borrow,

or

steal

—

but

find

yourself

a

SCSI

drive

for

live

giggin'l

It'll

be

worth

its

weight

in

gold.

It

doesn't

have

to

be huge

—

my

SCSI

drive

for

live

gigs

is

just

20

megabytes,

but

it's

plenty

big

for

everything

I

need

live.

It

also

doesn't

have

to

be

expensive

—

mine

cost

me

only

ten

bucks,

including

the

case

and

cable.

But

it's

the

speed

with

which

you

can

load

banks

that

will

really

take

the

pressure

off

when

you're

standing

in

front

of

a

waiting

audience

and

an

impatient

drummer.

Using

a

SCSI

drive

makes

playing

live

to

sequences

just

a

little

bit

more

relaxing.

You

may

even

get

to

enjoy

playing

the

music,

rather

than

constantly

be

focused

on

the

techni-

cal

aspect

of

the

gig.

While

you're

at

it,

go

to

the

trouble

of

arranging

yotu

"live

banks"

directory

to

follow

your

song

set,

and

if

possible,

group

some

songs

together

that

use

the

same

instruments

in

order

to

speed

up

loads.

By

the

way,

when

you

format

your

SCSI

drive,

make

sure

that

you

set

the

interleave

factor

to

its

optimum

setting.

This

can

significantly

affect

the

speed

of

your

data

transfers!

Setting

the

interleave

ratio

is

an

op-

tion

during

the

SCSI

formatting

procedure.

You

may

have

to

experiment

with

a

few

different

settings

in

order

to

find

the

fastest

one,

but

it's

worth

the

time

it

will

take

to

format

and

re-format

your

hard

drive

a

few

times

at the

outset.

The

procedure

is:

format

your

hard

drivewith

a

particular

inter-

leave

setting,

then

transfer

a

pretty

good

sized

instrument

to

the

hard

drive

(at

least

2,000

blocks),

then

load

the

insuu-

ment

from

the

drive

into

your

keyboard,

timing

the

transfer

on

a

stopwatch.

Write

down

the

elapsed

time.

Re-format

your

SCSI

drive

with

another

interleave

setting.

then

load

the

same

insuument,

again

recording

the

time.

Do

this

with

three

or

four

different

interleave

settings

(you

probably

don't

need to

test

all

ten

of

them,

unless

you're

more

com-

pulsive

than

I

am),

noting

the

fastest

setting.

Ftrtally,

fonnat

your

drive

using

the

fastest

interleave

factor.

You

bought

the

diing

for

speed;

you

might

as

well

make

it

as

fast

B

you

can!

For

Body,

Use

A

Conditioner

Bite

the

bullet

and

shell

out

a

hundred

bucks

for

a

good

line

conditioner!

Ensoniq

keyboards

in

particulx

get

very

cranky

when

fed

less-than-pristine

electrical

K

I

have

used

'y'FX's,

SD's,

ESQ's

and

EPS's

in

live

gigs,

and

I

have

experienced

current-based

problems

with

all

four,

ranging

from

garbled

displays

to

sequencer

timing

glitches.

to

com-

plete

crashes

and

near-meltdowns.

I

have

also

noticed

a

remarkable

difference

when

using

a

good

line

conditioner.

It's

worth

every

penny

for

the

peace

of

mind

and

con-

fidence

it

will

give

you.

These

suggestions

jest

scratch

the

surface;

I

am

in

the

process

of

compiling

a

set

of

Country

dz

Western

tips

and

tricks

fm

En-

soniq

keyboards-

They're

actually

I

the

same

ones.

btrt

you've

got

to

at

read

'em

with

a

dram-1

and

a

cheek

full

o'

Skoal.

Until

th-cu.

happy

giggin'l

-

Crustoceous

Percussionus

The

Big

Fish

Audio

Ross

Garfield

CD

‘

For:

ASR-Ill

w.-’SC-SI,

lb

lvlb

and

compatible

CD

reader.

Product:

Big

Fish

Audio

Ross

Garfield

Percussion

CD.

Price:

$299.95,

Audio

CI}:

$69.95.

From:

Big

Fish

Audio,

Illlllii

Penrose

Street,

Suite

C,

Sun

-Yalley,

CA

91352,

phone:

EDll'.'i'

l'i.Fisl"r

{voice},

Bl

B.TErli.41

IT

{fax}.

-i

I

K

ii“

I

This

month

we

get

to

flex

the

new

ASR-I0

O.S.

Y.

3.08

and

torque

it

around

to

review

some

Roland

STXX-type

CD

files

from

Big

Fish

Audio.

And,

if

you

read

the

header

at

the

top

of

these

reviews,

be

advised

you'll

need

the

full

ldlvlb

expansion

to

read

many

of

these

files.

We've

been

clamoring

about

our

sampler

not

being

able

to

pull

some

of

the

stunts

that

the

K-type

sampler

will,

so

here

goes...

The

Roses

All

the

samples

are

glorious

D3

(digital

in,

digital

process,

digital

out),

so

the

noise

floor

of

these

samples

is

basically

the

same

as

the

floor

of

the

ASR-10.

And

you

get

ll3'i+

of

the

best

drum

samples

out

there

in

the

ether

wind:

hard

kits,

soft

kits,

medium

kits

in

both

both

hi

and

low

memory

con-

figurations

abound.

For

the

cross-platform

audience

General

MIDI

kits

are

represented

for

perusal.

But

these

are

for

the

Cakewalk

crowd:

the

meat

of

this

CD

is

its

sound...

And

sound

you

get.

I

mean

Gretsch

kits,

Ludwig

kits,

DW

kits,

Leedy

kits,

even

the

cymbal

sizes

are

noted

in

filenamesl

Chokes,

half-pedals,

splashes

and

damped

cym-

bals

abound,

and

the

snaresl

Any

tuning,

any

length

gate,

any

process,

any

size

you

can

hear

is

here.

Wet,

dry,

predelayed,

snap,

pop

(sorry,

no

crackle}

snares

are

all

over

this

CD.

Jazz

kits

here,

with

Light

crisp

fusion

styles

rep-

resented;

even

metal

kits

are

included

for

speedthrashing.

Of

course

there's

8138

kits

too.

The

very

cool

thing

here

is

all

are

represented

in

both

the

aforementioned

hi

and

low

memory

configurations

for

us.

Hundreds

of

configurations

are

present,

so

you

won't

have

to

assemble

your

drum

kit

piece

by

piece.

Still,

you'll

get

the

best

results

by

mixing

and

matching:

I

actually

sculpted

a

Led

Zeppelin

kit

that

sounded

nearly

indistinguishable

from

the

record.

Gated

kick

with

dry

beater

and

3'

head,

ul-

timo

snare

in

short

ambient

room;

all

the

stuff

is

right

here!

This

CD

is"

enough

for

you

to

seriously

consider

devoting

your

ASR-Ill

to

the

complete

drum

libraryihistory,

both

Par

F

innigan

past,

present

and

future.

If

you

gotta

ADAT,

this

CD

will

push

that

idea

over

the

top.

MSRP

includes

a

license

to

the

purchaser

for

live

or

re-

corded

use

(in

legalese,

a

reproduction

license).

You

can't

tweak

these

samples

and

sell

them

as

your

own,

but

an

agreement

is

included

just

in

case

you're

dense,

cognitively

challenged,

or

otherwise

devious,

reminding

you

not

to

dis-

tribute

someone

else's

intellectual

property

as

your

own.

The

Thorns

This

is

a

Roland

CD,

so

you're

gonna

become

one

with

our

new

friend

O.S.

3.08

exploiting

Ross

Garfield

at

his

finest

on

this

disk.

Since

this

is

a

Big

Fish

Roland

Audio

CD,

every

filename

begins

with

a

period

(not

a

filename,iexten-

sion

separator),

so

don't

think

the

ASR

display

has

a

stuck

digit.

Big

Fish

Audio

explains

this

is

the

Volume

ID

in

the

Disk

Load

menu

page

of

the

S-Series,

but

that

doesn't

do

us

a

whole

lotta

good,

does

it’?

Also,

a

low

memory

configuration

in

an

S-series

is

con-

sidered

S

Mb,

with

1

Mb

SIMMS

populating

all

the

SIMM

slots:

a

high

memory

configuration

is

8

4lvIb

SIMMS

in-

stalled,

or

32MB

(re.,

2X

the

max

ASR

config).

A

lot

of

these

high

memory

kits

simply

won't

fit

into

an

ASR.

So

you'll

find

yourself

importing

half

a

low

mem

kit

(kicks,

snares

and

toms)

into

3-4

layers,

and

trying

to

import

half

a

high

memory

cymbal

kit

into

the

other

3-4

free

layers.

This

is

not

the

optimal

deal,

but

it's

better

than

the

"import

in-

complete-out

of

memory"

messages

you

get

trying.

You're

gonna

leam

fluent

Rolandese

architecture

(say

sample-

timbre-patch-program)

and

learn

to

import

patches

rather

than

programs

to

optimize

drum

kit

creation.

You'll

quickly

discover

the

8-layer

limitation

this

way.

I

spent

4

and

a

half

hours

importingimassagingflayering

etc.

creating

that

Zep-

pelin

kit

I

spoke

of

earlier.

And

that's

likely

the

antithesis

of

what

we

went

with

the

ASR

for

in

the

first

place:

a

supremely

crafted,

highly

productive

user

interface.

So

you've

gotta

understand

Rolandese

to

get the

file

to

come

across‘?

Hmmm;

could

that

be

methane

in

the

breeze‘?

Anyway,

it's

the

price

you

pay,

so

so-be-it.

Some

of

the

samples

that

tweak

the

S-series

resonant

filter

just

don't

come

across,

because,

unless

you

use

Waveboy's

Resonant

Filter

Disk,

you

can't

dial

the

ASR's

filter

Q

up

high

enough.

Not

a

biggie,

but

duly

noted.

Importing

certain

samples

by

limiting

key

range

seems

to

be

the

only

way

to

stuff

some

of

those

32lvIb

kit

files

into

our

ldlvlb

sampler,

with

striking

results.

Other

imports

layer

right

and

left

channels

as

two

distinct

layers:

add

a

coupla

layers

for

velocity

switching

and

you'll

bang

the

memory

wall.

All

this

is

documented

in

the

O.S.

3.03

release

notes,

but

be

forewarned...

The

sheer

number

of

representative

sounds

per

drum

might

just

drive

you

up

the

wall

trying

to

figure

out

the

subtle

dif-

ference

in

sound.

If

you

begin

to

wonder

why

the

plethora

of

sounds

is

represented

under

46

different

effect

settings,

remember:

the

S-series

doesn't

have

built

in

DSP.

So

smile

approvingly

at

the

DP-1

built

into

your

ASR-I0...

I

also

dis-

covered

how

slow

an

Apple

300

2X

CD

really

is

when

un-

cached.

The

Deal

This

is

a

CD

of

remarkable

percussion

content

and

unsurpassed

sonic

quality.

It

just

doesn't

xlate

to

the

ASR

as

I'd

like

it

to.

And

it's

no

fault

of

Big

Fish

Audio:

this

CD

IS

the

goods:

it's

just

that

you'll

have

to

jump

through

some

hoops

to

massage

them

into

ASR

format.

And

it's

not

as

big

a

pain

in

the

butt

as

it

is

to

import

samples

via

MIDI

into

another

architecture:

tried

bouncing

samples

around

on

a

Yamaha

or

a

Peavey

lately?

It's

just

that

you're

likely

to

lose

sight

of

the

forest

pedi-

greeing

the

bmk

of

the

trees

from

this

CD.

You'll

have

to

dissociate

your

programming

hemisphere

from

your

musical

hemisphere

to

properly

use

this

product.

Consequently,

you'd

better

spend

a

coupla

days

or

weeks

xlating

and

map-

ping

these

Garfy

samples

into

Garfsoniq.

Then

load

the

kits

instead

of

your

routine

default

drum

files,

than

start

mixing

track

levels

and

tweaking

instrument

levels.

You'll

be

much

happier

than

trying

to

import

the

sound,

wrestle

with

a

loop-

tuning

parameter

anomaly

in

the

sample,

get

it

processed

right,

map

it

onto

the

right

notes,

tweak

the

layers,

and

rnen

u'ying

to

sequence

the

rhythm

track.

Do

it

in

three

steps:

First,

import

the

sounds

and

save

in

ASR

format.

Second,

torque

and

tweak

into

a

kit.

Third,

load

and

use

with

your

left

hemisphere:

give

that

right

lobe

a

break

cause

it's

been

doing

double

time.

And

sleep

between

these

steps...

This

CD

is

a

genuine

diamond

of

such

high

quality

profes-

sional

jewelers

can

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If

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those

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.,

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ASR-ers

whe

have

the

hard-

ware

te

read

semeene

else’s

seftware.

and

the

discipline

ef

net

enly

matric-

ulating

yeur

instzrument

but

its

latest

OS

release

is

where

tl1is

CD

is

aimed.

And

it‘s

net

really

aimed

at

the

ASR

te

begin

with,

se

unless

yeu

can

dis-

tinguish

ear

candy

frem

ear

truffles,

it’I1

prebably

miss

yeu.

But

fer

these

patient

types

whe

wiii

spend

mere

time

than

it

sheuld

take

te

get

things

just

right.

this

CD

will

return

its

benefit

in

spades.

Yeu‘se

get

te

realise

that

yeu’re

in

that

rarified

atmesphere

abeye

the

96

per-

centile

where

each

percentage

peint

cests

an

enpenential

ameunt

cf

the

preceding

percentage

peint..

Yeu're

net

a

casual

club

player

er

hebhyist.

Yeu’re

net

a

weekend

warrier

whe

blazes

threugh

the

reperteire

in

crewd

astenishment.

Yeu’re

net

a

diddler

whe

hangs

at

the

studie

waiting

fer

the

epen

track

te

fill.

Yen

prebably

run

the

pest-heuse,

if

net

eutright

ewn

it.

Yen

beught

an

early

$6008

ADS

digital

reyerb

ever

a

Lesicen

fer

the

studie

because

yen

ceuld

hear

the

dif-

ference.

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A-

is

an

A+

unless

yen

can

hear

the

difference.

Ear

candy

fer

the

edu-

cated

palette.

I

rate

this

CD

an

A-

be-

cause

the

label

rates

itself

as

"The

BesiDr1nns

en

Eerrn.“

That’s

pushing

it

a

bit,

if

net

eutright

facetieus.

Per-

haps

“The

Best

Sennding

Drums

en

Earth“

is

cerrect.

Because

if

they

were

indeed

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Best

Dnims

en

Earth"...

...they‘d

already

be

in

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fD1Tl'li'i‘|I.

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More

on

DP/4

Reverb

Parameters

If

yeu've

been

fellewing

this

series

ef

DPI4

articles,

yeu

knew

that

last

time

we

teuched

en

seme

ef

the

basic para-

meters

that

yeu

need

te

understand

in

erder

te

tweak

esis

ting

DP,t'4

presets

er

yeur

ewn

reverb

creatiens.

We

used

a

plate

reverb

last

time.

This

time

we'll

centinue,

using

the

reem

and

hall

algerithms.

We'll

be

fecusing

en

using

the

para-

meters

that

are

different

in

this

type

ef

reverb.

Any

changes

we

make

apply

alse

te

the

DP;'4+.

The

parameters

are

identi-

cal.

Set

up

yeur

DP!-4

and

censele.

We

need

an

amt

send

cen-

nected

te

Input

#1

ef

the

DPI4.

Cennect

the

steree

euts

ef

the

DP)’-4

te

twe

channels

ef

the

censele

fer

menitering.

A

seund

seurce

capable

ef

sending

a

percussive

instrument

such

as

a

cewbell

sheuld

alse

be

set

up.

As

I

mentiened

last

time,

it

is

easier

te

hear

the

differences

in

the

parameter

changes

yeu

make

while

learning

if

yeu

use

a

shert

percussive

seund.

In

fact,

semetimes

when

I'm

editing,

I'll

use

a

werkstatien

key-

beard

and

sequencer

{TS-ID

—

plug,

plug)

te

repeat

a

shert

phrase

se

that

my

hands

are

free

te

tweak

reverh

settings.

On

the

DP!-4,

select

Cenfig

#52,

1

Unit

Presets,

by

hitting

the

Select

butten

and

then

screlling

with

the

data

kneb.

Then,

hit

the

Unit

A

butten,

and

select

ROM

preset

#52

Hall

Reverb.

The

parameters

and

the

esperiments

in

this

lessen

apply

te

the

Small

Reem,

Large

Reem

and

Hall

Reverb

algerithms.

Last

time

we

discussed

the

Reverb

time,

pre-delay

time,

and

High

Frequency

Damping

parameters.

They

functien

in

the

same

manner.

Take

a

mement

new

te

screll

threugh

the

editable

parameters

available

in

Hall

Reverb.

The

first

new

ene

yeu'1l

see

is

LF

Decay

Tirne.

This

parameter

will

set

the

rate

at

which

lew

frequencies

will

decay.

Higher

values

mean

that

lew

frequency

infermatien

will

take

lenger

te

decay.

Try

it;

send

a

tem

er

a

kick

drum

te

the

DPI4

while

increasing

this

parameter.

Yeu

sheuld

hear

a

definite

in-

crease

in

bettem

"beem."

At

seme

peint

it

will

start

te

seund

like

yeu're

in

an

airplane

hanger.

A

negative

setting

en

this

parameter

will

have

the

eppesite

effect;

the

lew

frequencies

will

decay

faster.

Return

the

Lt-7'

Decay

Titne

setting

te

lvlevin

g

en,

we

ceme

te

the

Diffusien

settings.

There

are

twe

ef

these,

ene

fer

high

frequencies,

the

ether

fer

lew

frequen-

cies.

These

are

fellewed

by

the

Decay

Definitien

parameter.

Send

a

cewbell

te

the

reverb

while

yen

change

the

value

fer

Diffusien

1.

With

lewer

values

yeu

will

hear

mere

ef

the

quick

echees

that

make

up

the

reverb.

Here's

a

tip:

if

yeu're

Ray

Legnini

editing

and

want

te

quickly

cempare

a

value

yeu've

chesen

with

the

eriginal,

hit

the

"Cance1fUnde"

butten

lecated

te

the

left

ef

the

curser

arrews.

This

will

unde

the

last

edit

yeu

made

and

return

it

te

the

previeus

value

as

leng

as

yeu

still

have

that

parameter

flashing

in

the

edit

windew.

Recall

the

Hall

Reverb

preset

befere

centinuing.

lvleving

en, the

signal

passes

threugh

a

detune

sectien.

This

helps

te

smeeth

eut

the

decay

even

mere.

Edit

the

rate

and

depth

parameters.

In

this

case

it's

easier

te

hear

the

effect

with

a

sustained

seund.

This

detune

sheuld

be

easy

te

under-

stand

if

yeu

are

familiar

with

a

synth

LFO

altering

pitch.

The

pitch

meves

slewly

abeve

and

belew

the

center

starting

peint

at

a

steady

Rate.

Higher

settings

cf

Depth

will

make

the

effect

mere

ebvieus.

Recall

the

eriginal

preset

befere

centinuing.

Hit

Edit

and

screll

te

parameter

#14.

The

nest

greup

ef

parameters

centrel

a

delay

line

used

te

simulate

the

seund

seurce

beuncing

areund

the

reem,

creating

the

early

slap

echees

yen

hear

in

a

hall.

Twe

sets

ef

these

delay

parameters

are

previded.

Use

yeur

percussive

seurce

again

while

yen

meve

the

values

fer

Time

and

Level.

Again,

try

an

cstreme

setting

(Time

=

120

msec

and

Level

=

S0-100)

te

get

yeur

bearings

and

then

back

eff

inte

mere

subtle

settings

as

yeu

get

mere

cemfertable.

Recall

the

Hall

Reverb

preset

befere

centinuing.

Hit

Edit

and

screll

te

parameter

#20,

Pesitien

Balance.

The

three

settings

available

here

allew

yeu

te

change

yeur

listening

perspec-

tive,

frem

cleser

te

the

stage

te

farther

back

in

the

hall.

Yeu

can

blend

the

three

pesitien

ameunts

te

suit

the

centest

ef

yeur

music.

Zere

eut

the

factery

settings

while

sending

a

percussive

seurce

threugh

the

DPI4.

Ne

reverbl

This

is

ac-

tually

a

miner

ef

three

areas

within

yeur

hall,

clese

te

far.

With

yeur

percussien

sequence

playing,

listen

te

each

ef

the

pesitien

taps

separately;

then

start

te

cembine

them.

That's

all

fer

new.

Editing

reverbs

may

seem

difficult

at

first,

but

with

a

little

practice

yeu

tee

can

create

useful

presets.

As

always,

save

the

best

variatiens

te

a

librarian

pre-

gram

fer

easy

recall.

-|

Bie:

Ray

Legnini

is

a

weriti

renewnea

teievisien

hest.

Watch

fer

his

new

TV

shew

“Reverbs

ef

the

Rich

and

Fameus"

cera-

ing

this

fail’.

WHAM,

BAM!

Kickin'

Drums

from

Sam...

Preduct:

Kt'ci:t'tt

Drttms,

Syntaur

Sample

Set

#3.

Fer:

EPSs,

ASR,

TSs.

Price:

$29.95t'4

disks.

Frem:

Syntaur

Preductiens,

5402

W.

43rd

St.,

Heusten,

TX

"I-"i'0’92,

Fhene:

I-B00-334-I233,

nen-U.S.t'Infc:

1-T13-632-I960.

Sam

Mims

that

is,

aleng

with

Tedd

Speer,

Tweaker

in

Residence

areund

Syntaur

Preductiens

ef

Heusten,

TX.

I'm

a

wee

bit

skeptical

as

I

lead

Disk

EPS

301

[Disk

1

ef

4)

inte

the

'16

Plus...

"Whirr

clunk

clunk."

New,

as

a

weuld-be

musician

hanging

areund

anywhere

I

ceuld

find

a

micrephene

er

an

indulgent

ear,

I've

knewn

a

few

aceustical

drum

sets

that

eccupy

a

permanent place

in

memery,

including

a

rauceus

Vista

Lite

set

by

Ludwig,

an

all-maple

set

cf

Regers,

and

a

middle-cf-the-line

Pearl

set

with

hydraulic

heads.

Thing

is,

this

sample

set

is

derived

frem

all

electrenic

seurces,

and

all

I've

ever

werked

with

in

drum

machines

is

a

Sequential

Drumtraks,

a

LinnDrum,

and

a

Synclavier

(which,

ef

ceurse,

is

net

a

drum

machine

per

se,)...

Net

te

worry

theugh...

My

expanding

library

effers

bekee

whams,

bamms,

and

things

that

ge

"BWAIvlP

SHINGLEYJII‘-JG"

in

the

night,

se

we're

checkin'

'em

eut

te

see

exactly

what

these

drums

be

"Kickin'

."

DISK

1;

File

1:

Reland

TR-909

—

Of

nete

here

is

a

splash

cymbal

seund

mapped

te

C5

vicinity...

Very

delicate

and

treated

gently

in

assignment

ef

effects

en

the

patch

selects.

A

weed

bleck

(er

weed

rim

tap)

is

alse

very

mellew

with

that

hellew

nutty

"clack."

A

set

ef

Rete-Tems,

er

the

like,

misses

the

mark

fer

me.

-

File

2:

Oberheim

Kit

—

Help

me!

I'm

lest

in

space...

pretty

spacey

seunds

even

fer

a

madman

like

me.

Hewever,

there

is

a

very

interesting

{albeit

hew

useful

ih

up

te

the

user)

sus-

tained

tympani.

If

ever

yen

require

the

seund

cf

Dr.

IvIcCeys'

sick

bay

bie-meniter,

yeu'll

find

it

en

lew

C.

Of

interest

is

the

fact

that

I

was

able

te

recerd

instant

patch

select

changes

te

sequence

as

seme

care

has

been

taken

te

vary

the

intemals

ef

the

effects

rather

than

te

impese

the

delay

in

trying

te

let

the

patch

selects

call

up

new

effects

tit-

les.

One

can

cleanly

have

seme

beats

change

in

celer

en

the

very

nest

hit

due

te

this

pregramming.

File

3:

E-mu

Percussien

Effects

—

I

wender

if

the

buying

public

knews

hew

much

time

and

effert

gees

inte

tweaking

this

many

recerdings

inte

I46

blecks.

There

is

an

eitcellent

Jeremy

Ryan

set

ef

bambee

pipes

that

have

a

bit

ef

bass

kalimba

seund

in

the

attack,

quite

playable

as

they're

mapped

acress

the

entire

instrument.

There

are

a

few

mappings

that

bring

up

entirely

new

waveferms

under

certain

patch

selects.

DISK

2;

File

1:

E-mu

Precnssien

Rap

Stuff

—

Yen

will

find

a

very

punchy

kick

drum

en

the

bettem...

If

yen

call

up

the

X0

patch

en

this key

yen

get...

Nethin'...0h,

it's

back-

wards.

Theught

I

feund

a

mistake...

Wreng!

There

is

ene

in-

teresting

Ieep.

It's

a

kind

ef

.Tetsens'

spaceship

seund,

‘the

a

bit

retarded,

like

a

pitch-shifted

metercycle

at

idle.

I

wasn't

successful

in

using

it

musically,

perhaps

anether

try

later.

Yeu'll

find

seme

recerd

scratching

and

such...Oh,

well.

File

2;

Yamaha

RX-11

Drum

Machine

—

I

had te

BUUST=0N

te

really

hear

these.

Must

ef

these

are

mere

traditienal

(aceustic)

drum

seunds

altheugh

the

patch

selects

call

up

a

respectable

psychedelic

wrap.

Geed

metal

in

this

set

yields

legitimate

playability.

Discevering

ene

ef

the

deuhle

key

cembinatiens,

I'm

reminded

ef

the

report

heard

a

few

secends

after

the

blue

flash

ef

mertar

ertplesien

during

firewerks

shews

at

the

Washingten

Ivlenument.

DISK

3;

File

1:

Bess

DR-550

Drum

Machine

—

Se

far,

I

think

this

set

emerges

as

premiere.

There

are

many,

many,

drums

crammed

inte

1535

blecks

and the

player

can

instantly

change

te

tetally

new

renderings

during

play

by

calling

up

layers

en

the

patch

selects.

It's

a

huge

set

and,

altheugh

I

preferred

tn

tweak

dewn

seme

ef

the

‘verb

en

certain

kick

and

tems,

I'm

geing

te

get

mnche

mileage

eut

ef

these.

Fer

many

meens

new,

I

had

been

werking

en

develeping

a

drum

seund

reminiscent

ef

a

burlesque-hall

trap

set

such

as

ene

might

have

heard

barking

eut

rells

and

rims

te the

bump

and

grind

rcutine

ef

Heney

Divine.

This

set

will

get

me

clese

(aleng

with

ED-001,

etc.).

DISK

4;

File

1:

Rnland

TR-606

Drum

Machine.

File

2:

Phunky

Drum

Kit

—

Here

yen

will

find

that

eb-

neitieus

hum-thump

that

pulsates

inte

yeur

space

frem

the

interier

ef

an

autemebile.

Outta

my

face!

Caught

that

ene

es-

actly.

Other

nevel

entries

are

centained

herein

as

well.

File

3:

E-mu

Precnssien

Rap

Kit

—

Yen

can

easily

create

rhythmic

pulse

er

"trance"

sequences

with

this

bad

hey.

File

4:

Mars

Percussien

—

Here's

a

tiny

little

66

blecks

cf

special

effects

percussien

that

are

imaginative

eneugh

te

launch

a

cempletc

cempesitien.

Very

inspiring...

Call

'em

"Speer's

Weird."

Cenclusiens:

I

figure

that

there

is

an

infinite

number

cf

vari-

ables

that

beceme

manifest

when

any

ebject

strikes

anether.

Believing

this,

it

seems

a

futile

effert

te

attempt

te

cellect

every

drum

seund

available.

Ne,

I'd

much

rather

keep

selec-

tiens

dewn

te

a

manageable

400

er

se...

well,

Okay,

350

then...

alright,

but

300

is

as

lew

as

I

can

ge.

I've

divided

my

HYPERSONI

“"

PC_l'IriATIC

midi

Seftware,

Netherlands,

has

released

versien

2.40

cf

EPSASR

EDIT

fer

ATARI.

The

editer

new

has

full

GEM-cempatible

windews.

Perferm

all

cemmands

frem

yeur

PC.

Pepup

Iteybeard

(never

tench

yeur

sampler

again).

Wave-

data

display,

wave

everview-display.

Edit

SAMPLESTART

and

END,

and

LOOPSTART

and

END

parameters

by

drag

and

drep-

ping

with

yeur

meuse.

Graphic

PITCH-,

FlLTER-

and

available

drum

seunds

inte

three

elassificatiens:

Earthbeund,

Atmespheric,

and

"'1'".

Kickin

Drums

makes

welceme

cen-

uibutiens

te

all

cf

'em.

_

Yen

will

find

that

Kickin

Drums

frem

Syntaur

is

99

49;

44,!

100%

pure

bang

fer

the

buck.

-I

Bic:

Jeremy

Ryan

("J'.D.",I

is

busy

establishing

his

new

studie

in

the

mere

temperate

ciimcs

ef

Ciearwater,

F

i.

UNDO

at

all

levels.

Auditien

en

all

wavedata

changes.

Fer

EP-

SASR

EDIT

fer

ATARI

in

the

USA,

centact:

Rubber

Chicken

Seftware

Ce.,

P.O.

Bert

100,

Willmar,

MN

56201.

Phene:

1-800-8-PRO-EPS,

612-235-9293

{vcice

er

fart),

Internet:

chickenEPS@ael.cem.

In

Eurepe:

PC_MATIC,

Rclandsweg

31,

6136

BT

Sittard,

Netherlands.

Tel:

+31

46

521

04'?

(vcice

er

fart),

Internet:

crembach@kneware.nI.

AMP-ENMELOPES.

Shape

yeur

envelcpes

by

drag

and

drep.

Classifieds

HAHDWAFIEISO

FTWAFIE

‘JFK-sd

21

veice,

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entire

Enseniq

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libraries,

perfect

ccnditien.

2.10

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ware

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Phene:

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Quakecaster!

A

unique

guitar

appearing

in

several

Enseniq

manuals,

used

in

designing

DPI4

presets

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testing

Beta

units.

Silvertene

bedy,

hrternatienal

neck,

Fender

tuners,

Gib-

sen

electrenics,

unlcncwn

micrephcnic

pick-

ups.

23

31'4"

scale.

Best

effer.

Tem

Tracy,

Enseniq

Cerp.,

155

Great

‘Valley

Parkway,

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PA

19344.

TS-12.

Expanded

sample

memery,

SOX-T0

in-

stalled.

50+

disks.

$2500.

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Enscniq

ASR-10,

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ram,

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library,

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te

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cenditien,

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year

eld.

$1599.00.

T04-542-1513,

Chris.

VFX-sd

wihard

case

+

large

library.

$395.

TeIt'Fas:

212-T2?-083?.

Mint!

If

yeu're

crazy

eneugh

to

be

_

selling

yeur

gear...

Please

be

sure

tc

pass

aleng

hew

abselute-

iy

vital

it

is

tn

have

it

subscriptien

tn

the

Transeniq

Hacker.

And

hew

wenderful

we

are.

And

hew

yen

eeuldn't

have

survived

withent

us.

Arid

hew

they

sheuld

quick

send

us

s

check

befere they

dc

anything

~

else.

And...

1

I

I

FFK-sd,

ncn-32

‘v'eice,

all

ether

updates.

$350.

Tedd,

402-553-3250.

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Used

6

menths.

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bert

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S1300

er

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effer.

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er

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ASR-10,

I

year

eld.

Used

in

heme

less

than

10

heurs.

Factery

memery.

40

disks

cf

patches.

$1200.

610-449-9922

after

6:30

pm

{EST}.

SAMPLESIPATCHESISOUNDS

Original

ASR,

'16+,

EPS,

Mirage

Samples!

Will

trade

fer

1960's

and

191-'0's

vintage

cembe

ergans,

electric

pianes,

electric

guitars

and

amps.

Call

Barry,

31

5-31-'9-9263.

Still

available

—

Jim's

Teybert:

60

eriginal

seunds

fer

the

KFFX-sd.

Unusual,

avant-garde.

{See

review

in

June,

'93

Hacker.)

Trade

fer

bank

cf

eriginal

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er

nncepiea

cepyright

seunds.

Ur

send

$20

check.

Sertd

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fer

decumentatien.

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Sump,

90

Bell

St.,

Fund

du

Lac,

WI

54935.

Phene:

414-922-433?.

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Dwarf"

ferges

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electrenic

samples

fer

EPS-16+.

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seru'c

surprises.

Catalcgue

=

$1

er

free

with

SASE.

$4

per

disc.

Andrew

Faltensen,

“Resenant

Dwarf,"

903

NE

50th

St.,

Seattle,

WA

93105.

CUSTOM

ASR-10

ROBOTIC

VOICE

SAM-

PLES!

Yes,

indicate

what

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yen

need

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te

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syllables}

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I

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the

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These

aren't

veceder

samples,

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20

$10,-‘phrase,

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fer

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Wayne

Schrcedcr,

523

Seett

St.,

Studie

L,

San

Francisce,

CA

94112.

FINALLY!

A

new

set

cf

16-bit

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frem

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Shear.

This

time

he

tackles

the

Walderf

Micrewavel

Fer

enly

$15

+

$3

STH.

ycu

can

have

3

disks

packed

with

the

fattest

digileg

synth

seunds

yeu've

ever

heard!

Send

an

SASE

er

e-mail

(temshear@AOL.cem}

fer

free

cataleg.

Tem

Shear,

1'26

Fcurth

Avenue,

Wiiliamspert,

PA,

ITI-'01.

OUT-OF-PHINT

BACK

ISSUES

M.U.G.

will

previde

Out-ef-Print

issues

fer

cest

cf

materials

and

pestage.

M.U.G.

Hetiinet

212-465-3430

er

write:

G-4

Prcdncticns,

PO

Bert

615'IH,

Yenkers,

NY

10103.

Attn:

Tl-I

Back

Issues.

Phene:

(212)

465-3430.

"'

"'

""

Felks

in

the

New

Yerk

City

area

can

get

cepies

cf

unavailable

back

issues

cf

the

Hack-

er

-

call

Jerdan

Seett,

‘I13-933-2400.

FREE

CLASSIFIEDS!

Well

—

within

limits.

‘We're

effcring

free

classified

advertising

{up

te

40

werds}

fer

yeur

sampled

seunds

er

patches.

Additienal

werds,

er

ads

fer

ether

preduets

er

services,

are

$0.25,!

wcrd

per

issue

{HOLD

type:

$U.45iwerd).

Unless

renewed,

freebie

ads

are

remeved

after

2

issues.

While

yeu're

welceme

te

resell

cepyrighted

seunds

and

pregrarns

that

yen

nc

Ienger

have

any

use

fer,

ads

fer

cepics

cf

cepyrighted

material

will

net

be

accepted.

Serry

-

we

can't

take

ad

dictatien

ever

the

p-Irene!

SQ,

KS,

KT

Family

Hockerpoieh

Guest

Hacker:

Jeff

Jeiton

Frog:

Lemcngate

By:

Je)j"J'ettou

Notes:

A

simple,

one-voice

patch

showing

how

to

emulate

a

keyed-gate

effect.

Check

out

"Lemon"

by

U2

or

“Crazy”

by

Seal

to

hear

this

effect

in

action.

WAVE

__.

.

AMP

1

2 3

1--'—“'"

'—_

'

—

‘

"Select

Voice

Dn

LFO

Speed

‘fiwaue

C-lass

Transwave

5

Noise

Hate

eo

-Wave

Fteeonant

tit

;

Level

59

Delay

Time

Dtiti

‘

Delay

co

"§5tart

index

oo

Wave

iIu1DDSGFt

Erwi

!

Fteetert

1

2

s

I

LFD

1

2

s

41

'Wa1re

Direction

"

MDDSHG

LFO

Square

fin

lnitlal

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air

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stain

99

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1

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IUD-i

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EHV

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co

Fine

ti

F01

HBD

do

LFO

GU

MUDHMT

+9

MDDAMIT

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ENV2

co

KBD

Ptch

Traclt

fin

F132

F-IBD

DD

'rFhter

1

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FITCH

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yr

3

Fllter2

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‘Octave

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Gutcfi

coo

EHV1

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'

MDDSCH

LFO

MODSGFI

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FG2

Gutofl

coo

Glide

orr

JF-C-1MDD-F02

on

'

Vol-Attack

ee

1

it-"e|

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Linear

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Horrnal

KBD

Track

co

OUTPUT

________1________

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Boost

Off

MDDSHG

LFO

'

MODAMT

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Time

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2

s

euyz

1

KBD

Scale

co

Key

Henge

-

Output

Bus

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3

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1

lnitlal

co

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-

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99

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-

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99

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99

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-

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Attack

-

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1

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1

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2

cc

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2

-

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50

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cc

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-

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Linear

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Curve

-

Mode

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Mode

-

it-ZED

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DD

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____

ltHD_Traclt

-

'

Pan

OD

'u'el

window

DOD

EFFECTS

—

CHORUS

+

HE"ti'EFlB

Standard,

default

settings.

The

Hflfiki

I

won‘t

go

into

the

details

of

how

a

gate

works,

but

basically

you

can

set

it

up

so

that

the

sound

you're

running

through

it

is

htrned

on

and

off

according

to

another

sound

com-

ing

in

the

"key"

input.

If

you

run

a

string

pad

through

it,

and

key

it

to

your

drum

machine’s

hi-hat,

for

ettample,

the

pad

will

pulse

on

and

off

in

time

to the

beat.

“Lemongate"

shows

how

to

get

a

similar

effect

on

your

SQIKSIKT.

Ideally,

you'd

want

to

modulate

the

output

section

with

an

LFO,

but

since

that

produces

a

bit

of

a

clicking

sound,

I

tried

the

neat

best

thing.

By

setting

the

LFO

to

a

square

waye,

and

routing

it

to

the

filter

sec-

tion,

you

get

a

similar

effect

—

the

LFO

clamps

down

regularly

on the

cutoff

frequency

so

that

no

sound

passes.

In

addition,

I

put

in

a

little

Transwave

action,

to

emulate

a

resonant

filter.

Al-

though,

to get

a

realistic

gated

sotmd,

you

have

to

play

all

your

notes

at

the

enact

same

time

(so

the

LFiIls

will

be

in

synch

with

each

other),

it

still

sounds

pretty

cool

if

you

don‘t.

The

first

thing

you'll

want

to

adjust

is

the

LPG

speed,

which

controls

the

tempo

of

the gate.

The

default

chorusfretrerb

effects

setting

sounds

good,

but

you

can

really

use

anything

you

want.

Per-

sonally,

I

just

bump

up

the

retrerb

decay

time

to

around

35.

You

also

might

want

to

try

out

some

other

LFO

waves,

such

as

PUSITRI.

and

if

you'd

rather

have

the

sound

come

in

right

away,

set

the

attack

of

the

amp

envelope

to

Di].

I

made

this

patch

intentionally

simple

so

that

you'd

have

no

excuse

not

to

pro-

gram

in

the

dang

thing.

Of

course,

there's

two

etttra

voices

just

sitting

there,

waiting

to

be

used,

so

you

may

want

to

try

beefing

it

up

a

bit.

The

mod

wheel

could

also

stand

to be

put

to

good

use.

And,

if

you

happen

to

lil-te

clicking

sounds,

go

ahead

and

try

using

the

LFO

on

the

output

section.

That'll

free

up

your

fil-

ter

for

more

ordinary

uses.

Bio."

Nashviite-based

keyboard

player

fefffetton

toured

with

John

Berry

for

two

years,

and

is

curreritiy

on

thereon‘

with

Warner

Brothers

recording

artist

Victoria

Shaw.

His

favorite

Gibb

brother

is

Robin,

aithough

it's

realty

hard

to

choose

_r'ust

one.

You

cart

contact

him

1-'ia

E-Mail

at

__ie_fl‘_}'etton@aoi.corrt

you

have

any

Comments

or

questions.

Z

!

l

Hcckerpatch

is

intended

to

be

a

place

where

patch

vendors

can

show

their

wares

and

musicians

can

share

their

goodies

and

impress

their

friends.

Dnce

something‘s

published

here,

it's

free

for

all.

Please

don't

submit

patches

that

you

know

to

be

minor

tweaks

of

copyrighted

commercial

patches

uniess

you

have

permission

from

the

copyright

owner.

All

submitted

patches

are

subject

to

consideration

for

mutilation

and

comments

by

Sam

Mints

and

Jeffrey

Rhoads

—

our

resident

patch

analysts.

If

you

send

in

a

patch,

please

include

your

phone

number.

Requests

for

particular

patches

are

also

very

welcome.

1

h

l

2

The

Interface

_i_

__-_

—

_

_

__

' '

___

__

ii

__1

Letters

forThe

Interface

may

be

sent

to

any

of

the

following

addresses:

U.S.

Mail

-

The

Interface,

Transoniq

Hacker,

1462

SW

Upland

lIir.,

Portland,

DR

97221

Electronic

mail

-

GEnie

l'~ietwork:

TRANSUHIQ,

Intemet:

i.nterfat:e@n'ansoniq.corn.

This

is

probably

one

of

the

most

open

forums

in

the

music

industry.

Letter

writers

are

asked

to

please

keep

the

vitriol

to

a

Readers

are

reofmded

to

take

everything

with

a

grain

of

salt.

Resident

answer-roan

is

Clark

Salishozy

{CS}.

Letter

publieadonis

subjectto

space

considerations.

To:

interfaco@transoniq.com

Subject:

Trimming

Samples

In

Issue

#119,

Robby

Herman

offers

way

to

insure

that

samples

are

tight

and

don't

have

unnecessary

silence

in

the

beginning

result-

ing

in

"flabby"

sounding

samples.

I

have

another

suggestion

for

a

way

to

do

this

that

has

worked

great

for

me,

and

I

believe

is

even

a

little

easier.

Simply

take

the

sample

in

question,

for

en-

ample

a

snare

drum,

and

use

the

root

key

parameter

on

the

pitch

page

to

transpose

the

sample

WAAAAAYYYYY

down...

to

the

point

where

it

doesn't

sound

like

a

drum

anymore.

Then

all

you

have

to

do

is

play

the

sample

and

adjust

the

sample

start

until

you

hear

sound

immediately

after

you

strike

the

key.

With

the

sample

transposed

down,

any

extra

space

at

the

beginning

of

the

sample

will

effectively

be

“snatched

out"

and

easier

to

hear.

After

you're

done,

bring

the

pitch

up

to

its

original

level,

truncate,

and

you

should

have

a

snare

drum

tighter

than

a

goose’s

bum.

Tom

Shear

‘Elia

Internet

[CS

-

Thanks

for

the

tip.

And

chccl:

out

Paul

ll-"a_;'ar's

letter

below

for

another

ap-

proach

to

goosing

sample

start

times.,l

TH

-

Here's

a

tip

for

the

Hacker

-

For

those

wanting

to

print

out

the

e-mail

version

of

the

Hacker

in

a

way

that

saves

some

paper....uy

using

the

“TEXT

IN"

fea-

ture

of

Word

Perfect

5.1

using

the

"DDS

TEXT

(CRILF

to

Slit)"

option.

This

chan-

ges

the

formatting

to

eliminate

a

lot

of

blank

space

at

the

end

of

each

line

and

re-save

the

file.

Then

I

use

a

WINDOWS

type

word

processor

{MS

Write

will

do

in

a

pinch

but

you*l1

need

to

save

the

file

as

an

ASCII

teat

file)

and

reduce

the

font

as

much

as

I

can

while

keeping

it

readable.

Looking

forward

to

the

neat

issue.

l-i

H

‘FIX

lie

i

I

f

l

I

1

Rob

Fisch

Chatham,

NY

Ilia

Internet

{C-5'

-

Cool!

Go

online,

save

a

treel]

{TH

—

and

whatever

you

do,

printing

out

the

entire

issue

is

NUT

recommended!

fric-

tually,

afler

a

little

while

net-surfing,

a

lot

of

people

don't

bother

at

all

with

hardcopy.),,l

i

Hi

Hackers,

Does

anyone

have

any

esperienco

of

using

the

new

Iomega

Zip

drive

with

the

ASR-

IIIR,

as

it

seems

like

a

very

cheap

storage

option‘?

The

drive

uses

3.5

inch

media

and

works

a

bit

like

a

Eenoulli

Drive

and

costs

under

$20-U

and

a

ltltllvlll

cartridge

under

$20.

There

are

two

versions

of

the

drive;

one

for

PC

with

just

a

parallel

port

and one

for

Mac

with

a

SCSI

port.

Ian

Barnett

_

Via

Internet

{CS

-

Ensoniq

confirms

that

the

Zip

drives

wori:

just

fine

with

the

ASR

and

TS

series

(sec

Brian

Albritton's

letter

below].

How-

ever,

for

some

reason

the

drives

do

not

seem

to

perform

well

with

the

EPS

or

EPS-Id

PLUS.

Stay

tuned,‘

we'll

bring

you

the

details

as

they

become

available.

,l

{Ensoniq

-

We

have

been

testing

the

Zip

drive,

and

it

worlcs

fine

with

the

ASR

and

TS.

Gar

only

caveat

is

that

lomega

has

im-

plernented

a

proprietary

software-based

write-protect

scheme

that

is

not

part

of

the

SCSI

standard.

The

cartridge

that

comes

with

the

Zip

drive

includes

some

bundled

software

utilities

and

is

write-protected.

The

ASR

cannot

reformat

the

cartridge

—

you

must

use

your

PC

or

Mac

to

an-protect

it

before

you

can

re-format

it.

Blank

media

is

not

protected

this

way,

so

your

subsequent

media

purchases

are

no

problem.

This

also

means

that

these

cartridges

cannot

be

write-protected

for

use

with

the

ASR

so

please

be

careful!

To

get

ahead

of

the

development

cycle

for

once,

we

can

announce

that

lomega

has

22

also

just

shown

a

new

drive

called

Jar,

which

is

a

I-Gigabyte

removable

mechanism

similar

to

the

Zip

drive.

it

will

retail

for

ap-

prarimately

$699,

with

.l-Gig

media

costing

about

Slilil.

We

have

already

tested

this

device

and

it

works

fine

with

the

T5‘

and

ASR,

including

Audio

Traci:

recording.

What

a

country...lj'

Subj:

CV

Pedal

controls

other

device.

I

have

a

Digitech

MIDI

effects

device

that

can

accept

continuous

controller

info

to

alter

various

sound

parameters

in

real

time.

How-

ever,

their

controller

pedal

array

goes

for

about

$30-U.

I

have

a

TS-12

and

a

CV

pedal.

Can

this

be

used

as

a

continuous

controller

for

the

Digi-

tcch

device?

In

other

words,

I

have

the

Cll

pedal

plugged

into

the

TS-12

and

the

TS-12

is

lvlllllled

to

the

Digitech.

Does

the

TS-12

output

the

CV

pedal

data

as

MIDI

contin-

uous

controller

data

so

I

can

use

this

as

an

indirect

way

to

control

the

Digitech?

Thanks,

jc

Suntower

Systems

vn

CompuServe

{CS

-

The

volume

pedal

can

be

set

up

to

transmit

MIDI

controller

data

via

the

TS-

lflti2

ldlfll

out.

Setting

the

pedal

to

VUL

on

the

.5‘Ystem

page

will

cause

the

pedal

to

transmit

controller

#1-7,

volume.

Setting

the

pedal

to

MQD

{modulation},

will

cause

it

to

send

controller

#4.]

Hi

to

all,

I

thought

Robby

Herman's

article

on

trim-

ming

samples

was

well

intcndcd

but

I

feel

that

there

is

a

much

quicker

and

easier

way

to

achieve

the

same

task

with

the

same

amount

of

accuracy.

F-hat

thing

you

do

is

go

to

“edit,-"system3"

and

turn

auto

loop

finding

off.

Then

after

having

taken

your

sample

set

the

sample

start

to

sero

then

bring

the

sample

end

point

down

to

almost

aero

(to

a

point

where

all

you

hear

is

“dead

air”).

By

moving

the

sam-

ple

end

peint

(teward

the

back

ef

the

sam-

Iflehhy

Herman

-

Wcii.

Taking

Tern’s

sttg-

ether

thirtgs

I

sheuld

he

taking

inte

cen-

ple}

yeu

will

be

able

te

hear

where

yeur

gcstien,

Paul's

technique,

ntine,

and

adding

sideratien?

sample

starts

indicated

by

a

small

cliclt

[the

the

ene

where

yea

jest

Iisten

tc

what

yeu're

very

frent

ef

yeur

sample).

Then

by

meving

tapping

eff,

yea

have

pretty

mach

ati

ef

the

Alse,

a

reader

vtrete

in

that

his

TS-12

the

sample

end

peint

back

cleser

te

the

start

pessihie

ways

ta

trim

the

frcnt

cf

santpies.

I

crashes

in

EVENT

EDIT.

My

ASR-ltl

rare-

peint

yeu

will

gradually

eliminate

the

click

stiii

prefer

rny

nrcthed,

which,

by

the

way,

is

ly

crashes

ertcept

when

saving

a

whele

mess

and

yeu

can

get

this

dewn

te

single

sample

virtttaiiy

the

sat;-‘ta

as

Patti’

s,

except

the

way

ef

edits

I've

made

in

EWIENT

EDIT

accuracy

where,

perhaps,

a

setting

ef

564

I

tie

it,

the

ciich

keeps

ciiciting

as

the

Ieep

TRACK.

(I

den't

remember

the

ertact name

(D)

in

the

sample

end

page

will

give

yeu

a

gees

rettnti

and

rettna'

-

I

just

think

it's

right

new,

but

it's

the

ene

where

yeu

edit

small

click

but

setting

553

(I1)

will

give

yeu

easier

te

hear

what’s

geing

en

that

way.

events

in

a

seng

track},

especially

if

the

ne

click

at

all.

Any

ene

cf

these

apprcaches

wiitwcrhj‘

piece

is

leng.

This

can

be

erttremely

frustrating.

I

was

wendering

if

this

had

re

Once

yeu

have

established

this

cenditicn

de

with

the

way

the

ASR-10

shuffles

data

in

malte

sure

yeu

set

yeur

sample

end

peint

[in

—--————-

RAM

[all

these

scattered

bleclts

and

stuff)

this

case}

te 564

{U}.

Then

ge

te

sample

Dear

Transeniq

Hacker,

and

if

adding

mere

RAM

[I

have

ID

Meg)

start

and

push

its

value

full

up.

It

will

then

weuld

help?

I

am

currently

using

‘it’

2.0

ef

read

{in

this

example)

563

{U}.

Finally

ge

In

Issue

119

yeu

made

seme

suggestiens

the

US

{theugh

I

have

3.0,

I

den't

use

it

he-

bacl:

te

sample

end

and

push

its

value

all

abeut

using

the

ASR-III]

as

an

eutbeard

ef-

cause

it

takes

tee

leng

te

save

stuff

er

mal-:e

the

way

back

te

the

end

ef

the

sample.

This

fects

precesser.

I

have

tried

befere

re

make

changes}.

last

step

may

seem

like

an

ebvieus

ene

butI

an

effects

leep

using

the

effect

sendst

have

been

caught

eut

by

truncating

befere

returns

en

my

Tascam

4-track

and

the

audie

Thank

yeu

fer

any

illuminatien

yeu

can

deing

this

and

inadvertently

erasing

seme

inputsieutputs

en

my

ASR-lfi;

hewever,

I

shed

en

these

tnatters...

ef

the

sample

I

wanted

te

keep.

develep

a

phasing

preblem,

i.e.,

the

signal

is

deubled

and

effset

a

little.

This

happens

Gerry

"Italic

Even

theugh

the

abeve

ertplanatien

may

ne

matter

which

effects

algerithm

I

am

Via

Internet

seem

a

bit

strange

at

first,

fer

me

the

whele

using.

ls

this

because

semewhere

en

the

precess

described

abeve

takes

abeut

fifteen

line,

the

wet

signal

is

getting

slightly

{CS

--

The

first

thing

I

figured

when

I

read’

secends

and

it's

dead

accurate.

Using

head-

delayed

relative

tc

the

eriginal

signal?

year

ietter

was

that

yctt

rnttst

be

tnirting

phcnes

er

a

fair

ameunt

cf

meniter

velume

Ceuld

this

be

caused

by

unbalanced

jacks

er

scrne

cf

the

dry

signal

threugh

the

ASR

helps

because

the

first

murmurs

cf

a

sample

can

be

pretty

quiet.

hlse

my

default

“pre-trigger"

setting

(in

the

sample

page}

is

3:.*:.*2§e;:;i:";:*.:‘;.‘;t::

me

Great

New

KS-1

I

I1

U

I

I1

-I

1'11

11

I

_-

-

'

{

'

Q.

§§fh“Z.

it;

25;‘;

é.§r~‘;‘Zi“1t..“E;‘.t;“..'iZr

,

s

fr0rn88

Grey

Lhlgtsgllglgjgzi

missed

semething

at

the

start

cf

€

its

-

' ' ' '

-

.

'

I;

P-:

-;:-:----.l;-

Finally,

Rebby

Berrnan's

mentien

that

all

eta

lent

factery

samples

are

well

tritnmed

has

net

been

my

experience,

While

I

admit

the

majerity

are,

I

have

feund

plenty

that

are

-

-at

net.

-

-

--

4.’:-

With

MIDI

music

I

believe

that

the

abeve

;

,-

cencept

is

ene

ef

the

mest

crucial

techni-

ques

ene

needs

te

master

te

make

effective

use

ef

available

reseurces

ethervvise

Quan-

,3?

3"‘

-c

1:-

tiaatien

and

a

whele

hest

ef

ether

eften

t"

Ultra

stabple-t

“

h

..,,.y:-.,_

used

sequencer

techniques

has

ne

frame

ef

reference.

JD-

I

hepe

seme

cf

this

makes

sense

and

helps.

PINE

$189-95-.+

$12-ml

s&H-

'

re

Plane

arid

'-"I

'

T

-3'.-

'

-

I

Cheers,

Paul

Najar

3

Paddingten

MSW

Australia

"

_.

g

_

'

£-

"

Tu

erder

er

fur

mere

infsrrnatiua

call

Zflfi-329-59437”;

"

i"‘s'

‘(CS

'

I

‘ii“"

“‘=‘f'P“ii

‘I

“iii

ii

I"“i“‘

“‘“‘

"5'

s-mail

gray

38@lralcyun.cem

-

BE

Gray

company

1629

42nd

ave.

E.

Seattle,

98112

H

yen

Tent

Shear

s

Ietter,

aherre.

Keep

en

tritnnrin’...j

23

back

in

with

the

eriginal

dry

signal

present

in

yeu

Tascam.

This

weuld

happen

if

yeu

were

preccssing

audie

threugh

yeur

ASR

with

the

effects

mix

set

te

anything

but

I

-llli%

wet

{which

yeu

accemplish

by

setting

the

mix

fer

whatever

FX

basses

yeu

might

be

using

in

the

ASR

te

99}.

Still,

if

yeu

were

inadvertently

sending

dry

signal

back

te

yeur

Tascam

aleng

with

the

efiected

signal,

the

audie

weuld

enly

exhibit

seme

preblems

with

phase

cancellatien.

Yea

weuldn't

hear

anything

that

ceuld

be

described

as

deubling,

er

perceptible

time

delay.

The

fact

is,

the

wet

signal

is

net

delayed

in

any

way

t’

unless,

ef

ceurse,

yeu're

using

an

ejjfect

algerithm

-

the

delay

algerithms

ceme

immediately

te

mind

-

designed

specifically

te

delay

the

signal}.

Se

if

what

yeu're

experiencing

is

actually

just

preblems

with

the

phase,

I'd

recemmend

double-checlcing

the

effects

mix

fer

any

ef

the

busses

being

used.

If

yeu

are

actually

hearing

seme

sert

cf

delay,

I'm

net

sure

what

that

might

be.

If

this

is

the

case,

yeu

might

try

te

previde

rne

with

a

bit

mere

infe

en

hew

yeu're

setting

things

up,

er

yea

might

try

ccntacting

Etrseniq

Custemer

Service

I

6i

ll-t5-sf

F-3930)

directly.

As

far

as

the

crash

preblem

gees,

the

ene

thing

I

will

recemrnend

is

that

yeu

use

the

mest

current

versien

cf

yeur

preferred

OS.

In

yeur

case,

this

weuld

be

OS

2.51’.

Yea

sheuld

be

able

te

acquire

a

cepy

frem

yeur

lecal

dealer,

er

directly

frem

Enseniqni

TH,

Enseniq:

First

ef

all,

I

weuld

like

te

say

hew

happy

I

am

with

my

TS-12

and

the

Hacker.

(Yeu

hear

all

the

negative

stuff

se

I

theught

yeu

might

want

te

hear

seme

pesitive

cem-

ments.)

Questien:

I

recently

purchased

the

Eli’

pedal

se

that

I

ceuld

recerd

velume

changes

in

se-

quence

mede.

{I

aveid

using

seng

mede

be-

Please

let

us

knew

at

least

fear

weeks

in

advance

re

aveid

missing

.

any

issues.

The

Pest

Office

really

will

NUT

reliably

ferward

this

cause

yeu

have

te

lead

the

sequences

in

the

cerrect

lecatien

fer

a

"seng"

te

werk

preperly.)

Is

there

a

way

te

cepy

velume

changes

frem

ene

track

te

anether

in

a

se-

quence?

This

weuld

be

help

me

evenly

fade

eut

all

tracks

at

the

end

ef

the

sequence,

etc...

Thank

Yeu,

Jee

Allbritten

Cadde

Mill,

TX

{CS

—

Yeu

can

use

the

FILTER

cemmand

1’

lecated

ameng

the

EditITracl:

menu

pages]

te

cepy

data

frem

ene

track

te

anether.

First,

make

sure

that

the

traclc

centaining

the

data

yeu

want

te

cepy

is

selected.

Press

the

Edit

Traci:

butten

twice,

and

select

FIL-

TER.

Select

the

type

ef

data

yeu

wish

te

cepy

I

in

this

case,

prebably

either

CNTL-?.ltT.iLUhIE,

er

MIXDUWI1l-VOL-

UME,

depending

en

the

type

cf

data

yeu've

recerded

inte

the

seurce

track}.

Select

MODE=EIlASE,*

this

will

take

yea

te

a

sub-page

which

will

allew

yea

te

specify

whether

yeu

will

be

erasing

er

cepying

the

specified

events.

F

rem

here,

yeu

can

select

the

destinatien

track

-

the

tract‘:

inte

which

the

seurce

data

will

be

cepied.

De

se,

and

then

press

the

seft

batten

abeve

*CO.Pl"*,'

yeu

will

be

returned

te

the

FILTER

page,

and

yeu

can

execute

the

ccpying

cf

the

data

by

pressing

*I".ES*.,l

am-3-|i|1|_

Interface:

I

have

a

questien

fer:

1.

Clark,

2.

Enseniq,

and

3.

Hackers

eut

there...

The

Situatien:

After

a

few

years

ef

relative

safety

in

my

heme

studie,

my

eriginal

‘IIFIL

purchased

in

1939,

has

taken

te

the

read.

In

Elcteber,

I

heeked

up

with

"Slip

ef

the

Tengue,"

(step

laughing

at

the

name,

please)

a

‘Iisalia-based

band,

and

my

VFJIE

(including

all

cennectiens

and

stand}

ge

threugh

at

least

twe

cemplete

tear-dewns

and

set-ups

each

week.

I'd

appreciate

any

ideas

er

experiences

te

minimize

unneces-

sary

lraumaipainidamage

te

my

VFX.

I

play

reek

and

blues,

se

keybeard-peunding

is

a

facter.

I've

taken

the

ebvieus

precautiens

—

pur-

chased

a

geed

hard-shell

case

and

an

Isebar

surge-suppresser

gang-bex,

and

my

stand

is

1-EH4"

tubular

steel.

I'm

leeking

fer

the

stuff

that

I

haven't

theught

ef,

like

the

""1IFX

Twist"

decumented

in

a

recent

issue.

Fer

my

centributien

te

the

"Playing

Live

Caveats"

—

be

aware

ef

the

relative

humid-

ity

and

air

circulatien

ef

the

reem

yeu're

playing

in.

During

a

break

at

a

gig

in

the

basement

dining

reem

ef

the

Wausau

(WI)

Ceunrry

Club,

my

VFX

began

firing

eff

netes

by

itself.

Luckily

fer

me,

it

was

a

Christmas

party

and

the

patch

setting

was

seme

sleighbell

seund,

but

yeu

get the

idea.

The

lecal

autherixed

tech

said

it

was

preb-

ably

the

very

high

humidity

that

did

it.

Anyway,

any

additienal

advice

weuld

be

appreciated.

Jee

Trave

llisalia,

Ca

{CS

-

I've

used

Ensenia

gear

in

club

dates

fer

years

witheut

trcuble,

and

my

enly

recemmendatien

is

just

te

treat

everything

sensibly.

Try

te

aveid

unnecessarily

drap-

ping

yeur

VFX

frem

high

places,

try

net

try

drive

ever

it

when

parking

the

band

van,

and

se

en.

Seriettsly,

yeur

VFX

sheuld

previde

yeu

with

treuble-free

eperatien

as

leng

as

yea

treat

it

with

a

medicum

cf

respect.

I

{Enseniq

-

It

seunds

like

yeu

might

need

yeur

VFX

checked

eut

and

be

sure

that

everything

is

as

current

as

pessible.

Cen-

tact

Custetner

Service

te

discuss

this

fur-

then]

TH:

Te

all

‘IIFK

and

SD-1

ewners:

There

is

a

hard-cere

fix.

fer

yeur

se

called

vintage

key-

Every

tnenth

we

mail

eut

thensands

ef

issues

and

every

menth

abeut

a

deaen

get

"misplaced"

by

the

Pest

Etffice.

If

yeu're

ever

ene

cf

the

winners

cf

this

lettery,

just

give

us

a

call

(503-22?-Edith,

eld

and

yeur

new

address.

{Issues

missed

due

te

late

er

ne

change

uetificatien

are

yeur

ewn

dumb

fault

—

we

mailed

theml}

type

ef

mail.

{Believe

us,

net

theml}

We

need

te

knew

beth

yeur

‘

B

am

-

B

prn

Pacific

Time)

and

we'll

he

happy

te

mail

I

replace-

ment

cepy

—

he

preb.

{Hewever,

if

yeu

accuse

us

cf

aefarieus

schemes

re

“rip

yeu

eff,"

yeu

will

be

effered

a

refund

and

given

helpful

subscriptien

infe

fer

ether

musician

magazines.)

beards.

Ne,

it's

net

easy

te

de,

and

ne,

it's

net

fer

all

users

re

take

en

by

themselves.

Yes,

yeur

keybeard

will

perfenn

like

never

befere,

and,

finally,

yes,

yeu'll

fall

back

in

leve

with

yeur

‘IFX,

SD-1

like

yeu've

al-

ways

wished

yeu

ceuld!

Hew,

yen

ask’?

Read

enl

In

the

Hacker,

I

eften

read

letters

frem

ewners

whe

are

saddened

by

the

unreliabil-

ty

facter

asseciated

with

these

fabuleus

keybeards.

Well,

fear

ne

mere

the

in-

evitable

crash,

eh

great

and

inspired

per-

fermer.

There

is

hepe

and

the

preef

is

making

itself

evident

in

my

ewn

SI]-I

week

in

and

week

eut.

It

reek

many

menths

cf

trial

and

errer

and

a

geed

knack

fer

elec-

trenics,

but

success

prevailed.

lvly

unit

hasn't

crashed,

rniscalibrated,

lecked

up,

er

any

ether

cemmenly

written

abeut

failure

since

the

installatien

ef

my

medificatiens.

I've

neticed

in

the

Hacker

that

questiens

abeut

the

reliability

ef

the

units

in

questien

here

are

eften

net

answered

er

yeu

get

the

respense

that

we

all

knew

tee

well,

“Cen-

tact

Enseniq

Custemer

Service."

Well,

yeur

keybeard

may

have

a

preblem

that

Enseniq

may

net

be

aware

cf!

Befere

I

begin,

let

me

say

that

I

have

never

dealt

with

such

a

cemmitted

greup

ef

individuals

as

I

have

enceuntered

at

Enseniq.

Their

service

is

secend

te

nene,

preduct

knew-

ledge

is

a

life

saver,

repair

time

is

fast,

and

they

can

and de

fix

mest

ef

the

preblems

we

threw

at

them.

Hewever,

by swapping

eut

main

beards

and

pewer

supplies,

etc.,

they

may

be

missing

the

seurce

ef

seme

preblems

that

will

ultimately

return.

Start-

ing

te

seund

familiar

tc

anyenc?

By

this

I

mean

that,

by

design,

seme

preblems

are

destined

te

ceme

back

given

the

elements

ef

cerresien

and

read

beatings.

I

have

seme

fixes

that

are

werking

extreme-

ly

well

and

have

se

far

kept

my

unit

en

stage

with

me

and

net at

Ivlalvern

en

the

bench.

The

IIFX,

SD-1

Series

is

indeed

quite

unique

re

the

later

Enseniq

releases

and

in

many

ways

still

superier.

Eneugh

jabber,

I

just

wanted

te

make

sure

yeu

all

understand

that

my

leve

affair

with

the

SD-I

and

Enseniq

is

streng

and

un-

blemished,

as

is

my

passien

fer

reading

the

Hacker.

Special

nete:

Enseniq

neither

enderses,

ner

are

they

yet

aware

ef

my

fixes.

Further-

mere,

de

net

even

get

near

yeur

unit

with

a

screwdriver

if

it

is

still

under

warranty.

Let

them

de

their

jebs,

that

what

a

warranty

is

fer.

If

net

under

warranty,

yeu

take

yeur

chance

cf

breaking

a

werking

unit.

It's

yeur

call,

se

think

befere

yeu

act.

Aside

frem

that,

if

yeu're

en

yeur

ewn

with

an

anney-

ing

unit,

read

en!

1.

Cennecters:

The

histery

ef

a

cennecter

is

ene

ef

failure.

Any

cennectien

in

a

design

that

can

be

eliminated

will

imprcve

the

reli-

ability

ef

a

design.

Humidity,

vibratien,

and

temperature

changes

make

the

metal

cen-

necters

beceirte

less

ef

a

cenducter

and

mere

ef

an

insulater

thus

a

failure

in

the

system.

Ribben

cables

and

their

cennecters

simply

de

net

make

sense

in

a

pertable

key-

beard.

There's

way

tee

much

vibratien

and

the

cenducter

is

se

easily

breken.

If

yeu

ex-

perience

many

calibratienerrers,

hard

wire

the

keybeard

assembly

te

the

main

beard.

I

used

ZZAWG

stranded

alarm

wire

because

it

is

flexible

and

easy

te

selder.

I

in-

dividually

hand

seldered

each

pin

en

each

end,

paying

attentien

te

pin

numbers

and

erder.

Den't

make

any

mistakes

is

all

the

advice

I

can

give.

when

yeu've

finished

all

the

separate

wires,

bundle

them,

cable

tie

them,

and

install

a

few

chckes

areund

the

lines.

Yen

can

fit

abeut

six

wires

per

cheke.

The

ehekes

help

eliminate

high

frequency

interference

which

can

upset

digital

cans-

missiens.

Alse,

hard

wire

the

pewer

supply

cennecters

en

the

input

and

eutput

ef

the

pewer

supply

beard.

It's

the

ene

with

the

fuses

and

the

large

heat

sink

sticking

eut

ef

the

back.

New,

speaking

ef

heat...

2.

‘lleltage

Regulatien

and

Temperature-

Related

Illrepeut:

I-lave

yeu

ever

felt

the

back

ef

yeur

unit

and

feund

it

re

be

tee

bet

te

keep

yeur

hand en

it

fer

any

length

ef

time‘?

It's

warm

because

it's

deing

its

jeb.

Heat

is

caused

by

the

veltage

regulaters

en

the

pewer

supply

deing

their

jeb.

But,

if

they

get

tee

her,

their

eutputs

may

vary.

Such

is

the

case

with

the

veltage

regulater

feund

en

the

main

beard

ef

the

SD-1.

(This

seclien

is

specific

te

the

SD-1.}

The

-5v

regulater

is

the

ene

with

the

heat

sink

en

it,

cleser

te

the

frent

ef

the

unit,

near

the

key-

beard.

[It

can

be

seen

simply

by

epening

the

tep.)

This

regulater

has

a

direct

effect

en

the

Reference

lleltage

used

by

the

main

beard.

When

it

gets

tee

bet,

reference

dreps

te

belew

123.

{Can

be

viewed

by

pressing

Preset

and

Cempare

simultaneeusly.)

When

yeu

first

turn

en

the

unit

it

will

read

a

nice

ceel

12'?

er

higher.

But

after

an

heur

er

less,

it

dreps

re

a

dangcreusly

lew

I23

er

less.

ht

ene

peint,

I

get

a

112

befere

I

medified

the

unit.

After

hardwiring

I2

at

the

pewer

supply

te

I14

at

the

main

beard,

it

jumped

te

12ll

—-

but

my

leckup

preblem

25

still

existed.

I

then

used

a

can

ef

circuit

ceeler

and

sprayed"

the

regulater

while

watching

the

reference

page

te

find

that

it

jumped

te

133.

As

it

slewly

warmed

it

drepped

te

120

again.

Still

in

the

crash

acne.

I

decided

te

replace

the

regulater

with

a

military

spec

regulater

Part

Number

'l9ll5CTfi‘22ll

-5v.

I

installed

it

with

a

larger

heat

sink

and

a

ceeling

fan.

New

the

unit

fires

up

celd

at

133,

dreps

te

I2’?

and

helds

steady.

Ever

since,

I

have

had

abselutely

ne

crash

er

leek

up

preblems

at

all.

I

pewered

the

12v

micre

fan

directly

frem

the

unit

pewer

supply

pins

6 and

9‘

at

I2.

I

alse

in-

stalled

a

switch

en

the

side

ef

the

keybeard

te

be

able

re

turn

the

fan

eff

fer

quiet

times

in

the

studie

where

it

can

be

heard

hum-

ming.

Eln

stage

I

leave

it

en

fer

a

steady

12?

during

my

perfermances.

Even

with

the

fan

eff

hewever,

the

new

regulater

never

dreps

beiew

125.

Success!

Se

my

fellew

‘IFX

and

SD-1

ewners,

take

centrel

ef

yeur

instrument

and

really

enjey

its

prewess.

The

SI]-I

is

and

always

will

be

my

faverite

keybeard.

Hands

dewn,

it

blews

all

ethcrs

away.

At

this

peint

I

have

visiens

ef

puaaled

faces

at

Enseniq.

But

fear

net,

they

knew

me

well,

ask

Dennyl

Hey

guys,

whatever

it

takes,

I

am

geing

te

keep

my

SI)-1

en

the

read.

New

I've

feund

a

way.

Incidentally,

my

eld

Enseniq

SD-P-1

is

still

en

the

read

with

me

as

a

MIDI

driver

-

due te

seme

ef

the

very

same

medifica-

tiens.

P.S.

Te

wheever

started

this

rumer

abeut

the

VFXISD

being

vintage

keybeards

al-

ready

-

that's

balderdashl

If

yeu

have

any

questiens,

please

write

te

me

at:

Rey

Ilertucci

PD

Hex

32124

Lafayette

LA

T0593

{CS

—

The

medificatiens

detailed

abeve

are

neither

sanctiened

ner

recemmended

by

yeurs

truly.

Se

if

yea

blew

semething

up

perferming

ene

ef

these

precedures,

write

te

Mr.

Ilertucci,

net

me.

And

thanks

fer

the

tips,

Ii'ey._i'

Illnsenia

-

I-Iard-wiring

cennecters

is

al-

ways

superier

firem

a

read-werthiness

peint

ef

view.

Unfertunately,

we

can't

eliminate

cennecters

in

eur

designs,

as

there

weuld

be

ne

way

ef

installing

er

remeving

med-

ules

fer

fast

service.

We

have

ne

idea

hew

the

-5

regulater

ceuld

lead

to

either

a

crash

or

a

ioch-up.

rlt

worst,

the

reference

reading

changing

can

cause

the

analog

controiiers

to

produce

in-

accurate

readings.

And

you

are

correct

-

we

don't

endorse

your

"fixes,"

and

they

would

void

warranty.)

Dear

sir,

Since

December,

1993

I've

been

a

proud

owner

of

an

Ensoniq

synthesizer.

I

like

the

sound

of

Ensoniq

a

lot.

Since

then

I've

be-

come

interested

in

MIDI,

sequencing,

etc.,

have

become

a

member

of

a

Dutch

com-

puter

club

MIDI

group

(HCC),

and

have

the

synth

connected

to

a

436

PC.

The

combir1a-

tion

of

the

synth

and

the

computer

is

greet.

I

have

some

questions

about

my

synth.

Per-

haps

you

can

help.

My

synth

is

an

Ensoniq

SQ-2.-'32,

230

‘liac,

50

He,

Serial

Number:

SQ-12386,

date:

11ifl‘9i93.

Since

the

synth

is

not

General

MIDI

there

have

been

some

problems

with

some

soft-

ware.

Also,

the

SQ-2

is

net

a

common

synth

in

Europe.

I've

worked

with

a

Windows

MIDI

mapper

so

it

understands

my

SQ-2,

but

I'm

net

satisfied

with

my

solution.

I've

been

phoning

my

dealer,

the

import

company,

and

an

Ensoniq

club

(The

Belgian

Ensoniq

Association}

to

get

a

better

solu-

tion

but

none

of

them

could

help

me.

So

I'm

writing

this

letter

to

you

and

Ensoniq

because

I

thinl-t

there

has

to

be

a

reasonable

solution.

Is

there’?

Are

there

any

other

programs

that

would

be

useful?

Is

there

a

good

edit

program

that

runs

under

Win-

dows?

I'm

going

to

he

near

Chicago

in

June,

is

there

any

place

near

there

where

I

could

buy

any

of

this

software?

Also,

I

can't

find

the

number

of

my

SQ

U.S.

(or

how

to

find

the

number

of

my

U.S.).

I'd

like

to

ltnow

about

U.S.

upgrades

-

but

I

don't

know

what

I

have

now.

Thanks

for

your

time,

Honk

Salomons

The

Netherlands

{CS

-

i'm

afraid

I'm

not

too

ciear

on

what

it

is

you

may

he

asking

for.

For

instance,

how

is

the

SQ's

tacit

of

General

Mifii

com-

Transoniq-Net

HELP

WITH

QUESTIONS

All

of

the

individuals

listed

below

are

volunteers!

Please

take

that

into

consideration

when

calling.

If

you

get

a

recording

and

leave

a

message,

let

'em

know

if

it's

okay

to

call

back

collect

{this

will

greatly

increase

your

chances

of

getting

s

return

call}.

All

Ensoniq

Gear

-Ensoniq

Customer

Service.

9:31]

am

to

noon,

1:

15

pm

to

sac

pm

EST

Monday

to

Friday.

El-El-154'?‘-393i].

Ensoniq‘:

Fan

fin

Demand

line,

(1-E0fl~25'i-1439'}

can

also

be

used

to

retrieve

specs,

D5

info,

herd-d:rive

info,

and

the

like.

All

Ensoniq

Gear

-Electric

Factory

{Ensonitfs

Australia

distributor}.

Business

hours

-

'i+"ictoria.

(£13)

45!]-5933,.

TS

QIIHI-iillfl

-

Patfisslinger,

Internet:

pstt@crtecpe.com,

Cornpuserve:

T42-il},l

SE2,

or

AOL:

ESSLIF.

TS,

IFFX,

and

SD-1

Q|t:esflotB—Stua:'ti-iositing,

suthEI_lozernail.otsn.ar1.

SD-1

Qeesflurrs

-Plziliplwii

dill-4-5'?-1135?,

4

pm

-

l2i3fl

EST.

IFFI

Bound

Programming

Qlilfillons

-

Dara

Jones,

Cotnpuscrve:

1'

Ifl55,l

l

13

or

Internet:

ddje-ncs-@net-

eorrucom

er

eat]

214-351-D329.

S11-1,

IIPH,

ASR-10

Questlms

-

John

Cor,

609-BBB-5519,

{NJ}

Span

-

B

pm

EST

weekdays,

any

time

weekends.

SQ-fill

Questions

-

Reheat

Romano,

dill-$33-TFTB.

hay

ol'

time

Hard

Drives

k

llrlve

Systems,

Studios,

s

Computers

-

Rob

Feiner,

Cinctunes.

9!-'-i-963-5813.

Ilmn--3pm

EST.

Corupuscrve:

'l'lll24,l255.

EPS,

EPS-16

PLUS,

It

ASR-lfl

Questions

—

Garth

Hjolte.

Rubber

Chicken

Software.

Call

anytime.

If

message,

14-hour

callback.

£305}

T92-9231.

Compuserve:

'l'2.2llB,23{l3.

EQ-1

AND

SQ-H1

Qlllifious

-

Tom

Mcfiaifrey.

ESQUPA.

1il5-B3ll-

D141,

be-fore

1 1

pm

Eastern

Time.

GEE-EQEQ-E

M.U.G..

24-Holt!‘

Holllne-

212.-465-3¢3fi.

Leave

name,

number,

address.

Isl-in

Cailbaelr.

MIDI

Users

—

Erie

Harmer,

Cmledlan

MIDI

Users

Group,

{E13}

392-

6295

durirrg

business

hours,

Eastern

The

(Toronto,

DI‘<i'I'}

or

call

IVIIDIIJNE

HHS

at

{E13}

965-E323

24

hours.

$1,

KB-32,

Ell-1,

SCSI

8::

hard

drive

Questions

--

Pat

Finnigan,

sir-sea-sssa

Edlo

am

to

lllrllii

pm

Ii$Q-1,

MIHI

E

Uorrqsulers

--

Joe

Slater,

=[4lltl-I

925-E331.

EST.

26

patiiriiity

presenting

a

problem?

if

your

dif-

ficuity

stems

from

the

fact

that

GM’

compat-

ibie

sequences

are

not

seiecting

the

correct

programs

when

played

on

your

SQ,

then

it

scents

to

me

that

you

have

aiready

found

the

soiution:

use

a

Mi.-Di

mapper

to

re-map

pro-

gram

changes

to

piay

the

correct

sounds.

White

i'm

not

aii

that

familiar

with

the

Chicago

area,

i"m

sure

Ensoniq

couid

direct

you

to

any

of

their

authorised

deaiers

in

the

area.

fine

of

these

dealers

should

he

aisie

to

heip

you

straighten

thingsout.

To

dispiay

the

OS

version

on

your

SQ,

press

the

Edit

Serp"Preset

button,

then

hold

down

the

Bani:

9

button

fiocated

in

the

upper

row

of

huttonsj,

and

press

the

number

i

button

in

the

iower

row.)

{TH

-

Regarding

the

Chicago

question,

we've

faxed

a

copy

of

your

ietter

to

Ensoniq

in

the

hopes

that

they'ii

he

ahie

to

help

you

before

your

plane

takes

oyj‘.

(Not

much

lead-

tt'meij-j‘

{Ensoniq

—

We

received

your

ietter

from

the

Hacker

but

don't

reaiiy

have

any

fast

response

that

couid

heip

you

whiie

you

aretwere

in

Chicago.

it

sounds

like

you

want

to

use

software

that

conforms

to

the

GM

standard,

and

the

SQ

doesn't

support

GM.

There

is

no

other

soiution

heside

what

you

have

done.

We

are

not

sure

what

you

need

from

the

SQ

that

can

he

addressed

-

it

wiii

not

iisten

to

i6

MIDI

channeis

at

the

same

time,

and

oniy

has

dd

programs

per

Banh.

This

does

not

mean

that

you

can't

make

great

music

with

it,

and

create

wonderful

new

sounds.

Just

don't

ioch

yourseif

into

the

iimits

of

GM

-

enjoy

the

SQ

for

the

wonderful

synth

that

it

is.

I

Dear

In-yer-face:

Just

wanted

to

drop

a

line

or

two

about

a

couple

of

Ensoniq-related

things.

For

start-

ers,

our

church

just

purchased

a

KT-B3.

I

arn

happy

to

say

[participated

in

the

selec-

tion

and

purchasing

process.

The

KT

is

a

fine

instrument.

There

is

a

readily

discern-

ible

improvement

in

the

quality

of

the

samples

and

programming,

and

the

key-

board

fecl

is

out

of

this

world.

It

is

good

to

have

the

Rhodes

sample

in

there

too

-

it

HUNKS!

I

had

one

of

the

early

3-bit

sampled

piano

modules

and

really

liked

the

Rhodes

sound.

Joey

Paschall

from

Ensoniq

was

l-rind

enough

to

come

over

and

give

us

a

demo

one

Sunday

afternoon

on

his

own

time.

He

is

truly

an

ambassador

for

En-

soniq.

He

even gave

everyone

pointers

on

making

an

expressive

face

when using

aftertouch.

I

also

think

it

appropriate

to

commend

Tom

Henderson

at

George's

lvlusic

in

Spring

City,

PA,

for

the

way

he

worked

with

us.

We're

not

that

far

from

lvlalvern,

so

why

doesn't

someone

just

drive

over

and

give

old

Tom

a

pat

on

the

back,

okay?

There

was

an

SD-1l32

bug

I

discovered

a

few

years

back

and

I

wanted

to

relay

it.

MIDI

program

change

number

lllll

{true

MIDI

number

HUD)

does

not

get

transmitted

in

Song

Mode.

For

example,

if

you

have

three

sequences

(call

them...

let's

see...

hmmmmm...

Sequence

1,

Sequence

2,

and

Sequence

3}.

Track

‘T

on

Sequences

1

and

3

is

configured

for

MIDI

channel

9,

program

number

Dill,

while

Track

'3'

on

Sequence

2

is

configured

for

MIDI

channel

9,

program

number

D02.

If

you

select

the

sequences

in-

dividually,

the

program

changes

will

occur.

When

you

string

the

sequences

together

into

a

song

and

then

select

the

song,

the

program

change

to

-Dill

will

go

through.

When

the

song

plays,

however,

the

program

changes

to

U02

at

Sequence

2,

but

does

NUT

change

back

to

D01

at

Sequence

3

-

it

remains

at

ll-U2.

The

behavior

is

the

same

on

outboard

module,

keyboard,

PX,

etc.

The

workaround

is

not

to

use

programs

in

the

U01

location.

Also,

someone

wrote

in

about

this

a

few

issue

back:

I

too

have

had

the

problem

of

the

BPM

spontaneously

going

WFD

to

250

when

a

sequence

is

playing

while

on

the

Locate

page.

In

response

to

Dick

Young's

letter

in

the

In-

terface

TH

Issue

ll?

regarding

a

"roar"

breaking

out:

I

have

experienced

something

which

might

be

the

same

thing

with

my

SD-1,l32.

I

have

noticed

it

most

prominently

on

RUDE

GUITAR

and

DYNAMIC

GRAND.

While

playing

RUDE

GUITAR,

sometimes

a

drone

breaks

out

and

develops

into

a

loud,

feedback-like

roar.

I

know

feed-

back

is

a

frequently-used

rock

guitar

techni-

que

(I

play

guitar},

but

somehow

I

don't

think

this

is

part

of

the

effect.

It

is

not

al-

ways

necessary

to

be

playing

for

this

to

happen.

It

seems

related

to

the

PX

program;

switching

to

a

different

patch

eliminates

the

noise.

I

have

not

tried

pressing

the

same

patch

button

a

second

time.

DYN.h.lvllC-

GRAJFID

has

the

same

tendency,

although

the

drone

does

not

develop

into

a

full-fledged

roar

-

more

like

a

metallic

hum.

This

most

definitely

seems

related

to

the

FX

program,

because

I

get

the

same

thing

when

using

that

PX

algorithm

in

a

se-

quence.

Elne

more

thing

-

I

wanted

to

turn

hackers

on

to

the

music

of

Bill

Champlin,

former

Sons

of

Champlin

leader,

then

LA

session

vocalist

and

songwriter,

now

with

Chicago.

He

has

a

solo

career

going

on

the

side

and

has

some

CDs

out

on

the

Turnip

label

{full

name

Turnip

the

Music

Group

-

get

it'll.

"Burn

Down

the

blight"

is

a

fairly

recent

release,

and

"Through

it

rill"

is

either

in

the

works

or

done

by

now.

"Burn

Down

the

Night"

liner

notes

state

that

he

uses

Ensoniq

products.

In

a

response

to

a

reader

in

Thunder

sh

Lightnin',

the

Eill

Champlin

newsletter,

be

recortunends

the

TS-ll]

for

a

songwriter

to

do

basic

demo

tracks

at

home,

and

says

that

he

has

used

the

TS-ll]

for

"a

lot

of

things,

especially

on

the

road."

I've

been

trying

to

arrange

an

interview

with

him

for

TH.

Stay

tuned.

John

R.

Bolles

Allegra

Ivlusic

Production

2219

Heather

Lane

Gilbertsville,

PA

19525

..

{CS

—

Haven't

heard

anything

about

the

"bug"

you've

discovered

with

program

lllll,

but

the

problem

you

describe

with

the

tempo

changing

is

usually

related

to

data

slider

"jitter."

The

solution

is

either

don't

leave

the

SD

showing

the

locate

page

while

a

sequence

is

playing,

or

get

your

machine

in

to

your

nearest

service

center.

r-llso,

l

don't

know

what

might

be

happening

to

cause

the

"roaring"

noise

you

are

hearing

occasionally.

This,

too,

seems

like

a

problem

for

a

qualified

service

center.

j

{Ensoniq

-

We'll

have

to

loolc

into

the

SD-l

"bug"

and

get

bach

to

you.

Your

problem

with

the

effects

"roar"

sounds

lihe

your

ESP

chip

needs

adjusting

or

possible

re-

placement.

Contact

Customer

Service

for

more

help.

P.S.

Check

out

Bill

Champlin's

smol:in'

organ

playing

on

our

new

SCH-l

Chicago

Signature

Serieslj

Subject:

llox

Function

1nterface=@transoniq.com:

I

am

looking

for

any

software

that

will

enable

me

to

sample

only

between

a

certain

preset

threshold

for

both

start

and

stoplcon-

tinuo

using

the

Enter

button

as

the

final

stop

before

key

assignment.

Also,

what

is

avail-

E?

able

for

programming

the

ASR

more

in

depth

using

a

PC

and

where

can

I

get the

in-

formation

and

hardware‘?

Bill

Farkas

The

Glass

lvlenagerie

BBS

Reading

Pa.

{CS

—

I

ltnow

of

nothing

that

will

record

audio

only

when

it

crosses

a

defined

thres-

hold

in

the

manner

you

describe.

Oh

well.

As

far

as

l

can

tell

f

remember,

l

‘m

mainly

a

Macintosh

user),

the

program

"Sample-

Vision"

from

Turtle

Beach

(SE10-645-5640)

is

probably

most

worthy

of

checking

out

in

you

quest

for

a

ASR-conrjoatible

sample

editor.

Another

program

which

has

gotten

a

lot

of

praise

is

one

called

"Sound

F

orge."

Unfortunately,

it

apparently

does

not

yet

communicate

directly

with

the

ASR.

if

you

just

want

to

display

and

edit

ASR

para-

meters,

you

might

checl:

into

EPSlASli

Tools

for

Windows

from

Rubber

Chicken

Software

Co.,

1'

Still--S-FR

U-EPS

_}.

j

Dear

Transoniq

Hacker:

A

friend

who

has

been

playing

the

TS-12

even

less

time

than

I

has

asked

me

if

there

is

any

way

to

change

the

time

signature

of

a

sequence

after

you

have

created

it.

I

told

him

"no"

at

the

time,

but

now

have

dis-

covered

that

it

can

be

done.

Here's

how

I

discovered

this

simple

trick:

I

was

studying

drum

rhythms

out

of

a

book

and

sequencing

in

realtime

some

2-bar

pat-

terns

in

41"-i

time.

I

looped

one,

and

was

jamming

with

MDNSTR-LEAD,

when

the

eTH

—

A

Faster,

Cheaper

Hacker

If

you

can

receive

e-mail

via

the

Inter-

r_

net,

you

can

take

advantage

of

avoid-

j

ing

the

post

office

and

get

a

faster,

cheaper,

e-mail

version

of

the

Hacker.

The

e-mail

Transoniq

Hacker

contains

all

of

the

same

information

and

advertising

as

the

printed

version,

but

it's

only

Silllyear —

anywhere

on

the

planet.

Interested?

lust

send

a

message

I

to

us

at

cTH@transoniq.com

and

we'll

e-mail

back

complete

subscription

in-

formation.

Let

us

lrnow

if

you’d

like

a

free

copy

of

the

current

issue

and

|

we’

ll

send

one

along.

.

__.ii

Er.-‘H

"+51

5:5.

',,

_

2::

W

.I.

'

"

'

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._;

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Filli

BATALUGE.

BhL|..'

i

R)

K

3101599-U095

idea

fer

a

tune

hegan.

I

appended

the

drttm

sequence

te

itself

until

I

had

16

er

32

bars,

and

then

laid

dewn

bass

guitar

and

lead

guitar

tracks.

I

seen

discovered

that

the

chorus

had ene

has

ef

did.

twe

bars

of

4i-4,

ene

har

of

hi4,

twe

bars

ef

4,14,

etc.

The

drum

track

didn’t

fit.

When

I

made

the

intte,

it

was

three

hars

ef

Sid

and

twe

bars

ef3i-1.

‘What

I

did

was

create

a

new

sequence

in

114

time,

and

cepy

the

tracks

ene

by

ene

frem

the

original

sequence

in

-H4

te

the

new

ene.

Then

I

edited

the

drum

track

te add

the

extra

twe

heats

fer

the

measures

of

6.-"4,

so

the

drums

were

in

synch

with

the

ether

in-

struments.

This

sarne

methed

ceuld

he

used

to

change

a

sequence

frem

6J3

to

2i2,

fer

instance

(anyone

else

out

there

interested

in

jigs?).

I

hepe

this

will

help

eut

ether

novices

like

myself.

-

Thanks,

David

Simensen

Merced,

California

{CS

-

Thanhs

for

the

cooi

tie,

Davidij'

Hi,

Transenique

Hacker!

1

Thanks

fer

the

nice

rnagaaine

—

it

has

helped

me

a

let

in

werking

with

my

TS-12.

Hewever,

I

still

have

seme

questions

cen-

ceming

using

the

TS-12

with

a

computer.

I

want

te

huy

a

new

Apple

Perferma

ti3i]CIIl

er

maybe

a

Fewer

Mac.

The

main

use

weuld

he

werl-ting

with

my

TS-12

and

run-

ning

a

seftware

sequencerinetatien

pre-

gratn.

Se

my

questions

are:

1)

Is

the

Mac

a

geed

cheice

and

which

one

weuld

yeu

recommend‘?

I.e.,

how

well

do

they

werk

tegelher

with

the

TS?

2)

Which

lv[[l)I

interface

will

werk

best

with

the

lviac

and

the

TS-12?

3)

‘Which

seftware

would

you

recommend

{Cuhase,

Mari:

of

the

Unicern,...}?

Cine

reasen

I'm

leelting

fer

serious

inferma-

tien

is

that

I've

beceme

cautious

after

learn-

ing

abeut

the

GM

Mode

of

the

TS-12.

I

was

disappointed

to

realise

the

the

TS

can

enly

receive

GM

infermatien

via

an

entemal

se-

quencer.

(But

Glvf

is

written

in

three-cm

let-

ters

en

the

keyboard.)

I

didn't

huy

a

synthisequencer

te

have

te

buy

a

secend

se-

quencer

te

have

General

MIDI.

I._'.____i-I.

.

'

j

1

i

I

I

Keyboard

Raves

About

Ramtek

Nevc1nber1994

1

One

of

the

benefits

ofRomtek's

products...

is

that

they’

re

rack-mounted,

which

is

prefera

hie

to

tahie-top

units

for

rach-owning

andior

traveiing

musicians.

{Ramteic

aiso

mtthes

§

tahietop

models.)

The

cabinets

are

ofrugged

steei

construction,

a

necessityfor

use

on

the

road.

in

addition,

whereas

{Ramteic's,l

cornpetitors

shy

from

ofiering

their

storage

systems

in

a

singie-

space

format

because

of

the

size

constraints

and

possihie

H

thermai

problems,

Ramteic

d'oesn'

t.

In

the 6

months

we

used

l

{Rarnteifs}

D1200,

we

never

encountered

any

trouhie

due

to

'

\

_

l

l

i

ii

overheating.

Those

with

iimited

rack

room

shouid

appreciate

the

=

-

smali

space

these

products

require.

Aiso

impressive

is

the

fact

Rachmottnt

Mass

Storage

Systems

Designed...

_

onfigured

&

Buiitfor

the

Serious

Working

Musician

I

i

I

Ensoniq

CDR-6

“Best

of

Sonic

Arts"

Vintage

nae

and

Rock

ihfiiiiihiii.

instrumen

ts

that

the

internai

cooiing

fan,

which

is

ouieter

than

the

hard

drives

themseives,

adds

minimai

acoustic

noise

to

your

music

.

-|

"_'

'-'.---

-----.

-':.-':.-::_'.

'::::-'-

-.--

..-.-.

.-

'

.'-"'

---

-.

--'.'..'\.

"

'

environment...

if

you're

running

short

fqf

storage

space}

iiamteir

=

if

sbfic-

AHsi_§?"‘5fCDfi§&*:5§""

shouid

be

one

ofthepiaces

you

caii.

'

as

B0

TTGM

LINE

{Ra.mteh's

systems

are

a

I

Grade-A

choice

for

any

rach-oriented

':':

..'.

:..'::-'

--..':

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'

andior

traveiing

musician

in

need

of

iots

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digitai

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m

k

Inf:

storage

space.

E

I

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Available.

For

More

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Call

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1

|-|

I

‘Well,

anyway.

I

like

the

instrument

and

I

can

live

with

that.

I

hope

you

can

help

me.

Yours,

Herbert

Lacina

Wien,

Austria

{CS

-

Witltout

really

getting

into

a

lot

of

depth

on

this

one,

l"d

just

lihe

to

point

out

that

any

Power

PC.‘-based

ll-tac

is

going

to

remain

a

viable

machine

longer

than

any

00040-based

Mac

you

can

name

-

the

Per-

forma

630

included.

l

will

mention.

though,

that

I've

heard

that

ripple

now

ofiers

what

they

are

calling

a

Performa

til

l5.

This

is

a

Power

PC-based

Performa

series

Mac

that

sells,

apparently,

for

not

much

more

than

$2000

or

so,

complete.

l'd

talce

a

close

look

at

this

machine,

if

Macintosh

is

the

way

you

want

to

go.

As

far

as

the

Mac-versus-PC

controversy,

there

are

just

too

many

factors

that

go

into

making

a

decision

about

which

to

buy

for

me

to

be

of

any

assistance.

Suf-

fice

it

to

say

that

there

is

excellent

music

software

and

hardware

available

for

either

platform.

And

if

I

had

to

matte

a

glib.

shoot-from-the-hip

statement

about

the

dif-

ferences

between

the

two

platforms.

l'd

have

to

say

that

PCs

tend

to

find

their

hap-

piest

homes

with

wireheads;

they

tend

to

be

a

bit

less

expensive

to

purchase,

expand,

and

upgrade,

while

the

Mac

has

the

ad-

vantage,

{hands

down],

in

the

"plug-n-

play"

department.

2

,1

Any

MIDI

interface

that

will

wort:

with

the

Mac

will

worh

with

the

TS-I2.

The

in-

terface

you

choose

will

depend

on

a

number

of

factors:

Do

you

need

to

be

able

to

synchronize

to

external

devices,

such

as

maltitrach

tape

decks

or

video

decks?

Do

you

plan

to

expand

into

a

large

MIDI

sys-

tem

where

you

might

want

to

have

a

highly

organised

approach

to

using

multiple

in-

struments?

if

you're

not

sure

what

you

might

be

doing

with

htllllll

down

the

road,

just

get the

least

expensive

interface

you

can

find.

It'll

probably

run

you

$40

-

$60

which

you

can

easily

write

of

should

you

decide

you

need

something

a

bit

more

sophisticated

later

on.

3)

he

far

as

sofiware

goes,

i'm

afraid

you're

on

your

own

here,

too.

There

are

way

too

many

factors

involved

in

choosing

software

for

me

to

go

into

here.

My

best

recommendation?

Find

a

dealer

you

trust

and

feel

you

can

communicate

with,

and

have

him

or

her

take

you

through

the

decision-making

process.)

Suhj:

SYSEX

string

for

'v'FX-sd.

I

am

using

my

VFK-sd

with

Cakewalk

Pro

3.il

(CHIP)

and

have

been

trying

to

send

a

SYSEX

command

to

reset

my

bend

range.

I

have

yet

to

be

successful

in

getting

any

SYSEX

response

from

my

"-IFX.

I

tried

the

Identity

Request

and

got

nothing.

I

have

been

told

that

CWP

is

too

fast

for

the

VFX

and

the

SYSEX

string

must

be

slowed

down.

Is

this

correct,

and

if

so,

how

is

it

done‘?

What

would

be

the

SYSEX

string

for

a

Bend

Range

setting?

Thanks

for

the

help.

Ted

Hyatt

via

Internet

{CS

--

Sorry.

r-ls

far

as

l

can

determine,

there's

no

way

to

set

pitch

bend

range

on

the

VFX-sd

via

MIDI.

{if

there

is.

l'm

sure

someone

from

Ensoniq

can

clue

us

in}.

,1’

{Ensoniq

—

Sorry.

there

is

no

way

to

set

the

Pitch

Bend

Range

via

Sys

E.r.,l'

Dear

Transoniq

Hacker-

Here

is

another

list

of

suggestions:

l.

Control

audio

CDs

from

the

ASR-10.

(I

have

RCA

outputs

on

the

back

of

my

CD-

ROM

drive

and

I

would

like

to

be

able

to

control

an

audio

CD

for

sampling

pur-

poses.)

2.

Copy

or

move

instruments

and

direc-

tories

on

a

hard

drive

(like

how

a

Mac

can

move

folders

and

such)

or

to

another

hard

drive.

I

like

to

reorganize

my

removable

drive

sometimes

and

it

is

difficult

when

I

have

to

copy

each

instrument

separately.

3.

A

tuning

effect

(Waveboy

perhaps?].

It

would

he

cool

to

be

able

to

tune

without

having

to

load

another

instrument

and

then

compare

the

pitches.

4.

Looped

or

stacked

sample

recording

{like

an

Echoples).

I

like

to

do

this

on

my

SPX90

but

the

quality

is

not

as

good

as

it

could

be

on

the

ASR-10.

Maybe

Ensoniq

could

set

the

duration

or

sample

time

in

seconds.

5.

Access

all

the

parameters

of

the

effects

while

in

sampling

mode.

(I

like

to

get

really

weird

effects

and

tweak

the

parameters

of

a

effect

in

real

time

that

I

catt't

reach

with

MIDI

—

maybe

T

or

S

different

parameters.)

20

ti.

Undo

function.

{I

know

this

one

is

a

long

shot

because

it

takes

up

a

lot

of

memory,

but

I'll

suggest

it

anyway

because

I

just

erased

a

file

by

accident

and

I'm

mad.)

‘l.

Be

able

to

lock

instruments

in

memory

so

you

don't

accidentally

[see

#6)

erase

them

by

loading

a

new

instrument

over

them

—

my

finger

sometimes

hits

the

wrong

button

and

aapppplll

-

there

goes

my

work.

S.

Be

able

to

cancel

a

load

or

import.

{Oc-

casionally

I

would

like

to

stop

loading

a

sound

and

I

hate

having

to

wait

30

seconds

for

a

ltimeg

sample

to

finishing

loading

so

I

can

load

another.)

9.

When

importing

tell

how

many

blocks

an

instrument

is

before

you

tr'y

to

import.

(It

drives

me

nuts

when

I

try

to

import

a

sound

and

I

get

all

but

one

sample

in

memory.)

10.

Rename

files

and

directories.

11.

PLEASE, PLEASE,

PLEASE

will

you

guys

at

Ensoniq

allow

the

nest

sampler

you

design

to

load

more

than

eight

inst:ruments'i'

I

don't

care

if

it

doesn't

have

resonant

fil-

ters,

64

voices,

or

even

a

volume

knob

(okay,

just

kidding

about

the

knob}.

I

need

more

instrumentsl

12.

Separate

LFOs

for

pitch

and

pan.

13.

Some

new

effects

like

AM,

crosswave,

sync,

etc.

(I

really

like

the

FM

effect

from

"iv'avcboy.]

14.

On

a

hard

drive

—

I

would

like

to

be

able

to

see

all

the

files

(effects,

instruments,

etc.)

in

a

directory

at

the

same

time

so

I

can

scroll

through

and

see

them

all.

CUMPLAI

HTS:

l.

when

importing

a

timpani

drum

that

should

have

been

about

2

megs,

my

ASR-Ill

imported

the

data

separately

for

each

key

{instead

of

sharing

the

wave

data

like

when

you

copy

wavesample

and

select

"para-

meters

only")

and

it

ended up

eating

up

lti

megs.

I

have

had

this

happen

on

3

or

4

other

patches

that

I

have

imported.

If I

go

back

and

delete

all

the

etttra

info

and

hack

the

in-

strument

for

a

while

I

can

get

it

back

to

2

megs

-

but

it

is

a

drag

and

very

time

con-

suming.

2.

When

importing

and

all

instrument

spaces

are

filled,

the

ASR-10

t:ries

to

access

my

hard

drive.

If I

don't

have

a

disk

in

the

drive,

it

then

reads

the

floppy

and

the

only

way

I

can

access

my

hard

drive

again

is

by

turning

it

off

and

then

on

again.

Why

doesn't

the

ASR-10

recognise

the

drive

as

being

there

even

if

there

is

no

disk

in

the

hard

drive?

3.

When

importing

instruments

and

I

get

a

"memory

full"

message,

I

save

the

instru-

ments

in

memory

and

then

"delete

instru-

ment"

all

of

them

from

memory.

My

ASR-10

has

no

instruments

in

memory,

but

it

doesn't

have

3l2'l3

blocks

left

[I

have

16

megs)

it

now

has

31273

minus

whatever

the

sire

of

the

la.st

imported

sound

was.

4.

When

importing

stereo

sounds,

I

always

have

to

go

in

the

new

instrument

and

tum

the

stereo

layer

link.

5.

‘When

reading

Roland

CD-RDMs,

the

ASR-10

won't

let

you

rename

the

sound

if

your

new

name

is

longer

than

the

Roland

name.

Example

-

"bass

1"

cannot

be

renamed

"bass

1.1"

because

it

is

two

characters

longer

artd

I

know

you

can

name

insnuments

longer

than

I5

spaces.

ti.

When

I

play

a

sequence

(extemal

seq)

and go

to

the

pitch

window

to

change

the

sample

pitch,

the

wavesample

range

always

gets

screwed

up

as

I

scroll

by

the

wave-

sample

range

page

to

get

to

the

wavesample

Current

Ensoniq

O.S.

(DidclEPFiOht)

-

EPS

EPS-M

E

PS-

1

E

PLUS

MASOS

MIRAGE

EEG

EEE-D-iv‘!

SQ-H0

l

VFX

VFX-SD

SQ-1

SQ-1

32

E-{I-1

PL

US

SO-H

SC|—Ft

32

SD-Ft

P

LUS

SQ-2

SC'.'t—2

32

ED-t

SI}-1

32

DF04

HS-32

ASH-10

I-(MK-E

HMK-10

TS-1

0l1

2

KT-Thine

Soundscapo

2.40l2.40

2.40l2.-41

1

.31“!

.00F

2.0

!'~l'r":"l‘i':"r"l'*i'*:"*!'~"'l“r*.-‘F'7lF*l'

e~eee*a:ger~e~

he

Ct

4.1:0l-4.10

4.‘t0l4.10

1.1-4

3.01

=

3.53l1.5

2.00

t"".""F‘i'."'

W

bees

-it

pitch

page.

I

can't

think

of

a

good

solution

but

it

is

very

irritating.

Also,

after

it

messes

up

my

pitch

range,

I

try

to

change

it

back

and

the

ASR

says

"no

pitch

in

layer

mode."

‘Why

did

it

just

change

during

the

sequence

then?

It

also

won't

let

me

change

it

back

while

the

layer

link

is

on,

even

when

I

underline

a

wavesample.

I

have

to

tnrn

off

the

layer

link,

change

each

wavesample

independently

from its

companion

wave-

sample

and

then

tum

it

back

on.

T.

I

also

have

the

same

problem

as

the

guy

in

my

new

Hacker

with

stereo

time

com-

pression

and

expansion.

One

side

of

the

sample

gets

compressed

and one

side

doesn't.

Sometimes

one

side

works

and

one

side

starts

to

loop

on

its

own

after

about

1

sec

into

then

30

sec

stereo

sample.

Is

it

true

that

values

beyond

60 on

the

quality

don't

really

do

anything

but

take

more

time?

No

wonder

I

have

to

let

it

compress

overnight!

TIME

STRETCH:

Someone

wrote

in

not

too

long

ago and

asked

how

to

calculate

the

percent

when

time

stretching

samples

-

here

is

the

way

I

do

it.

Say

you

want

to

take

a

drum

loop

that

is

102

bpm

and

stretch

it

to

140

bpm.

Take

the

original

bpm

(102)

and

divide

by

the

destination

bpm

(140):

102,l140

=

0.'i'2ilfi.

New

move

the

decimal

two

spaces

to

the

right

and

you

get

'l2.3ti%.

Same

thing

goes

if

you

wanted

to

go

the

other

way:

140,l102

=

1.3325

or

137.25%.

The

easiest

way

to

verify

that

you

divided

the

numbers

correct-

ly

is

-

to

speed

up

a

sample,

the

percent

must

be

lower

than

100%

and

vice

versa.

P.S.

I

have

been

using

an

Iomega

Zip

Drive

with

my

sampler

for

about

three

months

new

and

never

have

experienced

any

prob-

lems.

Someone

out

there

might

be

inter-

ested

to

know

that

this

100

meg

removable

hard

drive

is

only

$200

with

the

first

cartridge

and

extra

carts

are

only

$15!!!!

You

can

get

them

through

Macwarehouse

at

1-E00-255-622?.

Can

I

have

a

free

cart

or

two

for

the

plug?

Brian

Albritton

The

Hunger

“ills

Internet

{Ensoniq

-

Thanks

-

these

are

all

great

ideas.

Regarding

your

complaints:

l.

This

is

just

the

way

that

it

is.

We

are

not

disagreeing

with

you,

but

it

would

have

taken

much

longer

and

used

up

too

much

30

code

space

to

develop

an

intelligent

copy-

ing

function

within

the

import

process.

Sorry.

2.

Your

drive

shouldn't

lock

up

if

it

is

ac-

cessed

without

a

cart

in

it.

it

may

be

peculiar

to

that

particular

mechanism

{

you

don't

state

what

you

are

using).

As

a

work-around,

have

the

current

storage

device

be

the

floppy

prior

to

running

the

import

command

for

leave

a

cart

in

the

drive.",l.

3.

Good

catch

-

we

tried

it

and

could

repeat

the

problem.

We'll

have

to

look

into

this

further.

For

now

you'll

have

to

re-boot

if

this

situation

occurs.

We

generally

look

at

the

documentation

for

the

sound

l

as

meager

as

that

information

may

be)

and

only

import

items

that

we

know

will

fit.

Roland

format

sounds

seem

to

generally

be

listed

by

the

length

of

time

of

the

recordings,

not

the

sire,

but

our

specs

clearly

show

the

avail-

able

recording

times

at

difierent

memory

configurations.

4.

This

is

because

imported

sounds

may

mix

mono

and

stereo

samples

within

the

same

layers,

which

can

only

be

edited

properly

when

stereo

layer

link

is

ojjf.

Having

layer

link

ofl’

usually

does

not

degrade

the

stereo

image.

5.

We

could

not

reproduce

this

phenom-

enon.

ls

this

always

the

case,

or

only

when

you

perform

certain

actions?

6.

it's

an

oldjoke,

but

don't

do

thatl

F’.

We

haven't

had

time

to

investigate

this

fully.

it

is

not

true

that

values

over

60 do

nothing

but

take

time,

but

the

differences

are

slight

enough

that

we

don't

believe

it

is

worth

your

using

them.

it's

nice

to

see

so

many

users

responding

to

the

time

stretch

question

from

last

month.

We

weren't

sure

whether

Clark

was

going

to

answer

it

or

us,

but

thanks

to

all

for

fill-

ing

in.

That's

what's

so

great

about

the

Hacker

community.

Regarding

the

plug

for

the

Zip

drive

you'll

have

to

contact

them

for

the

free

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