Ensoniq Corporation Transoniq Hacker Archive Issue #126 Th 126

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TS

Sequencing

Q

&

A

I've

been

doing

lots

of

interactive

se-

quencing

lately

between

Vision

on

my

Macintosh

and

my

TS

sequencer.

which

I

then

sync

together

with

MIDI

clocks

to

a

modular

digital

multi-track

recorder.

Coincidentally.

we've

been

getting

plenty

of

technical

questions

about

a

number

of

similar

topics.

With

that

in

mind.

this

month"s

column

is

going

to

take

the

form

of

a

Question

8:.

Answer

forum.

where

I

try

to

come

up

with

the

best

solution

for

the

particular

user’s

needs.

Here

goes:

Question

#1:

On

my

TS:

sometimes

I'll

sequence

a

drum

track

and

find

that

the

bass

drum

is

too

loud.

How

do

I

edit

the

sequence

so

that

just

that

G2

key

(bass

drum).

for

example.

is

quieter

throughout

the

sequence?

|

ISSUE

.'"~il.lhllli'=-El-if

‘I26.

$1»?

Elli

DECENIBER.

i995

I

i

-._.-I-

.----

Tony

Ferrara

I

have

tried

the

Edit

Track.

Scale.

Key

Velocity.

menu

and

it

doesn't

seem

to

do

the

trick.

Unlike

other

controllers

where

there

is

a

plus

or

minus.

on

mine.

the

range

is

simply

from

0

to

9.

Selecting

different

values

doesn't

seem

to

change

things

at

all.

Am

I

in

the

right

menu

to

do

what

I

wish

to do?

Answer:

Good

news!

I‘ve

got

some

general

suggestions

that

can

help

you

in

regard

to

quick

editing

when

se-

quencing

drum

tracks.

First

of

all.

it‘s

easiest

to

work

with

drums

by

keeping

them

on

separate

se-

quencer

tracks.

For

instance.

bass

drum

on

track

one.

snare

on

track

two.

etc.

If

you

designate

necks

1-6

to

drums.

T-12

can

then

be

used

for

your

other

instruments.

That

way.

you can

quickly

edit

the

individual

track

volume

by

changing

the

Min

setting

under

the

Track

Parameters

sections

on

your

TS

front

panel.

You

can

also

change

track

programs

and

transpositions

quickly;

using

this

method.

you

could

actually

use

drums

from

different

kits

to

create

your

own

unique

"virtual"

drum

kit.

Different

sequencer

tracks

(with

their

own

MIDI

channel

number)

will

allow

you

to

interface

with

an

ertternal

se-

quencer

much

more

easily.

and

will

enable

you

to

solo

tracks

for

isolation

In

Thlfi

Issue

ll

I

n

I

Articles:

TS

Sequencing

Q

St

A

Tony

F

errara

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

..

cover

Stupid

Sequencer

Tricks

Jack

Schiejjfer

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

..

5

The

DPI4

and

MIDI

-

Part

ll

Steve

Bynarst

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

..

T

LFO

Fundamentals

101

Dan

Ronda

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

..

9

Vocoded

Vocals

Tom

Shear

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

..

13

Samplin'

From

Your

‘VCR

JED.

Ryan

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

..

14

Selling

Your

Services

Jefirey

Fisher

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

..

15

Sampling.

Sequencing

and

Live

Performance

Torn

Shear

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

..

21

F<‘ogulor

Stuff:

Hypersoniq

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

..

2

Random

Notes

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

.. 3

Hackerpatches

-

Mints

&

Rhoads

‘v'FX.iSIIl:

Large-Sound.

Slinkard

12

SQIKSIKT:

Tubular

Choir.

I-Iaymond

20

Hacker

Reinitialization

—

SQIKSIKT

Series

Modulation

Clark

Salisbury

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

.. 1?

Classifieds

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

..

22

The

Interface

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

..

23

Hacker

Booteeq

30

.l'

The

Independent

News

Magazine

for

Ensonlq

Users

when

auditioning

instruments

or

recording

to

tape.

Question

#2:

What

is

the

SCALE:

KEY

VELOCITY

menu

for?

Shouldrft

that

allow

me

to

control

the

volume

of

a

single

key

number

in

a

sequence

(for

example.

the

bass

drum

at

G2).

I

basically

want

to

know

if

I

understood

the

purpose

of

this

function.

Answer:

The

Scale

command

lets

you

increase

or

decrease

the

level

of

any

specific

controller

information

in

the

selected

track

by

a

specified

amount.

The

MIDI

controller

KEY-VELOCITY

pertains

to

Note-On

Velocity.

This

is

a

different

parameter

than

track

min

(volume).

The

bottom

line

is

that

it's

very

easy

to

confuse

different

types

of

MIDI

controllers.

Question

#3:

Can

you

provide

any

tips

on

taking

an

exist-

ing

TS

sequencer

track

and

breaking

it

into

separate

tracks?

I

assume

one

would

do

that

by

simply

copying

a

range

of

notes

to

separate

tracks.

Can

one

easily

“re-combine"

tracks

back

together?

In

other

words.

once

I

have

my

drum

kit

on

sis

separate

tracks.

can

I

re-combine

them

into

a

single

track

at

some

point‘?

Answer:

Your

assumption

is

correct

-—

you

can

take

an

es-

isting

track

and

break

it

into

separate

necks

by

copying

a

specific

range

of

notes

to

a

separate

track.

You

can

then

easily

re-combine

multiple

tracks

by

using

the

merge

track

function

found

on

the

second

page

under

the

“edit

track"

button.

You‘ll

also

find

the

copy

track

command

in

the

same

place.

at

which

time

you

can

set

the

specific

key

MIDI

Mark

Productions

announces

over

50

brand

spanking

new

disks

for

the

EPS.

ASR.

and

TS-Series

samplerslkeyboards.

Sample

disks

include

drums.

synths.

effects.

rap

series

and

house

kits.

Nine

disks

on

sale

now

until

December

I2.

1995

for

$52.00.

For

a

free

catalog.

contact:

MIDI

Mark

Productions.

P.O.

217.

Whittier.

CA

90608.

Phone:

(300)

301-MIDI

(6434).

Fan:

(310)

699-U864.

Email:

MIDlMARK?@aol.com

‘k

it

1'

Wavehoy

Industries

announces

the

release

of

the

Trans-

wave

Sound

Library.

Only

Ensoniq

instrtunents

can

play

Transwaves.

The

five-disk

collection

showcases

this

uni-

que

feattne

for

the

first

time.

‘What

are

Transwaves?

A

Transwave

is

a

set

of

128

wave-

range

that

you'd

like

to

copy.

Question

#4:

I-low

come

on

my

TS

the

KEY

VELOCITY

scale

menu

goes

from

0-99.

not

+99

to

-99

like

some

other

menus?

What

does

0

on

this

menu

mean

and

what

does

99

mean‘?

Answer:

in

this

contest.

0-99

are

relative;

they

don’t

represent

dB

ranges.

nor

do

they

relate

in

any

specific

way

to

dynamic

markings

found

in

traditional

music

notation.

They

represent

a

minimum

to

maximum

abstract

value.

as

opposed

to

system-common

information

like

pan

or

MIDI

controller

number

values

0-12?.

Parameters

like

track

pan

are

generally

indicated

by

a

range

from

+63

to

-64

to

sym-

boliae

hard

right

to

left.

Key

none

velocity

controller

values

range

from

0

through

12?;

therefore.

this

particular

parameter

can

be

modulated

via

MIDI.

I

hope

that

these

suggestions

are

helpful

to

you:

they've

worked

very

well

for

me.

and

have

proven

to

be

the

quick-

est

and

most

accurate

way

to

work

with

drum

track

editing

on

the

TS-Series.

If

I

haven't

covered

a

point

that

relates

to

your

specific

interests

this

month.

don’t

worryl

I'll

have

more

along

this

line

nest

time.

-

Bio

and

self-serving

plug:

Anthony

Ferraro

has

written

for

Electronic

Musician.

Recording.

and

Keyboard

magazines.

He

is

still

hard

at

work

on

some

new

“snappy

tlitties."

and

is

playing

concerts

in

the

Philadelphia

area.

Call

2l'5-?'42-

U733

for

concert

info.

forms

of

equal

siae.

A

Transwave

oscillator

can

switch

between

different

waveforms

smoothly.

while

it

is

sound-

.ing.

Wlien

the

waveforms

are

properly

chosen.

the

result-

ing

tone

is

heard

as

a

smooth.

continuously

changing

timbre.

To

date.

Transwaves

must

be

created

or

at

least

phase-adjusted

on

a

computer.

Transwave

Synthesis

is

unique

to

Ensoniq.

and

only

the

samplers

and

sample

players

(TS-l[l.t'l2.

EPS-16

PLUS.

and

ASR-10)

can

load

new

Transwaves.

Waveboy

has

generated

a

set

of

incredibly

potent.

espres-

sive

sounds

based

on

Transwaves.

The

raw

material

is

drawn

from

different

analog

and

digital

synthesis

techni-

ques.

including:

-

pulse-width

modulation.

I

resonant

filters.

RND(hw)

I

frequency

modulation.

I

hard-sync.

I

formant

extraction.

I

and

additive

synthesis.

But

these

are

not

just

samples.

The

Transwave

gives

the

player

the

ability

to

modulate

the

filter

frequency.

the

pulse-width.

the

FM

index.

and

the

harmonic

content

in

response

to

velocity.

the

wheel.

or

any

modulation

source.

So

these

sounds

feel

alive:

they

respond

to

your

playing

and

to

parameter

tweaks.

Transwaves

make

the

sampler

into

a

virtual

{if

you

can

stand

to

hear

that

word

again)

synthesizer.

where

each

different

Transwave

can

be

a

dif-

fcrcnt

synthesis

technique.

The

Waveboy

disk

set

is

both

a

source

of

raw

Transwaves

for

programmers.

and

a

collection

of

finished

sounds

as

well.

The

30

sounds

in

the

Transwave

Sound

Library

run

the

gamut

from

aggressive

(RUDE

REZ)

to

atmospheric

(LIGHTYEARS);

from

bread-and-butter

(BELL

BIP

FM)

to

sound-track

(HARMONICON);

from

plain

and

skimiy

(303

SAW)

to

luscious

and

fat

(PWM

SYNTH.)

There

are

no

pianos.

The

Transwave

Sound

Library

works

with

the

Ensoniq

ASR-10.

the

EPS-16

PLUS.

and

the

TS-l0;'l2.

(It

will

not

work

with

the

Kurzwcil

K2000

or

other

“Ensoniq

compat-

ibles.")

It

is

a

five-disk

set.

includes

30

sounds.

and

comes

with

a

user’s

manual

for

creating

new

sounds

using

Transwaves.

It

is

available

directly

from

Waveboy

for

$69.00

and

at

selected

dealers

across

the

world.

Bill

Manchly

is

both

“‘Waveboy”

and

the

creator

of

Trans-

waves

in

the

Ensoniq

product

line.

Bill

played

guitar.

Mel-

lotron.

and

guitar

synthesizer

in

art

rock

bands

during

the

’?0s.

By

1980 he

owned

a

recording

studio.

was

doing

sound

programming

for

the

Fairlight.

and

was

getting

a

degree

in

Computer

Science.

When

Ensoniq

was

founded

in

1934

he

joined

to

help

design

the

Mirage.

As

a

software

engineer

for

Ensoniq.

he

created

the

voice

and

effects

ar-

chitectures

for

the

ASR-10

and

EPS-I6

PLUS

samplers

[as

well

as

for

the

Mirage.

ESQ-1.

BPS.

VFX.

SD-1.

DPI4.

and

TS-10).

He

is

currently

heading

the

Advanced

Product

Development

Group

at

Ensoniq.

Waveboy

In-

dustries

was

started

as

an

outlet

for

effects

algorithtns

that

did

not

fit

into

Ensoniq's

product

plans.

As

the

sole

proprietor

of

Waveboy

Industries.

Bill

gets

to

develop

any

hair-brained

idea

he

likes.

For

further

information.

contact:

Waveboy

Industries.

P.O.

BOX

233.

Paoli.

PA

19301.

Phone:

(610)

251-9562.

Ensoniq

Announcements

It's

time

to

introduce

you

to

MR

Rack.

the

latest

addition

to

the

Ensoniq

family.

The

MR-Ra-clt

is

an

all-new

64

voice.

expandable

synth

rack.

It

is

based

on

a

new

voice

engine.

new

effects

chip

with

new

architecntre.

and

new

circuitry

giving

you

44.1

kl-Ix

output.

and

a

signal-to-noise

spec

of

103

dB.

Specifications

Output

I

44.1

kHz

sample

playback

rate

I

IS-bit

DIA

conversion

with

103

dB

dynamic

range

I

103

dB

signal-to-noise

ratio

I

Ground-compensated

output

circuitry

Inputslfilutputs

I

LcftfMono

and

Right

Main

outputs

(balanced

TRS)

I

Leftflvlono

and

Right

Aux

outputs

(balanced

TRS)

I

Stereo

headphone

output

I

MIDI

In.-’Dutt'ThI1.1

Dlsplayilnterface

I

40

(2

x

20}

character

LCD

display

I 2

Data

Entry

knobs.

I0

buttons

{ti

with

LEDs).

fi'ont

panel

effects

bypass.

MIDI

indicator

LED.

Volume

knob

I

SomdFinderTM

interface

-

one

knob

selects

sound

type.

another

knob

selects

specific

sound.

Sounds

can

be

searched

for

alphabetically

within

musical

instr'urnent

categories.

or

numerically

within

Bank

locations

(ROM.

RAM.

card,

-

expansion

board.

GM.

User.

Demo}

I

Audition

button

plays

musical

examples

to

preview

sounds

from

front

panel

(your

choice

of

either

a

musical

phrase

appropriate

to

the

SoundFinder

category.

arpeggiated

octaves.

or

a

major

chord}.

I

PCMCIA

ROMIRAM

card

slot

for

Sounds.t'Pcrformances

Internal

Soundt'Perforn1ance

Memory

I

393

RUM

sounds

('2

Banks

of

123.

12S

GM

sounds.

9

GMIGS

drum

kits).

hundreds

of

ROM

drum

elements

I

Up

to

128

RAM

sounds

possible

{due

to

the

dynamic

voice

sine

the

final

number

is

still

to

be

determined}

I

65

ROM

Performances

(16

parts

each)

I

32

RAM

Performances

(16

parts

each}

Card

SoundiPerforn1ance

Memory

I

ROM

cards

offer

2

Banks

of

Sounds

(up

to

123

per

Bank)

plus

2

Banks

of

Performances

(32 per

Bank)

I

RAM

cards

(PCMCIA

format}

can

be

from

512k

up

to

2

MB.

They

can

hold

the

following

data:

512k

-

4

Banks

of

Sounds

(up

to

128

per

Bank}

4

Banks

of

Performances

(32 per

Bartlt)

l

MB

-

S

Banks

of

Sotmds

(up

to

12S

per

Bank)

S

Banks

of

Performances

(32

per

Bank}

2

MB

-

16

Banks

of

Sounds

(up

to 128

per

Bank)

16

Banks

of

Performances

(32

per

Bank}

‘Wave

Memory

I

96

Megabits

(12

MB}

of

15-bit

wave

ROM

I

Over

500-ll

variations

possible

from

the

over

300

waveform

selections.

which

include:

-

2S

Megabits

(3.5

MB)

of

acoustic

piano

-

Multi-sampled

acoustic

instruments

in

Keyboard.

Synth.

String.

Brass

St

Horn.

Wind

St

Reed.

Vocal.

Bass.

Drum.

Percussion.

and

Sound

Effect

groups

-

2nd-generation

TranswavesTM

created

through

sampling.

digital

synthesis.

and

digital

rcsynthesis

technologies

-

Sustained

synth

waveforms

with

harmonic

and

inharmonic

structures

I

Modulatablc

start

point,

forward

or

backward

playback.

and

multi-sample

key

shift

(4

modes}

available

on

most

waves

I

Pitchedlnon-pitched

playback

of

all

waves

possible

Expansion

Memory

I

3

wave

expansion

board

slots.

for

a

total

of

up

to

672

Megabits

(S4

IVIB)

of

ROM

wave

data

I

A

board

holds

up

to

192

Megabits

(24

MB)

wave

data.

multiple

Banks

of

Sounds,lPerformances

(up

to

128

Sounds

and

32

Performmtces

per

Bank).

demos

I

Expansion

boards

are

user-installable

Voice.

Architecture

(accessible

via

computer)

I

S4

dynamically

assigned

voices

I

Dynamically

sized

voice

architecture

(up

to

16

Layers).

with

the

following

parameters:

-

Independent

waveform

selection

-

Programmable

layer

delay

up

to

10

secs

or

by

key-up

trigger

-

2

independent

multi-mode

dynamic

digital

filters

(low-pass.

high-pass.

variable

bandwidth

band-pass}

with

key

tracking

(33

settings.

including

manyfractional

scaling

options)

-

3

five-stage

envelope

generators

(time

and

level}

with

level

and

auack

time

modulatablc

by

velocity

(S

possible

curves).

key

scaling.

and

response

to

release

velocity

-

35

RUM

Pitch

Tables

with

a

resolution

of

256

steps

per

semitone

-

1

RAM

location

for

receiving

a

Pitch

Table

sent

from

any

device

that

supports

the

MIDI

Tuning

Dump

Standard

(Bulk

Tuning

Dump

and

Single

Note

Tuning

Change}

-

22

modulation

sotuces

-

S

modulation

destinations

-

1

LFU

with

T

waveform

choices.

sync-able

to

System

clock

(definable

in

HPM)

or

external

MIDI

clock.

with

12

rhythmic

subdivisions

-

Variable

rate

Noise

generator.

sync-able

to

System

clock

(definable

in

BPM}

or

external

MIDI

clock.

with

12

rhythmic

subdivisions

-

Volume

and

Pan

-_

Semi-tone

and

fine

timing

-

Pitch

tracking

(33

settings.

including

many

fractional

scaling

options}

-

Key

and

velocity

ranges

-

Voice

trigger

options

(key-up.

key-down.

MIDI

controller

enable)

-

Glide

mode.

glide

time

-

Mono

lpo

ly

playback

-

Pitch

Bend

onloff.

Held

Pitch

Bend

mode

-

Pitch

Bend

range

is

promammable

for

both

positive

and

negative

wheel

directions

-

Sustain

onloff

-

Key

group

assigrunent

I

Drum

Kit

architecture

offers

64

keys

(B1

-

Dir‘):

each

key

points

to

a

fully-developed

Sound

(up

to

16

Layers

per

key).

plus

effects

bus.

volume.

pan.

and

tuning

overrides.

Performances

I

A

Performance

is

a

1h-part

combination

of

Sounds.

Parts

can

be

assigned

their

own

MIDI

channel

for

multi-timbral

reception.

be

set

to

the

same

MIDI

channel

for

layer

and

split

options.

and

be

individually

muted.

I

Parts

can

be

set

to

a

global

"Stack"

channel.

which

can

then

be

defmed

as

any

channel

(1-16}.

In

this

way

layered

or

split

setups

can

be

quickly

matched

to

a

given

input

channel

by

simply

changing

the

Stack

channel

setting.

I

Each

Performance

contains

a

custom

Drum

Kit

I

Extensive

sound

"tweaking"

(global

editing)

for

each

Part

in

a

Performance.

including:

-

Volume

-

LFO

Depth.

Delay

-

Volume

Polarity

-

Amp

Envelope

-

Expression

Attack.

Decay.

Release

-

Pan

-

Filter

Cutoff

-

Effects

Bus

-

Filter

Envelope

-

Pitch

Bend

Up

Attack.

Decay.

Release

-

Pitch

Bend

Down

-

Amp

St.

Filter

-

Tuning

(Octave.

Envelope

Velocity

Coarse.

Fine}

-

Key

Range

Lo,t'Hi

-

Pitch

Table

-

Velocity

Range

Loil-li

-

Glide

Mode

-

Velocity

Mode

-

Glide

Time

-

Pressure

Mode

-

LFO.r'Noise

Tempo

Sync

-

Controller

Reception

_-

LFU

Rate

Filters

Effects

I

New

VLSI

24-bit

digital

signal

processor

(ESP-2)

with

25

MIPS

of

DSP

power.

52-bit

accumulation

I

New

UMTE

(Universal

Multi-Timbral

Effects}

architecture

with

h

stereo

busses:

—

3

stereo

busses

with

independent

send

amounts

into

global

reyerb

-

I

stereo

bus

with

a

wetldry

mix

into

global

chorus

and

a

send

amount

into

global

reverb

_

-

I

stereo

bus

with

a

wetldry

mix

into

an

irtsert

effect.

a

weiidry

mix

into

global

chorus.

and

a

send

amotmt

into

global

reverb

-

1

dedicated

stereo

dry

bus

-

Insert

effect

choices

include:

Hall

Reverb

Small

Room

Large

Room-

Small

Plate

Large

Plate

Gated

Reverb

NonLin

Reverbl

NonLin

Reverb2

Reverb-:=-Chonts

Reverb->Flanger

Reverb-:-Phaser

Rich

Chorus

S-‘Poice

Chorus

Chorus-:>Reverb

EQ->-Reverb

Flanger->Reverb

Phaser-:=-Reverb

uuL-seq

DBL->Flanger

DDb>Phaser

Pmametric

EQ

Rotor

Speaker

Guitar

Amp

VCF

Distort

Distortion-:=-Chorus

Distortion-I:-Flanger

Distortion-:=-Phaser

VCF

Envelope

Loudspeaker

Guitar

Chainl

Guitar

Chaini

Guitar

Chain3

EQ-1:-Comp,-‘Gate

Pitch

Shift

Spinner-:>Reverb

Chatter

EDI.

Multi-Tap

Delay

Pitch

Morph

DDL->Chorus

It

Insert

effect

dynamically

modulated

by

MIDI

controllers

*

Effects

can

be

routed

to

Ivlain

or

Ans

outputs

MIDI

I

Always

able

to

respond

irt

Multi

Mode

on

up

to

16

polyphonic

channels

-

A

single

MIDI

channel

can

trigger

multiple

sounds

-

Responds

to

Poly-Key

Tlvi

polyphonic

pressure

-

4

System

controllers

{any

of

12D

MIDI

controllers}

can

be

used

for

voice

or

effects

modulation

-

General

MIDI

compatible

Standard

Accessories

-

Musician‘s

Manual

*

Mark

Of

The

Unicorn

UNISYN

TM

MR-editorflibrariatt

software

(redeemed

by

returning

completed

warranty

card}

Optional

Accessories

-

MRC

Series

RUM

Sound

cards

-

EXP

Series

Wave

Eapaiision

boards

-

MC-512

SRAM

card

[P€MCIA

format)

-

larger

card

sizes

are

available

through

most

computer

memory

retailers

Physical

-

Dimensions:

19"

(43.26

cm)

wide

by

1

3K4"

(4.29

cm)

high

I.

El

3J4"

(23.6

cm)

deep

-

19"

tacit

mount

standard,

1U

high

-

Weight:

9.’?

pounds

(4.4

kilograms}

ttnbo:-ted,

11-'.'6

pounds

(Bil

kilograms}

ho:-ted

The

MR-Rack

will

ship

in

late

Novemberfearly

December

and

costs

$1695

suggested

retail

price.

Hacker

News

It’s

always

hard

to

remember

in

the

middle

of

November

that

this

is

the

issue

to

convey

our

holiday

greetings.

(W

ell,

we’ve

only

been

doing

this

for

ten

years

or

so...)

Anyway,

season's

greetings

to

all,

thanks

to

everyone

who

has

anything

to

do

with

this,

be

careful,

and

enjoy

the

holidays!

—

Eric

8:;

Jane

Third-Party

News

Rubber

Chicken

has

new

links

—

phone:

612-235-W98,

and

e-mail:

chickenEPS@willmar.com.

XLS

Food,

that

oddly-named

vendor

of

samples

(reviewed

in

#124),

has

a

new

street

address:

Total

Recording

Studio,

Paritst

T6,

CHZDUU

Neuchatel,

Switzerland.

As

far

as

we

can

tell,

Ramtel-t

is

still

in

business.

However,

we

do

feel

obligated

to

warn

readers

that

they

may

want

to

exercise

e:-ttra

caution...

Stupid

Sequencer

Tricks

Many

people

think

of

onbuard

sequencers

as

nothing

more

than

fancy

tape

recorders.

However,

there

is

much

more

to

Ensoniq

sequencers

than

merely

recording

and

playing.

By

use

of

clever

editing

and

“template”

sequences,

you can

maximize

the

power

of

your

sequencer

as

a

creative

tool.

Jock

Schiefier

In

this

article,

we

are

going

to

focus

on

the

some

of

the

ways

to

use

sequencer

templates

on

the

EPS

and

ASR

samplers.

However,

these

same

techniques

should

work

on

any

keyboard

with

a

sequencer

and

an

event

edit

function-.

You'll

just

have

to

adapt

the

specific

directions

to

fit

the

architecture

of

your

machine.

Modulation

Templates

One

of

the

primary

functions

of

a

sequencer

is

to

record

a

series

of

notes

and

then

play

them

back.

However,

most

modem

sequencers

record

much

more

than

just

notes.

They

record

all

kinds

of

events:

mod

wheel

movements,

velocity

levels,

aftertouch

amount,

and

so

forth.

These

events

are

usually

used

to

modulate

or

alter

the

sound

produced

by

the

oscillator.

You

can

use

these

types

of

sequenced

modulation

to

produce

a

variety

of

effects.

By

sequencing

abmpt

changes

in

volume,

you

can

reproduce

the

"transforming"

effect

heard

on

many

techno

and

dance

tracks.

By

sequencing

filter

movements,

you

can

create

a

sample-

and-hold

type

of

sound.

Pitch

modulation

can

be

used

to

create

arpeggiator-like

effects.

One

of

the

best

things

about

using

the

sequencer

for

these

tricks

is

that

you

can

save

your

sequence

and adapt

it

for

use

in

many

different

situations.

Simply

use

the

sequencer

commands

to

merge

this

“template”

with

the

particular

se-

quence

you

are

working

on.

Since

the

modulation

is

sequencer-based,

it

will

fit

per-

fectly

with

the

rhythm

of

your

song.

And

you

can

change

the

speed

of

the

effect

simply

by

changing

the

tempo

of

the

sequence.

That‘s

much

easier

than

monlteying

around

with

a

bunch

of

LFO

and

envelope

parameters

for

each

in-

snument.

Using

Filter

Modulation

Choose

a

sustaining

sound,

preferably

one

with

only

one

sample

in

it

(to

make

editing

easier).

If

you

want,

you

can

use

the

Create

Wavesample

conunand

to

give

you

a

simple

square

wave.

Go

to

the

Edit

Filter

page

and

set

the

filters

to

2

LP

and

2

HP.

Set

both

F1

and

F2

CUTOFF

FREQ

to

U.

Make

sure

there

is

no

envelope

modulation

by

setting

ENE?

2

AMT

to

U

on

both

filters.

So

far,

we've

set

up

a

voice

with

a

totally

closed

band-pass

filter

which

will

sound

somewhat

like

a

resonant

filter.

N

ext,

we

want

to

set

the

modulation

parameters

so

that

we

can

simulate

a

sample-and-hold

sound.

Set

the

Fl

MOD

and

F2

MOD

parameters

to

WHEEL.

Set

the

MOD

AMT

parameters

to

+99

for

both

filters.

Before

we

forget,

let‘s

disable

the

vibrato

effect

brought

in

by

the

mod

wheel.

Go

to

the

Edit

Pitch

page

and

set

LFO

AMOUNT

to

ll. Try

playing

a

few

notes

while

moving

the

mod

wheel

back

and

forth.

The

timbre

of

the

sound

changes

pretty

dramatical-

ly.

However,

the

movement

of

the

filter

is

continuous.

To

simulate

a

sample-and-hold,

we

need

to

introduce

sudden

changes

in

the

filter

cutoff.

That’s

where

the

sequencer

template

comes

in.

Use

the

sequencer

to

hold

down

a

single

note

for

one

bar.

Now,

go

to

the

Edit

Sequencer

page

and

set

RECORD

MODE

=

ADD.

Next

record

an

overdub

and

move

the

mod

wheel

once

during

the

bar.

Next,

we

have

to

tackle

the

nuts-and-bolts

of

the

event

editor.

This

can

get

a

little

complicated,

so

you

may

want

to

have

your

manual

handy.

Go

to

the

Comtnand

Track

page

and

use

the

EVENT

EDIT

TRACKS

cotnrnand.

Scroll

left

to

the

Event

Type

and

change

it

to

MW

so

we

can

edit

the

mod

wheel

movements.

Using

the

imert

and

delete

functions,

add

a

mod

wheel

event

to

each

sixteenth

note

(Clocks

1,

25,

49,

and

T3

of

each

beat).

Now,

you

want

to

edit

the

event

value

of

each

sixteenth

note.

Try

to

mix

high

and

low

values

and

don't

repeat

any

values.

The

whole-idea

is

to

simulate

a

wild,

pseudo-random

jump-

ing-around

effect.

I

used

the

following

values

{in

order):

30,

T0,

110,

55,

125,

90,

45, 70,

25,

95,

65,

35,

80, 50,

120,

T5.

When

you

are

done,

exit

the

event

editor

by

pressing

No!Cancel.

Press

Play

and

let

your

sequencer

run.

The

filter

should

be

jumping

around

in

response

to

the

sequenced

mod

wheel

movements,

creating

sudden,

rhythmic

changes

in

the

sound.

After

you‘ve

admired

your

handiwork

for

a

while,

save

this

sequence

to

disk,

giving

it

an

appropriate

name

like

SH

MODWHL.

One

of

the

best

things

about

this

template

is

that

it

is

sequencer-based.

You

can

use

it

with

any

instrument

that

responds

to

the

mod

wheel.

Variations

On

A

Theme

This

technique

works

well

in

the

example

we

just

did,

but

don‘t

limit

yourself

to

just

the

mod

wheel

and

the

filter.

You

can

sequence

any

of

the

different

modulators:

mod

wheel,

volume

pedal,

key

pressure,

pitch

wheel,

and

so

on.

You

can

use

these

modulators

to

control

a

variety

of

parameters:

filter

cutoff,

volume,

panning,

pitch,

effects

parameters,

loop

position,

transwaves,

or

whatever.

One

of

the

best

features

of

Ensoniq

keyboards

is

their

flexible

modulation

routings,

and

with

this

techniques

you

can

create

some

wild

sounds.

Your

imagination

is

the

limit.

Save

your

sequences

and

try

them

out

with

different

sounds

and

different

modulation

routings.

You

are

sure

to

stumble

across

some

pretty

cool

combinations.

Test

Patterns

'

When

editing

patches

or

tweaking

samples,

you

probably

find

yourself

switching

back

and

forth

quite

often

between

the

programming

buttons

and

the

keyboard

to

test

the

new

sound.

Make

things

easier

on

yourself

by

letting

the

se-

quencer

handle

the

keyboard.

Create

a

simple

test

pattem;

it

doesn't

need

to

be

a

master-

piece,

just

noodle

around

a

little.

Try

varying

tltq

velocity

and

duration

of

the

notes.

Then

let

the

sequencer

loop

on

this

pattem

while

you

adjust

parameters.

You

should

find

that

editing

goes

much

more

quickly.

You

might

want

to

create

a

separate

test

pattem

for

each

different

type

of

sound:

pianos,

strings,

drums,

etc.,

so

that

the

pattem

can

repeat

typical

performance

techniques

and

phrasings.

Conclusions

As

you

can

see,

your

sequencer

can

be a

valuable

tool

in

developing

your

sounds,

not

just

in

recording

the

notes

of

a

song.

As

always,

experimentation

is

the

key.

Try

out

lots

of

different

ideas

and

see

what

works.

Ensoniq

sequencers

are

so

easy

to

use

that

you‘re

crazy

not

to

use

them

for

as

many

tasks

as

possible.

-

Bio:

Jack

Schiefier

lives

in

Dallas,

TX

which

is

okay.

He

plays

Ensoniq

samplers

which

is

better.

He

reads

the

Hacker

which

is

the

best

ofoit.

The

DP

4

and

MIDI

As

promised

last

time,

we

are

now

going

even

further

into

the

depths

of

System.Midi

Land.

Hold

on

tight!

(I

do

my

best

to

make

this

stuff

more

exciting

than

it

really

is

you

know).

Global

Parameters

Right,

we've

seen

what

can

be

done

to

program

the

four

effect

units

and

the

config

unit

for

MIDI,

what

about

parameters

that

affect

the

DPI4

as

a

whole,

irrespective

of

individual

settings?

Well,

these

can

be

found

from

parameter

number

35

onwards.

Pressing

the

System.Midi

button

repeatedly

will

get

you

there

quickly

and

then

cycle

through

groups

of

related

cormnands.

Let’s

start

at

the

beginning

--

numbers

35136.

Control

ChannelrEnabie

This

page

allows

you

to

choose

which

channel

number

from

1-16

you

want

to

function

as

a

controller

channel

and

whether

it

is

enabled

or

not.

As

I

said

in

part

one,

all

modulation

sources

are

received

on

this

channel

as

well

as

bypass

controllers.

How

the

modulation

sources

change

effects

in

individual

units

is

part

of

the

preset

program-

ming.

Here

we

just

select

which

channel

the

modulation

is

received

on.

The

chosen

channel

cart

be

the

same

as

any

or

all

of

the

Steve

Byhttrst

tmits,

or

completely

separate.

How

it

is

used

depends

on

your

nomial

working

method.

If

you

are

driving

the

DPI4

from

a

sequencer

you

may

wish

to

have

a

separate

con-

troller

track

with

associated

unique

channel

number,

keep-

ing

it

apart

from

other

data.

However,

in

most

cases

there

are

advantages

in

using

the

same

channel

you

have

allo-

cated

for

the

config

Illlli.

‘With

this

method,

as

long

as

you

don't

wish

to

control

units

A-D

separately,

all

your

MIDI

data

can

be

sent

down

one

channel.

The

Enable

paratneter

can

be

used

to

filter

out

all

modula-

tion

to

the

DPI4

by

simply

setting

it

to

"Disabled."

Thus

you

can

eliminate

the

effect

of

the

modulation

without

changing

the

modulation

parameters

of

the

preset

or

the

parameters

set

within

your

MIDI

controller.

DPI4

CtJt1il'flllBl'S

1-3

These

parameters

are

used

to

select

a

list

of

eight

DP!-4

system

controller

sources.

Any

two

of

these

may

then

be

chosen

to

modulate

any

two

parameters

of

an

algorithm.

There

are

non-MIDI

as

well

as

MIDI

sources.

The

MIDI

ones

are

the

same

as

those

on

offer

as

bypass

controllers

(listed

in

part

one).

If

you

are

really

into

MIDI

programming

you

will

prob-

ably

find

a

total

of

only

eight

system

controllers

quite

restrictive,

but

the

rest

of

us

will

probably

be

happy

enough

with

a

few

old

favorites

like

pitch

bend

and

mod

wheel.

In

fact continuous

controllers

like

these

are

the

most

useful

modulators,

but

also

try

to

include

a

switch

(like

the

patch

buttons

on

some

Ensoniq

keyboards)

because

these

can

be

very

useful

for

certain

effects.

For

instance,

if

you

have

programmed

a

restricted

modulator

range

for

an

algorithm

paratneter

you

can

instantly

switch

from

off

to

a

preset

depth

of

modulation.

Program

Change

Master

Switch

This

on

or

off

parameter

governs

whether

any

program

change

messages

will

be

recognized

irrespective

of

in-

dividual

unit

setups.

It

must

be

set

to

"On"

if

you

wish

any

of

the

units

to

receive

program

changes.

One

use

of

this

function

is

to

act

as

a

temporary

override,

stopping

the

DPJ4

from

receiving

program

change

com-

mands

without

having

to

change

the

individual

tmit

para-

meters.

Control

7

Reception

MIDI

controller

‘I

messages

are

used

to

send

volume

data.

If

this

parameter

is

set

to

"Yes"

the

DP,r'4

will

receive

this

data

and

direct

it

to

a

unit

with

a

matching

channel

num-

ber,

otherwise

it

will

be

ignored.

If

any

of

the

units

share

a

channel

number

all

of

those

units

will

be

affected

by

volume

changes

from

a

matching

channel.

For

complete

MIDI

controlled

effects

mixing

give

each

unit

a

different

channel

number

and-

each

one

can

then

receive

different

volume

changes

on

matching

chamtels.

Send

Program

ChangerControllers

The

DPI4,

as

a

multi-effects

generator,

is

geared

toward

being

a

MIDI

reception

unit.

By

using

a

computer

soft-

ware

program

or

a

workstation-type

keyboard,

it

can

be

easily

incorporated

into

a

complete

system

and

controlled

remotely

andior

automatically.

If

this

is

how

it

is

normally

used

in

your

setup

it

is

unlikely

that

you

will

want

any-

thing

coming

out

of

the

Midi

Out

socket,

so

most

of

the

time

this

parameter

will

be

set

to

"N

o."

Having

said

this,

there

may

well

be

MIDI

setups

where

you

do

want

to

send

out

data

from

the

DPJ4

and

this

parameter

caters

for

that

possibility.

Program

changes

will

be

sent

out

on

the

presct's

primary

unit

channel

and

also

any

controller

data

generated

by

a

cotmected

foot

switch

or

pedal.

Modulation

Response

Hate

When

using

controllers

to

modulate

parameters

it

is

poss-

ible

that

a

parameter

will

be

changed

either

too

quickly

or

too

slowly

when

modulation

is

applied.

This

control

sup-

plies

some

help

by

changing

how

quickly

modulation

des-

tination

values

are

altered

by

incoming

data.

The

slowest

response

of

I

has

the

highest

resolution

with

the

fastest

response

of

30

giving

a

rougher

modulation.

This

is

very

much

a

try-it-and-see

parameter.

If

the

sound

of

your

modulation

is

not

what

you

want,

try

using

this

control

to

see

if

it

can

make

an

itnprovement.

Each

effect)‘

modulator

combination

can

require

a

different

rate

but

generally

a

fine

resolution

is

more

useful,

especially

when

controlling

volume.

System

Exclusive

Dumps

Outgoing

system

exclusive

dumps

are

controlled

by

a

facility

which

is

accessed

by

pressing

the

Write.Copy

but-

ton

whilst

System.Midi

mode

is

selected.

A

screen

with

two

parameters

lets

us

send

system

dumps

from

the

DPI4

to

an

extemal

storage

device.

Combinations

of

the

two

parameters

allow

individual

preset

or

bank

dumps

of

any

1,

2, 4,

or

config

units,

as

well

as

all

preset

banks,

all

sys-

temfmidi

parameters,

or

a

complete

dump

of

all

data

in

the

DP!-4

(except

ROM

presets).

Once

a

type

of

dmnp

has

been

selected

another

press

of

the

Write.Copy

button

ac-

tually

sends

the

data.

The

screen

indicates

that

a

transfer

is

being

made

and

then

tells

you

if

it

was

okay

or

not.

lncorning

dumps

are

automatic

with

the

screen

displaying

a

message

to

say

what

kind

of

dtnnp

has

been

received

or

if

there

was

an

error.

However,

there

are

two

System.Midi

parameters

which

let

us

set

a

system

exclusive

ID

and

allow

or

disallow

reception

of

system

exclusive

messages.

The

first

only

needs

changing

if

you

are

using

multiple

DP,t4s

with

something

like

a

computer

librarian

program,

and

the

second

only

needs

to

be

set

to

"Disabled"

if

you

have

the

unlikely

problem

of

stray

MIDI

dumps

affecting

the

DPI4.

Maybe

these

parameters

cannot

be

described

as

particular-

ly

exciting,

but

given

a

bit

of

imagination

they

can

be

util-

ized

to

give

some

exciting

results.

Ta-ta

for

now.

-

Bio:

Steve

Byhnrst

is

rt

British

composer

of

electronic

music.

He

is

still

trying

to

convince

people

that

his

work

is

serious

encttgh

to

be

prtitifor.

LFO

Fundamentals

l0l

(No

Prerequisite)

(or)

Hello,

|’m

Joe's

LFO

One

of

the

mysteries

to

unravel

when

learning

to

program

your

own

sounds

is

how

to

use

an

LFO

to

your

best

ad-

vantage.

Everyone

who

has

acquired

a

synthesizer

has

experienced

the

initial

bewilderment

of

wondering

what

the

heck

all

those

buttons

anti

sliders

do.

In

my

case,

that

oc-

curred

when

I

bought

a

KS-32.

It

played

great

at

the

store,

and

I

figured

any

questions

I’d

have

when

I

took

it

home

would

be

answered

by

a

perfunctory

perusal

of

the

M'asician’s

Manuel.

(Yeah,

right.)

Actually,

learning

to

program

the

LFO

is

not

that

difficult

if

you

approach

it

in

a

step

by

step

manner.

But

first

of

all,

what

is

an

LFO?

A

Low

Frequency

Oscil-

lator

generates

frequencies

too

slow

to

hear

but

very

useful

in

making

other

sounds

more

human-like

or

interesting.

As

an

analogy,

imagine

a

bobber

floating

in

a

lake.

As

the

waves

move

faster

or

with

greater

depth,

so

does

the

bob-

ber.

An

LFO

also

creates

waves,

but

they

are

waves

of

sound

energy

that

are

much

more

precisely

generated

and

controllable

than

water

in

a

lake.

In

the

LFO’s

case,

the

bobber

is

also

where

we

attach

the

wave’s

energy

to

the

signal

of

yet

another

oscillator.

In

the

old

days,

which

in

synthesizer

time

means

less

than

20

years

ago,

connecting

oscillators

was

done

with

electric

cords

on

what

looked

like

old

telephone

switchboards.

The

word

"patch,"

in

fact,

comes

from

the

way

these

cords

seemed

to

sew

the

control

panels

together.

Today's

buttons

and

sliders

are

wonderfully

convenient,

but

ironically

they

can

make

the

connections

harder

to

visualize.

The

KS-32

uses

a

separate

LFO

for

each

of

its

three

Voices

within

a

Sound.

Its

32

Voice

polyphony

means

that

as

many

as

32

Voices

can

be

used

at

once.

and

therefore

so

can

32

LFOs.

That‘s

a

lot

of

bobbers

in

the

lake

——

and

other

Ensoniq

keyboards

have even

higher

numbers.

Each

‘Voice

can

use

its

LFO

in

up

to

three

different

ways

at

the

same

time:

to

modulate

Pitch,

Filters,

andror

Output.

Using

the

LFO

as

a

Modsource

for

Pitch

produces

a

vibrato

effect

by

varying

the

Voice's

frequency.

Using

the

LFO

as

a

Modsource

for

Filters

produces

fluctuations

in

the

“v’oice’s

treble

and

bass

qualifies.

Used

as

a

Modsource

for

Output,

the

LFO

varies

the

Voice’s

volume.

Other

uses

may

eitist,

Dan

Ronda

but

they

are

like

eating

pizza

from

the

crust

side

-—-

just

too

weird

for

this

article.

Now

let‘s

look

at

how

an

LFO

is

programmed

in

a

Voice

so

that

we

can

then

reprogram

it

to

better

meet

our

particular

needs.

Here‘s

how

to

do

it:

1.

Choose

any

Sound,

then

press

the

Edit

Sound

button.

2.

Select

Wave

(U0)

and

pick

one

of

the

three

Voices

to

view.

If

more

than

one

Voice

is

on,

solo

one

of

them

to

hear

your

changes

more

easily.

3.

Change

the

Effect

(S0)

to

any

of

the

first

four

reverbs

since

the

others,

such

as

Chorus

or

Rotary

Speaker,

also

make

changes

harder

to

hear

because

of

their

tremolo

ef-

fects.

4.

Select

LFO

(30)

to

adjust

its

parameters.

5.

Select

Pitch

{I1},

Filters

(42)

andfor

Output

(TU)

to

determine

whether

andfor

to

what

depth

LFO

is

used

as

a

Modsource.

6.

Unsolo

the

Voice

if

necessary

to

hear

how

it

sounds

with

the

other

voices.

"I.

Choose

the

effect

you

want.

3.

Save

the

reprogrammed

Sound.

No

sweat,

eh‘?

Let‘s

move

from

theory

to

practice

now

by

working

with

a

Sound

in

the

KS-32,

(your

friend

and

mine,

ladies

and

gentlemen,

let's

give

it

up

for...)

Multi

Saitl

Following

our

procedure

above,

we

select

ROM

U5

and

then

press

Edit

Sound.

Under

Wave

(U0)

we

find

that

only

Voice

2

is

on.

Let’s

change

the

Effect

(80)

to

a

reverb,

such

as

Warm

Chamber,

to

eliminate

the

Chorus.

Ne:-tt

we

select

LFO

(30)

to

find

the

parameters

Speed

and

Noise.

Speed

refers

to

how

many

waves

the

LFO

generates

Preg:

MULTI

SAX

(ROM

U7)

Notes:

Only

the

LFO-related

parameters

are

shown.

PITCH

1

2

s

|.r=o

L

By:

Darn

Roitdc

2_

la

l

OUTPUT

1

2 a

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av

trvroosnet

Wheel

rvtooatvrT

are

per

second.

The

chart

on page

6-22

of

the

manual

lists

the

frequency

for

each

value,

though

it's

easier

to

adjust

Speed

by

ear.

Multi

Sait

is

set

at

36,

which

the

chart

shows

to

be

5.25

waves

per

second.

The

Noise

parameter

on

this

screen

refers

to

how

fast

this

wave‘s

upward

and

down

directions

change.

Noise

is

actually

a

Modsource

but

works

like

a

ran-

domised

LFO,

making

it

especially

handy

for

producing

subtle,

irregular

shifts in

a

Voice.

The

neat

LFO

screen

shows

the

Level

parameter,

which

works

like

a

master

volume

control.

You

must

have

some

value

here

higher

than

0

to

enable

the

LFO

to

work

as

a

Modsource

on

the

other

screens

elsewhere

in

this

Voice.

Ivlulti

Sa:-t‘s

Level

is

2.

Its

Delay

is

set

at

40,

which

means

the

LFO

kicks

in

about

a

half

second

after

each

key

is

de-

pressed.

This

Delay

can

be

set

for

up

to

about

two

seconds.

At

the

bottom

of

this

screen

is

lvlodsource.

Though

each

of

the

I(S's

16

Modsources

has

its

own

unique

abilities,

Modwheel,

Pressure,

Modpedal,

and

Timbre

are

the

most

commonly

used

as

real

time

controllers

for

the

LFO.

Multi

Sa:-t’s

LFO

lvlodsource

is

Wheel,r'Pressure,

so

either

can

in-

itiate

the

LFO

IF

it

is

chosen

elsewhere

in

this

‘Voice

as

Iviodsource.

Moving

the

Wlieel

lets

you

vary

the

depth

of

the

LFO‘s

effect,

whereas

Pressure

works

as

an

on-off

tog-

gle

switch.

You

can

adjust

the

keyhoard’s

sensitivity

to

Pressure,

by

the

way,

under

the

System-MIDI

button.

(I

like

mine

al

dente.)

The

last

LFO

screen

shows

Wave

and

Restart.

The

KS‘s

LFO

can

produce

seven

different

waveshapes,

shown

in

the

manual

on page

6-24.

Like

waves

on

a

lake,

these

waveshapes

can

be

either

smooth

or

choppy,

each

causing

our

hobber

to

bounce

in

a

different

vertical

pattern.

Four

waveshapes,

Triangle,

Sine,

Sine.r'Tri,

and

Sawtooth,

are

similar

in

that

they

all

undulate

both

above

and

below

a

starting

point

set

by

Pitch,

Filters,

and

Output

parameters.

The

other

three

waveshapes,

Pos,!Sine,

Posr'Tri,

and

Square,

can

only

move

in

one

direction

away

from

their

starting

point,

but

this

direction

can

be

programmed

by

giving

the

Modsource

a

positive

or

negative

value.

Triangle,

Saw-

tooth,

and

Square

have

the

shmpest

angles

so

they

produce

the

most

abrupt

modulations.

Only

experimentation

will

help

you

choose

the

best

waveshape

to

use

in

your

Voice.

lvlulti

Sa:-t

uses

the

Sineffri

waveshape.

That

is,

only

SinerTri’s

pattern

will

be

used

whenever

LFO

is

chosen

as

Modsource

throughout

this

Voice.

Restart

On

means

that

the

LFO

begins

from

its

starting

point

with

each

key

down.

Ivlulti

Satt

Restart

is

On,

so

we

always

get

a

slight

Delay

before

the

LFO‘s

effect

can

be

heard.

The

nest

place

we‘ll

look

for

LFO

programming

is

under

Pitch

(11),

which

shows

four

parameters.

Envl

is

always

routed

(hardwired)

to

Pitch.

Clearing

this

value

to

U

helps

us

hear

the

LFO’s

effect

more

easily.

lvlulti

Sa.tt‘s

Envl

is

already

U.

_

To

the

right

of

Envl

is...

LFO

againill?

The

LFO

is

hard-

wired

to

Pitch

because

it's

used

so

often

here

as

a

Mod-

source

to

create

a

vibrato

effect.

This

also

allows

us

to

choose

another

lvlodsource

below

on

the

same

screen

to

modulate

Pitch.

Another

advantage

of

this

permanent

LFO

parameter

is

that

we

can

give

it

a

plus

or

minus

value

not

possible

on

the

first

LFO

screens.

A

positive

value

begins

the

waveshape

in

an

upward

direction;

a

negative

value,

downward.

Multi

Satt

is

set

at

LFO=+U3

so

its

vibrato

will

move

upward

first

—

but

only

when

we

use

its

lvlodsour-

ces,

Wheel.'Pressure.

The

Modsource

below

shows

Noise

2=+U3.

On

page

6-23

the

manual

shows

us

an

illustration

of

Noise

2,

which

has

smoother

variations

than

Noise

1.

We've

already

set

its

Rate

at

40.

This

screen,

however,

is

where

we

set

to

what

depth

Noise

2

affects

Multi

Sax‘s

Pitch.

Noise

2

is

not

af-

fected

by

the

LFO’s

Modsource,

by

the

way,

but

always

creates

a

constant,

random

fluctuation.

If

you

want

to

hear

Noise

2’s

effect

more

clearly,

raise

its

value

to

+25.

(J

ust

for

fun,

set

Pitch

LFO=U

and

Noise

2=+25

at

Output

Mod-

source

to

hear

the

Annoying

Horsefly

patch.)

The

last

place

lvlulti

Sax

uses

its

LFO

is

for

the

Filters

lvlodsource

(42).

LFO:-{J9

here

means

the

Siner'Tri

wave-

shape

modulates

this

Voice‘s

treble-bass

quality

at

the

same

rate

of

36.

The

minus

value

means

the

waveshape‘s

first

moves

downward

toward

a

bassier

sound.

This

LFO

=

-09

at

Filters

is

happening

at

the

same

time

that

the

LFO

=

+03

at

Pitch.

Therefore,

and

e

plarihns

ttnnm,

as

you

ac-

tivate

LFO's

lvlodsource

Wheelr‘Pressure,

the

higher

pitches

will

sound

bassier

and

the

lower

pitches

will

sound

treblier.

To

hear

this

effect

more

clearly,

slow

the

LFO"s

Rate

down

to

20,

then

set

Pitch

LFO=+il8

and

Filter

LFO

=

-25,

which

keeps

their

same

ratio.

(See

Figure

1.)

You

may

also

have

noticed

during

your

wanderings

through

Ivlulti

Sax

that

the

lvlodsource

parameter

for

Output

(T0)

is

‘t‘v'heel=+IIl5.

That

is,

as

you

boost

the

LFO‘s

modulation

of

Pitch

and

Filters

with

Wheel,

you

also

increase

the

overall

volume

a

little.

However,

though

Pressure

activates

the

LFO,

only

Wheel,

not

Pressure,

will

also

increase

volume.

If

you

were

to

choose

the

LFO

as

the

Output

lvlodsource,

then

Wlieel{Pressure

would

both

produce

a

tremolo.

Since

we

already

have

plenty

of

LFO

modulation

at

Pitch

and

Fil-

ter,

more

at

Output

might

he

overkill.

Now

that

welre

all

LFO

experts,

let's

reprogram

Multi

Sax

to

better

suit

our

needs.

Personally,

I

like

a

little

slower

LFO

Rate

of

31,

which

the

table

in

the

manual

shows

is

four

cycles

per

second.

Let's

also

lessen

the

severity

of

this

up-down

effect.

To

do

this,

lower

the

Pitch

LFO

to

+01,

then

reduce

the

Filter"s

LFO

depth to

-03.

Suppose

that,

since

we

rarely

use

Multi

Sax

as

a

live

lead

sound,

we'd

prefer

a

controller

for

the

LFO

that

will

let

us

adjust

its

depth to

a

fixed

rate

in

a

sequence

or

Preset.

Tim-

bre

does

just

that.

For

the

same

reason,

we

could

substitute

Timbre

for

Wheel

at

Output

Modsouree.

As

Timbre

raises

the

LFO’s

depth,

it

would

also

raise

the

'v‘oice‘s

volume.

This

ends

our

surgery

on

Multi

Sax.

The

last

two

things

to

do

are

to

choose

the

Effect

(we

began

with

Chorus

+

Reverb)

and to

save

our

altered

Sound

to

a

RAM

location

or

MIDI

storage

device.

I've

found

that

as

I’ve

learrted

more

about

LFO

program-

ming,

I've

gotten

pickier

about

the

Sounds

I

use.

For

in-

stance,

though

Fretless

Bass

(RAM

10)

is

an

excellent

patch,

it

bugs

me

that

Wheel

is

used

as

the

LFO's

Mod-

source.

This

routing

causes

the

bass

guitar

to

sound

wacky

when

I

use

it

with

other

sounds

that

also

need

Wheel

in

a

Preset.

I-low

would

you

eliminate

the

Wheel‘s

effect

on

+9

Pitch

LFO

=

+03

mount

+

tn

/’

Figure

1:

Sine/Tri

Waveshape

for

Multi

Sax.

LFO

Modsource

=

Wheel!Pressure

Mod

A

-3

‘K

Filters

LFO

=

-I19

.

A

r

V

-9

LFO

speed

=

36

=

5.25

cycles

per

second

(Hz)

Fretless

Bass.

You

make

the

call,

then

check

the

answer

at

the

end

of

this

article.

I

hope

this

step-by-step

procedure

has

helped

demystify

the

LFO

for

you.

Once

you

get the

hang

of

it,

you‘ll

be

programming

those

multi-Voice

patches

in

no

time.

(Answer:

Change

Pitch

LFO

to

00.

Another

way,

assum-

ing

you

aren't

planning

to

use

an

extemal

MIDI

controller,

is

to

change

the

LFO’s

Modsource

to

XCTRL.)

-

Bio:

Dan

Rohrfe

is

a

part

time

musician

and

high

school

teacher

who

fives

in

Mascatine,

Iowa.

He

hopes

someday

to

balance

his

classic-motorcycle-repairperson

self

with

his

romantic

ririe-rhe-

wind

sefi

He

also

hopes

to

win

the

Powerhaii

and

to

see

the

end

to

ail

conflicts

in

the

world.

VFX

Hcrckerpcrtch

Kirk‘s

patch

is

the

runner-up

in

our

fattest-sound-using-

one-voice

patch

contest.

His

sound,

admittedly

quite

portly

for

one

solitary

voice,

owes

its

obesity

to

two

main

factors.

First

of

all,

Kirk

employed

a

pulse-width-modulation

transwave,

and

swept

through

the

wavetable

using

an

LFO.

In

other

words,

the

waveform

is

constantly

changing

as

a

note

is

held,

adding

a

nice

animation

to

the

sound.

Secondly,

it’s

all

pumped

thr_ough

Ensoniq‘s

wonderful

S-voice

chorus

effect

for

extra

largeness

and

motion.

The

only

tweak

I

added

to

Kirk’s

handiwork

was

to

speed

up

the

attack

scoop

created

by

Envelope

1

—

it

was

a

little

sluggish

for

my

tastes.

I

simply

changed

the

attack

from

08

to

04,

and

that

did

it.

so

s.

v|=x

Frog:

LARGE-SOUND

By:

Kirk

Siinfcard

FITCH

MODS

1

EHV2

MODSHO

MODAMT

Glide

Er-N1

LFD1

Timbr

+52

Hone

-44

+00

Sam

Mirns

1

FILTER

1

1

Mode

Cutoff

HBD

MODSHG

it-1CiDAiii'l'I'

EH‘-'2

LID

PB.EBf2

‘I2?

+0-0

Wheel

-44

+00

Fl

LTEH

2

1

ii.-lode

C-utoti

HBO

MODS

Fit}

MODAHIT

EH02

HiPassi'2

12?

+00

Wheel

+50

-l;"3!'?_

_

_.

initial

Peak

Break

1

B

k

rea

2

Sustain

pass?"

Decay

1

Decay

2

Decay

3

I

‘finesse

_ _

HBD

Track

vel

t':.urve

Mode

val-Level

‘iifel-Attack

'00

B9

'00

B5

___°P____

-ts

45

45

45

___4§___

_

00

+

Llneer

Ftepeat

0-0

0-0

E,!i_|§if3

,

fi_Ull?L!]L_

_

patihle

with

the

SQ

types.

(Or

at

least

i:ranslatahle.).

RED

scale

_|-§l'|;|Lil5.'Eti'_____

Dest

Bus

P

‘-'i'0‘fE_$,_.

,

,_

__1

EELEGI

‘ff-l|CE_

aigonsnc

ave

_

Puiie

.1-x

00

_

Di

Wave

0-lass

Transvrave

Del

000

Elli

'5'

Elitii

42

“

rvroosrte

r.Fo

T

E__H'tf1

MDDAMT

+42

.—I|.—l_I|—I|

HUD

HIXEFI

1

1

BBC-1

-

SEC-2

-

EHO-E

Beale

-

SRO-2

Shape

-

_5'u-Lilli".

PITCH

1

Octave

-1

Semitone

+00

Fine

+00

Pitch

Tahie

System

initial

Peak

Break

1

Break

2

Attack

Decay

1

Decay

2

Decay

El

_Iislasse

BB

00

00

00

_______

_

_i1lIi_

_ _

os

'00

'00

'00

_______

-_i1P_

_ _

ttao

Track

+crr

'v‘el

0-urve

ii.-lode

vet-Level

vet-Attack

Linear

Normal

ea

00

'1'

_

_|31Ql'pfi.|'"'LT_

_ _ _

F-‘re-Gain

Voice

Prior

'v‘el

Thresh

_____

-

._1

vol.

ea

NOTES:

This

is

a

Pulse-wave

pad

sound

that

I

tried

to

make

com-

Isl‘-3955'?

MDDAMT

ifeioc

+14

+00

Fl-ti

00

Errv2

sad

_ _

_

Dtt

Iuleci

+000

Initial

Peak

Break

1

Break

2

are

tale.

_

_

Attack

Decay

1

Decay

2

Decay

3

KBD

Track

‘vet

Gunre

Mode

val-Level

‘vet-Attack

......5.l..---_

1.

__.

re

ea

ea

ea

9§_____

or

00

00

00

+00

Linear

it-iorrnai

00

BB

P

C

Fi_i;ti.

Pitch

Table

Off

Benrt

Flange

"'

i

Delay

x1

IJFF-t

1

Fiestrike

50

Glide

Time

00

Ftate

MDDBHG

MDDAMT

@Levei

I

MDDSHG

0elav___

waveshape

H001-Elt'1

Noise

BHG

HT

1

B

Noise

-01

09

llufll

00.

_

..

_._

Triangle

Oti

B2

i

EFFECTS

in

i

52

_I

Ettect

B-voice

tJhorus.1

Fkt

er

EFFECTB

{2}

Ghfirus

Hate

05

Depth

00

Delay

st

PERFORMANCE

.F"'="“="

'9'“

T‘

u

'

foo

L“

is

an

|

er=|=Ee'rs

on

H“'“““

_.,__

__

Fxa

lihotie

Norm

Stereo

Sertril

Vocoded

Vocals

Say

what

you

will

about

your

Ensoniq

sampler.

It

only

lets

me

have

eight

instruments

at

once.

It

doesn't

have

enough

polyphony.

It

doesn't

let

me

have

all

the

memory

I

need.

Yes,

say

what

you

will,

but

there

is

no

denying

that

the

EPS-16+

and

ASR-10

have

the

industry's

best

on-board

effects

of

any

synth

or

sampler.

Hands

down.

This

will

probably

change,

but

then

again,

we

are

due

for

a

new

En-

soniq

sampler

any

time

now,

aren't

we?

The

effects

go

a

long

way

toward

making

samples

sound

really

professional,

but

not

many

people

consider

using

them

for

vocals.

Still

fewer

consider

the

vocal

processing

possibilities

other

than

some

reverb

and

a

little

chorltsing.

-However,

if

you

have

the

inclination,

you

can

twist

your

voice

around

in

some

pretty

wild

ways

on

your

trusty

ol'

16+fASR.

But

just

how

do

you

get

your

voice

to

go

through

the

ef-

fects

in

your

sampler?

Well,

there

are

two

ways.

If

you

happen

to

get

your

hands

on

Waveboy's

Audio-In

disk

{all

of

Waveboy's

products

are

highly

recommended

for

Hack-

er

types...),

you

can

simply

plug

a

mic

into

the

input

jack

on

the

back

of

yotu

sampler

and

go

crazy.

If

you

don't

have

the

Waveboy

disk,

you

can

get

the

same

results

by

sampling

your

vocals

and

feeding

them

through

the

on-board

effects.

With

that

out

of

the

way,

let's

decide

how

we're

going

to

mangle

our

voice

this

month,

shall

we?

With

the

recent

popularity

of

retro

sotmds,

I

thought

this

month

I'd

show

you

how

to

produce

a

fairly

decent

vocoder

emulation.

Keep

in

mind

this

is

a

very

basic

imitation

with

static

pitch...

this'll

basically

give

you

robotic,

Kraftwerk-like

vocals,

and

not

the

eerie

"sung"

vocals

also

made

popular

by

vocoders.

Fire

up

your

sampler

and

either

call

up

the

Flanger+Rev

algorithm

{available

on

both

the

EPS-16+

or

the

ASR-10)

or

load

the

corresponding

Waveboy

effect.

Hit

EDIT-

EFFECT

and

prepare

to

dig

in.

First,

set

your

BUS

I

REVERE

MIX

to

99.

This

is

a

100%

wet

effect,

so

that

the

result

will

be

totally

effected

with

none

of

your

voice's

"natural"

sound

coming

through.

Next,

set

your

BUS2

REVERE

MIX

to

whatever

number

you

want.

If

you

wanted

to

process

your

voice

AND

an

Torn

Shear

onboard

sound,

you'd

send

your

onboard

sound

to

BUS

2

and

set

your

reverb

mix

on

bus

2

to

taste.

Next,

give

your

reverb

a

relatively

short

decay

by

setting

REVERE

DE-

CAY

TIME

to

15.

Next,

set

your

LOW

FREQ

DECAY

to

+15.

This

parameter

lets

you

make

low

frequencies

decay

faster

or

slower

than

high

frequencies.

In

terms

of

vocal

processing,

it

can

help

to

eliminate

“boorniness"

in

ef-

fected

vocals,

a

common

problem

in

home

recording

situa-

tions.

After

this,

set

your

DIFFUSION

to

50.

Diffusion

is

basically

a

“smoothness”

control.

Lower

values

give

a

very

rough

reverb

in

which

individual

echoes

are

often

discernible,

and

higher

values

give

smoother

results,

al-

though

on

these

samplers,

there

is

often

a

little

graininess

associated

with

very

high

values,

so

a

value

of

50

is

a

good

compromise.

Next,

we'll

want

to

set

HIGH

FREQ

DAMPING

to 0,

or

no

damping

of

high

frequencies,

and

set

the

HIGH

FREQ

BANDWIDTH

to

99.

The

effect

we're

after

is

a

high

fre-

quency

effect,

so

we

want

all

those

frequencies

to

cut

through.

Continue

to

scroll

right

and

set

your

REVERE

DETUNE

RATE

to

any

number

and

your

REVERE

DE-

TUNE

AMOUNT

to

0.

With

all

of

the

reverb

parameters

set,

keep

scrolling

right

so

you

can

set

the

flanging

parameters.

First,

set

your

FLANGE

CENTER

to

20.

This

is

one

of

the

most

crucial

parameters

—

as

I

will

explain

later.

Set

FLANGE

RATE

to

20

and

FLANGE

‘WIDTH

to 0.

With

no

flange

width,

you

get

a

"static"

flange,

or

one

that

doesn't

sweep

back

and

forth

as

we

are

generally

accus-

tomed

to.

Set

your

FLANGE

FEEDBACK

to

+93.

This

will

give

your

"vocoder"

some

tone

without

totally

feed-

ing

back

and

getting

nasty.

Finally,

set

your

FLANGE

DEPTH

to

99

and

FEACK.

MODWHEEL

to

D.

If

you're

using

a

Waveboy

effect,

also

make

sure

to

set

it

up

for

ex-

ternal

input.

Now

that

your

effect

is

keyed

in,

make

stu'e

to

save

it.

As

with

many

instruments

and

effects,

this

one

requires

spe-

cial

performance

techniques

to

be

most

effective.

Basical-

ly,

you

will

want

to

whisper

your

vocals

through

it.

This

will

eliminate

any

identifiable

"human"

vocal

timbres.

So

sample

yourself

whispering

a

vocal,

or

whisper

into

your

mic

if

you're

using

the

Waveboy.

This

is

a

relatively

high-pitched

effect

and

I

like

to

layer

it

under

a

track

of

vocals

processed

in

a

different

way.

So

what

if

you

don't

like

the

pitch

of

the

effect

and

want

a

still

more

robotic

sound?

This

is

where

the

FLANGE

CENTER

parameter

comes

into

play.

This

parameter

will

basically

adjust

the

pitch

of

your

"vocoded"

vocals.

A

higher

value

will

give

you

a

lower

pitch,

and

vice

versa.

With

some

fancy

finger-

work,

you

can

adjust

this

parameter

in

real-time

using

the

data

slider

to

open up

a

variety

of

pitches

in

performance.

So

there

you

have

it.

No,

it's

not

a

real

vocoder,

and

ac-

cordingly

isn't

nearly

as

flexible,

but

it's

a

pretty

cool

ef-

fect,

and

it's

free,

so

whadayawar1t?!?

Experiment

with

the

fl

i

I

i

parameters

to

get

variations

on

this

effect,

and

try

sending

instruments

through

the

effect

as

well

as

vocals.

Drums

sound

particularly

cool

and

give

effects

that

were

utilised

by

industrialites

like

Skinny

Puppy

and

Front

Line

As-

sembly

in

their

early

days.

So

enjoy

your

new

robotic

friend,

and

by

all

means

pass

on

any

further

tips

you

dis-

cover

along

the

way.

-

Bio:

Toni

Shear

is

a

fictional

character

and

any

resernhiance

to

persons

living

or

dead

is

purely

coin-

cidence.

Samplin’

From

My

ears

are

burnirr'.

I

can

hear

the

readership

now:

"...boy

this

is

a

no-brainer...find

the

audio

out

from

your

VCR

and

run

it

into

your

sampler

input,

duh..."

Well,

okay.

But

you

may

find

though

that

this

little

treatise

may

save

you

some

time

and

perhaps

diminish

the

hassle

factor

some-

what.

Wlry

would

anyone

want

to

sample

audio

off

a

VCR?

I-low

can

I

sample

a

tape

legally?

To

the

first

question

I'll

ask

you

to

just

think

about

it...

And

here

I'll

ask

the

legal

beagles

to

please

remain

calm

and

shut

upi

In

the

interest

of

liability

correctness,

we

will

explore

this

exercise

only

in

terms

of

you

digital

devotees

extracting

audio

elements

from

your

home

videos.

Truth

is,

video

tape

is

a

rather

pristine

medium

for

analog

audio.

It's

often

used

for

mixdown

mastering,

so

why

not

freese

that

special

giggle

or

your

child's

first

"Ma

Ma...Da

Da"?

No

problem.

The

only

technical

obstacle

is

the

lack

of

a

volume

control

between

the

source

(VCR)

and

the

sampler.

Often,

you

may

be

able

to

sample

without

introducing

a

choke

of

any

kind.

Eut

if

that

"AMP"

lamp

should

flicker

even

the

eon-

sicst,

you'll

need

to

rrur

through

your

mixer.

With

all

the

volume

pots

in

the

fully

closed

position,

simply

run

the

VCR

audio

out

(which

is

a

line

level

signal)

to

an

empty

channel

on

your

mixer.

N

ow

run

your

sampler

cable

to

the

mixer

headphone

output.

Yowi

Am

I

trying

to

fry

your

ears

in

a

feedback

loop?

Trust

me,

there

is

no

danger

until

you

push

the

"yes"

button

after

you

set

up

your

sample

screens,

ready

to

go

into

record.

Plug

a

set

of

earphones

into

the

sampler

earphone

jack.

Your

VCR

.f.D.Ryan

Have

the

appropriate

operations

disk

booted

when

you

hit

"sample"

(should

your

machine

require

it)

and

run

through

the

default

screens:

sample

rate

=

44.6,

filter

cutoff

=

20.0,

pre-trigger:

I

usually

use

‘i’

MSEC,

input

level

=

LINE,

sample

time

=

22.9‘?

sec.

(Remember,

we

decided

long

ago

that

it's

much

better

to

convert

down

from

the

highest

possible

sample

rate

than

to

initially

sample

at

a

lower

rate,

hence

the

short

sample

time

on

my

expanded

EPS-16

Plus.

You

will

find

that

you'll

make

very

short

takes

when

extracting

from

video

anyway.)

Click

on

the

right

arrow

button

one

more

time

and

you

are

at

your

digi-

tal

VU

meter

—

STOP!

New

we're

ready

to que

up

the

VCR.

But

first,

our

sound

check.

Tum

on

the

tv

and

rewind

your

selected

tape

to

at

least

two

minutes

before

the

sound

byte

you

wish

to

cap-

ture.

Put

on

the

earphones

and

turn

down

the

tv's

volume

completely.

Put

the

VCR

in

"PLAY"

and

watch

the

tv

for

the

video.

Now

turn

or

slide

up

your

master

on

your

mixer

to

whatever

level

you

normally

use

(usually

about

50%).

Maire

snre

everything

else

is

turned

off

or

down

—-

espe-

cially

the

channel

that

receives

your

samplers

regular

outs.

Now

open

the

channel

receiving

the

VCR

audio

to

about

50%...

Now

slowly

open

the

headphone

volume

control

on

the

nrixer,

which

is

supplying

the

audio

to

the

meter

and

AID

converter

on

your

sampler.

That

headphone

output

is

pre-arnped

which

means

it's

hot!

Standby

at

about

20%

while

you

watch

the

meter

on

your

sampler

and

listen

to

the

soundtrack

off

your

video

cassette.

Now

turn

down

the

channel

receiving

the

VCR

on

your

mixer

and

listen...

You

shouldn't

hear

much

of

anything.

If

you

hear

a

hum

14

or

base

it‘s

because

tvs

ar1d

samplers

sometimes

donit

get

along

so

well.

Also

it

could

be

60-cycle

hmn

so

see

to

it

that

the

cables

from

the

VCR

don't

reside

near

any

power

cords.

Stop

the

VCR.

Any

change?

Probably

not,

so

any

noise

will

be

IF‘

interference

set

up

between

the

tv

and

the

sampler.

You

can

rectify

this

by

moving

the

tv

away

from

the

sampler.

Also,

tum

off

any

amplifiers,

all

other

instru-

ments

and

equipment.

All

you

need

is

the

tv,

the

sampler,

the

mi:-ter,

and

the

VCR.

The

sound

should

he

better

than

from

your

tv

speaker.

Now

you

have

acceptable

quality

sound

in

your

phones

and

you

see

a

healthy

signal

on

your

meter.

If

it’s

clipping,

attenuate

it

at

the

headphone

con-

trol.

Don’t

be

afraid

to

dress

up

the

sotmd

with

the

EQ

on

your

mi:-ter

channel.

You

are

hearing

eitactly

what

your

sampler

will

digitize

so

get

it

the

way

you

want

it.

Rolling

up

to

the

point

you

want

to

sample,

bring

the

level

up

to

the

point

where

the

AMP

lamp

blinks

on

just

a

bit,

then

hack

off

until

it

remains

unlit.

Let

the

‘VCR

roll

past

the

point

you

wish

to

sample

just

to

make

stue

there

is

no

clip.

Now

you’re

ready

to

take

your

sample.

Just

rewind

tl1e

VCR

to

about

30

sec

or

so

before

the

point

you

will

sample

(it‘s

easiest

to

gauge

the

upcoming

audio

by

watching

the

video)

As

you

put

the

VCR

into

play

(use

your

remote

control)

your

finger

should

just

hover

atop

the

“YES”

but-

l l

!

i

ton.

As

the

VCR

completes

its

preroll

and

approaches

the

audio

segment

you

want,

press

the

button

a

second

before

the

segment

you

wish

to

capture.

As

soon

as

you

hear

the

audio

portion

you

wanted.

push

the

“NO”

button

and

you

have

your

sample.

Stop

the

‘VCR.

Assign

the

root

key

to

your

sample.

To

listen

to

your

sample

and

truncate,

edit,

whatever,

just

remove

the

sample

cord

from

the

miner

and

carry

on.

Now

you

can

get

those

phones

off

and

go

back

to

your

speakers.

You

have

also

discovered

how

to

enjoy

home

theater

audio

without

buying

the

home

theater.

Some

camcorders

do

a

pretty

basic

job

of

recording

audio,

and

you

will

be

amazed

at

how

much

you

can

clean

it

up.

That,

however,

is

another

story.

-

"

Bio:

ID.

Ryan

is

a

com-

posertwritertdreamer

somebody

living

back

among

the

chicicens

and

corn

plants

of

his

sam-

mer

residence

near

the

Atlantic

ocean

resort

town

of

Ocean

City.

Selling

Your

Services

on

$4

0

Day

There

are

two

crucial

keys

to

building

and

sustaining

your

successful

music

business.

They

are:

-

Generating

and

contacting

new

business

leads.

-

Bringing

your

specific

benefits

to

current

and

past

customers.

You

should

always

work

hard

to

keep

your

name

alive

and

deliver

your

message

to

those

who

need

what

you

offer.

Unfortunately,

most

of

us

have

precious

little

time

and

often

even

smaller

checkbooks.

Here

are

two

tips

I

use

to

promote

my

music

products

and

services.

lltloneyrnalring

Promotional

Tip

Nurne

re

One

Rather

than

concentrate

on

sending

out

huge

bulk

mailings

all

the

time,

it's

easier

to

spend

a

little

time

each

day

mar-

keting.

One

way

to

do

this

is

to

use

what

I

call

four-

Jefirey

Fisher

dollars-a-day

marketing.

The

basic

strategy

is

to

contact

ten

clients

or

prospects

each

day,

five

days

each

week.

You

contact

five

by

mail

and

five

by

phone.

This

is

very

easy

to

manage,

especially

for

the

one-person

shop,

and

with

a

targeted

list

of

prospects,

this

method

is

both

inert-

pensive

and

potentially

lucrative.

Each

day,

send

out

five

sales

messages

to

five

prospects

or

customers

on

your

list.

Using

a

series

of

sales

letters,

brochures,

newsletters,

thank

you

notes,

special

offers,

and

postcards,

try

to

hit

the

same

list

3-4

times

each

year.

Neat,

follow

up

each

mailing

ten

days

later

with

a

telephone

call

checking

on

the

receipt

of

the

package

and

to

answer

any

questions.

So,

on

any

given

day

you}

will

mail

five

promotions

and

make

five

telephone

follow

up

calls.

That’s

it.

Use

these

opportrmities

to

keep-in-touch

with

past

clients

and

to

hunt

down

new

prospects.

With

this

plan,

you‘ll

put

your

name

i11

front

of

those

who

buy

many

times

in

a

short

period.

Your

marketing

will

be

better

—

and

more

profitable

—

if

you

keep

plugging

away,

bit

by

bit,

day

in,

and

day

out.

You'll

begin

to be

recognized

and

the

work

should

start

rolling

in.

Your

cost

is

about

52

cents

each

to

print

and

mail

five

let-

ters

for

a

total

of

$2.’l'0.

The

telephone

calls

cost

about

a

quarter

each

for

a

total

of

$1.25.

This

is

how

you

can

promote

your

products

and

services

for

$3.95

each

day.

That‘s

only

$1000

a

year

that

you

pay

one

tiny

morsel

at

a

time.

Every

single

business

—

including

yours

—

will

benefit

from

this

simple,

effective

strategy.

It's

easily

managed,

lets

you

build

your

prospect

and

client

database

steadily,

keeps

expenses

low,

and

brings

your

benefits

to

the

attention

of

your

target

market

several

times

in

a

care-

fully

controlled,

methodical

way.

Try

it!

Moneymaking

Promotional

Tip

Numeuo

Two

Running

a

business

requires

you

to

handle

many

diverse

functions.

Unless

you

integrate

a

computer

i11to

your

busi-

ness,

you'll

face

a

tough

battle

handling

all

these

details.

Being

prepared

means

having

what

you

need

before

you

need

it.

That‘s

why

I‘ve

relied

on

my

computer

to

pioneer

what

I

call

“Just

In

Time

Marketing."

I

borrowed

the

phrase

from

industry

where

it

means

to

manufacture

products

as

needed.

Rather

than

stock

huge

inventories

of

raw

materials,

you

order

d1em

when

you

need

them,

use

them,

and

then

ship

the

finished

products

out the

door.

I've

modified

the

principle

and

applied

it

to

routine

busi-

ness

tasks.

You

keep

all

your

basic

business

information

'—

everything

you

use

to

run

your

daily

business

—

on

your

computer

so

that

you

can

deliver

what

your

clients

and

prospects

need

just in

time.

While

your

computer

can‘t

meet

clients,

it

can

help

you

manage

other

tasks.

Automating

parts

of

your

business

with

your

computer

helps

you

save

time

and

money,

two

important

considera-

tions

for

every

burgeoning

music

business.

First,

choose

software

that

complements

your

method

of

working.

The

key

is

to

get

your

work

done

efficiently.

Today’s

sophisticated

word

processors

are

all

many

busi-

nesses

need.

You

can

do

mail

merge,

rudimentary

spread-

sheets,

and

keep

your

files

together

in

one

place.

Using

macros,-you

can

automate

many

tasks

such

as

standard

salutations,

closings,

and

more.

Other

than

a

financial

and

desktop

publishing

program,

my

word

processor

has

everything

I

need

to

rum

my

music,

business

consulting,

and

publishing

businesses.

Next,

put

everything

on

your

computer

—

especially

general

correspondence,

promotional

materials,

proposals,

contracts,

budgets,

invoices,

thank

you

notes,

and

more.

Ii

takes

time

to

gather

this

material,

but

in

the

long

rim

you

save

time.

Once

you

develop

boilerplate

copy,

you

can

use

it

repeatedly.

You

can

personalise

each

piece

through

mail

merge

or

by

simply

slipping

in

a

custom

paragraph

or

two.

That‘s

certainly

less

time

consuming

than

typing

some-

thing

from

scratch

every

time

you

get

an

inquiry.

Finally,

let

your

computer

be

an

integral

part

of

your

everyday

business.

Computers

excel

at

routine

tasks

and

most

of

your

work

is

repetitive.

Delegate

some

of

your

workload

to

that

box

on

your

desk.

All

you

should

do

is

select

a

file,

update

it

quickly,

customize

it

to

your

target,

and

print.

Your

computer

frees

you

from

those

everyday

tasks

giving

you

more

time

to

be

creative,

productive,

and

successful.

Here‘s

an

example:

When

someone

inquires

about

my

Mnsician’s

Business

Bniiding

Booizsneif,

I

add

their

name

to

my

mailing

list

in

my

word

processor

and

then

use

mail

merge

to

print

a

cover

letter

and

envelope.

I

open

another

file

to

print

the

latest

issue

and add

it

to

the

package.

I

fold

the

pieces,

stuff

them

in

the

envelope,

grab

a

stamp,

and

the

inquiry

is

filled.

What

could

be

easier?

You

get

three

advantages

to

this

strategy:

It

helps

your

cash

flow.

You

don't

spend

money

to

pre-

print

garden

variety

brochures

or

other

promotional

material.

Your

materials

are

always

up-to-date.

They

aren‘t

written

in

stone;

you

can

change

them,

customise,

and

print

on

demand.

Instead

of

drafting

from

scratch,

you

spend

your

energies

on

more

important

duties.

You

can

put

together

the

material

you

need

quickly

and

easily.

Grab

an

old

proposal,

update

the

budget,

slip

in

the

prospect‘s

name,

and

print.

So

get

started

right

now

and

soon

you‘ll

have

everything

you

need

at

your

fingertips.

And

start

using

your

time,

resources,

and

money

more

effectively

so

that

you

are

ready

for

any

thing

that

comes

your

way.

-

Biotplng.'

Get

a

free

one-year

subscription

to

.i'efi'rey's

Ivlusicianis

Business

Building

Bookshelf,

fail

ofpraoticai

advice

for

turning

your

mnsic

into

cash.

To

get

a

year

fuii

of

tips

write:

Jeffrey

P.

Fisher

Music,

834i

Ripple

Ridge,

Darien,

IL

60561

or

caii

(roe)

art-test.

-t,_

‘\-

1:‘-.

F-—

-\_,_‘_-

Ensoniq

Now

available

direct

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factory

(except

in

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dealer

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our

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Category

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Keyboards:

EPS,

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‘Welcome!

OPTI-CASE

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RT.

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HENDERSON,

TX

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FAX:

903-657-6030

One

of

our

most

common

requests

from

new

subscribers

{new

owners}

is

for

more

basic

tutorial

information.

We've

all

been

there.

Unfortunately,

the

Hacker

is

usually

"there"

when

a

new

instrument

first

makes

its

appearance

-—-

and

then

we

move

on.

While

back

issues

can

answer

many

questions,

not

all

are

still

available

and

they

do

represent

an

additional

expense

for

the

new

reader. Hence,

"Hacker

Reinitiaiisation"

—

yup,

old

goods

in

a

new

wrapper.

We

feel

a

little

funny

about

the

whole

reprint

thing

—

so

we're

going

to

keep

it

small.

Clark's

series

on

the

SOs

is

the

most

requested,

least

available,

and the

most

generally

applicable

{KSs

&

KTs

in

particular

—

and

he's

checking

‘em

for

freshness),

so

here

we

go...

SQ

Modulation

-—

The

Story

Unfolds

Clark

Salisbury

Welcome

back

to

"SQ-l

Programrning

Made

Painfully

Obvious,"

our

continuing

series

on

programming

the

SQ

family

of

syn-

thesizers.

Last

month

we

began

an

in-depth

look

at

modulation.

As

promised,

we'll

continue

with

modulation

this

time

out.

Each

SQ-l

sound

has

up

to

three

voices.

The

most

elemental

part

of

each

voice

is

the

wave,

which

is

routed

through

a

filter,

an

amplifier

{also

called

the

"output"

section),

and

the

digital

effects.

lvlodulators

can

be

applied

at

many

points

along

this

route.

They

can

be

applied

to

various

facets

of

the

wave,

such

as

pitch

and

start

index.

They

ca11

be

applied

to

the

filter,

to

shape

the

bar-

monic

contcnt

of

a

voice.

They

can

be

applied

to

the

amplifier,

to

shape

the

way

a

voice's

volume

changes

over

time.

And

mod-

-I‘

ulators

can

be

applied

to

the

digital

effects

to

allow

for

real-time

effeets

control,

as

well

as

to

allow

for

some

sophisticated

types

of

control

not

always

found

in

outboard

effects

devices.

All

in

all,

the

SQ-1

provides

a

total

of

15

modulation

sources,

along

with

a

few

special

purpose

modulators

(such

as

the

ramps,

which

are

applicable

only

in

certain

areas

such

as

the

digital

ef-

fects).

These

modulators

include

a

Low

Frequency

Oscillator,

or

LFO

{we've

talked

about

LFO's

a

bit

already);

three

envelope

generators

(which

we

will

begin

focusing

on

in

this

installment);

two kinds

of

noise;

velocity

and

keyboard

position;

timbre

con-

trol,

pedal

controller,

and

pitchwheel;

external

controllers;

pres-

sure;

rnodwheel;

and

the

"MAX

ON"

modulator.

Any

of

these

modulators

can

be

connected

to

the

wave,

filter,

amplifier

or

output

section,

and

many

of

them

can

be

used

to

con-

trol

a

parameter

of

your

choice

in

the

digital

effects

section.

As

a

matter

of

fact,

it's

possible

to

me

two

or

more

modulators

simul-

taneously

on

a

single

destination,

such

as

the

filter.

Because

of

the

complex

possibilities

presented,

we'll

want

to

take

our

time

mid

be

certain

that

we

have

a

solid

handle

on

modulation

before

moving

on.

We

begin

with

envelopes.

An

envelope

is

a

generic

control

signal

used

to

modulate

some

component

within

a

synthesizer.

In

the

SQ-1,

an

envelope

can

run

in

any

of

three

modes:

normal,

finish

or

repeat.

In

normal

mode,

an

envelope

is

a

one—shot

controller,

activated

by

a

key

depres-

sion.

This

means

that

once

a

key

is

played,

the

envelope

runs

once

through

its

predetermined

cycle

and

stops,

waiting

to

be

activated

again.

‘What

the

envelope

does

once

it

has

been

activated

depends

on

the

settings

its

settings

and

what

it's

routed

to

control.

This

will

be

easier

to

understand

if

we

approach

it

through

example.

Select

RUM

program

7?,

"l'vlALLETS."

Press

the

"EDIT"

button,

then

the

"WAVE"

button,

and

then

"U."

This

takes

you

to

the

select

voice

page.

it-From

here,

we

can

see

that

there

are

two

voices

active

in

this

program,

(voices

one

and

two).

For

now,

turn

off

voice

two

by

scrolling

to

select

it,

then

hitting

the

down

arrow

button.

This

leaves

us

the

basic

mallet

sound,

but

with

only

one

voice

active.

Scroll

to

select

voice

one

for

editing

—

the

word

"ON"

should

start

flashing.

Now

press

"AMP,"

then

"U"

to

access

the

amplifier

envelope;

this

is

the

envelope

that

generally

controls

overall

dynamic

contour.

You

should

find

yourself

at

the

first

page

of

the

amplifier

en-

velope

menu.

The

display

should

look

something

like

this:

LEVL

=99

99

ill}

fill

TIME

=11

SD

2?

50

The

upper

row

of

numbers

is

showing

envelope

levels

and

the

bottom

row

is

showing

envelope

times.

In

this

case,

the

envelope

levels

are

controlling

volume.

The

times

determine

how

long

it

will

take

to

go

from

one

level

to

the

next.

In

this

example,

the

en-

velope

begins

at

a

level

of

99,

(the

maximum

level

available),

then

takes

a

time

of

ll

to

move

to

the

next

level,

also

99.

From

there,

it

takes

a

time

of

50

to

move

to

the

next

level,

which

is

ll-ll,

(the

minimum

available},

and

so

on.

Let's

experiment.

Play

a

note,

and

listen

to

how

the

sound

decays

as

you

hold

down

the

key.

Now

select

time

2,

the

second

parameter

in

the

"TIME"

row

—

it's

currently

set

to

a

value

of

50.

Change

this

to

ltl

and

play

a

note.

Notice

that

the

sound

decays

much

more

abruptly.

That's

because

it

is

only

taking

a

time

of

ill

to

get

from

the

second

level,

99,

to

the

third

level,

DU.

Try

setting

the

second

time

to

a

value

of

99

and

play

a

note.

Notice

that

you

need

to

hold

the

_

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key

for

quite

a

while

before

the

note

completely

decays.

It's

now

taking

the

maximum

time

(99)

to

go

from

the

maximum

level

(99)

to

the

minimum

(till).

Set

time

2

back

to

its

original

value

of

fill.

Now

set

level

one

to

DU.

The

display

should

be

showing:

LEVL

=tltl

99

lltl

tl-ll

TIME

=11

SD

2’?

50

Now

when

you

play

a

note

you'll

notice

that

the

note

fades

in,

rather

than

attacking

percussively.

This

is

because

the

SQ-1

en-

velope

is

now

set

to

go

from

level

one

(fill)

to

level

two

(99)

with

a

time

of

ll.

Now

try

setting

time

one to

a

value

of

DU

—

surprise!

The

percussive

attack

is

back!

You

see,

even

though

the

envelope

is

set

to

start

at

a

level

of

DD,

it

takes

ll-ll

time

to

get

to

the

second

level,

which

is

99

(full

on).

So

you

cart

control

how

long

a

sound

takes

to

attack

by

using

level

one

to

set

the

initial

level,

level

two

to

set

the

target

level,

and

time

one to

control

how

long

it

takes

to

get

there;

it's

almost

like

a

game

of

"con-

nect-the-dots."

Level

three

and

time

three

function

in

precisely

the

same

way,

allowing

you

to

create

envelopes

that

have

more

com-

plex

attackldecay

characteristics.

Level

four

and

time

four,

however,

function

somewhat

differently.

Level

four

is

what

is

known

as

the

sustain

level

of

the

envelope.

What

happens

is

that

the

level

set

at

level

four

will

remain

con-

stant

for

as

long

as

a

key

on

the

keyboard

is

held

down

—

that

is,

once

it's

been

arrived

at

after

the

first

stages

of

the

envelope

have

run

their

course.

For

example,

set

level

four

of

the

envelope

we've

been

working

with

to

a

level

of

99,

and

hold

down

a

single

note on

the

keyboard.

Notice

that

the

note

attacks

percussively,

gradually

decays

to

silence,

but

then

swells

back

to

full

volume

a

moment

later.

If

you

continue

to

hold

a

key

down

the

note

will

continue

to

sustain.

The

envelope

we've

created

should

look

like

this:

LEVL

=U[l

99

U0

99

'I'1lvlE=115tl

2'?

Si]

As

you

can

see,

this

envelope

is

set

to

begin

at

a

level

of

DU,

then

take

a

time

of

11

to

reach

a

level

of

99,

then

take

a

time

of

fill

to

reach

a

level

of

llll,

and

then

to

take

a

time

of

2'?

to

reach

level

four

—-—

the

sustain

level

———

set

to

99.

See?

This

is

easyl

“But

what

is

time

four

for?"

you

may

well

ask

ask.

Well,

well,

it's

called

the

"release

time,"

because

it

sets

the

amount

of

time

it

takes

for

the

envelope

to

get

from

whatever

level

it's

currently

at

back

to

tltl

after

the

key

has

been

released.

To

hear

this

effect

in

action,

set

time

one to

a

value

of

U-ll,

level

three

to

99,

and

set

time

four,

(the

release

time),

to

a

value

of

llll.

The

display

should

look

like

this:

LEVL

=00

99 99

99

TIME

=illl

Sll

2?

llll

This

envelope

goes

immediately

to

a

level

of

99

(time

one

is

set

to

DU}

and

stays

there

for

as

long

as

the

key

is

held

down

(sustain

level

—

level

four

—

is

set

to

99}.

Notice

that

when

the

keys

are

released,

the

sound

decays

to

zero

rather

abruptly

—

that's

be-

cause

time

four

(release

time)

is

set

to

llil.

Try

setting

time

four

to

fill

or

so;

notice

how

the

sound

now

takes

a

while

to

decay

after

the

keys

are

released.

The

higher

you

set

the

release

time

(time

four)

the

longer

it

takes

for

the

sound

to

decay

once

the

keys

are

released.

Let's

apply

what

we've

talked

about

so

far

to

see

if

we

can't

make

a

basic

piano

sound.

First

we'll

need

to

select

an

appropriate

wave

to

use,

so

press

the

"WA"v'E"

button,

and

then

"1"

to

move

to

the

wave

page

(remember

that

we

still

have

voice

one

selected

for

editing).

As

you

can

see,

the

"MARIMBA"

wave

from

the

"Tuned

Percussion"

group

is

currently

selected.

Let's

change

this

to

one

of

the

piano

wave.

Scroll

to

select

the

words

"TUNED

PERCS"

(they

should

begin

flashing).

Now

use

the

data

slider

or

the

down

arrow

button to

cursor

down

to

the

"STRING

WAVE"

group

(the

piano

waves

are

found,

for

the

most

part,

in

the

"String

Wave"

group),

and

cursor

over

to

select

the

"STRING

ENSEMBLE"

wave.

You

can

now

scroll

up to

find

the

piano

wave

you'd

like

to

use.

I'm

going

to

use

the

"DIGITAL

PLANO,"

but

the

choice

of

waves

is

up

to

you.

Once

the

wave

has

been

selected,

we'll

need

to

retum

to

the

Amp

envelope

page.

Press

"AMP,"

and

you

should

be

there.

If

not,

press

the

"ll"

button

as

well.

-.,_

Now

let's

think

for

a

moment

about

what

the

dynamic

contour

of

a

piano

sound

is

like.

We

know

that

it's

percussive,

so

we'll

probably

want

to

start

out

at

a

high

level

with

a

short

attack

time.

Setting

level

one

of

our

amp

envelope

to

a

value

of

99

should

ac-

complish

just

this.

We

also

know

that

a

piano

decays

as

the

note

is

held,

so

we'll

need

to

set

our

sustain

level

(level

four)

to

DU

--

we

wouldn't

want

the

piano

sound

to

continue

to

sustain

while

we

hold

the

keys

or

sustain

pedal

down

—

it

might

start

to

sound

a

bit

like

an

organ.

We

also

know

that

the

piano

sound

decays

fairly

rapidly

once

the

keys

are

released.

The

sound

doesn't

die

away

instantly,

though;

the

notes

ring

on

for

a

brief

moment

after

the

keys

are

released.

This

means

that

we'll

need

to

set

our

release

time

(time

four}

to

something

appropriate.

Let's

try

a

value

of

49

for

now.

Now all

that's

left

is

to

set

how

long

it

will

take

for

the

piano

sound

to

decay

while

a

key

or

the

sustain

pedal

is

being

held.

The

envelope

we've

designed,

so

far,

should

look

like

this:

LEVL

=99

Ull

ill}

llll

TIME

=XX

llll

fill

4{l

The

wild

card

here

is

time

one,

which

controls

how

long

it

will

take

for

the

piano

sound

to

go

from

its

initial

level

of

99

to

its

subsequent

level

of

GU.

You

can

figure

out

the

setting

for

time

one

simply

by

listening

to

its

effect

on

the

sound

—--

select

it

and

ad-

just

it

while

playing

a

few

notes

on

the

keyboard.

I

find

that

a

value

of

Til

or

so

seems

to

work

UK

for

the

middle

notes

on

the

keyboard,

but

the

low

notes

and

high

notes

are

suffering.

The

high

ones

sustain

too

long,

giving

the

upper

end

of

the

piano

an

orgmt-like

quality,

while

the

lowest

notes

don't

seem

to

sustain

quite

long

enough.

What

we

need

is

a

way

to

use

the

keyboard

it-

self

to

control

the

envelope

times.

This

would

allow

us

to

have

shorter

envelope

times

for

the

high

notes

and

longer

envelope

times

on

the

lower

notes.

Fortunately,

just

such

a

parameter

exists

in

the

SQ-1,

but

there's

a

trick

—

it

only

works

with

time

two

and

time

three.

This

means

that

if

we

use

time

one to

set

the

decay

for

our

piano

envelope,

the

"keyboard

tracking"

parameter

(as

it

is

called}

will

have

no

effect.

So

what

we'll

need

to

do

is

use

either

time

two

or

time

three

for

our

decay

parameter.

Fortunately,

this

is

easily

accomplished.

First,

set

level

two

to

a

value

of

99

and

time

one

to

a

value

of

ill].

This

way,

the

envelope

still

starts

out

at

full

on,

but

it

immediate-

ly

moves

to

the

second

level

(since

time

one

is

set

to

DU,

the

mini-

mum

time

possible),

and

from

there

it

can

move

on

to

its

decay

stage.

Now

let's

set

_the

value

for

time

two

to

the

value

we

originally

roughed

in

for

time

one:

70.

Our

envelope:

LEEFL

=99

99

DU

ill}

TIME

={l[l

Tl]

{ltl

40

Now

let's

check

out

the

"keyboard

tracking"

parameter.

Press

the

"2"

button,

and

you'll

find

yourself

at

the

following

display:

Mode=NURlv1AL

l(eyboardTrk=+2S

We'll

talk

about

the

mode

parameter

in

our

next

installment.

Right

now

we're

interested

primarily

in

the

keyboard

tracking

parameter.

As

you

can

see,

it's

set

to

a

value

of

+13;

this

is

the

value

originally

prograrmned

for

the

marirnba

sound

that

we

started

with.

Try

setting

this

parameter

to

a

value

of

+93,

and

play

the

highest

and

lowest

notes

on

the

keyboard

and

hold

them.

The

effect

obtained

is

a

bit

radical

for

our

purposes,

but

it

serves

well

to

illustrate

what

keyboard

tracking

does.

Try

setting

the

tracking

parameter

to

-93,

and

play

the

high

and

low

notes again

—

the

ef-

fect

is

now

reversed,

with

the

lower

notes

decaying

quite

rapidly,

while

the

high

ones

hang on

forever.

With

keyboard

tracking

set

to

+00,

envelope

times

are

equal

for

all

areas

of

the

keyboard;

you

may

want

to

check

this

out

as

well.

At

any

rate,

my

tastes

tell

me

that

a

keyboard

tracking

value

of

+23

works

pretty

well,

but

you'll

may

want

to

play

with

this

one

to

find

out

what

sounds

best

to

your

ear.

That

about

wraps

it

up

for

this

installment,

but

it

hardly

wraps

up

the

subject

of

envelopes.

We'll

be

back

next

time,

and

by

then,

we

should

be

fairly

well

on

our

way

to

creating

some

pretty

serious

sounds

—

pushing

back

the

envelope

envelope

as

it

were.

—

Bio:

In

addition

to

composing,

techni-

cal

writing

anti

run-

ning

Virtual

Music

(a

project

studio},

Clark

Salisbury

works

with

iltfttsic

dc

Sound

Associates,

a

company

that

spe-

cialises

in

sound

design,

sequencing,

and

consultation.

1--fl|.|

lll

I

SQ,

KS,

KT

Fctmiiy

Hockerpciich

Jeffrey

Rhoocis

PTDQI

By;

Mark

Hgymgnd

Notes:

This

is

a

light

mix

of

vibes

ii:

choir

pads.

‘Voice

l,

the

vibe

sound,

cuts

tluough

with

the

attack,

and

‘Voice

2,

the

choir,

holds

on

the

sustain.

The

modwheel

will

increase

choir

filter

cutoff

and

raise

the

pitch

one

octave.

You

may

want

to

move

this

pitch

mod

to

the

modpedal.

WAKE

. .

‘I.

3

"

i

Select

Voice

Wave

Glass

Exp

iwave

vibes

Delay

Time

occ

Wave

Direction

Fwd

Start

index

oo

MDDSDH

-

MDDAMT

cc

Flestrk

Decay

so

1

2

3

LFO

Dn

DH

Elli

LFD

Speed

Exp

Noise

Hate

t'.‘-heir

Level

co

Delay

Fwd

MODS

FIG

oo

.

Wave

-

i

Ftostart

-1-

-

1-

-

I‘

-

-

.-

-

-

-

1-

99

I

39

L

FILTER

1.

2

3

.

FITCH

1

Fiher

1

2

3

Filter

2

Dctavo

"

+o

Bemitone

99

-1

FG1

outolt

99

EH9‘

2

Fine

EN'v'1

LFD

MDDSGH

NlDDniv1T

99

99

+94

+oo

+oo

Wheel

+62

FC1

HBD

MDD

BC-Fi

MGDAMT

FC-2

C-utoii

ENV2

KBD

Ptch

Traci-t

Dn

|GIide

Dff

;GjI_de

Time

-

FC-2

HBD

On

Elli

FC-1

MOD-FOE

2Lo

2Lo

D65

+?B

+oo

Kybd

+99

DEE

+99

+99

Dn

2Lo

2Hl

can

+94

+1=i~

initial

Peak

Break

Sustain

Attack

Decay

1

Decay

2

Fieiease

Vol-Level

Val-Attack

‘lie!

Curve

Mode

HBD

Track

H9

on

ac

1E

59

so

as

as

DD

Lin

Norm

+29

2 3

_

AMP

1

_____

Z

_

______

'

as

as

95

so

so

ca

co

at

so

oo

as

Lin

Norm

+oo

whBElPlE5

+9?

999

+99

+99

Dn

2

it

_‘l--

EH91

1

2

3

E_l'~ll{2

1

5

Initial

-

1

Peak

-

Break

-

'

Sustain

-

Attack

-

Decay

1

-

Decay

2

-

Helease

-

‘vial-Level

-

ital-Attack

-

'v'e|

Curve

-

Mode

-

HBD

Track

_

-

-.

1.

-

-.

-I

-

-

-

-

.-

-

as

.-

initial

'

Peak

Break

Sustain

Attack

Decay

1

Decay

2

Ftelease

Vol-Level

ilol-Attack

‘v'e|

Curve

Mode

ifiIBD

Traci-t

99

as

co

ca

co

co

co

cc

99

co

C-onv

Norm

+99

UDL

Boost

MDDSHC

NIODAMT

KBD

Scale

Key

Hangs

Dutput

Bus

fl

so

on

9'9

+oo

E1-G?

FIE

re

Dn

Wheel

-1o

+99

E

1

-G?

FJE1

2

Priority

Mod Med

39

Pan

+99

+99

'

no

'-.-‘ei

window

coo

_t_ioti

I

so

so

EFFECTS

-

CHORUS

AND

HEVEFIB

cs

Flt-1

15

Fit-2

15

24

Decay

time

42

HF

Damping

33

as

Chorus

Ftate

so

Chorus

Depth

so

as

Chorus

C-enter

so

53

Feedback

+oo

cc

I

Chorus

Level

to

Lin

_

NIDD

{Desi}

Fltl-Mix

Norm

'

BY

(MDDSHCJ

Modwheel

loo

_

i

NIDDAMT

-so

The

HHGKI

With

"Tubular

Choir"

lvlark

Hayman's

heart

is

in

the

right

place...

but

his

envelope

values...

let's

just

say

they're

a

shade

too

articulate

for

my

taste.

I

think

both

voices

fare

better

with

a

slower,

softer

attack

and

a

slightly

extended

release.

The

changes

in

Env

2

values

for

‘iloice

1

are

as

follows:

Initial

=

99,

Attack

=

99,

and

Decay

1

=

99.

The

changes

in

Amp

values

for

Voice

l

are:

Initial

=

S4,

Peak

=

95,

Sustain

=

16,

Attack

=

5?,

Decay

l

=

99, and

Release

=

65.

For

‘Voice

2 the

changes

in

Amp

values

are:

Initial

=

99,

Peak

=

99,

Attack

=

69, and

Vel-Attack

=

19.

At

the

Output,

Voice

1's

Vol

balances

to

T4.

Add

a

little

stereo;

let

the

Pan

for

Voicel

=

+42

and

for

Voice

2.

=

-42.

Both

voices

benefit

from

more

chorus

within

the

effect.

For

simp1icity's

sake,

keep

the

effect

Chorus

St

Reverb.

(Though

please

note

you

must

change

Voice

1's

Output

Bus

to

FXT.)

at

the

effect,

change

FX1

to

T5,

Chorus

Depth

to

49,

and

Feedback

to

-44.

Jejjfrey

Rlioads

Bio.‘

.l'e_fi'rey

Rlioads

has

been a

key-

boartiistlcooiposer

on

the

Philadel-

pliia

Jase

and

R

+

B

scene

for

a

period

of

time

resembling

forever.

He

has

an

interest

in

cinerna

and

has

developed

sorne

fllrn

courses.

Jeff

still

believes

in

rnagic

and

longs

for

city

lights.

_

I-it

Q

.__

,

|_'___-I

i-

Haolcerpalcli

is

intended

to

be

a

place

where

patch

vendors

can

show

their

wares

and

musicians

can

share

their

goodies

and

impress

their

friends.

Dnce

something's

published

here,

it's

free

for

all.

Please

don't

submit

patches

diat you

know

to

be

minor

tweaks

of

copyrighted

commercial

patches

unlesls

you

have

permission

from

the

copynght

owner.

All

submitted

patches

are

subject

to

consideration

for

mutilation

and

comments

by

Sam

Mims

and

Jeffrey

Rhoads

—

our

resident

patch

analysts.

If

you

send

in

a

patch,

please

include

your

phone

number.

Requests

for

particular

patches

are

also

very

welcome.

29

Sampling,

Sequencing

and

Live

Performance

We

are

living

in

the

digital

age.

It

seem

that

nowadays

there's

a

computer

chip

in just

about

everything.

While

it

has

undoubtedly

made

our

lives

easier,

on

another

level,

it

complicates

them

as

well.

Especially

for

us,

as

musicians.

Think

about

it.

We

can

store

note-perfect

performances

of

out

playing

on

a

floppy

disk,

correct

any

timing

mistakes,

even

go

in

note

by

note

and

adjust

the

velocity

iuitil

it's

perfect.

But

with

this

goes

the

standard

barrage

of

insults

and

put-downs

from

guitarists

and

other

non-electronic

musi-

cians

who

are

amused

with

these

machines

that

"play

themselves,"

never

considering

that

a

human

being

had

to

put

the

notes

in

there

in

the

first

place.

This

is

worsened

still

when

another

Milli

Vaiiilli

comes

along

and

makes

fools

out

of

not

only

themselves,

but

the

record

buyers

as

well.

And

yet

again,

electronic

music

gets

a

bad

name.

(Never

mind

that

there

are

plenty

of

guitar-based

artists

from

the

'60s

who

never

played

or

sang

on

their

own

al-

bums...).

So

this

obviously

presents

a

sticky

problem.

If

you're

an

electronically-based

performer,

how

can

you

pull

off

live

performances

that

all

the

nay-sayers

will

be

astounded

by?

Below

are

a

few

suggestions

to

get

you

started...

1)

Drum

Pads

If

you're

a

predominantly

or

totally

electronic

group,

the

easiest

way

to

bring

the

excitement

level

of

your

live

per-

formance

up

is

to

purchase

some

MIDI

drum

pads

to

play

live

rhythm

parts.

Whether

you

just

use

them

for

percus-

sive

accents,

or

for

playing

the

entire

drum

parts

of

your

songs,

this

is

guaranteed

to

be

more

interesting

to

the

audience

than

a

bunch

of

people

hunched

over

their

keyboards.

There's

something

very

exciting

about

the

physicality

of

watching

a

drummer,

especially

an

en-

thusiastic

one,

play.

and

don't

assume

this

is

for

drum

parts

only...

if

you

have

a

product

like

the

Roland

Cictapad

or

the

DrumKat,

why

not

use

them

to

play

melodic

parts

as

well‘?

Those

heavily

sequenced

parts

that

are

difficult

to

play

live

on

the

keyboard

might

be

easier

to

play

with

drumsticks,

with

a

little

practice.

Torn

Shear

2)

Sequencing

"On

the

Fly"

Having

all

your

sequenced

parts

playing

back

on

tape

might

be

convenient,

but

it

is

also

extremely

restrictive.

You're

stuck

with

the

same

arrangement,

same

song

length,

and

song

order

night

after

night.

If

it

is

feasible

for

you

to

use

a

sequencer

live

instead

of

tape,

some

new

pos-

sibilities

open

up.

I,

for

one,

almost

never

use

the

SONG

function

on

my

EPS-16+.

Instead,

I

just

keep

the

in-

dividual

sequences

by

themselves,

and

switch

them

as

needed

as

l'm

recording.

If

you've

got

a

free

hand

dtuing

performance,

this

is

a

good

way

to

give

a

more

exciting

show.

As

anyone

who

has

played

live

knows,

audience

reaction

can

really

affect

where

the

songs

goes.

If

they're

going

crazy,

it'd

be

nice

to

be

able

to

extend

that

song

a

little

bit,

and

conversely,

if

they're

throwing

bottles

at

you,

you'd

probably

like

to

cut

it

short.

Leaving

your

se-

quences

unlinked

allows

you

to

put

the

song

together

live

however

you

feel

like

it,

adjusting

for

audience

mood.

Not

having

your

sequences

on

tape

also

lets

you

perform

different

arrangements

of

yoin

songs

if

you

get the

urge.

Maybe

one

night

you

decide

that

you're

going

to

change

that

Hammond

organ

part

to

a

string

section

and

slow

it

down

by

about

29

BPM.

lf

you're

on

tape,

this

isn't

gonna

happen,

but

with

everything

in

your

sequencer,

you

could

practically

play

different

arrangements

every

time

you

played,

if

you

so

desired.

3)

Sampling

as

an

Alternative

Another

more

risky

altemative

would

be

to

sample

the

in-

dividual

parts

of

your

song

and

trigger

them

as

"loops"

in

performance,

much

as

you

might

use

a

rap

drum

loop.

While

one

band

member

triggers

these

loops,

the

others

can

fill

out

and

add

the

other

parts

that

dhange

throughout

the

song,

This

gives

you

the

same

flexibility

as

#2

above,

but

allows

you

to

go

a

little

further.

You

can

trigger

the

loops

in

a

syncopated

marmer,

creating

another

variation

on

your

riffs.

You

could

even

set

up

patch

selects

allowing

yourself

to

go

into

an

extended

8

minute

backwards

jam

on

the

song

if

you

wanted

to

really

freak

the

audience

out.

The

point

is

that

there

are

at

least

37

ways

to

make

perfor-

mances

more

exciting,

and

the

more

of

these

you

explore,

the

more

your

audience

will

thank

you

for

it.

Of

course,

with

this

new-found

flexibility

comes

risks.

You‘ll

probably

screw

up

every

now

and

then.

But

maybe

that's

what

missing

from

a

lot

of

electronic

performances.

There’s

little

room

for

error.

There's

none

of

that

adren-

aline

rush

that

comes

with

going

on

stage

wondering

how

your

performance

is

going

to

turn

out.

And

consequently,

little

chance

that

any

given

performance

is

going

to be

sig-

nificantly

better

than

all

the

rest

because

you're

out

to

prove

your-

self

to

a

skeptical

audience.

in

Bio:

Torn

Shear

has

been

replaced

by

a

computer.

HAHDWAFI

EISOFIWAHE

BPS-lb

PLUS

Rack

with

full

RAM

and

Flash

RUM

expansion

plus

SCSI,

disks,

docs

&

original

packaging.

$1200

or

best

offer.

John

Loffink

at

505-450-6193.

Pampered

EPS

with

EX

memory,

manuals,

and

20

disks.

Home

use

only

—

mint.

$6’!-'5.

Glenn

Bering,

Box

‘I053,

Ann

Arbor,

Ivil

4310?.

Phone:

(313)

995-5445.

Ensoniq

SD-1

32

Voice,

Rack

EPS

Turbo

w,t40M.BHD,

Quadraverb,

‘Vocalist

II,

Alesis

M-EQ

230,

Fostex

PB

3012,

lvlakic

1202

dz

Numark

Dlvl-1550

lvlixers.

Tascam

Port.as-

tudio

424,

2

Peavey

HKS-15

10009:’

Studio

Monitors,

PVM

5SOTN

Mic,

Sony

Pro

Head

Ph.,

Beyond

Sequencer

(Mac),

2

Upcode

MIDI

interface

16

ch,

Pedals

dz:

Footswitches,

Studio

Wall

System

—

Rack

&

lights,

Q-Loc

stand,

Mac

computer,

lots

of

cables

and

con-

verters,

many

patches,

samples,

cartridge,

manuals,

instruction

videos.

Great

condition,

never

used

on

stage

or

moved!

Must

sell

—

holding

two

jobs

and

never

use.

$6500.

Call

(206)

933-3924.

Peavey

Midi

Bass

wfcase.

Like

new.

Excel-

lent

tracking.

New

$1299,

sell

$1200.

Also,

1963

Fender

Mustang

$400.

Must

sell

due

to

disability.

Might

consider

trade

for

studio

equipment.

Benny

at

(405)

343-3523.

TS-12,

new

in

box,

home

use

only.

Stand

and

If

you’re

crazy

enough

to

be

selling

your

gear...

Please

be

sure

to

pass

along

how

absolute-

ly

vital

it

is

to

have

a

subscription

to

the

Transaaiq

Hacker.

And

—

we‘re

always

happy

to

do

a

sub

transfer.

No

charge,

and

it's

a

nice

extra

to

help

close

the

deal.

I

I

I

some

extra

disks.

All

back

issues

of

Tl-1.

$

1500.

(513)

293-303?.

ASR-10

Keyboard

Version

w,|'SCSI

option

added.

Rom

version

1.5

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version).

All

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(Sounds

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OS)

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Mcsrerleg

the

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0

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Original

Boxes

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Receipts

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hope

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anything.

Please

make

offer!

Also

for

sale:

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Sarrrp,

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TH‘s

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a

disk

sfh.

Get

all

for

$30!

SF

blurbs

for

your

PC,

add

$2

with

your

order.

Jack

Tolin,

9314

Myrtle

Ave.,

it

136,

Kansas

City,

MO

E4132.

FINALLY!

A

new

set

of

16-bit

samples

from

Tom

Shear.

This time

he

tackles

the

Waldorf

Microwave!

For

only

$15

+

$3

SIH,

you

can

have

3

disks

packed

with

the

fattest

22

digilog

synth

sounds

you've

ever

heard!

Send

an

SASE

or

e-mail

(tom-

shear@AUI...com}

for

free

catalog.

Tom

Shear,

B05

5th

Avenue,

Williarnsport,

PA,

17201.

MISC

Mint

hack

issues

of

Trarrsoaiq

Hacker.

#31

—

#34,

39,

43

--

67,

T1

—

T9.

$25

for

the

lot,

plus

$4

UPS.

Glen

Bering,

Box

‘I053,

Ann

Arbor,

Ml

4310?.

Phone:

(313)

995-5445.

OUT-OF-PRINT

BACK

ISSUES

M.U.G.

will

provide

Out-of-Print

issues

for

cost

of

materials

and

postage.

M.U.G.

Hot-

line:

212-465-3430

or

write:

G-4

Produc-

tions,

PD

Box

6l5TH,

Yonkers,

l‘~l"‘r'

10203.

Attn:

TH

Back

Issues.

Phone:

(212)

465-3430.

*

* *

Folks

in

the

New

York

City

area

can

get

copies

of

unavailable

back

issues

of

the

Hacker

-

call

Jordan

Scott,

T13-

933-2400.

FREE

CLASSIFIEDS!

‘Well

—

within

limits.

We're

offering

free

classified

advertising

(up

to

40

words}

for

your

sampled

sounds

or

patches.

Additional

words,

or

ads

for

other

products

or

services,

are

$0.25!

word

per

issue

(BUILD

type:

$0.45,r‘word}.

Unless

renewed,

freebie

ads

are

removed

after

2

issues.

‘While

you're

wel-

come

to

resell

copyrighted

sounds

and

programs

that

you

no

longer

have

any

use

for.

ads

for

copies

of

copyrighted

material

will

not

be

accepted.

Sorry

-

we

can't

(we

won't!)

take

ad

dictation

over

the

phone!

Letters

for

The

Interface

may

be

rent

to

my

of

the

following

addresses:

U.S.

Mail

-

The

Interface,

Trans-oniq

Hacker,

1402

SW

Upland

De,

Portland,

UR

92221

Electronic

mail

-

Gfinie

Network:

TRANSONIQ,

Internet:

interface@trsnsoniq.com.

This

is

probably

one

of

the

most

open

forums

in

the

music

industry.

Letter

writers

are

asked

to

please

keep

the

vitriol

to

a

minimum.

Readers

are

reminded

so

take

everything

with

a

grain

of

salt.

Resident

answer-man

is

Clark

Salisbury

(CS).

Letter

publication

is

subject

to

space

considerations.

Transoniq,

Do

you

know

of

any

sites

on

the

intemet

or

www

that

has

a

list

of

downloadable

ASR

samples?

If

so,

could

you

email

me

with

a

response‘?

Any

help

would

be

ap-

preciated.

Also,

what

type

of

converter

would

I

need

to

convert

the

files

over

to

my

ASR2

Jason

Huffman

via

Internet

{TH

-

Probably

the

easiest

way

to

get

this

info

is

for

you

to

checlc

out

our

web

page

at

http:llwtvw.teleport.corrtI~trn-

soniq.

From

there

you can

go to

our

ftp

site

and

get

Gorth’s

article

covering

in-

ternet

samples

and

conversion

sofnvare

and

stujff.

You

can

also

check

out

our

"Gther

Links"

page.

It

has

a

link

to

the

Sound

Management

BBS

page

and

the

Oakland

EPS

Archive

-

both

of

which

have

samples.

I

To:

interface@transoniq.com

Subject:

Encoded

Files.

Just

a

note

regarding

the

articles

on

retrieving

files

from

the

Internet

and

decoding

them

into

a

usable

form.

The

writer

suggest

a

few

programs

for

this

purpose.

I

have,

however.

had

much

bet-

ter

success

with

a

program

(Mac)

called

Mpack,

available

on

ACIL.

It

seems

much

more

reliable

and

flexible

than

the

pro-

grams

mentioned

in

the

article,

and

is

as

easy

as

dragging

the

encoded

file

onto

the

Mpack

icon.

Tom

Shear

llia

Internet

{TH

-

Thanltsfor

the

t‘ipI_,l

To:

interface@transoniq.com

Subject:

Number

of

sequencer

tracks

on

Ensoniq

Ya

know.

I

think

it's

time

to

incorporate

a

multi-channel

mode

on

one

INSTRU-

MENT

of

the

future

Ensoniq

machines.

We

have

very

modest

computer

systems

transmitting

more

than

I

6

MIDI

chan-

nels.

It

seems

reasonable

to

be

able

to

im-

port

a

malti-track

recording

into

one

INSTRUMENT

for

transmission

to

exter-

nal

modules

and

still

be

able

to add

other

on-board

music.

It‘s

really

frustrating

to

limit

the

on-

board

musical

contribution

because

you

want

to

include

some

discreet

MIDI

channels.

Using

just

four

MIDI

channels

on

an

EPS

or

ASR

means

there

are

only

four

instruments

left

for

samples.

It

should

be

possible

to

record

MIDI

tracks

on

the

available

"hardware"

posi-

tions,

then

"bounce"

the

whole

wad

down

to

a

single

INSTRUMENT.

I

can

even

imagine

routines

for

step

editing

that

would

be

tedious,

but

do-able

in

this

scenario.

Compared

to

sound

and

effect

generation,

MIDI

is

really

a

"low

function"

job.

It

shouldn‘t

take

that

much

more

cpu

power

to

do

what

I've

described.

I'm

still

using

my

"more

portable"

‘1d+s

but

I

don't

recall

this

feature

being

available

on

any

of

the

newer

machines.

Tom

Jordan

Wired

for

Sound!

—

comptiter

music

for

kids

{CS

--

As

for

as

the

Ensoniq

stuff

goes,

you

get

one

and

only

one

MIDI

channel

per

traclc

with

any

of

their

built-in

se-

quencers,

but

I

guess

you

knew

that.

I

don’t

thinl:

many

built-in

sequencers

ofier

the

hind

of

track-merging-with-retentiom

of-MIDI-channels

feature

that

you’

re

talking

about, but

my

guess

is

it’s

only

it

matter

of

time

before

this

hind

of

thing

becomes

de-rigeur

for

any

self-respecting

audio

worI;rtotion.j'

_

Dear

Hacker

2S

I

still

don‘t

know

how

to

use

all

lb

MIDI

channels

with

my

SQ-1

and

MasterTra:-t

Pro

5.0.1

sequencer

software

(Mac).

All

I

have

is

eight

channels.

ls

it

possible

to

have

more

than

eight

channels?

I

have

read

the

manual

but

there

is

very

little

about

using

SQ-1

with

external

sequen-

cers.

Regards,

Timo

Neronen

Finland

‘ilia

Intemet

[CS

-

I’m

pretty

sure

that

eight

MIDI

channels

is

the

max

you

can

get

in

your

setup.

Bach

when

I

had

one

of

the

original

SQ

raclts,

you

could

get

it

to

do

more

than

eight

channels

by

assigning

one

MIDI

channel

to

a

sequence

track,

and

another

to

the

related

song

track.

My

experience

with

this,

though,

was

that

it

was

a

bit

flaky,

and

I

’m

not

sure

that

Ensoniq

con-

tinued

to

implement

this

function.

You

can

try

it

out, though,

and

see

if

it

does

you

any

good.

Move

to

the

MIDI

Status

page

{press

Edit

.S'equenceslParam

(Bani:

6)!’

Screen

4],

and

set

up

the

MIDI

channel

for

a

track

as

you

normally

would.

Now,

rapidly

double-

cliclt

the

track

button

for

the

current

track,

and

you

will

find

yourself

looking

at

the

song

track

(you

can

use

this

double-

clicl:

shortcut

to

toggle

between

song

and

sequence

troclcs).

Set

a

different

MIDI

channel

for

the

Song

trctciz,

then

double-

clicl:

again

to

go

bccl:

to

the

Sequence

trnclz.

If

the

Sequence

track

retains

its

original

MIDI

channel

and

the

Song

track

retains

its

new

channel,

you're

living

right

{sorry

I

couldn’t

try

this

myself;

I

no

longer

own

an

SQ-Series

instrumentl]

{Ensoniq

—

No,

you

are

using

your

SQ-I

correctly.

It

can

only

receive

on

S

MIDI

channels.

This

is

the

some

for

the

KS-32,

and

all

of

our

samplers.

The

KT

Series

receive

on

S

MIDI

channels,

expect

when

in

GM

mode,

when

they

will

receive

on

all

I6.

The

TS

series

receive

on

I2

MIDI

channels,

except

when

they

are

in

GM

mode.

Uur

newest

instrument,

the

MR-

Rack

wiii

aiways

receive

on

id

channeis,

whether

it

(he?)

is

in

GM

mode

or

not.)

Dear

People:

I

wanted

to

respond

to

Ensonitfs

reply

to

Ivlark

Snyder

in

the

November

Hacker.

They

made

an

implied

agreement

with

Mark‘s

statement

that

“the

new

Jas...

will

not

work

with

my

EPS-16+!"

Just

because

Ensoniq

doesn't

approve

something

doesn’t

mean

you

can't

make

it

work

by

using

some

assistance.

Speaking

of

both

the

ZipDrive

anti

the

Jar,

Ensoniq

does

not

approve

the

Zip,

mainly

because

it

doesn't

supply

termina-

tion

power

to

the

SCSI

bus.

If

you

hook

a

Zip

to

a

Id-Plus

directly

by

itself,

it

has

problems

working.

Ensoniq

has

told

me

that

in

their

approval

list

they

want

it

to

be

“Plug

and

Piay"

—

meaning

that

they

only

approve

devices

that

don’t

need

something

else

to

work.

However,

we

have

found

by

adding

either

a)

another

drive

to the

chain,

or

b)

adding

an

APS

SCSI

Sentry

(an

ettternally-pow-

cred

termination

power

device),

the

Zip

drive

definitely

works.

We

have

done

a

significant

amount

of

testing.

The

Jas

might

be

the

same

way

-

it

is

not

“out”

yet,

so

we

haven‘t

had

time

to

test

it,

but

I

am

sure

the

same

solutions

will

probably

apply.

Actually,

at

Rubber

Chicken

we

recom-

mend

the

EZ-135

Syquest

for

the

16-Plus

at

the

moment.

It

is

inexpensive,

the

media

is

cheap,

and

it

hooks

right

into

the

lti-Plus

without

a

problem.

It

really

is

the

best

buy.

Hope

this

helps!

Also,

we

appreciate

all

reviews

of

our

products,

and

the

latest

one

by

Steve

‘Vin-

cent

("Morpheus

Chicken“

j

is

no

encep-

tion.

We

have

revised

our

lvlorpheus

set

based

his

suggestions

in

his

review,

and

invite

all

previous

owners

to

call

us

(1-Bflfl-377-53W,

or

I512-235-9'i93)

for

a

free

upgrade.

Cine

more

thing!

Cur

e-mail

address

has

changed

—

it

is

now

chicltenEPS@will-

mar.com.

Look

for

our

new

Web

page

soon!

We

want

to

wish

all

at

the

Transoniq

Hacker

and

its

faithful,

friendly

reader-

ship

a

Happy

Christmas

season.

Garth

Hjelte

Rubber

Chicken

Software

Co.

[CS

—

Thanks

for

taking

the

time

to

write,

Garth.

I'm

sure

many

wiii

be

interested

to

find

out

there’s

a

work-around

making

it

possibie

to

use

the

I

as

drive.

j‘

,t'Ertsonio

—

We

weren’t

trying

to

misiead

anybody

by

our

"impiied

agreement"

that

the

Jae

Drive

didn't

work

with

the

EPS-16

PLUS.

We

simpiy

don't

have

the

resources

to

try

ati

new

SCSI

devices

with

our

cider

products

that

are

out

of

production

and

which

are

known

to

have

incompatibilities

with

newer

SCSI

devices.

if

someone

teiis

us

it

doesn’t

work,

we

assume

it

to

be

true,

and

if

it

truiy

doesn’t

work,

we

reaiiy

aren’t

in

a

position

to

determine

why.

We

appreciate

peopie

tike

you

who

try

things,

make

them

work

if

they

can

and

tett‘

us

their

findings.

We

have

worked

with

both

the

Zip

and

Jas

drives

with

our

current

products

and

they

work

fine.

Uur

tests

with

an

EPS-1'6

PLUS

using

the

APE

SCSI

Sentry

and

other

devices

toid

us

that

they

may

work,

but

it

is

not

guaranteed.

It

is

tikety

that

you

can

get

them

to

work,

but

we

cannot

guarantee

that,

so

our

position

remains

the

same.

,1’

Dear

TI-I:

Change

of

Address

Please

let

us

know

at

least

four

weeks

in

advance

to

avoid

missing

any

issues.

The

Post

Dfficc

really

will

NUT

reiiably

forward

this

type

of

mail.

{Believe

us,

not

them!)

We

need

as

know

bot-it

your

"

old

and

your

new

address.

{issues

missed

due

to

late

or

no

change

notification

are

your

own

dumb

fault

-

we

mailed

them!)

~

My

TS-lll,

whether

in

sound,

preset,

or

sequencer

play

mode,

is

giving

an

output

of

a

wet-only

mitt

of

an

unknown

delay

effect

algorithm.

Changing

effects

algor-

itluns

has

no

effect.

Ubviously,

the

synth

is

useless

in this

state.

Re-initialisation

has

had

no

effect.

Any

ideas

short

of

a

service

call?

Colin

Lapsley,

Hamilton,

Eintario

{CS

—

Nope.

Either

you

have

your

TS-IU

piugged

into

the

wrong

input

on

your

mixer,

or

it’s

indeed

time

for

a

service

caiij

Hi

TH.

I

have

decided

to get

a

new

computer

in-

stead

of

my

old

dear

Amiga.

Which

would

you

consider

the

best

for

using

with

my

TS-12?

A

PC

compatible

(my

guess}

or

a

MAC?

I'd

like

to

be

able

to

control

ALL

{if

it's

possible)

the

func-

tions

of

the

keyboard

directly

from

the

screen.

Am

I

dreaming

or

does

this

soft-

ware

ettist

for

any

of

the

two

kinds

of

computers’?

Hopefully

it

does.

Anyway,

I‘d

like

your

opinion

on

the

best

software

solution

for

the

TS-I2

around

right

now.

Ensoniq

and

TH

fan,

Frederik

Brons

{CS

-

Weii,

I'm

partiai

to

the

Mac,

primariiy

because

it’s

generaiiy

easier

to

use

{particuiariy

in

terms

of

its

piug-and-

piayfuiness),

and

because

there’s

better

support

for

music.

This

is

changing,

though,

with

more

professionai

music-

oriented

apps

appearing

for

the

"Wintei”

(

Windows

running

on

an

intei-based

machine

}

computers.

Aiso,

the

music

area

where

the

Mac

has

had

its

ntost

entrenched

stronghoid

has

been

in

the

reaim

of

digitai

audio

recording,

an

area

you

may

not

care

much

about.

I

i

._'L_

ii

H

—

li

Missing

or

Damaged

Issues?

Every

month

we

rn-ail

out

thousands

of

issues

and

every

month

about

a

doaen

get

"misplaced"

by

the

Post

Clfficc.

If

youire

ever

t

one

of

the

winners

of

this

lottery,

just

give

us

s

call

{SQ3-217-6343,

_

3

am

—

3

prn

Pacific

Time)

and

we‘1lbe

happy

to

mail

a

replace-

_

rnent

copy

—

no

prob.

(However,

if

you

accuse

us

of

nefarious

schemes

to

“rip

you

off,"

you

will

he

offered

a

refund

and

given

helpful

subscription

info

for

other

musician

magazines.)

24

On

the

Wintel

side,

there

seem

to

be

more

small

[and

not

so

small_}

utility

programs

designed

to

help

you

manage

data

for

your

Ensoniq

synths.

On

the

Mac

side,

though,

is

a

longer

history

with,

and

more

seamless

integration

ofl

SCSI

peripherals

than

you'll

find

in

the

Wintel

wonderland.

This may

prove

significant,

since

none

of

the

Ertsonio

products

do

IDE

{the

more

common

mass

storage

technology

in

the

WintellPC

world

j.

As

far

as

a

software

package

that

will

remotely

control

every

aspect

of

your

TS-l2,

l

don‘t

think

it

exists

[although

I

can't

swear

to

this}.

However,

it

is

poss-

ible

to

design

and

create

your

own

front-panel

emulations

in

a

couple

of

the

more

sophisticated

sequencing

packages.

Logic

[ti-om

Emagic,

available

on

both

platforms)

springs

immediately

to

mind,

and

Petjfornter

(from

Mark

of

the

Uni-

corn,

available

on

the

Mac

now

and

soon

on

the

PC)

may

allow

you

to

do

some

of

these

kinds

of

things

as

well.

As

far

as

the

"best

software

solution,"

it

depends

on

what

you

want

to

do.

My

per-

sonal

favorites?

For

sequencing,

Vision

[from

Opcode

Systems)

or

Logic

(Vision

should

be

available

on

the

PC

pretty

soon);

for

patch

editing,

Unisyn

{from

Mark

of

the

Unicorn,

available

for

both

platforms}

is

pretty

much

the

only

game

in

town.

And

for

straight

ahead

library

functions,

Galaxy

from

Opcode

{Mac

only,

l

believe)

would

be

my

choice.)

Subject:

Re:

MIDI

mapper

***

* *

Announcement

*

*

*

*

*

For

anyone

who

is

interested

in

using

the

General

MIDI

instrument

layout

with

the

Ensoniq

SQ-1l2

synthesizers,

so

you

can

play

Internet

MIDI

files

without

changes,

a

solution

is

available.

There

were

several

problems,

and

compromises

had

to

be

made,

but

a

working

system

is

functioning.

If

you

are

interested

in

the

details

or

want

a

copy

of

the

‘WlNDDWs

MIDI

mapper

file

that

made

it

all

poss-

ible,

then

visit

my

intemet

homepage

http:,ttwww2.netdoor.con1,l-rlang

for

your

free

copy.

Remember

to

make

a

backup

of

your

MIDlI\tlAP.CFCr

file

before

replacing

it

with

mine.

If

you

have

comments

on

the

sound

matchup

or

suggested

improve-

ments,

please

let

me

know

via

email.

Bob

Lang

rlang@netdoor.com.

{CS

—

Way

to

go,

Bob.

lguess

all

us

Mac

guys

will

just

have

to

eat

our

hearts

out

for

now._l

To:

Hacker

I'd

like

any

information

and

tips

avail-

able

on

the

EPS-16

Plus.

I

am

in

the

process

of

putting

together

a

home

studio

and

I

need

to

know

as

much

as

I

can

about

my

unit.

I

have

been

using

my

EPS

for

about

a

year

and

have

made

decent

progress,

but

there

are

a

lot

of

things

that

I

don't

know

—

like

how

to

have

each

in-

strument

under

a

different

effect

yet

still

under

the

same

bank

effect

[ie:

dist+wah

(inst)

and

dual

delays

{bsnk}].

Thank

you

for

your

assistance,

Darnley

Hodge

Via

Internet

,-‘CS

—

I

hate to

be

the

bearer

of

bad

tidings,

but

you

can't

use

more

than

one

e_fi'ect

algorithm

at

a

time.

The

EPS-I6

Plus

uses

a

single

signal

processing

chip,

called

the

ESP

chip.

This

chip

is

sophisti-

cated

enough

to

for

multiple

e_fi'ects

types

within

a

single

algorithm

(such

as

the

chorus

and

reverb

algorithms},

and

the

signal

routing

capabilities

found

within

the

programming

of

the

EPS

gives

you

a

variety

of

ways

to

route

sounds

-

some

could

go

to one

of

the

efiect

basses,

while

others

are

routed

through another

of

the

busses,

allowing

for

things

like

having

reverb

on

a

guitar

patch,

and

chorusing

and

reverb

on

an

electric

piano

patch,

simultaneously.

But

you

can't

use

two

ditfiierent

ejflect

algorithms

at

the

same

time.

Sorry.

Dn

the

other

hand,

l

can

bear

some

reasonably

good

tidings,

to

wit,‘

there's

been

a

lot

written

about

the

EPS,

EPS-.lb+

and

AER-Series

{most

of

the

info

is

interchangeable,

you

know),

and

it’s

easily

obtained.

Une

good

source

is

these

very

pages,

but

at

an

earlier

point

in

time.

If

time

travel

isn't

your

thing,

you

can

probably

just

get

back

issues,

25

which

should

work

almost

as

well.

Also,

Ensoniq

has

some

additional

in-

structional

stufi’

not

found

in

the

manuals.

Contact

Ensoniq

Customer

Service

at

(till?)

64?-3930

for

more

info.

Or,

you

can

virtually

drop

in

at

their

web

site:

http.'lltttww.ensonio.cotnt.]

To:

Transoniq

I

just

bought

a

used

EPS.

It

has

the

4:t

expander

and

a

40-meg

Orchard

drive.

The

first

day

I

used

it,

it

loaded

samples

with

no

problems,

and

played

them

back

with

no

problems.

However,

yesterday

it

started

going

"%*'ib#@

when

I

played

them

back

instead

of

the

sampled

sound.

The

pitch

control

of

the

samples

still

works

and

although

it

makes

a

good

in-

dusttial

sound,

this

is

not

why

I

bought

it.

Seth

lvlorth

Elia

Intemet

{CS

-

Well,

you

don't

ask

for

any

advice,

but

l’

ll

give

you

some

anyway.

Talk

to

an

Weapons

I:-l.e_ut__Re_1e_a.s_e

i_I1_T

|--..5_¥.-H

Illsjailsili

IIII

-:..;..?..-....::r-

:..:....!--t,.E£‘55!!Z'l.

s-

iii‘

:":

|||':J':

©

E

e

1

‘E

til:

pet

Q

5'

d

IE1“

-LI

I-L

...l_

as

'-

'

0

a.

.

‘

Q

'

Q

Phat

Loops

dz

Samples

Haw

York

St}-til

In

'

-

fiver

TD-Cl

phat

hlp

hop

loops.

lh-H:

dr1..|.|::ne,

freal-tyr

bite,

base

riffs,

tneio-dl-I:

lo-ops,

and

drum

samples!

53Il1Plcl|.udia'ED

$E|9.‘_'-i|'5

+s.os

sea-1

“T1'l+:tl'tl"l

nu

denying

l:E:.l:

IEII

-|:ll.:|:

ls

.1

II"l!ll

blrstlln“

-

Jim

All-tin.

Keyboard

Feb.

I35

Fl-E1!i1'¢l¢il1't1.'II'l"

H

1

I-I

this

0

as

e7

19‘:-_l

{GIt

I1

*3

F

Ever;-rho-cl}-r‘:

i,l\rh1.‘

___

up

the

props.

on

T.|.'l|I|

jclinl!

II-'1

all

‘butter...

-fiver

TDD

loops,

scratchuo.

[realty

bits,

and

clrurn

samples.

Sample

Autlla

CD

$49.95

+5.os

seer-t

Urdcr

by

phone

or

mail.

Prices

good

worldwide.

Ctvemite

tielivery

|I51i].[ll];|

available

on

prep-a,i|;l

orders,

'i"lS.A.t'lvlC.

EDD,

CHECK

DR

lvlDl*~lE‘t'

DRDER

Toll

Free

In ft:

dir

Clrcler:

1

—EElI|I'|-3

3

1-E

B41

1

-5

1+5-33

1

-B

BB4

t In

terna

tlooal}

C111

Pr::|-1111:

Productions

61

Superior

St.

_

Port

Jefferson

Station,

l‘-l"!t"

1l??fi

Ensoniq

Customer

Service.

To

the

best

of

my

knowledge,

the

EPS

should

not go

""“ib*Sb#@.j

Hi,

I

want

to

connect

a

Syquest

drive,

PC,

K2000,

and

ASR-1!]

with

SCSI

with

each

other.

Problem:

neither

the

K2000

nor

the

ASR

have

SCSI-thru.

How

can

I

connect

them

so

that

the

K2000

can

read

from

PC

and

Syquest

and

the

ASR

can

read

from

PC

and

Syquest?

I

have

a

“strange”

SCSI-cable

which

al-

lows

me

to put

another

cable

on

the

back,

but

I

then

have

three

terminators

in

the

SCSI

chain

-

so

I

will

blow

up

my

whole

setup.

(Hint:

I

will

not

connect

them

in

this

way.)

And

when

I

disable

a

ter-

minator

{don't

know

how

the

K.2k

or

the

ASR

can

do

this),

I

have

a

Star

network

-

which

I

think

SCSI

is

not

made

for.

‘Who

knows

what

to

do?

End

of

transmission.

<.click>

Angelo

van

der

Weerden

Via

Internet

{CS

-

In

my

experience,

the

ASR

does

not

like

to

share

SCSI

peripherals

{such

as

Syquest

drives}

with

other

devices,

so

your

lack

of

SCSI-thrus

may

be

the

least

of

your

worries

{although

this

probably

wouldn't

affect

the

peaceful

co-existence

of

your

instruments

and

the

PC

J.

In

actuality,

the

thru

on

most

SCSI

devices

is

simply

a

parallel

bus

-

in

ef-

fect,

a

SCSI

"Y"

cord

-

so

there's

no

real

voodoo

involved

in

the

mechanical

hook-

up.

As

far

as

termination,

you're

not

like-

ly

to

do

any

damage

by

having

three

SCSI

devices

with

termination

all

on

the

same

buss,

but

operation

may

not

be

as

reliable

as

one

might

hope.

One

solution

(and

a

good

one,

in

my

opinion}

is

to

in-

vest

in

an

active

SCSI

terminator,

such

as

the

"SCSI

S

entry”

from

APS

(

you

can

reach

them

toll-free

at

I

-S00-6??-3204).

For

around

-S0

bucks

or

so,

numerous

termination

headaches

can

be

nipped

in

the

bud, bud.

As

far

as

getting

everything

physically

hooked

up,

I

would

think

that

any

sup-

plier

of

computer

accessories

and

peripherals

should

have

some

sort

of

device

that

you

could

use

to

provide

an

additional

SCSI

out.

However,

your

"strange"

SCSI

cable

may

be

just

the

ticket

for

this,

but

I'm

not

quite

under-

standing

what

it

is

you

are

saying

about

having

a

"star"

network.

I

don't

think

there'd

be

any

problem

using

the

con-

figuration

I

think

you're

describing,

but

I'm

not

completely

sure

I

get

it.

As

for

termination,

you

should

be

able

to

remove

termination

from

any

of

the

devices

you

wish.

If

you

want

help

with

the

termination

in

your

ASH-I0,

I'd

sug-

gest

contacting

Ensoniq

Customer

Serv-

ice

at

(dill)

dd?-3930.}

,-‘Ensoniq

-

Actually,

SCSI

is

a

daisy

chain

network

so

there

is

no

need

for

a

"SCSI

Thru.”

Typically

a

SCSI

storage

device

will

have

two

connectors

on

the

back

to

allow

daisy

chaining.

Neither

the

PC,

the

ASH

or

the

K2000

offer

the

second

connector,

so

daisy

chaining

must

be

accomplished

with

a

cable

like

you

have

described,

or

preferably

by

using

a

SCSI

switcher

box.

Without

knowing

whether

your

PC

supplies

termination

or

whether

the

K2000

supplies

termination,

it

is

ditficult

to

tell

where

each

device

should

go

in

the

chain.

The

basic

idea

is

to

set

up

multiple

“hosts”

to the

inputs

of

the

switcher

(most

likely

your

K2000

and

ASH)

and

then

have

the

output

of

the

switcher

going

to

the

Syquest

and

finally

into

the

PC.

You

can

try

the

various

com-

binations

and

see

any

work.

You

are

unlikely

to

“blow

up”

your

rig.

The

most

likely

problem

is

that

it

simply

won't

work.

It

will

require

some

experimenta-

tion,

but

this

is

the

right

path

to

go

down.

Good

luckl]

Bonjour!

I

am

in

love

with

my

KS-32

for

more

than

two

years

{luckily

enough

I

bought

a

female

one),

so

we

decided

to

marry

and

have

sounds.

Although

we

have

consulted

several

sound-programming

doctors,

read

books,

and

even

watched

videos

(with

suggestive

titles

like,

"Physical

Dscilla-

tions

and

Acoustic

Results,”

or

"blew

Key

Positions

to

Achieve

Harmony”),

we

have

not

had

arty

happy

event

to

an-

26

nounce

yet.

Therefore,

we

are

now

considering

adopt-

ing

sounds

conceived

by

others.

The

problem

is

that

here

in

France

the

adop-

tion

procedure

is

long

and

expensive...

‘When

you

go

to

a

reseller

(as

shocking

as

it

may

seem,

IT

IS

LEGAL

to

sell

sounds

in

this

countryl),

they

often

don't

have

sounds

in

stock

(would

it

be

human

to

keep

them

in

a

back

room

all

the

ti1ne'?),

so

they

have

to

get

them

from

the

im-

porter

(I

don't

know

exactly,

but

I

under-

stand

it

is

a

kind

of

sound-nursery).

But

how

can

you

choose

a

sotmd

when

you

have

never

heard

the

sound?

Most

of

the

time

all

the

reseller

can

tell

you

is

the

name

of

the

sound...

But

how

do

you

make

a

choice

between

“I-larnmond"

and

"Rhodes"?

One

would

like

to

see

how

they

behave

when

they

play!

Good

sounds

are

alive,

you

know.

One

thing

that

a

reseller

with

few

morals

proposed

to

me

was

to

"try"

another

keyboard

which

already

had

sounds.

(From

a

former

programmer,

I

guess!)

As

tempting

as

it

was,

I

declined

the

offer

because

I

wish

to be

faithful

to

my

KS.

(Ur

is

it

because

I

cannot

afford

a

mistress

keyboard?)

So

far,

I

think

the

best

solution

would

be

to

meet

a

sister

KS

which

already

has

bought

some

sounds

in

order

to

hear

them

play.

It

could

even

be

possible

to

do

so

with

a

cousin

SQ!

But

when

my

KS

left

lvialvern

a

few

years

ago,

she

lost

contact

with

her

family

members,

and

although

we

are

convinced

that

some

of

them

also

made

the

trip

to

France,

we

don't

ltnow

where

they

settled.

We

keep

looking

for

them...

So,

please,

Transoniq,

could

you

publish

our

address

so

that

they

can

join

us‘?

So,

we

are

waiting.

But

I

am

also

thinking

to

myself:

Why

don't

sound

programmers

-

and

Ensoniq

—

record

demo

cassettes

of

their

sounds‘?

With

banks

of

sounds

on

cassettes,

any-

one

could

make

an

advised

choice

when

ordering

sounds.

And

I

think

it

would

be

easier

for

resellers

to

let

their

clients

hear,

discover

their

music-mate

{or

should

I

say

play-mate?)

has

much

more

physical

and

sonic

possibilities

than

they

had

imagined,

and

therefore

order

new

sounds!

When

today,

not

having

the

op-

portunity

to

hear

the

sounds,

people

like

me

just

don’t

buy

-

when

they

are

faith-

ful!

The

worst

would

be

turning

to

a

mistress-keyboard

with

fresh

young

sounds.

The

most

perverse

could

even

consider

touching

keyboards

from

another

brand!

Isn't

it

a

pity

that

all

these

sotmds

which

exist

should

stay

in

their

bank

all

their

life

not

being

played

just

because

no

one

has

had

the

opportunity

to

hear

them

before

buying?

Two

remarks

to

conclude:

A

rich

KS

owner

could

of

course

order

all

the

sounds

available,

but

this

would

be

a

sign

of

mad

love

because

it

would

cost

more

than

another

keyboard

and

since

he

would

not

use

them

all

some

would

have

to

be

tossed

aside.

Maybe

sound

conceivers

are

afraid

that

sounds

on

cassette

could

be

stolen

by

the

big

bad

sampling

guys.

The

risk

exists.

But,

in

my

opinion,

professional

sam-

ple-hackers

who

resell

their

spoils

probably

use

the

RUM

sounds

as

the

source.

My

advice

to

sound

vendors:

let

us

hear

them

-

we

will

buy

them!

Friendly

yours,

Greg

St

KS

ID

rue

lean

Bleuren

92l'l‘[l,

Vanves

France

{T

H

-

You

might

also

want

to

check

out

the

French

Ensoniq

fansine

mentioned

in

iast

month’s

Front

Panei.

1’

Philippe

LeFevre,

25

rue

des

Chenes,

82340

Dunes,

France.)

And

watch

how

you

use

that

word

"haciter.“j'

{CS

—

A

number

of

vendors

do

ofier

cas-

sette

recordings

featuring

their

offerings,

in order

to

help

you

make

an

informed,

er,

adoption

(Unfortunately,

Ensoniq

isn’t

one

of

them.

Oh

weiij.

Check

the

ads

in

the

Hacker,

as

weii

as

some

of

the

other

puitiicatiortsj

{Ensoniq

-

Clark

is

right,

we

don't

have

audio

demos

of

our

sounds.

it

is

a

huge

task,

as

we

have

ii

cards

of

sounds

each

containing

I

tit?

sounds.

So

we

wouid

have

to

create

over

Hill?

demos.

(Okay,

we

realise

we

can

gang

some

together,

hut

you

have

to

agree

it

is

a

huge

task.)

But

we

have

aii

of

our

sound

names

{and

Categories)

avaiiahie

on

our

Fa.1t-[I'n-

Demand

system.

Cali

S00-25?-I439

to

receive

a

compiete

directory,

or

asi:

for

documents

0346'

through

0850.

Since

this

number

won’t

work

overseas,

you’

ii

have

to

cat‘!

us

and

we

can

fax

you

copies.

Hope

this

hei,os.,?

Dear

Hacker

of

Great

Renown:

Just

finished

my

latest

Tl-I

—

thanks

for

all

your

efforts.

l‘m

thoroughly

enamored

of

my

ASR-Ill,

16-meg

RAM,

Bernoulli

150

setup.

Sometimes

I

just

shake

my

head

and

marvel

at

the

incredible

techni-

cal

wonder

sitting

in

front

of

me.

I

have

two

questions.

I've

been

using

0.5.

2.51

for

the

past

year,

with

no

com-

plaints

{thank

God!).

It's

a

trouble-free

US

for

the

most

part;

I

can

even

delete

a

wavesample

and

not

have

the

whole

in-

strument

disappear

(provided

Stereo

Link

is

UFF).

But

lately,

I

was

in

the

music

store

and

picked

up

US

3.53,

brought

it

home

and

tried

it

out.

(luch!

First

l

loaded

in

a

song,

then

went

to

Event

Edit

(a

supreme

test)

and

immediately

got

Error

130

Reboot‘?

(Insert

foghom

sound.)

So

I

mrned

it

off,

waited,

then

on

again,

and

then

reloaded

US

3.53

and

another

sequence.

In

the

middle

of

play-

ing

the

song,

Error

215,

Reboot?

(Insert

raspberry

sound.)

This

has

happened

each

time

I

tried

it.

What

gives?

Admittedly,

some

of

the

songs

were

created

using

OS

1.61

two

years

ago.

But

aren't

they

com-

patible‘?

I

have

no

problems

on 2.51.

So

for

now

I'm

sticking

with

2.51,

since

I

Tra

nsonicg-Net

HELP

WITH

QUE

TIONS

All

of

the

individuals listed

below

are

volunteers!

Please

-take

that

into

consideration

when

calling.

If

you

get

a

recording

and

leave

a

message,

let

‘am

know

if

it's

okay

to

call

back

collect

{this

will

greatly

increase

your

chances

of

getting

a

retum

esll}.

All

Ensoniq

Gear

-

Ensoniq

Customer

Service.

9:31}

am

to

no-on,

1:15

pm

to

6:3!)

pm

EST

Monday

to

Friday.

616-54?-393fi.

Bnsonitfs

Fan

Unllletnand

line,

{1-Bill}-257-1435*}

can

also

be

used

to

retrieve

specs,

US

info,

hard-drive

info,

and

thelilte.

All

Ensoniq

Gear

-Iflecuic

Factory

{E.nscmiq’s

Australia

distributor}.

E-mail

addrms:

elfa.@o:.email.oom.su:

their

web

site

at

http:Hwww.oaernail.com.au,"—eifa;

or

e-mail

their

resident

clinician,

Michael

Allen,

at

mal-

len@gelto.cun.au.

Phone

ealls,

Business

hours

-

‘lfictoria.

{D3}

£33-5933.

sanm

|;Geofl"

Maser-t].

VFX.

Sound

Programming

Questions

-

Dara

Jones,

Cotnpnserve:

"FlIZ+55,l11_‘.l

or

Internet:

ddjones@net-

cotn.eor.'n

or

call

214-361-D329.

lien!-3pm

EST.

Cotnpuserve:

Tlt'.'il#,l255.

‘

Ill-hr

Cmlbaclt.

'

hll

Ensoniq

Gear

-

The

Electric

Factory

in

New

Iceland,

phone

(~54)

9-443-5915,

fart

{fill}

it-ll-43-5

393,

or

e-snail

-

TS

Questions

-Pat

Esftrtg,

Internet:

ps£'eaecpc.cont,

Cornpuserve:

‘H-24tl,l5t52,

or

AOL:

‘E-SSLIP.

TS,

‘FFJK,

and

SD-1

Quutions

-

Stuart

I-locking,

stul:s@oaernsil.cos:n.ao.

MIDI

users

and

asters

Questions

-

Ariel

and

Ideiri

Dvorjetski,

Internet:

s3T6l921@tecltst{l2.technion.sc.i1,

ordvofiet@techuni.a.technion.ae.i1.

You

can

also

esll

Si.ncopatod

BBS

at

[Israel

country

code:

F72)

d~'l"'.~'t‘ifl3$,

Ed

hours,

EBJEK

Modem.

Please

Login

as:

ENSDHIQ,

Password:

It-!III.'tI.

so-t

Questions

-

Philip

lrlagoutte.

act-est--test,

4

pm

-

taaossr.

|§

SD-1,

DP.-'4,

AER-lil

Questions

-—

John

Cos,

6&9-EBB-5519,

[NJ]

Sprn

-

B

pm

EST

weekdays.

Any

time

weekends.

SQ-3l|',

‘IFFX

Questions

-

Robert

Romano,

tifl?-E93-4363.

Any

ol’

time

(within

reason}

EST.

Hard

Drives

8:

Drive

Systems,

Studies,

dz

Computers

-

Rob

Feiner,

Cinetanes.

914-EH53-SE13.

EPS,

EP5-id

PLUS,

dc

AER-Ill

Questions

-

Garth

Hjeite.

Rubber

Chicken

Software.

Call

mtyfime.

If

message,

24-hour

callback.

(5121

Z35-BT93.

Email:

ehickenEPS@willmar.eom.

ESQ-1

AND

SQ-Bil

Questions

--Torn

Ivlcfiaffrey.

ESQIIPA.

Eli-33!}

D241,

before

ll

prn

Eastern

Time.

EPSIMTRAGEIESQIEQ-EH

i's'!.U.G.

34-Hottr

I-Iotline

-

212-4

I55-343i}.

Leave

name,

number,

address.

MIIII

Users

-

E.ri.c

Baragar,

Qsnadian

lvflllll

Users

Group,

(6131

391-

62’.-EH5

during

business

hours,

Eastern

Tittle

{Torunto,

DNT}

or

call

MHJILJNE

BB5

at

{EH}

iififi-5323

24

hours.

SQ-1,

KS-32,

SD-1,

SCSI

&

hard

drive

Questions

--

Patliienigart,

3175462-E446.

3:00

am

to

llltlitl

pm

EST

i

ESQ-1,

It-tint

a

came-ems

—loe

Slater,

{toners-sss1.nsr.

2?

don't

have

a

CD-RUM

or

digital

inter-

face

yet.

Clkay,

next

I

went

back

east

for

a

two

week

vacation

and,

of

course,

since

I'm

hopelessly

addicted,

shipped

my

AER

with

me.

Road

ca.se,

hi-density

foam

packed,

the

works.

It

arrived

just

fine,

but

ever

since

some

of

the

characters

on

the

display

do

not

come

on

initially.

After

an

hour

of

warming

up,

they

flicker

back

in

and

all

is

fine.

Is this

a

cold

solder

joint

loosened

by

the

shipping?

I'm

used

to

soldering

delicate

electronic

equipment

for

a

living,

illltl

since

I'm

past

warranty

I

could

check

for

this.

Gr

is

this

an

LED

breakdown?

Have

you

at

Ensoniq

had

any

experience

with

this?

What's

more

likely?

Thanks

again

for

everything.

Sincerely,

Stephen

David

Hewitt

Los

Angeles,

Calif.

j'Ensonio

-

Regarding

the

use

of

the

dif-

ferent

Uperating

Systems,

it

sounds

like

EASY

lCGESS

—

FAST

Lfllfllllli

11m

sn|suct|nn

sci-an

manor

stat

GUARANTEE

+

$3

Sm

'

isms--.+

sass-I-=s_tam

1

.-msesasr-s

-may

.

-t

-

.i

is

=ntrs

TD

DHDEH:

E

Qg

1-800-301-‘HIGH!

i

t

FUR

BhTh1.1'.lES,

BALL:

s1otaaa-case

not;

stunts-asst

=

you

do

have

some

bod

data

in

your

se-

quences.

But

we

can't

be

sure.

It

also

sounds

like

some

of

the

solder

joints

may

have

fractured

on

either

the

display

tube

or

the

driver.

lt

is

possible

that

the

display

tube

is

damaged

internal-

ly,

but

this

is

far

less

likely.

You

should

definitely

call

Customer

Service

at

dill-

dd?-3930.

Note

to

all:

it

continually

perplexes

us

why

you

would

write

a

letter

to

the

H

ach-

er,

waitfor

it

to

be

sent

to

us,

replied

to,

printed,

and

finally

shipped

baclc

to

you

to

get

service

questions

answered.

l

t

is

so

much

quiclter

to

call

us,

fax

us,

e-mail

us

on

CompuServe

or

the

Web

to

get

faster

help.

It's

nothing

against

the

H

acher,

but

we

feel

bad

that

you

have

to

wait

so

long

to

get

a

reply.

Especially

one

that

says,

"call

us."

This

interface

is

a

great

place

for

sharing

ideas,

asking

questions,

praising,

and

yes,

griping.

But

it

is

for

from

the

most

eyffective

way

to

get

repair

issues

dealt

with

efiectively.

There,

we

just

had to

get

that

ofi’

of

our

chest{'s).,l

[TH

-

Of

course

we

always

appreciate

the

letters

and

we're

sure

that

readers

who

have

similar

problems

{and

even

those

who

don't)

learn

a

lot

from

seeing

the

answers.

Any

letter

that

makes

it

here

by

the

first

Wednesday

of

the

month

will

make

it

through

the

cycle

and

have

answers

going

out

the

door

two

and

a

half

weelcs

later

{e-mail

subs

will

get

it

that

day).

And

when

we

see

a

"rush"

type

situation,

we

usually

try

to

provide

a

quickie

answer

-

even

tfit's__iust

to

pass

on

Ensoni.-;t's

['

or

someone

else

who

may

be

able

to

help)

number

or

e-mail

ad-

dress.

I

-

Dear

Transoniq

Hacker,

Before

I

even

think

of

continuing

my

subscription

I'd

like

some

very

important

questions

answered.

In

the

past,

I've

always

bought

Ensoniq

equipment.

I

bought

a

brand

new

DP.-"4

when

it

first

came

out.

I

made

long

dis-

tance

calls

at

my

expense

before

buying

it.

Wanting

a

processor

that

has

a

good,

awesome

vocoder,

I

asked

that

most

im-

28

portant

question.

I

wanted

a

processor

that

will

get

my

voice

from

a

microphone

and

change

it

to

a

clean

electronic

robot

talking

voice

—

like

in

groups

such

as

Kraftwerk.

I

talked

with

a

Hob

Brady

(‘I’)

at

Ensoniq.

He

said

the

DPl4

would

do

the

electronic

voice.

After

many

conver-

sations

with

him

I

went

ahead

and

bought

the

DPI4.

But

after

experimenting

with

the

DP!-=t

vocoder

and

other

presets

to

get

a

robot

voice,

it

did

not

sound

right

—

not

electronic,

very

noisy,

weak.

If

I

can

ever

find

the

company

that

makes

a

device

that

does

this

that

will

be

my

wish

come

true.

Everyone

tells

me

that

Roland

use

to

put

one

out

in

the

late

"Jlls.

I

was

also

told

that

Korg

had one

at

one

time.

I've

had

the

worst

luck

searching

for

this

processor.

I've

written

letters

to

Ensoniq

and

haven't

gotten

any

explanation.

I've

tried

everything

with

my

IJPI4.

lvlaybe

you

can

help.

I've

run

out

of

formulas.

I've

been

very

frustrated

at

Ensoniq

after

their

word

meant

nothing.

In

the

past

I've

had

an

SQ-EU,

an

EPS,

a

lvlirage,

a

TS,

and

the

DPl4.

HELP!

Johnny

Guillen

Gallup,

NM

{CS

-

In

my

experience,

the

success

(or

lack

thereof)

of

most

vocoder

efiects

depends

greatly

on

several

factors,

none

of

which

are

under

direct

control

of

the

vocoder

itself.

The

two

main

factors

are

carrier

signal

and

modulator

signal.

The

modulator

is,

of

course,

your

voice

as

interpreted

through

your

microphone.

Different

combinations

of

mic

and

voice

will

produce

dififerent

results.

If

you're

using

an

el-cheapo

mic,

you

may

not

get

as

crisp

an

efiect

as

you

would

using

the

same

megubuchr

units

used

by

recording

stars.

Also,

output

level

for

the

mic

you're

using

can

be

fairly

critical.

if

you're

not

getting

enough

signal

out

of

your

mic

to

drive

the

vocoder

easily,

you

may

need

to

boost

your

mic's

output

by

running

it

through

a

spare

mixer

chan-

nel,

or

using

a

dedicated

mic

preamp.

Perhaps

even

more

important

is

the

car-

rier

signal

you

choose.

if

your

carrier

is

inching

in

harmonics

(sine

waves,

flutes,

mellow

organ

sounds,

and

the

like

come

to

rnindj

the

vocoder

won't

have

enough

sonic

material

to

shape

into

a

speech-like

sound.

It

would

sort

of

be

like

asking

a

painter

to do u

photo-realistic

painting

using

only

one

or

two

colors

--

difficult

at

best.

I

Finally,

it

is

my

experience

that

all

vocoders

have

their

own

unique

sound.

It

may

be

that

the

D_Pltl

just

won't

do

exact-

ly

the

sound

you

want.

Still,

I

think

it's

much

more

likely

that

you_,iust

haven't

yet

hit

on

the

right

combination

of

factors

to

produce

the

sound

you

wont,

but

even-

tually

you

will.

In

the

meantime,

you

might

want

to

contact

Ensoniq

Customer

Service

{did-64?-3930)

and

have

them

provide

you

with

some

more

detailed

guidance

than

I

can

give

you

here.

I'm

sure

they'd

be

more

than

happy

to...j'

{Ensoniq

-

Our

word

meant

nothing?

Them's

fighting

words...

Seriously,

it

is

entirely

possible

to

get

the

type

of

efiect

you

are

talking

about

with

the

DPt'd.

Whether

in

the

final

judgment

it

is

one

that

you

will

like

is

not

the

type

of

question

that

anyone

but

you

can

answer.

Over

the

phone,

how

can

we

guarantee

that

your

taste

and

ours

1'

meaning

the

person

on

the

other

end

of

the

phone}

match

up?

Clark

ofifers

some

good

insight.

Here's

another

tip

-

many

people

get

a

robotic

voice

sound

by

running

a

microphone

into

o

F

longer

with

high

regeneration

and

a

very

slow

sweep.

Try

experiment-

ing

with

that

as

well.

And

call

us

-

we're

glad

to

continue

to

work

with

you.

Yes,

even

Bob]

Hello,

Problem:

MIDI.

Situation:

I

own

a

TS-Ill,

VFK-sd

II,

Boss

DR-5,

a

MIDI

controller

keyboard,

and

an

old

Yamaha

keyboard.

I

also

own

a

436-SX33

PC

with

a

Pro

Audio

Spectrum

sotmd

card,

with

a

Turtle

Beach

"Maui"

daughter

board.

I

also

have

several

pieces

of

soft-

ware

for

music

production.

For

this

letter,

I'll

use

"The

Jammer"

as

my

reference.

Now

I've

got

“The

Jammer"

fired

up

and

everything

works

fine

through

the

Maui

board,

and

when

I

change

the

setup

"MIDI

Dutput

Device"

to

"Spectrum

MIDI

Out"

and

plug

into

the

old

Yamaha

it

also

runs

fine

-

using

the

Yamaha's

cheesy

sounds.

BUT

when

I

plug

into

the

VFX-sdII

the

computer

locks

up

and

has

to

be

rebooted.

So

I

play

around

with

a

few

things

on

the

computer

and

on the

IIFX,

and

BDDM

-

same

thing.

So

I

plug

into

the

TS-ll],

enter

General

MIDI

Mode

and

once

again

I

lose.

Now

I've

tried

everything,

changing

wires,

changing

the

MIDI

Mapper,

changing

the

setups

on

the

individual

software

programs,

and

still

nothing.

Now

to

confuse

me

even

more,

going

MIDI

in

to

the

computer

with

the

TS-ll]

works

beautifully,

same

with

the

VFX.

But

as

soon

as

I

try

the

MIDI

controller

keyboard

I

get

stuck

notes

or

the

com-

puter

locks

up.

So

before

I

break

out

the

old

sledgeham-

mer

and

do

some

damage,

do

you

have

any

suggestions?

P.S.

My

TS-lll

seems

not

to

recognise

the

disk

name

given

to

Gieb1er‘s

EDM

formatted

ASR-10

disks

-

like

when

it

asks

for

"Disk

605"

I

put

in

"Disk

d[l5"

and,

SHAZAAM,

it

asks

for

it

again.

Figure

that

one

out

please.

Thanks,

Eric

Beaudry

Holyoke,

Mass.

{CS

-

That's

a

lot

of

stufl’

to

troubleshoot

with

_iust

a

word

processor.

I'd

recom-

mend

you

try

contacting

Ensoniq

Cus-

tomer

Service,

or

perhaps

one

of

our

illustrious

Transoniq-Net

afiicianodos,

and

seeing

if

you

can't

narrow

it

down

a

bit]

{Ensoniq

-

It

is

ditficult

to

imagine

how

the

VFX-SD

or

TS—Ill,

when

being

used

as

it

target

for

MIDI

sequences,

could

cause

your

computer

to

crash

unless

there

is

a

MIDI

loop.

You

don't

mention

whether

the

MIDI

Gut

of

the

VFX

or

TS

is

connected

to

the

computer.

If

that

is

the

case,

than

the

VFXITS

must

be

trans-

mitting

something

that

your

computer

software

is

unable

to

handle.

Try

unplug-

ging

MIDI

In

to

the

computer

and

see

what

happens.

You

also

don't

mention

what

MIDI

con-

25

troller

you

are

using.

It

is

possible

that

it

is

sending

bad

data

into

the

computer.

We

are

also

suspicious

that

since

the

Fro

Audio

Spectrum

card

is

on

integral

link

in

the

chain

that

it

may

be

causing

the

problem.

But

your

letter

doesn't

give

enough

detail

to

really

tell.

This

is

the

type

of

problem

that

has

to

be

detailed

in

full

—

what's

connected

to

what,

what

do

you

press,

what

happens

when

you

press

it,

etc. etc. etc.

I

don't

think

you'll

get

it

solved

in

a

quick

letter

response.

Call

us._l

Hi,

Transoniq

Hacker,

Concerning

"From

Cyberspace

to

Your

Ear, Part

II."

In

this

article

written

by

Garth

Hjelte

there

was

some

new

infor-

mation

which

helped

me

a

little.

Not

only

the

EDM

program

is

mentioned,

also

a

new

thing

for

the

Mac

-

the

EPSm

writ-

ten

by

Terje

Finstad

of

Norway

in

a

for-

mat

called

a

B-ll]

and

a

program

called

scEPSi.

I

bought

the

EDM

program

from

Rubber

Chicken

and

tried

to

run

it

on

a

DDS-compatible

MacPerfonna

S200

with

a

Soft

Windows

program.

It

wouldn't

run

-

"Diskette

Controller

Error."

So

where

can

I

getlfindfbuy

these

two

programs

for

the

Mac?

Finally,

two

nice

gimmicks

I

found

on

my

TS-12

(OS

3.05).

Ensoniq

secrets

maybe.

'

1)

When

you

change

the

click

volume

to

the

maximum

of

14

dB,

the

click

behaves

very

individualistically

-

it

counts

only

the

last

beats

in

measure,

never

the

first.

In

a

414

the

metronome

counts

only

the

last

3;’-4,

in

a

3,l4

only

the

two last

3,14

will

be

audible.

It's

nice

and

brings

some

in-

spiration

while

practicing.

2}

In

the

manual

all

kinds

of

voice

clas-

ses

are

listed

and

you

have

a

perfect

survey.

Until

now.

Because

I

fotmd

a

new

category

of

sound

-

an

tmderground

voice

which

survived

all

the

changes

of

the

operating

system.

On

the

Ensoniq

TSD

3i]-ll

diskette

you

can

fmd

a

lot

of

or-

gans.

Dne

of

which

contains

the

miracle.

It's

'Jlls

Drgan.

When

you

push

Select

‘Voice,

the

fifth

voice

is

called

"*un-

known

*."

When

you

press

the

wave

but-

ton,

there

is

the

information:

""“|.u1-

knowntwunclassified,"

and

it

is

not

possible

to

copy

that

voice.

What

a

pity.

Now

I

can

sleep

better

-

even

for

such

a

great

instrtunent

there

still

remains

un-

known

sounds.

Thank

you

very

much.

Greetings

from

"iIienna,

the

city

of

music.

Sincerely,

Herbert

Lacina.

Austria

I

TH

-

We

forwarded

your

questions

regarding

the

EFSm

program

to

Garth

with

the

following

results.

j

{Garth

-

I

e-mailed

Steve

Berkley,

the

author

of

scli-'FSi,

and

Terje

F

instad,

the

author

of

EPSm,

to

give

you

details

on

how

to

obtainlpurchase

the

program.

The

shareware

thing

is

a

little

tricky,

and

I'd

rather

they

handle

it.

I

also

e-mailed

Giebler

to

respond

to

the

EDM-Mac

compatibility

question.

Thanks

for

the

opportunity

-

hope

I

could

help.

I

_

{Terje

-

EPSm

is

a

Mac

programfor

use

with

EPSIASRITS

samplers.

I

am

the

author

of

that

program.

The

program

is

US$20

shareware.

I

don't

know

what

details

you

would

want.

For

a

short

reply

one

might

say

Protective

Dust

Covers

20°/e

discount

on

all

Ensoniq

Covers

[Must

mention

ad}

For

these

St

others

call:

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that

one

can

get

the

necessary

informa-

tion

by

sending

email

to

noice@

_,r§rs.uio.no.

I

don't

know

gfthis

helps,

butI

hope

so.,I

,-‘Steve

Berkley,

Berkley

Integrated

Audio

Systems

-

Dear

Transoniq

Hacker

and

Mr.

Lacina:

scEFSi,

a

utility

for

Macintosh

users

with

EFS,

EFS-Id+,

or

ASH-IUISS

samplers

is

shareware.

You

can

download

scEPSi

from

the

following

ftp

site

using

an

anonymous

connection:

ftp.crl.com

using

the

directory

path.‘

lftpl

use

rsl

rol

sb

erkl

eyl

[I

ti

I

i

ti

est’

scEF

-

SIVI-'ld.sea.hqx

scEPSi

allows

Ensoniq

sampler

owners

to

view

the

contents

of

the

SCSI

storage

device

they

use

for

storing

Ensoniq

for-

mat

files.

scEFSi

also

allows

users

to

rename

files,

effortlessly

move

files

to

other

directories,

scan

drives

for

problems,

delete

files,

savelload

files

to

the

Macintosh,

update

the

OS

on

their

drive,

save

ASR-I

U

Audio

Tracks

to

your

Macintosh

for

editing,

exchange

sequen-

ces

and

instruments

via

modem,

search

for

files,

backup

and

restore

Ensoniq

for-

matted

volumes,

and

many

other

features.

scEPSi

also

works

with

-CDMPUTER

for-

rnottedfloppy

diskettes

(available

only

on

the

ASH-I-fl)

and

CD

"

.

ope

-ROM

drtves

I

h

BOOTEE

er.

RTI

S

E

HS!

Try

an

economical

sire

ad

in

the

Hacker.

Our

I

one-lwoilth

page

ad

[tho

siso

cl

this

ad}

is

the

I

perfect

sire

for

tasting

the

waters,

moving

up

from

the

classifieds,

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back

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larger

ads,

or

just

maintaining

visibility

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2.25"

x

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Only

$30!

you

will

find

scEPSi

a

useful

utility

for

your

Ensoniq

sampler!’

Good

lucklj

Hacker:

I

own

a

TS-12.

We

just

had

an

Ensoniq

Clinic

here

at

West

Music.

The

rep

(for-

got

his

name)

said

I

could

add

a

pedal

board

to

play

pipe

organ

music

by

setting

up

MIDI

port

to

accept

a

sequence.

Have

not

tried

it

yet.

Also,

I

am

looking

for

pipe

organ

sounds

-

different

registers

rather

than

whole

organ

-lk

ambience.

Thanks,

Timothy

J.

Fees

Via

Internet

{CS

-

You

can,

indeed,

use

a

MIDI-pedalboard

with

your

TS-I2.

ris-

sign

the

sound

you

want

your

pedalboard

to

play

to

a

track

in

the

TS

sequencer,

and

then

make

sure

to

set

that

track

to

respond

to

whatever

MIDI

channel

your

pedalboard

is

transmitting

on,

and

away

you

go.,I

FREE

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F35]

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ENSONIO

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EPS

ASH-1D

KS-32

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i

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looping,

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a

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Barman,

TH

Review,

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gl

,_

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I

EFFECTS9

The

Voder

synthesizes

vocals

out

of

any

sam-

pled

sound.

It

can

sound

like

a

vocoder,

but

therc’s

never

been

an

effect

like

this

for

any

other

keyboard.

The

lowest

lti

keys

of

the

key-

board

each

trigger

a

different

vowel

or

con-

sonant.

Your

left

hand

actually

forms

words

by

"spelling"

them.

(OK,

it

takes

some

practice

to

sing

a

whole

sentence.)

Your

right

hand

eon-

trols

the

notes

and

chords

of

your

robot

choir.

And

how

long

have

you

been

waiting

to

make

a

big

fat

breatity

choir

sing

"Louie,

Louie?"

Or

maybe

it

was

a

car

crash

snare

that

you

needed

to

say

"momi"

Need

details?

The

Vcder

is

a

3-band

parametric

HQ

effect

for

the

Ensoniq

AER-ii}

and

EPS-16

PLUS.

This

EQ

cart

rapid-

ly

"morph"

between

many

different

settings.

These

different

seuings

impose

vccai

charac-

teristics

onto

any

sound

that

is

run

through

the

HQ.

lt’s

much

cooler

than

a

Morpheus.

Audio-in

is

supported.

The

Vcdcr

disk

is

$49.95

and

comes

with

sounds:

a

choir,

a

solo

voice,

a

robot

voice,

a

talking

rhythm

loop.

Drdcr

by

MCIVISA

by

calling

(stop

251-95152

or

send

check

or

money

order

to

VVAVeHClY

Industries,

PD

BOX

233,

Paoli,

PA

19301

USA

{Price

includes

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but

add

$5

outside

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PA

residents

add

5%

tart.)

TRANSONIQ

HACKER

race

aw

UPLAND

on,

PDRTLAHD,

on

arse:

ADDRESS

CDRRECTIDN

REQUESTED

Postmaster:

Please

return

Form

354?

as

soon

as

possible

so

we

can

change

our

records.

This

is

a

monthly

publication.

Publisher:

Eric

Gelsllnger

Editrlx:.isr1e

Talisman

Dur

{somewhat

regular]

illustrious

bevy

of

writers

includes:

Craig

ltnoenon,

Robby

Barman,

Paul

Eisseli,

Steve

Byhurst,

Barry

Carson,

Mark

Clifton,

Anthony

Ferrara,

Pat

Flnnlgan,

Charles

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