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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Se long — and thanks
for all the fish!


The ASR—X Lives!

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

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



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



thin eut the centreller data eneugh te keep the
ASH-X happy.


Jttellt {.'ara'er


Treasures frem the Basement
Steve lr’iar"eat


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


The Bevy



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


Regular Stuff:

By the way. if yeu’re curieus abeut what I't11

Randem hletes
The Interface




Hacker Beeteeq


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




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
New. befere signing eff. I have te cemment
en the whele HaclterfEnseniq thing. First.
Jane and Eric deserve rtething but cemn1enda-



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

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

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



twe wavesa|1tplc.s


.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.

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 ..:"..'

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





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- ':‘-'.


teel. lt fellews.
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.


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


Yea cart find it at:


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.

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.

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

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


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
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
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








l ljj P ii l ij-l 1 jlii



lf ybiir sample is a grind
eanilidtitc fbr a shbrt
lbbp, with a cbmpiiter
editer, it‘s relatively sittipie ib gaze at the wave-






_'_jt:| _ _






1 |.'l



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


- —















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

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|_,


Setting the Lbbp Points

this attack transient has settled dbwn intb the
siistaiiting pbrtibn,



the lbbp.

term fbr a few sccnnds



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-



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-



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


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



|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~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

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


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.


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


Enseniq AS Sets, 5 disks per set
Enseniq SL Sets, 5 disks per set
Enseniq SLT Sets, 19 disks per set


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
Enseniq CDR-8, 9, 19, 11, 12, 13
MRER Sounds
Enseniq MRD-1 disk (169 sounds)
EXP Expansion Beards

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


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



(for KS-32, -SQ-1, SQ-2, TS, SD-1, and VFX-sd)

OEX-6sr Output Expanderfor EPS-16, ASR-19


X-B Output Expander for ASR-X
SCSI Kit for EPS or EPS-16 Plus (incl. manual)


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


SW-2 Sustain Pedal, plastic
SW-6 Damper-style Sustain Pedal, metal
SW-19 Dual Damper-style Pedal, metal


Sampling Cfls

TS Series

Syntatir TS Sets 1, 2 -Si 3 (69 sounds per set)


KS-32r'SQ Series
Syntaur SO Sets 1, 2 s 3 {B9 sounds on disk)
any two Syntaur SO Sets on RAM Card


Enseniq SC, ISC, or EX Series ROM cards


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


instructional‘ Videos
EVS-1, "Mastering the ASR-19"


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




"Jumpin' On the DPI4"
"TS-19 - Turn It Up, Turn It On"
"TS Sequencer Turned On"
"KT-?6...Grand Performance"




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}





Manuals 8. Books

Musician's Manual {specify which keyboard)
Talking Owners Manual, cassette & disk, EPS-16
Talking Owner's Manual, cassette S disk, SD-1
The MlDt Companion (96 pages, Jeff Rona)
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



Syntaur Keyboard Coeeis (specify which keyboard) $17.95
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.

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
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

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

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 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?"


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
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

select httcc

wave tcltss}
rte]-ty ‘ Etr--ft:

start index:
" .

restrk decay


ttlter l
tilrer I-I :
tei cu‘ |‘-TI.

T‘l'-lit ."l5l'lFt't' l-I


fel khd

1' U U

nhE EL

res cu1~ftcurl:

| I‘-I S

tcl-mnl -tel" npc
in? khl






khd tracking;


dlide timeEHU1






decay i



decay 1
"el £H[TP:




t Hfh i
._| t,I

s It



E. !'|


decay l:
decay 2:






'.'e| e-.r'.=t=-:


ken rtaektea

t |':| |;|


decay I"

decay 3:

nnise rate:





.- -\---:1-t.




- _-t




l ':-







l' rtlp











tea s"stc:
key ran 'i5l|_'.
tulcuf bus:

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.
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.


kbd trtestnq:

- ..-r .

Wetv. dees this mean that we're getting elese tn

Httw aheut changing the patch nn track twn tn



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.

uel cutes-


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


-I_| _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


s -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



Lfu speed:


medeked tra ck:

5 .:|


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.



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



cc II.

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.


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

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



wavefnrm wavefnrm Wavelerm

' Wave

SyrtthBell Syr1thBell SynthBelt

. Delay Time


I Wave Bireetteri
Start lrtdntt
Finstrk Decay


EH1! 1
lvlO OSOFi








HBO Ptch Track Oll
Slide Time



_ ii*§___-









By: Jack Curder





LFO Speed




hlnise Flats








' Fitter 1




Fitter 2




FO1 Oulnll




Ehlv 2











' tvtODAlvtT


FO2 Outnll















Decay 1
















‘v'st Ourve




‘v'nt Ourve


l-{SO Track







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!

I nitial
Decay 1




Decay 2
‘v'nl- Level
‘ital Ou rve

Oertv et-t




itfittii _T.r_aek.



One vnit

















HBO Seats
lrtey Henge
Output Bus

I ‘t.-‘st wirtdew

Decay 1
I Decay 2





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

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


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


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






_ " EFFECTS cneaus AND rtevenn









Decay time
HF Oamplng


Oherus Hate



Ohnrus Oepth


Oftnrus Oenter


Che-run Level


MOD {Best}


B‘r' tMOOSFtO'.t






Steve Vincent

CD: Poiir oi’ Dice

these tt'ivt'ite ititt.tt't't'tiiiit.'
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

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:

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

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
Artist: Near ‘v'hana







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. "



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


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


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

1-t'TiT he

the t.*tiHtihtii'tttttiit



.\'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.

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
Artist: Jergen Teller
[II]: Delete l'*-Iatnre Cenvert Teday — Seies
Fer Trigger Guitar {cl I993 l"~iinth Werld

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

did yeti wish te cemtnuiiicate te yeur

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.




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


Treoisures from the

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

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-


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

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

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.

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 1ElԤ5'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.


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
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’

electro industrial and Nerve l-"ilter —-— dark

during his employment with Ensoniq. He
also contributed sounds to an ASR-X audio

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,
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


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. ..


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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


-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'



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

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'.


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‘ ltiongs
Une liittttg


Mllitl file from Sequencer
l"l-S ltltythnt Rank
Clue Rltytltm
Suttnd ltank
Single Sound
{Jne Preset

Ctut church is looking into upgrading its sy ntlts- Wltttt is
the 1-ill-I worth"-I


‘Wavt: l"‘|l'
Wave Mac

Lierrcn. l"~lcil


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


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-.


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


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

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


llflti C358



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


Models available for all Enseniq


keyboards and racks!



6:1-.' . " '

'-{:5 _ J _ I .




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.


We accept: COD, Visa, Mastercard, American Express.
Dealer Inquiries Welcome!


1_75CH 431 West, Henderson, TX 75§_§4 - FAX: 903-B5?-6030

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



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

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. ..


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}-'


,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


"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?
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‘


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=

ASH sounds on floppy or trip disks: tltfricttnthltttive
tltmerican percussion {drums & talking drums. rattles.

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







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.


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
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.



nights. kmulIin@harris.com.



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


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


{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

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;


{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‘?
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

Ho long...
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'


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.


I]r-tore everything fades to black and we all go into

Phil Ilogers

|-|-|.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

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

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.



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


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MIDI tvtar-s~<

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Publisher: Eric Geislinger

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


_ _



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