Ensoniq Corporation Transoniq Hacker Archive Issue #172/#173 Th 172 173
Ensoniq Corporation Transoniq Hacker Archive Issue #172/#173 th_172_173 Ensoniq Corporation - Transoniq Hacker Archive - Issue #172/#173
User Manual: Ensoniq Corporation Transoniq Hacker Archive Issue #172/#173 Ensoniq Corporation - Transoniq Hacker Archive - Issue #172/#173
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Bl’ » Se long — and thanks for all the fish! 1" The ASR—X Lives! ArIiClE5: Craig Aaderran The AER-X Lives! Craig Armlerrrin allew-s yeu te de this sert ef thing. Alse. because yeu can pregram snapshet mi:-tes inte the PCIE-tlll. it's a piece ef calte te meve threugh a remis —-— mis fer a while. then call up a snapshet. then mis seme mere. etc. Mastering Sherl: Leeps in the EP5 and ASH My Time in Paris HI.:-{- Hewever. slamming a bunch ef PC-lfillll faders can send eut eneugh data te cheke tlte Jack §iIc*;I1ltc*rt T-:.n"t'fl {www.pave.cem}. and first appeared in the beek “l’J'f_aitai Pra__:'et"l.s jilr M'rr.rt'ct'r1n.v." ce- written by Bel: Meses and Greg Bartlett at Pave {with help frem me}. Anyway. this can In the fall ef ‘E18. the ASR-X became the heart ef my "leeps and guitar" live act. But it alse started a levefhate relatienship that. fertunate- ly. has taken mere ef a turn teward leve lately thanks te three ceel add-ens: Seftware versien 2.157‘. the M'l'lJl'Taal.t' Crintrallcr Tltlltrtmr. and the Peavey PCIEUU fader centreller. Here's the deal. ‘V2.6? tightens up the MIDI timing in a majer way {and wew. did the AER-K ever need itl. ‘r'eu‘ll hear the difference as seen the first measure ef a sequence plays. alse. it tighletts up the timing ef internal timing-related parameters {like when yeu sync a parameter te the system cleck}. If yeu have an ASH-X. yeu must have this update. The Peavey PClt3fl[l is a I6-channel fader bes {it alse has I15 assignable battens}. Feeding its eutput inte the AER-X’s MIDI in. and assigning faders I-lti te centreller T fer channels I-lfi. allews fer real-time centre] ever leep levels. This is crucial fer “epening up the I1:-es.“ as there‘s ne way the eaistittg interface +1-+1-I-‘III-IIIIIIIII-iiiil-lllllllfifii-I-llllllt ? Enseqttcncing & Waveferm lvlutilatien lllll The Final Chapter: Testing ‘feur Transwaves Fer Resenance ASH-K and tetally screw up the tirning. This is where the Ml'i'JlTr.ial'.s lI3't3.'ll cemes itt. This is made by a cetttpany up in Seattle called Pave l cever thin eut the centreller data eneugh te keep the ASH-X happy. lfi HaciterPatch Jttellt {.'ara'er ll} Treasures frem the Basement Steve lr’iar"eat I4 Where are They New‘? .1-‘tad if yeu investigate these three aspects ef the ASH-X. yeu'll he happier tee! I can enly hepe there will be ene mere rev that allews yeu te disable the resetting ef the lracl-1 para- Garth Hjet're................. I5 The Bevy I? REIJIEWSI meters when a leep gees hack te the begit1ning. This tetally messes up the flew when yeu're deing a retttitt. and all ef a sudden. everything jumps back te its eriginal value. Enseniq. please. fia this — it weuld alse eatend memery drantatically since a leep that repeats takes up little space. Basement Tapes: Hear Vhana I Jergcn Tcller St‘e1»"e Vt'rtt'er1t ll Regular Stuff: By the way. if yeu’re curieus abeut what I't11 Randem hletes The Interface 2 I9 Classifieds 2] Hacker Beeteeq 23 deing with the AER-X. I de give cencerts periedically i11 Eurepe {ntestly Germany] and am starting te de a few mere dates here in the LISA. Hewever. these AER-X leeps will alse he the feundatien ef a leep library I‘m deing fer Senic Feundry*s ACID pregram. This is a little different cencept fer a leep library. as it alse centains several ACID prejects ef cemplete sengs that I de using the leeps. In a way. I'm treating ACID as a music delivery system. but what's ceel is that it‘s interactive. "t'eu | issuenu|v1esa|12r1rs.$4.ua C ii-I_-|IZi_ i iv ca|1 click en a tune te ltear my versien ef ltew te use the leeps. er mess with the tunes. use the leeps in yeur ewn preductiens. etc. Fun stuff! New. befere signing eff. I have te cemment en the whele HaclterfEnseniq thing. First. Jane and Eric deserve rtething but cemn1enda- if ecroasnrnevstaamisss tien. praise. and admiratien fer what they've dene with this newsletter. As te Enseniq. being a syttth centpany is a high-risk business: censider lvleeg. ARP. Dberheim. Sequential Circuits. Pelyfusien. attd several ethers. Having esperienced the music industry frem the inside attd the eutside. l understattd bath the frustratien itt dealittg with the cempany. as well as the difficulties ef running a cempany under the best ef circumstances. let alette in a very ltigh-risk business. I cart guarantee yeu that the peeple RND (la) Hacker Netes: Well. it weuldn't be the IIrtr'kr=t" withettt the eccasiettal eerrectien: at Ensenit.| ltave dene their very‘ best te deliver the best preducts they cettld. and if they didn"t nteet eur lefty espectatiens as users. the fault is partly in eur espectatiens as well as a cempany‘s inability te deliver an these espectatiens. PARIS leeks like it will survive. which is great news: i tltittk it's a fabuleus systent. Yes. the linsenic] we knew is gene. Se are Atari centputers. Prephct 5s. attd a bunch ef ether ceel things that fer ette reasen er Clur ewtt little web site will retnain tr .t tnttdified fernt — still linking te ether -|:=_=still ltawkittg hack issues. Uh. attd ene 1. . fellss {thank yeti. J.U.!l finally ttati-t.-.-._' :11. ‘-A-'edc|1t Wltccls living at ettr sitc 1 " that s my new little preject. ‘t’vc.'ll sec tttlt. llt any ease. wl1e|1 yen ttse the ratttp-up ettvelttpc template. tltc sccttttd l't.‘lt..‘tts;_' -‘ill-‘it-‘ fade-attt. sn ya1t'll ttsttally have tn lcngtltcn that release as well set that the fading itt and fading aut el' tltc sample arc relativcly similar. etc. seems te ceme ettt ef ttewltere. attd same ef the directiens fer setting up what's being built en were left eut. Here they are: Making :"+Inne t~ian1ples t-itcrce Tltcrc are tttany ways te acltieve this cttd -wlticlt yttu cheese will depend partly an the settnd yett are warking with as well as its quality. the use te which it will he ntadc. and persenal taste- The usual place ttt start is te cepy the ttavesamplc ta a secentl layer. Fade Itt and Fade Dut Elye. everyenc. Tl1a11l-ts agaitt. latte and Eric. fer ltesting the party and lettittg tts make a ntess efyettr living reettt : t— ntcter. depending til" cttttrsc l.]-I'I ltttw slew t1|' ltew auickly yeu'd like the seund te fade defattlts te a rclatiscl_t ttuick rarnp-tlats rt paragraph were emitted. Witltettt these twe paragraphs. the ensaittg discttssiett en layers the futttre. and get en with the art ef making music. Attd yes. if my TS-Ill ever blews up attd l canit get it serviced. l'll be very buntnted... wtt"w.l1et11e.ea|'thlit1k.t1et.-"-ptf-". very nice jab — leeks a let ntere pelislted than eur usual Hacker-tttittitnalist apprench. The en-gain; discussien eentinttes... itt Issue #li'tl were emitted -- tnade understanding the article a little tricky. After the subheading titled "Fade ltt at Fade Uta" there is suppesed te be enly ene paragraplt. which was etttittetl. And. after that paragraplt. there is suppesed te be a new subheading “l'vIaking Metre Samples Steree." That heading attd the new sectienis first whttt they*ve dette. wish them the best fer when the key is released. yett wattt the leap ta keep playing as tltc seund fades nut. tthiclt will happen if yatt. just as beferc. pregrattt a sccand release: httt prebahly with a stttttev-'l1ttl levicr value fer the time para- Twe paragraplts ef F-'l1il Regers' ASH article which kinda attetlter. ceuldn't hack the cruelly Darwinian precess that gees en in any stnall. lew- ntargin industry. Se let's thattk everyette fer panning the twe wavesa|1tplc.s at‘ .ll.lll.l itt case yeu's"c ever wetnlcrcc. i ' I slta-ultl fess up new... All these tr... .;. thc Hrrctlret" ltas been put tegcthct eld Atari SEUST t"The lvliragc . pater "-Jv'e|'ld"'l — new geing ::t'.. .1 carnetl t'etire|11e|tt. __ .211:.:-:5 if "ITIsell- Lets ef fell-ts ltave i-T fit c|1 including ...c :::tcs land evett tips; with their rcnc'-s.; ..tr-..‘thanks te all! Time has been I-.::"..:_~ ..:*1tted fer respending. hut .la|1e ltas pa‘ ' __"-:::".-.. -1 . . .letter te yeu and everyettc else ..:"..' like Fer attttesphericienvirentttetttal effects within a musical er a film eantest. starting yettr crickets. er ncean waves etc. at full velunte is ttsttally net as attractive er apprepriate as wettld he fading the seund layers te eppesite sides ef the steree field t-Eli} and -t-‘Jill: then delaying the beginning ef ene ef tl1e tsatcsamples.-‘layers letliti layer]: usually a value ef aretttttl -1 will make a drum leep er many ether instrumcnts kind ef ping pang: it's a very nice cffcct. l.cssct' talucs will tltickett the setuttl. 1~it-ntimental Ramblings Frem a t'suallji ttprin frettt ne seuntl te what velume level hut we-n't necessarily spread the sterce field Ealterent Wentatt yeu want fer the effect; whether a distant backgreand. ar creature settnds that are ntnre itt ynur face. The easiest way te tle this is tn ge |F.l“~l‘v'fl: envelepe type]. and meve yettr cttrser se "ramp up" sltaws: newplay the seund attd yeu'll hear a geed. lung fade. actttally. prebably a little tee slew a fade. Sn screll a eeuple ef pages ever te "times". and edit the leftntnst parattteter setting. which represents tltc attack pertien at the setttnl: lawer valttcs will make the attack shertcr. which in this case is the result we're leaking fer. Fer a leeped snutttl that is ttet ef the "leep attd release" variety wltielt we discussed in the previeus scctien. nut. The trttublc wltlt srmtc af the nterc attterpltntts attthicttt snunds like distant cricl-.ets is that a delay etttt ntutldy things up. hut if ynu set the value a little ltigltcr. it will seund like mere than ene seurce-if there is ene prentinent cricket as part ef tltc menu night settttd. it will start tn seund like te hern itt and say it reflcct- ':‘-'. ‘-?=_'-:|ngs teel. lt fellews. I-"J'trtinl:.t.’ Eri c ..l'ttttc i'itt'.".sntatt. .t':'d't'trt'.t" l'_~.ll.l'-l -- A wetnan standing en the ft'et1t perch. Site is waving geedbye with betlt seund like the pair nf them are rhytltntically ltttttds te the cellege-bettnd hey attd his dad pttllittg ettt ef the drivevt'ay. She is meuthittg the wards. "t'fiet1tll1ye. geedbye." She stands there fer a tvhilc after they ltavc tttrttetl the ennverstng ltack attd fr:-rlh. E"Dlf'l'|t.'.*l'. twe. Setting it a little higher still and it can {Itthcr tense ends - Flashback — [he satne wetttatt. tett years yettttger. is sighing at the prespect ef having Pat's get his Q ti‘: A website up attd running. te ltgure eut what te de wttlt this. tltts .=nin'hr'i-re her husband breaght heme. She I'll Yea cart find it at: 2 lbbks by-er at her belbved plane. heaves yet sbiite name recbgnitibn. "Watiiiit write a anbther dramatic sigh and turns bn the keybbnrd, tlte Mirage, attd starts pbking abbut. ebttple bf articles fbr us?" Atttl Craig said, *“tPv'ell. why dbn‘t ybu send me a cbpy.“ We did and he said "sure" and evettttially l un- Flash Fbrward ~ The child {finally} graduated frbm cbllege. The Mirage was replaced by an ESQ attd then a 'v'l-‘X and an EPS. The derstbbd the nature bf this ebupthbnbr — and there were tnbre tb fbllbw. tnttn published it rnagazittefnewsletter called Ill =l= =l= =l1 Ti"iiii.wiiii‘i,i fftilIt.'tllIe’l' fbr I5 years and the wbtnaii ltad a ball editing it. iiidttitift Damn, this has been fun. Fbr a wltile there l was altttbstjitiiiiiii.t, l wbuld say bffliandedly, "Yeah, I*m the editbr bf the .ffHt'ifCt?l"." tb the guys in the nntsic stbres. And they wbuld, bless their hearts. say things like "il't.wesbiiie“ and "bib shit?“ t wbuld stnile demurely attd let them shbw me the newest wares frbm Rblattd, "t"antaha et al, lettittg them draw whatever assumptibns tltey wanted itbbut my keybbard chbps. I have nbtte, in fitct, being primarily a teacher bf classical pianb. Uh, bttt gbbilness, it wits ftin. =l==¥l-l==l= llitlfi — l was tbb igttbrant at the titne tb be prbperly ebwed at what l was planning tb db. t had read it ebtiple bf articles by this guy attd figured he was ititelligettt attd knewledgeable and had a fine attitude in general. Wltb better tb write fbr the ttewbbrtt .-'t'iii'tl'cr'.l I nbsed arbund a bit and called him up (at hbme nb less} and said "Hi, I am the editbr bf the Hiii'i‘ier." as thbugh that wbtild strike ll just kept ltappenirtg. Sbmetitnes subscribers wbuld write incredibly well-crafted. beautifully thbught-but incisive letters and t lbvitig hand lb make their epistles actually ttnderstattdable. wbttld call them and nag tltetn lb write ar- .t"t|td Ensbniq. lvlan, ttbw tfiitt was a cbtnpatty bunch bf tbtally dedicated |tal'tl-w'b|‘i-tittg ticles fbr us and they did! Aiid, lbbking back. it is itltnbst breathtaking tb tne — their generbsity iittd gbbd-will in writing fbr the sbuttd freaks breaking their htttnps tb predttcc an affbrdable snazzy l-teybbard fbr pebple whb hadii*t dreanted they cbttlil get l-lacker —- it certainly '-.vasn't the pittance we paid. Pitt {thank ybu Patl and Garth and Sam attd Eric and Steve and Jack and .l.D and Tbni attd Kirk and Dan attd .lbl1tt and Jeffrey and ['lark and i‘ll.£lIl)l3y attd Chuck attd Jeff and Dara and Gary and lvlark — and all the their hands bn such pbwerful tbbis. It really itiif feel like we were all bn the satne team — we had H cbntntbii gbal here. Sbmetimes there were times that it seemed we had rather different ideas itbbttt hbw tb acltieve it but, all itt all, rather few. Arid it was fine. btlters. {Parenthetical lylark ffliftbn atiecdbte here: l called ltint btte aftembbn tb clarify sbtne pbittt in bite bf a series bf articles he had stibtttitted attd his mbtn said lvlark -.vbti|dn't be hbnte frbtit sehbbl 'til after -'-lpm. Turns bttt that this absblttte Hacker stilt" was I5 years bld.l Third party veitdbrs... l"~ibw thereis it wltble 'nbther tale -—- bbbks cbnltl be w|'ittett — ltawking ingenibus, bftett brilliant wares fbr minimal dbllitrs. They appeared but bf nbwhere. Sbme bf them thrived. sbme failed. and we all gained by their effbrts. We never really thbught it wbuld last as lbng as it did. The i'l'iit'l:.ei" was, tb tne, a perfectly beautiful thing — it sburce bf infbrmittibtt lbvingly tended tb by a grbup bf absbltttely butstandittg writers itnd read. in its lteytlny. by tlibusands bf pebple itt sbtttething like 23 different cbutttries. This cbmmttnity, Ensbnirt + readers + fbrtttn. seemed tb bring bttt estrabrdittary things itt pcbple. Thank ybtt, readers antl writers itttd advertisers aitd Ettsbttit|. It's been grand. Gbbdbye. gbbdhye. {Beth hands wavittg.l l\/lostering Short Loops in the EPS otncl ASR Sctmplers Srtiit ."l*ff.t'.*.l'_‘t _lust like there are basically twb types bf pebple in the vvbrld lthbse whb classify everything intb twb categbries and thbse whb dbn't;t, there are alsb twb types bf lbbps itt the sampler wbrld: shbrt bites and lung bites. Titat may sbund rather itisbicnt, bttt in truth. this is an impbrtant distinctibn. A shbrt lbtip is bne where the satnple is lbbpcd bn it single cycle bf Lest ybu think it all beer and skittles, let me assure ybu it was nbt. Prbducing a mbnthly zine has its inherent dbwiisides. Fbrget vacatibits, fbrget nights withbut phbne calls frbitt Pblattd at 3 a.tn. pblitely requestittg subscriptibtt infbrmatibn. and musicians, as it turns but, are cblbt'ful attd creative letter writers whb rather frequently rei|uire a sterit but AER, shbrt lbnps catt he quite simple tn wbrk with. They can sbuitd estreinely clean. attd titiliaiitg thcnt allbws ybu tn create samples that are ttbsblittely teeity-tiny. tSyritaat"s l'v’legitDisks are a gbbd esample bl' this. with Ell instruments tin tine diiuble-density disk.l Shnrt lbups wbrk best bit samples with relatively simple wave fiirms. Synth samples typically lcttd themselves well In sltbrt lbn|:is. as lbng as they are ttbl really cbntpleit layers bf sbunds buried in effects. "r'riu sltbtlld he able tb lnnp any analbg synth witve fairly easily. lvlany natttral sbunds. such as acbtistic guitars and flutes, can alsb wbrk nicely this way. the wavefnrnt. iir perhaps just twb br three helpful en shbrt lbbps. Settiitg a lbbp start paint ititd tlten serblling itt randum thrbugh a ntultitudc bf lbbp eitd pbints fur that tnagical quiet spbt. a typical practice fiir lbttg lebps, is likewise niit guing tii wbrk with a shbrt lbbp. If ybu were satnpling dttrittg the fviiragc era. ytiu prbbably becantc well-versed in the agitny bf shbrt lnbps -— which required tuning ybur guitar string. iir adjusting the "v"SCl ltapc speed} cycles. A lbng lbbp is everything elsc. nf yctur tape deck tn send the esact tiutn her bl‘ pnter setup tsuch as .=!t.|ehenty br Peak ibr the cycles-per-secblid itttb the llvliragc input sb that it wbuld be pbssible lb lbbp the sbttnd. llvlac, br Sbuitd Fnrge nr Santple'v'isibtt fbr the PC‘: is a gbbd help fbr tltis. althitttgh ttbt a necessity. The sbftware allbws yutt tb see the wiiveliirtn and place the liibp piiints tb spitii a sitiglc cycle in just ntbtnents. But it is alsb nbt dil'|'icult tb db it by ear, withbut visual help. The differettccs in ltbw these twb types bf lbbps are ltandled are substantial. The typical lbiip erbssfading algbrithms in the HP5. F.PS- I6 Plus, and AER. Iiir esatnplc. can really saye yint bit a lbng lbbp — but they are nbt Well. l'yc ntade sltbrt lnbps sbttnd sttfficiently lrttstrittittg that priihahly bnly the really lbbpy are still reading. ln actuality. with the El-"5 and 3 Getting Prepared Haying satttple editing sbftware attd a cinn- Regitrdlcss bf which inethbd yeti are using, as a first step, turn the sampler’s effects te F}{=OFF. This will allbw ybu hear mbre clearly what is gbing bn. lvlbnitbring is bf critical iinpbrtancc here. l listen tb lbbps bbth with gbbd mbnitbr speakers and with prnfessibnal headphenes lailifi lt'l2~‘-lfls} at ti fairly healthy vblume. Find it helps greatly tb be in a quiet envircimnent, free bf aural distractibns. Much bf what yeti will be listening fer is very qtiiet, very subtle, and almbst ntestneriiting after a while. Scebndly, bpeit the filters and envclbpes all the way up. We want tb hear everything there is te hear, sb dbn‘t make it mbre difficult by having the sbtind fade iir get darker as the nbte sitstains. Ybu can always filter br fade but what ybu dbn‘t like later. Finally. press Edit.-“System and scrbll tu the i‘-‘-.U'l'O-LOOP Fil"-llJlNt'_l page: turn this tb OFF. This will allbw us ttt adjust the lbbp parantcters in tiny iitcrcinents, a single pbint bf sample data at a iinte. Otherwise. the EFS br AER will aiitiimatically take ybu tb the nearest acre-crbssing tthe pbiitt at which the sample data giies frbtn a pbsitive iii a negative amplitude, er viee versa} as ybu adjust seitte bf the parameters. The aiitb-lncip finding is ancither esamplc bf bne bf tltbse tltiitgs that wcirl-is well fbr hing liibps, but nbt sb fbr shbrts. l find it handy. bnce l get a lbbp happening, tb lead the sample intii twii lnstriiinent lbcatibns in the EPS br ELSE-ll) tl'll just call it an ASH friiin new iin, as all bf this applies tb any bf changes in this way, ybii may have in reyert tb using a lbng lbbp. A chbir sample, fcir instance, wbuld prbbably eiihibit this prbblem with a shbrt lbbp. as the rich sbimd bf the tniiltiple vbiees suddenly turns intb an almbst synthesizer-like sustain during P i I_ltii Edit Friielisl Heiuintti: |.|.||1"|l;|l;llI,ilI. !i|:iti_-in , I11} -5'1 [, II I l 4 , l ljj P ii l ij-l 1 jlii i- .-q‘___,i,.-1—-mL—— ‘ED4- lf ybiir sample is a grind eanilidtitc fbr a shbrt lbbp, with a cbmpiiter editer, it‘s relatively sittipie ib gaze at the wave- I N . tr--1 - _'_jt:| _ _ Ha: , ‘I i . s-te 1 |.'l I1!-i ‘tee’: i and pick but a single cycle bf the wave. as in Figure l. Typically, ybu'll want tb abbm in the display cemplctcly fbr this, tb see the wave in the fullest detail. tn the pictured eiiample, it is clear that a single cycle bf the sustaining wavefbrm cnnsists bf bne strbng peak, fnllciwed by twb smaller peaks. Once yiiu have determined where each cycle hegiits, sitnply set the lbbp start pbint at the first iterb crbssing bf the cycle, tittd the lbbp end pbint at the first zterb crbssing bf the nest cycle. {The lbbp pbiitts in the illiistratiiin. designated by the vertical lines bn the right side. are nbt sct at iterb-crbssing peints. Tb get started, thbugh, it’s easiest tb set them at acre creissings i1iitially.} If ybu are deing this witheitt visual cdiiiitg sbftware, set the wave parameters {press Edit pbssiblc valtie. Nbte that the t.OOP END pbint is new bnly bne sample higher than the LOOPSTI-‘iRT pbint. ililse nbte that it sniinds really crazy when ybu sustain a nbte. iaes intb a sustaining bass sbund. The lbbp peini sheiild thercfbre be set sentcwhere after Truly wacky, and nmst entertaining. single-cycle lbbp wbn't wbrk fbr ybu. Even iheugb ybu may he able ib get an eiiiremely clean and technically perfect lbbp, the sbund may suddenly beceme tee static as the sample transitibns frbm the regitlar sample data inte the lbbp. if the nature bf the sample suddenly --- - — lace 2!-EU - as-=:e ‘sate use _ — siill _| ' ill-|_ Tl — i- nen-lebped sample. (bible: Dbn’t use the sustain pedal lit held a nbte while adjusting the lbbp pbinis. ‘while it wbuld be nice ib free up that ether hand. a nbte sustained with the pedal vintrt t."'lii"lll"]l the changes being made te the litiip p.-.:its. ‘fbit tnust physically held the kc} d-.-"-1.: .r. -~ri.ler lb hear the changes ybu are inai-.in-_;. In sbme cases. ybu may find that :1".-. paint bf perfect timing dbcs net ciiin.i.i..- -:i,,i.,:ly with the pbint where the lbbp 5-I-'*t.I':.l- 11c cleanest. ln ether wbrds, the lniip iiti-. -.-- ,1"-=-,1}, but the sample detunes slightly w?-.-.-r. it begins lbeping. Then, if ybu tune tl:-.- i perfectly. the lbbp ticks again. Herc i~ as ils-ir-aticin bf what causes this. Let's say we've sampled a -.2 -..=-.e frriiti a synthesiaer. "i’bu dbn't need s -rry ,ibbut the nutnbers tb fbllew the ltigit ht-rt-. but if ybu want tb play matheintitician. imagine that the frequency bf the sine v-ate l‘!- ll"-tit Ha. and that the sample rate bfciur AER lti ,i really-lbw 6.25 kHz {er 625i] ila}. This means that fbr every cycle bf the wave, we are nit-ii-airing, er sampling, the wavefernt s.:s times. Okay, enbitgh numbers -—just leek at Figure I in see what the wave leeks like. What is happening is that ybur instrument is trying tci lbbp bn bne single sample. Dbing this, l have heard everything frbm alnibsi- supersenic digital buaiiing ib ranilbm playback bf all mitltisantples that were recently leaded tcncl even since delctecll} frbm the sampler. ‘fiiii may find, in senie instances, that a -IZ@_i'_._, ._ -lit in- i|_, _u Setting the Lbbp Points this attack transient has settled dbwn intb the siistaiiting pbrtibn, —-i .. the lbbp. term fbr a few sccnnds I I Wave} tb lvlODE—LOOP FORWARD, sci the l-OOPSTiti.RT in the general regibn that ybu want in lbbp {say Sf} percent intb the sample, br whatever}, and ilten ge tb the LOOP END page. Witlt the LOOP END percentage tthe number in parentheses} underlined, use the data slider in set this parantcter tb its lbwest waveferm}, the BASS GUITAR sample stabil- I I these samplers}. This allbws yeti tb easily cumpare the wbrk-in-prbgress tb the earlier versien bf the satnple. in iitiike sure ybu are actually intprnving the sbttnd. As the lbcip gradually gets better, l’ll resave the sample biiih tb disk and in that secbnil lnstriiinent lbcatinn. The first bbjeciive is tb listen tn the satnple and determine niiighly where the lbbp shbuld be in the grand schente bf things. The slap bass frbm the SP-l2tItlI' driint machine prbvides a gbbd ciiaittplc fbr us in wbrk with {sec Figure ll. After a pretty quick traitsieiit attack tthe slap. depicted by the tall swings at the far left bf the 1.;-11' rtvl It ! H tctttm iiiiii suniiii Anyway, te find the lbbp pbint. set the cursbr en the LOOP END fine adjust parameter tthe first number, nbt in parentheses}, held ti key dbwn, and press and hbld the Dbwn a|Tbw but- l ,l! i-Ii? riiiecyieile wk _- ibn. ‘fen will hear the lbbp ilrbp in pitch as the lbbp siae increases. When the pitch matches that bf the unlbeped sample, yiiu have fbund a Ffgiire 2. A sine irrive irte-r.i,rureri' bi" .riiiin_.'it'ei:l 6.25 ti'nies' per c'_ycl’e. single-cycle lbbp. Fine tiine this parameter until the lbbp is pitched eitactly the same as the Figure 3 shbws what the sampled wave leeks 4 lil-te — a "cenneet-the-dets" piettire that ap- in tune. But with high-pitched saunds. the The EPS and AER have a wenderful teel far prtiitintates the eriginal wave. {Typically. the ware cycle is shert. and therefere the number helping eut with this: the Leap Pasitien sample rate will he nitich higher. and thus the afsamplcs is fewer. parameter. Press Edittltliilatte and serell tn the LOUPPUS page. "i:’eu'll netice that this appreitintatien will he much hetter.l When yeti can't fincl a werltahlc single-cycle parameter will he set ta the same value as the leap. try widening the leap ta twe. three. er LGDFSTART parameter: the first numher is the esact sample nunther at which the leep hegins la “fine tune" parameter]. the secend mare cycles. I have alse had luel: in een'-.ierting the sample rate {either higher er lewerji using - L |i-i(-———--—- I‘-l't"I!"{-‘_]i'l-‘ill!-‘ —i— -"ii- Ft'gttre 3. Whttn ,iii'ti_y.eti' hatulc by the stirtipler. the .si'ne 'lil‘t1fli't? is ti,tiprri.rt'nirttett' hy "t.'riitiiet'tt'.tig the tlrit.t"" a,r"tilie iitri'ii'itt'iitil .iii:iiiipi'e.i'. the hasic trial-and-crrer methed. This changes the width af the sample iticreiiients. and therefare effers mare passihilities far finding a leap iitimher {in parentheses} is the percentage ef peint ceinciding with the width cif a single wave. tlf we cetild cenyert the santple rate el etir sine-watie te t‘i.tlLl l-tH'.c. fer eitample. we wetild get csaetly sis sample peints per waye changed, the entire leap is nteyed areund. cycle. antl ceuld easily pick the perfect leap paint. Unfartunately. theugh. mast samplers will enly allew yea ta piclt frem a ltandful af specific sample rates.) the sample at which the leep hegins fa "cearse tuning" parameter}. when the Leap Pasitieii is retaining the same csat-t width tthe distance frem the leep start te the leep endl. Therelere. ence a leap ef a perfect single cycle has heen set, we can slide the leap areuatl easily withetit affecting its tuning. The things that are affected are la} where in the sample the leap ecctirs. and {Ii} hew tiiiiet the leap is. New. let’s imagine that we want malte a single-cycle leap ef this sampled sine wave. .tltl'tcr all. a ptire hasic waeeferm sheuld he a cinch te leap. right‘? Well. the prehlem is that the AER is a digital instrument. and it will The real seltitien is te tle what Mirage users were fretittently ferced iitte: tuning the seuree heferehand te a specific frequency tleterniined by the sample rate yeu will he using. {The Mirage. with its cearse sampling rate. was By using the LUUPPUS cearse adjust. yeti catt easily pesitien the leep at the ideal pertien ef ynur sample. With etir slap hass. far instance. we can slide the leap te the perfect peint alter therefare enly allew yeu te pesitien the leap paints at specific increments. lit etir esample much mere prime ta this prahleni.]i ln etir the ship seund fades inte the sustain. {see the illtistratiens]. we can enly pesitien a leep paint at ene ef the vertical lines deneting the sample paints. heeatise that is the finest increment that the sampler nicasttres. Se let's pieh the sample peint clesest te the end ef the wtwe cycle t_see Figure -ll. .i'.nrip t"tiri'it I _.- -"I-_‘-..\-“-“- *-. -. -. i~1—-i—— iriie raete ii!_____\"21._ sine-wave er-tatnple. instead ef altering the sampling rate. we catild simply ttine the syn- Using the LUUPPUS fine adjtist. we can then tliesiaer a hit sharp, and play a nete at lt'lt4l.i' Ha. This weultl give tis almesl eitactly sis sample peiiits per was-"e cycle. the same thing we lieped te achieve hy adjusting the sample rate. acre in tin the ahseltite t|tiietest leep. With the first LUUPPDS ituniher untlerlinetl. simply screll tip er tlewn until yeti find the perfectly quiet '.eep. This decs net always ecctii' at the acre cressiiigs — iii fact. ttsttally it tleesii‘t. Figure l shews that the hest liiep fer the slap hass hegiiis at the pealt e|' the wiit-trftiriti. ll‘ yeti ltiiew yeti will he deing single-cycle leaping. it is a gaad idea ta spend a few ntiiitites helerehand with it calctilater. antl ttine yetir instruments acctirdiitg te what sample rate yeti will he tisiitg. The math is simple: tlit'ii.lii1g the sampling rate hy the lTL‘tll.lL‘l1L‘}=' ef the nete yeu are sampling giees the ntiinher ef samples per wave cycle. ‘fee ideally watit this te he an integer ta wliele ntimheri. Fer Figure 1. we sec that f:i25i'.lt lllllll = 6.25 samples per wat'e cycle. {hitite that a leap fatir cycles in width wetiltl Figure 4'. A iliitip iiittiit the pii.t'itirittt*tt tit it .t"_tJc*tu{,i"it' .t"tttiipl'e prifttt. U.t"i'ii_e the .t"riitt_rii'e piiiitt tit-‘ttt'i:-wt ttlte t'tti'i' iii" the ii'rit't*'.r t'_t't"i"e. tt'ii'.t' liirip i.s itriic iiiett.t'tii'rt.hl_t' .~rl'tri.i‘tei* tlttttt the iii't,t.tttttttl ii'tt'i'i.-' t'_‘i‘t‘i'r.-' — tutti’ tt'iii.t' iliigili.-:*i' |iii'tt'l'teii'. enctintpass esaetly 15 samples. se this cetild he a usahle leep peint.l But if we were te ttine the sine waye sharp hefere sampling. te |i'.lI4l.T Ha. we then get ti15l.‘ii'ltl-1].? =- 5.5.19‘). in ether wards a single-cycle leap ef e.-aactly tar cltise etietigli te esactlyt sis samples. What hecetnes clear new is that the distatiee frem the heginiiing af the wave te the leiip paint — the length ef the sample leap — is Ul-til}-'. yeu can ptit away the calculaters. meastirahly sharter than the length ef the Adjusting the Leap Pesitien waye's eriginal cycle. Se when the sample leaps. the leap cycle is sherter than the erigiiial wave cycle. and that means that the pitch gees up. ll' etir slap hass sample did this. the slap weuld he pitchetl nei“t'i'ially. and the stistaining hass setiiid weuld suddenly gii Even if yeti'ye dene e'-.=erything perfectly — tuned yetir Minitiitieg te lt_lI-1ll.'i" H.-1 helere sampling that sine waste. used Ptlcltetriy te set the ideal leap peints etc. — yetir leap cati still tick as the nete sustains. l..'sually. it is a yery sharp. stihtle and quiet tick if yau‘ye heen this care- Se hew the heel-I tie yeti werlt areuiid that‘? Fertunately. with a higher sample rate. the prehlent is ittinintieed. attd yeu can usually find a suitahle leep peint that is hath quiet ttitd tinihre af the satintl. Remcrnhcr. any leap artifacts will play at the saiue frequency as the ful. hut any estru artifact at all can change the sampled seund- se they will he pereeit-"ed as it change iii timhre as the nete stistaiiis. 5 The Wrap-up Uiice yeii't e feund the ideal leap. yeti can then ge ta the S.a.l'i=’lF‘l.l"l l*Il*~llJ page. underline the ntirither in parentheses. and ptill the data slider dawn all the way. This ntiniher will atitentaticaliy he set te he the same as the t.UOP El"-lfJ t-"attic. Then truncate the tintisetl was-'e data {press Ciiid-"Wttt'e. scrcill te the TRlJl‘~i{.'PtTE st-‘AVE-SAWIPLE page. then press Enter}. This will return these estra hytes te yeti sample itieiittiry. anti the hlecls si'.t.e ef yatir sample will decrease sigitificaiitly. "r'eti'|| he amaaed that. tising these nie|_hetls. a htige syitth sample can he trimmed dawn te _i'ust a |i."w lileclts in si:-te —- and the settntl will reitiaiit the same‘! 1 .-"lirthafs hie: Erin: il/t'fiii:i' is the iiwiier ii,i"' Syrit-:ittt' i"*i"ii.ti'iii_'tt'tiit.~i". rt t'.'f.-l'.IH||'Jiitl'l'_}‘ it'ilitt'li .t'ei'.l.s .wiiiiiti!'.t" itttrl tit"t'e.i'.srit'ie.i _,i‘iit' i':'tt:i'iiitti]t ili'e_t'hiirti'ti'.i'. .-‘till ti,i".‘:Iyi'titriiii"'.t .wiiiiii:i’s tire t'ei'tiit'icrt' FE K certiplttiitt. EPSIEPS-16tASRrTS Samples Syntaur MegaDisk 1 3. 2 Syntaur Sample Sets, 4 disks per set Sample Kee Master Sets, 3 disks per set $1?.95ldisk $29.95tset $24.95tset Enseniq AS Sets, 5 disks per set Enseniq SL Sets, 5 disks per set Enseniq SLT Sets, 19 disks per set $39.95lset $39.95lset $?4.95lset $169.95 Syntaur “Supersoniq" OD-ROM or Zip Disk Syritaur“l.et There Be Phat!" CD-ROM or Zip Disk $169.95 Enseniq CDR-2, 3, 5, 6, T, 14, 15 $199.95lea Enseniq CDR-8, 9, 19, 11, 12, 13 $99.95lea MRER Sounds Enseniq MRD-1 disk (169 sounds) EXP Expansion Beards $24.95 Call for pricing Blank ltiternory Cards 256k PCMCIA for E-Prime, KT, MR Rack 512k PCMClA for E-Prime, KT, MR Rack 32k Memory Card for KS-32lSO Series EEPROM Cartridge for ESO-1tSO-B9 $79.95 $9?.95 $39.95 $?'4.95 llil‘en1ory',, Output, 1?. SCSl Expanclers B Meg Memory Kit (2 SlMMs) forASR-19tTS-19 EPS-16 Plus 2x expander cartridge SOX-79 Sequencer Expander Kit $?4.95 $199.95 $99.95 (for KS-32, -SQ-1, SQ-2, TS, SD-1, and VFX-sd) OEX-6sr Output Expanderfor EPS-16, ASR-19 $249.95 X-B Output Expander for ASR-X SCSI Kit for EPS or EPS-16 Plus (incl. manual) $229.95 $149.95 Pedals E-Prin'ie.lKT Sounds Syntaur KT Set 1, B9 sounds on PCMCIA card Syntaur KT Set 1, 89 sounds on Mac or IBM disk Enseniq KTC-3 or KTC-4 ROM card CUP-1 Control Voltage Pedal $199.95 $34.95 $99.95lea SW-2 Sustain Pedal, plastic SW-6 Damper-style Sustain Pedal, metal SW-19 Dual Damper-style Pedal, metal $29.95 $15.95 $39.95 $49.95 Sampling Cfls TS Series Syntatir TS Sets 1, 2 -Si 3 (69 sounds per set) $34.95tset KS-32r'SQ Series Syntaur SO Sets 1, 2 s 3 {B9 sounds on disk) any two Syntaur SO Sets on RAM Card $34.95i'set Enseniq SC, ISC, or EX Series ROM cards $99.95lea Enseniq X-Audio Series, Vol. 1, 2, or 3 Diesel, classic drum machines The Low End: Bass Loops, all styles of basses Definitive Grooves, the king of hip-hop loops! Funky Rhythms You Cant‘ Live Without, loops Old Soul Collecttees, soul drums from the ?9‘s $29.95lset instructional‘ Videos EVS-1, "Mastering the ASR-19" $199.95 VFJMFFX-sditSD-1 Syntaur VFX Sets 1 at 2 (69 sounds per set) Enseniq UPC or IF-‘C Series ROM cartridges Enseniq UPC or IPC Series disks Enseniq VSD Series Disks $59.95tea $29.95tea $29.95lea EVS-2, EMS-3, EVS-4, EVS-6, "Jumpin' On the DPI4" "TS-19 - Turn It Up, Turn It On" "TS Sequencer Turned On" "KT-?6...Grand Performance" $49.95 $49.95 $24.95 $?9.95 $49.95 $24.95 $19.95 $19.95 $19.95 $19.95 $19.95 ESQ-1/SQ-89 Syntaur Soundsets 1-6 (49 sounds on disk) Syntaur Soundsets 1 s 2 ROM cartridge Syntaur Soundsets 5 tit 6 ROM cartridge Enseniq UPC Master Disk (BB9 sounds) Enseniq VSD Master Disk (169 sounds} $19.95lsel $59.95 $59.95 $9195 $49.95 Mirage Manuals 8. Books Musician's Manual {specify which keyboard) $19.95 Talking Owners Manual, cassette & disk, EPS-16 $9.95 Talking Owner's Manual, cassette S disk, SD-1 $9.95 The MlDt Companion (96 pages, Jeff Rona) $14.95 The Sampling Book (159 pages, Steve DeFuria) $1195 Vintage Synthesizers (399 pages, Mark Vail) Syntaur Mirage Sets 1-18 (3 disks per set) $24.95tset Enseniq SLD-A, El, a C sets {19 disks per set) $69.95tset Soundprocess Disks 1-T (96 sounds per disk!) $19.95tea FMT-2 Mirage Formatting Disk $1195 $22.95 Miscellaneous Syntaur Keyboard Coeeis (specify which keyboard) $17.95 $49.95 MS-1 Music Stand, for T6 St BB note keyhoaids Gall now for a free catalog! Sequencing end Trucking into Pciris l\/ly Time in Pciris Err‘ r." fl-‘.'ft'.F'll lg rtitt cry In gencriil. creating music for hire or even as it Imhlsy can he pretty tiiiie-consuniitig. ‘r'ou spend time practicing yotir instruinenttsl. ixriting and arranging to find otit that only half of the work is done. If yoti are working on ii demo that needs tti gci to it liiwyer t:-r record company rcpreseiitiitiyc. ytiu want that project to sotiiid as gotid as possible. IIl'Iocsn't matter if ytiii have a --l-track or if yeti base a Dihklt’. The music production side is totitlly tii|Terciit and can he as constiiriing as the t:oiiipesing and arranging. Wliiit I tint going to cotter in this article is ii lit- tle of my experience while recerdiiig an instrumental songtst in Paris. and what one might do when preparing to burn an audio EDI. .ltist so yott know. I usetl Wiiidows. a F‘-Etltl l'vIl‘vlX lnot the slowest thing out there. definitely not the fastest} fidnieg of Rt‘-kl'vl antl an IDE hard drive. I used it lvlaekie CRlt’:itl4 ‘v'I.Z mixer. some Soiilc Ptitintlry'. i9tt'l‘ttJl'tJIl.ltll and TC Electronics effect plug-ins. an it-in card t.4.tliT}. t:-tie EDS-lllllllltl. and a Paris III system. Plug-Ins rltn effect pliig-in is ti software program that runs inside iif ii "host" software progriiiii [like Paris or a sartiple edltort and relics on the cortiptiter or host CPLI for carrying titit its ctiiiiniands. Something like the TC hlative rcverh or the .-’tiitarcs i'=.tito-Ttiiie pliig-iii can use tip a lot of CPU power. Things will hectinie sluggish and possibly yott may experience lockups and errors tdepending on the speed of the CPU aiitl the aittotint of RAM yeti liaycl. Maybe it simple chorus or EQ will he less dcnianding of the FPLI. You will he ahle tt:- use more plug-iiis that are sini P le ones. and tibviousl less his-ins if i.they arc more com plcx effects. Connections And Setup Clbvioiisly I had to do my hardware and software installations hcfore beginiting. The EDSllltltl only works in a PCI slot on the coiiiptitcr. I gladly took otit a networking card that I no ltiiiger needed and installed the EDS- tfltltl iiitti that slot. I also installed a second I-lIJS- ltlftil [Kt and made the proper connections between the EDS's with three ribbon cables iiccerding to the manual. The EDS-lflfttl and EDS-ltttltl}{ are identical cards. The only difference between an EDS- lflllfl and an FiDS- IIIIIIIK is that the H yersion ceiiies with the additional cables needed to connect two or more cards together. ‘t"ou iiiigltt ask. “Why' would you want two EDS-IIIIIII cards'E'" The answer would be that you get I9 aiix's instead of S and .12 litre tracks instead of ltfi. What I ntean by "live tracks" is that in Paris. you get I5 active or live tracks to use until you have to stihntix {that is, tinless you have two EDS cards iintl then you get 3'2 live tracksl. tkny Piiris systent can go tip to IIES tracks no matter what IO deiicc {Interface 1. Interface 441 or Itttcrfucc :"t-llitiql you liat-'t.' connected to the sys- tem. The ttuy the Paris softvtai'c gets you to I21-l tracks is to stih-iiiix cticli group of lib to get to Ill-it it-t suh-inixesl. Sometliing that is fli- eat ahoiit Paris. is that it can dc-iiiix a sub-inix. i-it'l --t Z are iitit locked into what itiixcr. effect. or eticn audio track sclcctitiiis or recordings you ha‘-re fora stih-inix. They ctiit alwiiy's he changed mid the stih-iuix uptlated. I-'5' 'l-H I iiistallctl the ASIT 1-l-bit it-input cartl into my MEII‘. Etc sure that yeti get the card to slide into the thin white guides that are inside of the l'v1EC. I connected my l'vIEtI.' and tI.‘.- I o controller to the top [till EDS-ltltlil card and powered up. I tiscd sotiie floppy disk installers that I downloaded from the Ensoiiiq website: www.ciistinit|.cont ("v'|.t-tlbl. All was okay until I noticed that my -F-I5 controller fiiders were not working {nullingt. The transport controls did not work either. lviy problem was user error. I didn't iininstall the i_ilder version of Paris that was on the system first. I also needed to install the most ctirrent ycrsion of Direct K and lyledia Player. It pays to read the directitiiis on any dottiiload... I installed all of my plug-ins. I did sornethirig to he sure there would he no prohletiis with Steiiiherg ftihase and with Paris. I found that ["uhase had seine effect plug-iiis as well. I wiintcd tti titkc atlyitntage of the effects. so I created a new folder on my hard tlrive antl iiainctl it "v’ST tParis not only uses Direct 1"-Z pliig-ins on the PET. but uses MST plug-iiis toot. I copied the appropriate .dll files antl pasted them into the new ‘IJST folder I created. tkfter latincliing Paris, I I started with a sting that I had already sequenced and arranged. I tried syncing a Macllei to Paris and I didn"t like what was happening. I noticed these little hiccups in my sequences. I then simply "stayed" the Mac to incoming MIDI iind net l'v’ITtf'. still had the hicctips. It was ntit a Paris problem. It was it coiiihinittion of severiil things like an old. archaic "version of Logic that docs not like to slave to anything and not enough RAM on the Mitt". So. I figured. either buy it newer version of Logic itnd more Rah-I for the Mac or think of some-thing. ‘Wliat I ended tip with was this. I added one bar to the beginning of the set|iiettce. I added it click to just the first blank measure. I rectirtlcd each track into Paris with a metronome type click at the beginning of each track. After that was completed. I opened the Editor window in Paris. I chose the niagiiify tool and xoeinetl in to look closely at tlte trticks. I then tiscd hludge and Slip in Paris and lined up the clicks. tt was all good! If I noticed seine sort of noise on a track or didn't like what was played, I would rc-cut the track again until I got it rightl Mixing l'~ltiw I was ready to start blending the volumes of the tracks. I got them pretty close to what I thought sounded good. lfl noticed some track that was giying me some volume trouble, Icempressed it. As iin example. my kick drtim was kind of soft. then on occasional hits. it would peak out and be really loud. I compressed it at a 4:1 ratio lif it peaks, it will allow that part of the sound that peaked to he ldB lotider for every 4dB increase in yoiuniel. you do tiol have the luxury i_if a ntixer with sub I added some "butt" t-a the kick (Translation: bottom end to thicken the kick dniin sottnd. Yeah yeah, that was a pun.) hy boosting ll9He. I used ait effect plug-in for that simply because of my lack of knowledge of Piiris. I wanted tci boost i-ttIHx only {I wanted something irery narrowt. The EU in Paris is normally set tt_i Band Pass {meaning that a few other stirroiinding freqtienclcs will also he boosted when a selectetl freqtiency is boosted, that"s normal to all Ellis}. In my plug-iii I could make the handwidth narrower. In Paris. Q is the bandwidth cotttrol I needed. I could have gotten it as narrow as I wanted it to be in Paris without having to use a pliig-in. grotips, that may vci'y well he what yeti have to do. I was lucky. Wliat I decided tti do was to take atlvitiitiigc of the stib grouping on the mixer. I connected each sub group output of the mixer to its owti input on the .-'kl:iiT S input module that was in the l"vlE.'[.'. With these connections. I was ahle to connect all of my keyboards to my mixer iind contintie tti work as I tvantcd and I could also send certain inputs of the mixer to iiiptits and tracks I wanted to in Paris without doing reconiiectioiis. This was also it cool setup because I got the chance to use my mixer as a phantom power sttpply. mic pi'eaiup. and a means of gain or gain reduction on the inputs going into Paris. I also wanted no high end to conic otit on that track. I could have used either a Shelf El} or a Low Pass Filter. Shelf EQ means simply what it says. when you boost or cut a frequency, it boosts or etits other frequencies along with it in the shape of a steli or shelf. I used a pliig-in to get a Low Pass filter, but it all could have been done in the Paris EQ. Tlicre are some squiggly Iiiics in the I-ill" section called Filter lvlode, duh! The Lew Pass filter means exactly what it sciuiids like. it is a filter that only lets low frequeneics pass. The High Pass filter is the direct opposite of the low pass in that it only lets high |'rei:|uencies through. tlten set my VET Path i[Pro_iect 'Wiiititiw- Set- tings} to that folder iiiimcd ‘v'ST. Some of you have got tt:i he wontlering ahoiit Iiow I tiscd the Mitckie mixer with Paris. Ilcre it goes. I figured, hey. I don‘t want to change the way I v.-ork when I am oiiiy set|tienciiig or doing pcist recording work. I didn't want to hate tti launch Paris and use it as it mixer just to work out a sequence. llew do I get all i.if my keyboards plugged ittto Paris‘? Patch bay‘? hit]. iiti. triple no for me. Patch hays confuse me. If I’ I alse added higlter end EQ te add “air" te sente ef the traeks by heesting ltilt arnuttd 3 tn Er dB. The Paris EQ is ntere advaneed than l theught. Get te read that manual mnre eftenl ethers {vnlume and frequeney rangel. After this. l deeided tn pull nut seme musie that mnst resembled the style ef ntusie l was werking en. l listened tn the mitt ef that musie artd entnpared it tn what l had. l knew that it is nest te impessil:tle- tn get ynur tnitt tn seund like a finished CD tnn a enmpleted {TD there was prelt-ahly sente mastering {EQ and {Tnmpressien ever the entire mittl but get as elese as yeu ean. When l say. "eempare and try te maybe mateh eletttettts nf a mitt." l mean that there are seme elements te hreak dewn and enttsider. Fer eitample. is the snare drum in ynur seng as hright {EQJ er as lend as the ene en the CD‘? Try hnnsting an EQ abeut 5 dB and sweep aernss the frequeney range te find eut what eertain frequeneies dn. De the same fer pads. piattn. guitar and ether instrttntents. Ptttnther triek that teek me a lung time tn understand is pattning. t have heard seme denies where a persen had the snare en the left ehannel and the kiek en the right ehannel. Unless yett are gning fer snme sert ef effeet er hrake dewn in the tune. l prtthahly wnuld net reenmmend seme-thing like that. ‘r'eu want ynur mis tn he evett in the steren image. That alse dees nnt mean that ynu shnttld net he ereative with panning. ‘fen ean fer ettample. pan all ef the drums tn nne ehannel and pan the hass tn the ntlter ehannel. Put a sattnpltnne and trumpet dead eenter. New yen get that eld jaa:-I reettrd panning setupl As anetl1ere.'tatnp|e. l always pan pads. strings and eleetrie pianns “wide” te get the full steren image. l always pan the aenustie piann wide as well. The Ferfeet Piann seund l use in my MR Raek is sn ehniee! l want te take full advatttage nf its panning as well. unless l want it slightly panned tn nne side. Then. l'Il pan ene ehanttel full Rltlft and the ether at say LTS er L511]. l heard that en a CD enee and liked it sn ntueh I mitnieked it! lt is prnhahiy a gnnd idea tn pan kieks. snares and hass synth attd hass guitar dead eenter. ‘r’-::-u eatt pan hats and pereussinn slightly left ttr right tint" eeurse that depends en ynur tastes}. l snmetitnes pan pereussinn a little wider tn give them their ewn spaee. lf ynur ntitt sntmds all "_iumhled up" tnnt very epen}. try panning snme ittstruments a little. lt will gn a lung way! Remember that itt mest gend mittes. eaeh instrument has its nwn spaee ttnd is net fighting with ‘feu really eniy have a few spaees te mitt in. left. right. elese and far away. We eevered settte traeks ef the prnjeet. The Bnunee tn Disk funetien ereates a Left ii-1Ul't~lU and a Right MONK} file en the hard drive. ‘When yeu de the Beunee te Disk. it is prehahly a gned idea tn set the file theughts en left and right panning and envered type te .wav. That is the file-type that mest seme hasie thettghts with getting a seund te stay "put" with enmpressinn. The distanee part ean he eeveretl with reverh. The wet.-’dry ntitt {er halanee} nf a reverh eatt determine the distanee {elese er far away] tit" that traek te the listener. A gnnd ettample nfelese ntitting is seme reeent Peter Gabriel, like the CD U5. There is a int ef “elese-" mitting nn that CD. Heme far away mitting enuld he sentething like. mest anything frem the 'S’[ls. A huneh nf ‘tilts reek and even danee antl Rt-litli had lets nf gated reverhs en the drums. l‘\iewadays. lets ef things are gritty attd eiese. net te many reverhs with leng deeays nnless it is used as an "effeet." As a reenmmendatien. try tn avnid reverh en yeur hass seunds and kieks. it makes the ntitt mushy snunding. Of eeurse. it depends en if ynu are gning ter a eerlain dratnatie effeet and ynur tastes. editers and CD Rfillvt httruing seftware's use en a Windetvs eempuler. This is rtttfy H".He' if all ynur files are in lti-hit fetmatl If ynu have 24-hit files in ynur prnjeet attd hnunee te .wav. the mitt will he trttneated tn lt'i—eits. This is a had thing. lf yeu have 24-hit files, ynuill need tn hnunee te 24-hit .paf mitt. then use a utility {like the free ene available en the Cireatideas l was sttre te save my sessiens as new nantes as t went alnng in Paris with different mittes. l wanted te he ahle tn gn haelt tn the previeus versien in ease I tirade a tttistake. De tint try tn de it all itt nne day. Reenrding ttraeking} and rnitting in ttne day is prehahly the werst thing ynu ean de. ‘fnur ears will he tired. yeu will he tired. Start fresh en anether day. l nermally make ehanges ttt a mitt and then pttt it ntttn a eassette. Run en nttt tn the ear with a netehnnk and take netes. lvlayhe the snare is ttte leud. the hass guitar needs sntne EQ tn tltieken it up‘? The Rltndes seund is just lturied he-hind the pads‘? Take these nntes hark te the tnitt and wnrk nu it. lylayhe pan the pad different frnm the Rhedes te give it spaee and make ynur ntlter neeessary adjustments. Ge eaek te tape and haek tn the ear. er a lteent hes. er even use l'wt_t sets nf speakers in ynur studitt tn MB the mitt. Burn ihett CD! ln my ease l had tn get snme help frnm a friend tn httru an audin ('1). Sinee l atn en a ‘Wiridtrtvs maehine. l had tn use tlifferent snftware prngrams te get the whnle setup ready tn gn. First. l had te de a Einunee tn Disk itt Paris. ‘r’nt| eannnt hnrn an audin CD frnm the .paf files nu ynur hard drive. They are just ynttr separate Ensequencing 8: Wnveferm Mutilntien lflt The l:ifiCJl Chapter: Testing Your Tronsweves For Resonance Jrtrtt; Sterrftett Trtfirt Trattswaves — the final l'rentier. These are the vnyages nf thnse whn seek nut resnnanee in new wavefertns. add new mutilatiens. ltnldly syn» thesising where ne musieian has dene se hefere. Bey. dees this take me ltaek. I remetnher when I saw the first advertisement frnm ‘WAVeBU‘t' featuring a resenant filter fnr the r5t.‘:iR~ltl and EPS In-PLUS. l thnnght. "Why en earth wnuld Ensnnit] ship ettt sneh a great sampler witltttttt all nf its features enahled‘? if the thing has gttt t'esnttant filters, why ttttt iuelude them‘? Why shettld anyene have tn pay etttra fer wltat the sampler ean already dn?" B Paris site fer PE‘ httpzttwtvw.greatidea.enmt parist’. er Seniewertt fer Mae] te DITHER the 24-hit mitt te lti-hits. "t'nu ean dither tn any file fnrmat. .wav. .sd2, .paf. ete. Tltese twe files have tn he "interleaved" inte ene steren file hy a sample editer like Witvelah Lite twhieh eemes with Paris,‘-. Waveltth Lite is eeel aisn heeause it epens .paf files. The .paf file is the native file fermat nf the Paris system. After the steren file is ereated, ynu then will want te use yeur sample editer te tntneate the heginning ef the steren wave. ‘fen den*t want tn hurn a CD with the blank spaee at the he-ginning nf eaeh seng. dn ynu‘? hlnpe. Se after yeti trim it as gnnd as yeu ean. then de the satue at the end nf the file. lf ynu didn't add a fade nut in the auternatinn nf Paris. then ynu will ltave tn dn ntte here itt ynur editnr. ln my ease l had te de setne vniunte matehing attd l attditiened the way the CD was gning te seund using CD areliiteet. I tried different playing nrders ef the snttgs and adjusted the vnlume nn the sengs tn get an even flew frntn seng te snug. ln Cl) Arehiteet. ge tn write disk and that‘s it! Believe me when l say that at Iirst this seemed like a huge wall te have te elimh. l"-lnt stt. like anything else. the mere ynu dn it. the hetter ynu get! My first mittes and sttngs really left a Int tn he desired. l ant sttre I will say the satire thing a year fretn new. Reruemlter tn make tttttsie. he funky. think ENSUNIQI _ Hie: Ert't' grit .ltt'.t Pitt-t'.t' .rysrerrt tine‘ t'rnttptttet' rttltnttt three tr'e'e.l.'.t rt gr: tutti‘ is ltrttvrtg rt ftrtl'l.*' The reasnn it hnthered me at all. aside frnnt the faet that l nwn an FtSR- Ill with ne resnnanee ineluded. was that nnne nf the newer Ensnniqs have resenttnee. ntherwise knewn as The SQ-I'll} and ESQ-I have them. ltttt having snld my St}-lift years age. l ant sentewltat at a disadvantage. Hnw dn l regain hut a taste ttf these years ttf nld twitheut having tn purehase anether SQ-Ed. that ist'.’ tfjttt the newer SQ nr KS series synthesizers. even the VFX nr TS fer that matter. we have all heard ahettt hew the transwaves ean semehew simulate resenattee. The prehlem, as l eriginally saw it at the time. was that simulating resnnanee "as" a seund was a eempletely different situatinn than simulating resnnanee "en" a seund. Can the transwave stand up tn the realistic resnnanee test‘? This brings us tn nty latest ettperiment. The purpese ef this test is tn see if we can break up a transwave in such a way as tn prnduee a realistie-seunding resnnanee. Tn jein me. first prngram the included patch. "TransTest-40." inte ynur synthesizer. lfynu have snme nther kind nf synth with transwaves in it. ynu ceuld pretty much duplicate the same kind ef effect. .|ust make sttre ynur transwave is ene that seunds as tF'ause.i All right. New that we are finished prngratnming the patch. let's get started. First thing's first. On tn Wave select vnice and change ALL tn ONE. Turn twn nf them tn OFF. We can fiddle areund with the ether twe escil- laters later. It's impertant te hear the single changes as we make them singularly. Select the nne that is ON that is net tamed OFF. il' yntt have net dttne se already. On intn the Filter and ttemperarily} set hnth settings fer Envl tn +[l{l. Hnld ene ef the keys dnwn new. ‘What ynu are hearing is the basic mueh like resnnanee as pessihle. ‘fen may even sweep threttgh ef the transwave. Accerding tn want te wait until the rest uf the patch is pregrammed befere deciding upen a particular wave. Alse nete that ynu will be pregramming with select veiee nn ALL. This will allew ynu te have three with which tn ettperiment by the time ynu are dene. (At this time. in the Amp hank. enter the "Isl" celuntn nf settings.i This is enly a test. SQ-1. 2. KS. ete. the Musicians Manual. a "Transwave eensists nf many single-cycle wavel'nrms. each with a different hartnnnic spectrum" [page 5 — lfl]. What we're deing is beginning eur Start lndett at a value nl' 513 which is ahettt dead center nf the transwave. Fretn there. we are meving threuglt the wavetahlc within the transwave using the LFO which is gning up attd dnwn — hence the Sll'~lE wave — l'rem that start peint ef 5Ll. "t"nu can hear the LFO slewly sweep thrttugh and catch all the nttances as they change. HACKERPATCH Prngram: 'I'ransTest4Q By: ..r'ttr.‘.k .S'te_rt.lrert Tirtlftt NOTES: LFO mndulates wavefnrm nf transwave. El‘~l‘v’2 and WHEEL medulate frequencies ttltered. El'-l‘v'l will be used tn medulate hnth wavefnrm nftranswave and t'rer.|uencies filtered -t-t HASH select httcc wave tcltss} {seen}: rte]-ty ‘ Etr--ft: tdtrecrten: start index: Ittttjttl: " . restrk decay FILIEE ttlter l tilrer I-I : tei cu‘ |‘-TI. ALL T‘l'-lit ."l5l'lFt't' l-I SESTHANI l'1 SUD flhfnll id LP? tfid GU Ehakass 2HiFass in? . fel khd nmd: .. 1' U U Itr nhE EL res cu1~ftcurl: ‘T5 |:||:it’; | I‘-I S tee tcl-mnl -tel" npc in? khl PITfH ecta1c- +U Gemttenc. ltne: id? envi: lte. med ,. khd tracking; nl1de' tdfl tdi dlide timeEHU1 Lntltelz peak. hreak_ EHUI initial peak: hreaksustain Dd DE 99 {MIA} UH attack. UU decay i 25 err decay 1 release ter?" atckr: "el £H[TP: HG rec riffs t Hfh i ._| t,I s It -t attack: E. !'| AH? decay l: decay 2: 59 ta release: levy: tniliil. peak; break: sustain: -IlEl."l|": lE U5 EU '.'e| e-.r'.=t=-: nude: HUHHAL ken rtaektea t |':| |;| tflfai t.1T_l_|'ltTllt' decay I" decay 3: release: nnise rate: id fin 1nTel: di delay: ‘bftI_,..| .- -\---:1-t. t_,' [dud] .,_. -4- -ta st ts -tf - _-t if Ed l__ J- HG l ':- -t:-_ lg TTHFEH Qhhlhh I-i"i"F:i'!F'.L Hihfifih l' rtlp '1} OUTPUT "er: I'F."E~Ll!T.i J-t-'2' lsntst. mad: |]I'-. 55 EFF rerr lfifh; tea s"stc: key ran 'i5l|_'. tulcuf bus: grtcctt gen: Tel sin -:‘i:]1-.1 j resnnanee‘? Willi this particular transwave I've chnsen. l he-lie-ve we've ennte fairly elese tn a general use resnnanee. ln my nwn epinien. l believe that seme nf dte trattswaves dn net seund anywhere near as realistic er cemprehensive. ELECTRO-Pt’. seunds gend hut is rather tinny. Many ef the ntlters are tttnrc deep-ended in the tttnal spectrum fer my persenal taste. RESONANT 1-Pt. RESONANT Ii-Pt and RESOHANT -t-H wnrk the best l'er this test. lt' yeu weultl like tn take full advantage e|' the Preset fer adding resnnanee te seme nther seund. ynu will prttbahly wattt tn turtt ynttr Envl settings back tn +ttt_i. Press ynur Sequence Select httttttn tn hack nut nf Edit. blew. click en track twtt and detthle click nn track ene. New yeu can play ynur piantt with resnnanee. Let's try a different ttne. On hack tn TransTest-"IO and change the transwave tn ELEETRO-X. the tinny seunding ene. Resave the patch. lfynu hit Play en the sequencer nttw. it may nnt seund that had after all. But press Step and try playing ynur piatte new. l-lmm... ROM T-==t. Classic Bell. Well. it seunds mere te its nwn liking. Whatever that means. fhifhibk RTPFAT +n kbd trtestnq: - ..-r . Wetv. dees this mean that we're getting elese tn Httw aheut changing the patch nn track twn tn mndn hihr patch. Alse make sure te keep track ef where ynu resave it. Onuble checking is a gend idea tn make sure yeu dnn't ttvcrwrite a eempletely different seund than the last edit.i LFO effect is werking ttn ht_tth the tnp and bettnm at the same time. Think ef it as a bnttleneck l'er frequencies — the enly frequencies ceming thrnugh the neck at the peint el' mattimum LFO el'fect are the nnes itt the middle. Fer an alternative. try playing this seund with the medulatinn wheel set halfway. atcky uel cutes- med; ware; aspects. See mere attnut this helew. It‘ ynu are gning tn ettit a patch edit prinr tn listettittg tn ynur sequence. always rentcnther tn resave ynur stttnewhat deultled. hnwever. since the same 13 S9 -I_| _t: —l_t.- the sequencer sectien witheut ettiting ynur patch edit. it may seund different if ynur patch Effect is different frnm ynur sequence Effect. This may cause a difference in audible seund edit J3 s -t -.t lf ynu ge back tn the En-'2 settings that we changed recently and set them hack tn their +er-n5 values. we'll hear an etttra filter effect. ll' ynu retnemher in the nld days. changing the filter frequencies always chattged certain aspects ef what was resenatcd threuglt Q. The Envelnpe 2 settings were intended tn reveal what kind nl' el'fects teek place by changing the frequency allnwance nf the transwave. The minimum and mattintum t'renuc|tcy' hnundaries change with an LFO-like el'fect. The effect is thlete; lteep in mind if yen are pressing Play in 1'1 ttst] leek: LTD Lfu speed: |]I’I medeked tra ck: 5 .:| sustain: lf ynu play staccatn tstt-t netes en ene key. ynu will get an idea et' what the many different single cycle wavefnrms seund like as they begin the seund. Ot' cnurse. when deing this. the wttvcfernts themselves will he chnsen randnmly since the LFO Restart is set tn OFF. This makes a seund semewhat reminiscent el' thttse early 'i'tl's analeg synthesizers. .r|__| I_‘i|'-'-1'1 the first track en the secend. hut with the patch. Dynamic Orand. ROM lift. Transpese track twe up an nctave l+|1 scmitnnesi. On tn the Mitt hank. page ene. and cut the vnlume ef track nne tn abeut 35 er sn. New press Play en the scquencer. Hey. net had. huh‘? ll' yeu wnuld like tn use this patch as a pregram in its nwn. it wnuld even he pnssible tn synchrnnire the snttnd tn music. "t"nu can try this in ene nf twe ways. "t’eu catt try synchrntti".-ting the LFO settings tn match ynur tetnpn. er ynu can try synchreniaing ynur Envelttpe 2 sctlittgs tn _.. LC PI H:£H -us. cc II. pg ef settings ntarked "End." Resave the patch when ynu are dene. On ever tn track twe new. and replace the patch there with ROM tit’. l..A. Brass. O.k.. sn it prehahly seunds better in the upper registers. Hit Play. Seund clnser tn what we're lenl-ting fer’? "fen can change the transwave hack tn RESONANT st-it and press Play again. but dn sn at ynur ewn risk. match ynur tcmpe. Of cearse. anether pes- Feel l'ree ttt ettpcrimcnt layering the new patch sihility is te cheat. lust re-key the nete sn it starts when ynu want it tn. 'i’nu may want tn ad- with ether nld ettes. ‘fen may need tn make adjustments depending nn what kind nf attack and decay eaeh nf the cttntpanien seunds may have. This is why this test patch was pregranttncd in the lst ct:-turnn with a plane-type envelepe and in the End enlutnn with a brass-type envelepe. just ynur LFO Speed as well. |.|'_||t H‘; Back tn the drawing heard ever in TransTest-tQ. On tn the Amp hank and prngrant itt the cnlutnn Create a 4.-"'4 sequence with a tcmpe ttf abeut H15 with 'l'rans'l'est-4-Q tttt the first track. Fregram in a lftth nete arpeggie: C3-O3-C4-O3 and se en fer abeut twe measures. blew duplicate El An altemate way ef testing ynur transwave fer resnnanee is tn medulate ynur Filter with El"'~l‘lr'l instead ef WHEEL at an amnunt nl' -S5. At this peint. set ynur Envclepcl ameunts tn +lIil'J each length ef the measure. Useful. nn? inated frnm nur transwave synlhesiaers. Using ll’ ynu want te add seme embellishment te the the sequencer. a little layering can ge a leng way in bringing back the Q'ett up seund frnm in the Filter bank. In the wave bank. set ynur patch and make it seund mere full. turn all three veices en. set the pan in nutput all the way negative fer the first vniee. set the pan in nutput all the way pnsitive fnr the third vnice. and ynu may even want tn turn the secend vnice eff. This will cause a steren effect. If it dnes net. cheek ynur Effect selected fer this patch. Snme effects dn tint allew attdible panning. Reverb is usually a safe call. Start lndctt = (lfl. Med=Ebl"'v’l * +99. If yeu are gning tn use this particular cttample in cnnjunctien with ynur sequencer. cut the vnlume fer track nne tn abeut ftfl fer abeut as subtle as ynu can get with it still being audible. Suit tn taste. Fer eur final trick. ge hack tn eur nriginal versien ef TransTest-10. Resavc. Heep track twe the way it is. l prefer it with the piann. Slew the tcmpe dnwn tn SS fer ynur SS. On traek nne. cnttnt l. play a C miner chnrd and held it fer the .5'Q-.-’ '.r lb.-:rtIer'y. hear hew nice a simple seund can be. Simple is best! Many patches that I've dene fer myself antl ethers are seeen cnntplicated. It seems that all the dif- Prngram Sleigh Bells inte ynur rig and SQ. KS. KT Prng: Sleigh Bells 1 2 3 On On On wavefnrm wavefnrm Wavelerm ' Wave SyrtthBell Syr1thBell SynthBelt . Delay Time ti I Wave Bireetteri Start lrtdntt MOOSOFI MODAMT Finstrk Decay 1- PITCH Octave Snmilene Fine EH1! 1 LFO lvlO OSOFi MO OAMT ti ss ss ‘I +3 +53 +55 +5? BB -fit Off OB Oll Oil [II] OB -Ett Oll Ell] HBO Ptch Track Oll Off Slide 55 Slide Time Initial Peak Break Sustain Attack till _ ii*§___- -2 +5 DU EHV1 ti __ll [IO 55 DO DO U5 llltl Elli [till DU +3 +54 +l]? O5 -O1 By: Jack Curder |._Fe 1 2 s LFO Speed Ell] Elli fill hlnise Flats Level Delay lvlOOS HO Wave Restart [till it-ti U6 Oil Tri On DD 44 U6 Oll Trl On fill -‘tr-t Elli Oil Trl On 1 2 3 FILTEH ' Fitter 1 2l.n 2Le 2Ln Fitter 2 2Ln 2Le 2Le FO1 Oulnll 12? 12? 12? Ehlv 2 FOt HBO lltlll ee ne tit] es tllti MOOSO Ft ‘vlelec '-Jelec ‘v'elnc +15 +15 +15 ' tvtODAlvtT Oil FO2 Outnll 115 ‘F15 115 O5 Dill Off O5 Ervvs FOL‘ HBO FOT MOO-FOE tlltl tltl On ee tltlll On ee ee On 3 55 Ell] Ell] BO Eli} ee ee ENV2 1 Initial Peak Break Sustain Attack DU BB B5 2'? 4? Decay 1 44 _ ea ee Fieleass Ell] till ea Flelease as "v'el-Level Ell] fit] D5 ‘v'el—Lnvel BS ‘v'nt-Attack ‘v'st Ourve Ell] Linear Ell] Linear til] Linear ‘v'eI-Attack ‘v'nt Ourve OD Linear tvteele l-{SO Track — — - Mnttle Nnrmal -._.i.ii..r— All three vnices haye a sntall difference in tuning. All nther parameters are the same. Ne tricks. Maybe I'll place this seund inte a preset and add the seunds nf the “Budweiser Clydcsdales" {and snewfaIl‘="} fer the authentic sleigh ride. Lnve ynu peeplc —— thanks! AMP I nitial Peak Break Sustain Attack Decay 1 ‘I "F4 H9 T5 Elt] tit] 50 2 T4 99 T-"5 tilt] [ll] 50 3 fa 99 TEEltl Elli 5t.'t Decay 2 Fietaasn ‘v'nl- Level Vet-Attack ‘ital Ou rve Mndn TD 54 1B tit] Oertv et-t Tl] Hermat ft] 54 til Elli Oenvett Hnrmal itfittii _T.r_aek. +55 +55 One vnit htermal +55 1-.- 2 3 T? OH LFO T? Oll LFO +21 +21 +21 Zena G5-Oi’ Flrtt Med +55 DUO Zena G5—Oi" FH1 tvlad Zena G5-O? F.‘-"ll lvlnd +55 +55 D55 DUO OUTPUT UOL Benst lvlOlItSFtO MODAMT HBO Seats lrtey Henge Output Bus Prinrily Pan I ‘t.-‘st wirtdew Decay 1 I Decay 2 _ ee ee s - tt'fl'tl he that resttnance has net been eempletely elim- ferent things that we cert de tn seunds are dene. Semetintcs this leads tn ettcellent seunds... But what abeut simple‘? j Select l.-‘nice I Wave Otass rfitrrffttttittrt r.r_,f the rape riefrryett -t't'.'t' rt l"e’.'t'tt't!'f rtf' rreetlt'n_t.* re t-ept'trt"e the Jack Carder WAVE ttlrtt.re rtf ytttt trl'.=tt fit.-re ttrtt'erett' the SQ-I tripe. krtntt" ttltttl Sleigh Belts I submit this “almest timely" patch in Bin.‘ .fttt'tl: r'.r at secret’ t'r_t;ertl jirr Sprirtt nertr .ft'ttrt.vrt.r t':'t'ry. Hr'.t _fittt'rrrt'Ie _rttt.t'.t'-ritrte.t' int':t"ttr.le ."'v'r'rrt'errrftt t=t'tt'ert grrrrtes trrtrf prtttftrt"frt_tf rrttt.rt't" tt't't‘.lt t‘.-‘re .'.i'Q—.t' PLUS .32 t'trt't'e nrtd the 5-ISH— fill. P.-5.: Fttr Oertainiy. what we have teamed here tetiay is Hctckerpcttch hennr ef the end nf eur adventure. yesteryear. Tn be perfectly hnnest. I was surprised. myself. te discnver this. I guess these Enseniq beards are still fttll nf surprises. Q " Oncay 2 ken Track sr an 1U -_3_ee as as ar -tr -ta sr as as an _i5L ee as as er -tr as sr _ " EFFECTS cneaus AND rtevenn as SS Linear till Linear Hnrtrtal Nnrmal se ee T?’ Oll LFO Fit-1 F.‘-"E-E Decay time HF Oamplng 44 15 T-S Oherus Hate 55 t5 Ohnrus Oepth tit Oftnrus Oenter Feedback 25 [IO Che-run Level 35 MOD {Best} Decay B‘r' tMOOSFtO'.t ‘it’-at MC-‘DAMT -4“ 54 is DU HACKER BASEMENT TAPES Steve Vincent CD: Poiir oi’ Dice these tt'ivt'ite ititt.tt't't'tiiiit.' t't't_i_i‘i'ii'tiirittteiy. thi"tit-t.eh the nieth't.t-ttti'iiei"ti.i'iri_e-it-‘tit’ _tietipi'e iteeiit tti h.tit=e tiei'ehi_iieti' ti .~ttiiitt' i'e.it'.i'tttitt'e t ti t'tH't' iiie.t.ttt_t,=e. ."it't ii-'e .vli'ii' t'tiit't i'ett'i'e tin it t't‘3't't't-|"t't't" i'.t'tttiiti yet... " Artist: Necir Vhcinci .-1. Here we are at the final issue cif the i'i"ttii.t'tiiit't; ttttt-ibei: and it's titne tci cltisc the dnrirs tci the tittseiiiei-it Titt_,i'tt.’.li'. l wciuld like tci eitpress tny heartfelt thanks and gratitude tti the sctircs tif wtinderful individuals tvliti have taken the time te put their hearts and stiuls tin the line by seiiditig in their tapes and t-"~.tari tntiw cia a Mtic eimilatiiig an tittarii. Alsu used: a multi-effect btiit with direct access tti the parameters yia a fader-ii-:iit. Last but net least there is the Uiniiiciitirtl. a clieasy instrurnent t_desigiied after ati auteharpi. that has remarkable musical qualities true privilege til‘ listening tci a ttit bf very. when ripened alid played with the fingers making cciiitacts en the circuit hciard tthrtiugh skin resistance}. my l'avt;irite "raw elcctrtitiics" iiistruitieiit. ytiu can hear it citi track 5: "flit mitt Fttti. " (Ttintact infti: Jtiker hlies. Huetteiistr. Etl. D-50823 C-zilegiic. Germany. Tel: +4'5't[l]i- very great music. ncit tci iiietiticin been entrusted with ctinveyitig tti the rest cif ytiu 2.2 I -550-4995. Email: jaker@netcnlcigiic.tle. .lcffrey‘s lttiittepage and a link tti stimc MP3s stimcthing cif what these artists have at- tci get a taste: http:.-".-"www.jazahr;itise.i:irg.-'iittirgaat http:.-‘twww.mp§i.ctitn.-artistst22.-"pali'_a_dice.htmI littp:.-".-"vvv.-w.inpjl.ctitii-'artists.-"24.-"electi"tishcick.html E".D’s [and the ticcasitinal vinyli cif their music tn he run thrciugh this wtinger. My life has been enriched significantly thrriagh the itiaity ctintacts l have shared with these sincere and earnest musicians. l have ltad the tempted tri ctiiitinuiiicate. My grial has always been ta describe. evaluate. and learn frcnti the musical prt.ijects cif these brave anti creative stiuls. l kiiciw that l have learned a ttit frbm yea all. Mast ef all. l thatik Jatie atid Eric ftit their genercius. fun. creatiye. easy-gtiitig. brave. and independent spirit. which has enabled the Ti't.iii.wiiiit; i't"ttettei' tci remain the rallying ptiitit ftir tis Enseniq keybtiard enthusiasts. ‘r'titi‘ve been like eur inciin and dad all these years! In my final review. Jnrgcii Teller says. "lf l dcin't db this scilci-CD new it tiiay tiever liappen." Fitting wards: heed them! if yea have music in yciur heart. cm ytiur hard drive. zip drive. c.assetle idea tapes. Silt’-.tv1. seatienccr ca.rlridge. rititaticitt prcigram. cit" rtiantiscript paper... prcidtice it! Don't put it ciff. Deift wait until it's perfect. Just dri it. l'll be happy tci listen tci aiiythittg anybcidy wants tci send mc. and dtiubly happy if ynu want my ideas aliieitit it! l\lcii.v here's nur final twei Basertient Cl]'s... Cl}: Pttii‘ ti‘ tJit'e tci ii??? i"'~lll‘|lil‘t ‘World Music Artist: Near ‘v'hana lilquipment: Several synthesiaers {namely analeig and i"-tetti" Wittiiti ctinsists rif Jeffrey Mergtiii cin altti saittiplitine. and Jciker Nies handling synthcsiact. "lvll[Ji-:;itics." realtiitic prciccssing. atid cintnichcird. Wlieii asked ahciat his tnusic. Jcikcr replied: ".*li'i' the i"iitt.'tit_' iiit th'e fit} is ft‘.-:-’r.* ii"ii;ii‘tii'i.i'tttttitt. it-*ht't'fl iiiettitit 1|.'e tt"t_iit't yit'tty t'tiiti.titi.si- titiiis iir pittit tin t.tii_t'thiit_e t.‘ttttt't‘ti’tt’ tn"ei’t_ ttt'ttttiti'_v I httne tti _iiittii tit t‘t-.’t‘lttlll't ii"tt_y.i". hint‘ I it'i'tt trite riiy et.iitt'_iiiiiei"it ttiitt ;ii‘ti;.=i'ttiii iitt'itti' iittt “.tttti'tt'it.tt st'iiitttt'tii"i"_i. 't'tii's srtti"tt'ii_t; si'ttttttt'iiii iiitiy he ti_i" stiiiie ititiiteiiee iiii t.he iii'ei‘tth' iitiit:-ti iii" the _tii'.eee. hat ttii-tty_ti-tiiii the .tttti'ttitltf yitiittt it t'ttl"t e'i-’tii'1't: iii titty .iiti,it.t'i'i'ii'.-:-' tit'i‘e'c- titiii. its _"|ttJ'i|' ttetve iitiiieett with tiitr ;ii"tijet'l ittiiiie. we trite t'htti"it'e ttit tt .ttitii't'e t.i,t'i'it.t'_.=iii'tttiiiii. This gties tt.l'l' iviih the itttes taftitii‘ tithttiits ttittt ti‘t'tt'tt.t ivhi't.'h tti'e tttt 9 i'ettei' ii'tii‘tht. thi'tiit'ii ivith tt't't'e thttt ttttt»'.-:' ietters tiii theiit. .—iitiithei' t.i.t;iet't iii" iitii' iiiiisit'ttt' eiiiiiiittiitt't.'tttttiii is the teii.i'i'tiii hetireeii the _.iihy.i"it'tti' ttiiti eiiiiiri'tiiitti' ti;i;ii'iitit'ti .-if the .vtt.tii;ihtitie tt_i.=ttt'its.r the i*-:ttt'iiiitti'-teehiiiettt iiiitt.i.=e ti_,i" iiiy tittttiyiiiiitiitt. " digital mcidular-aaalcig Wiieti asked abtiut the intentitins behind this "Ftirtnant" synth. tin the digital side: iitarg Preipliecy. Reitind MT32. ‘fatntiiia FE-til and prciject: “.+’tt'i' we wttitt is ,v.iii'ett-a’ the sittitiiiiiiitti t'.i‘ttZ‘"."i'.'i't.'t_!..’,'t.'.‘. ;ii'e._tei'it t't'l't ttit iiftitti" ti"ttci'tit. that is.‘ 'i' titre this iiiti.t'i't.'. i’ i1-'tttt.i" iii htti" tt .teetiiitt' t'l't_It. i’ iiittitt .=ii'tiy this iiiii,t'i't"_tiii‘ ttit iii_i' _i‘i‘i'eiitt'.t. i' it-"ttiit iii thiiittte ttit iiiy iitiiney tti a an E-MU l"vlcirpheusl. all with self-tiesigiicd stitiiitls. driven by a self-made prtigrani by tlie time bf recerdiiig the aibtntt ruiinittg cirt 11 t"~.tid when asked if he had a|‘iyll‘iit‘ig he wtiuld like ter add. Jtiker said? "i"iit t.'tii'i'etitty ii'iii'htrig tiii .i"titi_i.t.t ttittt .ttitiittt'.tt.'ti_tie.t _,tiii- tt tt'it'i'tt i'ttth'ti-_.=it'tt_y hr eti.lttthtii‘tttt'tiii with i':'i:ii.tt ti'ttittt.t- Ht.ti‘tinttiiii ttiiti ttttthtii' t£tt'gtti' t.i;ihi eiitittett *‘l'y1aitseti Revisited" i-.'ftit'ti ttii'.t iti i"‘-t'iii'eiittit.*i' this yettii i"iii titsti etii'i'eitlt'y i'ei:tii'tt't'ii.t.* t.t Ct) ivt'th W.-itii h’.'tti'.tei'.i' Tittie.t.*hti.t'l _tii'ti_i'et't. it-‘here i1.’i?.l‘|L’ .i..'t.’ttt'i=t_i.‘ t.=tti' httittts tit-i tt itei"et'tirirt tif' .‘ilirit'tfi' i"'ttt'-:*.'t .'i't.htlj..‘."i. tit'tttt.rt- int; theiii iittti the nete iititieiiiiitiiii. A _,tiiiiii-e .iii'ti_.i'er.'t 1-t'TiT he the t.*tiHtihtii'tttttiit with ti .\'tt'fttj.’ triti ii'hei'e t 1-l-’i.iT riitiittiy he retittiiite-_iii'tit'eit.tirig the 3 .iii'ttyei".t lt'tt.Tl' iiiy t'tt':’it' ttitii. ti Kyiiitt [.'tr;i_ytitti"tt tttitiiti-t].5'P iiitti'ii.l'i'ttt'l'tt.’. ttitti‘. tift'ritti'.te. tilt F Ui'.i'R {'.ii'_3't" Here's what's tin "t’ttt'i' tt' i'J‘i'ee".' t. tI'tt.t,=t' _t'iii‘ Hi This cipcning track is a pcitpciurri tif cirganic and synthetic atiral testtires in free-fcirm esptessieti. ‘v"v'ltat this nieans is. it stiunds like a iieidge-ptidge cif stistiplitiiic lilceps. blaps and farts. iniited with a litidge-ptidge eif synthesized biceps. blaps and farts. The varicius eletneiits playfully tease. miitiie. and play en each cithcr v.-itlitiut discernible thematic eleinetits. The upscale "temptii" tif such avarit-garde inas- iiigs can be said tn have any ineter er tentptii seems ta be the ctitiiineii thread: all clcitieiits are played fast. The result is a ccinversaticin bctwcen wind and electricity. btitii filtered thrciugh human clettictits which ctilcir the seiund with earnest wliinisy. Z‘. .‘i'etti*_i.-' tititti —— it starts eut seunding like the first track. einly sltiwer. lJlll with a slightly tittiitttiitis synth dtetie. The title predis- peises the. listener tci iisteii fer frightful stiuiid eitpressiciti. but the sttstiplieiie "vtiice" sritnids inrire like the manic tavings tifa teen hrirrcir flick stat trying tn scare scinietitie and be funny at the same time. Thc sait vcicaliaati-tins are tcici cmifident lei ctimmtttiicate featseitnettcss. ll yeti listeit withtiut bcitig biased by the title. the fricus is tin the sas; it stiunds like that desperate attcinpt tti yell cit screarii that seittctiittcs eiccurs in dreatns wliere ybu just can't articulate any '-.vcirds tie matte!‘ hciw hard yriu try- But vvrirds aren*t necessary te cetivey angst. and this track dcies sci. st. t'I.'i'i'ey Jets — Fcilltiwitig the satne fciritiula. “Ct'rt*y ..i'ets'” adds a mere percussive layer underneath. "R2-D2"-like peps and squirts chatter with the sait. ever a didjeridee- chest with its 18-gauge syringe buried te its hilt in yeur terse. seunding drene. This titne. there is mere ef a The senic teitteres achieyed by this due are self. liiear ‘v'hana can be enjeyed under a magnifying glass er with a wide-angle lens; beth views centain eneugh babbling. perceltiting life. mevetnent. and aural flaver te sense ef pregressien in the piece. with the impressive: the differetice with Near ‘y'hana keep yeti ittterestetl. l denlt knew hew malty elements building te a cresceiide. accented is that the teitttires and ttariatiens tend te fly. rather than walk. by. I feund myself lurching ftir the rewitid iiutten eften. btit fiiitilly titties l weutd listen te this CD in a "sit dewn with lieatlpheites" sessien. After analyzing the eeelness ef setinds and ideas. this preject might eccupy a niche that. say. ti parakeet wetild fill in ene’s etivirenitieiit. but witlieut the peep. with mere peretissieti seutids. At times the sai: eemes elese te playing very shert iiicledies. ttlmest. A nice yariatien. it. Ten 5;ii'eg.t' — This time tiiere are layers ef sait. precessed iiigettiettsly with ping-peng delays and ether abstruse effects. Glass bell pttds iiierph inte ceniputerized tren settnds. but this Near ‘ithana yariatieri ef the freeferm style ceiitaiiis mere epeii sptices. ap- presimating mevetneiits. Eitactly what type ef mevements is epeti te interptetatien. 5. tttt i’t.ee t-'iiii — ttptly titled. this track really is futi. Arid — eh. my. ged —— there actually is a drumtieat at times! This is anether fast-meviiig. siieezeyalese carnival ef syntli-n-sas. It's aliiiest as if Jeffrey anti Jeker can’t ge fer Ieng witlieut shedding the serieus layer aiitl treating us te musical siitiles. I can't help thinking that it weutd stepped and just settled in. reltised. and let the senic parade htirry by. The big view. the everall eitperience. is a “teitture" in and ef it- CD: Delete Noiture Convert TOCICIY Artist: Jergen Teller [II]: Delete l'*-Iatnre Cenvert Teday — Seies Fer Trigger Guitar {cl I993 l"~iinth Werld Mtisic has-‘e been fun te be inveI'-ted in this preject. Artist: Jergen Teller Equipment: C-asie Midi-Gtiitar. EPS-tt5+ Turl:-e-Rack. distertieii. Wtivefiey" efs [grain- ti. Flee Q .""Ii"tt_.|'tt’t" — C'heese ergaii briefly jeiiis the tech seunds. and the sas is alinest jazzy. Everything's still free-flewitig. randemly avtiitt gttrde. ttt|nesphe|"es and tiieetis screll by quickly. with tjuick ferays in and etit ef ste|'ni a.e.}. Samples were treated in Eternal tvlachine iii?‘-15}. {'t||"ve Centrel.en ti tvlac. Recerditig: 4 trait en ADAT. Feedback setups with amps aiid mikes en “Feed G|‘aiii" which was reeertled en 2 track DAT in my ewn sttidie. lvlastered en TC-l'-tl-Slilltl. carnivals. church. jazz cltibs. dretitns and nightmares. F.ach phase lasts just letig eneugh te eyeke eitietieiis. then iiieves en. a sniergasberd ef enc's itisides. F’. Sitii t'tt.itt ft‘f Precessed string satriplcs pan. ttiid the sas is played with seme seulftil vibrate fer the first titne. Other sampled erchcstral aitd ether "real" iiistrtiineiits appear briefly then give way te the nest visiter. e-mail: deictc@cempttserve.cem. Web: www.alteratien.dk tit wwtv.skrtiep.tlk. that this CD is just a gtiitarist witlteut much te play simply recerditig his er hcr feedback fer 63 niiiitites. and partitieiiitig the setintifile inte I5 separate tracks. But because the artist is Jergen Teller. l listened te this werk with Jergen Teller is a veteran ef the mighty Basement Tapes W|"i|iger. We reviewed his "titty tiiiier i'i'tti"" CD in the May I996 Htit't.'- er. and his "Peiith'ei'" {it means "cemtnuter"t amazing electreiiic ntusictspeken werd pre- cetitiiiueus sas. ceiiverstttieiis in a tt'ack that ject recerded in the cechlea-shaped {spiral} Reundtnwer in Cepenhagen. ttiid "t"eirtt't'ei*" was ti ceiiipilatieti preject where varietis that premises te usher in setiie kind ef dramatic thing. but then it‘s back te sait talk. ii. Ntiie t.tves- — The CD eleses with what setiiids like tieing chased by a small herd tif diininutivc yet dangereus alien insects. screaming te inject llteir veiiem inte yeu. P-.nd thatls the pleasant part — then eemes the sucking seuitds. Gite wants te imagine sucking the dregs ef a tasty milkshake freni the bettem ef the ctip th|'eugli a straw. but it’s tee difficult te shake the alien iiivasieti feeling. se we*re left with having eur meje eittracted by seme kind ef crew-sized metallie alien mesquite. painfully clamped te year baclttdistertien ceiitinues. iitiid centinttes. Eventually. the track ends: that was the wliele seng. “Ctkay. se we have ene track ef feedback guitar. Let’s see what else is eti this CD." Whttt‘s eti this (‘D is _j"f_.fft’t"tT track.s ef feedback guitar. ‘Well. tnere er less. lfl did|i‘t already knew that Jergen Teller is ti brilliant mtisician ceming frem a Jehii Cage-ish artistic backgrtiuitd. I weutd think CD in July i':19?. “i'iity i'itiiei' Etri"' was an is much like the (‘D's epener in its pletliera the first few mintites ef disterted feedback. yeu think. “tjkay. He’s starting this like Hendriit weutd start a cencert." But the feed- Centact inte: tergen Teller. Sender Bealev'ard 36. -=l tv. DK-lt2tl Cepenhagen ‘v’. [Jeninark. Plienetfait +45-33263614 ti. Hhte t‘i's"_vs — Harsh penging vies with the til‘ hleating and tiiatting. Suddenly the ineiieteny is brekeii by a sci-fi crescende The-n we have "Delete t'v'tittti*e t'.'tiiii~=ei*t Tti.-:t't.ty — Stittis flit" Ti*i'ggei' Uitt'tt.ti‘." After artists eentrihuted their iiiterpretatietis ef ceriimuter-traffic neise recetded in its ewn ambietice at Cepenhagen‘s Central Statien. Theugh Teller and his fellew artists might disdain the labelittg. these prejects are avant-garde with a lecus far freni the mainstream ef peputar music. But these are ingenieus. brilliant werits crafted with the care. detail. and meticuleus attentien te quality and purity that enly a master craftsman brings te his art. ‘ten will never fintl .lergen TelIer's mttsic en Btittitit.trtt“.r tep lfill. His tracks are the senic equivalent ef masterful paintings. displayed itt the Chicage Art ll-tlusetim and the like. tnere respect. But te be lienest. en its ewn. this CD seems te be a celleetien ef encepherieus. semetimes irritating guitar everdrives with seme vecal effects added. tt cc-uld alniest be an atidie satiipling CD fer everdriyen guitar. btit these are sengs that ene wenld estensibly “listen te" er have playing in the backgrennd. Elkay. l'm a guitarist. as well as a keybeardist. Frem a guitarist‘s perspective. l can appreciate the tene and senic eitpressien that emanates fretn the speakers when playing .lergen's preject. Hut if l want te hear these kitids ef settnds. l‘ll just plug in my guitar. turn my ‘I54 blackface "v"ibi'e‘v'erb up te ti}. and start cruisin' the fields ct’ tene. Te help me understand this preject fretn the artist‘s perspective. I cenducted a brief email interview with Jergen Teller: S1": Wliat is the "intent" ef this ClfJ't What l2 did yeti wish te cemtnuiiicate te yeur audience‘? it’s geitig tn be sis minutes ef nething but the same. abeut halfway threugh the track a wah-wah pedal kicks in. which enly really JT: Wrirhing ieith t:ririi.rittters'. irrterriet. s'tirrt— _.ii.l'e-etfitirig ttrttt t'tiit_figirrtttiriri.r titrris rite riri — httt ttt the stirrie tirite I’ httire tt rittittti that titty.‘ "The Best tihrittt {.'rit'rt.iitttei'.t' i‘s' i"'htit lfritr Cttii i"i.ti'ii Them ftfi‘ — Ytiti Cttii t'.etive iI'fieiit.It.'”' I’ ht.ttt'tt li'f.'1'ftttt tri n'ht'eh I it'i:ts' hirit'ting firririi ftI."tft'fe' rity t'tirit_tititer'-sereeir tint tti the keyhtittrtl. .liltr'ett'hirig ttri ttt'ttl tiiit tti _tii'es's' the "tiei'ete" hiitttiri.... metlulates the eittreme upper frequency. their shertly thereafter seme kind ef lew-eiid btiest kicks in. aiiiieuncing the presence ef an actual lew end en this track. ruintiling the speakers and the bnttem end ef yeur hearing spectru in tit might give yen a nice bum inassage. depending en where yeur stibweefers are placed]. it. Etettty t-tygge — adding a digital delay. putting the setting a bit mere rewards "clean." and adding a senii-industrial backgreund. still deesn‘t make this seund like anything besides a guitarist tuning up. tti. Httt.-it .5'ettter — Sitar drenes and plucks ever guitars tuning. Fade in the bagpipes fer the ltist minute. fl. lt’ti.t‘fiiril — I think ltran the gerilla grabbed the guitar en this ene. .t. Feett tti-tiiii — Track three starts the same rift iii ttt'i' t' ‘it-’i'..ll‘l't]t’J jiittty iiritti the eiirii-*ei*s't'tiri iterii tit tilt ievets". — there's tt rreet.-I tti t'tiiiirei"t ttritl delete — ytitt t'i:iri't .'i'ft"J|I‘t fl t'tiiitt'itg every titty. tit .stitrrttt'; rttttttre is" the glitter"-.str"i'ng.s." way: screeching disterted guitar feedback. t2. Ktitnutiiiigtt — Teller espleres the eit- But the big difference en this track is. it setinds like a cherus effect is added tn the caceplieny. Eventually. Teller adds in what seunds like a tertured guitar synthesizer te tremities ef distertien en this track. causing t ii-'trriteti' tti let _t.=ttfttii' _rii'tt_'itiri_i.r ttrttt _ettt'ttti'srittirti srirt ii_,t' drift intti the s'tittritt'.t't'tr_riet eteetrri-ttetiitstic s'.ritrce-tiriie tti irielt theiir trigether. Ii"'.he Ei".57 ti'i'+ is tr wtiritt'eiy’iti thing jtii" that iiriirl: — with lrkttirt*Btiy.~. ttitttiti-iii ttiitt _i.ri'ttiris' etc... the miit. yielding what ene might imagine an i" sttt'tt' tti tt't'_y.i'e'f,fi ff! tl'tirt't ttti this" .t"tiiti-CD rttiir I iiitty riei'ei' htt_ii_tiert. t ivtis ii"rii'hi'iig riri ti t'tiiiiriit'.ssitirt in ti etet'tr'ti ttt'rrttstit' .i'ttitlirr. 't'hes'e i'tit:tir'tfirig.t' were riiy eireiiirig s'es'.ritiit.~t — ;.iitt'it't't‘ firifittttjt‘ _.it.tiit.t. '.-"'hej-' ii'er'e ttti r'et'rrrrt'ett' iii tst iii‘ Zita‘ ttttie. U.tirtii'l_y I’ set tt_ti ti "s't'erie" t.y"sttr-ii_ri.les. ejfr ttritt i'tititt'itgs' — the testett it shtirtty — tint! s-tttrtett' e.=tet'tttt'rtg. [Jti tit‘ thie. ST: Whe is yeur audience‘? enrageit bees-nest wetiltl setiitd like. er perhaps flaslibacks te the Electric Priiites. lt escillates between these teiialities and the seund ef a sltrickiiig skit-saw ttbeut te bind its blade against a kiiet in the plywned. This track actually has seme very ceel feedback. such as a guitarist enly dretiiiis ef getting. It merphs in and etit ef what setinds like an alien spacecraft embattled in death tttrees. intilti-layered iriedulatiens that seund like a ceiiibiiiatieii ef synth and real guitar. the beating medulatiens tn crash inte each ether with emanating eiiplesiens ef frequency wars. hlice. ballsy lew end. t3. Detete tittititre Ctiiiverr Ttitttty — The speken werds “delete ntiture cenvert teday" pass thrtiugh many different pitch mediilatiens. while Jergen plays a semi-swingin' ineletiy en his pitch-sliift-liarmeniited guitar. tti‘. {Itiiii-ier.sttiri Ttriie — abeut ti minute er twe ef digital black. hie seund. Gets yen ready fer the final track... t.‘i. ttiiit: -— After an lieiir ef free-ferrn. es- perimentat drene guitar. mest ef it witheut rt. Neil-' Mtiiiii — Just when yeu think "t!i.hlilt. here's a peaceful. meditative-setiiidiiig track." the guitar eiice again kicks inte everdrive. This time. Teller espleres the dister- itiucli te ancher the listetier. this final track eemes in with shaker. btiss. ttnd digitally- delayed clean guitar playing an almbsttneledy. tieii medulatiens based en ti simple three- itete "meledy." In the backgreund {and intre} Befere l read Jergen’s email. I had written JT: My tlittt't'ertt."eF' Welt they iiitty he itivers rrf tt'r"tirie j..’lt!fftt.l". eiet'ti‘ti-ttt'ritis'tit'.r. .riittiitt's cttjrie. _,fi'ee-_i‘iii'iri ttritt' jet=tt'tittt'h? E’ F there are seme interesting eitperimentatiens with seine kind ef rising-pitch effect eirer ebscure human vecalizatiens. that this CD preject “deesn’t make it." That l..et‘s give ti listen tn the tracks. aiitl I'll at t. littiite Rrises — This ceuld be cenfused 5. Lesley Ctthfe‘ -— as much as I want te hear the "art." all I hear is my I3-year-nld neighber playing his first netes en guitar. and he just discevered the "en" switch en his shred- with the beginning ef a Jimi Hentlriii live master pedal. .lergen: what gi'-res’? pnrtasttidie. and that's net Jergcn Teller. least describe what I hear: was tee harsh. After reading abeut .lergen’s intent. I see it differently: he succeeds at decuntenting the tetial eitpleratiens ef drene feedback guitar mised with synth guitar and ether sample effects. My cemplaint is mestly that this music is indistinguishable frnm an amateur guitarist playing with his er her first album in which he is tutiiiig his guitar. er perhaps ene ef his mere free-ftirm guitar ti. .tiggrtirt.ii' — The nest deer iieighber dis- There is art en this CD. Let's see if I get it: pieces. Eiut it slewly inerphs inte sente fairly ceirers cl1ei'ds. Rundem riffing and chepping rtindein iieedliiigs en twe er three different netes. where yeti can hettr seme vecal cenversatiens in the backgreuttd ter perhaps it's the feregreund. hut the guitar is se laud that takes place ever ti btickgreuiitl ef subliminal percnssien seunds aiitl what seunds like a car alarm that seniebedy sheuld ttirn eff. it drewns everything else eut}. titfter a while. F‘. Trttiii Btiktt Httrtjti — The title says it all. Trains. Eanje. Hut what the hell is a "bnka"‘i' like an attempt te play The Star Spangled Banner ta tti .limi Hendris. at Weedstnckt. but then it just settles inte anether churning 8. t..ttttei' Sttiiv -- If yeu had a bad tape recerding ef the ravings and cacklings ef the inhabitants ef hell. and semebedy was nee- The first twelve tracks are "nature." Natural seunds in the sense nf ne beundaries. nn rhyme er reasen {and ne artificial things like tuning}. Track I3 tells us te "delete nature cenvert teday." Track I4 ij"t'I‘tiiivei'.~.-itiii I-"tiiie"} gives us a ceiiple minutes nf silence; ptitise te think abeut ceiivertiiig. and the final track. "tti'itk." is pest-cenversien: fellewing the eiipected matrices ef human music. But are we suppesetl in feel guilty fer ettjeying seme erder. a centeitt fer the ratidemness that we are ferced te endure day after day‘? Is this a judgment en these ef us whe have accepted the brainwashing ef "nature deleters" and disparage the avant garde? maelstrem ef guitar feedback and sustained liarmeuic medulatiens. .lttst when yen think tlling en a slightly disterted electric guitar eirer the tep. yeu’d have "Li:tttei' .liltiii"." If se. l ha‘-re ene thing te say: "Delete nature. cenirert teday." this begins te remind me ef listening te tee much Kern. Silverchair er the Uffspi-ing. where ultra-inaiiiacatly disterted guitar eb|itcrates etterything else in the senic spectrum. lt tnust stand fer the etltet uiidefinable elements. ttetually. I den’t think there’s a real banje in this track. just an electric guitar cempressed te settiid a bit banje-ish. 2. fri-Dttrrie -— This epens with what seunds 13 Treoisures from the Basement mind} and yeu cirn hear all serts nf "mistirkes." But se what. Being the reviewer ef yeur tnusic in the .l-cirrds. tn recent years. lrewevcr. the price tit. l’crt'er'manee. Uri the etlter hand. just because a perfermairce is sleppy deesn't meair it's get attitude! In listeiriirg te seme ef yeur Basement Tapes. I've eften weirdered why irn ntherwise escellent nrusician wnuld let certain glaring mistakes slide. There are times that ljust knew that he er she simply Basement Tapes fer the past three anti ene-half years has afferded me a unique vantage peint: I hiive had the privilege ef lis- ef graphics and packaging has drepped se that it gt'ciil-leekiiig cevcr is within the reach ef just irbeut itiryene. I rnirde the mistake en get tired. and didn't iiirve the energy te fiir. it. But semetimes rutirriirg that track tlrretiglr the wriirger just ene mere time will squeeze eut tening te ynur prejects in every cericeivirble stage ef preductinir. frem scratch piitl te shrirrk-wrappetl CD. Many suggestierrs have been tessed trreuird. many lessens learned. l have breught these ideas tegetlrer — lessens nry instruincirtal Cliristirras CD nf irnt giving eireuglr iirfermatieri iibeut the CD en the cever. ti. sentence er twe abetit the style ef music helps tremerideusly. tkird ene hint: the human face remains liirrids-dnwri the single mest interesting thing te leek irt en (Tl) just the grand perferniiitice yeu were bepiirg fer. if-is in many things. there mtist be seme kind ef a balirrice. but unless yeu have senic eitcellent reaserr fer letting a glaring errer stay iir the nriit (see "Perfcctien" abevel. cevers. {Dire mere hint: it deesir't riecessirrily irave te be yeur ewir face . . .]i hirve the ability te play the passage perfectly. effect. then de it. But here are dezen de's and deii'ts. Learn frem yeur fellew hackers abeut... 4. Lyrics. Ah. lyrics. The been er bane ef a that cirrr tie it perfectly. musical preject. Greirt lyrics are very very difficult tn write! I deir't even attempt te de it. lfl hiive a visieri t'er a veci-it snirg. I cel- 'r'. tvliir. lyliit simply ineiiirs prittiirg all the elements at yeur track inte their “i-iglitful" 1. Stylistic censistency. It helps a irrusicirl lalierate with lyricist friends en the lyrics. Ivlest tif the times that I have winced when listening te a Basement Tape hirve been while Iisteiriiig te peer lyrics. I have always cenrmentet] en lyrics that ticeded attcirtieir. Steve lr'i'iit_:eiit frem yriti — inte a final cempilatinrr. and ergartized them inte a dezen tepics. Heep iii tniird that irll rules are made te be brekcirt If year intent is te terture the EQ fer it certain preject te keep it semewlrere in the sirnre stylistic universe: Den't nriit styles tee iirucli. If yeti're ptittirrg etit rap. deir't tess in a ceuirtry tuire. If yeu shred. dnn't ntitke us rell eur eyes by including a classical piece. "i’eu may be cstremely eclectic in yeur mtisical tastes and abilities. and perhaps might wtrrtt te strut yetir stuff when yeti lrirve the spetlight. Hut if yeu are attempting te target a specific audience er centribtite te a pittticular genre. be aware that miiting-n-matciring styles can be cenfusing irrid ii bit jiirriirg te yetir listeirers. lvlirkiiig wertls rhyme dees net make pnetry! If yeti irrcn't already ceirrpletcly certiiiir that yeur lyrics cemmtiiricirte artistically. then I beg yen te pliiy yetir music fer settreetie yeti kirew iind trust wlre is a werdsmitli; seirreerte wire weutd knew if ynur sttiff is geed. and listen te tlreirr! I have heard seme abseltitely stunning ttiires instruineirtally. tiirly re have me shake my head as I listen te amateurish er sleveirly lyric writitrg. Werk hard en thisl keep deiirg it until yeti've get it rightl If yen why decuineiit en tape er CD a lessthair-stelliir perl'etirrance'? Recerd the "yen" places. Subtle panning. EQ. veluine. irtrd judicieus use ef effects cini iibseltitely de nriigic te a rnis. The irrajer sins I've heard Iriive lieeir peer veliiirre cernbirriitieirs. and ever-zeirleus use ef effects. Often a guitarist will wirirt his er her gtiitirr te be the leudest thing in the inis. This dees iret always iriiike fer the best-seuiidiirg final preduct. Her dees washing a track [especially vecalsl with a tsunami ef reverb. unless that's the specific effect yeur geing fer. Err en the side ef censervittisin iir these are-as. The eighties were we-t. The nineties are a bit trrere dry. Wire knews what the tll_'i's will bring. 2. Intent. Clesely related te stylistic eensistency. it helps te fecus en the intent ef yeur preject. Call it year "ebjective." ls this a deme tiipe'? What are yeti demeirrg'? "rear ‘v‘t'i"ite. etlit. re-write. tess it eut irnd write it again... until it's perfect. Uire hint: Kill irll ll. EQ. This is a subset ef "lvlis." and anether irreir te give clese iittentien te. I leve listen- cliches. seiigwriting skills‘? Yeur jazz seleing cheps'? "'i"eur sequencing abilities‘? Make sure yeti 5. Pcrfectiiiii. Once in ii while I wntild finish ing te irii artistically EQ'd preject. Sure. there are certain rules that beg re be brekeri. bttt there is usually a geed reiiseir that it was it "rule" in the first place. The nririir EQ sin I've eirceutrtei'ed in the Basement Tapes has clearly shewcirse ynur music aleng die litres ef ynur iirteirtieirs. [1len't eitpcct yeur listeners tn “get it" if yeti make ynur iirtentieir ebscure {unless that's ynur iirtentien...}. I can't ceurrt the times I hirve emailed. written. er called ceritributers tn the Easement Tapes iir erder te find eut abeut the iirteittiea ef their CD er tape. Cemmunieating yetir geitl tin seme wayi will put yeur music inte a listening te a Basement Tapes preject. and in my heart l knew that the predrictien and eri- gineering were perfect. Brit tlrere was seinething missing. What was it‘? I deri't knew... lieirrt. attitude. Den't sacrifice musical emetieri en the altar ef eirgiireeriirg perfectietr. I'll ircver ferget liiyiirg seme seln electric guitar trircks in the stutlie fer a friend el' mine. itird l htid detre irberit three tirkes ef the sanre sele. I was iibntit tn de ene irrere be- been cenflictiiig HQ spectrunrs. That is. twe er tnere iiistruirreiits vying fer the siinte frequency range. Den't make yeur aceustic guitar track cenrpete with ynur bass track by piling the lew-eiid ente year lvlartin. He especially irware ef ebliterating vecal trircks by tee mticir cetnpetiirg setlird in the vecirl spectrum; itiairy keybeiird seuirds. including eenteitt. and in ceinriruiiicatieri. cetrtest is everything. engineer ta guitaristi said. "tile. keep that lirst 3. Packaging. Part nf hew yen cemmtiniciite ene! It's get attitude." titnd he wits right. Every time I listeir te that trirck. I heiir the piaire. strings. irertrs iirid pads. can cempete iirrnnyiirgly with the veciils. Semetimes cerrect equirlizirtieir cirii de rtrere tn separate the elements ef yetir nris than veluirre irirtl parr- yeur intent and style is in the way yeu package yeur preject. During the first ceuple ef years ef my tetrrire as Basement Tapes cliiirrs tplain as day. irtrd net just te iiiy earsi. ning. This is ene ef these irreas where trri reviewer. mest et' the tapes were irctuiil cassette tapes. with haird-written er phetecepied etit-ef--cerrtrel. Listen te seme ef the greats cause it was still tee sleppy fer me. but the hut the attitude rules: it was piissieirate irtrd estrir pair et' ears is irrvtrluabte. ask ethers ttitriirg. always teetering en the edge cif what they think ef the EQ. and listen te their input. Unless. ef ctiurse. yeu tlen't watrt te. el’ yesteryear t_Hciidris and Santana ceirie te 14 El. Pitch. What de all great vecal tracks hiive in cemmen'? Great pitch! This sheuld be ene ef the ten cernmandrneirts ef iiitisic preductien: vecals simply i'it.tve te be en pitchl I ing er seme kind ef wiirming tip. There are a zillien "warming" gizmes en the mirrket these diiys. It is my humble epitiieir that analeg wiirirrth simply seunds better! Se. recerd aird edit in the digitiil reiilrn. but warm their limitatiens. iind the seerrer yeu learn te swallew yeur pride and ask fer assistance. the better. The peeple listeiring te yeur tape er CD aren't geiirg te cut yeur music any it up sernewhere itleirg the signal pirtlr. Please. slack just because there's a line in the CD insert that says. "t5t.ll sengs written. recerded. edited. preduced. engineered. miited dewir. siirgers'? Well. ene thing is pitch. hind this is ll. Mastering. l knew what it feels like te did the graphics tee." Trust me. that's enly netjust trite fer yeur vecal tracks: make very sure that yeur instrumental trircks are iir tunel l'~Iet all sirinples iire tuired perfectly; yeu may need te tweak them it bit yeurself. Buy a tuner. If yetir eirrs aretr't reirtly great at be preud ef yetirself fer deiirg a ceinplete "de it yeurself" CD preject. But please. kick in there fer ene reasnn: ‘ten. Ege-premetinrr. But if ynu eitist re serve the music. then "hew it seunds" sheuld be mere iinpertarit. Derr't be afraid te let semeene else's ideir have the final "say" en the lnw-end trf the detecting pitch iircerisistencies. their yeu simply mrist invite setneene else inte the This will ensure seme nice and ceirsislent EQ. eeiisisteiit land silent} spaces lietweetr cenga track. Dace yeu get used re it. it's ac- studie te help yeti. the trircks. and censistciit velrime frenr trirck by my brethet-in-law." Se. get yeur selitary. hermit vibe eut ef yeur system. irnd start t;len't care if yen have te eut-rr-pirste every fricking phriise. er bring in the pitclr-cerrectieir gear. Make the pitch deiid-eti. Wliiit mastered and duplicated by ME. Dh. and I miikcs Mick Jagger er Bab Dylirn great eut the ceuple hundred bucks right befere pressing ynur |.f.'illl"l (‘D's te have the preject irrastered ter premastered as it's alse called}. te track. Must CD duplicatien cenipirnies I'll. Digital sterility vs. analug warmth. We've all heard eireugh "IJDD" prejects trecerded and mastered eempletely in the {like DiscMiikersl have iii-lreuse mastering as an eptieri. It's well werth the meney. I tually ltintla fun te write. "Cenga track EQ'd playing and cellaberirting with ether fellewmusiciairs. It's fun. — sheulda dene it. digital realm] te be aware ef the antiseptic sterility ef digitiil recerding. Den't get me wrerrg: digital is abselutely fabuleus! But re be lienest. I've listened te mere than a few 12. Cellaberatien. Fer seme reirstiir. a let ef tis get iirte the heine-studie thing because we're fairly independent felk whe pride Birsement CD's that ceuld have benefited frern seme tribe cempressien er airaleg track- themselves en being pretty geed iit all pitrts ef the rectirding precess. But everyenc has Where Are They Now’? flirt.‘ Steve lr't'rtt*erit _tirt.itl'ttt.'es ttlerrttis rtrtri C.'i'J.r rtt his htiiiie- htts-ei:t' Ptirterit t"H"tts'it'. ttiid ettri he i'ettt.'heti‘ vitt errrttit ttt vint'ent.s@tittr'htii"rret.t'tirrt. tir tti ht's' ive?is'ite ttt tttt;i."ttiviv'ri'.il:.i'jl'J'ILil '.-'-E’. eriiiit vt'rrcerit. Chris Barth — ewns iind eperates Silicen Chip Recerding in Philadelphia. He werks en Ptkfli gear new {sniff}. t’Jtti*th Hjeite .l'TH — Gttrth httti WAY ttiti little tt'iite tti t.'htts'e thiii-'ri ttii the iit' ttttt'trt=r.i' — sti there'i'e tt ltit iiitire j‘iiti't.r iitt'sst'rtg thttii there are here. Brit here's whttt he jtittritl... I sampler — when intreduced. it was a beniifide SAMPLER fer $le95 — within mest peep]e's reachl Tliiit's what started Enseiriq. really.) alse. I'tn serry I bird te leave Clark Salisbury and Erick Hailstene — the rtirner that these guys are siamesc twins. separated at birth and raised by different methers. is eempletely net true — well. half ef it. at least. New. heavy inte seund creatien. senre peeple eut — senre we ceuldn'l cen- as yeu all knew. the .fft'tc'ft’e't' lriis been areund fer a leirg time — I5 years. te be esact. I5 years age cnrrrputers were business and black art. It wasn't part ef a nernral reutiire te check e-mail. The Wei"Itl Wide Web wasn't even ceitred until 1El‘§5'U. and the tact. seme we weren't stire ef. Dick Lerd (Upward Cenccpts) and Steven Dun Slcpian — Den was a early electrenic music pieneer and is still at it. He leved his Miragesl Check nut his web site at Feir {Leaping Lizards] — Beth these guys wrnte the first alremative Dperating Systems fer the Mirage. Dick previded in-depth technical infermatien en esactly hew the Mirage werked. I really liked his Super-MIDI Disk werd "hacker" had mere credibility te it. www.eclipse.nett-slepian. Den is arguably preduct — it supperted velume ceutrel fer the premier Mirage artist. featuring the eld black beast en many ef his recerdings. This web page centiiins seme ef his Miragerelated articles. ii discegraphy and mere. MIDI centreller ‘t. Snme peeple still sell Dick and Steve's stuff [see www fer the Mirage Users Page]. but ne werd en ceirtactirrg Dick. as fer Steven. whe knews what happened tn this guy‘? all ef a sudden. he teek eff te Indenesia te live ameng the natives there er semething. Steven was a leading hacker rif the Mirage -- he wrete several alremative DS's that made the Mirage de strange and stranger things. One ef the mest amazitig things. te me at least. is the lengevity ef the peeple whe have written fer the Hattter. Se let's rell dewti memery lane and see what them peeple are up te. Besides Htit-ker writers. I threw in seme Enseniq empleyees. thirdparty cempanies. and related peeple. lilete: fer these ef ynu whe have enly subscribed since. say. i994. seme ef these fnlks may have abselutely ne meaning te yeti. Give us eld fegies a break. (By the wiry. the Mirage was the breakthreugh cemmercial Jim Jehnsen — wrete many technical irnd pregrammiirg iirticles frem the start ef the Htittrei: te early ‘lifts. lle new werks fer SeerSystems. the centpany that puts eut Reality. a pewerful leatling-edge seftware syntheSIZET. Kenn Lewy — werks at lrlr't'r:ett' tktttgucintt. a tep technelegy magazine. I5 Pcrsis Enser — Persis. irenically. is Dick Lerd's wife and runs The ti'ertttt's'.rt.trice lilr'tii'i'rs.liti_.r.i in New Hampshire. Garth Hjelte — shoot, what do l do‘? Clwns and operates Chicken Systems, which supports not only Ensoniq samplers but all other professional samplers as well. samples, etc. Jeffery is now a leading Microsoft Press book writer and seminar host. His “Advon-cert Wioo'ow.v" is very popular in the computer world. Famous guy. Nick Longo — Still doing Cesium Sound. Gordon G. G. Gebert — Gordon formed l'v1.Ll.G, which was Mirage U.re.r.r t’}'roir_n, and then when he realised that there was a bigger tnarket out there than _j,ust the Mirage, he renamed it MIDI t'.l'.rer.i' G'.I'otip. Cine of Gordon"s claims to fame was his relationship to Ace Frehley of KISS. ln fact he co-wrote a book named “lt'i'.i'.r-a-Tell." and then wrote a book called "Ki.r.r-n-Tell More" — all about the inside world of KISS [which l still think means Knights in Satan's Service}. Gordon still runs M.Ll.G., or more accurately G4 Productions. producing bands and music, and has a hand called Still Wrlelcetl. ill-‘it’. Dr. Richard Boulanger — Richard gave us the scientific details of things since he is a professor of Music Synthesis at the Berklee music now — see his site at www.thomasmetcalf.com. Roh Weber — Fo|'mer Marketing director for Ensoniq during the “salad days." l'l"H' — rum‘ the gay irho riileirtrilly let the Hacker Dualing Garys: Gary Morrison and Gary Dinsmore — l always got these guys confused. Mori-ison‘s area of interest was alternative ttinings. He made some for the Mirage and then later for the E-PSIASR. Gary Dinsmore published the EPS User C-uide -— in fact, he still sells it [5-22}. See www.columbia-center.orgi’gdinsmore.tmidi.h tml. He now lives in Clregon, works as a chemical engineer at a paper mill, and broadcasts a weekly radio program. Harry Carson — Barry is still teaching music education in upstate New York. "la the tr-or. "I He has also served as a director and consultant to a number of high tech companies in fields such as factory and lab automation, Internet, multimedia and healthcare software and communications products. He is now President of Weber Associates. a strategic tnarketing and financing firm serving high technology growth businesses and teaches at the Wharton School at the university of Pennsylvania. [truce Crockett — He was "The Big Cheese" of Ensoniq for awhile; then he moved to Kuraweil for a VP job. Charles R. Fischer and .lefl'rcy Rhoatls — both these prolific writers have since passed away. Charles in particular was a esteemed Roy Elkins — Roy was the start of the “Ensoniq School," where dealers came and got on-site training at the factory. Now Roy has innovator especially in buildiitg electronic kits and devising new and inventive ways of climbed the ladder and is the ‘v'ice President using musical instruments. Elet.-rr-bra‘: Mti.s-it.*ittri had quite a write up when he passed away. makers of Sound Forge, Acid, and their new of Sales and Marketing at Sonic Foundry, College of Music in Boston. As a performing composer. Boulanger has played his music in Moscow, Japan, Canada. throughout Eastern and Western Europe, and all over the United States. Richard has received many awards and honors including a Fulbright. Cm the electronic end, he is an has appeared in ll compilation ClJ's, includ- Ray Lcgninl — Ray worked a lot with Paris authority in the CSound world, and sound is ing his own projects tAssemblage 23 — his specialty. Read this — it will give you and idea —- mitpress.mit.edufe-booksi’ csoundtfpagetpubfcsbookfcontcnts! intro.html electro industrial and Nerve l-"ilter —-— dark during his employment with Ensoniq. He also contributed sounds to an ASR-X audio CD. Larry Church — The co-owner of [JANLAR Music, the creators of Monster Dan sequences. Who can forget these guys‘? on the Canadian Gashedl label Uctober, Sam Mims — Wrote many articles and was the Haekerpateh guy for the longest time. He now owns and operates Syntaur Productions. third party company for unique Ensoniq products. They also distribute many of Ensoniq‘s accessories. Sam used to be in southern Cal and now lives in Eagle Lake, TX. Bryce lnrnan — Bryce is currently a transcriber among other things with Word Records in Nashville. Jeffrey Richter — Although Jeffery rarely Tom Shear — “Mr. Bl£JtMr. Las ‘v’egas" himself. Frequent writer for the lllrieitei-, he techno]. He also does remiscs for industrial bands such as THU, Scar Tissue. Pain Station, and Flesh Field. He is releasing his debut album as A23, entitled “[.‘nnierii,ot." vegas product. Gary Gicbler — Giebler Enterprises: Converters and translators. gear for making all that awful ruckus is an Tony Ferrera and Cosmo Watts — Tony and Cosmo now work for Seer Systems as well. Tony wrote a series of escellent articles during I995-l'£l9?. Cosmo was with Ensoniq since the late lQl:lU‘s as the Califor- Ensoniq I:iPS- I6 Plus — wow! nia rep. Michael Mortilla —- writes orchestral scores for plays in Santa Barbara, CA. Tom Tracy & Robby Herman — Both worked for Ensoniq as manual writers for several years [seems they know good writers when they read ‘em!]. 1999. Amazingly, his sole piece of musical John Loffink {First Generation} — John wrote many technical articles {output modes, ete.}, and pioneered some Ensoniq samples Steve Cttrtin — Steve wrote a couple of ar- using computer methods to create wave- ticles about micro-tunings, and developed samples in the digital domain. He worked for Kuraweil for awhile. the MID] Tuning Standard for the MR series land eventually the ASR-X as well]. He now is an Audio Applications Engineer for the CD-Radio project with the Microelectronics division of Lucent Technologies — Bell Labs Innovations in Allentown, PA. Mark Cecys {Triton} — Mark wrote Triton, a late alternative Mirage US. l-le went on to work for Apple Ctjmputer. wrote for the Hrtcil:er', I had to put this is here. Jeffrey wrote the first software program that worked with the EPS — it was a DDS program called EPS-SENSE. Cute little item —-~ some Ensoniq people mentioned that they used it to name layers and wave- Tom Metealf-- The person behind most of the Mirage sampling stuff. He then did much digital artwork for Ensoniq [for cttample. see any of the Ensoniq-produced CDR- CDRGM covers}. Looks like he's doing lots of 15 Jerry Kovarslty — Jerry was the head of marketing during most of the lb-Plus — ASR-lfl days. He now is the Product Manager for Rorg. (BTW, he was the guy for Casio before he worked at Enseniq.) The Bevy. .. P‘.-wu l'Il.'|.\.I Or at loost most of ‘om oi.-t =.+.- -i-" &§- .-:,_‘§.i~' ' -ll 1;” i-ra.a’:_"l“" '- st E it if ill .-tot. -:- :' :.,_. =',,.5;;,""'-t=-tit ‘ii -'\- E .;. _, ._ "El=ii" _ _ i _”,___."'l,,ro-_, :§:§:=" ' ' "' '-A ""‘\- ' -. ._|-c\.-.2. 55. H-:-.-. op - eld ...-\.\--—-IN" efah . 5- ll .-i. . W-'-. --=1. _c "LP J-3; - -.-.. ,.a 7 . F .e . Q ;" oA -.:: :-.-:' .-.- . ---.-.- . .. ...-..;.._. :'. ,5! ‘ii ; “as I 3 l . ;- r\i.-'- -' 'a-.$.-.|-q~.y-|.. -.,;.|.-id _,.,;.._.y.-.s-.| . "'12: . :--:-\..::-.; .i' _:__:.'g-: . ' -:- i :; gill‘-.at -v--+-1":' ":1: :-i.-'-I-" gI ‘.-. rt-II " "_-|-. .,= sea-I" , _,.5I'_ ' __ . - 1,-._:L 1;’, is lass.. -r.===.r ti-'; . H . -_l k l '5:-'l':-.;:=. ._ . ':-:'. : \_. ‘‘s. .,_.1- _ _ . . ._ “gag."'§:i'-:I 1:: r ‘ /R an _-J‘ ‘fl- .- -.r"‘i ' oi ls. L11-H“\.-P“? l ti j-— .-i.-w . ‘fliil--or-' H‘ - --: -.-i. \- ‘,5, .I gr “:.-|.a- --? .-'_i.1-r-'-- ‘It.-_§,,_,; .~=-,,fi -\. -s -__-.-1‘H. .-.fia§---"'.-. .- -.--.- :-l'°'+_ll:.: .___.:_ .-i.-T r ‘ii ya, "' 1. 1' 1' '- .,. ~t-- ,. 1__\__ .=.,.§l";..;=l-“iR i '-: .::;_,,; _,,,,__c ‘\-.- 5 an 3433 -i. :‘l"\- . ;.;.;._ ._ ;. _:;;-. -'-E.-i .- -s-oils ‘ ' pu- I1- I ‘ | *- .-:='lI-:-"1 :' - - . . .. a_. . _ | _\_ m F _.- I -i ~a,,,,.l r fg new -Q 1‘-'l"I*‘F ‘ .. 5 .1-r “fr .:---. '5'-5‘.-"' 1| mi‘ .11.}.-i-qr . I Ill.- I.1‘ | ..-. lg . .;.._.,_.,,g____,_ '\- hi '4. |El':.'|'-'."\-'\-'\-I'\-'\-‘I-1-. - . .-i... . _ -II'\ .,__ ..W . ' ' ' """""‘\I'\'\I-‘ll--:I. All v|_., bl"-"""°' . """""""leI-Ia-i-u-i-i-ti...-l.y. -.-.-._._.,,.,|_“__|,,_ _ _ - _ .,,,,,,,,.,_.,|., I-I-no -.<. _ __l _ --1-1 'l| adllh aa ...-|.._.;.,_ re ==- I:-7-—-*" naps .. ---n'hl "is. -sneh- ‘Ii.-F I || fl .,__ .:- _i .-1" -\- "-~ 1; ‘ti .1 -.--""""“h . .,_...- -._ .__ I-etters for The Interface may be sent to any of the following tttldressesi t.?.S- tvlttil - The Interface. Transnniq llacker- I-“lfl? SW I-lpland l]r.. Portland. UR ‘-J't2;ll lilectronic tttttil - lttternet: ittterfacc@trartsoniq.com. In many cases a quick ttttswer can be obtaine-tl by posting to our interactive. on-line Interface at ottr Web site fltttp:.-'twww.trattsottiq.comtinterfacc.lttmlt or callittg Ertsoniq ("S at ftll'It-ti-lit-Iltllftfl. This is probably one of the most t:-pert forttrns itt the mttsic indttstry. l.ette|‘ writers are asked to please keep the vitriol to tt minimt.tm. Readers ate reminded to take everything with tt grain of salt. Resident artswer-man is Pat Iiinnigan {PF}. I-etter pttltlicatiott itt the printed version of'l'll is subject to spttec cttttsitlerations. liretl l'i-lttttttr lt- -Sultject: l.Ircetitt gs front Woctdstoek So the last issue has rolled arottttd. all too quickly. Just wanted to drop a note saying what a great contribt.ttion the Hrtttlet" made to all of tts over the years. attd to add m_y thanks to tvltat will surely be a great resounding chorus of otlters- Iirortt the time I got tny l:'SQ-l, I l'ottrtd the l'tlttt"ll'et' to be an invaluable resottrce. The articles ol l.onely-tittyl@aol.com — t}ts'ner of all 'l'll's: purchaser of Mirage, l~Il1'."-2. l'vIl~l-bl; supporter of RC5; favorite color is 'l"t'aoslt.tcettt. AND. I santplc- tttlttlftt'tt.lt-t'tttttttt.t't.'ttl_t;ettt'.f .t'tlt'tttt"-t it .t'tttttr'tt'here hetueett -htltflfl ttttttl -l'i.f.-7:'flt'l. f yttttr't'hct.tert-l ttty .lrts't rttte fl‘ tttvtt -i’ ,1 jrtr l'ii'ifl tt"-".lt'-ll.'H -ltttt'n".rht*t't" t'n.tt'. -to his ,nt'tt"t'tt,e .vet'ttt.t thighThtttt tt,t,tttt'tt. l' frtrttl.'rtt' jitt ttrtt t'ttttttth.t' to _tt'ttd tttte-..,t' 'l'll and Pl"- Ilere we are at the last issue, Sorry to sec it end. l'n1 mine that you kindly pttblishecl beginning bank in my ltopittg that l-‘at will give tts a an idea of tvhere or what daec as a "v'I-'l'tIsd idiot savant wound up providing the basis for what has become my grtttvtt-up career. Attd I tnct lots of tticc liuckcr people. by phone. by e-mail and the website will look like. I'd ltate to end it just like thisC an you fill us in‘? ll'l |Il'ti'."TS'llIl'I. fitclaware [lave ,|'.tltthtt t":l'ttt'l't’.'t' f_t-lJr'tt'tlt't"@'tttttt'tt’c'.ft-tttct't'.t'rttrtit f tt.t'r' rttt -lit‘?-l' ftt t'tltttt't'h ttttrtl f' re ftt'r.t_t,*rctttttttt-*t.tl tttrttt_v ,t't'tjtttt*ttr'e.t' rt_,I' t'tttttertt_,rtttt'.ttr_t' Pdi W vr.tttg.v Ihrtt‘ _t'rttt are tt't*lr"ottte to httrc ty"_t'rttt ,t,=tt tt'ft.ft tttt .‘i-'t'_J-tl- lftttt rrtrt e-tttrtt'l' ttte ttt J'Hrtlt't*.t-.?t'lE' @'ttttt".t'r.tttt, ttt' t-ftt'rttt,t,*-ft ttty tt'eh.t'fte t-tt fttt;t:tthrttttetrttt'ttrtttf,t'tttttt'Afteg't'trR-If-'.-"j' f}Musuttt?335@ttol.cun1 *rt-t. Thanks. lane and lirlc. for all of the hard work {and of course you got fabulously wealthy}. Who'dtt tltottght t-“F — fitttre: F-=l'_t' tt'ehtttrt'ster ,ett_t" t'tt_,titt-ttt-t ttte t't'.t tthttttt it yoult-I ttutlasl linsoniq itself‘-l tt.'r'e.-I.‘ rtt' ttrtt ttttt — .rrttttet.l'tt'tt_t; ethttttt t'r'ttt'.t.'tet't'ttg lt'tl-?t,',tt Best of luck. etttttl .t'ttt_t[l‘l .'ittt_r tttttettl. tlttrf I'll _t:et ttltttt rlt'.t'tl.' out to _t'ott this et'cttt'rt_t,t---If Sorry to hear that the last issue is reality now. I never managed to subscribe tfl wasn't ahle to find an okay way of payment without a credit card attd front the other side of the globe}. Perhaps you remetttber my anrtuying posts... [tut I'm sure at one point I will simply bt.ty the "I-"omplete llacker“ front wltere ever possible. If yot-t have any tips - or if you have “f_'omplete llackers" for sale - l't.l love to hear about it. l~l'.obl-ty Ii errttan grog anlt@ ibttt .ttet ,fTH — Hey. gtttttf to hettt'_tt't.tttr _t-tttt.’ .lt-'tttttt’tt'ftt't‘t' 1l't' tttttst httt'r' ttti.tythtt tvtl tttlt the tt'ettt't.lt- httt tt't' tttet tt fttt tt_,|"_t,_-t'tvtt ,tatt-.v ttttt. It's fteett it hfrtst. }‘ {Attthott_t'_tl"t*t't‘ttrtt@t'ttttt;ttt.t't’rt'r'.trtttt - l‘t'et'ftt Hrthhv. -ttttttt, tEt'tr', tttttt et'et'_t'httt-l_t" et'.tt' t'rt the _,t‘ttt'tttt't' ,Etr,t'tttttt,t r'ttttttttttttt't_t'- .'t'ttt't'_y ttt tree tt'tt'tt_g-t _t,=tt ttttt ft'kt' t.ftt'.r. httt techtrttt'tt,t,,=_t- t"t.ttttpttttlrt t-rtt'f tttttt tttttst jitfttttt tl'tet'r _t.,=t'etttes"t .vttt't"et,t'e.v. t't.t' hrt.v hrt,h,ttettt'tt' tvtth the t’t'rtfltt'tr.ttt ttyf Ett.t'rtttt't,r tttttt uttrtther t_ypt' tt_,t" t'rtttt,tttttt_t'. .l' u't'.t'h yott rttltl tt'e|lt", etttttl rt,tt_pt"er't'tttt-' the .rttppot't ttltrtl I trrts _gt't't’tt t't'.'t .l' tttrtcettl tftrttttgttttttt ttt_t' tvtt'tttttr prt.tt'tt'tttt.t tvith the t"ttttt,ttttttt'. I ttl'.vtt hrttt great _,t'ittt tt't't"tt'tt,t; ttt'tt't"l't'-t j'ttt' the If-:tt.'.l"et". tttttsl." tt'.ltt'tt tttttc ttlt'tttt't'tt. f'ttt httsy ttltttttg ttthtrr ttltttt_t;.t" trtttlt the -t'tlt:t‘ft'-t' I re_tittett' tt'ht'.ft' ttt t'itt.t"rtttt'qt. tt,v .l"ttt -tttirc ttrtttt_y tttht*t'.t' ttt‘t'. B'e.t't !t't'.t'tlte.t' ttt rtt't' r.y|"_tt'r.=tt. rtttttl _,fee.l __|"I't't' trt ttrtttt tttc at lttte at: Attttttttt_t'_ Ft-rrrtrtt@-:'tttttptt.t'et't'r.t'ttttt. .{l‘_t-e jittttotr... rtrttf Rtthh_t'- gt't'e ttte I.-I‘ t't.t'tlt'-'.".'-',l' Dear 'l'ransoniq. Good luck to all. I watttcd to cotttribute something, so. with your help {couldn’t get the last two}, here’s :t reverse indcs of file extensions frotn the l'ttIlI‘.-tftl- Saving from the MR is easy enouglt. but reading the disk on a PC was confusing. 'I'his maybe helpful: ,fl'J.-lit‘rt.t'ttttt?.i-i-5@ttttf.trtttt — 't"hrttt.ll.'.t' Pot. 'f'.ftt'.t' t'.t too .ht'_t;hl'_t" t'ttyI'ot'ttttttit'e rt tttt'nlt'ttttt ttt ,t'tt.tt let tfftr. fHrtrt' ttt htvtr ttftrtttt the .wttttt-to-he tt't'htt'tt'. ,f lrT.l'I -- Pttt'.t' .t't'l‘t' it ttt-' tt'tt"t-t',t'ttt.tttt'.ettt‘t‘tltfitttl.'-ttc*t.-'"_l‘t"t-tl-5'. Til- l'vc settt all the e-ntails and lcttcrs I ever will about the dctttise of tttt-:"krt- and the fall of linsoniq. so now I have accepted that I must move on attd I tnade that first step by pttrchasing the Proteus Elli]-IL Good I-ordl What a machine! It is cverythittg the l'tt|R Rack watttctl to be and maybe cottld have become. I mean. even ts-itbout a plug in there are ll banks of I'll.-l sounds to start out with. and the quality is beyond cttccllcnt, especially the guitars which are the finest I have ever heard. The auditiott mode is vastly superior to the tvta as it has tttany ntorc anti longer riffs. liven witlt the 32 MB I donit know how they achieved the qua ity of the samples includittg sontc killer keyboards. t‘t.lso, this batty has two sets of MIDI. capable of 31 channels and has llltl voices. .‘iupposedly one of the plug-ins will give it sample reading ability. All in all a ntagnificent piece of arcltitccture and proof that tltcrc is life after Iinsoniq. .T'll]l ll"~l .lf_iat"l 5 ltklfi Fttjil actl.com .ftl’t"' — _-'tttlttt.' 'l"httt'.r _t,tttrtttl to ttcttt: I htttt tt ,t:-tttttte t-aft t'rt.t't‘ .Al.L -SSH -tttfb -tttfdt All ltlessittn Al‘ ltiongs Une liittttg .mid .rbk -rhy .sbk .sott .pbk .pre Mllitl file from Sequencer l"l-S ltltythnt Rank Clue Rltytltm Suttnd ltank Single Sound Presets {Jne Preset Ctut church is looking into upgrading its sy ntlts- Wltttt is the 1-ill-I worth"-I .vr:t'v ,ail ‘Wavt: l"‘|l' Wave Mac Lierrcn. l"~lcil .':"'l".l' l~lAl't-‘I Rltylltttt l-lttttk I]§l_Ll'T |'l|,l I'||ll:i-ll T11,‘ I, ll - I'1',i,:Il'l'I'|'li .'.".".’ RA M Suuttd littnk Thanks- tttrttttft _}'t'ttttt rt t't'tet'rttt tl'tlttt'tl.'ct' t'e.tttfr't' t'.t]tfrtt'tt ttltttt he ftttttgftt rt F.i'f.lt'l'fl' tlt.tt.'rerf tttt .ft.'t.*_t'.ftrtttrtt' t'ts'tt_t;tt:t'tte'.t- "t't'l'tt.t'l‘ Httrt” .t'tttttt-'t rttttf t1-'tt,v t't-'t'_t' rl't'.t't:tjtt'jt_tr_tt'tttettl tvtttlt it. .tltt.t't gtttr',t' to .thtttt" -- tt't'_t'_,fi't"t'ttt .vtt-ttkes jitt" tt't][tt't't'ttt__tttItl.'.t"...,t' And, to Pat. if there's any way one can help you with the online liacker. just let me know. Idon‘t know too much abottt tttost Iinsoniq products, but I'm pretty sttre I know absolutely" everything about the ASR-Ill [meanwhile including what the "Instruction Monitor" is good for}. 1-} Best to you all. literek von It-Lrogh dc rek vonkroglt@gm tr . net {Tit - .‘i'ttrr_t'. tttt ttt’ntt.t' _titr tttt_t' .l't'ttt"t of “Cttttt,tttt'te Httt-ker." ll-‘e pt'tthtthl_t' trt'lt’ pttt together sttttte -tort ttyf “l'i't.-tt-rt.t'tt.l'.t" to setttt ttttt to _,titl.lt.t- tt'ho.!te .t'tth.tct't'_tttt'otts trt"c.Itfe t'tt ttrer the tttttttth.t to cttttte---jl flood-bye Clld Friend Well. lterc we are. We are at tbe day that I think most of us felt would never come. My two short years of writing for the Httttter ltave been, to say the least, a real roller coaster ride. The lows have included such items as the bickering {as I call it. Iilaminglt itt the Interface letters and the bellows of hatred toward linsoniq. For tne. the ltiglts include the actual idea of being published. and beittg able to really help someone that really needs help. It was great for rtte becattse I got tt chance to put information into a clear, step by step process that anyone could understand. Those articles actually ltelped me leartt product and share some tips that I have developed on my own. as well, put across some ideas that I gathered frotn others to help a mass of peoplel think that a lot of people could sil and complain tjor ntaybe speculate} about why or how something like this can happen- I cart‘: claim to have any answers for thatbut l cart say that tlte I.l'.t.tr'tl.'et' was really there ft_tt' tl"|oso l't"F — Neil.‘ .-ltt_r ,ttt'tt ttte tttt this it ,ttttt'ef_t \-;’{-1--[igl-lsi t'.t', ftttt i-t" ll"-t rttt Hf}-I -iI’-t"ttt't"r. t’l=frtt"k Fttft't't' ttt tttt,rt:.-'.-tttt'tt-. 19 who needed it. writers and leaders alike. I have lteard people at many titncs say that they would ttcvcr have learned how to use their sy nt hesi1cr- if ttot for the Httr.l."er. I lee] that statcntent is a tribtttc to what the Httt.l't't' reull y has done for people- I want to thank Steve Vincent For doing the reviews of the music I have produced. Even though the reviews were pretty lavoritble. I feel that he would have still told me it" I ha-:lrt'| ntet the mark. I-Ie has a v.-onderlittl tan».-,1 head-sn-ellingt way of eornplirnenting one's material. I really thottght l was a star afterwards. Thanks! Don't forget that EHHDNIQ technical support is still :1 great place to get answers for Ensottiq relatetl questionsPlease try to he patient with us thtiugh. we are short stal'I'et.I ancl with products like Paris some calls tnay take a little longer- Their new number is now f:lU-‘MB-Efihfi. lane antl Erie. l wish it tlitl not have to come to this. but as they say l"t-‘t"l'l11Jl'l'tt3‘v'ti.'f they isil all good things must coine to an entl. I think you guys provided an irtvaluahle service to many users. There will probably never he 5'Q-etfl. Tit 'll'ti.'t-' there in the htt.t'. t .-.'tth.vet'iheei, nttti here htttre itt et'er ttittee. TH t1-'t:t.t' nne rtt'thrt.t'e re.t'tittree.t' i teitti ttrer entt nver nttii river in the e-:trt_t= ttn_t*.1t t1'ht'ie t iettrneti the _t'itttti'tttttettttti.t ttt' tt't',eitni s'_t'ttthe.vi_t. r’tt'thtttt,eh i‘ have reiiett tttr its ter-hnh-tti in_ti.=t'rtri:ttiittt test‘ in t'e't'e'ttt _yeer.t. itt ittt_'t' t‘it.s'e. httihttt trt Jettte ttttti Et'it', 1t'htt.t.e' t'th'tttt‘t'tii i:tt'itt tt't§titse¢t' MAN? ttntetrtthte s'ittt-sttintts. i't't ttttr reittier tntse l|'l'|lit.i' t‘rtii't'ett' ht.'hIt'.tttt' the t;lttt't'tt,t; .t'ttt'-ti .'t'ittttttt'tttt.s', etttei tti [tti titttse whn -:tetttnii'_t" iettrneri the ttttttnees of their tlt£tt',f,L tvttre iht"tt the tttttettritte. Enti ttt'tttt em. httt ttttt the e'rttt' ttf .s'tt,tt,t.-'tttt't ,htr thttse eie'_t;ttttt e'ttt'i_t' I-;'tt.s'ttttt't,t he_'|.'httett'tt.-, thttt the rest ttfthe trttriii __ht.vt r'rttt_t;.ht tttt with- I-ienrettrher 'i'H hits heitteti ttte retttttitt pttrt tgfthe Ert.t'ttttt't,t tttr ntttyhe tttttre t'ttt't'e-:'tt'_t' the tht-:.'i:ert ehttrttrttttt'ti*. tttttt i‘ ,tntrtietihtri_t' en_itt_t' the tttter,titt e. tiretttttrs iihe tfiitrtit iilh-ite, ihtttt ht'r'ttts, nttti ttii the _ti-it ,rtett'tie.t' trhit ,t:tttt'i'teti .F'.'tt.t't.tttt'ty _t.,*eitt' H".t'tI-" t-teer t,ht_- tt:-_tt; they're ,nit.'hett' tttt the ,1,--zttttttiet rtttri tt'tt.tt ttte. ttitttt tn rtht with it tilt‘ the ittst Ettwttitt t'ht',tt e.t',ttit'e.t'. i triii rtitt'tt_is' trentttre .tet't'_t' h'ttt'nt'sl.'_t".t' et'tt.ti1'etti'.s.t' It'|lJ-t't.Hl' ttt.httitiit'it_t.t the iJ.F‘+t, .5'tet"e -t'.'ttsi"itt'.t" tttttr ttf the ttittttt. Rttt i'ihl.itt.t" .'lt't.t r‘mt_et'tttttittiittn.v tin tt ,t,,tt'i‘ttt ttth- The .tttttt'e i thitth tthttttt it. it iii the Htti'her t'tttttttrttttit_'t'. ttttt the |‘.'.'t't.t'ttttt't; enttirtttttritt'. There't tin ttt.'ettttr,tJiis'htnent thttt tt'ittts't-etttis the ttttitiit-tttitttt tt_t'wm'ti.t. tliii'i-.'r’t T tti ii‘.,i h'.'r*t'th Etttetittttt t'ttt,|'tt'e.s's'itttt. tttli the 1t't.trhet' heel; in the tt'ttt‘ehrttt.t'e. the f.'r’li.'t tt'ttr|l;t'tnttttt_ the iIt_1.'tt_t'i,v _vt,ttttttt tii'.s't'_t,,ttt t-htttrt.- etr-it‘ rtt the ertt ttnti itt',et'ttttt'tr,e rt_t't.he nettttrt'iiettttittttt... another like you. Thanks! Iiemetntz-er to he funky. make music. think linsoniq! Good bye everyone. ant]... Good luck! Iiric Montgomery I'v'ly natne‘s Chris an-t.I I‘rn trotn tutstralta. I*m wt':|nt_Iering il' ynu know of anywhere over here tfiytlney antl sur|'etu|t-tling area] that sell RUM and Iittlvl cattls For the Enseniq SQ-I (whether it he stores or web sites}- Any help would he cool! Thtttths tn nit‘ .l|ltrJ.\'t' whit tttinte this hriet httt ,t.tt‘tt_t‘itttttti iiettt in the tttti't'et'.'tt.'. ttttii it rerv .he-:tt't_teit thtttt.l:.v tit i'-Irie ttttti Jtttte titr ttttt mtir nitttierntitt,tt this _tttt'ttttt httt itii't;i1'ing tttt.’ the tit‘it"iiet;t' rtt “itrtet',ti.t-:-itt,1.;" with nit tt,t"_1.'.-tit. We ttrtttie it ti'[|I'__l‘et‘t*ttr't*... i"'ettee ttrtt...,i Thanl-as. t’J'ttt'"rtt Ft‘rtiie.-' t_t'htth'es@'tnttrteeh-htttt'.t-tttttt — itettr tittiei'i‘H .. ]"iten.lt.t". Erie." tt'.t- heett tttettt tt'ttrhitt.t.* ‘With _t'tttt tn.-i — .t"tt.t_'t' _,ttttt.lrjt'.',i L'hris King diggingest@mps.ett|n.au er: tl '-t‘ttttt'ii' iihe ttt et'hrt ttvtt .t'etttttttettt.'t' itt Et'tt".t' ptttt. ttttntei_t'.' it tt-‘tt.t' it _et'ertt thriii tt't‘t'titt_:,' ttt'tt't'.h:'.t thttt _:,;rtt ,tttthii.s'.he=ti in TH. itnti tttr even ,et'-:'tttet* thriii to httee [FF - finite: it's heen t‘-t' hethtrti rtttt. ttitt't it? 't'hi.~t _titt'ttttt .htt.'t ttitt-n_v.-t heen Li pretty _.I'reett'hee|!'itt,s.t t'e.-tttttree, tttttt therein ht_t' its vithte. ltl’e'tt' ttitrttys tet'i' it tthe it 't't'tt.'t'. repiete with ,r'i'rtttte.v ttnri ,nriti.t'e __t'i'tn-n Etr.'t'ttttitt i_'ttt'pttt'ttt.e_ tJttes"tt't reenr tthe t2 _ve-:trt ttgtt iehett i iittttgitt ttt_t' ,iit'.~tt tI=tit"-at;-1*. The ittternet trn.wt't even it _t,tit'ttttt in tttv t’tIi‘t"'t'i".".t" eye hm-it then. _t'et that‘.-. where itii the .ttt,ti,mtt"t_titr these t'ettet'tthii' t'nttrtttttettt.~. it tti t't'|tl'tt'.'tl.".' st-:t_t' ttttreti-.. tilt" — .lJr_g_t,-'t'ttge.s't.' ."i'htrt't ftf the .Eiet'tt‘t'-1' F-t-t'I.'i't'tt'_‘t‘ rh.=tt'tt tttt-:h't'. i' httrttr hf no other r’I.tt.t".rie tii.~ttrihtttttr.t". Ftttt ttti_t;ht ttttt.tt't.' thtttt_t,tht,titii_i' tttttri. _1.'es', _t'itt'ttrrtitt'_'t'_t ret't'et|.'ett hy .'i'te'-‘e '-"ittt'et'tt. i rti'.t'tr tritttt tit rtthi thitt I’ thinh it hits heen ehi'ttit £'.'tr.-"tutti-:,t to _ttt't It ttrnre ettrrettt ti.vtt'tt,e tr_t'ri-ettiet'.v. t'er_t' ttttt_ettt:ttrittttttt.t" ht Tit to entttitttte tti prtttttrtte tittstittit,r tit‘-vtt'rtttt in their tttitettritte. trhiie t:‘tt.t-ttttitt hits" s'ttt,n,tteti ,=:r'ttttthtt'tt,e Tit with their ttrttitlttt't.t. The ttttiv trtttree t'ttt tttt'ttt'e tit is tvtt-t-.'._ti:ttstttthe.enttits_t'tttttttr — here in the .'t-‘l -t5t'i'|1*'.'t. Hrttit .'|rtt'mt" t'tfttt ittttth ytttt tip... ,1‘ 1' hitii heett itttet'esteti itt .t_i'tttite.t'i:_er.t _tttr it t'ttn_t,t ttttte. httt it-t"t't‘.'t' itttit_t,'ht rtttt’ tttttii the Hit-ttt't, tthett i‘ ittt-tt_1_,t.ht em “iii llflti C358 I __T'_ Case: for . ilerlranic Eqvbmenf UPTI-CASE, like the great pyramids, built to last and protect. "'“'-Ii -nan Now available direct from factory (escept in current dealer areas) our full tine of ATA cases Category I and II -i nail’ Models available for all Enseniq ._|_I|r keyboards and racks! .-:' _ 6:1-.' . " ' '-{:5 _ J _ I . ' '1 Ir t.-I-r H Mention the (TH) cede ntttrther 339 when inquiring to receive our speeinifnetory direct pricing. Shown: 4-spaee rack with EPS-16 PLUS module, CALL US AT 1-800-637-B635 The Optimum in 2-space rack, Eagle-I VITX-sd case S:l][l am to 4:311] pra -CT, Mon. - Fri. I We accept: COD, Visa, Mastercard, American Express. Dealer Inquiries Welcome! OPTI-CASE yr 1_75CH 431 West, Henderson, TX 75§_§4 - FAX: 903-B5?-6030 El] Does anybody knows the way {artyll for tlsfiltl.-.'ltl. uptgt'atl- ing to an ASH-H pro‘? I sold nty lovely ASH-IEI and it lttoks like I fottnd myself with h.‘.iiI~l-it in the road with the wall in the middle — even if Enseniq tits dcalcrt prom ised permanent upgrades... .t‘t.s always. thank for all your advice. sount.l-offs. and inspiration over the years. Phil Rogers curco@tttn icIt-edu Ibigniew Poland t:it.i@mcmo-ikca.eom l’tttt'h' tttttr have tr etttti sterett rtttttrtt. l"hett t'tt,rt_t' httth tt__t" these t'tr_'|.'et'.t' t.tgt.tt'tt_' trntt’ tttt the tetiit.'itt.vtt'tttttetttt tttt,t;e_t. tttrtt tt__tl' the tl'e_yt.t'tt1t'tr _,|'itt' these E ttetr h:t_yt*t“.t'. stttti tr.-rtt tttt the .l:e_j|.'rt_pI ylittr httth ttt‘ tcet't. .Il-{tthe ttttre trii _tttttr t'tt_t'et'.t' tire etttihtett ttt; _t:t.t.tt't ttf the ptiteh .teiet.'t ytttt t.tt't:" tt.tittg. i"'t-'tttt' trhett t.le',*tre.tt.t't'rt,t; the .ltey _ytttt'tt het.tt' the _~ttet'ert [PI-' - M'ttttt':ttt.' FItr.'t'ttttit,t tttrtii t.t tttt tt__|"' hettt rttt t.ht'.v rttte trhett it tt_t‘_,fitreti tttt tt,ttgt'ttti'e ttttth ttrtti thetr rte_t;.iet tett ttt _ttrtt't't'tie tttte. C'tttr.vt't,tttertti_y. the tttt.i_t' tt,tt_t.;t't.tthr tttrth is ttt teii _t'rtttt' tlfiii‘-it’ tttttt ittig Hie tileti. .~'v'tt other rtttt,-rtttt-e ttttth e t:t'.vt.s.-.t t'F'F — Fitii: .-'l.tt.ttt"t="r.s. itt ttt'tiet'.' rtitttrti. hat ttn he_vu,tt ttttl_t' tr .-rttrtttti ptttnnett httrti ieji. Catt ti t Tt'_t' t-tttt_t'ittg the .5'tlt'li'i’i.i'~.'. then t-tt,t=_r the h;t_t'et' mitt tttr_'t'ttttt' tt'ttt'il' tht'ttrt_t,th this ttrttt e_i.',tttttitt httttr ttt get the .1-'tttttt' vterett ti'et't-t_'t-' e,t'_if|i='t't tttt tlt'£'}'-[lfl ttt" tttt lre_ytt'tttt'n_ in other l'-‘t'tt_t;rtttti thtttt ttt ttttttther i'tt_!t't't" ttrt: tt'et'i trtt the tttttttytie tt'ttttr t't.i'tti__|'t hlee if thtrt tt'tte.s'tt't t'rtt'ret't the ttt‘tthl'ettt- other tt'ttt'ti.t hew ttt get the t.le.h:t_t'e*t.t' ttttrttrti ttt itiel: in ttt the tittre tt_,|"the .l:e_t'tt_rt event?‘ lit l-lt'htttt_t':t.'r.' t tvtr.sn't tr_'rin,tt ttt he tu'ici'ty. UK. .-my ttt ti .vtttn,nt'e ttrte tt,t's'ltt*. er. tchetet-er the .'ttttttt;itrt'tt' ttejittttt it.- till tlittrttt ttt tttttttr. .. llelp. tttt the tl.‘t'h'.-.I" I have a dead I115-Ill and my repairman says that the main controller bttard necdcd Fl. lltoes anyone know the ettact nuntber of sample wttrds in a -“l-beat sequence at Il.ltIt beats per minute‘! {lfl .l't '.t' th't'et'ti_t' ,t.tt'tt,ttttrtr'tttttr.l ttt the .t'trtrt,ttl'e r.-;tte t'tt'it'tt t,rrtt'.vtitttt E’ J. . . ,t' 'i'htini'ei tigttitt. ,v't.tii' Ht.tt.‘tlCt’.’t‘.s'-_|l ts not availab-le. t"'t.t‘l}-' ideas‘? ,t'.F'hii'fi,tt Rtt_t.;t't'.t t‘t'tt:t'tt@rttttit'h.t*tittit Hi Ptrr: tit .'t'trttr,ttie.r were ttit'e.trtts t'rt;-tie.-t. ttttti itt _t-t-Itttttrttte ttt_-t-en.-_ hlttr ?Ztttttie.'llrl@aol .co nt tttttyhe t _ttt.vt ttrttt't tttttiersttttrti _'rttttr t:i'tl.'t'lt't’t’- ,|"Det'eh rttn h't'tt_t,th tti't're.l:t'tttthrttght@'gttt_t'.rtett - The iteyrttt thte.t'n't tvttrh ttrr tteitryeti i'tt_t-err. ttt iettttt trtr _titr ttt" i‘ retttettther. The .vtt.ftttittn is ttt t't.*.t'trtn,rtie the ttttrt ttt the fill" — .'t’.'tttttit': Pttrtt. l'tttt t'ttttltt' t'tth' ttt‘ e.ltttii' i':'tt.stttri.t,t ttt see t',t"the_'t' htrre tr .s,ttttt't' ht'th'rt:._= tttt t'tt .lt'trit't't'tt. Try .'§'t.tttt Tt'_v ttctttttliy tt'ttt'tt_t,’ this: tvith ti tvtttgtt tirrtnr .rttttnt'l' itt trerett trttttttt _t'tttt'ti iitte ttt httve ter he_t-tt_tt-s'i,ettttt, atttt then tt'i,e,eer tt steren layer -{with nit i'tr_yer tieitty tit trill. t'l"'.l"l'H'l."t' ttt 1'l_t'tttttttt- i"rtttt'ttrtt'tttt.v.' he't heen hrt_t'itt,e rt,tt tthi h'tttttttrit,t ,ttetrt' ttttsi ttri_t.,=ht htt!.'t' ttttt'. tti'thtttt_t,th it's ti tlittt ehttttce. [itrttti i'ttt'h.'l' h.t_'tet‘ i. t'tt,tt_'r it ttt hst_t.'et‘ 2. their p.-ttt the t'ttyer.s. the ttt 'l"ht.' tteittyhttttrett e_t_l'i:’t't ntttr t1.'ttttt'ttt1't he eretttett ity the httrti te_ti. the set'tttttt' htttti right. Fer it.r_'rer 2. git ttt the teti'it:itr_t'er,l ,rtt.t,et- ttttti tret the tieittjr titttttttttt ttt 4: then gtt .'r_t'nth t'tt_eitte. hat tt:ttttitt' he itt.t-itte the tttttttri .t"ttttt_ot'e dttttr. Ttretth the etttrelttpe ttt yttttr itlltittg. trttti it trill ttttttttt et"tit"tlt' the sttrtte t.t.t if uuhtrt ytttt tiererihett ht.-ti ttt ,i'ertt-_i’_- ettt'eht,rte t_t.',t'te,t' tttttil r'htrt't,ee it ttt Classifieds "tttl have a EH-TE. hut ntt l"-"llil. flash add-in- "I3-'ltat other linsonitt sttuntis will my Iltt|‘t|‘ty dtilc tcad itt'.l' Wlttztl lltlt't.l- party sounds are available? lvlark mli ickstfiiltlttet-Its upport.cotn _||'.l"'t"' — ."tti'ttrti'.‘ 'l"ht* i"'itt.t'.hii'r'ti'li rt,t'ttirttt it rcr,'ttt't't'tt' ttt t'tttttt' ttt'_{iI'i:t't*ttt lt'ttt.‘t*.t't's't.lt~tt'i!t.i'.t' ittttt the ttttii hitte. ."t-'t'tt' _tttttt'he.~.'. tirttttt tttttehine rh_vthttt.t. tttttt .tet,rttt'rtt'e.v etttt he t'tttttt'eri itt ritt the tttthtttit'ti_titt,tt,tt_t' th'tt"e... ,1‘ "_,t‘itri.'th." tiang: Selling beloved TS-IE: college money due Septcmpter Illth. ‘I15-I2 with it lvlb lT..t""t.Tltt"l. SFHI interface. tfttttotvt. Invision tI.‘I]l~'l.'s. numerous floppies. in original shipping hos with all tnattuals tit docu|nentalion. If $1 lflll sounds absurd fora $3.'ll]ll keyhoard. call 3I?.tl't5.lIlIlfltl it-=l.l'.t dz let's negotiate! The original llaclter IISQ-I. I“-lecds battery. fliltlti. tL'alI lane. 5t].l-‘Eli’-{ill-til. llo ‘I'll! linsoniq floppy disk sets for t'lt5Rll.l. I£Pll lt't+. lil’ii: Ill disk sets SLTI. 1'. .1. 5 for $20 each. 3 disk sets IESSI. I. 4. 5. Ill for ‘lilfi each. Ultimate (‘III t‘.Ftttt'ttvt for i't..‘.:-IRILI Slit]. Fontact: Boris at satnpIeit@htttmail.cttm or t-.ttt.tt;t»t-tstst. llerc ttrc some tltSRt"F.Pl-l programming questions.-"obset= vatit:-ns: ASH sounds on floppy or trip disks: tltfricttnthltttive tltmerican percussion {drums & talking drums. rattles. dance l. tflln an instrumettt which I had “stereo-ieed" by copying the layer. panning the .1 layers hard left and right. and delaying one of them by 3. I decided that I wanted one ol' the patcltes to be a key-downtkey-up variation so leouid do percussion rolls. So I copied both layers again and set the envelope type of the copied layers to “ftnish" and made them both key-up-only layers on the [edit : instrument] page. Trouble is. when the key is lifted. only the non-delayed layer plays. presumably because the key-up event is too short for the delayed layer to be triggered. I think I fooled around a little with second release points to no avail. probably because it's the front end of the wavesample where the problem lies. Ifto any of you sound programmers out there have time to hack around with this one and give us an answer: seems it's a very bells. guiros. ete.}. Plus other instruments tflutes. strings, weird syntht'voeal_t. Large memory sets: many articulations. also multiple hits of same articulations so tracks don't have to be sound looped. t't-lso small memory mentt kits. More info-‘sound lists: entail cu".*.ettt1'-t}_'ltumich.edu; or 5.-‘t.5E. Phil Rogers. Tflfi KMS Place. ttnn Arbor". tvtl tlltllflld. For Trade — For some reason I've secured two Rubber Chicken t'."I'J-Roms ill. I'll trade one of them for a Hubber Chicken {TI}-Rom #2- Please call. flperators are standing by tillllt set-t-stsu or ii-mail me at kcooterttity-ahoo-c om. lie v in Cttote rDEX-ll l.'ilt.ltpt.ll Espander l'or Classic IEPS. Ilard-to-find item. Rarely used. tIItt'iginal bos. mint condition: $I?5 obo- Hill Nolan. 'l?ll-‘llill-Etfillll. nolanl3@hotmail.com. useful thing to be able to do. E. l'f.ind of by accident. l found :t solution to the infantous song-saving bug tthat's where you go to save your song and all ot a sudden it's using a quarter megabyte of memory or mote. attd tto longer fits on your flopPill. If you continually save your individual sequences as you work on them tl do it in a dircetoot on a floppy usually] before and after you do your first “edit song steps." then when you go to do a "save song and all sequences" it never seems to hang up. and also doesn't take nearly as long to process. TE--Ill- Ettc. condition. all manuals. disks. and original shipping carton. llnit has seen home-studio use only {never roaded or giggedl- $l.5lIl-ll + shipping from UkIahotn :1. BPS l{t+ rack-mount. Ilome studio use only. All manuals. factory disks.-‘samples. and will include my collection of samples and sequences. Home-studio use only {never been ottt of the bedroom}. $‘~l'-Ell]! + shipping. Hack-issues of Hacker. Will relinquish my collection for a nominal fee + shipping. Issues date back to at least I957. Don't need 'em and hate to see this plethora of valuable information go to waste. Plcnny Richardson. tjtlllfit 343-Hdib. b-enny@theshop.net. El I Enseniq Sill}-4 tltleitlt Emerson Signature seriesl. I linsoniq L'l'tll-l'.l tltt‘v’ision It-rumsl. l Iinsonitt ("illiIFI tltt"v'ision Percussion}, I Ensoniq ETIJH-"t {Jason lvliles Phsychic Horns}. I Linsoniq FDR-lft [Dance Tools]. i"tll of the above £'I]Rs are AER-lfi {TfJRUlvls that will also work on the ASH-ltittllro. and all are Sill] eaclt tobol. ltlorg Wavestation ELK l§.eyboard w.-"bag Sfillll. Ensoniq MR I-lack $5t'lllI. ("all Eric at dilllJ==ltl-2‘-lfl}. Want To Buy I“:-Prime or il.'l‘-l-ltltifi. limail .leff at ahrensj@'umich.edtt. lli gttys... I ant still looking for a good used "l'S-I2 to huy. I live in lvlohile. Alabama and would drive up to E ltours away to check out a keyboard to buy. Glenn Normand. iibil-bl I -U134. Wanted: broken Ensonit| keyboards l'or parts- (‘all Sam at Syntaur Productions: 4G9-134-Elllll. For Sale: Brand New Ettp-fl tlirban Etancei board tor l1-Lrtsonitt .-"ssrHtF'ro. l'rlFl and ER series synths. This is the one folks! Board and manual $2~t[t Call 9l=l-titIiEIRE-I5 or Email [JoIlinge@aol.com. EPS-It5+ Turbo for sale. Good condition. With case. IEtl_l's of sounds, effects. Zip Drive. sample ['lJ's. {Tall E15 -ElIl- l bflfi. In honor of the service the Trent-ttnit,t Htretter has provided to Enseniq users over the years. Jack Tolin is offering a tape of original instrumental music tracking his Ensoniq-Hacker career- tltll sounds and music were produced ettclusively on the SQ-I PLUS 32-voice synthesiater. lack is asking only $5 per tape. Send all requests to EISEIZ East Tflth Street. Kansas City. MU 154133. Email: "r'ahkohs'@luno.comI:'l’S Classic for sale! PS Systems till cspander. 25t]+ floppies. with printed listing. of sounds. Escellcnt condition! $5'[lll. — Will separate wtcasc. Finale .'l - Notation Software. In boa. Full documentation. 5T5 obo. l"i.eltlt Mullin. El?-1'21-T25? nights. kmulIin@harris.com. days. ll?-I14-slllfltfi iL'tJ't"|lt'e'-t.f. ttlttrt ets thstt lieytrp .s't'gtntI prrt.hrtht_r t'.vn't rer_s' l'tttt_t,t. it wrttt't tteert rt tot tt_jf'tttetttttr_1.' either... .-sls er .vtirtl'e ttote. he tt'etrt'terl' thrtt the sterert e_,I'Jh,'r't _t'tttt mett- thttt i.i'n't trtrttttt-r'ttntprttt'hle. T.ttrtt'.i tthet_'v_,I'rtt‘ l't't-e ttetyttrtr-trtuees uteri‘ sneh. httt t u'ttttttht't tttt that ttt the .vttto'ht. ttrtpe this ttetp.-r.,i Gang: SQ-Ell. Mirage racltmount. SQ-l. "v'Fl'l-SDII. EPS-I-6+ and an t't.SI1-ll]. How unfortttttate for a fine source of suppon to die away because of corporate nearsiglttedness. {and please. no "det'cnse of the l'~lE's'v’ linsoniq" replies.t Their laclt of vision isn't just in refttsing to worl-; with the only active Iinsoniq users grottp bttt in their lottg line of crap that has o-o".-ted its way into the marl-tetplace. I recently found ntyself in a quandary. I hail no desire to purchase an orphan piece of equipment frotn a company that barely seemed to be in the key- board business. yet I was looking for something new. I'm selling my beloved TS-II: college money due Septctnber lflth. T5-I2 with E lvib RAM. SCSI interface. FDHDM. Invision C.'DR‘s. numerous floppies. in original shipping bos with all tnanuals attd documentation. If ?E~l lllll] sounds absurd for a Eliiilllll l-zeyboard. call 3|?tiiil-'il'[ll]ll sill? and let's negotiate! hfter many years of only using Iinsoniq gear I just purchased an htlesis Q5—?.l. It's functional. inettpensive and a solid performer- tliounds lilte a company I used to l-.now.l lvleanwltile- I'll still use my ttlili. and Sf}-I for recording worlr. l't.ott-t'.s .T*'.rtt.'t'r t t:oett@ptd'prrttttg.net .1 — Put. t ttttt'e .i-rttd nt_r ttttttrtrrwcle _titr tttititttt ntrtttes. thett rettrettett that 1' rtirt. t rtttrrt_rs .rut'u' t u't't'f htt_r ttttttrher. never rhrt. .-’ltt_'t'tvrt_t' if _vtttt sett _t'rtttr TS-t2 tvhrtt will _s'ott reptrtee it it-t'th." .~lt'_s' T5‘-t2‘ is trots‘ 5 _1.'et.trs rthtl rtttrtl it t'ttt.ttl.'.s' ff-l.'e the _titt'trte_]." tIttrt_v ttttt .i-trpprtrt re;tat'r.s ttttrt reptrtrrettrettt ports. Brit t htve tht'.-t .l.'r.'_t't.tot.trrt. {Jo 1' tt'rtr.l'et'.sei't it rtrttv trhtlte tit hits .vottte vrttttei’ t trt'l't ttriss the the Hrtetter. t _.titttttrt' it in with t'tl'_'t' .l:e_'t'hrtrtrrt' tvhett t gttt tit. Been rt stths-:'rt'her ever .st'ttt-e._l' I want to thanlt lane and Eric for the ttrtr-tier. hind its contributors. Pat Finnigan. Eric Montgomery. Tom Shear. Sam lvlims. Craig t't.nderton. Garth Hj-elte. Steve Vincent... and the others. I have devottred every issue. read all your words. cottld design great hos. the i"rttttsttrth,r Hetr't:e.r. Along with being very im- suspect. I often thought that the ad catupaigns were terrible or embarrassing {remember the print ads for the t’sl~IR-K with the tniniature homeboys cavorting on the instrumenti’ Ilow about the tninte in the Paris ads? Wltat were they thinl-Lingili. tltlso. sotnetintes the grapltics used on the boards ntade tltem lool-1 Iilte less than seriotts. professional gear. Since my first Ellll l have purchased the lil-‘S-l'vl. BPS lb+ and an ASH-ll}. All with eager anticipation inspired by the preliminary releases and feedbaclt in the ‘I'll. I always Ioolred forward to the arrival of the nest isstte attd the useful information therein. l. along with many others. was not happy when after the merger we found ottt tnot surprised} [lnsoniq would not be continuing their great sampler line. I cart see that the support network generated by the TH will continue to be a resource to us diehard users for many years. I thanlt all the great contributions by tinsoniq enthusiasts and progratrttners to the pages of the TH and thanls Eric (ieislinger attd lane Talisman and everyone up in Upland that have made the TH a great forum and resource. Tbanlt you. David Udegttard dodegaar@post.c is.smu.edu .t'T.-"t - 't"het.tt.l.'.s' __t'itr _'|.'ttt'tr .l.'itrrt tt'ttt'etl.s' t‘ettett'rtt".v."l - t't's heett _t,=t't.tttrt.,|' tttttttl tiff the {I-'1‘t — tltttt tirt'r t'l»htttt,etttttet'_s' ,ertes over this tt tr'ttte ht't in tltli-t," -t"l'HTt".II'l' .f.'t.'.'t'H‘-[".' the Pttruttteter .l:ttrth ttt get ttt the .-lrttflt ttt.'Ir" ftt.stt‘tttttettt. "h‘.oad Test" wtts this curious magaaine included in tlte pressed with the EPS I was equally impressed by the escitement and support the Tll offered. ttt that time I hatl not seen this lsind of publication supporting any competing companies sampler - a real asset and alliance to the EP5 owner. of the tthtet' thftit-.s't=rt'r'.r h.’t.’_'t'tf1lt'tttt'ttl.‘t' up ttt the srtttre t'ttttrttrtter... I Press the .'i't.'tet't htttttttt in the .'i'tttttttt'Ft'tttfet' .s'et'i‘tttt'i!. Tttrtt TH -- liP5i-is. fine of the first things I saw when I tools my I£P5i I have been a sttbscriber and Enseniq user since the first t'tt _eit'e Ettsrttrt't_t it eittt: the ER-It’-1'5 is rt -:'rtt'rettt -l'e_t'hout'rt. ettttt t.t.t .s'tt't'h. teeh .'itt_JJ_t't'r.tt't Ll-' .rtt'rtt'tt.thte jitr ttyttttttt their site. tilettrettther. the ,ttt'r.tr'ert|'ttre _,|'i.tr ltttli.‘t'tt_t; st ZR-.i"t‘§i ttt rt r'ttttt_t.rtttet' rtrt iltfttflf is e.t'.'tetttt".ttt't'_'t' the .t'e.tttte tl.l' ttttlrittg ttt-te Ht.tt'hr't' - .vettt't'tg tip the tlttftl-i'.t.i-‘Iii’ to t1.vtt'.l: 1-vtith mt .-_='_t'tetI'tt'rtt ser,rttettr'er. The best Iinsoniq gear is truly brilliant. the synths. the samplers. the great effects. The interface. the sound. the integration. the build qttality all suggest a design team with tremendous sensitivity to the needs of seriotts composers and performing musicians. with instrutnents that were capable of great artistic range. Though linsonit; TH. {Phi — .-'-lrtct".ret.t.s': ltl-"'t' t"rtt"et'eet l'.fIt'ti|' t'er_i' tItt"rtjet:'t' rt __|I‘i:t-t' isst't'e.s rt_t,tr.t. ftt ffett tg_,f'||at'ttr'ttrt'.tt_t.t their _|rtett'ttt'ttlttr hstth t'.r.s'tte. rltrrt here is sttntethitrg t hrtre tttetttiottr-it ttetitre in the -[Iood luclt to all. robertoromtilaol .com Fat F fl-est regards. hrndreas Jauss and reas.jauss@planet-interltorn-de inslrttments. their tnarltetittg was t"|htlt' the .i'§h."t’.-'t-fti' ts ttt tttttttitttttrht ottnl the tlre_t"htttt.I"tt ht-:'rtt r'tttttt"tt:' is tit]. To .s'efet't stttttttt.r. ttse yttttr rotttpttter .s'ojFt. I-t‘rtt"e ttt .s'etttt' hrtttlr etttrt .ttt‘tt_et‘rtttt eh-rttt_t;e.s' ttt the t'rftFtt'.T'ftt'. tn ttt:-e _vttttr .sry'ttt'rtre ttrte.ltrtge tree-:t.r to hitter t..‘i'tli tt.ert.tt .‘i't'_t;ttt'utir'rtttt .f;!_1,'t'-ttyt ettttt t'ts'.‘i'tli'.s t ti-s'tt.i't .'i~'t'gttt]ir'tt'ttt Byte ,1. the tlttti'.~'.i'l'ti.' tvttt rtttvrt_s'.s' use utt LEE ry"tt_i2 rtntt ettt .-lt.5’.li' oft} tt'oge #52-455 ttt the IR tttrtrtttttlj. Fort tttet_i' tttso ll't'll'lf ttt .l;ttou' that rt t'i.tt t.g,t'rth' rt_t't'he t'l'l'hl' .stttttttt'.- u't'th the pt'ttpet' hrttttt unit‘ tttoerrtttt el't-:ttt,r,te.t is .l.'tttttt'tt t.t.r stt-tttetht't't_t; rttit'j'itt't;tttt to ertch r'otttprttt_1.'. tt ti.-r the srtttte thtittg ttt its tt.t'et's thrttt_t;h. tin t-.'ttt't'rrttttttetrt ttttt f:'ttttt_t,'t"-:' l'.tt_t.;h" tet-ttr.t ttt‘ tltr.s'tt'tttttettt tJe_,tittEtttttt tt.s't ttt ti‘-:t.lteurttt. terttrt is ttt'ttt't'rtht'e _tt'ttttt eut-h t'r*t_ttt'|'tftt' r'rtttl;trttt_s' or ;ttt.v.vtiht_t' even .-ttt the tttterttet. -fiiet on the ft'tl't"t"- ttet rtttrf tt.-re it 'tettt'r'h ett_et'tre t't'tte Frrttrttt unit‘ tjtytr' in .s'ttt'ttetht't't_r; h'tl.'e. "t'.tt_t.gt"i Ettt't't'tttttt'tettt." l"'tttt' tttttjr he .s'ttt'_ttt‘t'sett tvhrtt _'|.'ttt't tvttrte tth tt't'th. f_,I" there rtre tttt tE:'t't- rt"rrttttttettt.i or tlejitttnott h.rt.i rtrttt'hth.le _titr yttttr i'ttstt'ttttrettt. ytttt tttrt_'t' hrtre tit tttttht' _t'tt-ttt‘ rttctt. Rrftet" to the t.nt'tter.s' tttrtttttrtt tt_t"the .s'tt_tttt‘ttt'i' |ttrr.t_t.tt'ttttt _t'rttt' tire tt.s'itt_t; ttt tettrtt thttt trt.r.l'.l' Beyond what the cotrtpany did for and against itself. linsoniq was also the victim of sonte really irrespottsible reviews by petulant critics. Flipping through some old issues of tCe_rhoettvt t‘-*fttgtt.'.t'tre will reveal a few esantples of some nasty. nteatt spirited writing directed against linsoniq cotttpany products. for reasons which arc clearly not authentic. and appear to be somehow personal. blow. the company seems to be drifting. with indifferent. distracted attd distant ownership. Home of the products intrigue: Fiamo. the Elsi. the t't.Sli.-K pro and the Paris range front interesting. or conlroversittl. to great. The point of all this is that the ttrtetr-1-r. during l£nsonit|'s strongest period. really facilitated the use. the understanding of the instruments. I really used. really needed. the ttttelier. I wouldn't have corttinuetl with linsoniq gear without the publication. So. lI‘lIlf‘tls you. thttnlt you. thanlt you- I really have appreciated what yott have done. Ilest wishes to all. |.ottis .i ‘v'an den llerg lj vd h3@-uct'.crttn puscw-is -net Hello lane tit Ilric. ‘r'our willingness to publish my sometimes irreverent language [though short of vitriol. l hopel inspired and encouraged me to more writing ventures. Wlten I went to the Transonitt site and saw ‘-h'tItlJEl*l'l‘ 's'i’liIilil.l'~i I'd thought I may have discovered the power source for linstmiq gear. {For many years I've been keeping the remnants of “Inspector's llispatch." a business I started years ago but ntothhalled it when I relurned to a property management job in lIt.f.i'.t 'I"hartlrs for all the help and understanding- till in all. its been a damn good run. huh‘? ‘t’out's. l .f.'t. ll.y an brosryatt@drn v .com {I-"t-t — tlh. t'tttttt' tttte.l:er Ititth ‘ijittttttjfil tttttft't'rf llt'ttu’ent ll-’tlteet.s. t]"ttrttttr.s'.'l t"t-‘ttt ttt tttrttty t-t' t"et'ttti|rtttt — t't's ttt_t' nete |t1t'ttj_t'r’t't. Ho long... ill. So. this is it‘? are there plans to contlrute as an online forum‘? I've heard rumors of a website‘? Paleeeee;-*.l l.et us l-tnow. {For years I was a contact source for the Iififl-I and SQ-Eli's. If the forttm continues. I'd be glad to help out again.) I have been an lirtsonir] user for over I3 years and for about five years was a ttrtr-tier sttbscriher. As a dedicated and loyal Ensoniq fan. I owned and used an liliU'—I. I am the proud owner of an linsonlq ZR-Th. The handboolt of this thing isn't able to tell me how I can transfer grooves front the as-rs to my seq uencer tllmugic Logic t"tudiot. It is very important for tue to get the right step-by-step ittformation how to reali.t.e tbatll! "tl'rtttrtt gttttrt rtttt" t'.r thtttttt t'igttt — even hetter thrttt we ever e.t",ttet"tett'.,t tit’-"F — t"i'tttrg: .='tttu' tj_rttttr rtttt't:ttt.r ore ever in the need _t-‘tr rttrtte tlttigh-tr't'h erer't't'.re, t'.het'.l' rtttt the other" Intrirttttttt-t'ttttr.' lhese tht'tt_t_'s' tire to e.t'et't'ti.s'e wheel's its .l'-"rtt‘.s't'he.'r are to If'rtt'rtttr't's'. l"tttt' _t,=r.t. .fft't't'."|l' Please help tttelll ;"'f'H - l‘.'.'ttrttt|eftt_t; the tvttt't'ei' rttre twitter ttt rt" tt'rtte.--,l' 22 firtttatton- Is artyone ottt there who has gone through this process willing to share this inforruation'l lob n Itlaltody iPI-‘Iahi:rtl§,'t.'.'t;II'tto l .com IJt:tJt' liric. lane. Par. uttd all the writers over the years. Thanks. I]r-tore everything fades to black and we all go into Phil Ilogers t;tttt.L't‘tr2_'_t'l"-'ttttt|.'l‘t.t.*t.ltt |-|-|.r;.|_|r;|-|i|1g_ 1jt]gl treanted to arlrl my tltartlss fol all the g;r¢;;t_ i,|~.|’r't;ir|-r-tori-_s1-i_ sr.rpport_ anti good l‘tttt'nt“tt' tand ventila- l'tr.tar 'I'1'artsortir.1 I l tickers. tion spttcel this publication has provitled to us llnsoniq owrters. I'm itt the final stages of finisltitig a rtcw t-Hill-III sound set trrtostly .-‘~.t'rican and htative .-’srnerican percussion. sec my ad in the ttrrt"tret- classll'ietlst. r"tll that remains to he done is a bit of tweakirtg of the patch selects. and finish- t".f'.ff - t"t'ttttt trhttt11'r"t'ehr't'rt rrht'r' ttt _|;rtthr't'. ttttttt i'rtr.r.tttt' iv-ttrt'rtr't' rhttt't r.tt'.ltttt'ff_'i err tht'tttt_-.,th the r'.1-tt‘tt strgrt ttt titht-.ttr'.r|'t'tt_t‘t rt.r",-‘1__htr'ttt. i"r'r'htttr rlffl. t.r*'r't't' ll-ll-dl.llJ .ftt't'f r-'ftrttrt tttt_'t ing rip sttme of the prtttlctl documcrttation. ttrtrer .rtrtht'ir-hirtt,-. r't'i t'tt_t1‘t't'l_t: htt-rt‘ ttt strtttr to" our ttrrt tr I've heett aboard sirtce llllll. and will tt1'ctttlf- tniss tltls nieetine place and the gnzat professional t.'o1ttnu.tntI'y it has created. llest wisltes to all of you in wh1t1es"e1'cotncs nest! mitt.-e rtrt it -.r.'_i.'r't't_r,_' thrtt it is- 't"hr' r'1.tt'rt little s.l't’ti's hi't'rttrr.I' Brit |'rii still sv'oi1tIerirtg ltttw Ll collection til. stttttplcd _~.rn|nt_t.~. is i.'iipyrigtuet_t. i.c. v-hat t'or|u to use. I assume it most lie the E‘r"r. {F’crfot'|tting .-"t1'tsl fet1'ttt=. iutt I'tl like con-- I[ir';1tetr.tlly yr‘-t|t's. “I I thttt ttrtthe rt r'rt.s'tet' t't'_srttr irttrt-:*hrti1' tittrt trtrtt‘s'r'f.t'r'tr r'tttrr't. .tl|'g"i|l "rttr .-t.hset't'rtt'r'trrt" -ttttt fr't,ft'tf ttt!‘-‘tr t'...," I _____i-,41,-.-__..,_,..,..,i_..-n.q..;._.i_.ai PHDFESSIGNAL QUALITY Low-cost sequences for The EPStEPS-16+. SD-BU. ESQ-t. ‘v'F><-set, SD-1. Ftolancl. tBtvttDCtS -I Flock {'5t]s. ‘I505. ’?tIts. ‘Billet Big Band — Top ttt] Country .i_._1-1--in ‘ Eioniq Demolition fiffects ' Call or Write — Anytin"te.2-'11 Hours I- . Music Magic - 10541 EAFIL A'tt'E. BENNINGTON NE 6800? 1-402-233-2375 1. -._,_ L- Resonant Filter Disk The VUDER ENSONICL‘ MIDI MANAGER Sand or Ftaceiva Data through MIDI to your PG for these keyboards: KS-32 ‘v'F}{ SC.“-1 SD-2 ESD-1 1. 1 .-1.u1-.1-1--1- —l-I -I Ming 10; l . _ -. 5; Sequences for those keyboards: TS-l EH12 St]-‘I SO-BU EPS-16 KS-32 KT-TEIBB SD-1 EP5 St]-2 VFX-ad ASH-10 ESQ-1 SD-1 TD TS-‘I llt1 2 CONVERTER for VFX-sd or SD-1 sequences ht songs. Call now to order or tor more information on these and other software packages. Giebler Enterprises 26 Crestview Drive _- Phoenisvilta. PA 19460 -. rstoisss-ease r__ l%f |=as:ess-asss i-"F-' =1--1-kl"l:t. flornpressor $49.95 i... I _ -1 ;. =§;§:;-is. if izgzs - -;I' '51 it '-. _ ..-- :--.-- l;;J' ‘Ll-c liiilifilfiiliiiiilil II II _ 5 $49.95 Delay time locks to song tempo Transwave Sourtd Library E-h9.tlft tvlodulation Synthesis tttssortmcnt t '- -L-Z $3El.El'5 Tempo Sync'tl Delays ** Look no further ** __ Parallc Effects Disk -I Different effects at once Hi-fi stereo limiter * g SOUIIIDS and other _ Samples on the Internet? .. SEQUENCE CONVERTERS Convert Standard MIDI Files totirom $-'Il‘1.l.‘>l.‘i ‘ttocal formant synthesis Ensc-nto orsssrre tvtantseen Supports all Ensoniq Disk Formats. $39-‘J5 Swcepttblc live analog filters L Use Enseniq Disks on your IBM-PG FlaadtWritatFormattCopy and mora. $39.Llfi Destroy audio on ptrrposc . 71 Call. write or fart for tttore info. _.;z I ‘v'lS-t~..-'tvtt'? accepted. :.;l...a if ff_ _ , _ , , ,, . W ti. It E B O ‘t' .. "litre haunts rarnruttud hum dutnntnldttngt" vevenr.auundcentral.e-om _ _ PU Boa 233. Paoli. PA tlifitlt Tel: stars]-asst. Fart: oltl-dttti-tlftitl www.w'aveboy.cont '—|_“ L. B. Music Sequences We Support Enseniq - Roland Korg - Yamaha s Slvlli-GSt"Gl'vl Formats llttry ttttt gtt'e t.. ht. .lrt'rtrst'r' rt try rtttrt see h',fI_‘|.' _sr.=~ mt.tttt_y ;.rert_rtte r!'rtL't-’ rtttr ser;ttrertr."e.s' — rtttttf tlreep etttrrrrtg hrtclc jrtr tttrtrt-rt." "II-I-Iii.-i;:L .,,, ' li""""'i"\-Ii-.-i.-u. t - -—T-_ _—- - Toll Free Urderline: I-Slltft-.lt'..fl-tlr"l'tl.l'SI[.' Visa. lvlastercard. rltmett. Discover Accepted .. I- - . LB Music Technologies. Inc. 5| Charter Oak Drive Newtown Square. Pet l9t_l't'3-.ill44 are-sss-sass Fas: otti-355-fill? CompuServe: rsass;-tr lfl lnternet: http:ttwww.lbmusictech.cont 23 www.mid|rnarir..oorr- MIDI tvtar-s~< -I I 1-itttrttt I im- BULK HATE U.S. F‘C-"STAGE PAID PUHTLAND, UH PEHMIT HG. 11 TRANSONIQ 1402 SW UPLAND DFL, PGHTLAHD, DH ‘E-W221 EUBSGHIPTIDH MATEHIAL DATED MATEHIAL - TIME VALUE HETUFIN SERVICE REQUESTED 1"’ Publisher: Eric Geislinger W Gepyright 199$, Transeniq. MEI2 SW Upland Drive, Pertland, UFI Eii-‘E21. Our {semewhat regular] illustrieus beyy ei writers includes: Graig Anderten, Heel:-y Berrnan, Britten Beisenherz, Mark Clilten, Steye Gurtin, Antheny Ferrera, Pat Finnigan, Jellrey Fisher, Frank Fertunate, Duane Fryharper, Garth Hjelte, Jelf Jetten, Dara Jenes, Jehnny Hlensris. Flay Legninl, Eieb Lang, Sam Mims, Eric Mentgemery, Phillip Fiegers. Dan Flehde, J. D. Fiyan, Tem Shear, kirk Slinkard. Jack Telin, Tem Tracy. Jee Traye, Steve ‘I.-'incent and Garry Wasyliw. Transenie Hacker is the independent user's news magazine ter Emu-Enseniq preducts. Transenie Hackeris net eliiliated in any wey with Ernu-Ensenie Cerp. Enseniq. Emu and the names ef their varieus preducts are registered trademarks el the respective cempanies. Dpiniens expressed are these el the authers and de net necessarily reflect these ei the publisher er anyene else. Printed in the United States. Phene: {SE13} 22'.-'-sees {B am te El pm Pacific ‘In.-‘est Beast Time}. Editriir: Jane Talisman K _ _ “H _ Chicken S stem.s@ Enseniq ASR’-X Toolsm! it it The cometete Ase-x editor Release the FULL capability ct yeur ASFI-X - edit ALL ASFi—}-II seund parameters, addfedit Insert FX, things YOU CAN'T D0 frem the trcnt panel! Edit via MIDI er SCSI, and much mere! $5195! Check eut eur ether accesseries fer the ASH-X Internal ZipDri\ree'“, S|MM's, NATIVE FORMAT CD-FlOltll's, and mere seunds than yeu can ceunti * EllSllIIilI lifllllllllllil T00|S * Menage yeur Enseniq" samples end sampler with yeur cernputer and yeur Enseniq“ sampler! Special ieetures include: I tieerref eee eei? err eerernerere we errer {Md Teefe Er1l»E.5‘i Fee irert .eee: ere’-‘. ene’ eeere Freeire re erre’ frem Erreeere‘ ferreet Use fee Semere Fee re crew ene’ eelit‘ weeeferms {MD Teere. 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