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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Page Count: 24

The

ASR—X

Lives!

l

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

assign-

ing

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

Craig

Aaderran

allew-s

yeu

te

de

this

sert

ef

thing.

Alse.

be-

cause

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.

Hewever.

slamming

a

bunch

ef

PC-lfillll

faders

can

send

eut

eneugh

data

te

cheke

tlte

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

{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

thin

eut

the

centreller

data

eneugh

te

keep

the

ASH-X

happy.

.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-

meters

when

a

leep

gees

hack

te

the

begit1-

ning.

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

ea-

tend

memery

drantatically

since

a

leep

that

repeats

takes

up

little

space.

By

the

way.

if

yeu’re

curieus

abeut

what

I't11

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

cem-

plete

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

1"

iv

ArIiClE5:

The

AER-X

Lives!

Craig

Armlerrrin

cever

Mastering

Sherl:

Leeps

in

the

EP5

and

ASH

My

Time

in

Paris

HI.:-{-

+1-+1-I-‘III-IIIIIIIII-iiiil-lllllllfifii-I-llllllt

?

Enseqttcncing

&

Waveferm

lvlutilatien

lllll

The

Final

Chapter:

Testing

‘feur

Transwaves

Fer

Resenance

Jack

§iIc*;I1ltc*rt

T-:.n"t'fl

lfi

HaciterPatch

Jttellt

{.'ara'er

ll}

Treasures

frem

the

Basement

Steve

lr’iar"eat

I4

Where

are

They

New‘?

Garth

Hjet're.................

I5

The

Bevy

I?

REIJIEWSI

Basement

Tapes:

Hear

Vhana

I

Jergcn

Tcller

St‘e1»"e

Vt'rtt'er1t

ll

Regular

Stuff:

Randem

hletes

2

The

Interface

I9

Classifieds

2]

Hacker

Beeteeq

23

ca|1

click

en

a

tune

te

ltear

my

versien

ef

ltew

te

use

the

leeps.

er

mess

with

the

tunes.

use

the

leeps

in

yeur

ewn

preductiens.

etc.

Fun

stuff!

New.

befere

signing

eff.

I

have

te

cemment

en

the

whele

HaclterfEnseniq

thing.

First.

Jane

and

Eric

deserve

rtething

but

cemn1enda-

|

issuenu|v1esa|12r1rs.$4.ua

C

if

ecroasnrnevstaamisss

ii-I_-|IZi_

i

Bl’

»

Se

long

—

and

thanks

for

all

the

fish!

tien.

praise.

and

admiratien

fer

what

they've

dene

with

this

newsletter.

As

te

Enseniq.

being

a

syttth

centpany

is

a

high-risk

busi-

ness:

censider

lvleeg.

ARP.

Dberheim.

Se-

quential

Circuits.

Pelyfusien.

attd

several

ethers.

Having

esperienced

the

music

in-

dustry

frem

the

inside

attd

the

eutside.

l

un-

derstattd

bath

the

frustratien

itt

dealittg

with

the

cempany.

as

well

as

the

difficulties

ef

running

a

cempany

under

the

best

ef

cir-

cumstances.

let

alette

in

a

very

ltigh-risk

business.

I

cart

guarantee

yeu

that

the

peeple

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

attetlter.

ceuldn't

hack

the

cruelly

Darwinian

precess

that

gees

en

in

any

stnall.

lew-

ntar-

gin

industry.

Se

let's

thattk

everyette

fer

whttt

they*ve

dette.

wish

them

the

best

fer

the

futttre.

and

get

en

with

the

art

ef

making

music.

Attd

yes.

if

my

TS-Ill

ever

blews

up

attd

l

canit

get

it

serviced.

l'll

be

very

buntnted...

Elye.

everyenc.

Tl1a11l-ts

agaitt.

latte

and

Eric.

fer

ltesting

the

party

and

lettittg

tts

make

a

ntess

efyettr

living

reettt

:

t—

RND

(la)

Hacker

Netes:

Well.

it

weuldn't

be

the

IIrtr'kr=t"

withettt

the

eccasiettal

eerrectien:

Twe

paragraplts

ef

F-'l1il

Regers'

ASH

article

itt

Issue

#li'tl

were

emitted

--

which

kinda

tnade

understanding

the

article

a

little

tricky.

After

the

subheading

titled

"Fade

ltt

at

Fade

Uta"

there

is

suppesed

te

be

enly

ene

para-

graplt.

which

was

etttittetl.

And.

after

that

paragraplt.

there

is

suppesed

te

be

a

new

sub-

heading

“l'vIaking

Metre

Samples

Steree."

That

heading

attd

the

new

sectienis

first

paragraph

were

emitted.

Witltettt

these

twe

paragraphs.

the

ensaittg

discttssiett

en

layers

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:

Fade

Itt

and

Fade

Dut

Fer

attttesphericienvirentttetttal

effects

within

a

musical

er

a

film

eantest.

starting

yettr

crickets.

er

ncean

waves

etc.

at

full

velunte

is

ttsttally

net

as

attractive

er

ap-

prepriate

as

wettld

he

fading

the

seund

ttprin

frettt

ne

seuntl

te

what

velume

level

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:

new-

play

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

set-

ting.

which

represents

tltc

attack

pertien

at

the

setttnl:

lawer

valttcs

will

make

the

at-

tack

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.

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-

ntcter.

depending

til"

cttttrsc

l.]-I'I

ltttw

slew

t1|'

ltew

auickly

yeu'd

like

the

seund

te fade

tttlt.

llt

any

ease.

wl1e|1

yen

ttse

the

ratttp-up

ettvelttpc

template.

tltc

sccttttd

l't.‘lt..‘tts;_'

defattlts

te

a

rclatiscl_t

ttuick

rarnp-tlats

rt

-‘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.

Making

:"+Inne

t~ian1ples

t-itcrce

Tltcrc

are

tttany

ways

te

acltieve

this

cttd

--

wlticlt

yttu

cheese

will

depend

partly

an

the

settnd

yett

are

warking

with

as

well

as

its

quality.

the

use

te

which

it

will

he

ntadc.

and

persenal

taste-

The

usual

place

ttt

start

is

te

cepy

the

ttavesamplc

ta

a

secentl

layer.

panning

the

twe

wavesa|1tplc.s

at‘

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

instru-

mcnts

kind

ef

ping

pang:

it's

a

very

nice

cf-

fcct.

l.cssct'

talucs

will

tltickett

the

setuttl.

hut

we-n't

necessarily

spread

the

sterce

field

nut.

The

trttublc

wltlt

srmtc

af

the

nterc

attterpltntts

attthicttt

snunds

like

distant

cricl-.ets

is

that

a

delay

etttt

ntutldy

things

up. hut

if

ynu

set

the

value

a

little

ltigltcr.

it

will

seund

like

mere

than ene

seurce-if

there

is

ene

prentinent

cricket

as

part

ef

tltc

menu

night

settttd.

it

will

start

tn

seund

like

twe.

Setting

it

a

little

higher

still

and

it

can

seund

like

the

pair

nf

them

are

rhytltntically

ennverstng

ltack

attd

fr:-rlh.

{Itthcr

tense

ends

-

Pat's

get

his

Q

ti‘:

A

website

up

attd

running.

Yea

cart

find

it

at:

2

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...

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

.ll.lll.l

itt

case

yeu's"c

ever

wetnlcrcc.

i

'

__

I

slta-ultl

fess

up

new...

All

these

tr...

.;.

.211-

thc

Hrrctlret"

ltas

been

put

tegcthct

-

:.:-:5

eld

Atari

SEUST

t"The

lvliragc

.

if

"ITI-

pater

"-Jv'e|'ld"'l

—

new

geing

::t'..

.1

sell-

carnetl

t'etire|11e|tt.

i-T

fit

Lets

ef

fell-ts

ltave

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‘

'

__"-:::".-.

letter

te

yeu

and

everyettc

else

..:"..'

like

te

hern

itt

and

say

it reflcct-

':‘-'.

‘-?=_'-:|ngs

teel.

lt

fellews.

..

-1

....

.-

I-"J'trtinl:.t.’

Eri

c

1~it-ntimental

Ramblings

Frem

a

t'suallji

Ealterent

Wentatt

..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

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

E"Dlf'l'|t.'.*l'.

I'll

Flashback

—

[he

satne

wetttatt.

tett

years

yettttger.

is

sighing

at

the

prespect

ef

having

te

ltgure

eut

what

te

de

wttlt

this.

tltts

.=nin'hr'i-re

her

husband

breaght

heme.

She

lbbks

by-er

at

her

belbved

plane.

heaves

yet

anbther

dramatic

sigh

and

turns

bn

the

key-

bbnrd,

tlte

Mirage,

attd

starts

pbking

abbut.

Flash

Fbrward

~

The

child

{finally}

grad-

uated

frbm

cbllege.

The

Mirage

was

replaced

by

an

ESQ

attd

then

a

'v'l-‘X

and

an

EPS.

The

tnttn

published

it

rnagazittefnewsletter

called

Ti"iiii.wiiii‘i,i

fftilIt.'tllIe’l'

fbr

I5

years

and

the

wbtnaii

ltad

a

ball

editing

it.

iiidttitift

Damn,

this

has

been

fun.

Fbr

a

wltile

there

l

was

altttbstjitiiiiiii.t,

l

wbuld

say

bffliandedly,

"Yeah,

I*m

the

editbr

bf

the

.ffHt'ifCt?l"."

tb

the

guys

in

the

nntsic

stbres.

And

they

wbuld,

bless

their

hearts.

say

things

like

"il't.wesbiiie“

and

"bib

shit?“

t

wbuld

stnile

demurely

attd

let

them

shbw

me

the

newest

wares

frbm

Rblattd,

"t"antaha

et

al,

lettittg

them

draw

whatever

assumptibns

tltey

wanted

itbbut

my

keybbard

chbps.

I

have

nbtte,

in

fitct,

being

primarily

a

teacher

bf

classical

pianb.

Uh,

bttt

gbbilness,

it

wits

ftin.

=l==¥l-l==l=

llitlfi

—

l

was

tbb

igttbrant

at

the

titne

tb

be

prbperly

ebwed

at

what

l

was

planning

tb

db.

t

had

read

it

ebtiple

bf

articles

by

this

guy

attd

figured

he

was

ititelligettt

attd

knew-

ledgeable

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

sbiite

name

recbgnitibn.

"Watiiiit

write

a

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-

derstbbd

the

nature

bf

this

ebupthbnbr

—

and

there

were

tnbre

tb

fbllbw.

Ill

=l= =l=

=l1

ll

just

kept

ltappenirtg.

Sbmetitnes

sub-

scribers

wbuld

write

incredibly

well-crafted.

beautifully

thbught-but

incisive

letters

and

t

wbttld

call

them

and nag

tltetn

lb

write

ar-

ticles

fbr

us

and

they

did!

Aiid,

lbbking

back.

it

is

itltnbst

breathtaking

tb

tne

—

their

generbsity

iittd

gbbd-will

in

writing

fbr

the

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

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.

Lest

ybu

think

it

all

beer

and

skittles,

let

me

assure

ybu

it

was

nbt.

Prbducing

a

mbnthly

zine

has

its

inherent

dbwiisides.

Fbrget

vaca-

tibits,

fbrget

nights

withbut

phbne

calls

frbitt

Pblattd

at

3

a.tn.

pblitely

requestittg

subscrip-

tibtt

infbrmatibn.

and

musicians,

as

it

turns

but,

are

cblbt'ful

attd

creative

letter

writers

whb

rather

frequently

rei|uire

a

sterit

but

lbvitig

hand

lb

make

their

epistles

actually

ttnderstattdable.

.t"t|td

Ensbniq.

lvlan,

ttbw

tfiitt

was

a

cbtnpatty

bunch

bf

tbtally

dedicated

|tal'tl-w'b|‘i-tittg

sbuttd

freaks

breaking

their

htttnps

tb

pre-

dttcc

an

affbrdable

snazzy

l-teybbard

fbr

pebple

whb

hadii*t

dreanted

they

cbttlil

get

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.

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,

En-

sbnirt

+

readers

+

fbrtttn.

seemed

tb

bring

bttt

estrabrdittary

things

itt

pcbple.

Thank

ybtt,

readers

antl

writers

itttd

adver-

tisers

aitd

Ettsbttit|.

It's

been

grand.

Gbbdbye.

gbbdhye.

{Beth

hands

wavittg.l

l\/lostering

Short

Loops

in

the

EPS

otncl

ASR

Sctmplers

_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

the

wavefnrnt.

iir

perhaps

just twb

br

three

cycles.

A

lbng

lbbp

is

everything

elsc.

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

Srtiit

."l*ff.t'.*.l'_‘t

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}

nf

yctur

tape

deck

tn

send

the

esact

tiutn

her

bl‘

cycles-per-secblid

itttb

the

llvliragc

input

sb

that

it

wbuld

be

pbssible

lb

lbbp

the

sbttnd.

Well.

l'yc

ntade

sltbrt

lnbps

sbttnd

sttfficiently

lrttstrittittg

that

priihahly

bnly

the

really

lbbpy

are

still

reading.

ln

actuality.

with

the

El-"5

and

3

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

rela-

tively

simple

wave

fiirms.

Synth

samples

typi-

cally

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.

Getting

Prepared

Haying

satttple

editing

sbftware

attd

a

cinn-

pnter

setup

tsuch

as

.=!t.|ehenty

br

Peak

ibr

the

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.

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

clear-

ly

what

is

gbing

bn.

lvlbnitbring

is

bf

critical

iinpbrtancc

here.

l

listen

tb

lbbps

bbth

with

gbbd

mbnitbr

speakers

and

with

prnfessibnal

headphenes

lailifi

lt'l2~‘-lfls}

at

ti

fairly

healthy

vblume.

Find

it

helps

greatly

tb

be

in

a

quiet

envircimnent,

free

bf

aural

distractibns.

Much

bf

what

yeti

will

be

listening

fer

is

very

qtiiet,

very

subtle,

and

almbst

ntestneriiting

after

a

while.

Scebndly,

bpeit

the

filters

and

envclbpes

all

the

way

up.

We

want

tb

hear

everything

there

is

te

hear,

sb

dbn‘t

make

it

mbre

difficult

by

having

the

sbtind

fade

iir

get

darker

as

the

nbte

sits-

tains.

Ybu

can

always

filter

br

fade

but

what

ybu

dbn‘t

like

later.

Finally.

press

Edit.-“System

and

scrbll

tu the

i‘-‘-.U'l'O-LOOP

Fil"-llJlNt'_l

page:

turn

this

tb

OFF.

This

will

allbw

us

ttt

adjust

the

lbbp

parantcters

in

tiny

iitcrcinents,

a

single

pbint

bf

sample

data

at

a

iinte.

Otherwise.

the

EFS

br

AER

will

aiitiimatically

take

ybu

tb

the

nearest

acre-crbssing

tthe

pbiitt

at

which

the

sample

data

giies

frbtn

a

pbsitive

iii

a

negative

amplitude,

er

viee

versa}

as

ybu

adjust

seitte

bf

the

parameters.

The

aiitb-lncip

finding

is

ancither

esamplc

bf

bne

bf

tltbse

tltiitgs

that

wcirl-is

well

fbr

hing

liibps,

but nbt

sb

fbr

shbrts.

l

find

it

handy.

bnce

l

get

a

lbbp

happening,

tb

lead

the

sample

intii

twii

lnstriiinent

lbcatibns

in

the

EPS

br

ELSE-ll)

tl'll

just

call

it

an

ASH

friiin

new

iin,

as

all

bf

this

applies

tb

any

bf

these

samplers}.

This

allbws

yeti

tb

easily

cum-

pare

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.

Setting

the

Lbbp

Points

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

waveferm},

the

BASS

GUITAR

sample

stabil-

iaes

intb

a

sustaining

bass

sbund.

The

lbbp

peini

sheiild

thercfbre

be

set

sentcwhere

after

this

attack

transient

has

settled

dbwn

intb

the

siistaiiting

pbrtibn,

‘fiiii

may

find,

in

senie

instances,

that

a

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

changes

in

this

way,

ybii

P

i

I_ltii

Edit

Friielisl

Heiuintti:

|.|.||1"|l;|l;llI,ilI.

!i|:iti_-in

1.;-11'

rtvl

It

!

H

may

have

in

reyert

tb

using

a

lbng

lbbp.

A

, I

chbir

sample,

fcir

in-

stance,

wbuld

prbbably

II

eiihibit

this

prbblem

with

I

-

a

shbrt

lbbp.

as

the

rich

sbimd

bf

the

tniiltiple

vbiees

suddenly

turns

intb

an

almbst

synthe-

sizer-like

sustain

during

the

lbbp.

-5'1

—-mL——

‘ED4-

lf

ybiir

sample

is

a

grind

eanilidtitc

fbr

a

shbrt

lbbp,

with

a

cbmpiiter

editer,

it‘s

relatively

sitti-

tctttm

iiiiii

suniiii

I11}

[,

I

,

l

ljj

P

ii

l

ij-l

1

jlii

I

N

.

tr--1

-

.

---

-

—

-

—

l

4 I

I

_u

,i,.-1-

..

-IZ@_i'_._,,.__

-lit

in--i|,_

_

—-i

.-q‘_-

__

i-

_'_jt:|

_

_

s-te

‘tee’:

lace

2!-EU

as-=:e

‘sate

use

_

siill

_|

pie

ib

gaze

at

the

wave-

Ha:

1

|.'l

'

Tl

‘I

i

I1!-i

i

ill-|_

term

fbr

a

few

sccnnds

,

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

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

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.

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.

Truly

wacky,

and

nmst

entertaining.

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-

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

single-cycle

lbbp.

Fine

tiine

this

parameter

until

the

lbbp

is

pitched

eitactly

the

same

as

the

4

—

i-

nen-lebped

sample.

(bible:

Dbn’t

use

the

sustain

pedal

lit

held

a

nbte

while

adjusting

the

lbbp

pbinis.

‘while

it

wbuld

be

nice

ib

free

up

that

ether

hand.

a

nbte

sustained

with

the

pedal

vintrt

t."'lii"lll"]l

the

changes

being

made

te

the

litiip

p.-.:its.

‘fbit

tnust

physically

held

the

kc}

d-.-"-1.:

.r.

-~ri.ler

lb

hear

the

changes

ybu

are

inai-.in-_;.

In

sbme

cases.

ybu

may

find

that

:1".-.

paint

bf

perfect

timing

dbcs

net

ciiin.i.i..-

-:i,,i.,:ly

with

the

pbint

where

the

lbbp

5-I-'*t.I':.l-

11c

cleanest.

ln

ether

wbrds,

the

lniip

iiti-.

-.--

,1"-=-,1},

but

the

sample

detunes

slightly

w?-.-.-r.

it

begins

lbeping.

Then,

if

ybu

tune

tl:-.-

i

perfectly.

the

lbbp

ticks

again.

Herc

i~

as

ils-ir-aticin

bf

what

causes

this.

Let's

say

we've

sampled

a

-.2

-..=-.e

frriiti

a

synthesiaer.

"i’bu

dbn't

need

s

-rry

,ibbut

the

nutnbers

tb

fbllew

the

ltigit

ht-rt-.

but

if

ybu

want

tb

play

matheintitician.

imagine

that

the

frequency

bf

the

sine

v-ate

l‘!-

ll"-tit

Ha.

and

that

the

sample

rate

bfciur

AER

lti

,i

really-lbw

6.25

kHz

{er

625i]

ila}.

This

means

that

fbr

every

cycle

bf

the

wave,

we

are

nit-ii-airing,

er

sampling,

the

wavefernt

s.:s

times.

Okay,

enbitgh

numbers

-—just

leek

at

Figure

I

in

see

what

the

wave

leeks

like.

l

,l!

_-

i-Ii?

riiiecyieile

wk

F

fgiire

2.

A

sine

irrive

irte-r.i,rureri'

bi"

.riiiin_.'it'ei:l

6.25

ti'nies'

per

c'_ycl’e.

Figure

3

shbws

what

the

sampled

wave leeks

lil-te

—

a

"cenneet-the-dets"

piettire

that

ap-

prtiitintates

the

eriginal

wave.

{Typically.

the

sample

rate

will

he

nitich

higher.

and

thus

the

appreitintatien

will

he

much

hetter.l

-

L

|i-i(-———--—-

I‘-l't"I!"{-‘_]i'l-‘ill!-‘

—i—

-"ii-

Ft'gttre

3.

Whttn

,iii'ti_y.eti'

hatulc

by

the

stirtipler.

the

.si'ne

'lil‘t1fli't?

is

ti,tiprri.rt'nirttett'

hy

"t.'riitiiet'tt'.tig

the

tlrit.t""

a,r"tilie

iitri'ii'itt'iitil

.iii:iiiipi'e.i'.

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

therefare

enly

allew

yeu

te

pesitien

the

leap

paints

at

specific

increments.

lit

etir

esample

{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

in-

crement

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

_.-

*-.

-. -.

!____\"21._

_____

-"I-_‘-..\-“-“-

i~1—-i——

iriie

raete

ii

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'.

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

meastirahly

sharter

than

the

length

ef

the

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

sharp.

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

in

tune.

But

with

high-pitched

saunds.

the

ware

cycle

is

shert.

and

therefere

the

number

afsamplcs

is

fewer.

When

yeti

can't

fincl

a

werltahlc

single-cycle

leap.

try

widening

the

leap

ta

twe.

three.

er

mare

cycles.

I

have

alse

had

luel:

in

een'-.ierting

the

sample

rate

{either

higher

er

lewerji

using

the

hasic

trial-and-crrer

methed.

This

changes

the

width

af

the

sample

iticreiiients.

and

there-

fare

effers

mare

passihilities

far

finding

a

leap

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

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

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

much

mere

prime

ta

this

prahleni.]i

ln

etir

sine-wave

er-tatnple.

instead

ef

altering

the

sampling

rate.

we

catild

simply

ttine

the

syn-

tliesiaer

a

hit

sharp,

and

play

a

nete

at

lt'lt4l.i'

Ha.

This

weultl

give

tis

almesl

eitactly

sis

sample

peiiits

per

was-"e

cycle.

the

same

thing

we

lieped

te

achieve

hy

adjusting

the

sample

rate.

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

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.

Ul-til}-'.

yeu

can

ptit

away

the

calculaters.

Adjusting

the

Leap

Pesitien

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-

ful.

hut

any

estru

artifact

at

all

can

change

the

tinihre

af

the

satintl.

Remcrnhcr.

any

leap

ar-

tifacts

will

play

at the

saiue

frequency

as

the

sampled

seund-

se

they

will

he

pereeit-"ed

as

it

change

iii

timhre

as

the

nete

stistaiiis.

5

The

EPS

and

AER

have

a

wenderful

teel

far

helping

eut

with

this:

the

Leap

Pasitien

parameter.

Press

Edittltliilatte

and

serell

tn the

LOUPPUS

page.

"i:’eu'll

netice

that

this

parameter

will

he

set

ta

the

same

value

as

the

LGDFSTART

parameter:

the

first

numher

is

the

esact

sample

nunther

at

which

the

leep

hegins

la

“fine

tune"

parameter].

the

secend

iitimher

{in

parentheses}

is

the

percentage

ef

the

sample

at

which

the

leep

hegins

fa

"cearse

tuning"

parameter}.

when

the

Leap

Pasitieii

is

changed,

the

entire

leap

is

nteyed

areund.

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

easi-

ly

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.

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

the

ship

seund

fades

inte

the

sustain.

Using

the

LUUPPUS

fine

adjtist.

we

can

then

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.

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

atitentati-

caliy

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"'

Syri-

t-: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

certi-

plttiitt.

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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

rcp-

reseiitiitiyc.

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

in-

strumental

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.

definite-

ly

not

the

fastest}

fidnieg

of

Rt‘-kl'vl

antl

an

IDE

hard

drive.

I

used

it

lvlaekie

CRlt’:itl4

‘v'I.Z

mix-

er.

some

Soiilc

Ptitintlry'.

i9tt'l‘ttJl'tJIl.ltll

and

TC

Electronics

effect

plug-ins.

an

it-in

card

t.4.tliT}.

t:-tie

EDS-lllllllltl.

and

a

Paris

III

system.

Plug-Ins

rltn

effect

pliig-in

is

ti

software

program

that

runs

inside

iif

ii

"host"

software

progriiiii

[like

Paris

or

a

sartiple

edltort

and

relics

on

the

corti-

ptiter

or

host

CPLI

for

carrying

titit

its

ctiiii-

niands.

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

le

ones.

and

tibviousl

less

his-ins

if

P

i.-

they

arc

more

com

plcx

effects.

Connections

And

Setup

Clbvioiisly

I

had

to

do

my

hardware

and

soft-

ware

installations

hcfore

beginiting.

The

EDS-

llltltl

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

yer-

sion

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

Err‘

r."

fl-‘.'ft'.F'll

lg

rtitt

cry

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

eat

ahoiit

Paris.

is

that

it

can

dc-iiiix

a

sub-inix.

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.

fli-

i-it'll--t

I-'5'

'l-H

Z

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

{null-

ingt.

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

in-

stalled

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

ap-

propriate

.dll

files

antl

pasted

them

into

the

new

‘IJST

folder

I

created.

tkfter

latincliing

Paris,

I

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

you

do

tiol

have

the

luxury

i_if

a

ntixer

with

sub

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

con-

nections.

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’

Sequencing

end

Trucking

into

Pciris

I

started

with

a

sting

that

I

had

already

se-

quenced

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

begin-

ning

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

begin-

ning

of

each

track.

After

that

was

completed.

I

opened

the

Editor

window

in

Paris.

I

chose

the

niagiiify

tool

and

xoeinetl

in

to

look

closely

at

tlte

trticks.

I

then

tiscd

hludge

and

Slip

in

Paris

and

lined

up the

clicks.

tt

was

all

good!

If

I

noticed

seine

sort

of

noise

on

a

track

or

didn't

like

what

was

played,

I

would

rc-cut

the

track

again

until

I

got

it

rightl

Mixing

l'~ltiw

I

was

ready

to

start

blending

the

volumes

of

the

tracks.

I

got

them

pretty

close

to

what

I

thought

sounded

good.

lfl

noticed

some

track

that

was

giying

me

some

volume

trouble,

Icem-

pressed

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.

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

nar-

rowt.

The

EU

in

Paris

is

normally

set

tt_i

Band

Pass

{meaning

that

a

few

other

stirroiinding

fre-

qtienclcs

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

nar-

rower.

In

Paris.

Q

is

the

bandwidth

cotttrol

I

needed.

I

could

have

gotten

it

as

narrow

as

I

wanted

it

to

be

in

Paris

without

having

to

use

a

pliig-in.

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

fre-

queneics

pass.

The

High

Pass

filter

is

the

direct

opposite

of

the

low

pass

in

that

it

only

lets

high

|'rei:|uencies

through.

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

After

this.

l

deeided

tn

pull

nut

seme

musie

that

mnst

resembled

the

style

ef

ntusie

l

was

werk-

ing

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

eit-

ample.

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

fre-

queneies

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

al-

ways

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

snme-

titnes

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

instru-

ment

has

its

nwn

spaee

ttnd

is

net

fighting

with

ethers

{vnlume

and

frequeney

rangel.

‘feu

really

eniy

have

a

few

spaees

te

mitt

in.

left.

right.

elese

and

far

away.

We

eevered

settte

theughts

en

left

and

right

panning

and

envered

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

nn-

less

it

is

used

as

an

"effeet."

As

a

reenmmenda-

tien.

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

eer-

lain

dratnatie

effeet

and

ynur

tastes.

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

traeks

ef

the

prnjeet.

The

Bnunee

tn

Disk

fune-

tien

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

type

te

.wav.

That

is

the

file-type

that

mest

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

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

play-

ing

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

EN-

SUNIQI

_

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.*'

Ensequencing

8:

Wnveferm

Mutilntien

lflt

The

l:ifiCJl

Chapter:

Testing

Your

Tronsweves

For

Resonance

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'

Jrtrtt;

Sterrftett

Trtfirt

featuring

a

resenant

filter

fnr

the

r5t.‘:iR~ltl

and

EPS

In-PLUS.

l

thnnght.

"Why

en

earth

wnuld

Ensnnit]

ship

ettt

sneh

a

great

sampler

witltttttt

all

nf

its

features

enahled‘?

if

the

thing

has

gttt

t'esnttant

filters,

why

ttttt

iuelude

them‘?

Why

shettld

anyene

have

tn

pay

etttra

fer

wltat

the

sampler

ean

already

dn?"

B

The

reasnn

it

hnthered

me

at

all.

aside

frnnt

the

faet

that

l

nwn

an

FtSR-

Ill

with

ne

resnnanee

in-

eluded.

was

that

nnne

nf

the

newer

Ensnniqs

have

resenttnee.

ntherwise

knewn

as

The

SQ-I'll}

and

ESQ-I

have

them.

ltttt

having

snld

my

St}-lift

years

age.

l

ant

sentewltat

at

a

disad-

vantage.

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

situa-

tinn

than

simulating

resnnanee

"en"

a

seund.

Can

the

transwave

stand

up

tn

the

realistic

resnnanee

test‘?

This

brings

us

tn

nty

latest

ettperiment.

The

pur-

pese

ef

this

test

is

tn

see

if

we

can

break

up

a

transwave

in

such

a

way

as

tn

prnduee

a

realis-

tie-seunding

resnnanee.

Tn

jein

me.

first

prn-

gram

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

mueh

like

resnnanee

as

pessihle.

‘fen

may

even

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.

HACKERPATCH

Prngram:

'I'ransTest4Q

By:

..r'ttr.‘.k

.S'te_rt.lrert

Tirtlftt

NOTES:

LFO

mndulates

wavefnrm

nf

trans-

wave.

El‘~l‘v’2

and

WHEEL

medulate

frequencies

-t-t

ttltered.

El'-l‘v'l

will

be

used

tn

medulate

hnth

wavefnrm

nftranswave

and

t'rer.|uencies

filtered

HASH

select

httcc

wave

tcltss}

{seen}:

rte]-ty

‘

Etr--ft:

tdtrecrten:

start

index:

Ittttjttl:

"

.

restrk

decay

PITfH

ecta1c-

Gemttenc.

ltne:

envi:

lte.

med

,.

khd

tracking;

nl1de'

dlide

time-

EHU1

Lntltelz

peak.

hreak_

sustain:

attack:

decay

l:

decay

2:

release:

levy:

-IlEl."l|":

'.'e|

e-.r'.=t=-:

nude:

ken

rtaektea

LTD

Lfu

speed:

nnise

rate:

1nTel:

delay:

med;

ware;

I'F."E~Ll!T.i

ALL

T‘l'-lit

."l5l'lFt't'

l-I

SESTHANI

l'1

SUD

flhfnll

id

LP?

tfid

GU

+U

id?

rec

tdfl

tdi

riffs

{MIA}

UH

err

t

Hfh

i

._|

t,I

5

.:|

s

It

-t

E.

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59

ta

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U5

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tflfai

HUHHAL

t

|':|

|;|

id

fin

d

i

‘bft-

I_,..|

.-

-\---:1-t.

-

..-r

.

hihr

J-t-'2'

FILIEE

ttlter

tilrer

tei

cu‘

I_‘i|'-'-1'1

fel

khd

nmd:

..

l

I-I

:

|‘-TI.

res

cu1~ft-

curl:

in?

khl

tcl-mnl

EHUI

initial

peak:

hreak-

sustain

attack.

decay

i

decay

1

release

ter?"

atckr:

-tel"

"el

£H[TP:

mede-

ked

tra

AH?

tniliil.

peak;

break:

sustain:

t.1T_l_|'ltTllt'

decay

I"

decay

3:

release:

leek:

atcky

uel

cutes-

mndn

kbd

trtestnq:

OUTPUT

"er:

lsntst.

mad:

ck:

ttst]

s

-t

S9

-I

:

_|

_t

-tf

-

_-t

l__

-.t

J-

—l_t.- -t:-_

TTHFEH

I-i"i"F:i'!F'.L

l'

rtlp

tea

s"stc:

key

ran

'i5l|_'.

tulcuf

bus:

grtcctt

gen:

Tel

sin

-:‘i:]1-.1

j

Ehakass

2HiFass

in?

.

.r|__|

1'

U U

Itr

nhE

‘T5

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|

I‘-I

S

tee

npc

Dd

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99

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25

HG

1'1

J3

13

EL

fhifhibk

RTPFAT

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t_,'

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lfifh;

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H‘;

LC

PI

H:£H

.

-us

cc

pg

II.

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

set-

tings

fer

Envl

tn

+[l{l.

Hnld

ene

ef

the

keys

dnwn

new.

‘What

ynu

are

hearing

is

the

basic

sweep

threttgh

ef

the

transwave.

Accerding

tn

the

Musicians

Manual.

a

"Transwave

eensists

nf

many

single-cycle

wavel'nrms.

each

with

a

dif-

ferent

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.

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.

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

as-

pects

ef

what

was

resenatcd

threuglt

Q.

The

En-

velnpe

2

settings

were

intended

tn

reveal

what

kind

nl'

el'fects

teek

place

by

changing

the

fre-

quency

allnwance

nf

the

transwave.

The

mini-

mum

and

mattintum

t'renuc|tcy'

hnundaries

change

with

an

LFO-like

el'fect.

The

effect

is

stttnewhat

deultled.

hnwever.

since

the

same

LFO

effect

is

werking

ttn

ht_tth

the

tnp

and

bet-

tnm

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

alterna-

tive.

try

playing

this

seund

with

the

medulatinn

wheel

set

halfway.

ll'

yeu

wnuld

like

tn

use

this

patch

as

a

pregram

in

its

nwn.

it

wnuld

even

he

pnssible

tn

synch-

rnnire

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

match

ynur

tcmpe.

Of

cearse.

anether

pes-

sihility

is

te

cheat.

lust

re-key

the nete

sn

it

starts

when

ynu

want

it

tn.

'i’nu

may

want

tn

ad-

just

ynur LFO

Speed

as

well.

Create

a

4.-"'4

sequence

with

a

tcmpe

ttf

abeut

H15

with

'l'rans'l'est-4-Q

tttt

the

first

track.

Fre-

gram

in

a

lftth

nete

arpeggie:

C3-O3-C4-O3

and

se

en

fer

abeut

twe

measures.

blew

duplicate

El

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

sc-

quencer.

Hey.

net

had.

huh‘?

thlete;

lteep

in

mind

if

yen

are

pressing

Play

in

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

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

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

dif-

ferent

seund

than the

last

edit.i

Wetv.

dees

this

mean

that

we're

getting

elese

tn

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

cemprehen-

sive.

ELECTRO-Pt’.

seunds

gend

hut

is

rather

tinny.

Many

ef

the

ntlters

are

tttnrc

deep-ended

in

the

tttnal

spectrum

fer

my

persenal

taste.

RESONANT

1-Pt.

RESONANT

Ii-Pt

and

RESOHANT

-t-H

wnrk

the

best

l'er

this

test.

lt'

yeu

weultl

like

tn

take

full

advantage

e|'

the

Preset

fer

adding

resnnanee

te

seme

nther

seund.

ynu

will

prttbahly

wattt

tn

turtt

ynttr

Envl

settings

back

tn

+ttt_i.

Press

ynur

Sequence

Select

httttttn

tn

hack

nut

nf

Edit.

blew.

click

en

track

twtt

and

detthle

click

nn

track

ene.

New

yeu

can

play

ynur

piantt

with

resnnanee.

Let's

try

a

different

ttne.

On

hack

tn

TransTest-

-"IO

and

change

the

transwave

tn

ELEETRO-X.

the

tinny

seunding

ene.

Resave

the

patch.

lfynu

hit

Play

en

the

sequencer

nttw.

it

may

nnt

seund

that

had

after

all.

But

press

Step

and

try

playing

ynur

piatte

new.

l-lmm...

Httw

aheut

changing

the

patch

nn

track

twn

tn

ROM

T-==t.

Classic

Bell.

Well.

it

seunds

mere

te

its

nwn

liking.

Whatever

that

means.

Back

tn the

drawing

heard

ever

in

TransTest-tQ.

On

tn the

Amp

hank

and

prngrant

itt

the

cnlutnn

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

trans-

wave

hack

tn

RESONANT

st-it

and

press

Play

again.

but

dn

sn

at

ynur

ewn

risk.

Feel

l'ree

ttt

ettpcrimcnt

layering

the

new

patch

with

ether

nld

ettes.

‘fen

may

need

tn

make

ad-

justments

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.

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

in

the

Filter

bank.

In the

wave

bank.

set

ynur

Start

lndctt

=

(lfl.

Med=Ebl"'v’l

*

+99.

If

yeu

are

gning

tn

use

this

particular

cttample

in

cnnjunc-

tien

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

ver-

sien

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

length

ef

the

measure.

Useful.

nn?

ll’

ynu

want

te add

seme

embellishment

te the

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.

Oertainiy.

what

we

have

teamed

here

tetiay

is

that

resttnance

has

net

been

eempletely

elim-

inated

frnm

nur

transwave

synlhesiaers.

Using

the

sequencer.

a

little

layering

can

ge

a

leng

way

in

bringing

back

the

Q'ett

up

seund

frnm

yesteryear.

Tn

be

perfectly

hnnest.

I

was

sur-

prised.

myself.

te

discnver

this.

I

guess

these

Enseniq

beards

are

still

fttll

nf

surprises.

Q

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'err-

rftt

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

ttlrtt.re

rtf

ytttt

trl'.=tt

fit.-re

ttrtt'erett'

the

SQ-I

tripe.

krtntt"

ttltttl

rfitrrffttttittrt

r.r_,f

the

rape

tt'fl'tl

he

riefrryett

-t't'.'t'

rt

l"e’.'t'tt't!'f

rtf'

rreetlt'n_t.*

re

t-ept'trt"e

the

.5'Q-.-’

'.r

lb.-:rtIer'y.

Hctckerpcttch

Sleigh

Belts

I

submit

this

“almest

timely"

patch

in

hennr

ef

the

end

nf

eur

adventure.

Simple

is

best!

Many

patches

that

I've

dene

fer

myself

antl

ethers

are

seeen

cnntplicated.

It

seems

that

all

the

dif-

SQ.

KS.

KT

Prng:

Sleigh

Bells

Jack

Carder

ferent

things

that

we

cert

de tn

seunds

are

dene.

Semetintcs

this

leads

tn

ett-

cellent

seunds...

But

what

abeut

simple‘?

Prngram

Sleigh

Bells

inte

ynur

rig

and

Curd

By:

Jack

er

|._Fe

1

2

s

WAVE

1

2 3

j

Select

l.-‘nice

On On On

I

Wave

Otass

'

Wave

.

Delay

Time

wavefnrm

wavefnrm

Wavelerm

SyrtthBell

Syr1thBell

SynthBelt

ti ti ti

I

Wave

Bireetteri

Start

lrtdntt

MOOSOFI

MODAMT

Finstrk

Decay

PITCH

1-

ss

‘I

ss

_

-2

ii*§___-

s

Octave

Snmilene

Fine

EH1!

1

LFO

lvlO

OSOFi

MO

OAMT

Slide

Slide

Time

HBO

Ptch

Track

+5

DU

+5?

OB

-Ett

Oll

Ell]

Oll

Off

55

+3

+53

+55

BB

-fit

Off

OB

Oll

Oil

[II]

+3

+54

+l]?

O5

-O1

Oil

O5

Dill

Off

O5

EHV1

__ll

3

LFO

Speed

Ell]

Elli

fill

hlnise

Flats

[till

DD

fill

Level

it-ti

44

-‘tr-t

Delay

U6

U6

Elli

lvlOOS

HO

Oil Oll

Oil

Wave

Tri Trl

Trl

Restart

On On

On

hear

hew

nice

a

simple

seund

can

be.

All

three

vnices

haye

a

sntall

difference

in

tuning.

All

nther

parameters

are

the

same.

Ne

tricks.

Maybe

I'll

place

this

seund

inte

a

preset

and add

the

seunds

nf

the

“Budweiser

Clydcsdales"

{and

snewfaIl‘="}

fer

the

authentic

sleigh

ride.

Lnve

ynu

peeplc

——

thanks!

AMP

‘I

2 3

I

nitial

"F4

T4

fa

Peak

H9

99 99

Break

T5

T-"5

TE-

Sustain

Elt]

tilt]

Eltl

Attack

tit]

[ll]

Elli

Decay

1

50 50

5t.'t

Decay

2

TD

ft]

Tl]

FILTEH

1

2

3

'

Fitter

1

2l.n

2Le 2Ln

Fitter

2

2Ln

2Le 2Le

FO1

Oulnll

12? 12?

12?

Ehlv

2

lltlll

ne

es

FOt

HBO

ee

tit]

tllti

MOOSO

Ft

‘vlelec

'-Jelec

‘v'elnc

'

tvtODAlvtT

+15 +15

+15

FO2

Outnll

115

‘F15

115

Ervvs

tlltl

ee

ee

FOL‘

HBO

tltl

tltlll

ee

FOT

MOO-FOE

On

On

On

Fietaasn

‘v'nl-

Level

Vet-Attack

‘ital

Ou

rve

Mndn

itfittii

_T.r_aek.

54

1

B

tit]

Oertv

et-t

Hermat

+55

54

til

Elli

Oenvett

Hnrmal

+55

54

is

DU

One

vnit

htermal

+55

OUTPUT

2 3

ENV2

1

_

I

‘t.-‘st

wirtdew

UOL

Benst

lvlOlItSFtO

MODAMT

HBO

Seats

lrtey

Henge

Output

Bus

Prinrily

Pan

Initial

Peak

Break

Sustain

[IO

55

DO

DO

55

Ell]

Ell]

BO

till

llltl

Elli

[till

Attack

DU

U5

Eli}

Decay

1

ea ee ee

I

Decay

2

ee ee ee

Fieleass

Ell]

till

ea

"v'el-Level

Ell]

fit]

D5

‘v'nt-Attack

Ell]

Ell]

til]

‘v'st

Ourve

Linear Linear

Linear

tvteele

—

—

-

l-{SO

Track

_

-._.i.ii..r—

Initial

DU

Peak

BB

Break

B5

Sustain

2'?

Attack

4?

Decay

1

44

"

Oncay

2

sr

Flelease

as

as

‘v'el—Lnvel

BS

SS

‘v'eI-Attack

OD

till

‘v'nt

Ourve

Linear Linear

Linear

Mnttle

Nnrmal

Hnrtrtal

Nnrmal

-_3_-

_i5L

_

ee

ee

as

as

as

as

ar er

-tr -tr

-ta

as

sr sr

as

as

an

1U

1-.-

T?’

Oll

LFO

+21

Zena

G5-Oi’

Flrtt

Med

+55

DUO

T?

OH

LFO

+21

Zena

G5—Oi"

FH1

tvlad

+55

D55

T?

Oll

LFO

+21

Zena

G5-O?

F.‘-"ll

lvlnd

+55

DUO

Fit-1

F.‘-"E-E

Decay

time

44

15

T-S

"

EFFECTS

cneaus

AND

rtevenn

HF

Oamplng

t5

Oherus

Hate

55

Ohnrus

Oepth

tit

Oftnrus

Oenter

25

Feedback

[IO

Che-run

Level

35

MOD

{Best}

Decay

B‘r'

tMOOSFtO'.t

‘it’-at

-

ken

Track

an

se

ee

MC-‘DAMT

-4“

CD:

Poiir

oi’

Dice

Artist:

Necir

Vhcinci

.-1.

Here

we

are

at

the

final

issue

cif

the

i'i"ttii-

.t'tiiit't;

ttttt-ibei:

and

it's

titne

tci

cltisc

the

dnrirs

tci

the

tittseiiiei-it

Titt_,i'tt.’.li'.

l

wciuld

like

tci

eit-

press

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

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

sin-

cere

and

earnest

musicians.

l

have

ltad

the

true

privilege

til‘

listening

tci

a

ttit

bf

very.

very

great

music.

ncit

tci

iiietiticin

been

entrusted

with

ctinveyitig

tti

the

rest

cif

ytiu

stimcthing

cif

what

these

artists

have

at-

tempted

tri

ctiiitinuiiicate.

My

grial

has

al-

ways

been

ta

describe.

evaluate.

and

learn

frcnti

the

musical

prt.ijects

cif

these

brave

anti

creative

stiuls.

l

kiiciw

that

l

have

learned

a

ttit

frbm

yea

all.

Mast

ef

all.

l

thatik

Jatie

atid

Eric

ftit

their

genercius.

fun.

creatiye.

easy-gtiitig.

brave.

and

independent

spirit.

which

has

enabled

the

Ti't.iii.wiiiit;

i't"ttettei'

tci

remain

the

rallying

ptiitit

ftir

tis

Enseniq

keybtiard

enthusiasts.

‘r'titi‘ve

been

like

eur

inciin

and dad

all

these

years!

In

my

final

review.

Jnrgcii

Teller

says.

"lf

l

dcin't

db

this

scilci-CD

new

it

tiiay

tiever

liap-

pen."

Fitting

wards:

heed

them!

if

yea

have

music

in

yciur

heart.

cm

ytiur

hard

drive.

zip

drive.

c.assetle

idea

tapes.

Silt’-.tv1.

seatienccr

ca.rlridge.

rititaticitt

prcigram.

cit"

rtiantiscript

paper...

prcidtice

it!

Don't

put

it

ciff.

Deift

wait

until

it's

perfect.

Just

dri

it.

l'll

be

happy

tci

listen

tci

aiiythittg

anybcidy

wants

tci

send

mc.

and

dtiubly

happy

if

ynu

want

my

ideas

aliieitit

it!

l\lcii.v

here's

nur

final

twei

Basertient

Cl]'s...

Cl}:

Pttii‘

ti‘

tJit'e

tci

ii???

i"'~lll‘|lil‘t

‘World

Music

Artist:

Near

‘v'hana

lilquipment:

Several

analeig

and

digital

synthesiaers

{namely

a

mcidular-aaalcig

"Ftirtnant"

synth.

tin

the

digital

side:

iitarg

Preipliecy.

Reitind

MT32.

‘fatntiiia

FE-til

and

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-"~.tari

tntiw

cia

a

Mtic

eimilatiiig

an

tittarii.

Alsu

used:

a

multi-effect

btiit

with

direct

ac-

cess

tti

the

parameters

yia

a

fader-ii-:iit.

Last

but

net

least

there

is

the

Uiniiiciitirtl.

a

clieasy

instrurnent

t_desigiied

after

ati

aute-

harpi.

that

has

remarkable

musical

qualities

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-

2.2

I

-550-4995.

Email:

jaker@netcnlcigiic.tle.

.lcffrey‘s

lttiittepage

and

a

link

tti

stimc

MP3s

tci

get

a

taste:

http:.-".-"www.jazahr;itise.i:irg.-'iittirgaat

http:.-‘twww.mp§i.ctitn.-ar-

tistst22.-"pali'_a_dice.htmI

littp:.-".-"vvv.-w.inpjl.ctitii-'ar-

tists.-"24.-"electi"tishcick.html

i"-tetti"

Wittiiti

ctinsists

rif

Jeffrey

Mergtiii

cin

altti

saittiplitine.

and

Jciker

Nies

handling

syn-

thcsiact.

"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'tt-

tttitt.

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't-

titltf

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'tt-

tiiiii.

This

gties

tt.l'l'

iviih

the

itttes

taftitii‘

tit-

httiits

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.'tt-

tttiii

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

prciject:

“.+’tt'i'

we

wttitt

is

,v.iii'ett-a’

the

sitti-

tiiiiiiitti

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

11

HACKER

BASEMENT

TAPES

Steve

Vincent

these

tt'ivt'ite

ititt.tt't't'tiiiit.'

t't't_i_i‘i'ii'tiirittteiy.

thi"tit-t.eh

the

nieth't.t-ttti'iiei"ti.i'iri_e-it-‘tit’

_tietipi'e

iteeiit

tti

h.tit=e

tiei'ehi_iieti'

ti

.~ttiiitt'

i'e.it'.i'tttitt'e

t

ti

t'tH't'

iiie.t.ttt_t,=e.

."it't

ii-'e

.vli'ii'

t'tiit't

i'ett'i'e

tin

it

t't‘3't't't-|"t't't"

i'.t'tttiiti

yet...

"

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'h-

trig

tiii

.i"titi_i.t.t

ttittt

.ttitiittt'.tt.'ti_tie.t

_,tiii-

tt

tt'it'i'tt

i'ttth'ti-_.=it'tt_y

hr

eti.lttthtii‘tttt'tiii

with

i':'i:ii.tt

ti'ttittt.t-

Ht.ti‘tinttiiii

ttiiti

ttttthtii'

t£tt'gtti'

t.i;ihi

eiitittett

*‘l'y1aitseti

Revisited"

i-.'ftit'ti

ttii'.t

iti

i"‘-t'iii'eiittit.*i'

this

yettii

i"iii

titsti

etii'i'eitlt'y

i'ei:tii'tt't'ii.t.*

t.t

Ct)

ivt'th

W.-itii

h’.'tti'.tei'.i'

Tittie-

.t.*hti.t'l

_tii'ti_i'et't.

it-‘here

i1.’i?.l‘|L’

.i..'t.’ttt'i=t_i.‘

t.=tti'

httittts

tit-i

tt

itei"et'tirirt

tif'

.‘ilirit'tfi'

i"'ttt'-:*.'t

.'i't.htlj..‘."i.

tit'tttt.rt-

int;

theiii

iittti

the

nete

iititieiiiiitiiii.

A

_,tiiiiii-e

.iii'ti_.i'er.'t

1-t'TiT

he

the

t.*tiHtihtii'tttttiit

with

ti

.\'tt'fttj.’

triti

ii'hei'e

t

1-l-’i.iT

riitiittiy

he

retit-

tiiite-_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

tes-

ttires

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

play-

fully

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

slight-

ly

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

vcicaliaa-

ti-tins

are

tcici

cmifident

lei

ctimmtttiicate

feat-

seitnettcss.

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-

seunding

drene.

This

titne.

there

is

mere

ef

a

sense

ef

pregressien

in

the

piece.

with

the

elements

building

te

a

cresceiide.

accented

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

free-

ferm

style

ceiitaiiis

mere

epeii

sptices.

ap-

presimating

mevetneiits.

Eitactly

what

type

ef

mevements

is

epeti

te

interptetatien.

5.

tttt

i’t.ee

t-'iiii

—

ttptly

titled.

this

track

really

is

futi.

Arid

—

eh.

my.

ged

——

there

actually

is

a

drumtieat

at

times!

This

is

anether

fast-meviiig.

siieezeyalese

carnival

ef

syntli-n-sas.

It's

aliiiest

as

if

Jeffrey

anti

Jeker

can’t

ge

fer

Ieng

witlieut

shedding

the

serieus

layer

aiitl

treating

us

te

musical

siitiles.

I

can't

help

thinking

that

it

weutd

has-‘e

been

fun

te

be

inveI'-ted

in this

preject.

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

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

er-

chcstral

aitd

ether

"real"

iiistrtiineiits

appear

briefly

then

give

way

te

the

nest

visiter.

ti.

Hhte

t‘i's"_vs

—

Harsh

penging

vies

with

the

cetitiiiueus

sas.

ceiiverstttieiis

in

a

tt'ack

that

is

much

like

the

(‘D's

epener

in

its

pletliera

til‘

hleating

and

tiiatting.

Suddenly

the

ineiieteny

is

brekeii

by

a

sci-fi

crescende

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

metal-

lie

alien

mesquite.

painfully

clamped

te

year

chest

with

its

18-gauge

syringe

buried

te

its

hilt

in

yeur

terse.

The

senic

teitteres

achieyed

by

this

due

are

impressive:

the

differetice

with

Near

‘y'hana

is

that

the

teitttires

and

ttariatiens

tend

te

fly.

rather

than

walk.

by.

I

feund

myself

lurching

ftir

the

rewitid

iiutten

eften.

btit

fiiitilly

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-

self.

liiear

‘v'hana

can

be

enjeyed

under

a

magnifying

glass

er

with

a

wide-angle

lens;

beth

views

centain

eneugh

babbling.

per-

celtiting

life.

mevetnent.

and

aural

flaver

te

keep

yeti

ittterestetl.

l

denlt

knew

hew

malty

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.

CD:

Delete

Noiture

Convert

TOCICIY

Artist:

Jergen

Teller

[II]:

Delete

l'*-Iatnre

Cenvert

Teday

—

Seies

Fer

Trigger

Guitar

{cl

I993

l"~iinth

Werld

Mtisic

Artist:

Jergen

Teller

Equipment:

C-asie

Midi-Gtiitar.

EPS-tt5+

Turl:-e-Rack.

distertieii.

Wtivefiey"

efs

[grain-

ste|'ni

a.e.}.

Samples

were

treated

in

Eternal

tvlachine

iii?‘-15}.

{'t||"ve

Centrel.en

ti

tvlac.

Recerditig:

4

trait

en

ADAT.

Feedback

set-

ups

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.

Centact

inte:

tergen

Teller.

Sender

Beale-

v'ard

36.

-=l

tv.

DK-lt2tl

Cepenhagen

‘v’.

[Jen-

inark.

Plienetfait

+45-33263614

e-mail:

deictc@cempttserve.cem.

Web:

www.alteratien.dk

tit

wwtv.skrtiep.tlk.

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

CD

in

July

i':19?.

“i'iity

i'itiiei'

Etri"'

was

an

amazing

electreiiic

ntusictspeken

werd

pre-

ject

recerded

in

the

cechlea-shaped

{spiral}

Reundtnwer

in

Cepenhagen.

ttiid

"t"eirtt't'ei*"

was

ti

ceiiipilatieti

preject

where

varietis

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

crafts-

man

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.

l2

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

the

first

few

mintites

ef

disterted

feedback.

yeu

think.

“tjkay.

He’s

starting

this

like

Hendriit

weutd

start

a

cencert."

But

the

feed-

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

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

tnere

respect.

But

te

be

lienest.

en

its

ewn.

this

CD

seems

te

be

a

celleetien

ef

ence-

pherieus.

semetimes

irritating

guitar

ever-

drives

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

keybear-

dist.

Frem

a

guitarist‘s

perspective.

l

can

ap-

preciate

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

audience‘?

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't-

ing

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....

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."

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...

i"

sttt'tt'

tti

tt't'_y.i'e'f,fi

ff!

tl'tirt't

ttti

this"

.t"tiiti-CD

rttiir

I

iiitt

y

riei'ei'

htt_ii_tiert.

t

ivtis

ii"rii'hi'iig

riri

ti

t'tiiiiriit'.ssitirt

in

ti

etet'tr'ti

ttt'rrttstit'

.i'ttitlirr.

't'hes'e

i'tit:tir'tfirig.t'

were

riiy

eireiiirig

s'es'.ritiit.~t

—

;.iitt'it't't‘

firifittttjt‘

_.it.tiit.t.

'.-"'hej-'

ii'er'e

ttti

r'et'rrrrt'ett'

iii

tst

iii‘

Zita‘

ttttie.

U.tirtii'l_y

I’

set

tt_ti

ti

"s't'erie"

t.y"sttr-ii_ri.les.

ejfr

ttritt

i'tititt'itgs'

—

the

testett

it

shtirtty

—

tint!

s-tttrtett'

e.=tet'tttt'rtg.

[Jti

tit‘

thie.

ST:

Whe

is

yeur

audience‘?

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

l..et‘s

give

ti

listen

tn

the

tracks.

aiitl

I'll

at

least

describe

what

I

hear:

t.

littiite

Rrises

—

This

ceuld

be

cenfused

with

the

beginning

ef

a

Jimi

Hentlriii

live

album

in

which

he

is

tutiiiig

his

guitar.

er

perhaps

ene

ef

his

mere

free-ftirm

guitar

pieces.

Eiut

it

slewly

inerphs

inte

sente

fairly

rtindein

iieedliiigs

en

twe

er

three

different

netes.

where

yeti

can

hettr

seme

vecal

cen-

versatiens

in

the

backgreuttd

ter

perhaps

it's

the

feregreund.

hut

the

guitar

is

se

laud

that

it

drewns

everything

else

eut}.

titfter

a

while.

this

begins

te

remind

me

ef

listening

te

tee

much

Kern.

Silverchair

er

the

Uffspi-ing.

where

ultra-inaiiiacatly

disterted

guitar

eb|it-

crates

etterything

else

in

the

senic

spectrum.

2.

fri-Dttrrie

-—

This

epens

with

what

seunds

like

an

attempt

te

play

The

Star

Spangled

Banner

ta

tti

.limi

Hendris.

at

Weedstnckt.

but

then

it

just

settles

inte

anether

churning

maelstrem

ef

guitar

feedback

and

sustained

liarmeuic

medulatiens.

.lttst

when

yen

think

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

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

inas-

sage.

depending

en

where

yeur

stibweefers

are

placed].

.t.

Feett

tti-tiiii

—

Track

three

starts

the

same

way:

screeching

disterted

guitar

feedback.

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

the

miit.

yielding

what

ene

might

imagine

an

enrageit

bees-nest

wetiltl

setiitd

like.

er

per-

haps

flaslibacks

te

the

Electric

Priiites.

lt

es-

cillates

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.

rt.

Neil-'

Mtiiiii

—

Just

when

yeu

think

"t!i.hlilt.

here's

a

peaceful.

meditative-setiiidiiig

track."

the

guitar

eiice

again

kicks

inte

ever-

drive.

This

time.

Teller

espleres

the

dister-

tieii

medulatiens

based

en

ti

simple

three-

itete

"meledy."

In

the

backgreund

{and

intre}

there

are

seme

interesting

eitperimentatiens

with

seine

kind

ef

rising-pitch

effect

eirer

ebscure

human

vecalizatiens.

5.

Lesley

Ctthfe‘

-—

as

much

as

I

want

te

hear

the

"art."

all

I

hear

is

my

I3-year-nld

neigh-

ber

playing

his

first

netes

en

guitar.

and

he

just

discevered

the

"en"

switch

en

his

shred-

master

pedal.

.lergen:

what

gi'-res’?

ti.

.tiggrtirt.ii'

—

The

nest

deer

iieighber

dis-

ceirers

cl1ei'ds.

Rundem

riffing

and

chepping

takes

place

ever

ti

btickgreuiitl

ef

subliminal

percnssien

seunds

aiitl

what

seunds

like

a

car

alarm

that

seniebedy

sheuld

ttirn

eff.

F‘.

Trttiii

Btiktt

Httrtjti

—

The

title

says

it

all.

Trains.

Eanje.

Hut

what

the

hell

is

a

"bnka"‘i'

lt

tnust

stand

fer

the

etltet

uiidefinable

ele-

ments.

ttetually.

I

den’t

think

there’s

a

real

banje

in

this

track.

just

an

electric

guitar

cempressed

te

settiid

a

bit

banje-ish.

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-

tlling

en

a

slightly

disterted

electric

guitar

eirer

the

tep.

yeu’d

have

"Li:tttei'

.liltiii"."

13

it.

Etettty

t-tygge

—

adding

a

digital

delay.

putting

the

setting

a

bit

mere

rewards

"clean."

and

adding

a

senii-industrial

back-

greund.

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.

t2.

Ktitnutiiiigtt

— Teller

espleres

the

eit-

tremities

ef

distertien

en

this

track.

causing

the

beating

medulatiens

tn

crash

inte

each

ether

with

emanating

eiiplesiens

ef

frequen-

cy

wars.

hlice.

ballsy

lew

end.

t3.

Detete

tittititre

Ctiiiverr

Ttitttty

—

The

speken

werds

“delete

ntiture

cenvert

teday"

pass

thrtiugh

many

different

pitch

mediila-

tiens.

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

itiucli

te

ancher

the

listetier.

this

final

track

eemes

in

with

shaker.

btiss.

ttnd

digitally-

delayed

clean

guitar

playing

an

almbst-

tneledy.

Befere

l

read

Jergen’s

email.

I

had

written

that

this

CD

preject

“deesn’t

make

it."

That

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

pnrtasttidie.

and

that's

net

Jergcn

Teller.

There

is

art

en

this

CD.

Let's

see

if

I

get

it:

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:

fel-

lewing

the

eiipected

matrices

ef

human

music.

But

are

we

suppesetl

in

feel

guilty

fer

ettjeying

seme

erder.

a

centeitt

fer

the

rati-

demness

that

we

are

ferced

te

endure

day

after

day‘?

Is

this

a

judgment

en

these

ef

us

whe

have

accepted

the

brainwashing

ef

"na-

ture

deleters"

and

disparage

the

avant

garde?

If

se.

l

ha‘-re

ene

thing

te

say:

"Delete

nature.

cenirert

teday."

Treoisures

from

the

Basement

Being

the

reviewer

ef

yeur

tnusic

in

the

Basement

Tapes

fer

the

past

three

anti

ene-half

years

has

afferded

me

a

unique

vantage

peint:

I

hiive

had

the

privilege

ef

lis-

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

frem

yriti

—

inte

a

final

cempilatinrr.

and

er-

gartized

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

effect.

then

de

it.

But

here

are

dezen

de's

and

deii'ts.

Learn

frem

yeur

fellew

hackers

abeut...

1.

Stylistic

censistency.

It

helps

a

irrusicirl

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

mtisi-

cal

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

pitt-

ticular

genre.

be

aware

that

miiting-n-matcir-

ing

styles

can

be

cenfusing

irrid

ii

bit

jiirriirg

te

yetir

listeirers.

2.

Intent.

Clesely

related

te

stylistic

eensis-

tency.

it

helps

te

fecus

en

the

intent

ef

yeur

preject.

Call

it

year

"ebjective."

ls

this

a

deme

tiipe'?

What

are

yeti

demeirrg'?

"rear

seiigwriting

skills‘?

Yeur

jazz

seleing

cheps'?

"'i"eur

sequencing

abilities‘?

Make

sure

yeti

clearly

shewcirse

ynur

music

aleng

die

litres

ef

ynur

iirteirtieirs.

[1len't

eitpcct

yeur

lis-

teners

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

eenteitt.

and

in

ceinriruiiicatieri.

cetrtest

is

everything.

3.

Packaging.

Part

nf

hew

yen

cemmtiniciite

yeur

intent

and

style

is

in

the

way

yeu

pack-

age

yeur

preject.

During

the

first

ceuple

ef

years

ef

my

tetrrire

as

Basement

Tapes

reviewer.

mest

et'

the

tapes

were

irctuiil

cas-

sette

tapes.

with

haird-written

er

phetecepied

Steve

lr'i'iit_:eiit

.l-cirrds.

tn

recent

years.

lrewevcr.

the

price

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

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)

cevers.

{Dire

mere

hint:

it

deesir't

riecessirri-

ly

irave

te

be

yeur

ewir

face

. .

.]i

4.

Lyrics.

Ah.

lyrics.

The

been

er

bane

ef

a

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-

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.

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

‘v‘t'i"ite.

etlit.

re-write.

tess

it

eut

irnd

write

it

again...

until

it's

perfect.

Uire

hint:

Kill

irll

cliches.

5.

Pcrfectiiiii.

Once

in

ii

while

I

wntild

finish

listening

te

a

Basement

Tapes

preject.

and

in

my

heart

l

knew

that

the

predrictien

and

eri-

gineering

were

perfect.

Brit

tlrere

was

seine-

thing

missing.

What

was

it‘?

I

deri't

knew...

lieirrt.

attitude.

Den't

sacrifice

musical

eme-

tieri

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-

cause

it

was

still

tee

sleppy

fer

me.

but the

engineer

ta

guitaristi

said.

"tile.

keep

that

lirst

ene!

It's

get

attitude."

titnd

he

wits

right.

Every

time

I

listeir

te

that

trirck.

I

heiir

the

cliiirrs

tplain

as

day.

irtrd

net

just

te

iiiy

earsi.

hut

the

attitude

rules:

it

was

piissieirate

irtrd

ttitriirg.

always

teetering

en

the

edge

cif

etit-ef--cerrtrel.

Listen

te

seme

ef

the

greats

el’

yesteryear

t_Hciidris

and

Santana

ceirie

te

14

mind}

and

yeu

cirn

hear

all

serts

nf

"mis-

tirkes."

But

se

what.

tit.

l’crt'er'manee.

Uri

the

etlter

hand.

just

be-

cause

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

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

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.

keep

deiirg

it

until

yeti've

get

it

rightl

If

yen

hirve

the

ability

te

play

the

passage

perfectly.

why

decuineiit

en

tape

er

CD

a

less-

thair-stelliir

perl'etirrance'?

Recerd

the

"yen"

that

cirrr

tie

it

perfectly.

'r'.

tvliir.

lyliit

simply

ineiiirs

prittiirg

all

the

elements

at

yeur

track

inte

their

“i-iglitful"

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

cen-

servittisin

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.

ll.

EQ.

This

is

a

subset

ef

"lvlis."

and

anether

irreir

te

give

clese

iittentien

te.

I

leve

listen-

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

been

cenflictiiig

HQ

spectrunrs.

That

is.

twe

er

tnere

iiistruirreiits

vying

fer

the

siinte

fre-

quency

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

piaire.

strings.

irertrs

iirid

pads.

can

cempete

iirrnnyiirgly

with

the

veciils.

Semetimes

cer-

rect

equirlizirtieir

cirii

de

rtrere

tn

separate

the

elements

ef

yetir

nris

than

veluirre

irirtl

parr-

ning.

This

is

ene

ef

these

irreas

where

trri

estrir

pair

et'

ears

is

irrvtrluabte.

ask

ethers

what

they

think

ef

the

EQ.

and

listen

te

their

input.

Unless.

ef

ctiurse.

yeu

tlen't

watrt

te.

El.

Pitch.

What

de

all

great

vecal

tracks

hiive

in

cemmen'?

Great

pitch!

This

sheuld

be

ene

ef

the

ten

cernmandrneirts

ef

iiitisic

preduc-

tien:

vecals

simply

i'it.tve

te

be

en

pitchl

I

t;len't

care

if

yen

have

te

eut-rr-pirste

every

fricking

phriise.

er

bring

in

the

pitclr-cerrec-

tieir

gear.

Make

the

pitch

deiid-eti.

Wliiit

miikcs

Mick

Jagger

er

Bab

Dylirn

great

siirgers'?

Well.

ene

thing

is

pitch.

hind

this

is

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

detecting

pitch

iircerisistencies.

their

yeu

simply

mrist

invite

setneene

else

inte

the

studie

te

help

yeti.

I'll.

Digital

sterility

vs.

analug

warmth.

We've

all

heard

eireugh

"IJDD"

prejects

trecerded

and

mastered

eempletely

in

the

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

Birsement

CD's

that

ceuld

have

benefited

frern

seme

tribe

cempressien

er

airaleg

track-

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

it

up

sernewhere

itleirg

the

signal

pirtlr.

Please.

ll.

Mastering.

l

knew

what

it

feels

like

te

be

preud

ef

yetirself

fer

deiirg

a

ceinplete

"de

it

yeurself"

CD

preject.

But

please.

kick

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}.

This

will

ensure

seme

nice

and

ceirsislent

EQ.

eeiisisteiit

land

silent}

spaces

lietweetr

the

trircks.

and

censistciit

velrime

frenr

trirck

te

track.

Must

CD

duplicatien

cenipirnies

{like

DiscMiikersl

have

iii-lreuse

mastering

as

an

eptieri.

It's

well

werth

the

meney.

I

sheulda

dene

it.

12.

Cellaberatien.

Fer

seme

reirstiir.

a

let

ef

tis

get

iirte

the

heine-studie

thing

because

we're

fairly

independent

felk

whe

pride

themselves

en

being

pretty

geed

iit

all

pitrts

ef

the

rectirding

precess.

But

everyenc

has

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

slack

just

because

there's

a

line

in

the

CD

in-

sert

that

says.

"t5t.ll

sengs

written.

recerded.

edited.

preduced.

engineered.

miited

dewir.

mastered

and

duplicated

by

ME.

Dh.

and

I

did

the

graphics

tee."

Trust

me.

that's

enly

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

cenga

track.

Dace

yeu

get

used

re

it.

it's

ac-

tually

ltintla

fun

te

write.

"Cenga

track

EQ'd

by

my

brethet-in-law."

Se.

get

yeur

selitary.

hermit

vibe

eut

ef

yeur

system.

irnd

start

playing

and

cellaberirting

with

ether

fellew-

musiciairs.

It's

fun.

—

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'ILill'.-'-E’.

eriiiit

vt'rrcerit.

Where

Are

They

Now’?

.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

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

werd

"hacker"

had

mere

credibility

te

it.

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.

third-

party

cempanies.

and

related

peeple.

lilete:

fer

these

ef

ynu

whe

have

enly

sub-

scribed

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

t’Jtti*th

Hjeite

sampler

—

when

intreduced.

it

was

a

beniifide

SAMPLER

fer

$le95

—

within

mest

peep]e's

reachl

Tliiit's

what

started

En-

seiriq.

really.)

alse.

I'tn

serry

I

bird

te

leave

senre

peeple

eut

—

senre

we

ceuldn'l

cen-

tact.

seme

we

weren't

stire

ef.

Dun

Slcpian

—

Den

was

a

early

electrenic

music

pieneer

and

is

still

at

it.

He

leved

his

Miragesl

Check

nut

his

web

site

at

www.eclipse.nett-slepian.

Den

is

arguably

the

premier

Mirage

artist.

featuring

the

eld

black

beast

en

many

ef

his

recerdings.

This

web

page

centiiins

seme

ef

his

Mirage-

related

articles.

ii

discegraphy

and

mere.

Jim

Jehnsen

—

wrete

many

technical

irnd

pregrammiirg

iirticles

frem

the

start

ef

the

Htittrei:

te

early

‘lifts.

lle

new

werks

fer

Seer-

Systems.

the

centpany

that

puts

eut

Reality.

a

pewerful

leatling-edge

seftware

synthe-

SIZET.

Kenn

Lewy

—

werks

at

lrlr't'r:ett'

tktttgucintt.

a

tep

technelegy

magazine.

I5

Chris

Barth

—

ewns iind

eperates

Silicen

Chip

Recerding

in

Philadelphia.

He

werks

en

Ptkfli

gear

new

{sniff}.

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

crea-

tien.

Dick

Lerd

(Upward

Cenccpts)

and

Steven

Feir

{Leaping

Lizards]

—

Beth

these

guys

wrnte

the

first

alremative

Dperating

Systems

fer

the

Mirage.

Dick

previded

in-depth

tech-

nical

infermatien

en

esactly

hew

the

Mirage

werked.

I

really

liked

his

Super-MIDI

Disk

preduct

—

it

supperted

velume

ceutrel

fer

MIDI

centreller

‘t.

Snme

peeple

still

sell

Dick

and

Steve's

stuff

[see

www

fer

the

Mirage

Users

Page].

but

ne

werd

en

ceirtact-

irrg

Dick.

as

fer

Steven.

whe

knews

what

happened

tn

this

guy‘?

all

ef

a

sudden.

he

teek

eff

te

Indenesia

te

live

ameng

the

na-

tives

there

er

semething.

Steven

was

a

lead-

ing

hacker

rif

the

Mirage

--

he

wrete

several

alremative

DS's

that

made

the

Mirage

de

strange

and

stranger

things.

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

sup-

ports

not

only

Ensoniq

samplers

but

all

other

professional

samplers

as

well.

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

relation-

ship

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

College

of

Music

in

Boston.

As

a

perform-

ing

composer.

Boulanger

has

played

his

music

in

Moscow,

Japan,

Canada.

through-

out

Eastern

and

Western

Europe,

and

all

over

the

United

States.

Richard

has

received

many

awards

and

honors

including

a

Ful-

bright.

Cm

the

electronic

end,

he

is

an

authority

in

the

CSound

world,

and

sound

is

his

specialty.

Read

this

— it

will

give

you

and

idea

—-

mitpress.mit.edufe-booksi’

csoundtfpagetpubfcsbookfcontcnts!

intro.html

Larry

Church

—

The

co-owner

of

[JAN-

LAR

Music,

the

creators

of

Monster

Dan

se-

quences.

Who

can

forget

these

guys‘?

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

En-

soniq‘s

accessories.

Sam

used

to

be

in

southern

Cal

and

now

lives

in

Eagle

Lake,

TX.

Bryce

lnrnan

—

Bryce

is

currently

a

transcriber

among

other

things

with

Word

Records

in

Nashville.

Jeffrey

Richter

—

Although

Jeffery

rarely

wrote

for

the

Hrtcil:er',

I

had

to

put

this

is

here.

Jeffrey

wrote

the

first

software

pro-

gram

that

worked

with

the

EPS

—

it

was

a

DDS

program

called

EPS-SENSE.

Cute

lit-

tle

item

—-~

some

Ensoniq

people

mentioned

that

they

used

it

to

name

layers

and

wave-

samples,

etc.

Jeffery

is

now

a

leading

Micro-

soft

Press

book

writer

and

seminar

host.

His

“Advon-cert

Wioo'ow.v"

is

very

popular

in

the

computer

world.

Famous

guy.

Dualing

Garys:

Gary

Morrison

and

Gary

Dinsmore

—

l

always

got

these

guys

con-

fused.

Mori-ison‘s

area

of

interest

was

alter-

native

ttinings.

He

made

some

for

the

Mirage

and

then

later

for

the

E-PSIASR.

Gary

Dinsmore

published

the

EPS

User

C-uide

-—

in

fact,

he

still

sells it

[5-22}.

See

www.columbia-center.orgi’gdinsmore.tmidi.h

tml.

He

now

lives

in

Clregon,

works

as

a

chemical

engineer

at

a

paper

mill,

and

broadcasts

a

weekly

radio

program.

Harry

Carson

—

Barry

is

still

teaching

music

education

in

upstate

New

York.

Charles

R.

Fischer

and

.lefl'rcy

Rhoatls

—

both

these

prolific

writers

have

since

passed

away.

Charles

in

particular

was

a

esteemed

innovator

especially

in

buildiitg

electronic

kits

and

devising

new

and

inventive

ways

of

using

musical

instruments.

Elet.-rr-bra‘:

Mti.s-it.*ittri

had

quite

a

write

up

when

he

passed

away.

Tom

Shear

—

“Mr.

Bl£JtMr.

Las

‘v’egas"

himself.

Frequent

writer

for

the

lllrieitei-,

he

has

appeared

in

ll

compilation

ClJ's,

includ-

ing

his

own

projects

tAssemblage

23

—

electro

industrial

and

Nerve

l-"ilter

—-—

dark

techno].

He

also

does

remiscs

for

industrial

bands

such

as

THU,

Scar

Tissue.

Pain

Sta-

tion,

and

Flesh

Field.

He

is

releasing

his

debut

album

as

A23,

entitled

“[.‘nnierii,ot."

on

the

Canadian

Gashedl

label

Uctober,

1999.

Amazingly,

his

sole

piece

of

musical

gear

for

making

all

that

awful

ruckus

is

an

Ensoniq

I:iPS-

I6

Plus

—

wow!

Michael

Mortilla

—-

writes

orchestral

scores

for

plays

in

Santa

Barbara,

CA.

John

Loffink

{First

Generation}

—

John

wrote

many

technical

articles

{output

modes,

ete.},

and

pioneered

some

Ensoniq

samples

using

computer

methods

to

create

wave-

samples

in

the

digital

domain.

He

worked

for

Kuraweil

for

awhile.

Mark

Cecys

{Triton}

—

Mark

wrote

Triton,

a

late

alternative

Mirage

US.

l-le

went

on

to

work

for

Apple

Ctjmputer.

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-

CD-

RGM

covers}.

Looks

like

he's

doing

lots

of

15

music

now

—

see

his

site

at

www.thomas-

metcalf.com.

Roh

Weber

—

Fo|'mer

Marketing

director

for

Ensoniq

during

the

“salad

days."

l'l"H'

—

rum‘

the

gay

irho

riileirtrilly

let

the

Hacker

"la

the

tr-or.

"I

He

has

also

served

as

a

direc-

tor

and

consultant

to

a

number

of

high

tech

companies

in

fields

such

as

factory

and

lab

automation,

Internet,

multimedia

and

health-

care

software

and

communications

products.

He

is

now

President

of

Weber

Associates.

a

strategic

tnarketing

and

financing

firm

serv-

ing

high

technology

growth

businesses

and

teaches

at

the

Wharton

School

at

the

univer-

sity

of

Pennsylvania.

[truce

Crockett

—

He

was

"The

Big

Cheese"

of

Ensoniq

for

awhile;

then

he

moved

to

Kuraweil

for

a

VP

job.

Roy

Elkins

—

Roy

was

the

start

of

the

“En-

soniq

School,"

where

dealers

came

and

got

on-site

training

at

the

factory.

Now

Roy

has

climbed

the

ladder

and

is

the

‘v'ice

President

of

Sales

and

Marketing

at

Sonic

Foundry,

makers

of

Sound

Forge,

Acid,

and

their

new

vegas

product.

Gary

Gicbler

—

Giebler

Enterprises:

Con-

verters

and

translators.

Ray

Lcgninl

—

Ray

worked

a

lot

with

Paris

during

his

employment

with

Ensoniq.

He

also

contributed

sounds

to

an

ASR-X

audio

CD.

Tony

Ferrera

and

Cosmo

Watts

—

Tony

and

Cosmo

now

work

for

Seer

Systems

as

well.

Tony

wrote

a

series

of

escellent

ar-

ticles

during

I995-l'£l9?.

Cosmo

was

with

Ensoniq

since

the

late

lQl:lU‘s

as

the

Califor-

nia

rep.

Tom

Tracy

&

Robby

Herman

—

Both

worked

for

Ensoniq

as

manual

writers

for

several

years

[seems

they

know

good

writers

when

they

read

‘em!].

Steve

Cttrtin

—

Steve

wrote

a

couple

of

ar-

ticles

about

micro-tunings,

and

developed

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.

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.

..

Or

at

loost

most

of

‘om

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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.

lt-

-Sultject:

l.Ircetitt

gs

front

Woctdstoek

So

the

last

issue

has

rolled

arottttd.

all

too

quickly.

Just

wanted

to

drop

a

note

saying

what

a

great

contribt.ttion

the

Hrtttlet"

made

to

all

of

tts

over

the

years.

attd

to

add

m_y

thanks

to

tvltat

will

surely

be

a

great

resounding

chorus

of

otlters-

Iirortt

the

time

I

got

tny

l:'SQ-l,

I

l'ottrtd

the

l'tlttt"ll'et'

to

be an

invaluable

resottrce.

The

articles

ol

mine

that

you

kindly

pttblishecl

beginning

bank

in

my

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

ll'l

|Il'ti'."TS'llIl'I.

Thanks.

lane

and

lirlc.

for

all

of

the

hard

work

{and

of

course

you

got

fabulously

wealthy}.

Who'dtt

tltottght

yoult-I

ttutlasl

linsoniq

itself‘-l

Best

of

luck.

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

tech-

trttt'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

jitt-

ttotr...

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:

.Al.L

All

-SSH

ltlessittn

-tttfb

Al‘

ltiongs

-tttfdt

Une

liittttg

.mid

Mllitl

file

from

Sequencer

.rbk

l"l-S

ltltythnt

Rank

-rhy

Clue

Rltytltm

.sbk

Suttnd

ltank

.sott

Single

Sound

.pbk

Presets

.pre

{Jne

Preset

.vr:t'v

‘Wavt:

l"‘|l'

,ail

Wave

Mac

.':"'l".l'

l~lAl't-‘I

Rltylltttt

l-lttttk

.'.".".’

RA

M

Suuttd

littnk

Thanks-

liretl

l'i-lttttttr

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-

'l'll

and

Pl"-

Ilere

we

are

at

the

last

issue,

Sorry

to

sec

it

end.

l'n1

ltopittg

that

l-‘at

will

give

tts

a

an

idea

of

tvhere

or

what

the

website

will

look

like.

I'd

ltate

to

end

it

just

like

this-

C

an

you

fill

us

in‘?

fitclaware

[lave

f}Musuttt?335@ttol.cun1

t-“F

—

fitttre:

F-=l'_t'

tt'ehtttrt'ster

,ett_t"

t'tt_,titt-ttt-t

ttte

t't'.t

tthttttt

it

tt.'r'e.-I.‘

rtt'

ttrtt

ttttt

—

.rrttttet.l'tt'tt_t;

ethttttt

t'r'ttt'.t.'tet't'ttg

lt'tl-?t,',tt

etttttl

.t'ttt_t[l‘l

.'ittt_r

tttttettl.

tlttrf

I'll

_t:et

ttltttt

rlt'.t'tl.'

out

to

_t'ott

this

et'cttt'rt_t,t---If

,fl'J.-lit‘rt.t'ttttt?.i-i-5@ttttf.trtttt

—

't"hrttt.ll.'.t'

Pot.

'f'.ftt'.t'

t'.t

too

.ht'_t;h-

l'_t"

t'ttyI'ot'ttttttit'e

rt

tttt'nlt'ttttt

ttt

,t'tt.tt

let

tfftr.

fHrtrt'

ttt

htvtr

ttftrtttt

the

.wttttt-to-he

tt't'htt'tt'.

,f

lrT.l'I

--

Pttt'.t'

.t't'l‘t'

it

ttt-'

tt'tt"t-t',t'ttt.tttt'.ettt‘t‘tltfitttl.'-ttc*t.-'"_l‘t"t-tl-5'.

Til-

l'vc

settt

all

the

e-ntails

and

lcttcrs

I

ever

will

about

the

dctttise

of

tttt-:"krt-

and

the

fall

of

linsoniq.

so

now

I

have

accepted

that

I

must

move

on

attd

I

tnade that

first

step

by

pttrchasing

the

Proteus

Elli]-IL

Good

I-ordl

What

a

machine!

It

is

cverythittg

the

l'tt|R

Rack

watttctl

to

be

and

maybe

cottld

have

become.

I

mean.

even

ts-itbout

a

plug

in

there

are

ll

banks

of

I'll.-l

sounds

to

start

out

with.

and

the

quality

is

beyond

cttccllcnt,

especially

the

guitars

which

are

the

finest

I

have

ever

heard.

The

auditiott

mode

is

vastly

superior

to

the

tvta

as

it

has

tttany

ntorc

anti

longer

riffs.

liven

witlt

the

32

MB

I

donit

know

how

they

achieved

the

qua

ity

of

the

samples

includittg

sontc

killer

keyboards.

t‘t.lso,

this

batty

has

two

sets

of

MIDI.

capable

of

31

channels

and

has

llltl

voices.

.‘iupposedly

one

of

the

plug-ins

will

give

it

sample

reading

ability.

All

in

all

a

ntagnificent

piece

of

arcltitccture

and

proof

that

tltcrc

is

life

after

Iinsoniq.

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ll"~l

.lf_iat"l

5

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actl.com

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ntlts-

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rtttf,t'tttttt'Afteg't'trR-If-'.-"j'

*rt-t.

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.

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

in-

cluding

what

the

"Instruction

Monitor"

is

good

for}.

1-}

Best

to

you

all.

literek

von

It-Lrogh

dc

rek

vonkro

glt@

gm

tr

.

net

{Tit

-

.‘i'ttrr_t'.

tttt

ttt’ntt.t'

_titr

tttt_t'

.l't'ttt"t

of

“Cttttt,tttt'te

Httt-k-

er."

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

infor-

mation

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

people-

l

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

that-

but

l

cart

say

that

tlte

I.l'.t.tr'tl.'et'

was

really

there

ft_tt'

tl"|oso

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

questions-

Please

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

another

like

you.

Thanks!

Iiemetntz-er

to

he

funky.

make

music.

think

linsoniq!

Good

bye

everyone.

ant]...

Good

luck!

Iiric

Montgomery

i'i‘H

..

]"iten.lt.t".

Erie."

tt'.t-

heett

tttettt

tt'ttrhitt.t.*

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repiete

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ttttitiit-tttitttt

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tliii'i-.'r’t

T

tti

ii‘.,i

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

En-

seniq

SQ-I

(whether

it

he

stores

or

web

sites}-

Any

help

would

he

cool!

Thanl-as.

L'hris

King

diggingest@mps.ett|n.au

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

ehi'ttit

£'.'tr.-"tutti-:,t

to

_ttt't

It

ttrnre

ettrrettt

ti.vtt'tt,e

tr_t'ri-ettiet'.v.

The

ttttiv

trtttree

t'ttt

tttt'ttt'e

tit

is

tvtt-t-.'._ti:ttstttthe.enttits_t'tt-

tttttr

—

here

in

the

.'t-‘ll-t5t'i'|1*'.'t.

Hrttit

.'|rtt'mt"

t'tfttt

ittttth

ytttt

tip...

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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...

Ibigniew

Poland

t:it.i@mcmo-ikca.eom

[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

llelp.

I

have

a

dead

I115-Ill

and

my

repairman

says

that

the

main

controller

bttard

necdcd

ts

not

availab-le.

t"'t.t‘l}-'

ideas‘?

?Ztttttie.'llrl@aol

.co

nt

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

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'

"ttt-

l

have

a

EH-TE.

hut

ntt

l"-"llil.

flash

add-in-

"I3-'ltat

other

lin-

sonitt

sttuntis

will

my

Iltt|‘t|‘ty

dtilc

tcad

itt'.l'

Wlttztl

lltlt't.l-

party

sounds

are

available?

lvlark

mli

ickstfiiltlttet-Its

upport.cotn

_||'.l"'t"'

—

."tti'ttrti'.‘

'l"ht*

i"'itt.t'.hii'r'ti'li

rt,t'ttirttt

it

rcr,'ttt't't'tt'

ttt

t'tttttt'

ttt'_{iI'i:t't*ttt

lt'ttt.‘t*.t't's't.lt~tt'i!t.i'.t'

ittttt

the

ttttii

hitte.

."t-'t'tt'

_tttttt'he.~.'.

tirttttt

tttttehine

rh_vthttt.t.

tttttt

.tet,rttt'rtt'e.v

etttt he

t'tttttt'eri

itt

ritt

the

tttthtttit'ti_titt,tt,tt_t'

th'tt"e...

,1‘

llo

‘I'll!

llerc

ttrc

some

tltSRt"F.Pl-l

programming

questions.-"obset=

vatit:-ns:

l.

tflln

an

instrumettt

which

I

had

“stereo-ieed"

by

copy-

ing

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

:

in-

strument]

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

trig-

gered.

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

useful

thing

to

be

able

to

do.

E.

l'f.ind

of

by

accident.

l

found

:t

solution

to

the

in-

fantous

song-saving

bug

tthat's

where

you

go

to

save

your

song

and

all

ot

a

sudden

it's

using

a

quarter

mega-

byte

of

memory

or

mote.

attd tto

longer

fits

on

your

flop-

Pill.

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

se-

quences"

it

never

seems

to

hang

up.

and

also

doesn't

take

nearly

as

long

to

process.

Fl.

lltoes

anyone

know

the

ettact

nuntber

of

sample

wttrds

in

a

-“l-beat

sequence

at

Il.ltIt

beats

per

minute‘!

.t‘t.s

always.

thank

for

all

your

advice.

sount.l-offs.

and

in-

spiration

over

the

years.

Phil

Rogers

curco@tttn

icIt-edu

t'F'F

—

Fitii:

.-'l.tt.ttt"t="r.s.

itt

ttt'tiet'.'

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

other

l'-‘t'tt_t;rtttti

thtttt

ttt

ttttttther

i'tt_!t't't"

ttrt:

tt'et'i

trtt

the

tttttttytie

tt'ttttr

t't.i'tti__|'t

hlee

if

thtrt

tt'tte.s'tt't

t'rtt'ret't

the

ttt‘tthl'ettt-

till

tlittrttt

ttt

tttttttr.

..

{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'

,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

tttttyhe

t

_ttt.vt

ttrttt't

tttttiersttttrti

_'rttttr

t:i'tl.'t'lt't’t’-

Tt'_v

ttctttttliy

tt'ttt'tt_t,’

this:

tvith

ti

tvtttgtt

tirrtnr

.rttttnt'l'

itt

h.t_'tet‘

i.

t'tt,tt_'r

it

ttt

hst_t.'et‘

2.

their

p.-ttt

the

t'ttyer.s.

the

ttt

httrti

te_ti.

the

set'tttttt'

htttti

right.

F

er

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

ttt

,i'ertt-_i’_-

ettt'eht,rte

t_t.',t'te,t'

tttttil

r'htrt't,ee

it

ttt

"_,t‘itri.'th."

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

rtitttrti.

hat

ttn

he_vu,tt

ttttl_t'

tr

.-rttrtttti

ptttnnett

httrti

ieji.

Catt

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

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.-

tttt

the

tl.‘t'h'.-.I"

'i'htini'ei

tigttitt.

,v't.tii'

Ht.tt.‘tlCt’.’t‘.s'-_|l

,|"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

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.

'l"ht.'

tteittyhttttrett

e_t_l'i:’t't

ntttr

t1.'ttttt'ttt1't

he

eretttett

ity

the

.'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

Classifieds

tiang:

Selling

beloved

TS-IE:

college

money

due

Sep-

tcmpter

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|nenta-

lion.

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.

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.

ASH

sounds

on

floppy

or

trip

disks:

tltfricttnthltttive

tltmerican

percussion

{drums

&

talking

drums.

rattles.

dance

bells.

guiros.

ete.}.

Plus

other

instruments

tflutes.

strings,

weird

syntht'voeal_t.

Large

memory

sets:

many

articulations.

also

multiple

hits

of

same

articula-

tions

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

Hub-

ber

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

r-

DEX-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.

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

Uk-

Iahotn

: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]!

+

ship-

ping.

Hack-issues

of

Hacker.

Will

relinquish

my

col-

lection

for

a

nominal

fee

+

shipping.

Issues

date

back

to

at

least

I957.

Don't

need

'em

and

hate

to

see

this

plethora

of

valuable

information

go

to

waste.

Plcnny

Richardson.

tjtlllfit

343-Hdib.

b-enny@theshop.net.

El

I

Enseniq

Sill}-4

tltleitlt

Emerson

Signature

seriesl.

I

linsoniq

L'l'tll-l'.l

tltt‘v’ision

It-rumsl.

l

Iinsonitt

("illi-

IFI

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

dill-

lJ==ltl-2‘-lfl}.

Want To

Buy

I“:-Prime

or

il.'l‘-l-ltltifi.

limail

.leff

at

ahrensj@'umich.edtt.

lli

gttys...

I

ant

still

looking

for

a

good

used

"l'S-I2

to

huy.

I

live

in

lvlohile.

Alabama

and

would

drive

up

to

E

ltours

away

to

check

out

a

keyboard

to

buy.

Glenn

Normand.

iibil-bl

I

-U134.

Wanted:

broken

Ensonit|

keyboards

l'or

parts-

(‘all

Sam

at

Syntaur

Productions:

4G9-134-Elllll.

For

Sale:

Brand

New

Ettp-fl

tlirban

Etancei

board

tor

l1-Lrtsonitt

.-"ssrHtF'ro.

l'rlFl

and

ER

series

synths.

This

is

the

one

folks!

Board

and

manual

$2~t[t

Call

9l=l-titIiE-

IRE-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.com-

I:'l’S

Classic

for

sale!

PS

Systems

till

cspander.

25t]+

floppies.

with

printed

listing.

of

sounds.

Escellcnt

con-

dition!

$5'[lll.

—

Will

separate

wtcasc.

Finale

.'l

-

Nota-

tion

Software.

In

boa.

Full

documentation.

5T5

obo.

l"i.eltlt

Mullin.

El?-1'21-T25?

days.

ll?-I14-slllfltfi

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

ttetyttr-

tr-trtuees

uteri‘

sneh.

httt

t

u'ttttttht't

tttt

that

ttt

the

.vttto'ht.

ttrtpe

this

ttetp.-r.,i

Gang:

I'm

selling

my

beloved

TS-II:

college

money

due

Sep-

tctnber

lflth.

T5-I2

with

E

lvib

RAM.

SCSI

interface.

FDHDM.

Invision

C.'DR‘s.

numerous

floppies.

in

origi-

nal

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!

Fat

F

l't.ott-t'.s

.T*'.rtt.'t'r

t

t:oett@ptd'prrttttg.net

.1

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trots‘

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rthtl

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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'

TH.

I

have

been

a

sttbscriber

and

Enseniq

user

since

the

first

liP5i-is.

fine

of

the

first

things

I

saw

when

I

tools

my

I£P5i

"h‘.oad

Test"

wtts

this

curious

magaaine

included

in

tlte

hos.

the

i"rttttsttrth,r

Hetr't:e.r.

Along

with

being

very

im-

pressed

with

the

EPS

I

was

equally

impressed

by

the

es-

citement

and

support

the

Tll

offered.

ttt

that

time

I

hatl

not

seen

this

lsind

of

publication

supporting

any

compet-

ing

companies

sampler

-

a

real

asset

and

alliance

to

the

EP5

owner.

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

al-

ways

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

tin-

soniq

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'

tttttttl

tiff

the

t‘ettett'rtt".v."l

-

t't's

heett

_t,=t't.tttrt.,|'

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.

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

nearsigltted-

ness.

{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.

hfter

many

years

of

only

using

Iinsoniq

gear

I

just

pur-

chased

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.

-[Iood

luclt

to

all.

robertoromtilaol

.com

TH

--

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.

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

com-

posers

and

performing

musicians.

with

instrutnents

that

were

capable

of

great

artistic

range.

Though

linsonit;

cottld

design

great

inslrttments.

their

tnarltetittg

was

suspect.

I

often thought

that

the

ad

catupaigns

were

terr-

ible

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.

Beyond

what

the

cotrtpany

did

for

and

against

itself.

lin-

soniq

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

lin-

soniq

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

under-

standing

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

ill.

I

am

the

proud

owner

of

an

linsonlq

ZR-Th.

The

hand-

boolt

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!

Please

help

tttelll

22

fl-est

regards.

hrndreas

Jauss

and

reas.jauss@planet-interltorn-de

{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'

is-

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rt_t,tr.t.

ftt

ffett

tg_,f'||at'ttr'ttrt'.tt_t.t

their

_|rtett'ttt'ttlttr

hstth

t'.r.s'tte.

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

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ltttli.‘t'tt_t;

st

ZR-.i"tԤi

ttt

rt

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the

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ttttlrittg

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of

the

tthtet'

thftit-.s't=rt'r'.r

h.’t.’_'t'tf1lt'tttt'ttl.‘t'

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the

srtttre

t'ttttr-

ttrtter...

I

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—

tltttt

tirt'r

t'l»htttt,etttttet'_s'

,ertes

over

this

tt

tr'ttte

ht't

in

tltli-t,"

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rltrrt

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is

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tip

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tlttftl-i'.t.i-‘Iii’

to

t1.vtt'.l:

1-vtith

mt

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ser,rttettr'er.

Press

the

.'i't.'tet't

htttttttt

in

the

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Tttrtt

the

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get

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is

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the

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tn

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ttrte.ltrtge

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tttet_i'

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tvhrtt

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t.nt'tter.s'

tttrtttttrtt

tt_t"the

.s'tt_tttt‘ttt'i'

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_t'rttt'

tire

tt.s'itt_t;

ttt

tettrtt

thttt

trt.r.l'.l'

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

busi-

ness

I

started

years

ago

but

ntothhalled

it

when

I

relurned

to

a

property

management

job

in

lIt.f.i'.t

'I"hartlrs

for

all

the

help

and

understanding-

till

in

all.

its

been

a

damn

good

run.

huh‘?

‘t’out's.

l

.f.'t.

ll.

y

an

brosryatt@drn

v

.com

{I-"t-t

—

tlh.

t'tttttt'

tttte.l:er

Ititth

‘ijittttttjfil

tttttft't'rf

llt'ttu’ent

ll-’tlteet.s.

t]"ttrttttr.s'.'l

t"t-‘ttt

ttt

tttrttty

t-t'

t"et'ttti|rtttt

—

t't's

ttt_t'

nete

|t1t'ttj_t'r’t't.

"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"

Intri-

rttttttt-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'

;"'f'H

-

l‘.'.'ttrttt|eftt_t;

the

tvttt't'ei'

rttre

twitter

ttt

rt"

tt'rtte.--,l'

IJt:tJt'

liric.

lane.

Par.

uttd

all

the

writers

over

the

years.

I]r-tore

everything

fades

to

black

and

we

all

go

into

|-|-|.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-

tion

spttcel

this

publication

has

provitled

to

us

llnsoniq

owrters.

I've

heett

aboard

sirtce

llllll.

and

will

tt1'ctttlf-

tniss

tltls

nieetine

place

and

the

gnzat

professional

t.'o1ttnu.tntI'y

it

has

created.

llest

wisltes

to

all

of

you

in

wh1t1es"e1'cotncs

nest!

I[ir';1tetr.tlly

yr‘-t|t's.

lob

n

Itlaltody

iPI-‘Iahi:rtl§,'t.'.'t;II'tto

l

.com

l'tr.tar

'I'1'artsortir.1

I

l

tickers.

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-

ing

rip

sttme

of

the

prtttlctl

documcrttation.

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--

firtttatton-

Is

artyone

ottt

there

who

has

gone

through

this

process

willing

to

share

this

inforruation'l

Thanks.

Phil

Ilogers

t;tttt.L't‘tr2_'_t'l"-'ttttt|.'l‘t.t.*t.ltt

t".f'.ff

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