Ensoniq Corporation Transoniq Hacker Archive Issue #122 Th 122

Ensoniq Corporation Transoniq Hacker Archive Issue #122 th_122 Ensoniq Corporation - Transoniq Hacker Archive - Issue #122

User Manual: Ensoniq Corporation Transoniq Hacker Archive Issue #122 Ensoniq Corporation - Transoniq Hacker Archive - Issue #122

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Page Count: 32

Patchwork

(We

oIn't

talking

about

quilting)

.---.

It

always

cracks

me

up

(he

said

with

a

smug

smile...)

to

read

letters

from

people

talking

about

how

horrible

it

is

that

the

EPS

doesn't

have

this

feature.

or

that

the

ASR

lacks

that

ability.

When

you

think

about

it.

very

few

sampler

owners

out

there

even

take

advantage

of

the

features

they

do

have.

One

of

the

most

criminally

neglected

of

these

features

is

the

patch

select.

This

is

a

feature

that

is

still

more

or

less

unique

to

Ensoniq

equipment

and

yet,

very

few

people

take

the

time

to

eit-

plore

it.

So

your

sampler

only

has

eight

instruments

at

once...

So

you

only

have

2

Megs

of

memory...

Stop

and

think

of

how

you

can

get

around

these

problems

with

a

little

clever

programming.

After

all.

you

can

have

4

patch

variations

per

instrument.

and

if

you

multiply

that

by

S.

that

brings

us

up

to

32

instruments.

The

most

obvious

types

of

patch

selects

are

slight

variations

that

might

be

useful

for

live

performance.

These

include

having

a

chorused

variation

of

the

sound.

I

.-':~

Il_

-'

-f_I'

I

|

,'

F

n

_

_

t

.1‘,

I I

-.

|

I

I

L"

r

'-

i

r.

P

'

-‘

| |

I I

-

-r~

..

.

I:

J;

_-

I

*4

.

til‘

1'.

Torn

Sheer

having

the

sound

in

octaves.

or

in

fifths.

It

could

even

be

something

as

subtle

as

having

a

slightly

louder

version

available

to

you

to

ptutch

through

on

those

big

choruses.

Another

useful

variation

for

well-produced

sequences

is

to

have

variations

of

the

instrument

through

dif-

ferent

effects

busses.

If

you're

using

the

CHOR+REV+DDL

algorithm.

you

could

have

the

sound

available

through

a

fat

chorus.

a

cavernous

reverb.

and

a

delay.

all

selectable

at

your

fmgertips.

One

trick

some

people

like

to

use

is

to

have

a

backwards

variation.

While

this

is

most

often

used

on

drum

and

percussion

sounds.

it

cart

be

a

neat

effect

with

melodic

sounds

too.

especially

ones

with

distinct

attack

transients.

The

problem

with

this

is

that

you

won't

have

a

loop

so

the

sound

will

vary

in

length

across

the

keyboard.

with

the

lower

notes

stretch-

ing

out

awhile

and

the

upper

ones

flit

away

fairly

quickly.

‘This

makes

using

the

instrument

melodically

in

a

consis-

tent-sounding

way

extremely

difticult.

The

way

around

this

is

found

on

the

EDIT-WAVE

page.

We're

going

to

chop

off

some

of

the

extra

length

of

the

lower

notes

in

a

way

that

adjusts

as

we

play

up

the

keyboard

so

that

the

upper

notes

are

left

totally

unaltered.

but

the

lower

notes

are

a

little

closer

in

length

the

upper

ones

by

cutting

off

varying

amounts

of

the

sotmd

after

the

attack

(or

before

it.

since

we're

talking

about

backwards

IIBIBHI)‘

-------------------------------------

-1

'—

‘I

the

lndapendnnt

Nam

' '

'

"

'"

_.=-.;*

Magazine

for

Ensonlq

User:

l

..

Articles:

Patchwork

Toot Sheer

cover

From

Cyberspace

to

Your

Ear

Garth

Hjelte

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

.. 3

Bass-ic

Principles

Gerry

6

Tune

Your

Bass

with

a

DPM

Toot

Tracy

.

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

.. 3

Synchronir.:i.ng

Keyboards

to

Ext

Clocks

Anthony

Ferraro

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

..

ll]

It

Pays

to

P{1)an

Ahead

Don

Roltde

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

..

ll

The

BPS

and

Background

‘Vocals

—

Part

II

Robby

Hermon

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

..

l5

Kaptain

KS

Jefifetton

I3

That

Old

Syncing

Feeling

Kiri:

Slirtltord

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

.. 19

Promotional

Ideas

for

Musicians

Jeffrey

Fisher

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

..

23

Re-views:

Basement

Tapes:

Passion!-"'i:-t

Doniellliondel

22

its-guior

Stuff:

Random

Notes

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

..

Hypersoniq

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

..

Classifieds

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

..

The

interface

.

Transoniq-Net

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

..

Current

O.S.

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

..

Hacker

Eooteeq

fi@§H§mw

|

ISSUE

rvuivtess-t2s,$2-sc

i

auo-ustnvvs

|

Scroll

urttil

you

see

the

MOD

parameter.

Select

START

with

KBD

as

your

SOURCE.

Scroll

right

one

more

time

and

you'll

see

the

AMOUNT

attd

the

RANGE

parameters.

Select

+99

for

your

AMOUNT.

The

RANGE

parameter

is

a

little

trickier.

The

correct

setting

for

this

depends

on

the

sire

of

yotu

sample.

Spend

some

time

to

find

a

value

that

gets

you

close

to

what

you're

after

and

play

around

with

varying

combinations

of

AMOLINT

and

RANGE

until

you're

happy

with

the

result.

You're

most

likely

not

going

to

end

up

with

something

the

enact

same

length

across

the

board.

but

you

can

usually

get

it

ciose

enough

to

be

usable.

For

those

who

need

more

precise

control.

try

using

the

mod

wheel

as

your

SOURCE...

now

you

can

adjust

it

by

hand.

One

of

the

ways

you

can

get the

most

variations

is

to

use

a

sound

with

a

smooth.

single

cycle

loop.

By

moving

the

loop

position

around.

you

will

find

a

number

of

different

timbres

available

to

you.

and

a

great

starting

point

for

synthesizing

some

totally-different

sounding

patch

variations.

Of

course.

there's

no

rule

that

says

you

even have

to

keep

the

same

loop

at

all.

Each

patch

could

very

easily

have

completely

different

loops

set

if

you

were

so

inclined.

One

of

the

biggest

mistakes

people

make

regarding

patch

selects.

assuming

they

can

only

be

used

for

slight

variations

on

the

main

sotmd.

On

the

con-

trary.

you

can

ttun

them

into

completely

different

sounds

if

you're

willing

to

invest

the

time

and

Tylenol.

Finally.

here

are

some

quick

suggestions

for

ways

you

can

give

yourself

a

wide

variety

of

sotmds

via

the

patch

selects.

-

If

the

sotmd

you're

using

has

a

single

cycle

loop.

or

you

can

get

a

single

cycle

loop

on

it.

try

hitting

E.DIT-

LAYER

and

setting

the

glide

mode

to

MINIMODE

and

the

glide

time

to

taste.

Instant

Minimoog

lead!

-

Another

easy

variation

on

single

cycle

loop

sounds

(espe-

cially

ones

with

a

squarewave

or

bell

type

timbre)

is

to

turn

it

into

an

organ.

Shnply

copy

the

main

layer

and

punch

the

second

layer

up

an

octave.

Optionally.

you

can

add

another

layer

tuned

a

fifth

above

the

main layer

(you'll

want

to

lower

the

volume

a

little

on

the

AMP

page

for

this.

though...)

-

If

you're

using

a

sweep

type

sound.

try

pushing

the

sample

START

time

up

past

the

sweeping

portion

to

where

the

sus-

tain

starts.

Use

this

sustain

portion

to

synthesise

a

poly-synth

or

synth

brass-type

sound.

-

Or.

if

you're

using

sustaining

a

sound

with

a

distinct

attack

(i.e..

Synth

Bells).

punch

the

sample

START

past

the

at-

tack.

assign

ENE’

3

to

the

SLOW

STRING

envelope.

and

voiidi

Instant

pad.

This

is

by

no

means

intended

to

be

the

end-all

be-all

of

patch

select

articles

—

more

to

provide

some

food

for

thought

for

budding

programmers

out

there

who

may

have

thought

they'd

exhausted

the

potential

of

their

machines.

Have

your

own

patch

select

tricks’?

Write

'em

in.

we'd

love

to

hear

them!

-

Bio:

Hey...

don't

you

owe

Tom

Siteor

some

ntoney?

eTH

—

A

Faster.

Cheaper

Hacker

If

you

can

receive

e-mail

via

the

Internet.

you

can

mite

advantage

of

avoiding

the

post

office

and

get

a

faster.

cheaper.

e-nutil

ver-

sion

of

the

Hooker.

The

e-mail

Tronsonio

Hooker

contains

all

of

the

same

information

and

advertising

as

the

printed

version.

but

it's

only

$2llt'3tear

—

anywhere

on

the

planet.

Interested?

Inst

send

a

message

to

us

at

eTI-l@transoniq.com

and

we'll

e-tnlii

back

complete

subscription

inforrnatiott.

Let

rt-s

know

if

pol’!

like

ofree

copy

of

the

current

issue

end

we'll

send

one

olong.

Front

Pctnel

HND(Lu)

Hacker

News

Sometimes

it

seems

like

the

whole

music

industry

goes

into

a

coma

during

the

summer

—

letters

drop

off.

writers

have

to

be

chased

down

and

begged.

ads

go on

hiatus...

Ensoniq

didn't

even

have

arty

announcements.

Oh

well.

new

feotttre

—

read-

able

type

in

the

Interface!

It

may

just

be

that

doing

a

July)’

August

issue

might

be the

best

way

to

help

make

up

for

some

of

the

recent

printing

and

postage

increases.

Obviously.

we're

talking

next

year.

here.

Something

to

think

about...

We

received

a

couple

of

questions

regarding

the

review

of

ASR's

O.S.

3.08

in

last

month's

issue.

Yes.

3.53

is

the

latest

—

but

3.53

basically

just

tidies-up

some

features

(as

mentioned

in

Front

Panel

Issue

#120).

3.08

was

a

ntojor

change

—

and

the

review

was

run

past

Ensoniq

mere

hours

before

we

went

to

press.

The

review

is

current.

but

if

you're

upgrading.

get

3.53.

We'd

like

to

welcome

a

new

advertiser.

Tech

Star

Software

-

a

new

source

for

sample

sets

for

the

ASRt".EPS.'TS

families.

lll

Years

ago

in

the

Hooker

—

Clark

Salisbury

presents

our

first

software

review:

Texture.

a

PC-based

sequencer

from

Cherry

Lane

Technologies.

Erick

Hailstone

continues

his

ll-HDI

series.

We

have

the

beginings

of

our

infamous

letters

coiu.::::.

and

the

first

Hype-rsonjq

new

product

releases

—

which

nothing

to do

with

Ertsortiq

products.

but

were

all

we

':-_ar.'..

On

Point

Productions

announces

their

second

sample

audio

CD

—

New

York

5'tylin'.

140

new

hip

hop

loops,

110

live

drum

loops

(a

little

more

grungy

that

the

more

“classic

sounding"

Representing

Hip

Hop),

100

freaky

bits

such

as

bass

loops,

melodic

loops,

and

subliminal

sounds;

followed

by

350

dntm

samples

from

a

variety

of

sources.

All

total,

about

2'l'U

loops

and

T10

samples.

Produced

by

Don

Henning.

$69.95.

For

further

information,

contact:

On

Point

Productions,

61

Superior

St.,

Port

Jefferson

Station,

NY

IITT6.

Phone:

1-800-331-8841.

From

Cyberspace

to

Your

Ectr

Port

I

—-

Patches

Computer

communication

has

erupted

into

a

way

of

life

nowadays;

it’s

certainly

affected

the

music

industry.

Music

distribution,

promotion,

advertising

sites

all

have

changed

the

scope

of

the

music

arts.

And

it’s

affecting

the

way

we

Ensoniq

users

approach

our

instruments.

Perhaps

while

cruising

the

Net

you‘ve

seen

files

that

are

described

as

"ESQ-1

patches

in

Gala:-ty

format,"

or

“ASR

3.53

OS

in

Giebler

format,"

—

things

like

that.

So

you

download

it

(if

it's

for

your

instrument

it‘s

gotta

be

good),

but

then

what?

How

do

you

get

a

file

that’s

laying

in your

computer

to

your

Ensoniq

instrument?

Well,

this

month

we’re

going

to

look

into

various

ways

of

getting

those

patches

into

your

synth.

Nest

month

—

samples.

But

First...

Getting

It

Offline

FTP

{File

Transfer

Protocol)

is

easy

enough.

If

you

are

un-

familiar

with

it

check

with

your

Internet

provider

and

you’ll

find

out

how

easy

it

is

to

grab

files

from

cyberspace

and

get

‘em

into

your

computer.

Some

providers

even

decode

and

unzip

files

for

you

and

everything

(wow).

Send

to

a

Friend

This

may

be be

slightly

off

topic,

but

maybe

sometimes

you

would

like

to

send

a

sound

file

to

a

friend,

or

perhaps

they

have

some

you

want

and

they’d

like

to

send

to

you.

This

isn’t

like

Fl."P‘ing

—

you

gotta

send

it

e-mail.

And

if

you

are

dealing

with

America

On-Line

or

CompuServe.

that

means

you

have

to

jump

through

another

hoop.

Computer

files

come

in

two

flavors

—

test

and

binary.

Test

is

a

7-bit

format,

and

resembles

the

letters

you

are

now

read-

ing.

E-mail

is

made

up

of

‘T-bit

test

files.

Binary

information

Garth

Hjelte

is

an

B-bit

format,

and

isn’t

easily

read

by

people.

Binary

files

include

executable

files

(.15-LXE),

dynamic

link

libraries

(.DLL),

sip

files

(ZIP),

and

more.

Test

files

are

usually

.TXT,

.WRI,

DOC,

and

other

document

formats.

But

to

the

online

world

—

and

here's

the

complication

—

you

can

only

e-mail

T-bit

test

files,

and

the

majority

of

files

we

deal

with

{especially

the

sound

files

we’re

talking

about)

are

8-bit,

that

is,

binary.

So

how

do

we

get

around

this?

UUEncoding

and

decoding!

UU

You,

UU

Me

What‘s

UUcoding'?

(Note:

for

the

Mac,

the

same

type

of

process

is

called

Binheit.)

It’s

the

translation

of

binary

infor-

mation

into test

format

information.

There

are

some

good

UUcoding

programs

like

Richard

Marks

UUCODE,

and

I

use

Sabasoft’s

UUCODE

for

Windows.

For

the

lvlac

there's

Biohes.

They

will

take

in

a

binary

file

and

spit

out

a

coded

test

file

to

transmit.

The

coded

version

is

usually

80%

big-

ger

than

the

binary

file.

Then

you

are

ready

to

send

it.

Likewise.

when

you

receive

a

file

from

the

Internet,

it's

usually

in

a

coded

test

file

format

(and

most

of

the

time

compressedjaipped,

to

decrease

the

size

of

the

file).

Thus

you

want

to

decode

it

with

your

UU-Binhes

program.

Another

online

problem

is

that

many

providers

only

have

small

“gateways.”

A

gateway

is

the

maximum

allowable

size

of

a

packet

of

information

coming

through.

A

small

gateway

means

large

files

{especially

samples)

have

to

be

split

up

in

order

to

transmitfreceive.

For

example,

for

me

to

send

a

demo

of

my

EPSIASR

Tools

for

Windows

program

to

some-

one

on

the

Internet,

I

have

to

UU

Encode

my

sip

file,

split

it

up

into

64K

packets,

import

each

file

into

America

On-Line

{that's

my

provider),

and

send

them

all

out.

Typically,

it

takes

15-16

full

e-mail

message's

worth

(it’s

a

301,278-byte

file).

Then

the

poor

guy

at

the

other

end

has

to

put

all

the

UUencoded

textfiles

end to

end

using

a

word

processing

program,

UUdecode

it

and

he's

got

it.

It

can

get

complex.

Note:

If

you

are

saying,

"What's

he

talfing

about?

I

download

files

off

the

Internet

all

the

time,

and

they

are

in

binary

format,

and

I

don't

have

to

UU,i'Binhex

anything!"

That's

one,

lots

of

Internet

service

providers

convert

text

to-from

binary

automatically,

making

it

invisible

to

you.

But

with

AOL,

CIS,

and

the

majors,

it's

still

an

issue.

But

if

you

have

a

standard

Internet

PPP

account,

you'll

probably

never

encounter

the

problem.

But

since

there's

more

and

more

AOL

and

CIS

coming

on-line

(in

droves),

please

be

aware

of

these

"hoops."

Mac

users

will

need

Binhex

to

convert

files

to and

from

binary.

Binhex

works

in

the

background

of

a

number

of

Internet

browsinglsearching/downloading

programs,

auto-

matically

converting

the

files

as

they

are

downloaded

to

your

machine.

It

can

also

be

used

as

a

stand-alone

utility

to

convert

files

that

have

already

arrived,

but

in

the

wrong

for-

mat.

Don't

let

all

this

text-to-binary-to-text

scare

you.

If

you

have

to

encounter

it,

you'll

soon

get

used

to

it.

And

soon,

there

will

be

better

ways

of

doing

all

this.

lzzit

Disk

or

MIDI?

Once

you've

got

the

file,

it

can

be

transported

from

the

'puter

to

the

'board

by

one

of

two

ways

--

either

by

MIDI

communication

or

by

physical

media

(floppy

disks,

remov-

able

hard

disks,

etc.).

Generally,

patches

for

synthesizers

{ESQ-1,

VFXISD,

SQ,

TS,

KT

Series)

are

communicated

through

MIDI,

and

samples

are

communicated

through

media.

That's

changing

on

both

sides

lately,

but

that's

another

story.

One

If

By

MIDI...

Patches

for

synthesizers

are

kept

in

lotsa

format

-

Dataliiislt,

Galaxy,

XOR,

MIDIex,

Sys-Ex,

and

many

more.

It's

important

that

you

know

what

file

format

the

patch

file

is

in

so

you'll

know

how

to

transmit

this

to

your

keyboard.

Once

you

have

the

file

in your

computer,

you'll

need a

pro-

gram

to

extract

the

relevant

data

from

the

file

and

send

it

out

the

MIDI

port,

SCSI

port,

or

onto

the

floppy

disk.

It

extracts

what's

in

the

file,

and

then

sends

it

in

what's

called

system-exclusive

data.

That

means

it's

a

specialized

MIDI

message

just

for

your

instrument

and

it

contains

all

the

data

needed

to add

new

patches

or,

most

of

the

time,

to

replace

all

the

sounds

with

new

ones.

Remember,

with

synthesizers,

it

doesn't

replace

the

actual

waveforms

that

make

up

the

sound,

but

the

different

programs

that

alter

those

waves.

Let's

look

at

a

coupla

sysfex

transmitters.

M[DIex

is

a

popular

DOS

utility

with

many

patches

online

that

seem

to

be

in

this

format.

(For

the

Mac,

you'll

usually

find

some-

thing

else.)

MIDIex

is

fairly

easy

to

use.

I

made

a

batch

file

that

reads

like

this:

midiex

i'I:'i‘

IB:-=l50000

because

my

PCM_[DICard

is

set

to

interrupt

I.

B

stands

for

buffer,

and

450,000

means

I

have

made

450,000

bytes

of

memory

available

to

sendfreceive

data.

I

use

MlDIex

with

a

lilfavestation

(non-Ensoniq),

but

with

your

Ensoniq

board

the

buffer

could

be

less.

(Note:

the

MIDIex

that

is

at

the

Tran-

soniq

ftp

site

is

an

updated

version,

but

doesn't

have

the

"switches"

as

listed

above

—

however,

you'll

probably

not

need

them.)

Another

program

of

this

type

is

the

MIDI

Data

Filer

(or

MDF).

According

to

Todd

Aiken

of

the

cal-:.oakland.edu

list,

“I

tried

using

MIDIex

at

home

with

my

EPS

Classic

and

SoundBlaster,

and

it

would

not

recognize

my

MPU-401

in-

terface

at

all,

but

MDF

works

beautifully.

You

can

fmd

it

at

ftp.cdrom.com

in

the

directory

fpubfgarbo,t'garbo_pc!

sound

with

the

filenarne

mdf31.zip.

It's

only

28k

zipped

{I

think)

and

it's

absolutely

free!"

There's

also

a

no-frills

MS-DOS

MPU-401

MIDI

Sysex

Dump

and

Receive

utility

called

SYSXUTILZIP

on

Com-

puserve

in

the

ENSUNIQ

forum.

It

has

been

tested

success-

fully

with

ALL

sysex

messages

of

any

type

on

ALL

Ensoniq

keyboards

and

modules

—

which

may

not

be

the

case

with

other

free,

generic

sysex

utilities.

Wltile

cruising

the

Net,

you

probably

will

fmd

".syx"

files,

which

stands

for

Cakewalk

system-exclusive

file

format.

Cakewalk

has

become

very

popular

for

sendinglreceiving

system

exclusive

dumps.

It's

really

quite

easy

with

its

smooth

Windows

interface.

You

can

combine

this

with

se-

quencing

for

a

great

setup.

Cubase,

Performer,

Master'I'ra.cks

Pro

also

provide

this

function.

It's

usually

good

to

hook

up

both

of

your

MIDI

cables

(“Out"

of

your

keyboard

into

the

"In"

of

the

computer,

and

vice-versa).

That

way

the

hand-

shakes

can

make

good.

If

you

find

things

not

working,

try

unhooking

the

Keyboard

OUT

with

the

Computer

IN.

Some-

times

it's

the

computer's

fault,

sometimes

it's

yours.

As

a

sidenote,

MIDI

system-exclusive

patch

dumps

have

come

a

long

way

since

the

beginning.

Remember,

PCs

weren't

popular

items

back

a

couple

of

ywrs

ago.

Ensoniq

equipped

the

Mirage

to

handle

patch

dumps

from

the

ESQ-I

by

a

real

"cheat."

I

have

a

KCIRG

EX-S000

that

required

an

insane

handshaking

scheme

to

get

it

to

dump

its

data,

and

even

then

it

was

only

one

patch

at

a

time.

Nowadays,

it's

much

easier.

If

you're

daring

and

want

to

be-

come

a

(oh,

here

it

comes)

POWER

USER,

you

might

want

to

invest

in

a

synth

editorfhbrariatr.

Sound

Quest

makes

a

great

line

of

Windows

edllibs

called

MIDI

Quest.

Not

only

can

you

edit

any

piece

of

data

from

the

computer,

you

can

also

set

up

multiple

SysEx

dumps,

to

load

all

your

sounds

to

multiple

synths

before

each

song.

Wow!

And

in

the

Tran-

soniq

site,

there

is

a

superb

shareware

editor

for

the

KS-32.

Plus

there

are

many

of

the

editorjlibrarians

dtat

were

first

class

for

the

ESQ-1

in

its

heyday

that

are

offered

for

free

now

on

the

NET

(ESQLIB

comes

to

mind

—

it's

available

on

CompuServe

now).

Other

SysEx

programs

are

Software

Forge

SysEx

Manager

(sysexmauzip)

and

WinSysEx

(winsysex.zip).

(This

one

does

only

dumps

T0

the

MIDI

gear.

It

does

NOT

record

sysex

FROM

synths

etc.)

And

not

to

forget

the

Mac,

there

are

several

shareware

sysex

programs

for

the

Mac

—

Bulk

Sysex

Utility,

MidiEx

Mac,

Blown

Away

By

Mantra

Vi__t_ieo

Help

for

Computer

Music!

and

Flypaper.

According

to

Steve

‘ifincent,

"...of

the

first

two,

MidiEx

Mac

seems

to

work

better

(on

my

system

at

least)."

Steve

bundled

MidiEx

Mac

into

the

HackerPatch

file

"HackerPatch

ESQ.MidiExMac.sit"

at

the

Transoniq

ftp

site

for

the

ESQ

I-IackerPatches.

So,

Mac

users

don't

have

to

shell

out

big

bucks

for

Galaxy

or

some

other

librarian

to

send

and

receive

patches.

Hopefully,

MidiEx

Mac

will

be

the

standard,

at

least

in

Hacker

circles,

for

Mac

transfers.

Flypaper

for

the

Mac,

by

Steve

Berkley

of

epSCSi

fame,

al-

lows

you

to

save

MIDI

dumps

into

an

application

that

you

can

give

to

your

friends,

download,

etc.

to

load

into

their

synths.

For

example,

you

can

record

a

SysEx

dump

of

MIDI

from

your

DPI4

into

Flypaper,

save

it

into

a

"Transportable"

application

(overhead

about

48k),

and

download

it

to

wherever.

Steve

Berkley

says

it's

available

at

most

major

online

services

and

ftp

sites.

Next

month

—-

samples

and

sites.

-

Bio:

Garth

Hjelte

owns

Rubber

Chicken

Software

Company,

a

sound

and

who-knows-what-else

company

that

devotes

ir-

seif

to

Ensonia

products.

He'd

like

to

thank

you

for

reading

this

article,

and

hopes

that

he

can

read

one

ofycnrs

as

weir‘.

-'3

%

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Technology

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the

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admission..."

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Labrecque,

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Marketing,

Passport

Designs

Inc.

“The

videos

really

do

accelerate

the

learning

curve."

Efiggiiug

Hiflgg

Sgluligng

-Chris

Filce,

Marketing

Director,

Twelve

Tone

Systems

Bcrss-ic

Principles

We

synthesists

live

in

a

time

when

advancements

in

sound

generation

technologies

continue

at

a

rapid

pace.

Each

step

provides

more

ever

more

amazing

possibilities

to

the

musician

but

it

seems

that

we

are

now

reaching

a

sort

of

equilibrium

where

past

developments

are

being

revisited

and

recognized

for

their

unique

strengths.

All

through

this

evolution

however,

one

thing

that

has

always

remained

popular

in

modem

music

has

been

the

sound

of

analog

bass.

This

article

and

the

accompanying

patch

analyze

some

of

the

principles

involved

in

creating

these

bass

sounds.

The

patch

is

for

a

TS-10;’

12

but

the

combination

of

voices

4,

5

and

6

can

easily

be

adapted

to

other

synths.

The

sound

is

very

fat

with

a

bit

of

a

"bump"

to

it

and

should

fit

in

well

with

dance,

pop

or

any

technoid-beat

oriented

music.

Earlier

analog

synths

used

voltages

in

circuits

to

generate

and

shape

electronic

timbres.

The

oscillators

could

only

produce

simple

waveforms

whose

shape

and

harmonic

spectrum

could

be

described

by

simple

mathematical

prin-

ciples.

A

sawtooth

wave

for

example

has

all

harmonics

present

in

a

decreasing

level

of

intensity

and

produces

a

bright,

buzzy

sound.

A

square

wave

produces

only

the

odd

numbered

harmonics

and

has

a

characteristic

"hollow"

sound.

As

a

square

wave

is

altered

to

various

rectangular

shapes,

other

patterns

of

harmonics

are

eliminated

produc-

ing

differing

tonalities.

These

raw

waves

have

a

very

static

sound

and

must

be

run

through

various

modulators

to

im-

prove

their

musical

interest.

Modern

instruments

can

easily

generate

these

shapes

from

digital

data

and

the

TS-10

con-

tains

a

number

of

these

in

the

Wave

Class

of

"Wave-

forms."

The

next

main

stage

in

the

synthesis

signal

path

tends

to

be

a

filter

of

some

sort.

Most

digital

filters

limit

the

harmonic

content

of

the

waveform

at

a

specified

cutoff

point,

how-

ever

analog

filters

also

provide

control

of

resonance

which

causes

frequencies

to

be

boosted

in

a

narrow

peak

just

before

the

cutoff

point.

This

makes

a

sound

more

distinct

or

imparts

a

plucked

sounding

attack

and

generally

adds

har-

monic

interest.

The

above

elements

combine

to

make

a

bass

sotmd

that

is

a

solid

burst

of

low

frequencies

with

a

har-

monic

spectrum

that

cuts

off

where

the

frequencies

of

most

other

instruments

in

a

mix

begin.

When

we

attempt

to

produce

this

type

of

bass

sound

on

a

digital

synthesizer

there

are

a

few

problems

with

getting

it

exactly

the

same.

A

digital

processor

creates

the

sound

in-

Garry

Wasyliw

ternally

using

a

big

ream

of

numbers

manipulated

by

a

com-

puter

program.

It

is

somewhat

difficult

to

use

a

numerical

model

to

analyze

and

describe

all

of

the

various

subtle

dis-

tortions

of

timbre

that

each

analog

stage

adds

to

the

signal

path,

Many

digital

synths

do

not

have

a

resonant

filter

and

those

that do

don't

seem

to

sound

as

alive

as

the

real

thing.

Another

issue

is

that

digital

envelopes

generally

cannot

ac-

tivate

as

fast

as

voltage

conuollcd

envelopes

and

thus

do

not

produce

as

crisp

an

attack.

These

issues

can

be

com-

promised

however,

by

all

but

the

vintage

purists

in

con-

sideration

of

the

advantages

of

stable

tuning,

patch

storage,

polyphony,

MIDI,

etc.

If

you

are

not

experienced

with

synth

programming,

it

is

sometimes

easier

to

ignore

the

huge

array

of

options

avail-

able

in

an

Ensoniq

instrument

and

concentrate

on

a

more

limited

palate.

The

attached

patch

sheet

outlines

two

separate

sounds,

the

first

of

which

is

a

simple

monophonic,

dual

oscillator

into

resonant

filter

set-up.

In

this

case

the

regular

low

pass

filters

of

the

TS

are

wide

open

and

filter-

ing

is

being

handled

through

the

effects

section.

You

can

create

variations

of

the

tone

by

adjusting

the

settings

of

the

filter

on

the

fourth

click

of

the

Program

Effects

pages.

FC

and

BW

adjust

the

cutoff

frequency

and

the

strength

of

the

resonant

peak

respectively.

The

ENV

AMT

setting

adjusts

the

contribution

of

the

filter

envelope

and

will

affect

the

at-

tack.

Lower

the

LEVEL

amount

if

distortion

becomes

evi-

dent.

The

filter

envelope

controls

are

found

on

the

fifth

click

of

the

Effects

pages

and

are

much

simpler

to

manage

than

the

main

envelopes.

All

of

these

controls

are

interac-

tive

and

with

a

little

experimentation,

you

will

quickly

be

able

to

derive

a

number

of

your

own

versions

of

this

sound.

The

OX

Voice

Select

brings

in

a

marimba

wave

which

adds

a

more

distinct

attack.

The

second

part

of

the

patch

uses

waves

4,5

and

6

from

the

X0

Voice

Select

and

provides

a

different

sound

by

using

plucked

waves

transposed

down

to

emulate

the

resonance

effect.

This

sound

would

also

be

useful

if

yotu

effects

are

busy

elsewhere.

The

patch

can

be

adapted

to

other

synths

by

substituting

other

suitable

plucked

waveforms.

Raising

the

Cutoff

amount

or

the

Envl

amount

on

the

filter

page

of

one

or

more

of

these

waves

will

give

different

characters

to

the

mix.

Wave

5

has

a

low

setting

for

both

Sample

Start

and

ENV2

Attack

to

eliminate

the

initial

click

but

these

values

can

be

zeroed

for

another

variation.

Try

this

patch

in

the

higher

registers

for

various

techno

type

"bleeping"

sounds.

TS“-1

DI1

2

PTOQI

TECKBDSS

By:

Gerry

Wasyfiw

WA)!‘

ES

1

2

3

4 5

E

Wave

Wava

Olaaa

Delay

Shlit

Direction

Iiiiodsmt

Sampia

Start

Start

Motiaro

iiiiodamt

HOD

IIIIIEFI

o

Forward

DD

D

Forward

DD

D

Fonlvard

DD

I

II

1

I-"‘H

H

H

I-If

Sawwavai

Sawwavai

Marimba

Sc|uarawv

Sharnisan

iflavafonn

Waveform

Tuneciiilarcliiiaveionn

SiringSnti

D

D D D

D

D

D

Forward

Forward

DD

D2

Tachstring

Stri

ngSnd

D

D

Forward

DD

1

2

45

Src-1

Src-2

Src-2

Sonia

Shape

-I

‘Q

I

ii

PITCH

L

H

-F

1

H

i

I

Octave

Samitono

Fina

Oiidamotia

Glidatlma

-1

D

-I-D?

Trigger

D

bub

--r

Trigger

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{Page

1}

EFFECTS

Tan?“

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Patch

Fiaatrll-ta__

POM

DOIllTHOL_j[__Fagos

2

a

3}

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D2

so

ma

.

iviulil

an

I

The

final

sauce

that

always

goes

good

on

a

bass

sound

is

a

little

equalization.

If

you

can

dedicate

one

output

to

the

sound

and

send

it

to

a

miner

channel

with

EQ,

you

can

create

far

more

clarity

and

punch.

A

low

conuol

which

acts

around

50

to

100

Ha

will

bring

out

the

bottom

and

if

you

have

a

sweep

mid,

cutting

a

bit

at 200 to

250

Hz

will

reduce

the

muddiness

that

sometimes

blurs

the

mid

range.

Boosting

around

B00

to

1000

Hz

or with

a

high

control

will

bring

out

the

attack

and

add

defmition.

It's

best

to

listen

to

the

sound

in

the

contest

of

the

mitt

and

judge

the

effect

of

each

EQ

Tune

Your

Bass

Imagine

what

it

would

be

like

if

you

could

create

a

preset

in

your

DP!-4

that

could

be

used

to

tune

your

four-string

bass.

I

know

what

you’re

thinking

—

how

can

this

he

done?

The

DP,t4+

has

a

2-Unit

Guitar

Tuner

algorithm,

hut

not

the

DP,t4l

Let's

be a

little

creative

here.

Although

the

DP/4

does

not

have

a

tuning

algorithm,

it

does

have

a

Sinet'Noise

Generator,

and

that’s

the

key.

Think

about

it.

Your

bass

has

four

strings.

The

DPI4

has

4

Units

(A,

B,

C,

and

D).

If

each

string

were

"connected"

to

a

unit,

you

could

use

a

Sine,t'Noise

Generator

in

each

unit,

and

set

the

appropriate

frequency

as

a

tone

for

tuning

each

string.

Unit

A

will

be

used

to

tune

the

E

string

on

the

bass,

Unit

B

would

be

used

for

the

A

string,

Unit

C

for

the

D

string,

and

Unit

D

for

the

G

string.

Set

the

Oentlg

We

will

make

the

Bass

Tuner

a

Config

Preset. Sure

this

could

be

saved

as

a

4

Unit

Preset,

hut

the

benefit

of

saving

this

as

a

Config

Preset

is

that

a

Config

preset

will

remember

the

bypasaiunbypass

status

of

each

unit.

If

all

four

sine!

noise

generator

frequencies

are

ringing

out

iunbypassed),

it

would

sound

worse

than

a

Spinal

Tap

concert.

To

Set

the

Config:

_

1.

Press

Edit,

then

Config.

2.

Press

the

Left

Arrow

button

until

the

red

LED

display

shows

"DU."

3.

Move

the

Data

Entry

Slider

until

the

LCD

displays

“l

Source

Config."

4.

Press

the

Right

Arrow

button

once,

and

set

this

to

“AB

—

CD

Routing=AB

+

CD

parallel."

range

until

the

bass

sits

well

with

the

other

sounds.

Delay

or

reverb

are

not

usually

used

on

bass

as

this

tends

to

cloud

the

mis.

If

the

bass

sound

needs

to

be

pushed

hack

in

the

mitt,

you

may

want

to

try

boosting

the

mids

and

lowering

the

volume.

in

Bio:

Garry

Wasyiiw

works

as

a

structurai

engineer

who

spends

his

spare

time

pushing

the

buttons

on

his

Ensoniq

synth

in

search

of

the

iost

chord.

He

found

it

once

hut

the

sequencer

was

not

in

record

tnotie

—

so

it's

iost

again.

Wi‘l'h

Cl

DP/4!

Tom

Tracy

5.

Press

the

Right

Arrow

button

again,

and

set

this

to

"AB

Unit

Routing=[A+B]

parallel."

6.

Press

the

Right

Arrow

button

again,

and

set

this

to

“CD

Unit

Routing=[C+D]

parallel."

We've

just

made

parallel

connections

between

all

units.

7.

Press

the

Right

Arrow

button

three

times.

and

set

this

to

“AB

Input

Seleet=(I)

Mono."

If

you

have

a

cool

expensive

stereo

bass,

set

this

to

“AB

Input

Select={1,2)

Stereo."

B.

Press

the

Right

Arrow

button

once,

and

set

the

rentaining

four

parameters

to

(b)ypass

(k)i1l

A=k

B=k

C=1r

D=k."

9.

If

all

four

red

unit

LEDs

are

not

lit,

press

the

Config

button

until

they

are.

Set

the

Algorithm

Parameters

1.

While

in

Edit

mode

(the

Edit

LED

should

still

be

lit),

Press

the

Unit

A

button.

2.

Press

the

Left

Arrow

button

until

the

red

LED

display

shows

"00."

3.

Move

the

Data

Entry

Slider

to

select

preset

#90

“Signal

Generator.“

4.

Using

the

Data

Entry

Controls

set

the

remaining

para-

meters

to:

IvIis.=30

Volume=99

SinefNoise

Gen

Sine

Freq=l65

Ha

Sine,t'Noise

Gen

Ea1at1ce=[l'[}

Noise

Filter

LowPass

Fe=16

K

Bass

Fc=

200

Hz

EQ

Gain=+0{l

dB

1

I.

I

Treble

Fc=

DSKHZ

EQ

Gain=+i]0

dB

EQ

Input

Level

Trim=+U0

All

Modulation

pararneters=Off

Waive

just

set

the

parameters

in

Unit

A

to

tune

the

E

string

on

the

bass.

Use

the

Copy

Feature

This

feature

(explained

so

elegantly

in

the

Storage

Section

of

the

Musician's

Manual)

will

save

time

in

copying

the

al-

gorithm

and

parameter

settings

in

Unit

A

to

the

other

tmits.

1.

While

in

Edit

mode

(the

Edit

LED

should

still

be

lit).

press

the

Write

button.

2.

Press

the

Unit

A

button.

The

top

line

shows

“Write

to

1U

Pset."

3.

While

holding

the

Unit

A

button,

press

the

Unit

B

button.

4.

Turn

the

Data

Entry

Knob

clockwise

until

the

display

shows

“Hit

<WRITE>

To

Copy

Unit

A

to

B.“

5.

Press

Write.

Repeat

the

above

steps,

copying

Unit

A

to

Unit

C

and

D.

Now

the

Sinethioise

Gen

algorithm

is

in

all

four

units.

Setting

the

Frequencies

We‘ve

just

copied

the

algorithm

and

parameter

settings

in

Unit

A

to

Units

B,

C,

and

D.

Now all

of

the

units

are

set

to

tune

the

E

string.

That’s

not

what

we

want.

The

frequency

needs

to

be

set

for

each

unit

to

match

the

appropriate

string.

Based

on

a

tuning

reference

of

A=44(l

I-Ia

using

an

equal-

temperament

pitch

table,

set

the

Sine

Frequency

parameter

(parameter

03)

for

each

tutit

as

follows:

Unit

A

(the

E

suing)

-

SinetNoise

Gen

Sine

Freq=165

Hz

Unit

B

(the

A

suing)

-

SinetNoise

Gen

Sine

Freq=220

Ha

Unit

C

(the

D

suing}

-

Sine;'Noise

Gen

Sine

Freq=294

Hz

Unit

D

(the

G

string)

-

Sinet'Noise

Gen

Sine

Freq=392

Hz

Note:

Sine

values

are

rounded

off

to

the

closest

number.

Absolute

values

are

E=l6-4.81;

A=220.U(};

D=293.6?;

G=392.[l-U.

Sine

values

are

also

one

octave

higher

than

true

pitch,

making

it

easier

to

hear

the

tone.

Save

Your

Contig Preset

1.

While

in

Edit

mode

(the

Edit

LED

should

still

be

lit).

press

the

Config

button.

2.

If

all

four

red

unit

LEDs

are

not

lit.

press

the

Config

button

until

they

are.

You

shouldn’t

hear

any

tones.

3.

Press

Write.

The

top

line

of

the

LCD

display

shows

“Write

to

Config.“

This

is

what

we

want.

4.

Use

the

Data

Entry

Knob

to

find

a

Config

location

to

copy

you

Bass

Tttner

into.

5.

Press

Write

again.

Now

using

the

Arrow

buttons

and

the

Data

Entry

Knob,

name

your

preset

something

like

“Bass

Tone

Tuner."

6.

Press

Write

one

more

time

to

complete

the

process.

How

to

Use

the

Bass

Tone

Tuner

Now

that

you"'ve

finished

making

it,

let's

use

it.

1.

Connect

the

DP,i4

to

an

audio

source,

and

your

bass

to

Input

1

(or

l

and 2,

see

earlier

comment).

2.

Press

Select,

then

Config,

and

locate

your

Bass

Tone

Tuner

preset.

3.

Press

Select

again

to

select

it.

(Makes

sense,

huh?)

4.

Press

the

Unit

A

button

twice.

This

is

the

E

tone.

Match

it

with

your

bass.

5.

Press

the

Unit

A

button

again

to

bypass

it

(red

LED

lit).

6.

Press

the

Unit

B

button

twice.

This

is

the

A

tone.

Match

it

with

your

bass.

T.

Press

the

Unit

B

button

again

to

bypass

it

(red

LED

lit).

S.

Press

the

Unit

C

button

twice.

This

is

the

D

tone.

Match

it

with

your

bass.

9.

Press

the

Unit

C

button

again

to

bypass

it

(red

LED

lit).

Ii].

Press

the

Unit

D

button

twice.

This

is

the

G

tone.

Match

it

with

your

bass.

ll.

Press

the

Unit

D

button

again

to

bypass

it

(red

LED

lit).

You

have

just

successfully

used

the

DPI4

as

a

bass

tuner!

Variations

of

this

can

be

used

for

different

pitches

and

dif-

ferent

instruments.

You

might

want

to

anbypass

any

two

consecutive

units

as

a

“tone

drone"

for

your

nest

musical

composition.

The

possibilities

are

endless.

Much

thanks

goes

to

Dave

Cook,

a

fine

bass

player in

the

Reading

PA

area,

for

coming

up

with

the

“Bass

Tuner"

idea.

-r

Bio

.'

Torn

Tracy

is

an

Ensonio

corporate

citizen

and

writes

documents

like

Sound

Manuals.

Musician's

Manuals,

and

an

iiiustrious

bevy

of

things

that

nobody

reads.

Tec

h

n

iccll

Su

pport

Q&A:

Synchronizing

Your

Ensoniq

Keyboard

to

External

Clocks

There

seems

to

be

plenty

of

confusion

when

synchronizing

the

sequencer

found

on

board

an

Ensoniq

synth

or

satnpler

to

an

external

MIDI

clock

source.

These

clocks

can

be

generated

by

devices

such

as

computer-based"

sequencers,

analog

or

digital

multi-track

tape

recorders,

and

various

in-

terface

models

designed

specifically

to

generate

MIDI

clocks

or

various

timecodes

for

purposes

of

synchronisa-

tion.

I‘ve

written

this

guide

to

define

the

most

misunderstood

terms

that

you’re

likely

to

come

across

in

various

product

manuals.

I

also

want

to

provide

a

clear

understanding

of

the

capabilities

and

requirements

in

performing

such

a

task.

The

relationship

between

the

external

clock

and

the

Ensoniq

sequencer

is

active

to

passive,

respectively.

It

is

much

easier

to

sync

the

sequencer

onboard

your

Ensoniq

work-

station

to

a

multi-track

deck

titan

vice-versa,

due to

the

relatively

slow

and

inaccurate

response

of

the

average

tape

uansport

mechanism.

On

the

other

hand,

a

computer-based

sequencer

should

be

able

to

sync

up

to

the

Ensoniq

MIDI

clocks

without

any

problem

at

all.

The

issue

is

actually

very

simple

from

our

end:

The

sequen-

cers

built

into

Ensoniq

samplers

and

synths

(and

almost

all

keyboard-based

sequencers

on

the

market)

are

designed

to

send

and

receive

MIDI

clocks

with

Song

Position

Pointer.

They

do

not

respond

directly

to

other

codes

such

as

Fre-

quency

Shift

Keying

(FSK),

MIDI

Tape

Sync,

MIDI

Time

Code,

or

SMIPTE.

"

The

MIDI

clock

sent

over

MIDI

cables

to

the

passive

se-

quencer

tells

the

receiving

unit

specific

information

about

measures,

beats,

and

clocks

per

beat

-

also

known

as

pulses

per

quarter

note

(PPQ).

The

lone

exception

to

this

is

the

se-

quencer

found

in

I.i'lB

Mirage

keyboard

and

rack-mount,

which

sends

and

responds

to

MIDI

clocks

only,

without

Song

Position

Pointer.

Some

multi-track

decks

have

tape

sync

capabilities

built

in,

while

others

require

the

use

of

an

optional

proprietary

or

third-party

synchronisation

unit;

a

variety

of

models

are

currently

available

on

the

market.

To

find

out

about

the

set-

tings

and

requirements

for

those

units

during

specific

synchronisation

contexts,

refer

to

the

technical

manual

in-

cluded

with

the

deck

or

sync

box.

To

find

out

about

setting

Anthony

Ferraro

the

sequencer

on

your

particular

Ensoniq

workstation

to

fol-

low

an

external

MIDI

clock

source,

check

below.

Setting

the

Ensoniq

Sequencer

to

Extemal

MIDI

Clocks

Mirage

DSK-SIDMSIDSK-1:

Parameter

S5

must

be

set

to

ON

to

sync

the

Mirage

intemal

sequencer

to

an

extemal

MIDI

clock

source.

The

Mirage

is

not

able

to

chase-lock

to

random

points

in

the

song,

since

it

does

not

respond

to

Song

Position

Pointer.

This

means

that

you

cannot

start

the

Mirage’s

sequencer

from

a

random

point

in

the

sequence

and

expect

it

to

be

in

sync

with

an

external

clock

source.

It

will

start

from

the

beginning,

rather

than

chase-locking

to

a

selected

location.

-

ESQ-USQ-S0:

On

the

Control

Page,

set

SYNC=hflDI

CLOCK.

The

other

option

is

to

choose

TAPE

SYNC

as

the

clock

source,

which

is

received

via

the

rear

panel

Tape

In

jack.

Both

models

contain

their

own

tape

sync

generator,

which

can

drive

another

device

by

connecting

the

TAPE

OUT

and

TAPE

IN

jacks

to

the

respective

jacks

on

a

tape

recorder.

For

more

step

by

step

details

on

this

operation,

consult

the

ESQ-I

and

SQ-BU

manuals.

VFX-SDISD-1

32

VOICE:

The

internal

clock

source

must

be

set

to

MIDI

on

the

Sequencer

Control

page;

changing

this

parameter

from

INTERNAL

to

MIDI

will

also

cause

the

TEMPO

setting

to

switch

to

EXT.

SQIKS-32

Series:

Once

a

particular

sequence

or

song

is

selected,

hit

the

Edit

Seqt'P1'eset

button,

followed

by

the

Bank

One

control

button,

then

the

Screen

Two

button.

From

there,

the

screen

will

say

CLOCK=INTERNAL.

Now

use

your

Up

Arrow

button

to

change

this

setting

to

MIDI.

TS

Series:

In

the

first

page

under

the

Sequencer

Control

button,

set

CLOCK=

MIDI.

As

with

the

MFX-SDISD-l

32

VOICE

series,

this

change

will

also

make

the

TEMPO

set-

ting

to

switch

to

EXT.

EPS,

EPS-16

PLUS

and

ASR

Series:

Scroll

to

the

CLOCK

SOURCE

parameter

on

the

Edit)‘Seq

page

and

change

CLOCK

SOURCE=

to

MIDI.

Special

ASR-10

Note:

when

using

DiskTraclts

with

the

ASR-10,

the

ASR

must

without

exception

be

the

master

clock

to

allow

the

tracks

to

spool

off

the

hard

drive

accurately.

If

you

attempt

to

change

this

setting

to

MIDI,

you

will

get

a

message

saying

NO

SCSI

ATRK

NHDI

SYNC.

KT-’i'6t'38:

Press

the

Edit

SeqtPreset

button;

then

hit

the

Upper

1

followed

by

the

Lower

2

button

to

get

to

the

page

that

says:

CLOCK

=

INTERNAL.

Change

the

sequencer

clock

source

to

MIDI.

With

this

information

in

mind,

you

should

now

be

able

to

get

your

on-board

sequencer

to

play

follow-the-leader

with

an

external

MJDI

clock

source

minus

the

usual

trial

and

error.

See

you

next

time

with

yet

more

problems

and

lighten-

ing-quick

solutions.

-

?-.-.-.--—-.p------

-—-|---"

Bio:

Anthony

Ferrara

has

written

for

Electronic

Musician,

Recording,

anti

Keyboard

magazines.

It

Pctys

to

P(l)c|n

Ahead

Or

—

Programming

Sounds

tor

Sequence

Interaction

Those

of

you

who

use

your

onboard

sequencers

for

public

(or

basement)

performances

may

have

acquired

the

habit

of

using

all

your

Sounds

“as

is"

from

the

factory.

Even

though

stock

sounds

are

great,

you

may

be

surprised

what

a

big

dif-

ference

personal

programming

can

make

to

your

accom-

paniment

sequences.

These

instructions

refer

to

the

KS-32,

but

many

other

Ensoniq

sequencers

offer

similar

capabilities.

Let's

suppose

you

often

use

a

piano

patch

as

the

live

track

during

your

perfonnances.

To

better

meet

your

performing

needs,

we'll

adjust

its

EQ

(filters),

limit

its

volume

sensi-

tivity

to

velocity,

and

make

it

a

stereo

piano.

Finally,

we'll

reassign

its

effect

busses

to

give

the

sequence

you

use

it

in

two

different

levels

of

reverb.

The

KS

Grand

Piano

(ROM

GU)

is

a

good

place

to

start.

Push

the

Edit

Sound

button

and

solo

Voice

1,

16

Bit

Grand

Piano-Low

(see

patch

1).

To

lower

its

treble

quality,

you

can

adjust

the

FCI

and

FC2

cutoffs

under

the

Filters

bank

to

reduce

its

high

frequency.

You

can

choose

Timbre

(and

its

Modsource

and

Modamount)

to

give

you

real-time

con-

trol

over

its

EQ.

Note

that

Timbre

is

only

enabled

when

it's

routed

to

a

track

of

a

preset

or

sequence.

By

the

way,

you

usually

won't

want

to

designate

Modpedal

as

a

real

time

modulator

for

a

sound

to

be

used

in

a

sequence

since

per-

forming

a

Sound

live

usually

requires

the

volume

pedal

to

be

used

as

a

volume

controller.

Next,

let's

assume

that

the

volume

of

this

Voice

is

a

little

too

sensitive

to

velocity.

In

other

words,

your

notes

inadver-

tently

suuck

too

hard

may

sound

too

loud,

especially

for

quiet

background

music.

Under

the

Amp

bank,

lower

the

‘Velocity

Level

to

O6.

This

will

limit

the

degree

your

Dan

Rohde

volume

can

vary.

You

can

also

make

the

volume

taper

off

toward

the

bottom

of

the

keyboard

by

adjusting

the

KBD

Scale

to

+15.

Route

the

Output

bus

to

FXI,

which

will

be

the

lower

of

two

levels.

To

create

a

stereo

effect,

set

Pan

to

-28,

which

moves

the

sound

toward

the

left.

For

the

Effects

bank,

let's

keep

Hall

Reverb,

but

reassign

the

busses

to

FXl=lU

and

FX2=3ft.

For

Modsource

select

Wheel

+25

to

modulate

the

FX2-Mix,

which

will

give

us

a

couple

options.

When

used

as

the

effect

for

a

sequence

routed

to

Voice

under

Track

Output,

our

piano

patch

will

have

its

‘Voices

routed

to

FX1,

its

lower

reverb

value.

However,

when

its

track

is

routed

to

FX2,

the

wetter

value,

the

wheel

will

increase

the

effect

even

more,

giving

us

a

wide

variety

of

reverb

setting

options.

Here

we

should

review

the

versatility

of

the

KS-32's

system

of

PX

routing.

By

designating

Voice

under

a

track's

Output

bank,

you

choose

to

use

the

individual

FX

routings

of

each

of

the

sound's

three

voices.

That

is,

if

one

voice

is

set

to

FX1

and

the

others

are

set

to

FX2

and

Dry,

then

these

voices

will

use

whatever

FX

values

have

been

assigned

to

the

effect

for

that

sequence.

By

designating

Control,

FX1,

FX2,

or

Dry,

you

override

the

sound's

individual

voice

routings.

Now

let's

adjust

Voice

2

in

our

piano

patch

the

saute

ways

we

adjusted

voice

I.

Set

the

Filters

bank

Modsource

to

Timbre

(+10)

and

lower

the

Velocity

Level

to

13

under

the

Amp

bank.

Under

Output

lower

the

KBD

Scale

to

+10.

Finally,

set

the

Pan

to

+28

to

complete

the

stereo

effect.

Voice

3,

which

is

Off

in

the

KS

Grand

Piano,

should

be

set

to

On.

A

little

thud

across

the

entire

key

range

improves

the

simulation

of

authentic

piano.

However,

a

little

goes

a

long

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Trombone

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Strings

French

tlrgan

licice

liibes

Horn

Harp

Alto

Sax

Fretless

Hass

Hut

ed

High

Trumpet

Strings

Flute

Oboe

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Sax

Lou

Piano

High

Piano

Audience

EFCIS8

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-

fir

Qéhifids

.--'—=_,

1""

Can:

for

Ensoniq

Now

available

direct

from

factory

(except

in

current

dealer

areas)

our

full

line

of

ATA

cases

Category

I

and

II

Keyboards:

EPS,

EPS-lti

PLUS.

VFX,

YFK-sd,

SQ-SD,

SQ-1.

SQ-1+,

SQ-2

Module

rack

cases:

3-space, 4-space,

5-space, 6-space.

(2-space

racks

available

with

surface

mount

hardware

only.)

Mention

the

f

TH

J

code

number

839

when

inquiring

to

receive

our

special

factory

direct

pricing.

'$.hl...i...

US

AT

1-B00-537-6635

8:00

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to

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CT,

Mon.

-

Fri.

We

accept:

COD,

Yisa,

Mastercard,

American

Express.

Dealer

Inquiries

Welcome!

way

so

you

may

want

to

lower

its

volume

under

Output.

So

far

we've

tweaked

one

program,

the

piano

patch,

whose

two

FX

levels

(10

and

30)

will

be

available

for

all

the

other

tracks

in

its

sequence.

Before

we

design

another

program,

let's

consider

how

many

different

instruments

(Voices)

we

cart

put

on

the

remaining

seven

tracks

of

this

sequence.

If

we

use

the

piano

patch

on

one

track,

and

put

a

drum

kit

on

a

second

track,

we

have

six

tracks

left.

Six

tracks

times

three

voices

each

equals

18

instruments,

which

might

be

more

than

you

need

for

back-

ground

accompaniment.

l've

found

three-instrument

pro-

grams

very

useful

and

only

wish

I'd

started

using

them

earlier.

Wherever

you're

playing,

it's

very

convenient

to

have

so

many

instruments

accessible

in

one

sequence

—

without

the

hassle

of

loading

numerous

sequences

that

re-

quire

a

Song

to

string

them

together.

You

may

even

want

to

p(l)an

ahead

for

all

your

bistro-

ments'

Pan

values

and

FX

routings.

Go

for

a

balance

of

low

and

high

on

each

side

of

the

stereo

field.

(See

chart,

left.)

So,

next

let's

create

a

Sound

that

uses

each

of

its

three

Voices

for

a

different

instrument.

I've

chosen

fretless

bass,

Shown:

4-space

rack

with

EPS

16

PLUS

module,

2-space

rack,

Eagle-I

VFX-stl

case

i

OPTI-CASE

-

nr.

6,

Box

235

-

HENDERSON,

TX

75652

-

FAX:

903-cs?-soso

12

Preg:

PIAND

B_v:

Den

Rehde

Netes:

Steree;

timbre

nitedulates

filters,

medvvhecl

tnedulatcs

FX2-Mix.

Wave

5-lass

Wave

Delav

Time

Wave

Directien

Start

Index

MODSDH

MODAMT

Hes

lrl-t__iI_1eea;r

5

Fcnvard

35

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-42

22

5

Fcnvard

15

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25

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5

Fenvard

5

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5

25

PITCH

Octave

Serrllierie

Fine

EHV1

LFO

MODSGFI

MDDAMT

KBD

Ptch

Tracit

Glide

Glide

Time

ul-

I'll

SI

DISIGDD

D11

D11‘

D

GUIDED

Di‘!

OH

5

CIDDU

LFO

Speed

Heise

Hate

Level

Delav

MODSH5

Wave

Fiesmrt

___

FILTEB

1

;

__

Fllter

1

Flltef

2

FG1

Ci.it5l'1

EI‘~I"v‘

2

FG1

KBD

MDDSGH

MDDHMT

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5

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5

F52

Outelf

+12

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Fietrigger

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5

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FG2

RED

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Le

55

+45

+55

Timbre

+15

T5

-55

+55

On

SL5

1

Le

55

+45

+55

Timbre

+15

T5

-55

-15

ml

1

1

2

__

__

3

EH52

initial

§

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initial

Pealt

5

Peel:

Break

Breel-t

Sustain

'

Sustain

Attacit

Attach

Decay

1

Decav

1

De-cav

2

Decav

2

Helease

Helease

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55

55

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55

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Denver:

it-lerm

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S5

B5

55

55

55

45

S5

‘BS

55

B

Den

vex

Hcrm

+14

_____.__

55

55

59

‘B5

25

45

55

55

55

5

‘initial

Peal-t

Breait

Sustain

Attaeit

Decay

1

Decav

2

Fieieeee

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BS

SE

55

55

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15

Linear

Nenn

5

55

55

55

53

41

BS

S5

15

15

Linear

Herm

5

WA"v'E

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2 5

LFO

1

2

S

QMP

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2

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Select

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On

ss

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MODAMT

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25

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Sax

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voice

1

l

voice

2

voice

3

1

Hey

Range

so-E3

'

F3-B5

ts-st

vibes,

and

sax

because

I

seem

to

use

them

in

most

of

my

se-

quences.

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Of

course,

ether

instruments

can

also

be

simulated

by

using

only

one

(or

two)

of

a

program's

three

Voices.

Before

fid-

dling

with

all

the

numbers,

you

may

want

to

copy

the

para-

meters

from

the

existing

Sounds

if

you

don't

trust

yourself

creating

them

from

scratch.

Start

by

selecting

Fretless

Bass

(RAM

15}

and

changing

the

Octave

value

in

the

Pitch

bank

to

-l

(Patch

2).

Under

Out-

put

bank

lower

the

Volume

to

your

usual

performance

level.

This

will

save

you

the

trouble

of

setting

the

Track

Volume

later.

Adjusting

volume

at

the

‘voice

level

will

enable

you

to

use

Record=Add

later

without

needing

to

use

the

volume

pedal

as

you

overdub

the

other

two

instruments

onto

this

uack.

You

then

need

to

set

the

keyboard

scale

to

Zone

and

Keyboard

range

to

El-E3.

You

could

further

customise

this

instrument

by

disabling

the

modwheel

from

the

LFO

to

eliminate

the

vibrato.

Set

its

Output

Bus

to

FX1,

which

will

later

route

fretless

bass

to

the

piano

patch’s

FXI

value

of

Hall

Reverb

10.

Finally,

set

the

Pan

to

-14

to

move

it

a

little

off

center.

Next

we

can

adjust

voice two

in

this

multi-instrument

Sound.

Select

the

Vibes

wave

and

change

the

pitch

to

Oct+1.

You

might

disable

the

modwheel

in

this

voice

and

adjust

the

LFO

bank

to

provide

a

constant

vibrato.

Under

the

Output

bank

adjust

the

Volume

to

the

approximate

level

you

expect

to

use

in

your

future

sequences.

Set

Keyboard

Scale

to

Zone

and

Key

Range

to

F2-F4.

Route

the

Output

bus

to

FX2

since

a

little

more

reverb

might

sound

good

with

vibes.

Finally,

let's

Pan

this

voice

+28,

or

however

far

right

you

want

it

in

the

stereo

field.

For

Voice

three

let's

choose

the

Saxophone

wave

under

the

Brass

class.

Set

the

appropriate

lvlodsources

and

Volume

value.

Set

the

FX1

to

the

lesser

reverb

value.

Finally,

let‘s

Pan

this

voice

-28,

where

it

will

locate

automatically

unless

rerouted

with

a

different

Track

bus

setting.

Recording

three

instruments

on

one

Track

using

Rccord=

Add

can

be

a

little

trickier

than

just

one.

However,

you

can

be

very

selective

in

erasing

Track

data

by

setting

Erase

Track

to

the

specific

measures

and

key

range

you

want

to

delete.

Another

way

is

to

record

each

instrument

on

a

separate

Track

and

then

merge

data

from

the

second

Track

to

the

first.

If

you

prefer

wider

key

ranges

for

your

instruments,

you

may

wish

to

use

only

two

per

program.

Since

I

often

need

only

an

occasional

embellishment

from

an

instrument

to

add

a

sense

of

variety

to

an

accompaniment

sequence,

limited

key

ranges

work

fine

for

me.

You

may

also

want

to

create

your

own

drum

kit

pro-

grammed

so

that

only

one

track

will

be

necessary

for

per-

cussion.

A

kit

can

use

up

to

1'?

drum

and

percussion

sounds,

each

with

its

own

volume

(filter

cutoff),

pan,

and

FX

set-

tings.

Remember

that

a

wetter

reverb

value

tends

to

spread

an

instrument

out

across

the

stereo

field;

conversely,

a

lower

setting

tends

to

position

the

instrument

more

precise-

ly

left

or

right.

(See

Drum

Kit

below.)

As

you

can

see,

by

p(l)anning

ahead

when

you

design

your

Sounds,

you

can

increase

the

variety

of

different

instru-

ments

in

a

sequence

and

accomplish

some

significant

FX

and

Panning

results.

-|

Wave

Elec.

Brush

Thump

Clad

open

Ride

Crash Crash

soon

Kick

Snare

Snare

Hiflat

HiHat

Eymbl

Cymhl

Cynbl

Tonic

Range

a1G#2

h2ai2

B2Di3

E3Fi3

slats

stole

EiFl4

Gifilfi

B5Di5

Pan

ii

E1

ll

+56 +55

+54

+42

-55

-42

Pk

FRZ

Fsl

F32

FI2

FX2

F31

F31 F31

F11

Sdfitk

Snare

have

Conga

Bongo

Class

open

Hscns

Shir

Tamb

Slap

Hiflet

Tape

Range

E5Fi5

Gfihlfi

Bfifilfi

DEEE

Ffifilfi

ATE?

UTE?

EiTGi

Pan

+'lfi

-ill

+28 +55

+55 +42

-42

-28

FE

FIE

FH1

F11

FEE

F31

FH1

FK1

FEE

(Complete

parameters

upon

request.)

Bio:

Dan

Rahtie

is

a

part

time

ntnsician

anti

high

school

teacher

who

lives

in

Masculine,

Iowa.

He

hopes

someday

to

balance

his

classic-motorcycle-repair-person

self

with

his

rornantie

ride-the-wind

self.

He

also

hopes

to

win

the

Pow-

erhail

and

to

see

the

end to

all

conflicts

in

the

world.

14'

The

EPS-l6

PLUS

and

Background

Vocals

Port

2

--

Memory

reduction

Hello

again.

Last

time

we

began

our

discussion

of

how

to

use

your

EPS-16

PLUS

for

creating

full,

professional-

sounding

background

vocals

(BGs)

in

your

home

recording

studio.

When

we

left

off,

you'd

sampled

a

small

slew

of

harmonies

to

accompany

the

lead

vocal

you'll

record

on

tape

a

bit

further

on

in

the

recording

process.

If,

at

this

point,

you've

sung

and

sampled

all

the

back-

ground

vocals

you

need

for

your

song,

and

you've

got

all

the

instruments

you

need

loaded

into

your

16

PLUS,

you're

home

free

already.

Pan

'em

any

way

and

where

you

want

(see

below),

put

some

reverb

or

some

other

effect

on

them

(or

not)

and

move

on

to

life's

next

little

task.

If

you've

got

more

harmony

sections

to

sample,

go

ahead

and

start

sampling

them.

You'll

often

find

you've

got

more

than

will

simultaneously

fit

in

the

16

PLUS.

For

now,

sam-

pie

each

section

and

save

it

to

disk.

When

you've

got

a

sec-

tion

safely

filed

away

on

a

disk,

delete

it

from

the

16

PLUS's

memory

(while

holding

down

the

Instrument;'Track

button

with

its

yellow

LED

lit,

press

NOICANCEL).

You've

got

two

ways

to

go.

If

the

time

between

one

vocal

section

and

another

is

long

enough,

you

can

send

program

changes

from

your

external

sequencer

to

call

up

and

load

BG

files

from

disk

as

you

need

them.

Realistically

though,

loading

BG

files

as

the

song

is

play-

ing

is

only

a

practical

option

if

you

have

a

hard

disk

drive,

as

loading

from

the

built-in

floppy

drive

will

usually

take

too

long

to

be

of

any

use.

Floppy

drive

users

(like

me)

will

have

to

take

option

number

two:

radically

reducing

the

amount

of

memory

the

BGs

use

in

order

to

have

them

all

available

onboard

when

they're

needed.

Let's

discuss

how

to

cut

those

memory

block

counts

way

down.

The

follow-

ing

process

applies

to

any

non-looped

BG

samples

you've

recorded;

looped

"oohs,"

"aahs"

and

"ohs"

are

as

mem-

ory-efficient

as

they're

gonna

get.

Planning,

Panning

and

Prepping

First,

we

have

to

decide

how

we

want

our

background

vo-

cals

to

be

panned

in

the

final

stereo

mix.

Although

the

EPS-16

PLUS

allows

us

to

play

them

across

the

stereo

spectrum

any

way

we'd

like,

for

memory

reduction

pur-

Roboy

Berrnan

poses,

we

need

to

group

them

at

just

two

or

three

spots

in

the

lefthight

field,

as

opposed

to

fanning

them

out

like

a

handful

of

playing

cards

might

be

held.

The

reason

for

this

is

that

we're

going

to

ping-pong

together

whichever

sam-

ples

will

go

in

the

same

place

in

the

lefthight

picture.

Beyond

this

consideration,

as

far

as

panning

goes,

we're

very

much

in

the

realm

of

personal

taste.

Unless

you've

al-

ready

got

a

particular

sound

in

mind,

you'll

have

to

experi-

ment.

I

personally

like

the

sound

of

two

BG

pairs,

each

containing

one

low

and

one

high

harmony,

panned

hard

left

and

right.

I'll

eventually

put

just

a

touch

of

reverb

on

them;

you

can

decide

about

the

effects

later.

Using

my

hard-panned

pairs

as

an

example,

let's

proceed.

First,

make

sure

you've

only

got

one

section

of

BGs

on-

board

(say,

a

chorus

worth)

-—

what

we're

gonna

do

needs

some

elbow

room

in

RAM

to

work

in.

The

goal

will

be

to

ultimately

convert

four

samples

to

two,

freeing

up

half

the

memory

used.

Let's

say

I've

sampled

a

low

harmony

in

layer

2

(refer

to

this

as

"2")

a

high

one

in

3

(“3"),

double

the

low

in

4

("+1")

artd

the

high

in

5

("S").

Why

don't

you

create

a

clump

of

harmonies

in

this

configuration

and

fol-

low

along?

We'll

want

2

and

3

(one

low

and

one

high)

panned

hard

left

and

4

and

5

(one

low,

one

high)

panned

hard

right.

This'll

let

us

combine

3

into

2,

and

5

into

4.

Eventually

we'll

be

able

to

delete

3

and

5

to

get

back

some

memory.

Time

to

do

the

deed.

Press

Edit

and

set

LYR

to

2.

Press

Edit,

Amp

and,

quickly,

2 on

the

numeric

keypad.

Set

PAN

to

-99.

This

will

put

2

hard

left

in

the

stereo

field.

Repeat

the

process

for

3,

and

then

4

and

5,

panning

the

last two

to

the

right

(+99).

Press

Edit

and

Instrument.

Press

the

left

Patch

Select

button

and,

while

holding

it,

turn

on

layer

2

and

shut

all

the

others

off.

Do

the

same

with

the

right

Patch

Select

and

layer

4.

Now

hold

down

both

Patch

Select

buttons

and

turn

only

layers

2

and

4

on.

Later

you'll

see

that

these

steps

will

allow

you

to

easily

audition

the

results

of

your

next,

no

doubt

valiant,

efforts.

Press

Edit

again,

set

the

layer

field

to

read

"LYR=2,

under-

line

the

WS

field

and

press

the

key

-containing

your

har-

monies

down.

Get

out

a

piece

of

paper

and

write

down

the

LYR

and

WS

numbers.

Change

the

display

to

read

"LYR=

3,"

underline

the

WS

field

and

press

yotu

key

down

again.

Write

down

those

numbers.

Repeat

the

procedure

for

the

other

two

samples.

Over

the

Top

Press

Command,

Amp

and

2

to

get

to

the

MIX

WAVE-

SAMPLES

page,

and

press

YESIENTER.

The

first

question

you'll

be

asked

is

"ARE

SAMPLES

LAYERED'I"'

to

which

you'll

answer,

of

course,

"YESIENTER."

On

the

next

screen,

see

to

it

that

you're

in

the

right

instrument,

that

the

FR

("From")

layer

is

3

and

the

WS

number

is

correct

ac-

cording

to

the

notes

you

made.

If

not,

set

the

screen

so

that

is

the

case.

Scroll

right

and

set

TO

to

the

same

instrument,

LYR=

to

2

and

WS=

to

the

number

you

wrote

down

earlier

for

your

layer

2

WS.

You

can

zip

right

past

the

next

screen;

its

setting

doesn't

matter

here

since

both

samples

have

the

same

root

key

on

the

keyboard.

Scroll

right

again.

Positive

values

on

this

page

will

make

your

"to"

sample

(2)

louder

than

your

"from"

sample

(3),

negative

values

the

opposite.

A

setting,

of

0

leaves

your

samples

evenly

balanced.

Generally,

you'll

want

your

lower-pitched

harmonies

mixed

a

little

louder,

as

high

ones

always

seem

to

make

themselves

heard

in

a

final

mix,

In

this

case,

let's

set

it

to

a

+15

value,

making

2,

the

lower

harmony,

a

tad

louder

than

3.

Press

YESIENTER.

Should

you

press

down

your key

on

the

keyboard,

don't

trust

your

ears

yet!

What

you're

hearing

is

all

four

samples

plus

an

extra

copy

of

3.

This

is

why

we

set

up

our

Patch

Selects

the

way

we

did.

To

hear

the

real

results

of

the

MIX

WAYES

AMPLES

process,

hold

down

the

left

Patch

Select

button;

now

you're

listening

only

to

your

new

supersample

2,

a

combination

of

itself

and

sample

3.

Either

press

YES!

ENTER

or

try

again.

If

there's

a

new

click

or

thump

at

the

end

of

the

sample,

that

only

means

that

3

is

a

slightly

longer

sample

than

2.

Just

start

the

MIX

WAVESAMPLES

procedure

over,

making

2

the

"from"

wave

and

3

the

"to."

Set

up

the

Patch

Select

buttons

so

that

holding

down

the

left

one

will

leave

layer

3

turned

on,

and

holding

both

buttons

down,

3

and

4,

so

that

you

can

audition

your

work.

When

you've

successfully

balanced

and

combined

samples

3

and 2,

it's

time

to

delete

your

"from"

sample.

Press

Edit

to

make

sure

that

the

correct

sample

is

selected

(in

our

ex-

ample,

that's

3).

Press

Command,

Wave,

2

and

press

YES)’

ENTER.

If

you're

sure

you've

got

the

right

wavesample,

press

YESIENTER

and

wave

bye-bye.

Now

go

back

and

repeat

this

whole

process

for

yotu

other

pair

of

samples.

If

you

want

to

use

the

above

as

a

step-

by-step

guide,

just

substitute

"4"

for

"2"

and

"5"

for

"3."

On

the

MIX

WAVESAMPLES

FR

and

TO

pages,

you

may

have

to

scroll

downward

to

mach

the

desired

layers;

why,

I

don't

know.

When

you're

ready

to

audition

your

mix,

you

can

hear

your

new

supersample

4

by

pressing

the

right

Patch

Select

button.

Toggle

back

and

forth

between

right

and

left

Patch

Select

buttons

to

make

sure

the

two

super-

sarnples

have

the

satne

low

harmonyfhigh

harmony

mix.

Hold

down

both

Patch

Select

buttons

to

hear

your

whole

set

of

BGs

(supersamples

2

and

4)

together.

Once

you've

got

your

samples

combined,

you

may

want

to

re-normalise

and

re-truncate

supersamples

2

and 4.

Nor-

malizing

can't

hurt;

listen

to

them

to

see

if

there's

any

extra

schmutz

on

the

ends

that

needs

to

be

truncated.

Save

what

you've

done

to

disk,

but

don't

use

the

disks

you

saved

your

raw

samples

to.

Getting

the

right

mix

of

your

harmonies

can

be

a

little

tricky.

Sometimes

when

you

hear

your

BG

mix

in

context

with

all

your

other

instruments,

you'll

decide

it

could

be

better.

You

may

well

need

to

redo

the

MDQDELETE

WAVESAMPLES

procedure.

Leave

yourself

the

opportunity.

Only

when

your

song

is

history

(recorded

and

mixed)

should

you

consider

losing

your

original

samples,

and

not

even

then

if

you

have

the

storage

capacity

to

spare.

It's

not

uncommon

to

change

one's

mind

later

on.

Up

to

now,

we've

been

discussing

what

to

do

with

a

single

section

of

background

vocals.

Now

that

it's

been

safely

stowed

on

a

disk,

repeat

this

procedure

for

each

section

of

your

song's

BGs.

After

all

your

segments

have

been

mixed

and

cut

down

to

sire,

load

'em

all

back

in

to

the

'16

PLUS,

and

then

save

them

as

one

big

clump.

I

also

recommend

keeping,

these

single-segment

disks

intact

until

you're

sure

you're

happy

with

all

the

results.

You've

now

reduced

however

many

background

vocal

samples

you've

recorded

for

each

section

into

merely

as

many

positions

in

the

stereo

field

as

you

need.

You

could

reduce

a

dozen

samples

down

to

only

two,

left

and

right.

This

way

you

can

fit

a

whole

song's

worth

of

samples

on

board

at

once.

And

the

beauty

of

it

is

that

you're

doing

all

this

submixing

completely

in

the

digital

domain

with

no

discernible

fidelity

loss!

Contingencies

If

you

find

that

all

your

sections

won't

fit

in

the

16

PLUS

after

all,

there

are

two

things

to

do.

You

can

cut

your

memory

use

in

half

by

mixing

everything

down

to

mono

(one

supersample)

instead

of

stereo

(two).

We'll

discuss

how

to

simulate

stereo

with

mono

samples

next

time.

Your

other

option

is

to

lower

the

sample

rates

of

your

wavesarnples,

which

will

cause

them

to

use

less

memory.

Since

the

lower

the

sampling

rate,

the

lower

the

fidelity.

you'll

have

to

do

a

little

research

to

find

the

lowest

bearable

rate.

Press

Edit

an

select

a

sample.

Turn

off

all

the

other

layers

(press

Edit

and

In-

strument)

so

you

can

hear

clearly

what

you‘re

doing

to

your

poor

BGs.

Then

press

Command,

Wave

and

scroll

to

CONVERT

SAMPLE

RATE.

Press

YESIENTER.

The

display

will

default

to

the

sample

rate

you

last

sampled

at.

Lower

the

rate

(by

press-

ing

the

up

arrow

button,

ironically)

by

one

step,

press

YESIENTER

and

use

the

KEEP

NEWIOLD

audition

func-

tion

to

see

if

the

audio

quality

has

deteriorated

beyond

acceptability.

Press

NOICANCEL

to

keep

the

old

sampling

rate.

Repeat

this

process

until

the

fidelity

of

your

sample

is

no

longer

tolerable;

then

back

the

sam-

pling

rate

up

one

degree

and

press

YESIENTER.

A

too-low

sampling

rate

will

put

your

stunning

vocals

right

into

the

toilet.

Samples

have

to

be

converted

one

by

one,

by

the

way.

Nest: tips

on

manipulating

and

se-

quencing

your

background

vocals.

:-

Bio:

Robby

Berntnn

is

or

rnusicirtn

living

with

his

wife

and

five

cots

in

the

inexplicably

fussy

Hudson

Vniiey

of

New

York.

His

intest

nibant

is

"Rings

and

Rings."

.

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1

7'

The

Adventures

of

K

apfain

KS

In

today's

thrilling

episode,

Kaptain

KS

takes

tirne

out

from

fighting

his

arch-enemy,

I-IerniaMan,

to

answer

a

few

questions

from

the

kids

at

home...

Q:

Dear

Kaptain

KS,

I

have

a

spare

footswitch

that

l'd

lilze

to

use

with

my

KS-32

to

start

and

stop

the

sequencer.

The

trouble

is,

there's

only

one

footswitch

jack

on

the

baclc

panel.

What

do

l

do?

A:

Having

two

footswitches

can

be

very

convenient.

If

you

press

the

Systemll!-*IIDI

button,

then

press

screen

2,

you'll

see

that

the

left

footswitch

can

be

assigned

to

act

as

a

ses-

tenuto

pedal,

or

either

side

can

act

as

a

startlstop

pedal

for

the

sequencer.

What

Ensoniq

might

prefer

for

you

to

do

is

buy

their

op-

tional

SW-SISW-10

footswitch,

which

has

two

pedals

and

only

one

cord.

But

since

you

already

have

an

extra

pedal,

I'd

advise

you

to

march

on

down

to

your

nearest

Radio

Shack

and

ask

for

catalog

item

number

274-302.

That's

a

standard

2-into-1,

quarter-inch

stereo

headphone

adapter.

Plug

this

giamo

into

your

footswitch

input,

and

plug

your

two

footswitches

into

the

giamo.

Now

pull

whichever

plug

goes

to

your

"left"

footswitch

slightly

out

of

the

giamo,

but

not

so

far

that

it

falls

out.

It

should

"catch"

halfway

out.

It's

not

very

elegant,

but

it

works,

and

it

only

costs

around

five

bucks.

Keep

in

mind

that

your

spare

footswitch

must

be

the

kind

that

is

“normally

open,"

that

is,

the

circuit

is

completed

when

you

step

on

it.

Also,

if

you're

handy

with

a

soldering

iron,

you

can

make

your

own

custom

cable

by

splitting

a

stereo

plug

into

two

mono

jacks.

Q:

Oh

Kaptain,

my

Kaptainl

M

y

band

does

a

new

age

ver-

sion

of

"All

Along

the

Watchtower"

in

the

hey

of

D

minor

1'

the

saddest

of

all

keys).

I'm

using

the

factory

"Lush

Grand"

patch

for

this.

In

the

middle

of

the

song

l

play

some

upper

octave

noodles,

and at

the

end

of

the

song,

I'm

supposed

to

hit

a

low

D

note.

Unfortunately

I've

run

out

of

lzeysl

Do

I

have

to

use

two

difierent

patches,

such as

one

normal

patch

and

one

set

up

to

play

an

octave

lower?

A:

What

Ensoniq

rnight

prefer

for

you

to

do

is

buy

their

optional

"KT-B3,"

which

has

the

extra

keys

you

need.

But

we

don't

need

to

get

that

drastic

if

you

don't

normally

use

the

lowest

note

on

the

keyboard

(E)

during

the

song.

Just

{Captain

KS

set

up

a

seqlpreset

with

two

tracks

in

it,

both

set

to

the

patch

you're

using.

Now

limit

the

key

range

of

track

1

to

“F1

—

C8"

and

limit

the

range

of

track

2

to

"AD

--

El,"

Transpose

track

2

down

by

2

half

steps

(the

last

setting

should

read

-02).

Now

layer

them

on

top

of

each

other

by

double-

clicking.

Now

yotu'

keyboard

is

in

"drop

D"

tuning.

It

will

play

nor-

mally,

except

for

the

very

lowest

note,

which

will

be

D,

not

E.

A

quicker,

but

more

dexterous

approach

would

be

to

simply

pull

down

on

the

pitch

wheel

for

that

last

note,

and

play

everything

in

E

minor,

provided,

of

course,

that

your

pitch

wheel

amount

is

set

to

+02

or

+U2H.

Q:

Dear

Mr.

KS,

isn't

is

amazing

the

lengths

some

writers

will

go

to,

to

matte

a

short

article

somewhat

more

interest-

ing?

A:

It

certainly

is.

Thus

concludes

the

thrilling

adventures

of

Kaptain

KS!

For

rnore

thrills

and

chills,

tune

in

tomorrow:

same

SMPTE

time,

sarne

MIDI

channel!

-

Bio:

Kaptain

KS

disguises

himself

as

mild-mannered

Nash-

ville

musician,

Jefl’

Jetton.

lf

you

have

a

question

or

com-

ment

for

either

of

them,

send

e-mail

to

je_ޤetton@aol.com.

For

the

kids

out

there

who

sent

in

for

their

secret

decoder

ring,

today's

secret

message

is:

"Cf

tvsf

up

esjol

spvs

Pwbmu_t'o_fl"'

I

I

BHOK

ISSUES

Back

issues

are

$2.tl=lI.'l

each.

(Overseas:

$3

each.)

Issues

l-

41},

61,

61'

-

‘T4,

T1,

‘I9

and

B2

-

E5

are

no

longer

available.

Subscriptions

be

ex-

tended

an

equal

number

of

issues

for

any

issues

paid

for

that

are

not

available

at

the

time

we

receive

your

order.

ESQ-I

coverage

started

with

Issue

#13.

SQ-Bl]

coverage

started

with

#29,

{although

most

ESQ-I

coverage

also

applies

to

the

SQ-EU).

EPS

coverage

got

going

with

#35

{and

also

applies

to

the

ASH-10].

VFK

coverage

{which

also

applies

to

the

Ellis)

got

started

in

#43.

The

sot

got

going

in

#63.

{SQ

articles

also

apply

to

the

KS-32

dz

KT-THEE.)

DPH

coverage

started

in

#38

{ranch

of

which

also

applies

to

the

ASH-ID).

T5-Ifllli

coverage

got

going

with

#513

but

owners

should

also

check

out

l

vi

(EPSlhSR}

d

aamp

e

re

ewa

tltt

SD

tic

"JFK

programrning

tips.

Permission

has

been

given

tophotooapy

issues

that

we

no

longer

have

available

—

check

the

classifieds

for

people

offering

them.

A

free

back

issue

index

is

available

which

contains

the

tables

of

content

for

all

issues

since

Ntnnber

43.

l l

|—|II-t

I

|I|I|I|IlI|Il

I've

Got

Thai

Old

Syncing

Feeling

One

thing

that

sets

the

ESQs

mid

SQ-S0

apart

from

many

other

polyphonic

programmable

synths

(even

other

Ensoniq

synths)

is

their

ability

to

do

some

nifty

tricks

to

the

wave-

forms

even

before

they

hit

the

filters

and

amplifiers,

like

with

SYNC

for

example.

Whereas

some

of

the

better

analog

synths

of

the

past

and

present

have

this

feature,

the

ESQs

and

SQ-BU

have

it

available

not

only

on the

traditional

SAW-

TOOTH,

SQUARE,

SINE,

and

on

the

SQ-80,

TRIANGLE

waveforms,

but

also

on

multifarious

(I

should

get

more

than

4

cents

for

that

word]

other

digital

waveforms

and

samples.

This

article

takes

up

where

an

article

I

wrote

in

Issue

S5

leaves

off

.

It

was

about

using

the

SYNC

feature

to

get

pulse

waves

with

variable

duty-cycles.

This

one

takes

a

look

at

some

different

applications

of

SYNC.

In

other

issues

of

the

Hacker,

the

basics

of

the

SYNC

feature

have

been

talked

about

enough

that

I

won't

rehash

here.

Personally,

I

like

to

think

of

each

SYNC

application

as

being

one

of

these

two

different

types:

Category

l:

Where

the

slave

oscillator

(#2

for

us)

is

tuned

higher

in

frequency

than

its

master

oscillator

[#1

for

us).

And...

Category

2:

Where

the

slave

oscillator

(#2)

is

tuned

lower

than

its

master

(#1).

The

timing

would

include

any

modulator

actioq

from

en-

velopes,

LFOs,

etc.

For

those

scientific

types

among

you

who

like

mathematical

completeness,

strictly

speaking

there

is

a

third

category

where

both

oscillators

are

tuned

exactly

the

same.

But

this

has

exactly

the

same

soimd

whether

the

SYNC

is

turned

on

or

off,

so

I

didn't

bother

with

it

here.

In

the

first

category,

OSCILLATOR

2

might

be

thought

of

as

imposing

a

frequency-modulatable

waveform

onto

a

square

wave

from

OSCILLATOR

1,

sort

of

like

the

way

a

wah-wah

can

be

thought

of

as

imposing

a

frequency-

motlulatable

sine

wave

onto

whatever

instrument

is

plugged

into

it.

The

hard

resetting

of

slave

OSCILLATOR

2 at

master

OSCILLATOR

1's

frequency

creates

some

of

the

characteristics

of

a

square

wave,

no

matter

what

waveform

OSCILLATOR

1

is

set

to.

In

the

second

category,

you

end

up

reducing

how

much

of

OSCILLATOR

2's

waveform

is

looped

during

the

wave

cycle,

anywhere

from

100%

{when

both

oscillators

are

timed

exactly

the

same)

to

something

approaching

0%

(when

OS-

CILLATOR

2

is

tuned

way

lower

than

OSCILLATOR

1).

If

you

use

a

moving

modulation,

like

an

envelope

or

LFO,

its

Kirk

Slinhard

sound

can

be

compared

to

the

TRAN

SWA"lt'Es

of

more

recent

Ensoniq

synths.

The

specific

sound

you

get

from

this

depends

on

what

waveform

you

use

in

OSCILLATOR

2.

As

a

general

rule,

the

waveform

of

master

OSCILLATOR

I

doesn't

matter

in

either

category

as

long

as

it

is

turned

off

at

AMPLIFIER

l.

Of

course,

you

can

turn

on

OSCILLATOR

1's

amplifier

to

add

it

to

the

sound

if

you

want

to,

but

I

didn't

in

any

of

these

demonstration

patches

so

that

I

could

show

off

the

SYNC

ef-

fect

by

itself.

When

SYNC

is

activated,

OSCILLATORs

1

and 2

are

always

going

to

be

at

exactly

the

seine

pitch

—

you

can't

get

any

intervals

or

detuning

between

them.

The

first

patch,

"LETSGO,"

was

a

popular

sound

in

the

seventies,

and

here

it

is

copied

from

a

lead

synth

patch

used

in

The

Cars'

hit

“Let's

Go."

This

sound

was

mentioned

brief-

ly

in

the

pulse-width

modulation

article,

but

here

it

is

shown

as

a

finished

patch

-that's

ready

to

play.

It's

a

classic

Category

1

type

sound.

Here,

the

ESQ

is

set

up

to

make

its

sound

in

the

same

way

that

the

original

monophonic

analog

unit

did

(an

Arp,

I

believe)

using

a

SQUARE

wave

in

slave

OSCIL-

LATOR

2

which

is

swept

downward

in

frequency

by

EN-

VELOPE

l

while

master

OSCILLATOR

1

has

stationary

pitch

settings.

As

with

all

Category

1

and

Category

2

patches,

the

timing

of

the

slave

oscillator

(#2)

relative

to

its

master

is

what

determines

the

tone

or

timber,

and

the

master

oscillator

(#1)

deterinines

the

actual

pitch

of

both

OSCILLATORS

1

and 2.

The

MOD

WHEEL

adds

a

little

vibrato.

Note

that

it

has

to

be

applied

the

same

to

both

OSCILLATORs

l

and

2,

otherwise

it

would

affect

the

tone

as

well

as

the

pitch.

The

second

patch,

"SYNBAS,"

is

another

Category

1

type

of

SYNC

effect.

Willi

this

one,

I

tried

to

give

OSCILLATOR

2's

SAWTOOTI-I

wave

a

sound

comparable

to

the

pulse-

width

modulation

effect

used

in

pulse

waves.

The

MOD

WI-IEEL

adds

a

static

SAWTOOTH

wave

from

OSCIL-

LATOR

3

for

some

more

bass

and

chorusing.

This

patch

is

layered

to

itself

for

some

interesting

stereo

effects

and

a

larger

soiuid.

Watch

out

for

LFO

2,

it

is

set

up

just

for

SQ-Sifts.

For

ESQs

you

could

change

its

MOD

source

to

pedal

if

you

have

one,

or

just

leave

it

out

if

you

don't.

It's

just

used

for

vibrato.

The

third

patch,

"CYGNUS,"

demonstrates

an

interesting

Category

2

function.

This

is

the

category

where

regular

static

waveforms

become

virtual

TRANSWAVES,

and

any

pitch

modulators

applied

to

OSCILLATOR

2

actually

turn

into

waveshape

modulators.

This

patch

uses

one

of

the

FORM-

ANT

waveforms,

which

have

some

unique

properties

when

ESD-1

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. I

SYNCed.

Rather

than

getting

really

cemplicated

and

techni-

cal,

I“ll

just

say

that

within

a

certain

tuning

range,

these

waveferrns

give

a

‘!!E.I'l-Wi:l.h

type

effect.

Each

ef

the

FORM-

ANT

waves

has

a

different

tenal

range.

Be

sure

te

try

eut

each

ef

them

in

OSCILLATOR

2.

LFO

1

medulates

the

FORMANT

wave’s

shape

in

OSCILLATOR

2

fer

the

wah-tremele

effect.

The

MOD

WHEEL

brings

a

slightly

detunetl

elecuic

piane

seund

te

beef

up

the

seund

a

bit.

Fer

the

feurth

patch

“HARPCD,"

I

created

a

patch

that

is

very

clese

te

the

harpsicherd

patch

frem

the

pulse-width

rneduiatien

article.

But

here,

it

is

based

en

ene

ef

the

NOISE

waveferms.

If

yeu

play

this

patch

with

the

SYNC

turned

eff,

yeu

will

get the

usual

grungy

electrenic

seunds

that

yeu

are

suppesed

te

get

frem

these

waves,

but

when

SYNC

is

used

in

either

categery,

each

ef

these

waves

give

a

whele

series

ef

bright,

harmenically-rich

new

waveferrns

that

are

perfect

fer

harpsicherds

and

ether

cernples.

setmds.

This

particular

ene

happens

te

fall

inte

CATEGORY

1.

In

this

patch,

SYNCed

OSCILLATOR

2

has

ne

meving

medulatien

— it

just

stays

at

ene

pitch

per

key.

This

is

really

impertant

when

using

any

cf

the

NOISE

waveferrns.

If

yeu

denit

believe

me,

try

using

the

PITCH

BEND

WI-IEEL

and

bend

a

few

netes

en

this

patch.

Setmds

pretty

grieeiy,

deesn‘t

it‘?

This

patch

shews

that

the

SYNC

effect

can

give

many

different

static

waveferms

frem

each

regular

ESQ

er

SQ-30

waveferm,

like

hew

yeu

can

use

each

ef

the

mere

recent

Enseniqis

TRAN

S

WAVES

as

a

cel-

lectien

cf

static

waves.

The

main

difference

is

that

the

ESQs

and

SO-30

give

veu

a

much

larger

and

harmenically

varied

palette

te

cheese

frern.

Be

sure

te

try

eut

serne

different

pitch

settings

in

OSCILLATOR

2 and

see

hew

it

changes

the

tene.

In

this

patch,

the

MOD

WHEEL

brings

in

OSCILLATOR

3

te

add

a

4-feet

rank

te

the

basic

3-feet

harpsicherd

seund

(back

in

the

ancient

past,

befere

recl-t

and

rell,

harpsicherds

berrewed

pipe

ergan

terminelegy

te

describe

the

different

pitches

en

instruments

that

had

mere

than

ene

set

ef

strings

te

werl-:

with).

Well,

I

hepe

this

gives

yeu

seme

new

things

te

censider

when

yeu

de

patches.

There

is

se

much

pregranuning

petential

hid-

den

away

in

just

the

SYNC

feature

that

ene

er

twe

articles

can

enly

take

a

Ieek

at

a

small

part

ef

it.

Fer

esample,

a

few

cf

the

SQ-SI]

waves

give

seme

really

strange

reactiens

te

SYNC.

And

we

didn't

even

teuch

en

the

AM.

functien

in

this

article

—

that's

a

whele

nether

stery...

Med

yeu

later.

-

Bic:

Kiri:

synthesizes

arcunti

near

Denver

and

cciiects

and

restcres

vintage

heyhcartis

and

amps

sc

he

wcn't

have

any

need

far

Emu's

Vintage

Keys

synth.

He's

aisc

scmehcw

under

the

impressicn

that

Enscnic

named

the

KS

after

him.

Keyboard

Raves

About

Ramtek

One

cf

the

benefits

cfRamteh’s

prcducts...

is

that

they’re

rach-mcunteti,

which

is

preferahie

tc

tahie-tcp

units

fcr

camp

etitcrs

shy

frcm

cfiering

their

stcrage

systems

in

a

shcuiti

be

cue

cf

the

piaces

ycu

caii.

BOTTOM

LINE

antiicr

traveling

musician

in

need

cf

icts

cfreiiahie

tiigitai

stcrage

space.

M

B

Q

I

Nevember

I994

rack-awning

and-‘er

traveiing

musicians.

{Ramteh

aisc

ma%

...C0n_,figureti

dz

Buiitfcr

the

Serieus

Wcriting

Musician

tahietcp

rnctieis.)

The

cabinets

are

cf

rugged

steel

ccnstructicn,

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an

the

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in

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{RamteI:‘s_i

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Ramteit

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HACKER

BASEMENT

TAPES

Dctniel

Mandel

Reality

Bytes

CD:

Dream

Sc

Real.

Artist:

PassienFix.

Centact

infe.:

900

Princeton

Terrace,

Olen

Eumie,

MD

21-Utiil,

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Equipment:

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ene.)

RI:-cen:Iers:

Tascarn

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Digital

S

Track,

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Analog

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Track,

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DAT.

Digital

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20,

Lexieen

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fill,

Ensoniq

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Parallel

Effects

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{2}

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Aphex

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Keyboard:

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IBM

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Seftware:

Hybrid

Arts

SMPTH

Track

Geld

ED

Track

Sequencer

Believe

it

or

net

this

is

a

partial

list

of

what

lives

in

Dave

Kelly's

basement.

This

tape

is

an

excellent

example

of

the

maxim

recording

cnginccrs

are

taught

early

en

—

get

a

good

clean,

ebvieus

seund

fer

each

track.

All

of

the

instruments

and

especially

the

vecals

are

Defined

and

Clear.

In

many

of

the

tracks

en

this

CD

the

vecal

almest

seems

toe

up

frent,

tee

in-yeur-

face,

tee

dry,

which

would

be

more

of

a

preblem

than

it

is

if

it

were

net

fer

the

fact

that

Angela

Lazaaroni

is

a

credible

vecalist.

Still,

I

can't

quite

get

my

head

areund

this

cheice

fer

the

vecals

when

the

rest

of

the

instruments

are

so

well

mixed

and

matched

and

effected.

The

percussien

was

good,

though

rather

static,

more

programmed

than

played.

The

guitar

work

balances

these

sengs

against

Angela"s

vecals.

The

guitar

work

is

quite

expressive.

New

on

te

the

sengs:

Anciher

Wcrlti

stands

out

as

the

best

of

the

bunch

with

a

cleverly

placed

Angela-en-Angela

vecal

heck

in

the

cherus.

This

uptempo

ballad

is

really

a

gecd

listen,

but

deesn‘t

give

much

te

think

about.

Thread

The

Needle

is

more

meaty

and

biting

in

the

thought

department

and

packs

a

punch

creatively,

with

a

real

sing-

seng

4!-4

structure

and

net

even

a

hint

of

a

chems

er

a

bridge.

Verses

are

broken

up

by

some

very

evocative

guitar

work.

City

Lights

has

a

great

cherus

and

bridge

coming

eff

a

light

reek

ballad.

I

weuld

have

leved

a

chance

to

hear

everyene

cut

leese,

get

wild

and

really

take

the

sen

g

te

anether

level.

Bleed

Me

begins

with

the

energy

I

was

locking

for

in

City

Lights,

and

finally

seme

mere

effects

for

Angela

to

work

with.

Once

again

this

song

ceuld

remp.

There

is

real

poten-

tial

fer

this

song

te

ge

semewhere.

The

guitar

work

reflects

this

off

to

the

side,

on

the

comer

of

the

stage

semewhere.

These

melodies

also

tend

toward

the

singseng

almest-

spolten

style.

Feel

has

a

nice

acoustic

guitar

and

peppy

percussion.

Once

again

there

is

not

necessarily

any

cherus

to

match

these

ver-

ses,

but

there

is

a

bridge

and

the

leads

and

music

that

weaves

in

and

out

is

quite

nicely

done.

This

was

a

very

well

done

project,

and

this

band

would

probably

do

well

live.

I

weuld

hepe

that

their

next

projects

take

mere

chances

and

really

challenge

the

listener.

They

have

ehvieusly

long

age

passed

the

test

cf

making

quality

IIIIJSIG.

—

If

yca

want

your

tape

run

through

the

ringer,

err,

Hacker,

just

mail

it

eff

te:

Easement

Tapes,

Transcniq

Hacker,

1402

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Upland

Dr.,

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OR

W221.

Bic:

Daniel

Mandel

is

a

scngwriter,

seund

designer,

anti

has

sciti

prc

can-‘ic

anti

iceyhcarti

equipment

and

prctiucetl

riemc

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far

lccal

hands.

Missing

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Damaged

Issues?

Every

menth

we

mail

eut

theusands

ei

issues

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abeut

a

decen

get

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Pest

Office.

It

yeutre

ever

ene

ei

the

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et

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ius-t

page

us

a

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0

am

—

B

pm

Pacific

Time}

and

vve‘li

happy

te

mail

.0

replace-

ment

eepy

—-

ne

preb.

{Her-raver,

if

yeu

accuse

us

ei

nefarieus

schemes

te

“ripflyeu

eff,“

yeu

will

he

efletecl

a

refund

and

elven

helpful

subscrip

en

inte

Ier

ether

musician

magazines.)

Five

Moneymoking

Promotional

ldeos

for

Musicians

Spending

money

to

promote

your

music

business

is

easy.

But

right

now

you

may

be

overlooking

a

few

low

cost

or

no

cost

promotional

ideas

that

can

help

you

put

more

cash

in

your

pocket.

No

matter

what

music

business

you

are

in

-

composer,

band,

recording

studio,

etc.

—

here

are

a

few

moneymaking

strategies

for

you

to

use.

Advertising

Ads

are

expensive

and

it’s

easy

to

waste

your

precious

capi-

tal

resources

on

them.

Here’s

a

secret:

many

smaller

ads

are

better

than

one

big

ad.

Repeating

your

message

to

the

same

audience

is

crucial.

And

don‘t

use

a

classified

ad

to

sell

directly

because

it‘s

hard

to

sell

most

products

and

services

from

a

few

lines

of

copy.

People

want

complete

information

before

putting

down

bucks.

Let

your

ads

generate

leads

and

then

do

the

selling

with

subsequent

marketing

pieces.

I’m

fond

of

classified

and

smaller

ads.

They're

inexpensive

and

can

generate

tons

of

leads

for

you.

Just

make

sure

your

ad

includes

an

indication

of

one

or

more

benefits,

an

offer

to

induce

response,

and

the

necessary

details:

4.

MAKE

MONEY

scoring

soundtracks

and

jinglesl

Turn

your

music

into

cash!

FREE

report:

Jeffrey

P.

Fisher

lvlusic,

3341

Ripple

Ridge,

Darien,

IL

60561.

A

tantalising

benefit

(make

money)

along

with

a

strong

offer

(free

report)

creates

an

ideal

small

ad.

Here

are

a

few

more

tips.

Don‘t

use

abbreviations.

Whittle

the

words

to

a

minimum

but

don’t

sacrifice

the

clarity.

Keep

track

of

all

your

advertising.

When

people

call,

take

a

second

to

ask

where

they

heard

of

you

so

you

know

where

your

money,

time,

and

energy

are

best

spent.

Sales

Letter

While

every

business

is

different,

the

basic

promotional

package

is

something

shared

by

all.

Your

typical

package

consists

of

a

brochure,

cover

letter,

and

business

card.

Sometimes

more;

rarely

less.

Don‘t

worry

about

having

some

fancy

four-color

brochure.

If

your

materials

focus

on

your

clients,

their

needs

and

their

benefits,

you

can

get

by

with

much

less.

Using

a

sales

letter

is

the

best

way

to

intro-

duce

yourself.

Get

as

detailed

or

brief

as

you

want.

Use

simple

language

and

fill

every

line

with

compelling

benefits

and

a

strong

offer.

Your

best

weapon

is

a

personal

letter

from

you

to

your

prospect

printed

on

your

letterhead.

Jejjirey

Fisher

There

are

seven

major

parts

to

every

sales

letter:

headline,

problem

statement,

solution,

benefits

of

solution,

offer,

time

limit,

and

postscript

(P.

S.).

Use

the

headline

to

grab

the

at-

tention.

State

the

problem

and

propose

your

solution.

Ex-

plain

all

benefits

and

make

an

offer.

Put

time

limits

on

all

offers

and

encourage

prospects

to

respond

quickly.

Use

the

postscript

(the

most

read

part

of

the

page)

to

restate

all

that

came

before

in

a

concise

summary.

Make

sure

your

marketing

materials

are

neat,

organised,

and

well

written.

Keep

your

presentations

simple,

unclut-

tered,

and

use

clean,

readable

typefaces.

Print

all

your

marketing

materials

on

your

letterhead

or

make

sure

you

in-

clude

your

complete

address

and

telephone

number

on

every

piece

{don‘t

forget

your

area

code).

Attitude

_

I

firmly

believe

that

your

enthusiasm,

both

for

you

own

work

and

for

client

projects,

is

the

easiest

(and

cheapest)

promotional

tool

you

can

use.

I

confess

that

my

attitude

has

won

me

more

gigs

than

any

single

credential.

A

warm

smile,

a

willingness

to

work

hard,

and

an

eager

attitude

will

serve

you

well.

When

you

are

passionate

about

your

work,

it

excites

clients

and

prospects,

too.

Your

enthusiasm

gives

clients

confidence

and

reassures

them

that

you

can

and

will

do

the

job

right.

Demo

"Hot

Line"

Add

a

music

demo

hot

line

to

your

promotional

arsenal.

You

need

to

get

a

second

business

telephone

line

and

hook

it

to

an

answering

machine.

Ask

people

to

call

for

a

short

excerpt

of

your

latest

music

tracks.

Make

sure

to

include

your

sales

message

on

the

tape.

Here‘s

a

sample

I

would

use:

“Welcome

to

the

Jeffrey

P.

Fisher

lvlusic

Hot

Line.

Do

you

need

music

that

works,

sound

great,

and

is

very

affordable‘?

Stay

on

the

line

and

listen

to

this

musical

montage

of

my

latest

work.

I'll

he

back

in

two

minutes

with

a

special

offer

just

for

you."

[Now

run

your

short,

two

minute

musical

montage.)

“Thartlts

for

listening.

Here‘s

that

special

offer

I

promised.

Leave

your

name,

address,

and

telephone

num-

ber

after

the

beep

and

l‘ll

send

you

a

free

booklet

that

shows

you

exactly

how

to

get

the

original

music

you

need

at

a

price

that

makes

sense."

Promote

your

demo

line

in

letters

(makes

for

an

ideal

postscript),

in

publicity

releases,

on

postcards

and

flyers,

and

add

a

line

at

the

end

of

your

regular

demo

that

invites

clients

and

prospects

to

call

and

hear

your

latest

music.

Open

House

Bands

and

recording

studios

can

really

benefit

from

this

promotional

tool.

Throw

a

party,

invite

clients,

prospects,

fans,

family,

club

owners,

and

other

influential

people

from

your

local

music

market

(don't

forget

the

media!)

and

you

be

the

entertainment.

Make

sure

you

have

plenty

of

promotional

material

to

give

away.

Make

up a

gift

bag

containing

your

latest

music,

printed

promotional

material,

discount

coupon

or

other

ap-

propriate

offers,

and

more.

Be

sure

to

serve

some

munchies

and

libatious.

And

show

off

what

you

can

do.

You

could

offer

discounts

or

give

away

door

prizes.

Make

sure

your

prises

will

result

in

more

business,

such

as

buy

four

hours

of

studio

time

and

get

four

hours

free.

Don't

forget

mer-

chandising.

Popular

acts

can

make

heaps

of

cash

selling

T-shirts,

caps,

jackets,

and

other

doo-dads.

When

you

use

these

and

other

promotional

tools

regularly,

you

keep

your

name

alive,

build

credibility,

and

ultimately

put

money

in your

pocket.

Try

many

different

tactics.

Get

crazy

and be

different.

I-lave

some

fun.

And

sell

your

music

products

and

services

by

spending

the

least

amount

of

money.

And

here's

the

P.S.

—

Get

more

moneymaking

promotional

ideas

direct

from

Jeffrey.

Mention

the

Hacker

and

he'll

send

you

details

on

how

to

turn

your

musical

talents

into

cash.

Write

Jeffrey

P.

Fisher

Music,

B341

Ripple

Ridge,

Darien,

IL

60561

or

call

(T03)

931-1641.-

HAFIDWAH

EISOFTWAHE

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obo

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Quakecaster!

A

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If

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Tracy,

Ensoniq

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155

Great

‘Valley

Parkway,

Malvem,

PA

19344.

Wanted:

RX-5,

EPS-M.

Bob,

60'?-S98-4368.

TS-I2.

E;\tpanded

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memory,

SQX-T0

in-_

stalled.

50+

disks.

$2500.

610-942-4492.

Ensoniq

ASR-I0,

Emb

ram,

keyboard

cover,

exstended

sound

library,

1

year

subscription

to

Transaniq

Hacker.

Studio

condition,

less

than

l

year

old.

$1599.00.

T04-542-1513,

Chris.

vex-ta

w,-ihard

case

+

large

library.

$395.

Tel,FFax:

212-T2?-033?.

Mint!

IFFX-sd,

21-‘Voice,

all

updates.

$1100.

Todd,

402-553-3’}'50.

SAMPLESIFATCHESISOUNDS

Original

AER,

'I6+,

EPS,

Mirage

Samples!

‘Will

trade

for

1960's

and

1970's

vintage

combo

organs,

electric

pianos,

electric

guitars

and

amps.

Call

Barry,

315-3'1-'9-9363.

Still

available

—

Jim's

Toybox:

60

original

sounds

for

the

MFX-sd.

Unusual,

avant-garde.

(See

review

in

lune,

'93

Hacker.)

Trade

for

bank

of

original

sounds

or

nncopied

copyright

sounds.

Dr

send

$20

check.

Send

SASE

for

documentation.

Jim

Samp,

90

Bell

St.,

Fond

du

Lac,

WI

54935.

Phone:

414-922-433'.-'.

“Resonant

Dwarf’

forges

original

electrol

acoustic

ti

electronic

samples

for

EPS-16+.

ARP,

Korg,

Moog,

Hohner,

Paiste,

Roland,

Sequential

and

assorted

sonic

surprises.

Catalogue

=

$1

or

free

with

SASE.

$4

per

disc.

Andrew

Faltonson,

“Resonant

Dwarf,"

903

HE

50th

St.,

Seattle,

WA

93105.

24

FINALLY!

A

new

set

of

16-bit

samples

from

Tom

Shear.

This

time

he

tackles

the

Waldorl'

Microwave!

For

only

$15

+

$3

SIH,

you

can

have

3

disks

packed

with

the

fattest

digilog

synth

sounds

you've

ever

heard!

Send

an

SASE

or

e-mail

{tomshear@AOL.com)

for

free

catalog.

Tom

Shear,

T26

Fourth

Avenue,

Williarnsport,

PA,

1??-'01.

MISC

Altai

CD-RUMs:

Hyperspace,

Hyperdance,

CD-ROM

Showcase

all

for

$100.

(2)

1

Meg

Simms

$35.

Syncman

SMPTE

to

MIDI

converter

$40.

Call

Brian

‘T13-436-942?

after

lpm

CST.

OUT-OF-PHINT

BACK

ISSUES

M.U.G.

will

provide

Gut-of-Print

issues

for

cost

of

materials

and

postage.

lvl.U.t1!.

Hotline:

212-465-3430

or

write:

G-4

Productions,

PG

Box

615TH,

Yonkers,

NY

10303.

Attn:

TH

Back

Issues.

Phone:

{Z12}

465-3430.

***

Folks

in

the

New

York

City

area

can

get

copies

of

unavailable

back

issues

of

the

Hack-

er

-

call

Jordan

Scott,

T13-93'}-2400.

FREE

CLASSIFIEDS!

Well

--

within

limits.

We're

offering

free

classified

advertising

(up

to

40

words)

for

your

sampled

sounds

or

patches.

Additional

words,

or

ads

for

other

products

or

services,

are

$0.25,!

word

per

issue

{BOLD

type:

$0.45,r'word}.

Unless

renewed,

freebie

ads

are

removed

after

2

issues.

While

you're

welcome

to

resell

copyrighted

sounds

and

programs

that

you

no

longer

have

any

use

for,

ads

for

copies

of

copyrighted

material

will

not

be

accepted.

Sony

—

we

can't

take

ad

dictation

over

the

phone!

Letters

for

The

Interface

may

be

sent

to

any

of

the

following

addresses:

LLS.

Mail

-

The

Interface,

Transoniq

Hacker,

1402

SW

Upland

Dr.,

Portland,

DR

9722.1

Eectronic

mail

-

l3Enie

Network:

'1'RAI\lSCtI'~lIQ,

Intemet;

it-rterface@transoniq.com.

Tiris

is

probably

one

of

the

most

open

forums

in

the

music

industry._

Letter

writers

are

asked

to

please

keep

the

vitriol

to

a

minimum.

Readers

are

rminded

totake

everything

with

a

grain

of

salt.

Resident

answer-man

is

Clark

Salisbury

(CS).

Letter

publication

is

subject

to

space

considerations.

TH,

I'm

purchasing

an

Ensoniq

Soundscape

Elite,

and

have

found

a

cool

DOS

pro-

gram

called

CTI-IUGHA

which

takes

the

input

source

of

the

internal

audio

CD-RUM

or

line-in,

and

draws

psyche-

delic

and

colorful

pattems

on

the

screen,

changes

at

random

(with

the

music}

or

by

user

kcypresses

-

all

arormd

just

a

NEAT

program.

Check

it

out

at:

ftp

:iiwuarchive.wustl.edu,isystems,!

ibmpcis

imtelimsdo

sisound,1'cthug5

1.zip

Other

files

there

of

note

are

CTI-IUG51P.zip,

a

patch

for

a

bug,

and

CTI-lUG5lS,zip,

the

complete

source

code.

HOWEVER,

this

program

works

ONLY

with

Soundhlaster

and

Gravis

UltraSound.

Bummer.

I

thought

I'd

write

the

Hacker

and

see

if

any

of

you

readers

out

there

are

Soundscapc

programming

wizards

and

might

be

in-

terested

in

writing

drivers

for

this

pro-

gra.tn'i'i

Any

takers?

(P.S.

I

have

no

connection

to the

authors

of

Cthugha.

I'm

just

a

user.)

Dan

Wellmau

Via

Intemet

{CS

—

Thanks

for

the

info,

Dan.

And

good

luck

in

your

ouest...j'

Dear

TI-I:

First

of

all,

I

like

your

magazine

very

much...:)

I

have

had an

ASH-10

for

more

than

two

years.

I

own

also

a

436-IJX2.

Before

asking

my

question

I

just

want

to

comment

that

I

think

I'm

the

first

ls-

raeli

Hacker

who

asks

questions!!!

So,

my

question

is:

l.

Is

there

any

possible

way

to

utilize

my

436

as

a

sorurd

hank

with

or

without

SCSI‘!

2.

Is

it

possible

to

add

or

to

change

my

RAM

with

ROM

bank

sounds?

(What

I

mean

in

simple

words

is

can

I

have

some

preloaded

sounds,

without

using

the

H.D.

or

diskettes

(Like

the

TS-10).

3.

Can

you

reconunend

a

good

home

tape

recorder

to

comrect

to

the

ASR-10?

P.S.

-

I

have

my

own

professional

BBS

for

music.

Telephone

Number:

9'i2-4-

769406.

Thank

you,

Ariel

Dvorjetski

Bialik,

Israel

{CS

-

I)

There

are

a

couple

of

things

you

might

find

helpful.

One

is

a

pro-

gram

called

"Ensoniq

Disk

Manager,"

available

for

$54.95

from

Giebier

Enterprises,

26

Crestview

Drive,

Phoenixviiie,

PA,

i94|5t9.

it's

a

{and

I'm

quoting

Garth

Hjeite

from

the

October

I994

TH}

"DOS

BPS

F

iieiPC

File

Con-

verter

-

(it)

takes

entire

disks

or

single

files

from

EPSIASR

disks

and

converts

them

to

PC

files,

(and

provides)

automated

copying."

You

might

also

watch

for

"EPSii'EAD,

EPSWHiTE"

(shareware,

available

via

online

FTP

-

oai:.oal:iand.edu.'pubiepsiutiisimsdos),

“EP.SPC"

(freeware,

available

in

the

Mifliiinusic

area

of

Compuserve),

and

EPSiDisit

(freeware,

also

available

via

online

FTP

from

oait.oaltiand.edu:

pubiepsiutiisimsdos).

2,1

No.

However,

ifyou

utilise

banhs

to

load

groups

of

sounds

from

your

hard

dish,

i

think

you’

ii

find

it

almost

as

con-

venient

as

having

the

sounds

available

25

in

RUM.

3

J

I

might

take

a

stab

at

this

question

if

you

provide

a

bit

more

info;

primarily,

what

kind

of

media

are

you

interested

in

(cassette,

reel-to-reel,

DAT,

eic.j,

are

you

looking

for

2-track

stereo

or

muiti-track,

is

portability

a

factor,

and

what's

your

price

range

?]

{Ensoniq

-

2

J

What

you're

describing

is

similar

to the

Fiashbanh

option

that

was

available

for

the

EPS-i|5+.

Unfortunate-

ly,

this

option

was

not

very

popular

and

was

therefore

not

carried

over

as

an

AER-I

0

feature.

J

P

To:

interface@u'ansoniq.com

Subject:

Ensoniq

Service

Excellence

I

have

a

KS-32

and had

some

unusual

problems

with

a

major

component

man-

ufactured

by

a

third

party

for

Ensoniq.

Unlike

some

of

the

comments

regarding

Ensoniq's

service

I

found

it

to

be

excel-

lent.

The

problem

with

my

KS-32

stu-

faced

three

weeks

out

of

warranty

and

rendered

the

keyboard

far

less

than

ac-

ceptable.

However,

Ensoniq

immediate-

ly

responded

to

my

call

by

authorizing

a

warranted

repair.

While

I'm

sure

En-

soniq

will

not

grant three

week

warranty

extensions

to

everyone,

this

problem

ap-

peared

to

turquestionably

eartt

their

at-

tention.

Prim

this

good

report

and

thanks

to

Ensoniq

service

for

not

following

the

Intel

Example.

Sound

Questions:

If

the

battery

in

my

KS-32

goes,

can

I

get

a

service

dealer

to

re-install

the

RAM

sounds‘!

Do

the

memory

cards

become

blank

when

their

banery

goes?

Is

it

possible

to

replace

either

the

KS-32

or

the

memory

cards

batteries

without

loss

of

sounds‘?

What

a

waste

if

not.

Five

years

later

the

$90

sound

card

becomes

blank

RAM?

Can

someone

make

an

interface

card

that

would

turn

the

memory

slot

into

a

computer

port

for

PC

based

sotmds?

755412134

Via

CompuServe

{CS

-

l’m

afraid

it's

afact

ofltffe

that

if

you

remove

the

battery

from

either

your

KS-32

or

your

RAM

card,

any

data

con-

tained

in

RAM

will

be

lost.

Theoretical-

ly,

if

you

have

your

battery

replaced

by

an

authorised

service

center,

they

should

bach-up

your

sounds

before

removing

your

battery,

and

then

restore

them

once

the

new

battery

is

installed.

Still,

{heaping

in

mind

the

capricious

nature

of

Mr.

Murphy),

l'd

recommend

creating

your

own

baclc-ups

for

any

data

you

wouldn't

want

to

lose.

Data

can

easily

be

bashed

up

to

a

computer,

of

course,

and

nowadays

most

instru-

ments

that

feat-ure

a

dish

drive

provide

some

way

to

store

SysE.:r

from

external

devices,

so

if

you

don’t

have

a

com-

puter,

perhaps

you

have

another

hey-

board

that

will

do the

job.

If

none

of

these

situations

worlt

for

you,

you

might

thinh

about

contacting

the

dealer

where

you

purchased

your

KS-32,‘

perhaps

he’d

be

willing

to

help

you

create

some

sort

of

bach-up

for

your

data.

Even

if

it

were

possible

to

interface

aspects

of

your

instrument

with

a

com-

puter

via

the

card

slot,

l

thinlt

it's

un-

lihely

that

anyone

will

go

to the

expense

of

designing

and

manufacturing

such

a

mstem.

Still,

you

never

hnow...]

[Ensoniq

-

The

batteries

inside

the

KS-32

and

on

the

SRAM

card

may

be

replaced.

While

Clarlc

is

correct

about

SRAM

cards

in

general,

you

can

re-

place

the

SRAM

card

battery

by

leaving

the

card in

the

slot

and

the

KS

powered

Transonicl-Net

1

HELP

WITH

QUE

TIONS

All

of

the

listed

below

are

volunteers!

Please

take

that

into

consideration

when

calling.

If

you

get

a

recording

and

leave

a

message,

let

‘mn

know

if

it's

oltay

to

call

back

collect

(this

will

greatly

increase

your

chances

of

getting

a

return

call}.

All

Ensoniq

Gear

-

Ensoniq

Customer

Service.

9:3=[l

am

to

noon,

1:15

pm

to

6:36

pm

EST

Monday

to

Friday.

510-Ed?-3930.

Ensoniq's

Fan

On

Demand

line,

(1-S00-25'?-1439)

can

also

be

used

to

retrieve

specs,

US

-info,

turd-drive

info,

and

the

like.

All

Ensoniq

Gear-Electric

Factory

[Ensoniq's

Australia

disnibutor}.

Business

hours

-

‘Victoria.

{D3}

435-5988.

TE

Qttosllflns-PatEsalirtgrr,

Itllitllirtl;

Pfil=@@'BItecpc.ccm,

Compuaerve:

'l4JZ¢ll,15li2,

orl'tUL:

ESSLIP.

TS,

VFI,

and

SD-1

Questions

—-

Stuart

Hocking,

stul:t@ozerr|aii.r:t:un.au.

ED-1

Quosflm

-Philip

Magnotta,

401-461'-435?,

4

pm

—

12:30

EST.

YFH

Sound

Programmng

Questions

-Dara

Jones,

Compuserve:

’l1DS5,l113-

or

Internet:

tIdjones@net-

conncrun

or

call

21¢-361-U329.

SI}-1,

EiI"l-1,

AER-Ill

Questions-

Iohn

Cor,

E09-BEE-5519,

(NJ)

Spm

-

8

pro

EST

weekdays.

Any

time

weekends.

SQ-51],

‘FFII

-Qneltlom

-Robert

Romano,

hill-B93-4363.

Any

ol‘

time

{writltin

reason]

EST.

Harri

Drives

K:

Drive

Systems,

Studios,

It

Computers

-

Rob

Feiner,

Cineturtes.

91¢-9&3-5318.

1larn—3pm

EST.

Ccanpusertre:

'l'ID2=i,1255.

E?5,

EPS-16

PLUS,

lit

ASH-1B

Questions

—

Garth

I-Ijelte.

Rubber

Chicken

Software.

Call

anytime.

If

message,

Eli-hour

csllbafi.

{3tl5}

T52-923

1.

Ccmpuserve:

?22fl3,23fl3.

E511-1

AND

SQ-I'D

Questions

-

Tom

Mcflafftey.

ESQUPA.

215-83!}

U241,

before

I1

pm

Eastern

Time.

EPSlMIllhGElES-QlSQ-Ell

lItLU.G.

24-Hour

Hotline

-

Z12-465-34-30.

Leave

name,

number,

address.

24-hr

Callback.

liillllf

Users

-

Eric

Haragar,

Canadian

LHIIIIII

Users

Group,

(613)

392-

6296

during

business

hours,

Eastern

Time

(Toronto,

DNT}

or

call

ll-'IIDH..l'NE

BBS

at

{E13}

96-£5-6323

Ed

hours.

EQ-I,

K5-32-,

El]-1,

SCSI

It

hard

drive

Questions

-

PatFinnigan,

3

1':-sea-as-ts.

stoo

ate

to

rotoo

pro

EST.

ESQ-1,

hm}!

sh

Cowuters

-

Joe

Slater,

trot)

sas-asst.

HST.

i

I

'

|

in-|

I-1}

26

on.

The

battery

inside

the

KS-32,

on

the

main

board,

must

be

replaced

by

an

authorised

technician.

When

the

KS-32

is

powered

on,

the

main

board

and

the

sees:

card

batteries

are

bypassed.

So

an

authorised

technician

could

replace

the

main

board

battery

without

losing

data

and

you

can

replace

the

SRAM

card

battery

without

losing

data.

These

batteries

should

be

good

for

many

years

(sometimes

as

long

as

I0

years

under

the

right

conditions}

and

when

the

"L011?

BATTERY”

message

appears,

you

should

have

a

few

months

to

change

it

before

any

loss

of

data

oc-

curs.]

To:

interface@transoniq.com

Subject:

J

Tranunell

letter

If

you

want

to

compute

compres-

sionlenpansion

percentage

for

convert-

ing

BPM

"A"

to

BPM

“B,”

simply

divide

one

into

the

other.

120

BPM

to

1U-U

BPM

would

be:

120,l1UU

=

1.2

=

120%

compression,len-

pansion

(the

sample

will

be

1.2

times

longer

(slower)

than

the

original.

Keep

in

mind

that

equations

whose

answer

is

greater

than

l

will

be

expan-

sions,

less

than

1

will

compression.

So

if

you

want

your

sample

longer

(slower),

the

answer

should

always

be

greater

than

1.

If

not,

then

you’re

divid-

ing

backwards.

Steve

Covello

Via

Intemet

{CS

-

Thanhs

for

the

info,

Steve.

And

those

laclting

a

calculator

might

waru

to

check

out

Martin

Zimmermann's

let-

ter

below.,l

Dear

Hacker,

I

refer

to

the

letter

of

James

Tramnitell

in

Issue

#120.

He

was

looking

for

some

1-rind

of

equation

for

using

the

ASE-

10’s

time

compresslexpand

ftmction.

l‘ve

created

a

table

that

helps

changing

sample-speeds-BPM

to

BPlvl.

It

also

contains

some

values

that

are

needed

to

change

the

pitch

of

a

sample

without

changing

its

speed.

If

any

ASR-10

user

is

interested

in

this

table,

they're

invited

to

send

me

their

name

and

address

as

well

as

about

$5

(or

equivalent)

for

my

expenses.

Sincerely,

Martin

Zimmermann

Rainsumse

3?

CH-SD38

Zurich

Switzerland

{CS

-

Boy,

it

seems

like

everyone’s

cal-

culatin'

that

compressionlexpansion

thang

this

month.

Now

if

l

could

just

figure

out

how

to

compress

my

girth

and

expand

my

height

fa

ratio

of,

say,

4?:l

ought to

do

it}

l

‘d

be

setlj

Dear

Hackers

and

Ensoniq,

It

feels

great

to

be a

part

of

the

world

synth

community.

Thank

you

for

print-

ing

my

mammoth

expose

of

self

con-

fessed

madness,

and

for

your

kind

suggestions

of

solutions

to

my

prob-

lems.

I

hope

one

of

those

operating

sys-

tem

Hackers

will

contact

mel

Since

that

letter,

I

am

pleased

to

say

that

I

am

feeling

much

better,

mainly

because

my

TS-12

has

been

back

to

the

Ensoniq

Hospital

in

lvlelbotu-ne,

had a

brain

transplant,

(complete

motherboard

replaced),

and

is

now

acting

in

a

much

more

civilized

manner.

However,

it

still

has

a

long

way

to

go

to

reach

true

Homo-Sapiens-Sapiens

standard.

Change

of

Address

Please

let

us

ltnow

at

least

four

weeks

in

advance

to

avoid

missing

any

issues».

The

Peat

Office

really

will

NUT

reliably

forward

this

tzypeof

mail.

(Believe

us,

not

theml)

We

need

to

know

both

your

old

and

your

new

address.

(Issues

missed

due

to

lateor

no

change

notification

are

your

own

dumb

fault

-

we

mailed

tberni)

I

have

given

up

on

the

idea

of

using

my

Roland

MCSUU

with

the

TS.

One

of

the

features

I

like

about

Ensoniq

synths

is

the

big

display.

its

brighmess

is

good

in

broad

daylight,

but

in

low

light

condi-

tions

it

is

enough

to

light

up

the

whole

room.

Unforttmately,

despite

its

new

brain,

the

TS

continues

to

exhibit

frustrating

and

time

wasting

little

quirks

of

dysfunction.

(1)

At

last,

the

Electric

Factory

(En-

soniq

Australia)

people

have

agreed

there

is

a

major

hug

in

the

operating

system.

When

data

is

entered

into

a

track

in

EDIT

EVENT,

often

the

exist-

ing

data

is

shifted,

sometimes

bars

away.

This

appears

to

happen

if

GO-TO

is

used

in

the

process.

I

had the

same

problem

with

the

SD-1.

They

tell

me

that

Ensoniq

is

working

on

it.

Is

there

any

progress

and

will

there

be

an

upgrade

in

the

operating

system?

(2)

It

takes

objection

to

disks

some-

times;

FILE

OPERATION

ERROR

3.

Disk

has

to

be

reformatted

and

files

copied

from

back-up.

I

have

to

have

two

back-up

disks!

(3)

DISK

ERROR;

-----rebuildll

(4)

Often,

after

choosing

a

different

se-

quence,

the

data

entry

buttons

or

the

slider

will

not

change

and

keep

the

value

of

a

selected

parameter

until

it

is

newly

reselected.

(5)

If

the

Tempo

track

is

present,

data

or

none.

then

the

SONG

TEMPO

will

not

adjust

the

overall

tempo.

(6)

ERROR

129

occasionally.

TS

usual-

ly

reestablishes

contact

with

no

loss

of

data.

(T)

When

deleting

bars

from

a

song

T

'

susscntnrlou

INFORMATION

1

12

MONTHLY

ISSUES

’

L

US:

$23tyear.

All

others:

$32lyear

{please

use

international

Money

Order,

payable

in

US

tends}.

Please

make

payable

and

mail

to:

I

TFIANBUMD

HACKER

_

14-D2

Slfl

UPLQHD

DFL,

PORTLAND,

OH

972221

track,

one

bar

cannot

be

deleted

from

bar

1.

Data

buttons

don’t

work, slider

does

—

but

I

could

not

delete

that

first

bar.

(3)

After

creating

a

song,

when

I

try

GO

TO

a

particular

step,

TS

says

SONG

IS

EMPTY!

After

much

frustra-

tion,

reinitialize

and

start

again!

Wlty

Ensoniq,

so

much

right

and

so

much

wrongl?

Wily

are

the

patch

but-

tons

grey

and

not

black

like

all

the

other

buttons?

So

they

can

be

seen?

Questions

—

(1)

How

can

a

user

effect

setup

be

copied

to

another

sequence‘?

(2.)

How

can

tracks

1-6

be

silenced,

leaving

tracks

?-12

sounding,

in

one

procedure?

This

would

allow

each

se-

quence

location

to

hold

more

than

one

sequence.

I

realize

this

can

be

done

by

creating

a

song,

but

that

uses

up

another

location.

I've

tried

setting

VOL

to

+ve

and

-ve,

selecting

the

required

tracks,

and

then

adjusting

the

CV

control

to

either

extreme,

but

that

only

affects

live

played

tracks,

not

sequence

data.

(3)

How

can

a

sotmd

be

programmed

so

that

in

different

patch

selects,

some

have

SUS-

ON

and

others

SUS-

OFF?

Similarly

for

a

layered

prog?

Discoveries

-

_

To

get

a

track

to

send

a

PROG,

change

number

greater

than

60

to

EXT,

without

it

changing

the

FX

of

the

sequence.

Select

the

sound

you

want

for

the

track

to

play

locally,

set

the

track

to

SEND-----,

enter

the

PG

in

EDIT

EVENT,

(may

be

-1),

and

set

the

bank

to

12?.

This

way

I

send

any

PG

to

my

2?

—i||n—

I

_...

ii-|

J-

FX

tmit

on

the

same

track

which

I

play

live.

Save

memory,

by

erasing

any

track

recorded,

but

empty,

in

MLILTI

mode.

Mark

centre'

of

MOD

wheel

with

white-out,

to

show

position.

TEMPO

track

only

needs

to

be

recorded

at

point

where

tempo

change

occurs.

To

save

sequence

locations, copy

those

seq

that

are

only

used

once

in

a

song,

to

the

song

tracks.

Most

information

about

the

TS

applies

to

SD-1.

TS-ROM

string

sample

is

flat

as

a

tack!

De-Tune

(Re-

tune]

by

approx

+10.

A

sliding

potentiometer

(available

cheaply

at

electronics

shop,

or

out

of

old

TV),

can

easily

be

wired

to

make

a

CV

controller,

and

put

on

top

of

synth.

A

cheap

momentary

switch

can

similar-

ly

be

used

on

board

instead

of

a

foot

pedal.

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till.

't-no-:'|n

COME

UN

PEOPLE!

Get

writing...

Share

your

frustrations,

your

loves

and

hates.

Tell

us

your

tricks

and

dis-

coveries

and

enpose

your

opinions

and

passions!

How

about

a

regular

feature

in

which

musos

show

or

explain

their

set-up,

their

combination

of

gear,

how

it’s

held

together.

and

perhaps

how

they

actually

work

on

the

gig?

Yours

sincerely,

lvlel

Laraway

South

Australia

{TH

—

Well,

the

lnterjface

is

a

good

place

for

that,

and

-

it

already

is

a

regular

feature.

I

{CS

-

l

J

Select

the

effect

you

want

to

copy,

and

press

the

"Copy"

button.

Select

“MAKE

COPY."

Select

the

se-

quence

into

which

you

want

the

copy

placed.

Hit

the

"Copy"

button

again,

and

select

“RECALL.”

2}

I

can’t

think

of

any

way

to

ac-

complish

this

without

the

use

of

ester-

nal

MIDI

devices

of

some

sort.

Perhaps

some

reader

brighter

than

l

can

come

up

with

a

solution

{and

that

would

be

most

of

you,

you

hnow).

3

J

I'm

afraid

a

sound

can't

have

dif-

ferent

sustain

pedal

settings

accessed

via

patch

selects.

However,

a

sound

that‘s

part

of

a

preset

or

sequence

can

have

its

sustain

pedal

setting

pre-

determined.

Try

selecting

a

preset,

for

example,

and

then

pressing

the

“Con-

trollers

OtdO_tjf”

button.

From

this

page,

you can

set

whether

each

of

the

sounds

in

the

preset

will

respond

to

sus-

tain

pedal

presses.

And

by

the

way,

thanks

for

the

tips,

tool}

{Ensoniq

-

lt’s

good

to

hear

that

you

are

feeling

better

about

your

TS-l2.

Several

of

the

items

in

your

letter

have

been

sent

to

our

software

department.

Keep

posted

for

more

details.

Here

are

answers

to

your

three

ques-

tions:

I)

Select

the

sequence.

Press

TRACK

28

EFFECT.

Press

the

COPY

button.

Press

MAKE

A

COPY.

Select

new

sequence.

Press

TRACK

EFFECT.

Press

the

COPY

button.

Press

RECALL.

2

J

Mute

TRACK

VOLUME

on

tracks

i‘

through

ti,

one

at

a

time.

There

isn‘t

an

easier

short

cut.

Each

tracl:

must

be

muted

separately.

3)

SUSTAIN

ON

and

SUSTAIN

OFF

are

traclt

parameters

only.

I

To:

interface@transoniq.eom

I

am

trying

to

automate

my

sotmd

design

on

the

ASR-10

using

a

sequen-

cer

to

send

SysEs

data

to

change

para-

meters,

make

loops,

copy

waves,

etc.

I

want

to

eventually

program

a

list

of

transformations

and

parameter

settings

on

a

sound

and

then

apply

that

list

to

other

waves

without

having

to

sit

there

and

do

it

manually.

The

problem

is

that

there

is

no

SysEn

for

sampling.

I

can

loop,

normalise,

and

everything

else,

but

I

can’t

resample

with

effect.

Wlten

I

virtually

press

sample,

it

works,

but

then

if

I

virtually

press

enter

or

left

or

right,

it

first

takes

me

out

of

sampling

mode.

Is

there

a

way

to

do

this?

Thanks

Jordan

Roseman

Jordanl]@aol.com

{CS

-

As

far

as

l

can

determine,

the

ASE

ceases

to

respond

in

any

predict-

able

way

to

virtual

button

presses

once

sampling

has

been

initiated,

so

I

guess

you're

out

of

lucl:

on

this

one.

J

Dear

Hacker,

1.

Cm

my

SD-1

Ihave

a

harp

patch

in

a

sequence

that

requires

a

special

effect.

I

have

been

trying

to

find

a

way

to

spread

the

notes

from

D3

to

G4

across

the

stereo

field,

with

D3

located

at

the

pan

position

ill}

and

G4

at 99.

How

can

I

do

that

using

only

one

track‘?

2.

Occasionally

I

rim

into

a

problern

when

using

pitch

bend

on

patches

with

over

a

certain

amount

of

sustain.

‘When

bending

a

note,

any

prior

sustaining

notes

will

also

bend.

Any

way

to

set

things

up

so

that

only

the

last

note

on

will

be

affected?

Thanks,

B.

N.

Dallas,

TX

{CS

-

l)

Normally,

one

would

use

the

keyboard

as

a

modulator,

routed

to

the

PAN

MOD

parameter,

but

this

won't

provide

you

with

as

dramatic

an

effect

as

you're

looking

for.

However,

you

can

make

the

efiect

more

pronounced

by

using

the

MOD

MIXER

to

multiply

the

efiect

of

the

keyboard

as

a

modulator;

just

use

KEYBOARD

as

the

SRC

2

input

to

the

MOD

MIXER

(you

can

leave

SRC

I

set

to

OFF),

and

use

the

SCALE

control

to

multiply

the

efiect

of

the

keyboard

modulator

by

a

factor

of

up

to

8.0.

2]

There's

no

way

to

set

up

the

pitch

bend

to

apply

only

to

the

last

note

played,

but

there

are

a

couple

of

work-arounds

you

may

find

helpful.

One

is

to

edit

the

sound

in

question

to

use

Poly-Key

pressure

to

control

pitch.

The

other

would

be to

set

up

the

sound

to

utilise

pitch-bend

in

the

"held"

C=

ntEnemmq(LS.

umtnmemou}

EP5

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SCPH

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SCI‘-H

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B2

ED-1

ED-1

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DPt4

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HS-32

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Asa-as

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t-that-1e

TS-1

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2.49.-'2.4=fl

2.49t'2.41

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Il.‘l=fl'l4.‘llI

4.'lC|I."4.'lfl'

."‘t"'!‘i'i*‘."*!"-"I*!“"'!i*'*‘i‘*i"."“

gssesggsss

grin

mode.

Press

the

Pitch

Mods

button,

and

set

the

BEND

parameter

to

the

pitch

bend

range

you

want

to

use

followed

by

the

letter

"H."

ln

other

words,

if

you

want

the

bend

range

set

to

two

half-steps,

set

the

BEND

parameter

to

"2H."

Now,

only

notes

that

you

are

physically

holding

on

the

keyboard

will

bend

when

you

move

the

pitch

wheel;

notes

that

are

sustaining

because

they

have

a

long

release

time,

or

because

you're

holding

the

sustain

pedal

down,

won'tbend.]

The

Interface,

I

just

bought

the

TS-10

a

month

ago,

I've

finished

my

first

issue

of

the

Hack-

er

and

now

you're

reading

my

first

of

many

letters

to

you

and

Ensoniq.

#1

-

Great

toy,

and

I

mean

that

with

all

due

respect.

Everything

to

me

is

a

toy.

Some

are

bigger

than

others,

some

are

better,

and

the

TS-10

is

both.

Well,

for

ten

years

I

have

had

a

DX7

and

a

TRTDI

drun1

machine,

lvIlDI'ed

via

an

SQ-1

sequencer.

(Are

you

laugh-

ing

now't?!

l)

I

wanted

to

get

an

SD-1

so

my

partner

and

I

could

swap

ideas,

but

they

are

hard

to

find!

And

when

you

do

find

one,

they

don't

want

to

sell

itl

#2

-

I

want

to

stay

as

up-to-date

with

this

system

as

possible.

How

can

I

tell

what

RUM

version

I

have‘?

And

how

cart

I

know

when

there

is

an

update’?

Where

do

I

go?

What

does

it

cost?

What's

with

this

ROM

version

stuff‘?

Well,

that's

it

for

now.

I

have

so

much

to

ask,

so

much

to

learn,

so

much

to

say.

But

I

also

want

to

play

my

baby.

I

call

her

Tess.

No,

it's

not

my

wife

-

al-

though

my

wife

does

call

it

"the

other

woman!"

Hey,

thanks

for

listening

(reading)!

Gerald

Davenport

Nevada

City,

Ca

{CS

—

The

TS-ll]

[as

with

any

com-

puterised

device)

has

a

set

of

instruc-

tions

which

tell

it

how

to

behave,

and

how

to

respond

to

user

input.

These

in-

29

structions

are

generally

stored

in

what

are

called

ROM

(Read

Only

Memory)

chips.

A

manta'acturer

can

then

change

these

instructions

for

whatever

reason,

store

the

new

instructions

in

new

ROM

chips,

and

distribute

the

new

chips

to

customers

who

want

the

new

version.

To

flnd

the

software

versions

for

your

TS-I0,

press

and

hold

the

Presets

but-

ton,

then

hit

the

System

button.

The

T5‘-lb

will

briefly

display

both

ROM

and

KPC

version

numbers.

And

you

should

be

notified

of

updates

if

you've

returned

your

warranty

card.

Also,

we'll

keep

you

posted

in

these

pages.

Updates

should

be

handled

through

your

local

authorised

Ensoniq

Service

Center.

The

charge

may

vary,

but

should

be

quite

reasonable,

and

in

many

cases,

free.

I

Hacker:

Keep

up

the

excellent

work!

Your

mag

is

eagerly

awaited

each

month.

llfll

@h®bU@l‘l®lll$

H.e:ot_E.e.1.ea..s_e

"'53;t'h'ti;:!"aa't

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'-

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‘"57!’

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"'

-

‘.C

"'

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oi

Phat

Loops

ll’:

Samples

Haw

York

5t_y1ln'

—

fiver

TDICI

phat

hip

hit]:

lu-r.:I]:I:t.

I-11-II:

drurnl.

freaky

hllt.

hilt!

riffs,

melndlc

lnctps,

and

drum

samples?

I

I‘

1-1-

'

It

smpunuatoco

$69.95

+5.05

5&1-I

i

‘Th-ere

1

nu

enying

I:

III

I:

I:

Ill:

1:

I

grunt

|:|I.'rgIlr|"

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stcratchen,

frailty

bits,

t

and

drum

1.-ans

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up

the

preps

on

thls

julntl

It’:

Ill.

butter...

D‘!-I'¢1'

T-DD

lflfl

P

sample

Audie

fill!

$49.95

+s.os

seem

lira

figfi

in

E

#1}:

lit

'-=.

Drder

by

phone

or

mall.

Prices

good

worldvrlde.

Dvemlte

delivery

lSlD.DDl

available

on

prepaid

orders.

VISAIMC,

EDD.

CHECK.

GR

lr!Ul'~lEl"

ORDER

Toll

Free

Info

ll:

Dreler:

1-B-[Hit-331-EH41

1-5

15-33

1-BB-D4

{In

ternationall

On

Point

Productions

61

Superior

St.

Port

jeffersnn

Station,

l*~I“r"

11775

To

Jeffrey

Rhoads:

As

you

no

doubt

know,

there's

one

curious

omission

among

the

RUM

waves

in

the

TS-

Series

-

swept

brush!

There

are

several

brush

hits,

which

are

very

usable,

but

why

go

halfway

when

you

can

go

all

the

way‘?!

Iused

to

own

a

VFX-sd

and

there

was

a

third-party

sound

for

this

particular

need.

When

I

traded

in

my

misty

old

axe

to

upgrade

to

the

TS-ll]

I

was

surprised

to

leam

I

had

lost

a

vital

patch.

lvly

limited

talents

as

program-

mer

prevent

me

from

creating

a

con-

vincing

program

so

I'm

relying

on

your

expertise

on

this

one.

If

you

published

a

swept

brush

patch

for

the

TS-1[l,l12,

I'm

sine

you'd

make

many

owners

happy!

May

the

sun

follow

your

path

where

ever

you

go

and

may

your

dream

key-

board

be

announced

in

an

affordable

price

bracket!

Ivlarkku

Perala

Finland

{Ensoniq

—

Try

AER-ill

Library

AS-T.

the

Baldwin

Piano

library,

which

in-

MIRAGE

Synlaur

Mirage

Library

[13

disks}

Ensoniq

libraries

{SID-A,

SID-B,

or5LD-C,

llldisks

each}

K-Muse

libraries

lTechno,

London,

LA,

New

York,

or

Classical,

Ill

disks

each}

lvlirage

Formatting

Disk

Advanced

5arnpler's

Guide

with

MASOS

disk

Soundprocess

library

with

OS

I?

disks}

Soundprocess

Manual

and

Tutorial

EPS,

EPS-

1

6,.

ASR-

10

(TS-1

0,.

TS-

12)

Synlaur

Sample

Sets

I

through

13

I4

rlisks

eachl

$29.95

Set

l:5oviel

Synlhs

Set

5:

Synlhia

1

Set

2:

Live

Drums

Set

bi

Percussion

Set

3:

Kickin

Drums

Set

Tl:

Guitars

Sets}:

Synth

Pads

Set

ll:

Basses

Set

12:

llocoder

New

-

Set

I3:

Techno

Ensoniq

sample

|ibrariesl5lT-1

thru 5LT-13,

llltiisltseachl

$?4.95

eludes

some

Jase

Trio

instruments.

it

includes

a

swept

brush

sound.

You

may

order

this

library

at

you

local

authorised

Ensoniq

dealer

or

directly

from

Ensoniq

at

I-800-553-Slfil

.,l

Hacker

-

In

response

to

Yiasomnis

Anastasious's

comment

in

.lune's

Interface

regarding

"unassigning"

selected

sequence

tracks,

I

have

a

solution!

Erasing

the

track

twice

on

my

TS

usual-

ly

results

with

the

track

reverting

to

"unassigned."

Then,

before

playing

the

sequence,

save

it

to

disk,

erase

the

se-

quence

from

memory,

reload

it

and,

voila

(or

violalviolin

-

you

decide}.

If

you

have

several

tracks

to

"smas-

sign,"

you

may

find

that

for

some

strange

reason

after

you

have

done

this

to,

say,

tracks

2

and 4,

then

changed

to

the

‘l-12

screen

in order

to

do,

say,

track

6,

then

go

back

to

the

first

screen

to

check,

that

the

tracks

have

myster-

ESQ-1,.

SQ-80

Syntaur

Soundsels

1,

2, 3,

or

4

[rill

patches,

disk

or

cassette}

Ensoniq

ESQ

libraries,

‘v'PC

1

thru

11

lflll

patches

on

rliskl

Ensoniq

1r'PC

Master

Disk

{BBO

patches

on

disk}

En

soniq

so-so

libraries,

VSD

1

lhru

‘v'SD-4

no

tches

on

disk}

Ensoniq

'v'5D

lvlasler

Disk

use

patches

on

digit}

SQ-1, SQ-2,

SQ-R,

KS-32'

Syntaur

SQ

Sel

1

iilll

patches

on

sysex

disk}

Syntaur

SQ

Set

1

till}

patches

on

loll-voice

Rhlvl

card}

VFX,

VFX-5d,.

SD-I

Elyntaur

"v'Fli

Sets

I

or

2

H5-ll

patches

on

disk}

Synlaur

'v'Fll

Sets

1

or

2

[bl]

patches

on

EEPROM

cartridge}

T$-

1'

0,.

T$-

12

Synlaur

TS

Sets

1

or

2

so

patches

on

disk}

$39.95

$s9.9s

it-9.95

$t.9.9s

$12.95

$19.95

$99.95

No.95

Set

El:

Tuned

Perc.

Set

ll]:

Sound

Fill

1

Se!

ll:

Sound

FX

2

iously

reappeared.

But

don't

panic

-

shit

happens.

Just

try

again,

per-

severance

should

win

out.

I'm

surprised

that

Ensoniq

didn't

include

this

tip

in

their

manual

or

in

their

reply.

I

have

noticed

that

when

sequencing,

say,

a

drum

track,

and

when

reviewing

with

the

event

editor

function,

the

TS

sometimes

"refuses"

to

go

to

the

last

few

events

at

the

end

of

a

particular

track,

making

editing

difficult.

The

only

way

to

view

these

events

is

to

either

scroll

through

the

smallest

time

para-

meters

or

to

copy

something

previous

into

a

further

part

of

the

sequence.

It's

almost

as

if

the

TS

is

"afraid"

of

look-

ing

over

a

cliff

edge,

you

have

to

nudge

it,

or

extend

the

cliff

face!

Why

is

this‘?

Also

Ensoniq

-

I'm

still

waiting

for

my

"I

(heart)

my

TS-12"

bumper

sticker

(and

roadcase

sticker)!

Jeff

Weir

New

Zealand

I

CS

-

Thanks

for

the

input,

..l'e_,fi'.",l

‘I

-I

1

L.-"-J

$1s.95

$29.95

$9195

$19.95

$49.95

$39.95

$9.-r.9s

$39.95

$9r.95

KT-76,.

KT-35'.‘

KT

Set‘

L

80

new

patches

on

disk,

$39.95.

On

PCMCIA,

call

for

pricing.

\Ne

have

sounds

for

all

Ensoniq

keyboards.

Call

novv

for

our

free

catalog!

All

orders

must

add

$4.00

ior

shipping

l$Er.llil

for

orders

outside

the

U5}.

Shipment

is

normally

made

within

24

hours.

Texas

residents

must

add

?.25‘l"a

sales

tax

lll.25"ii:

willtin

Houston}.

Payment

can

be

made

by

check

or

money

order,

‘visa,

MasterCard,

and

Anterican

Express.

Orders:

s-its

vv

43rd

StpH

t

rx

77092

""o'

Fo"e'gn

Orders:

(300)

334-1233

liax:

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dd;-hndrz

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PHDFESSIDHIIL

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Low-cost

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ma)

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Sequences

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For

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Delhi

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i-"lId.'l.IlIJQcompuaorva.com

1

birth

I.-

ASR

+

16-PLUS

EFFECTS

The

'lr"oder

synthesizes

vocals

out

of

any

sam-

pled

sound.

It

can

sound

like

a

vocoder,

but

there's

never

been an

effect

like

this

for

any

other

keyboard.

The

lowest

lo

keys

of

the

key-

board

coch

trigger

a

different

vowel

or

con-

so-nant.

Your

left

hand

actually

forms

words

by

"spelling"

them.

IDK,

it

takes

some

practice

to

sing

a

whole

sentence.)

Your

right

hand

con-

trols

the

notes

and

chords

of

your

robot

choir.

And

bow

long

have

you

been

waiting

to

make

a

big

fat

brealby

choir

sing

"Louie,

Louie?"

Dr

maybe

it

was

a

oar

crash

snare

that

you

needed

to

say

"morn!"

Heed

details? The

‘v'oder

is

a

3-band

parametric

HQ

effect

for

the

Ensoniq

ASH-10

and

EPS-lb

PLUS.

This

EQ

can

rapid-

ly

"morph"

between

many

different

settings.

These

different

settings

impose

vocal

charac-

teristics

onto

any

sound

that

is

run

through

the

EQ.

It's

much

cooler

than

a

Morpheus.

Audio-in

is

supported.

The

"v'oder

disk

is

$49.95

and

comes

with

sounds:

a

choir,

a

solo

voice,

a

robot

voice,

a

talking

rhythm

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Drder

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PC

OD-ROM

C-ontains:

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___'

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AX-B0

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t

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TRANSONIQ

HACKER

14es

sw

UPLAHD

en,

Peatume,

en

etrssi

ADDRESS

CORRECTION

REQUESTED

Pestmaster:

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Ferm

S54?

as

seen

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pessihle

se

we

ean

ehange

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This

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BULK

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PCIFITLAHD,

OH

PEFIMIT

ND.

11

BLICFIIPTIDH

MATEHIAL

DATED

MATERIAL

-

TIM

E

VALUE

Publisher:

Erie

Gelsllneer

Editriit:

Jane

Talisman

Our

isemewhat

regular]

lliustrieus

new

et

writers

Includes:

Graig

nnderten,

Reeinr

Barman,

Paul

Bissell,

Steve

Birhurst,

Eiarry

Carsen,

iutarit

Dliiten,

nntheny

Ferrara,

Pat

Finnigan,

C-haries

R.

Fisehar,

Jeffrey

Fisher,

Gary

Gieeler,

Jim

Greta,

Garth

Hjelte,

Brree

inman,

Jeii

Jetten,

Dara

Jenes,

Brad

iiauintan,Jehnn1r

Kienaris,

Jehn

Lei

init.

Daniel

Mendel.

Sam

iuilms,

Jeiigag

Rheads,

Brien

Rest,

Cleric

Saiishunr,

Tern

Shear,

Jee

Slater,

Kirk

Siinitard,

J

Teiln,

and

Steve

irineent.

9?22‘i

Phene

{EH3}

22?

EB-'-IE

[B

em

te 9

pm

Paeiiie

West

Beast

Time]

Gepyright

1995,

Transeniq

Haeiter,

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Upland

Drive,

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