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Iransonq l J More SQ-Tips '93 Pat Finnigan equip ourselves with your old affordable gear. And the real hoot is that the majority of other keyboard manufacturers are simply upgrading their instruments to Hacker The Independent News Magazine for Ensonlq Users In this issue Articles: More SQ Tips '93 Pat Finnigan Cover EPS/ASR Rhythm Directories Phil Rogers 6 Ensoniq standards. Things like changing patches on the fly without muting the sus taining note, non-destructive editing, MIDI SysEx sequencer dumps (ESQ-1, 1986), disk drives (DSK-8, 1984), SCSI Frightening Sound Effects - SDA'FX HD support (EPS, 1987) — it's more a question of why the other companies More SQ=B-3 waited SOOO long. The ox is slow, but the world is patient, just like your SQ, waiting for you to get busy with it. Once again, here it comes. Your friendly local music dealer has received his al So rather than buzz down to your dealer location of hot new gear, and he's called and drool over new and moist gear, get you to come in and see what's moving and shaking. Two choices present them selves: you can (a) hop over and see what the competition has wrought, lusting after new toys and generally depressing your self by not owning the latest Turbo Cuisinart, or (b) say "No, thanks" and blow it off. Choice (b) presents two alternate choices, (i) wondering what you might be missing, and (ii), saving yourself the tor ture of drooling over gear you can't pos sibly afford. Since this is an unusually busy showing all your friends they have a long road ahead trying to catch up to the flat economic election year (ii) seems to be the rule of thumb. SQ's performance standards. Here's some new tips and tricks guaranteed to turn heads: Mark Travo 12 Clifton 14 The VFX-sd & SD-1 Event Editor - Part I Robby Herman 17 Reviews: B asement Tapes: Burke Daniel Mandel 4 Public Domain Librarian Programs Rost 10 Live Performance Tips (A) Use that edit buffer! If you find your self looking for the one patch in an Ensoniq's SL-3 for EPSs & ASR-lOs To m Shear 19 obscure "Card B47" location, don't worry Redshift's PrivatLabel for SQ-BOs about copying it over an Internal patch that you may later wish you could restore. Drop the patch into the edit bxiffer simply by selecting it and pressing the "Edit Michael Sounds" button. Now, whenever you need why people who have barely scratched the surface of operating their musical in struments practically give their old instru ments away just to buy this year's model. Not that I'm complaining. As a matter of fact, thanks, guys, you're making it poss that patch, it's only a single button press away. Really useful for holding your most commonly used sound; I use it for holding the "Grand Act" patch transposed an octave up for solo work, but hey, be ISSUE NUMBER 92. $2.50 Joe Brian But for the life of me, I can't understand ible for family guys like me to be able to Rotating Speaker Simulation - ASR/EPS Barry Carson 8 creative. Mooney . fn 20 Regulor Stuff: Random Hard Notes Drives 3 4 List C l a s s i fi e d s 22 Hackerpatches Sam Mints & Jeffrey Rhoads 23 The Interface 26 Current O.S 30 Hacker Booteeq 31 FEBRUARY, 1993 (B) Use those presets! Why settle for one patch when you can have any combination of 8, layered together in any combina tion of local instruments (not even counting external MIDI gear)? Exercise those double-click skills; the preset not only sax section tracks, reverb only for trumpet/trombone parts, settings on call, but you've got the effects section to massage Ensoniq sax samples are pretty well buffed and moist anyway, remembers which instruments you selected and returns those that collage. acoustic piano, dry upright bass, and light reverb for the drum- kit when sequencing big band tunes. Light chorused sax samples are like, out the pocket, they're so good; then again, so you can't lose! (B) Use both footswitches! Select "Sequences/Presets," then "Edit/Copy Sound," then 9-2. See the blinking "unused" fol lowing the "FtswL=" parameter? Do something about it! I (C) Use Song Mode! When you really get serious and under stand the implications of (B) above, make a one-sequence song of this preset, and double your fun in Song Mode by adding eight more instruments for a total of 16 patches on call at the push of a button. Talk about living large! All selected instru ments (16 of a possible 340 local patches, non-inclusive of ex ternal MIDI voices), track routings, effects routings (and the infamous selected "double-clicked" instruments) are mem orized upon storage, including pan, effect routings, levels, don't know how I could work without a Sequencer start/stop footswitch, either live or just noodling around in the music room here. I question the use of a sostenuto footswitch with the original SQ-1 piano samples, but I'll bet it's pretty handy when used with the Hydergine/Piracetam-enhanced piano samples of the 32-voice and mega-piano waves. Plus, when you restart the sequencer using the footswitch, the sequences resume where modulators, etc. you left off instead of starting at the top. Kinda like a pause button on a cassette deck — really interesting for live use. Just (D) Use the footpedal! Your hands are busy enough playing the tune and calling instrument layers with the patch/preset but tons: define the CVP-1 as a modulator and tweak your preset/ randomly stop the song, spout some election nonsense in meter, and resume. song patches for modulating wave start indices, pitch mod, fil (C) Use Mixdown Mode! Using the footpedal to change play back levels is akin to mixing your tracks down on a Rupert ter mod, etc. REREAD Clark Salisbury's SQ programming ar ticles in the last year and a half's THs; excellent tutorials with on-hand, step-by-step editing. You probably glossed over some Neve console using your toes; it'll work, but you're com municating on an olfactory, rather than an aural level. Besides, who's left in the control room once your socks come off? No, use the Data Entry slider in Mixdown Mode for final mixing; it's a linear fader and much more accurate than accelerating a track into a skid. Besides, if you don't hear the difference, your hidden easter eggs in these articles. Speaking of easter eggs, don't forget the "FS" parameter in the "Edit Song Steps" pages. (E) Use both outputs! You paid good money for the SQ and choke its sonic qualities by using half of its output stages. All friends will thank you for it. SQ series instruments are placed across a broad stereo stage; why constrain that image thru a mono 1/4" guitar cable? (D) Toggle Sequence/Song Tracks! I never had much of a reason for doing this, since I learned Ensoniq sequencing on an EPS. However, on an SQ, you're dealing with 16 tracks in (F) Animotion! I stumbled on this one a bit ago; a variation of wave sequencing. Using one of your favorite presets, record a Song mode, and there's only 8 track buttons. So rather than go sequence of short length, say 1 to 4 bars, by recording one track with one short note. Erase the note by event editing. Now through the 5-button press timewarp, get to the "Song uses ef fect from" page and double-click on any track button to change the 8-button slate from "Song" to "Sequence." Of course, record foot controller information on other tracks! Set loop switch (1-0) on. When you play layered sounds as chords with you've gotta be working on a song (locations 70-99) to do this 'cause there ain't no song tracks in "Sequence" mode. A real the sequencer running, these controller messages wil fade dif ferent tracks in and out, depending on patch selection and foot pedal proficiency (FPP?). Do it on song tracks/presets for un believably live textures and REALLY large pads. If you want stil more motion, record pan changes (7-1) and timbre changes (7-4) into each track. Dizzying! If you want even more motion, time saver when you've got a bunch of tracks with the same patch on them and can't find which one has the clunker in it. (E) Use an MC-32 card! (Like you got a choice!) Nothing is more disparaging than working 3-4 hours on a song only to try the Vortex at King's Island... have a power failure! Well, yes there is; nothing is more dis paraging than seeing that "Unexpected event: ID=xxx (insert 2-3 numbers of your choice; my all-time favorites are 130, 131, Sequencing Tips and 144, although a 37 or 44 constitutes a lucky hit of lotto proportions). Work for a half hour and save to card. I know, the (A) Use Those Effects Routings! I almost always default to the Chorus & Reverb" algorithm since it allows me five options card's too damn small, but it's all we got (until some enterpris ing third party designs a disk drive to plug in the card slot). (Dry, FXl, FX2, Control, and Voice), not to mention the HF Damping and Decay Time options on Reverb. This algorithm SQX-70-enhanced SQ owners (including me) have the added problem of the card not being large enough to hold our work. works really well for contemporary/sectional music. Use chorus and reverb on the electric piano and rhythm guitar The only solution is to save to an EPS as a SysEx file (save tracks, reverb only for drums and vocal pads; hey, whatever your sounds, too!), or save to a computer- based librarian/se sounds good, do it! My favorite is to use reverb and chorus on quencer. I do both, because I've had weird transfers from my 2 Mac running Performer 3.42. Oddly enough, I've never had a board and grab the mouse and wring what I tried to play out of a computer, not to mention the pain in the arse of changing focus from music to software and juggling the two in some diabolic pretext of making "music." Not that it has any flaws, but the SQ's really excel at organ, brass, pad sounds, drums; hell, it's really not weak anywhere but the pilot compartment. corrupt file or a bad load x-ferring data to the SQl from an EPS. I guess the EPS and SQ'x like to share secrets or some thing. Use the card; all you live users. For all you SQ-2 owners, you get the added fun of using key pressure as a modulator, so experiment using that with the above examples; I would've added pressure except it's a luxury Now if Ensoniq could do something about that, h SQ-1 users don't have. It's been almost two years since the SQ-1 and I made acquaintances; I'm still discovering new tricks and applications using it. I remember how excited I was after writing my first tune with it; I climbed on it again yester Bio: Pat Finnlgan is a service tech turned musician who writes secret messages in sequences on his EPSs, wondering how much harder he can push this Malvern silicon before it reverts back to sand. His latest composition, The Ensoniq Suite, has been banned by Hans Solo, but is available on EPS disk since it isn't an audio medium and violates no community standards. day and was equally excited after doing another tune. You know, sometimes maybe the planets are aligned, your musical ideas run out of your fingers directly into a sequencer. I'm just really glad it's an Ensoniq board. I don't have to leave the key- F r o n t P a n e l RND SD-l Questions - Philip Magnotta, 401-467-4357, 4 - 10 pm EST. VEX Sound Programming Questions - Dara Jones, Compuserve: 71055,1113 or Midi-net and Fido-net. The local BBS is the Nightfly in Hacker News Dallas: 214-342-2286. Correction Dept.: Last month an Interfacer mentioned the avail ability of RAM cards for the SQ in England for about £35 ($20 US). Actually, the conversion factor was probably inverted here because SD-l Questions - John Cox, 609-888-5519, (NJ) 6 - 8 pm EST. the price in U.S.$ would be closer to $54. SQ-80 Questions - Robert Romano, 607-533-7878. Any ol' time. Call for writers: (This happens every time a radically different new Instrument comes out.) We're in dire need of articles concerning the DP/4 (and the effects section of the ASR-10). If you're one of the new owners of one of these critters and you've been discovering or Hard Drives & Drive Systems, Studios, & Computers - Rob Feiner, Cinetunes. 914-963-5818. 11 am - 3 pm KT. Compuserve: 71024,1255. EPS, EPS-16 PLUS, & ASR-10 Questions - Garth Hjelte. Rubber Chicken Software. Pacific Time (WA). Call anytime. If message, 24-hour callback. (206) 821-5054. stumbling on tips, anomalies, short-cuts, applications or whatever — now's a good time to break into the exalted ranks of Hacker writers by sharing your thoughts with the rest of us. ESQ-1 AND SQ-80 Questions - Tom McCaffrey. ESQUPA. 215830-0241, before 11 pm Eastern Time. Call for programmers: We could also really use some more Hacker- ESQ-1 Questions - Jim Johnson, (503) 684-0942. 8 am to 5 pm Pacific patches for the SQ-1/-2 & KS-32. Time (OR). We'd like to welcome some new advertsiers: CompuLlte Concepts maker of user-configurable MIDI lighting controllers. The Rhythm EPS/MIRAGE/ESQ/SQ-80 M.U.G, 24-Hour Hotline - 212-465- Factory - merchant of Gospel sequences for EPSs & ASR-lOs, Rave Records - (Attention Basement Tapers!) an independent record label looking for demo tapes, and finally, Jerry Huntslnger - the first ever Hacker to use a display ad to sell his old gear. Sampling & Moving Samples - Jack Loesch, (201) 264-3512. Eastern Time (N.J.). Call after 6:00 pm. 3430. Leave name, number, address. 24-hr Callback. MIDI Users - Eric Baragar, Canadian MIDI Users Group, (613) 3926296 during business hours. Eastern Time (Toronto, ONT) or call TRANSONIQ-NET MIDILINE BBS at (613) 966-6823 24 hours. HELP WITH QUESTIONS Mirage Sampling - Mark Wyar, (216) 323-1205. Eastern time zone (OH). Calls between 6 pm and 11 pm. All of the individuals listed below are volunteersl Please take that into consideration when calling. If you get a recording and leave a message, let 'em know if it's okay to call back collect (this will greatly increase your chances of getting a return call). SD-l, sound programming, sequencing, & MIDI - Eric Olsen, Pegasus Sounds, (616) 676-0863. Mon, Tues, Thurs, Fri: 4 pm to 9:30 pm Eastern Time. Sat: 12 to 10 pm. (No calls on Wednesday please!) SQ-1 Questions - Pat Finnigan, 317-462-8446. 8:00 am to 10:00 pm All Ensoniq Gear - Ensoniq Customer Service. 9:30 am to noon, 1:15 pm to 6:30 pm EST Monday to Friday. 215-647-3930. E S T. ESQ-1, MIDI & Computers - Joe Slater, (404) 925-7929. Eastern time All Ensoniq Gear - Electric Factory (Ensoniq's Australia distributor). z o n e . Business hours - Victoria. (03) 4805988. 3 H A C K E R B A S E M E N T TA P E S Daniel Monde! The best thing here is Ed's fun and frolicking DOGGY IN THE WINDOW, which took me completely by surprise. The worst thing is that he only sent me two songs, and I wish Tape: Untitled. Aitist: Edward L. Burke. Contact info: 146 Meadow Drive, Shippensburg, PA 17257-8983. there was more to listen to! Equipment: EPS, VFX, Outboard effects — Yamaha GEP Good luck with your future projects, Ed, and I hope to get a 50, BBE Sonic Maximizer. tape from your band or your own self in the future. Happy N e w Ye a r ! h This is my first review actually written in 1993 and it brings If you want your tape run through the ringer, err. Hacker, just mail it off to: Basement Tapes, Transoniq Hacker, 1402 SW us a double helping of music and madness from Ed Burke that he wrote, long ago, in 1990. The first, HOLE IN ONE, is an upbeat fusion piece that has a very nice stereo spread and Upland Dr., Portland OR 97221. interesting instrumentation throughout. The second offering, DOGGY IN THE WINDOW, is a com plete surprise. It is a reminder of what samplers are all about and why they are amazing and powerful instruments. It is FUN! Ed has apparently managed to get his son to speak into a microphone and make a wide range of noises, sounds, Bio: Daniel Mandel is a songwriter, sound designer, and has sold pro squeaks and grunts, as well as several well rehearsed and, I would guess, often repeated phrases! He then turned his EPS audio and keyboard equipment and produced demo tapes for local into a son-o-phone, or syntho-boy, or an electronic sonphony. Whatever you decide to call it, it is amazing and automatical ly appealing. I dare ya to not light up with a smile when you bands. give a listen. Ed says, "I decided to send you a demonstration of what I've done on the EPS. I love sequencing and composing and am Tested and Approved Hard Drives for the EPSs constantly pumping out tunes. Since I cannot read music, I find the EPS to be a marvelous tool. The drives listed below are known to be compatible with the EPS and EPS-16 PLUS at the time attesting. Changes in firmware or hardware by drive manufacturers may make later versions Incompatible (with the ex ception of PS Systems, Eitekon, and Frontera whose drives are con figured to work specifically with Ensoniq products). Drives not Included on this list may also work just fine. For up-to-date information about specific drives call Ensoniq Customer Service: 215-647-3930. "I sent you two songs to enjoy. The first is entitled HOLE IN ONE. I golf obviously. All sounds are the factory sounds you acquire with your EPS purchase. HIT KIT, DRUMS, DIG BASS, STRATOCAST, DIG PIANO, SAWTOOTH, ECSTASY, MIDI INST. TO VFX > SWELL STRINGS, CLASSICAL MANUFACTURER PIANO, POP PIANO. Dynatek Frontera All All MODEL (ylodels Models PS Systems All Models "The second song is the EPS with outboard gear only. It's Eitekon All Models entitled DOGGY IN THE WINDOW for obvious reasons. I Rodime 45plus, SOplus, tOOplus, 140plus sampled my son (Chase Edward, age 6) saying different Microtech R45, N20, N40. N80, N100. N150 PL1 45 Meg Removable Mass Micro Datapack 45 things. The song is his voice only. "Presently I'm with my full-time band. The Trust, and am Drives Reported to Work by Readers primarily composing and performing for a living." The following drives have been reported to work satisfactorily with reader's EPS systems. No guarantees — but they'll probab//work with yours. Try to try before you buy. Ed, besides giving his tunes obvious titles, has a real sense of what makes a song flow. His introductions send you right into the song. The beat is established and moves you on down the line and an interruption or two keep you attentive without Jasmine Direct Drive 100 Quantum 100M, 210M PowerDrive44 Seagate 80M Syquest 555 (removable) Tech Data Model 60e losing you. 4 (800) 800-4654 olMULIlS'lIC^ fAX <»")"• 5*" Your Music Department Store. NOW IN STOCK JtSSL',. Carpet Cover ATA SQ-1. VFX, VFX-sd $11000 $235~ Mirage. Mirage DSK $11000 $235~ SO-2 $150~ $270~ Memory Expansion Kits for SD-1, SQ-1, SQ-2 EPS. EPS-16+, SD-1. Only $129 CUSTOM DESIGN YOUR OWN CASE!!! Universal Sync Box with SMPTE, Song-Pointer, & 00 • v d c DIrect-Lockl SYNCUAN is a full-feature, professional quafity sync box which supports all major syncronization formats including SMPTE, MIDI Time Code. Direct Lock (for Per- former) and Song Pointer. With SYNCUAN you can precisely synchronize any sequen cer to tape and meet all of your synchronization needs. Internal And External Hard Drives SYNCMAN features Include: SMPTE TImo Code Generetcf/needer • Gsneratea and read, all SMPTE tormata Smptc/Song Pointer Sync Box Including 24, 2S, 30. and Drop Frame. • Converti SMPTE to either MIDI Time Code Customize your sampler 20 Meg Internal from $199^, or Direct Time Uck (lor Performer). • Special Duplication Feature allows you to duplicate recorded SI4PTE Strlpee. • Indudes spedal SMPTE -Jam" Sync to recover from tape drop-out. • Can write SMPTE manually (with 0 otioet) or remotely with specHled offset upon receipt of a User Bit message and a Time Code message. Any type HD available Any size, any format Also available for HD recording Sonfl Pointer Sync Geneietor/Roader • Special Song Pointer Sync (SPS) Duplication feature allows you to duplicate recorded SPS Stripes. • Indudes "Jam" Song Pointer Sync to recover from tape drop-out. fl ^ S Y N C M A N ' m . mioiman ' Guaranteed for life. Addtloiwl SYNCMAN Featurae; ■ Built-in Merge Mode allows you to merge all keyboard or sequencer MIDI information with either MIDI Time Code or Song Pointer Sync information • Dimensions: 4" X 6" X 1" • Weight: under 1 lb. Lowest prices on anything musicai in the USA! An EPS/ASR-10 Rhythm Directory on Floppy Disk Parti Phil Rogers rd be willing to bet that a lot of you new (and not so new) EPS and ASR-10 owners who, like me, haven't yet scraped enough cash together to spring for a SCSI port and hard drive, also haven't imagined any practical use for the that at least some of you have no prior experience with the topic, and haven't yet purchased either the Bonus Beats or Gary Morrison's Xenharmonic Scales for the EPS (also or ganized in the form of a directory), I'll start from scratch. CREATE DIRECTORY command (on the EPS' COM MAND/SYSTEM page). A directory provides the means to save/store more than 38 files on a disk, and to organize and classify this large volume of files, enabling you to locate a file you want to load, relatively easily. For most applica tions, there is not much likelihood you would be able or need to fit that many files on a floppy, due to the fact that the instruments fill up the available disk memory fairly quickly (and how many songs will you program using that Basically, a directory has a method of organization which is analogous to the root system of a tree. With a tree, you have a main root, which divides into several root branchings, and those in turn further subdivide, etc., etc.. In a roughly analogous manner, a root directory is divided and contains (farther down the hierarchical chain) two or more subdirec tories and/or other files. Each such subdirectory may in turn same bank of instruments?). directories and/or other files. See page 17 of the Advanced Applications Guide for a sample schematic diagram of a very rudimentary directory structure. When you create your own directory (including one you'll create while performing the exercises which follow) it's an excellent idea to keep track of what you are doing by making a similar schematic drawing as you go along, and to save it in a notebook. Having the entire contents of a directory structure visible like this will allow you to easily scan for the file(s) you want access to. Since each subdirectory, as well as the root directory, can have up to 38 files in it, things can get rather convoluted in some areas of the structure, and it ends up being a time saver and a stress reducer to keep such a map. be divided into and contain two or more of its own sub But, I wanted a way to store and load all of the drum se quences from several beat books I had acquired (see bibli ography) on one floppy disk, and so I set out to create a rhythm directory. At first I became quickly confused fol lowing the instructions in the EPS Advanced Applications Guide, so I called Ensoniq Customer Service, and was lucky enough to reach one of their people who had worked on the "Bonus Beats" disk (from Volume 8 of the SLT 10-pack Sound Library) which is a less extensive version of what I was planning. He patiently led me through the steps of how -to use directory commands, so that, even though I couldn't replicate those steps after I got off the phone, I knew there were no bugs in the system, just in my brain (and in the Ad vanced Applications Guide: more on that in a minute). Ok, let's push some buttons. First, load up the POWER DRUMS (or your own favorite drum kit) into the EPS' in ternal memory, choosing INSTRUMENT/TRACK 1. Now Once I acquired the Bonus Beats disk, things started to heat up — now I had an existing directory to work with, and the Volume 8 Sound Disk Manual had quick and easy-to-follow, press COMMAND/SYSTEM, and quickly press keypad 6: the LCD should read "CREATE DIRECTORY." Note that this means "create subdirectory," as you are creating your first division or subdirectory of the root directory. Press step by step, button by button instructions on how to enter a basic directory and how to find and load sequence files from it into the EPS' internal memory. It wasn't very long ENTER/YES, and you'll see "DIRNAME = NEW DIREC TORY." Use the arrow (cursor) buttons to change this to "DIRNAME = RHYTHMS" and again press ENTER/YES. before I began to understand the internal architecture of a directory. I then recognized that, although all the essential information I needed was presented in the Advanced Ap Let's see what we have so far: press LOAD. You should see "FILE 1 RHYTHMS"; press the right or left arrow button: the LCD should read "0 FILES," meaning there are as yet no files in our subdirectory RHYTHMS. Press any of the three remaining arrow buttons to go back to "FILE 1 RHYTHMS," then press ENTER/YES again: the disk drive plications Guide, it was not in an accessible enough form (at least not for me) to have understood it without a lot of brow beating and plenty of good help. So, for those of you who have had similar problems, I'm of fering this hands-on tutorial as a (hopefully) foolproof method of learning to create and use directories. Assuming will cluck and the LCD will read "BACKUP TO ROOT." This means that you are in a subdirectory of the root direc6 tory, and (don't do it yet!) if you again press ENTER/YES, you will go "back up" to view the file(s) of the root direc tory. Instead, first press the right arrow button, and you'll first file in the root directory appear, i.e. "FILE 1 RHYTHMS" will appear, once again (meaning that file 1 of looking good so far! Now let's press ENTER/YES again see the name of the directory you're currently in: "THISDIR = RHYTHMS." Now press ENTER/YES, and "FILE 1 the root directory is called "RHYTHMS"). Staying in LOAD mode, drill the last few moves with the cursor and ENTER/YES buttons for the sake of greater familiarity. At this point, the main thing to remember when a file number and name appear (i.e., in our example, "FILE 1 RHYTHMS") is that you can push the side arrow buttons to find out how many files are in the subdirectory RHYTHMS, in this case, zero files. If a "BACKUP TO..." message appears, pressing the right cursor will show you what directory you're currently in. Let's add a second subdirectory to our root. First pull up "FILE 1 RHYTHMS" on the LCD. Since we're now view RHYTHMS." Press the UP arrow, toggling to "FILE 2 DRUMKITS" so we can verify that our POWER DRUMS are where we would expect them to be. Press the RIGHT or LEFT arrow: the display will read "1 FILES." Yep, it's since this should allow us to view what is in the DRUM- KITS subdirectory, namely, our POWER DRUMS. Whoops! What happened? Instead of saying "FILE 1 POW ER DRUMS" we see "BACKUP TO ROOT"!?!?! The right/ left buttons show we're in the correct directory : "THISDIR = DRUMKITS." #%&[email protected]?!! The EPS is playing its old tricks again. Well buddy, you're right. Now, if you please, press the INSTRUMENT button: "FILE I POWER DRUMS" again appears. Now you get it, right? The other half of the trick is as follows: say you've been working from another disk (one without a directory) and you throw this directory disk in the disk drive, to load up a ing the contents of the root directory, we can add our bossa nova beat as well as the POWER DRUMS. You press DIRECTORY" will again appear on the LCD, so press MENT!" Well, we know that earlier we had saved POWER DRUMS to the DRUMKITS subdirectory, and while in second subdirectory to it. Press COMMAND: "CREATE LOAD/ INSTRUMENT and the LCD reads "NO INSTRU ENTERA'ES an you'll see "DIRNAME = RHYTHMS" be cause the display defaults to the most recently named direc LOAD mode we had pressed INSTRUMENT to verify that POWER DRUMS in fact came up on the screen. Now we tory file. Use the cursor buttons to rename this subdirectory press LOAD and INSTRUMENT, and the rather disconcert ing message "NO INSTRUMENTS" appears. What now? "DRUMKITS," and again, press ENTER/YES. Let's check our results again: press LOAD. The display will Well, it seems that whatever was saved to the directory read "FILE 2 DRUMKITS"; the right/left cursor buttons must needs be accessed via the directory structure — you will bring up "0 FILES," since neither have we saved any kits nor created any further subdirectories within this DRUMKITS directory. The up/down arrows will toggle be where you saved the file in order to again find and load that have to go into the directory, then find the subdirectory file. So, press LOAD, then SYSTEM, and work your way down the paths of subdirectories until you locate the instru tween "FILE 1 RHYTHMS" and "FILE 2 DRUMKITS," in ments, banks, songs, sequences or MIDI files you want to other words, will enable us to view the two files within the root directory. Now press the up/down buttons until "FILE 2 DRUMKITS" is showing. Enter the DRUMKITS sub load. End of Part 1. Next month we'll actually go through the directory by pressing ENTER/YES: the display will read process of creating and filling our beat directories, m "BACKUP TO ROOT" and the right/left buttons will bring up "THISDIR = DRUMKITS." Press COMMAND then IN STRUMENT buttons, scroll to "SAVE INSTRUMENT" and, after pressing INSTRUMENT/TRACK button 1 until it Bibliography: A List of Some Useful Beat Books is lit, press ENTER/YES twice to save POWER DRUMS (or whatever kit you loaded earlier) into the DRUMKITS Feldstein, Sandy — Roland Drum Machine Rhythm Diction subdirectory. ary, Van Nuys, CA: Alfred, 1987 Now press LOAD, and "FILE 1 POWER DRUMS" will ap Montfort, Matthew — Ancient Traditions — Future Pos sibilities: Rhythmic Training through the Traditions of Africa, Bali and India, Mill Valley, CA: Panoramic, 1985. pear, since the EPS display defaults to the most recently saved or created file when the LOAD button is pressed. Now press SYSTEM and the display reads "BACKUP TO ROOT." Press INSTRUMENT and "FILE 1 POWER Payne, Jim — Mel Bay's Funk Drumming, Pacific, MO: DRUMS" reappears. Since we don't need to re-load our drums, let's press the SYSTEM button, and when "BACK UP TO ROOT" appears press ENTER/YES. We will see the Mel Bay, 1982 Rockschool 1: Guitar, Bass and Drums, ed Chris Lent, New 7 York: Fireside — Simon and Schuster, 1987 Walker, Dan with Verga, Jack — Roland D10ID20 Pattern Handbook, Newbury Park, CA: Alexander, 1988 Rockschool 2: Electronics, Keyboards and Vocals, ed Chris Lent, New York: Fireside — Simon and Schuster, 1987 Wilkes, Steve, Defuria, Steve and Scacciaferro, Joe, The Art of Digital Drumming, Ferro Music Technology Series, Mil Savage, Steve — The Billboard Book of Rhythm, New waukee: Hal Leonard, 1989 Yo r k : B i l l b o a r d 1 9 8 9 The Rotating Speaker Simulation, the ASR-10 and the EPS-16+ It Can Be Real! Barry Carson When I was a young rock organ player, one of the things I saved my dollars for that I earned playing at the TeenCenters was a Fender VibraTone. The VibraTone (for those too young to remember) was a small Leslie speaker in a Fender cabinet that would match your Twin-Reverb. That was the beginning of my infatuation with Mr. Leslie's wonderful invention. 1 later moved up to a Model 147, and recently I've had a chance to use a number of the digital Leslie simulators available. The purpose of this article is to can add reverb later and use the wheel to add vibrato without speeding the Leslie up (and we also can speed up the Rotor without adding vibrato). Let's listen to what we have. On the real Leslie the move ment of the rotors and horns affects the sound in two main ways. First there is a change in volume; a speaker that is pointing at you will seem louder than one that is pointing away from you. Second there is a change in pitch. Back in high school physics you learned about the Doppler effect. explore the Rotary Speaker effect in the EPS-16+ and the ASR-10. The effect in both machines is identical, by the As the speaker horn rotates toward us, the sound waves emitted by the horn will bunch closer together thus raising the pitch a tad. As the speaker turns away the sound waves will lag a little behind and stretch out and the pitch will seem to drop. An irony of all of this is that if you were small enough and decided to ride the rotating Leslie horn, you would hear none of this pitch shifting because the sound would never approach you or recede from you. The sound source would be, relative to you, stationary. So we have two auditory clues that we are listening to a Leslie speaker — change in volume and pitch. There are other, more subtle ways that a rotating speaker affects sound, but their explanations go beyond the scope of my vocabulary. And spinning around is not all that a Leslie does — it spins around at two speeds and the player can switch between the two as part of his or her performance. w a y. My first observation on this matter is that including this ef fect in a sampling instrument was a stroke of true genius. As an organ player for more years than I care to mention, I can say that most synthesizers can't really sound too much like authentic organs (and authentic is the key word here). No matter how great the organ waveforms are, things like note foldback are often impossible to synthesize. Using the art of creative multi-sampling it is possible to re-create in credible organ sounds (possibly the subject of a later Hack er article), and using the Rotary Speaker effect can make these sounds come alive. I would also like to mention that anything I say in this article is simply a suggestion; since we are dealing with what is essentially an illusion, opinions may vary widely as to which illusion is closest to the actual experience of listening to a mechanical Leslie. Let's go to the EPS-16+ or ASR-10. Crank the Rotating Speaker effect up to fast speed and listen. To my ears the Let's take a look at the Leslie 147 speaker and try to cap default speed setting is a little too fast. Not that a real Leslie ture that elusive sound with our Ensoniq sampler. First load doesn't turn that fast, it's more that the effect at that speed becomes kind of a gigantic vibrato, like your Aunt Edna used to get on her Mighty Wurlitzer. My choice for fast rotor speed is between 65 and 70. Pick a speed that, to you, creates the best illusion of a Leslie speaker on high speed. the very best organ sample you can find. Select Effect ROM 9, Rotary Speaker and Reverb, hit Edit Effects and scroll up to Variation 2, Clean 122. Go across to Reverb after Roto and set it to 0, keep going across to Fast-Slow switch and set it to Patch. Now we have the straight Leslie effect; we 8 motors, one for fast speed and one for slow. This was to the effect is in proper balance to the straight sound. You may want to have neither layer turned up all the way since the combined output of both layers may be too loud. I like having the straight sound quiet enough to not really be like Yamaha's RA series of pseudo Leslies, use only one motor to drive the rotating speakers. With this kind of age" from the sides and back of the stationary speakers that Now that you've got the fast speed set, hold a few notes and hit the Patch Select switch. Listen to the ro, rro, rrro, rrrro, rrrrrotor slow down. Each rotor on the real Leslies had two make speed changes happen very quickly. Some devices, setup, it is impossible to achieve very quick speed changes. On something like a 147 the treble horns changed speeds al most instantly, while the bass rotor changed more slowly (not because of the motor slowing down, but because of looser tension on the belt that drove the rotor). Since the EPS-16+/ASR-10 effect only reproduces one rotor, you have something along the lines of a Fender VibraTone or a Leslie model 16. That being the case, setting the Rotor Iner tia parameter would be like adjusting the belt tension on the real Leslie. My personal taste in this matter leads me to set this parameter to zero or one. This gives a pretty quick change and also gives a very noticeable transition period. After all, you do want people to notice that this is a Leslie effect you are using, a point that would be moot if you had noticeable but loud enough to soften the heavy Rotary ef fect. In a real Leslie there will always be some sound "leak face into the rotors. That fact may account for why I find this layering of rotary and straight sounds so effective. Once you find the perfect mix and your rotary speaker sounds just the way you want it to, it is time to go back to Edit Effects and create an acoustic space to put your Leslie in. You should be aware that you must adjust the Reverb Mix for both busses 1 and 2. To create a realistic effect, the mix would be about the same for both. Now is also the time to add distortion if you so like. Considering how I spent years of my life trying (without much success) to figure out how to make my Leslie not distort, I am pretty familiar with this sound. I really don't have space to get into the whole thing right now, but let it suffice to say that by using the a huge, wooden Leslie up on stage with you. distortion In, Out and Filter along with the Speaker Gain, it Now, I know people who disabled the breaking mechanisms distortion that we all love/hate. treble horns to speed up or slow down. This wouldn't be to my liking, but it might be the sort of sound you dote on. If so, the settings for the Rotor Inertia parameter go all the way up to 99. Find the setting that sounds most like the Les So there you have it. A Leslie effect that can sound pretty is possible to get remarkably close to that grinding Leslie on their Leslies so that it would take half a song for the realistic even in solo organ torture tests. Putting this effect in a mix of other instruments can only enhance the illusion that you are playing an organ through a large, heavy, lie of your imagination changing speeds. wooden box full of vacuum tubes and machinery. Well, now For the Slow speed, I like the default setting of 1; you may find some other setting that sounds more realistic. One sampler, there's a couple of Vanilla Fudge tunes I feel like that I have a Hammond organ and Leslie all loaded into my playing. point worth mentioning is that, while it is possible to set the slow speed higher than the fast speed, the EPS-16+/ASR-10 Until next time, don't forget to oil your Leslie's motors (un won't switch between the two. less you're using the EPS or ASR Leslie, in which case feel Now that we have our speeds and rotor inertia set, let's go back and look at those pitch and volume changes that give the Leslie its characteristic sound. This is the one place Bio: Barry Carson would like to thank Carl Saganfor his free to forget), tm where my ears must not agree with the Ensoniq engineers and programmers. As I've mentioned before within these pages, the EPS-16+/ASR-10 effect lacks some of the sub technical advice concerning the Doppler effect. Dr. Sagan shift is too intense, creating (to me) an unpleasant vibrato effect. This is especially noticeable at high speed or while is, at this time, unknown. may not remember this encounter since he was on television at the time. Sagan is rumored to be one of the men involved with the naming of the Ensoniq Mirage. His favorite color tleties of the acoustic/mechanical Leslie effect. The pitch changing speeds. An easy way to deal with this is to use your instrument's flexible system of output busses. Here's how. If your organ sound is in one layer (and there is no SUBSCRIPTION INFORMATION 12 MONTHLY ISSUES reason it shouldn't be since you're using the on-board ef US: $23/year. All others; $32/year (please use International Money Order, payable in US funds). Please make payable and mail to; fects and should need no detuning, etc.), simply make a copy of that layer and have both layers active from the key board. Go to the Edit Amp page and send one of the layers to bus 1, Rot. Speaker and Reverb. Send the other layer to TRANSONIC HACKER 1402 SW UPLAND DR., PORTLAND, OR 97221 bus 2, Just Reverb. Adjust the volume of each layer until 9 Public Domain Librarian Programs Brian Rost Public domain programs are usually written by users who either can't find or don't like commercially available pro uploaded, a message is printed to the screen, showing the grams, then freely distribute their work for others to use. fer takes a few minutes to complete. The reason why Auto They may not have the polish or flash of a commercial package, but the price is right — they're free. receive doesn't simply ask for a bank dump is obvious when you go to use the Send function. This prompts for a patch patch name and indicating successful reception. The trans file and once you enter the name, it reads the file off the Patch librarians are true workhorse programs. Not as sexy disk and sends it to the VFX edit buffer. There is no option as full editors, they perform the basic but useful task of providing bulk or archival storage of your patches and se quences. ESQ-1 owners tired of using cassette tape and VFX owners appalled at memory cart prices have the for sending entire banks to the VFX, therefore, the Auto receive is obliged to load single programs as there would be no way to download a bank after it was uploaded. There is no support for transfers of presets. greatest need of a librarian, but even SQ-80 and VFX-sd owners can take advantage of librarians to provide higher density storage than their synth's own disk format allows or to easily rearrange the order of patches in banks. So let's take a look at three librarian programs, two for the Amiga and one for the Macintosh, and see how they shape up. VFXSYSEX is only one step removed from a generic bulk dump utility. However, since it is written in BASIC, the full source code is provided and the user is free to modify the code. In particular, it would be simple enough to automate uploading single programs, which is the most glaring omis sion. Since there is no provision for bank downloads, there is no feature for reassigning patch locations in banks, but 1. VFXSYSEX this can be accomplished in the VFX itself by downloading VFXSYSEX is a VFX patch librarian program for the Amiga written by Brien Roscetti. It is written in Amiga BASIC, so you must have a copy of BASIC to run this pro single programs to the edit buffer. The biggest flaw of the program is that it is time consuming if you need to do a lot of patch swapping. gram. The program will work with either the VFX or VFX-sd (and presumably the SD-1, although neither the It's certainly not going to excite any power users, but if you just need something quick and dirty or a program to tide author nor I has tested this). It is an extremely simple, no-frills program, and will not be mistaken for a commer you over until you can spring for a commercial cial product. Outside of the use of drop down menus, it is editor/librarian package, then this program fits the bill. For more information, write to: Brien Roscetti, 8 Oak Ridge not mouse-driven. Rd., Clinton, CT 06413. The two drop down menus are "Transfer" and "Files." The Files menu has two options, "Change dir" which lets you set a new default directory (the new default is immediately 2. ESQ listed on the screen). "List dir" simply lists the current Now, let's move over to ESQ, an ESQ-1 patch librarian pro gram for the Amiga written by Michael Black. This pro gram is largely mouse driven and has a good graphical interface. It works with the ESQ-1, ESQ-M and SQ-80, with one exception which we'll be getting to. default. One nit here is that you get a listing of all files in the directory, not just patch files. The Transfer menu has four options: "Receive," "Auto receive," "Send" and "Quit," the last being used to exit the program. Receive is used to upload a single patch from the On starting up, the program checks for the presence of an ESQ-1. If it doesn't find one, you are prompted to see if it VFX. After selecting receive, you are prompted to go to the VFX and manually send out a single program via Sysex. When the program is received, the patch name is read from is connected, turned on, and set to the correct MIDI channel with Sysex enabled. Once it finds the synth, you are the Sysex file to provide a name for the disk file, and the patch data is saved to disk for you. Auto receive is used to provided with two windows, each covering about a third of the screen. The left window is labelled "ESQ-1 Bank" and upload the internal patch bank. Unfortunately, it is trans ferred as sixty single programs. As each program is has three buttons, "ESQ Voices," "Send Voices" and "Save Voices." The right window is labelled "Amiga Bank" and 10 also has three buttons, "Load Voices," "Send Voices" and "Insert Voices." Below the ESQ-1 Bank window are two more buttons, "Get All Seq" and "Send All Seq." which is a good amount for such a simple program. Instruc tions for installing to a hard disk are included. Overall, this program is easy to use and has all the essential Click on ESQ Voices and after a few seconds, you will see features that an ESQ-1 owner needs for bulk storage. If the 40 internal patches of the synth displayed, in rows of you're in need of a librarian program, I certainly recom five. The author has conveniently added the markers for the internal subbanks 1-4, so that the window looks like the Black, 1380 Croftwood Drive, Melbourne, PL 32935-5512. ESQ-1 display copied four times. Clicking on Save Voices will open a file selector window and prompt you for a file name. After supplying the name, the bank is saved to disk. Moving over to the Amiga Bank window, clicking on Load Voices will open a file selector window, and you can pick the file you just saved. A few seconds later, the patch bank is displayed in the window. Clicking on any single patch name in the window will highlight the name. Go to the ESQ-1 Bank window and click on a name there, then click on Insert Voices and the patch in the Amiga Bank is trans ferred to the ESQ-1 Bank. Using this three step operation, you can quickly rearrange the ESQ-1 Bank to your liking. When completed, you may save the new ESQ-1 Bank to disk with Save Voices or send it to the synth with Send Voices. Using Send Voices from the Amiga Bank window transfers that bank to the synth. There is no option for transferring single patches. The only way to get a single patch into the synth is to upload the cur mend this one. For more information, write to: Michael D. 3. Q-LIB Q-Lib is an ESQ-1 patch librarian for the Macintosh written in a language called MlDIBasic. MIDIBasic is a product of Altech Systems and they wrote Q-Lib as a demo. There are two basic types of transfers possible, direct-to-disk or windowed. Direct-to-disk transfers move files between the ESQ-1 and Mac without using windows. Windowed transfers allow you to view the file contents on the screen. Sequences may not be transferred in windowed mode. There are a variety of cut and paste options for manipulation of the windows. The patch bank window shows the forty patches, grouped in tens. At the bottom of the window are two command boxes, "Load from ESQ" and "Send to ESQ" separated by a box showing the currently selected MIDI channel. There are four pull-down menus along the top of the screen rent internal bank, insert the single patch, and download the bank. If there is a bank on disk which you would like to used to operate the program. make changes to, you have to download the entire bank to the synth and upload it back again in order to rearrange Under the File menu, the usual open, close and save options patches. In fact, you can't do any manipulation of patch are provided. This menu also is where the MIDI port is con puter and powered on. names of the patches in a bank) is found. The procedure for sequence storage is straightforward. Clicking on Get All Seqs opens a file selector window and prompts for a file name. Once the name is entered, the se The Edit menu has the cut and paste controls. Within a win figured and the print command (used for printing out the banks unless you have the ESQ-1 hooked up to the com dow, patches are selected by clicking with the mouse. Once a patch or group of patches is selected, they may be copied from one window to another. This makes moving large quence bank is uploaded and saved to disk. Clicking on groups of patches from one bank to another quicker than Send All Seqs opens a file selector window and after a file is elected, downloads the sequence bank. This feature will most other librarian programs I've used. Cut and paste is also supported, allowing the user to remove a patch from not work with the SQ-80 in the current version because of the differences in the dump request messages and dump for mats (the author tells me that he is working to add support for the SQ-80 in a future version). There is no provision for one bank and relocate it to another. The Direct Transfer menu is where all transfers are con trolled from. You have the option of moving patch banks, transfer of single sequences. single sequences or all sequences. Single patch transfers are not supported. The direct transfers may use a different Absent from the main screen is a way to change the MIDI MIDI channel than the windowed transfers, if desired. As channel or specify directory paths for the patch and se with many public domain librarians, Q-Lib does not support all sequences transfers with the SQ-80. quence files. The defaults may be set up prior to starting the program or you may take advantage of the Amiga's multi tasking to open a new CLI window and enter new values. The Options menu allows you the choice of storing files in either the Ensoniq Standard Bank format or MIDIEX for- The program comes with three pages of documentation. 11 mat. Since MIDIEX is used by some other librarians (notab ly ones for the IBM- PC) this can be a help if you do a lot quite fast and works flawlessly. I can heartily recommend it to Mac owners. For more information, write to: Altech Sys tem, 122 Paries Industrial Park Drive, Shrevesport, LA of patch swapping with other users. 71106._ The program limits the user to having only four windows open at a time, not a major limitation. The icons are Bio: Brian Rost spends his evenings either hunched over his SQ-80 or playing bass with the HUBCAPS, a Boston-based roots rock band. To unwind during the day he designs com designed to help distinguish between file types. The "three note" icon is used for all sequences files and the "single note" icon is used for single sequence files. Patch banks using MIDIEX format are clearly marked. puters. Despite being written in a variant of BASIC, the program is Using the SD and VFX to Create Scary and Frightening Sound Effects Joe Travo I guess it would have been more timely to have this article here. Once I had a pretty good sense of what type of sounds I written in time to get published in the August or September issue (for Halloween), but like everyone else, I got involved needed, I started going through the sound banks on the VFX, in actually doing something, and then when it was finished tened, I also checked out the various modulation sources, listening for sounds that resembled my wish list. As I lis and all the bugs are worked out, I thought, "Hey, Joe! This since the filter or mod wheel can make a substantial dif would make a great article for the HackerV So, in addition to ference in the way a sound comes across. As I did this, I Halloween, this project would work well for scoring for hor catalogued the sounds and noted the modulators, patch selects ror films, or even as a joke soundtrack for a home video and key zones etc. that made the sound do what I wanted it project. to do. One day in early October my seven-year-old daughter came home from school and announced that in addition to going Here's my list of haunted house sounds and their modulators: trick-or-treating on Halloween, she also wanted to turn the garage into a haunted house. Paper bats and skeletons and Patch Modulator ghosts and jack oTantems would set the proper mood. Being an amateur musician and hacker, I immediately thought — sound effects! Being a musician who grew up in the '60s, I also thought — psychedelic lighting! — but that's another AMEN CHOIR Pitch Wheel (Up) * * PSYCHO STRINGS Pitch Wheel (Up & Down) * * OCEAN CRIES None * * OCEAN CRIES Modwheel (Center Pos.) ALL story. STEELDRUM&SURF None »0 STEELDRUM&SURF None Like most other sound-based projects, I knew what I wanted, but not exactly how to get it. I guess with a sampler this 0* CATHEDRAL/ORGAN V BED None 00 PLAY ONE NOTE None 00 might have been easier, but I still figured L could get a good RITUALS None A I T M O N S TA H Modwheel/Pitch Wheel ALL result armed with my original VFX and some other equip ment, like a dynamic microphone, effects box, and a Patch Select a DRONE WEST Modwheel (Up & Down) A a ELENCANTO None A a TRANSVOX First I watched a couple of old horror movies. (Not monster None A a S U P E RWAV E Volume Pedal (Up & Down) 00 movies, horror movies. There's a subtle difference between CLOCK BELLS the sound track that accompanies Godzilla destroying Tokyo Modwheel (Start Up, Go Down) 00 BASIC SPACE(octaves) Modwheel(Up & Down)A'ol. Pedal Modwheel (Center Pos.) 00 SPACE GUITAR ALTEREDRUMS(heartbeat) Modwheel (Up & Down) four-track. Here's what I did. and the one that backs up the ghouls in "Night of the Living Dead," and we were definitely going for ghoul-type sounds 12 A 00 a All the sounds listed are available "stock" for the various siderations, I was able to do two or three voices at a time with models of VFXs except for the last three. BASIC SPACE is a guitar-bed-type of sound with screaming feedback, SPACE GUITAR 7 is a very usable synthesized-guitar patch with some reverse looping and good effects (available from Dr. Brad Kaufman, xxxxxx), and ALTEREDRUMS is a modified drum kit that uses a big reverb and some low-pass filtering. The MODWHEEL gives it just enough motion to imitate Frankenstein's heartbeat when played with velocity and my right hand while controlling modulators with my left hand MODWHEEL motion on the second beat (12/12). While there was no clipping. After I completed the three "in making my list, I noted a couple of other things, like if I wanted to use a particular note (E flat for the heartbeat) and strumental" tracks, I listened to the whole twenty-two minutes and decided where and what changes needed to be made before mixing to a stereo cassette. If a passage was too dense, I cut the volume on one or two tracks while re-record ing. If a part was too thin, I added some big reverb, or some EQ on the bottom to beef it up. I also learned a lot more about the use of my Midiverb because I frequently changed effects in mid-track to change the feel of the sound. Since I wanted a solid horn of these sounds, I went through the entire what the sounds were supposed to emulate. (STEELDRUM & SURF does a great imitation of bats when you play high notes staccato with PATCH SELECT *o.) Now that you've got your sound palette selected, it's time to actually do the work. Before I did any of the synthesizer tracks, I decided to do some live sounds to add to the realism of the sound track. I got a good omnidirectional dynamic microphone, plugged it into my mixer, and ran the signal through my Alesis Midiverb. You'll want to try out the various effects, but I discovered that LARGE HALLS and LARGE ROOMS worked best for the type of overall sound we were going for. This is no time to be shy about the effects, either. Crank them up as much as possible just short of un manageable distortion. I also used my control room speakers to monitor although this probably isn't something you'd want to do when recording music, I found that the sound that and feet. I repeated this process on each of the remaining three tracks, building as I went, making certain that the sounds I used fit well with the live sounds we had already recorded. I wasn't real concerned with volume levels at this point, I just made sure that there was enough sound getting on the tape, and that twenty-two minute four-track tape almost three complete times, changing volume and individual track effects each time to keep it from being too repetitive. That's one of the things I really enjoy about doing a project like this direct-to-tape — you can make it up as you go along. To do this, though, a good deal of preparation is necessary, and keep that pencil and paper handy for notes as you go along. For those of you who don't have a four-track, I'm sure you leaked back into the mic from the speakers created some can easily re-create my results by simply sequencing your synthesizer sounds and THEN doing the live sounds and a d d i t i o n a l u s a b l e e ff e c t s . screams and stuff, going directly to tape with the sequencer Now, for the live sounds. Every haunted house has to have rattling chains (put them in a metal pail for better sound), screams, banging doors, footsteps (on the stairs works best), playing while you "perform" live into the microphone. You'll need to watch volume levels and effects a bit more closely, but it's certainly do-able. animal noises (our dog wouldn't cooperate), and someone to do the always popular "Dracula laugh" — wha-haa-haaaaThis kind of project can give you some good insight into what your equipment can do, and help you look at things with Haaaaaa-HAAAAAAAA!!!!, as well as groans, moans, shrieks, and whatever else cranks up your adrenaline. (This live recording can be pretty tiring for your family, so try to get it done early in the process, and don't worry about little mistakes. They'll sound fine in the mix. If you have children, a different perspective. Most of all, though, it's fun. h have them help. They'll come up with stuff you'd never dream of.) We recorded the vocal (live) track first, using a four-track on Bio: Joe Travo is Manager, Sales Tr a i n i n g a n d D e v e l o p m e n t f o r double speed, so we produced about twenty-two minutes of Wausau Insurance in Wausau, Wis the above sounds on track #1. Later that night I listened to the consin and a part-time musician and track and tried the sounds listed above to see what went well. arranger. Although he enjoys living in the Midwest with his wife and six-year-old daughter, he misses his Los Angeles-based band, "The Four As I found things I like, I set up PRESETS of three sounds each. (I didn't actually set up permanent PRESETS, instead I chose my three patches, then went into PATCH SELECT or KEY ZONE or some other "operation" page that let me dis Seizures." He also misses his father, who recently passed away. play the three chosen voices.) Since these were mostly "big" voices, and since precision and harmony were not prime con 13 How Sounds Work Part II: SQ-1=B-3'® Mark Clifton Hope most of you caught my articles, "SQ-l=B-3" and tic way, with sine waves. With the modwheel in the down "SQ-l=B-3 a few months back, in which I explained how position, it plays drawbar setting 888800000, but in the up to create monstrous, man-killing Hammond B-3 organ sounds. As a little follow-up, I now present to you two SQ-1 patches that illustrate some of the techniques that I covered in position it shifts the tuning of oscillator 2 up an octave to yield setting 808880000 for a more jazzy feel. Oscillator 1 simulates the 16' (sub-octave) drawbar with a sine wave tuned down one octave. Oscillator 2 simulates the 5-1/3' (5th) drawbar with a sine wave tuned up a fifth. Oscillator 3 uses the "1+2 Harmonics" wave, which is two sine waves playing in unison an octave apart, to cover both the 8' (unison) and 4' (octave) drawbars. To create the ever-so-popular 888000000 those articles. The first one, from Volume I of my Latter Sounds, "Hard wire," collection (I love plug-ops), is B-3 4 (distinguished by its creative title). This particular patch displays most of the elements that make up a good Hammond organ sound. Oscil drawbar setting, replace the "1+2 Harmonics" wave with lator 1 covers the main body of the sound. It uses the "Organ Variation 2" waveform, which simulates drawbar setting 888000000, a popular setting widely used in comping and "Sine." Key click and percussion are absent from this patch because of a lack of oscillators to accommodate them, but you can create separate patches for these effects and layer rock music. The pitch vibrato provided by the LFO has been tweaked to taste for this particular sound. The AMP envelope them together as a preset with "Additive B-3." There is a delay programmed into the sound, though, mainly for authen ticity and convenience when layering. is set to full attack and sustain with a short release time to provide a pop on key-up with simulates key click. There's no velocity sensitivity programmed since this feature is absent on the B-3. All of the programming on this patch is pretty bare-bones, and should serve as a template for your B-3 sounds. Fancy programming and extensive modulation rout And now another cool tip before I go. To simulate realtime drawbar control through MIDI, create a string of patches that each use a single separate sine wave to simulate a drawbar frequency. Assemble the patches into a preset and assign each track its own MIDI channel. Then, layer them together ings can quickly kill a good organ sound, so keep it simple. time so that only a small pop is heard. I like to use this wave because it gives the key click a slightly gritty sound, but vir and use an external controller such as a MIDI fader (like the LexiconMRC) or the data sliders on a controller keyboard to modulate the volume of each track through MIDI controller #7. That way, you an bring certain drawbar frequencies in and out by moving the sliders as if you were pulling drawbars tually any percussive waveform will work. If tuned up a few on a B-3. Oscillator 2 provides a key click on the attack by taking the "Noise Loop" wave and giving it an extremely short envelope octaves, most percussion waveforms, from Claves to "Synth Snare" sound pretty much alike and will all work just as well. Well, enough B-3 fun for now. We don't want anybody to I gave this voice a low priority since it's one of the more sub hurt themselves, do we? I'll be back in the next month or so tle aspects of the sound, and shouldn't eat up polyphony since it would probably be covered up in a dense arrangement to explain how to get the most out of your 16-bit piano waves (you did upgrade, didn't you?), h a n y w a y. Oscillator 3 gives a key percussion sound on the "Second" setting, that is, tuned to the fundamental, and with a short Bio: Mark Clifton is a player and composer of Jazz, New decay time. Oscillators 1 and 3 are both delayed a few mil Age, Orchestral and Rap (yes. Rap!) music and an aspiring liseconds to simulate the fact that the sound doesn't kick in Cyberpunk writer who also wouldn't mind going into sound until the key click has decayed. This lag in attack time is a design or film scoring. His favorite color is the infinite, subtle but important element in the overall B-3 sound. Com star-speckled blackness of space. bined, all three voices yield a very popular and widely used sound. The second patch is "Additive B-3" from the same volume of the collection. This patch constructs a B-3 sound the authen 14 SQ-1/2 & KS-32 Prog: Additive B-3 By: Mark Clifton Notes: The modwheel changes drawbar setting. The modpedal controls Leslie. WAV E SQ-1/2 12 3 & KS-32 LFO 12 Prog: 3 B-3 Notes: The modwheel controls Leslie. 15 AMP 4 1 By: 2 Mark 3 Clifton Ll Oemny Master Jasgcr Violin Library ^ This library Kas set a new standard for sampled strings. This CD-ROM contains over 300Mb of the i most realistic violin samples ever created. Heavy Hitters Greatest Hits 3tK) Mb of drum tones of Alan White, Tommy Lee, and Jim Keltner. Soft/Hard/dry/ambient hits! Recorded at A&M Studios, Power Station, Music Grinder and Ckean Way. $149.00 Master Master Studio Volume 1 Collection Tins Incredible cdUection contains rare and ethnic instrunoents such as Perdan santur, bowed psalt^, zither, taiko drums as well as pianos, ba^ guitars and many ttsefulSFX. Over 300 Mb. Studio Collectlon/Sonic Images Library/Floppy G Rack ]|fes4er Studio Collection: Funk Bass (3^ blks), Low Bones (3571 blks) Steel Drums (2299 blks) Orchestral FX (3823 blks) Bri#t Guitar! (3758 blks) BeU Strii^ (3506 blks)17 floppy / disks, over 9 Mb. S o n i c I m a g e s Vo l u m e 1 & S Volume 1 is a collection of ethnic percussion, drum kits, pianos, and musical/percussive stingers andcues. Over 200Mb $349.00 Volume 2 Stack Sounds contains tastefully combined choir, piano, synths and strings in rich and interesting combinations which subtly change through time. Over 200Mb $34900 This complete flo|:^ cdQection for just ^79®®! . All CD-ROMs and floppies compatible with EPS, EPS 16 PLUS and the new ASR-lOU! Ognatek CO'ttOM Drive Desktop Sony CD-ROM drive instantly hooks up through your SCSI port. Compatible with all CD-ROM supported samplers, Macintosh and PC computers. $79500 P. O . B o x 1 0 7 8 AIVYCD-ROM DISCS * CD-RDM DRIVE FDR aam*" Aptos, OA 95001-1078 TEL: 408.688.9524 VISA/MASTERCARO ACCEPTED FA X : 4 0 8 . 6 6 2 . 8 1 7 2 Along The Event Horizon Exploring the VFXsd and SD-1 Event Editor - Port I Robby Berman Anybody who wants to use their VFXsd or SD-1 sequencer to anywhere near its fullest potential has to eventually come to grips with its slightly frightening, fantastically helpful event editor. It's your key to opening up a great big microscopic new world. In the sd/SD synths, access to the event editor is under a soft button labeled "Event List" — apt nomenclature, and here's why. Everything you record into your sequencer is called an event. When you play a key from the keyboard, that's an event. When you twiddle the mod wheel, that's an event, and so on — literally everything you do constitutes an event (and you didn't think it was such a big deal). An event editor is simply a place where all those events are listed on a screen for your perusal and manipulation, one track at a time. Create a new sequence and, using STARBRASS from bank four of the factory ROMs, record a 4-bar track employing TIME field and it tells you in bars, beats and MIDI clocks where the event currently displayed is located in the sequence (the event list for song tracks also tells you where you are in the song). You can use this portion of the display to jump to any spot in the sequence (or song) simply by pressing the soft button above it and using the data entry slider and incre ment/decrement buttons to dial in the bar and beat you want to visit. But ya don't have to do that now. In the lower left-hand corner is the event number field. This is simple enough. This being an event list, the items on the list are numbered in the order that they occur (don't ask about simultaneous events, wiseguy, I don't know how Ensoniq decides who gets which number in such circumstances). If you have no particular place to go in a sequence, or don't know where you're going, you can scroll through a track's events by incrementing this field one step at a time. You can scroll backward, too, if you're not sure you can believe what some mod wheel moves here and there. Once you've got that you just heard. together, press the Track button in the Edit section on the face of your sd/SD. Press the soft button under "MORE" on Speaking of which, the intelligibility of what you hear while the screen and then the button under "EVENT LIST event editing depends on what you have the EVENT-TYPE Well, now, here we are. There's a fair amount of information in front of you, but it's really not overwhelming once you ample, SUS events (sustain pedal moves) and you didn't put the pedal to the metal until bar 3, scrolling to the first SUS know how to break it down. In the upper left-hand corner, you'll see EVENT TYPE= FILTER set to. If it's set to filter out everything but, for ex event will cause all the notes that were recorded up to bar 3 to be expectorated in one big, ugly harmonic loogie. If, on the other hand, the filter is set to KEY, all your keystrokes will AT T.. What this means is that the beast is ready to display for go by in the right order and things wil sound nearly musical, you absolutely all the events contained in the track. That can be a lot of stuff. To start with, it'll show keyboard keystrokes what you've sequenced. and momentary maneuvers like sustain pedal presses and patch select touches. More awesome to witness are the event The middle of the bottom line shows the word EVENT fol ments, key pressure and mixdown changes. These are called the current event number refers to, and its numerical value. streams left by things like pitch bend and mod wheel move continuous controllers, referring to the fact that they're not on/off situations, but rather modulators that are gradually (or not so gradually) applied in degrees — such as when you move the mod wheel forward. The sequencer has to contin uously record its progress from zero to wherever you want and then back, recording many stops along the way as in dividual events. Don't worry: You can set this segment of the screen, called the EVENT-TYPE FILTER, to filter out every thing from the display that's not germane to a particular task. It doesn't remove anything from the track, just from view. with everything arpeggiated like a music box rendering of lowed by an = sign. This area shows you what type of event Generally, 000 is all the way off and 127 is all the way on. If it's a key event or a key pressure event, you'll also see the relevant key number (C4 is Middle C, for example). If you should travel to a location within your sequence from the TIME field, and there's nuthin' happening in that particular spot, you'll see EVENT=***000. Unless and imtil you press the soft button under "EDIT," you haven't actually changed anything, you're just a voyeur in the world of data. That being the case, let's snoop around, shall For now, leave it as it is. we? The area in the middle of the top line of the screen is the Underline the event number field by pressing the soft button 1 7 under it and scroll through your track's events using the in crement button. What you'll see going by most often are key events. That lower middle field displays EVENT=KEY, then a key number corresponding to notes you played from the keyboard when you recorded your track and then a 3-digit the button over "DELETE" makes the selected event go bye-bye. Pressing INSERT will plant an event of the same type that the EVENT-TYPE FILTER is set to (in this case, a key event) at the time you see on the display. You can edit its key number or velocity just as if it had been there all along. number representing how much velocity you struck each note with. When you get to the spot where your mod wheel moves Try deleting a note, pressing EXIT and auditioning it — then began, you'll see EVENT=MOD., followed by 3-digit num bers starting low and moving higher as the wheel was pushed forward (and lower as it was pulled back). Psychedelic. Note note and audition it (pressing EXIT twice this time) the same press Stop/Continue and EDIT EVENTS. Set TIME to 1.01.01 and select EDIT to come back in. Now try inserting a that any other controller moves you might have made when w a y. you recorded the Uack are now showing on the display as you In the lower middle of the display you see the word "AT" fol lowed by a bar/beat/clock position. This is our (and our note's) current location in the sequence. You can move the note somewhere else if you'd like. Simply press the middle scroll past them. A listing of the abbreviations for all of the event types can be found on pages 12-15 in both the VFXsd and the SD-1 Musician's Manuals. Okay, that's about as much fun as we can have on this first event editor page. Before proceeding, let's first narrow our scope for the remainder of our expedition by changing the EVENT-TYPE FILTER to KEY by pressing the top left soft button and the decrement button once. This means that from now on we'll just be dealing with notes played on the key board and their velocities. We could have set the filter to any kind of event but this one's the most commonly used. Set the TIME field to 1.01.01 to get us to the top of the sequence. We know dam well what happens when we press the soft but ton over "EXIT," so let's go right to the other option — " E D I T, " This button might as well be labeled "ACTION" because we are now where it is (at). Let's start with the familiar-looking lower left-hand part of the display (which closely resembles the lower middle area of the last screen). But there's a big difference — you can now change both note number and velocity values. If, for example, you played a solo and wish you'd started it on a B instead of an A, here's where you can change it. Underline the note number and play the B on the keyboard. Did you hit the note too hard or too softly when you recorded your track? Just underline the velocity number and tweak it up or down. Go ahead — change a note and its velocity — you'll have a chance to audition it before you keep it. Now press the button above "EXIT" twice and press PLAY NEW TRACK to hear what you've Just done. Since we've got more exploring to do, press Stop/Continue and then select EDIT EVENTS on the screen. This allows us to do more event editing before coming all the way out of this bottom soft button and you'll be whisked to another screen where changing the time value will move your note to whatever time you set it to read. Set it to 1.02.01 to move it to beat 2. Press EXIT twice, PLAY NEW TRACK, Stop/Con tinue and EDIT EVENTS. Scroll down to the first key event and select EDIT. Pressing DURATION from the second EVENT LIST screen takes us to the last page of tonight's event editing story, children. We've already discussed how to change where a note starts — how about having the ability to change where it ends? This page allows us two ways to accomplish this, depending on whether our noggins are half empty or half full. By pressing the soft button in the middle above the display and adjusting the bar/beat/clock values of END TIME, we can determine where we want our note to end. On the other hand by pressing the middle button underneath and altering the beat/clock values, we can indicate how long the note should last. Same difference really and changing either part of the screen updates the other. Set the upper field to 4.04.96 to get this first note to run the entire length of the sequence. Press EXIT twice to audition and this time you KEEP NEW or KEEP ORIGINAL and then go take a nap 'cuz we're done f o r n o w. Oh, wait, finish reading this paragraph first. Part 1 of our event-filled trip has, of neces sity, had to focus on the hows of event editing — next time we'll discuss the whys and whens. I promise we'll get to the fun part. mode and puts us back on the first EVENT LIST screen. Note Eventually, of course, h that you can't move around in your sequence from the edit pap we were just on — you can only do it from this one. Using the NUM field, scroll downward to the first key event. Press EDIT. Now you're back to page 2 and ready for more, Bio.: Rob by Berman is a yes, action. musician living in America's queasy mid-section. If his SD-1 doesn't get him, the coyotes There are other things you can do from this screen. Pressing i surely will. His latest album is "Rings and Rings." R e v i e w : S L - 3 Vo c a l s f o r E P S s / A S R - 1 0 To m S h e a r of this sound, however, was the *0 patch which crossfades the For: EPSs and ASR-10. Product: SL-3 Sound Library, Vocals. Price: $39.95. From: Ensoniq Corp., 155 Great VaUey Parkway, Malvern, PA 19355. Phone: (215) 647-3930 or contact your local Ensoniq dealer. One of the great things about sampling is that it opens doors that may have previously been closed to those of us who don't have Michael Jackson's recording budget. In the pre-sampling days, most of us would only have been able to dream of having a horn section backing our song, or all of that African percussion on our new dance track, or for that matter, sampled dog barks to drive the neighborhood canines nuts. The fact of the matter is, we do have sampling today, and what it allows us to do is fantastic. Let's say you're working on a new song and there's something missing from two sounds into OOOAHHH and AHHHOOO sounds. The effect is hard to describe, but it's very cool. It sounds like one of those unusual sounds you might hear in a movie sound track. R0CK-V0X-2(1571 Blocks) As the manual says, "A mirror image of ROCK-VOX-1. Only the vowels have been changed to protect their identity." This time the keyboard is split between an Aay and an Oh sound. Most comments regarding ROCK-VOX-1 apply here, includ ing the cool *0 patch select. A demo demonstrates both ROCK-VOXes together. I should comment that for the first time, I really enjoyed listening to the demo! It's a short piece with a blues-meets-quasi-classical sound to it (huh?). it. Your vocals sound okay, but it sure would be nice to have CHOIR-VOX (312 Blocks) some backing vocals in there, wouldn't it? But, of course, you only have on track left and you never could sing har monies very well... what to do? Well, one possible solution would be to buy Ensoniq's 5 disk set of 16-bit vocal sounds. A low memory choir sound that is a dead ringer for the types of Fairlight vocal sounds new age-er Enya uses on her albums Let's see what we have here... HUGE AHHS so much. This sound is much softer in tonality than the others. Again, that annoying loop problem is present, but I guess these sounds are really meant to be played in chords where the problem is not very noticeable... SIRENS (447 Blocks) and MONKS (370 Blocks) Talk about an understatement! This sound weighs in at a hefty 3339 blocks which makes it much more suitable for Female and male variations on the breathy choir type sound. studio work than live performance. This is basically, no Both are very moody and pretty and are good all-purpose shock, a big sounding vocal ahh sound. I found that if I choir sounds. Again, Enya comes to mind. played single notes, the loops were very noticeable, not in clicking or wobbly pitch, but in rather erratic, repeating volume changes. The problem wasn't as obvious when I VOX-WAV E-1 (41 Blocks) and VOZ-WAVE-2 (39 Blocks) played big chords, but one would think that one with the resources to sample a vocal ensemble would also have access These two sounds provide an example of what can be done creatively with vocal waves when you delve into those syn to a visual editor that would allow volume smoothing or some similar remedy. Aside from this though, this is a great sound reminiscent of sounds from much higher-priced machines. thesis parameters. The first comes across as a hybrid of a ROCK-VOX 1 (1525 Blocks) teresting pad sound with a smooth, breathy sweep fading in. human voice, an organ, and a harp. The second is a very in I'll definitely get a lot of use out of this. Another very nice sound. This gives two and a half octaves each of Oo's 'n' Ahh's. Again the samples are very clean and lush sounding, but loops are still audible on soloed notes. Careful arranging can help you get around this problem though. I was able to get some pretty nice a capella jazz times So what's the word? Well, those looping problems really did get to me, but having sampled my own vocals before, I know what a painstaking (and in my case, painful...gotta spring for those singing lessons...) process it can be. Getting a good loop on such a complex sound is a trick. Overall, if you stick to playing chords you shouldn't be bothered by it. Of course out of these sounds, which also reminded me of the lush backing vocals the Cars always used to use. My favorite part 19 those 16 bits give the sounds a fantastic sounding sheen that may make you think you've accidentally traded your 16+ in for a Synclavier or Fairlight. Before I go, I'd also like to anyone who wants great sampled vo cals and a high-tech sound should thoroughly enjoy these sounds, mm mention the helpful programming tips Ensoniq provide on the inside of every SL set box which tell non-programmers how to customize their sounds easily (how to make the sound darker, higher, change the range, etc.) This will be of great help to novices and should not go unrecognized. Bio: Tom Shear has had it up to his If you do new age or soundtrack music, you're committing a keister with the "Shear energy" jokes. crime by not owning these sounds. But probably just about Redshift - The Privatlabel Collection for the SQ-80 Michael Mooney owners here) or a monster guitar patch to replace that egomaniacal twit of a guitarist in your band (damn). What you Product: The Privatlabel Collection — SQ-80 Sounds. For: SQ-80 — disk or Galaxy format Price: $32 — California residents add 8.25% sales tax. will find are nicely crafted sounds that deal with the SQ-80's From: Redshift Limited, 4804 Hollow Comer Rd, Ste. 126, Culver City, strongest suit, synthetic timbres. CA 90230. Phone: (310) 558-1656. Right off the bat, in a collection of this size I'm suspicious about how many of these sounds utilize the SQ-80 exclusive "120 handcrafted, seriously musical sounds...No effects, no waveforms. Well, about three-fourths of them do and the ones that don't are creative enough that you don't care. On more than one occasion I was fooled by a sound that I thought couldn't possibly be made of entirely ESQ waves filler, no buzzes or doinks." What's this? Another new SQ-80 voice collection? What year is this anyway? Have I timewarped back to '88? — am I ac but, in fact, was. Kudos to the programmer, Sam Caraway — this demonstrates a commitment to quality programming. tually in my mid-twenties? — do I still have most of my hair? Alas, no. It's 1993 and while the aging process rages on, the good news is that Redshift has made available to us SQ-80 aficionados a new voice collection to sink our long teeth into. Seems like this is happening more and more lately — I'm not sure why there's this apparent resurgence in SQ-80 program ming but after years of dormancy, all I can say is "Bravo and As a general note, many of these sounds take a little time to develop, so judgement shouldn't be passed on them too quickly. Some envelopes require 15 or more seconds to fully cycle and reveal themselves entirely. And it does take a bit of effort to explore all the modulator possibilities (cv, mod what took so long?" wheel, pressure and velocity) in order to get the most out of the sound. But I found that the exploration itself was interest The PrivatLabel Collection is a well-packaged product that ing and may provide an excellent tutorial for new program contains 3 volumes of 40 sounds with an informative and m e r s . humorous guide to modulators and applications. Perhaps a few demo sequences would've been helpful but, even so, the Vo l u m e 1 manual is well-detailed so you shouldn't miss them too much. The very first sound, HAMMERD, is an excellent example of The 3 banks themselves are not categorized in any particular the depth of creative programming involved here. From the name you might assume that this is supposed to be a ham mered dulcimer patch. It's actually somewhat more than that. order. They contain mostly synthesized sounds with a few imitative patches of organs, electric pianos, and analog synths mixed in. Yes, there's a metallic synth pluck attack but it also incor porates a voice wave to form a unique hybrid that works in No, you won't find a grand piano or drum kit or orchestral strings to replace your ASR-10 (huge sigh of relief from ASR multiple ranges and applications. Also, as in many other of these sounds, a sense of motion is generated via the mod- 2 0 well with chords as a unique detuned synth ulators. The mod wheel, rather than act as a seasick vibrato, opens up the stereo imaging while aftertouch provides a slight detuning. Great stuff. Another standout in this volume is FLITTER, a light sustaining pad with a sample/hold LFO percolating in the background. It's deceptively simple but very effective. And check out LOREI, a lyrical airy synth best suited for melodic leads. STARRY, MISTS, and MORNIN — Unique atmospheric type synths As a reviewer, I'm hesitant to soimd so unabashedly enthused about a particular collection. It might tend to call one's credibility into question. And while the PrivatLabel Collec tion does have a few minor flaws (the lack of demo sequen There really are too many interesting sounds to list them all in detail so I'm just going to highlight a few from the remain ing banks. ces and a bit too many older analog emulations for my taste), there are so many interesting sounds here that I'll allow my self to beam enthusiastic approval. Given that each volume is under $11, you've got yourself a heck of a value here. Volume 2 I've paid far more for sounds that I've been far less im pressed with. I don't think you can ask for much more than HWYSTAR — A very good distorted organ ala Jon Lord AQUABEL — A shimmering synth bell t h a t . ■■ REDSUN — A sustaining analog synth with pressure opening the filter KIRI and RAINY — Both excellent synth plucks 10 — A resonant synth with breathy sweep Vo l u m e 3 WALLS 2 — Another resonant synth pluck MAITAI — Intended as a synth mallet drum but also works w L. B. Music Sequences TURN YOUR MIDI SEQUENCER INTO A From the "I-Just-Wanted-To-Let-You-Know Department" HH SONGWRTTING MACHINE WITH "You guys are great." l.m. "I love your sequences." b.m. RHYTHM PATTERNS! BACKGROUND Now with just the touch of a button you can "Keep them coming." s.y. "I've tried other companies and keep coming back to you guys." g.m. "It's like your ad said, I just loaded the disk and hit play." ajl. "It's true, I only had to learn the lyrics!" b.g. have the perfect rhythm track to use for creating your original songs, jingles, and soundtracks. This innovative program offers over 180 professionally arranged background accompaniments that will help to get your ideas flowing to the top of the charts. A variety of musical styles are featured: Why not give L. B, Music a try and see why so many people love our sequences — and keep coming back for more! I R O C K L AT I N J A Z Z C&W BALLADS R&B BLUES FUNK N O V E LT Y A N D M O R E ! Ensoniq; EPS/EPS-16 PLUS/VFX-sd/SD-1/32 Korg; T-Series/Ol/WFD Roland: MC50/300/500 IBM & MAC: SMF (Standard MIDI File) Alesis Data Disk/Proteus/Dedicated Sequencers Order Line; 1-800-3LB-MUSIC Tech Support: 215-356-7255 FAX: 215-356-6737 • Sounds 100% real! All .sequences were played in real time. • Chord chans provided for all of the sequences. • Excellent for learning how to arrange and pby all style.s of music. • Works with any midi set up that can produce drunxs, piano, ba.s.s, and guitar. Type 1 midi file format for all computer sequences. AVAHABLE DATA FORMATS: MAC, IBM, ATARI, AMIGA, Roland MC300/500/ MC-50/MV-30/W30 Ensoniq SD-IATX-SD/EPS/ SQ-80 Yamaha SY77/SY99/QX3 Korg T-Series/Ol/WFD $49 .95 L. B. Music Sequences VISA AND MASTERCARD ACCEPTED 51 Charter Oak Drive, Newton Square, PA 19073-3044 NEW SOUND MUSIC P.O. Box 37363 ^ Visa ^dasterCa^ 21 Oak Park, MI 48237 Phone: (313) 355-3643 C l a s s i fi e d s EQUIPMENT Ensoniq EPS Classic with 2x expander in pristine condition. Home use only. lOO's of excellent sounds. All manuals and original box. $1000, Gary, 215-886-2976. Alesis MMT-8: $175, Yamaha QYIO: $150, Ensoniq Mirage DSK: $400. Call Bruce at house Sound, PO Box 18563, Boulder, CO Professor Longhair, James Booker, Dr. John. 80308- 8563. Ten for $30 + $2 P&H. Perfect for gig break - or fun. Check or MO to Joel Simpson, 902 EPS Samples: Disks of Bolivian and Indian instruments, invented instruments, prosaic 53703. You haven't heard these before! SUPERB EPS-16 PLUS SAMPLES of E-mu Excellent condition, used in church only. $800. 717-366-1300. Ensoniq EPS, 4x expander, SCSI port, 8-Out expander, 2000+ samples, origin^ manuals, hardshell case. Home use only. $1200. Ensoniq Mirage: $600. Phone: 815-282-4556. EPS-16 Plus with expanded RAM, OEX-6 Procussion, Minimoog, K-4, and more, from call (713) 965-9041. EREE updates! Send check/money order for $21.95 payable to Summit Computer Ser vices, 129 E. Colorado Blvd. Suite 400-T, SASE for free listing to: Syntaur Productions, 2315 Mid Lane #44, Houston, TX 77027, or Monrovia, CA 91016. Craig Anderton is having a mail-order "garage sale." MIDI gear, signal processors, drum machines, recording equipment, elec gans, shimmering EP's, punchin' basses, and wavesequences!! $25.00 each. Send check or tronic components, etc. Send self- addressed, stamped envelope for complete listing to: PO money order to: Pegasus Sounds, 6050 Adaway Ct., Grand Rapids, Ml 49546. Phone: (616) 676-0863. (Updated VEX-sd or SD-1 only.) USER GROUPS / CONTACTS I have a bank of 60 sounds to trade. VEX-sd disk. James Samp, 90 N Bell St., Eond Du to add to Dennis Cooke Library. Original sounds only. Will pay $! Send list to Dennis Cooke, 128 Greendale Cres., Kitchener, Midlcaster is still available. The way-cool operating system that turns your Mirage into a very capable System Exclusive data librarian, a 20,000-note sequence player, a disk copier/formatter, and wave-draw syn thesizer is still available for a limited time. Eor more information, or to order, contact Tim Martin, 1510 S 5th W, Missoula, MT 59801. Phone: 406- 542-0280 And thank you for your support. OUT-OF-PRINT BACK ISSUES Lac, WI 54935. M.U.G. will provide Out-of-Print issues for VFX, VFXsd, SD-1 OWNERS. Volume 1: 62 PD sounds, 20 presets, $12.50 disks. Lat ter Sound Productions, 1341 Westheaven Ct., cost of materials and postage. M.U.G. Hot line: 212-465- 3430 or write: G-4 Produc Tallahassee, EL 32310- 8629. Phone: (904) tions, PO Box 615TH, Yonkers, NY 10703. Attn: TH Back Issues. Phone: (212) 465- 575-5561. 3430. SAMPLES Wanted: samples for EPS-16 Plus & ASR-10 ing MIDI and pre-MIDI synthesizers and PAT C H E S / S O U N D S NEW SD-1 sounds from Eric Olsen! Volume 3 and Volume 4 are now available. Killer or synthesizers. Gints Stankevics, Bebru 2-2, Jekabpils, LV 5205, Latvia. The Complete Synthesizer and Sampler samplers for the past 20 years. Excellent for checking out used gear or the latest manufac turer's release. Specify Mac or IBM formats. without the keyboard), $250 each. 510- owners to trade sounds and work with the compatible. Call Bruce, 503-244-9616. recordings, $5.95 per disk, $5.45 each for six or more. Mirage Disk 1, samples from Mini moog, DX-7, and VEX, for $7.95. Send 548-6193. EPS. I can offer samples of Soviet analog Wanted: Mirage VES software for IBM-PC Database Program. BLUEBOOK is the comprehensive informational database cover VEX with cartridges, $600. Two TX7*s (DX7 Would like to correspond with other EPS SOFTWARE the Hacker's Sam Mims, $9.95 per disk. Post-production quality sound effects sam ples for EPS-16 Plus, all from digital source output expander and disk library, $1550. Box 966, Ukiah, CA 95482. Phone: 504- 943-7322. sounds, and the Recycle Orchestra. 9 Disks, 77 sounds, 308 patch selects: only $36. Bill Sethares, 622 N. Henry St., Madison, WI 504-751-2677. EPS with 2x expander & 100 sound disks. Montegut St., New Orleans, LA 70117. 60 VEX-sd patches created by Jim Grote. Wide variety of sounds with complete doc umentation. Call for free Information Packet, or send $30 for VEX-sd disk to: Jim Grote, Photocopies of out-of-print past issues of the Hacker can be obtained by calling Jack Loesch, 201- 264-3512 after 6 pm EST. Ontario N2A-2R6, Canada. 3721 Erances Ave., Cincinnati, OH 45211. Phone: (513) 661-8885. Eolks in the New York City area can get WHAT!?! You STILL haven't sent for Tom NEW SQ-80 SOUNDS from the Hacker's copies of unavailable back issues of the Hacker - call Jordan Scott, 212-995-0989. Shear's catalog of inexpensive 16-bit EPS/16+ samples? Moog, Oberheim, Prophet, Roland, and Ensoniq sounds professionally sampled for less than you'd expect Send SASE to: Tom Shear, 255 SmaU Rd., Syracuse NY 13210. Sounds for sale for EPS-16 Plus by original owner: Keel Classic Synth Library, 20 disks, $60; Metra Sounds, all library, $200. Package price negotiable. Yaroslav, 718-389-5054, 528 Leonard St. #3, Brooklyn NY 11222. MIRAGE SAMPLES. 57 new samples for $30. Most are unusual. 5 disks, $6 each (US funds). Demo $3. SASE for free listing. Tree- Sam Mims! Soundset 4 takes full advantage of the SQ-80's unique waveforms, and brings FREE CLASSIFIEDS! "hidden waveforms" to the SQ-80 for the first time. Also available for the ESQ and SQ-80 are Soundsets 1, 2, and 3. Eorty Well—within limits. We're offering free classified advertising (up to 40 words) to all patches per set, each with 22-page booklet of subscribers for your sampled sounds or patches. Additional words, or ads for other programming notes and performance tips, for $17.95. Send SASE for free literature. Syn taur Productions, 2315 Mid Lane #44, Hous ton, TX 77027, or call (713) 965-9041. products or services, are 25 cents per word per issue (BOLD type: 45 cents per word). Unless renewed, freebie ads are removed after 2 issues. While you're welcome to resell SEQUENCES RAGTIME AND NEW ORLEANS R&B SEQUENCES on SD-1, VEX-sd DISK: Joplin, Eubie Blake, Jelly Roll Morton, 22 copyrighted sounds and programs that you no longer have any use for, ads for copies of copyrighted material will not be accepted. Sorry — we can't take ad dictation over the phone! Jeffrey Rhoads SQ-1/2 & K$-32 Hackerpgtch By: Mark Clifton Prog: SQ RHODES wheel moves it up an octave (61 notes just isn't enough) and Notes: This is my own version of a Rhodes electric piano — the mod pedal controls the chorusing. and isn't meant to be an exact copy. The sound itself is pretty standard except that it fades into a soft choral pad. The mod 1 2 3 LFO Speed Initial 95 91 6 4 Noise Rate Peak 9 9 7 7 6 9 Wave Waveform Waveform Breath VocEns DlgPnoTneSlne Level Break 5 3 7 5 6 2 Delay Time 000 000 Delay Sustain 0 0 0 0 00 Forward MODSRC Attack 0 0 0 4 6 6 0 0 Wave 5 6 5 0 49 Off Restart Decay 1 Decay 2 51 7 0 3 2 Release 30 3 0 3 0 3 Ve l - L e v e l 33 1 9 3 3 1 2 3 S e l e c t Vo i c e O n O n O n Wave Class / AV E Wave Direction Start Index MODSOR MODAMT Restrk Decay ITCH Octave Semitone 000 . . LFO 1 2 3 - 2 0 20 20 F I LT E R 1 2 Filter 1 3Lo 3Lo 2Lo Ve l - A t t a c k 13 0 0 0 0 3 Filter 2 1HI I L o 2Lo Vel Curve Convex Convex Convex 1 2 -1 FC1 Cutoff 085 1 2 7 127 Mode Normal Normal Normal -1 -1 E N V 2 00 0 0 0 0 KBD Track +56 +14 00 0 0 0 0 0 0 FC1 KBD 0 0 2 5 Off Off Fine -04 0 0 0 0 ENV1 0 0 0 0 0 0 MODSCR +58 Veloc L F O MODSCR 0 0 0 0 0 0 MODAMT +15 Wheel FC2 Cutoff 000 070 065 +62 ENV2 0 0 0 0 00 O n FC2 KBD +06 0 0 0 0 FC1MOD-FC2 O n O n O n MODAMT KBD Ptch Track Glide Glide Time ENV1 ,MP Wheel ■t-62 O n Wheel +62 O n Off Off Off 0 0 0 0 00 1 2 3 ENV2 1 2 3 1 2 3 VOL 9 9 9 9 50 Boost Off Off Off MODSRC Off Off Off KBD Scale 00 0 0 0 0 Key Range Output Bus Priority C2-C7 C2-C7 C2-C7 FX1 FX1 Med FX1 M e d Pan 0 0 -42 +42 Vel window 000 000 000 >UTPUT MODAMT Med Initial Initial Peak Peak Break Break Sustain Sustain Attack Attack EFFECTS — CHORUS AND REVERB Decay 1 Decay 2 Decay 1 Decay 2 FX-1 4 6 FX-2 1 6 Release Release Decay time 40 13 Ve l - L e v e l Ve l - L e v e l Chorus Rate Ve l - A t t a c k Ve l - A t t a c k Chorus Canter 20 50 HF Damping Chorus Depth Feedback +12 Ve l C u r v e Ve l C u r v e Chorus Level 4 6 MOD (Dest) Level Mode Mode BY (MODSRC) Pad MODAMT +99 KBD Track KBD Track 14 3: VOL=72 and BOOST=ON. If you would like Voice 3 to fade in a Ut ile slower, in the Voice 3 Amp Section change INITIAL to 08, PEAK to 99, ATTACK to 59 and DECAYl to 99. (Sorry for all these changes, Mark, but mutilating a Rhodes patch is my The Hack: Another keyboard selection from Mark Clifton. This SQ Rhodes has a much brighter sound than many of the other Rhodes entries we've received. Couple that with the addition of a vocal pad and we're left with a patch probably best suited for New Age and soundtrack second favorite thing to do.) work. Jeffrey Rhoads But Voice 1 may seem too bright, obliterating Voices 2 and 3. Some ad justments to this patch's timbre and over-all balance seem warranted. Go to the Filter Section for Voice 1. Let the "tone" come from ENV2. Set FCICUTOFF to 0 and raise ENV2 to -1-25. Then bring FCIKEYBOARD to -f08 and set VELOC in motion by adjusting MODAMT to -135. Go to Voice 3's Pitch Section and give the VOC ENSEMBLE equal billing by Bio: Jeffrey Rhoads has been a keyboar- distlcomposer on the Philadelphia Jazz and R + B scene for a period of time resembling forever. He has an interest in cinema and has developed some film courses. Jeff still believes in magic and longs for city lights. changing the OCT to +0. Now it's time to even the Voice Balance. For Voice 1, in the Voice Output Section, change VOL to 88 with the BOOST set to Off. For Voice 2: VOL=72, BOOST=ON and for Voice Hackerpatch is intended to be a place where patch vendors can show their wares and musicians can share their goodies and impress their friends. Once something's published here, it's free for all. Please don't submit patches that you know to be minor tweaks of copyrighted commercial patches unless you have permission from the copyright 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. Pending Hacker-Requests: VFX/SD-1 - A piano patch better than the standard "Classic Piano." SQ-1 & 2/KS-32 - A "Harmon" muted trumpet sound, like the Miles Davis sound. 2 3 ESQ & SQ-dO Hackerpatch SQ-80 PROG: SYN 6 Guest Hacker: Charles R. Fischer OCT SEMI FINE WAV E M 0 D # 1 D E P T H M 0 D # 2 D E P T H 0SC1 - 1 00 00 SQUARE LFOl 0 S C 2 - 1 00 00 PULSE LFOl 0 S C 3 - 1 00 02 SAW +02 LFOl LF02 M0D#1 DEPTH M0D#2 47 ON LF02 -18 DCA 2 50 ON LF02 +18 DCA 3 52 O N ENV3 F I N A L V O L PA N DCA 4 1 " Syncing DCOs 1 and 2 together produces a composite wave form with a hybrid digital/analog timbre, while DC03 is detuned slightly for a chorusing effect. The filter and DCA en +4 6 velopes (ENV 3 & 4) were deliberately kept simple to better emulate the characteristics of the Juno synths. DEPTH VEL + 1 13 This patch sounds good with a little reverb added, and it works PA N M O D D E P T H LF02 08 FREQ RESET HUMAN LF01 2 3 O F F ON LF0 2 0 6 O F F LF0 3 0 2 OFF L3 other sounds in a mix. DEPTH Q KEYED M0D#1 DEPTH M0D#2 IS it has an analog warmth without being too fat to blend in with +20 +01 LEVEL OUTPUT 02 Syn 5 almost sounds like the Roland Juno-Series of synths, as +02 DCA1 FREQ FILTER 1 04 2 The Hack: By: Charles R. Fischer -35 WAV TRI OFF TRI OFF TRI LV T1V L1 L2 + 6 3 +00 +00 OOL + 63 +63 +63 16L 1 Li particularly well layered with other sounds — especially digi D E L AY 00 00 21 63 6 3 DO 2 0 63 63 L2 tal synths or samples. MOD WHEEL T1 T2 T3 T4 TK 00 00 12 45 04 00 00 00 32 32 10 00 Bio: Charles R. Fischer works as ENV1 a test technician for AKG Acous ENV 2 ENV 3 ENV 4 MODES] tics, Inc. He has written more than 70 articles on electronics and music technology for a variety of SYNC AM MONO GLIDE VC ENV OSC CYC ON OFF OFF 00 ON ON OFF OFF 1 SPUT/LAYER magazines, designs custom MIDI controllers, and has played key boards and synthesizers profes S/LPRG UYER LPRG SPLIT 8 PRG SPUT KEY 1 OFF OFF - OFF 1 sionally. UNAUTHORIZED BREAK-IN New WAVeBOY disk exposes direct audio input to EPS-16 PLUS Effects Send any signal through the EPS effects processor, with the new WAVeBOY Audio-In Effects Disk. Guitar, mic, or line level audio. Works with all 13 factory algorithms. Disk also includes Plate Reverb, Non-linear Reverb, and 3-voice Pitch-shifter that can process external audio and internal sounds. Just $39.95 Also available, the amazing WAVeBOY Parallel Effects Disk. Four different effects at once. Also only $39.95. "A Genius-at-work kind of product... I can't imagine any I EPS-16 PLUS owner who wouldn't want to have this disk..." -Craig Anderton, TH review, April, '92 Order now! Overseas add $6. PA Residents Add 6% sales tax. Mastercard or Visa accepted. To order call (215) 251-9562. Or send cashier check or money order to: . m W A V e B O Y, P. O . B o x 233, Paoli, w 2 4 A PA V ft 19301 R n Y Sam SD & VFX Hackerpatch SD & VFX Prog: MEGA-SYNTH By.Steve Munro, Guilderland Center, NY NOTES: This is a collection of traditional analog synth sounds. The mod wheel controls the delay time of the effects. For an optional mono lead sound, on Voices 1 and 3, change GLIDE on the Pitch page to MONO. THE HACK: Steve's patches remind me of the Oberheim analog synths. They are fat, punchy, and biting. The main patch select actually uses the mod wheel to close down the filter. On patches *0 and 0*the delay time is controlled by the wheel, which makes the sound blzarro if WHEEL on the first LFO page of Voices 1, 2, 3, and 6. This adds a mod wheel vibrato; crank down the LFO RATE on these voices if it is loo fast. Changing Voices 1 and 3 to a mono portamento sound is nice, but the attack was a bit slow for lead work. Snug up the ATTACK time (second Env 3 page) on these voices to 07 or so, and see if that works for you. You might also raise the INITIAL value a bit. — Sam Mims Sam Mims is currently louring with Malaysian vocalist Zainal Abidin. He lives in Houston, where he runs Syntaur Productions, a music production company that also marhets sounds for Ensomq keyboards. the wheel is moved while playing. Good or bad, depending on how you look at it. If you fail in the latter category, change MODSRC to ♦OFF* on the third Effects page, and MODSRC to 0 0 WAV E S W a v e Sawtooth Resonantl Sawtooth Sawtooth PulselX Sawtooth Delay 0 0 0 0 0 0 0 - 0 • f^Ixer Start MODSRC MODAMT Mixer - 1 ' 0 1 * 4 2 0* 5 6 3 3 2 • 6 2 1 2 3 4 5 6 Initial Peak 0 0 0 0 0 0 4 0 9 9 4 0 9 9 9 9 9 9 Break 1 4 0 0 4 0 0 9 9 0 Break 2 4 0 9 9 4 0 9 9 9 9 9 9 4 0 0 4 0 0 9 9 0 :nvi -f99 + 9 9 Mims CD MIXER 1 2 3 4 5 6 SRC-1 •Off* Envl • O f f Envl •Off Attack 7 7 5 0 7 7 5 0 2 0 5 0 E n v l SRC-2 Press Envl Press Press LFO Press 5 0 5 0 5 0 5 0 4 5 5 0 SRC-2 Scale 8 . 0 1 . 5 8 . 0 8 . 0 8 . 0 8 . 0 4 0 5 0 4 0 5 0 4 5 5 0 SRC-2 Shape Smoother Smoother Smoother Smoother Smoother Decay 1 Decay 2 Decay 3 5 0 4 0 5 0 4 5 5 0 0 1 6 0 Smoother 4 0 Release KB'D Track 1 6 " " o "o" 0 " o " _4_5___ _0 "o "o 1 2 3 4 5 6 Octave 0 -1 0 -1 -1 -1 Semitone Fine 0 0 0 0 0 0 - 11 0 0 - 2 + 5 + 8 P i t c h Ta b l e System System System System System System 1 3 4 5 6 Initial 9 9 9 9 • O f f •Off •Off •Off Peak Break 1 9 9 9 9 75 7 5 7 5 >ITCH Ve i C u r v e Mode Cnvxl Cnvx2 Cnvxl Cnvx2 Norm Repeat Norm Repeat Norm Ve i - L e v e i Ve i - A t t a c k 0 0 0 0 0 0 0 0 0 0 1 0 0 1 2 3 4 5 6 Z >M C MODSRC •Off 2 • o r MODAMT 0 0 0 0 0 0 Glide ENV1 None None N o n e None None N o n e Break 2 7 5 0 0 0 0 0 0 8 3 LF01 + 5 + 4 + 5 -»-5 + 5 + 5 Sustain Attack PITCH MODS 1 2 3 4 5 6 Mode 2LP 2LP 2LP 2 L P 2LP 2LP Cutoff 1 0 0 1 2 7 1 0 0 0 1 0 0 0 KBD MODSRC + 3 5 0 •f35 + 3 5 + 3 5 • o r Wheel •Off Wheei Wheei +35 Wheei - 6 0 FlILTER 1 MODAMT ENV2 0 - 9 9 0 - 6 0 - 5 0 0 0 0 + 9 9 0 + 9 9 C n v x 2 Cnvx2 Repeat 8 3 0 0 4 5 4 5 5 2 5 2 7 0 7 0 3 0 3 0 KBD Track 28 2 8 Ve l C u n r e Cnvxl Cnvxl Mode Ve l - L e v e l Norm Norm 18 18 Ve l - A t t a c k 0 0 Decay 1 Decay 2 Decay 3 1 2 3 4 5 6 1 2 3 4 5 6 2HP 2HP 2HP 2HP Initial 5 0 9 9 5 0 5 0 5 0 2HP 2LP 9 9 Mode 127 0 0 0 0 9 9 9 9 9 9 9 9 0 0 0 0 9 9 9 9 9 9 9 9 9 9 0 9 9 0 Peak Break 1 9 9 0 9 9 Cutoff KBD Wheel •Off Wheei Wheei Wheei 97 MODSRC MODAMT •Off 0 - 9 9 0 +60 + 5 0 +60 ENV2 0 0 0 0 0 0 F I LT E R 2 Pre-Gain Vo i c e P r i o r Ve l T h r e s h LP C Rate MODSRC MODAMT Level MODSRC "Off p Off 22 Decay 1 Decay 2 Decay 3 2 0 2 0 2 0 2 0 2 0 2 0 2 0 2 0 2 0 4 6 2 0 4 6 2 0 20 2 0 44 2 0 44 3 0 2 5 3 0 3 0 4 2 3 0 0 0 Cnvxl Cnvxl 0 Cnvxl Ve l C u r v e C n v x l Linear 0 0 0 0 N o r m Norm Norm N o r m Norm A0/C8 A0/C8 A0/C8 Mode Ve l - L e v e l N o r m A0/C8 2 5 1 0 25 ■ 2 5 2 5 2 5 2 5 2 5 2 5 ' F X 2 " " " '" F X 2 ' 8 3 3 5 Mixer Envl .-20.____+28_ Off O f f 5 0 Noise _-t20_ 2 5 Ve l - A t t a c k 0 2 5 6 0 Envl PGM _::.2_5_ CONTROL O f f Off P i t c h Ta b l e Off Bend Range Delay 2 Restrike Glide Time 0 L o w Low Medium High High High 0 0 0 0 0 0 1 2 3 4 5 6 3 5 3 5 3 5 3 2 3 5 3 2 P r e s s P r e s s P r e s s Press P r e s s Press + 7 + 7 + 7 + 1 2 + 7 + 1 2 0 0 0 0 0 0 Mixer P r e s s M i x e r Mixer P r e s s Mixer 6 2 Xl EFFECTS (1) Effect Delay & Reverb2 6 2 Decay FX1 Mix FX2 Mix 3 0 5 2 8 EFFECTS (3) EFFECTS (2) Delay Time Regeneration Delay Mod Regen Mod 0 0 0 6 2 6 6 Waveshape Triangle Triangle Triangle Triangle Triangle Triangie Restart Off Off Off Off O f f O f f Noise SRC RT 2 2 0 "FYI • o r 2 2 0 0 _ 2 2 0 A0/C8 + 2 0 0 0 Cnvxl LO/HI_Kej____ Mixer 2 2 0 0 MODSRC 9 5 Attack 0 0 ._MOPAM.T___ 9 9 KBD Track 0 5 0 9 5 •Off MODAMT KBD Scale 3 8 9 9 •Off • o r P a n 9 9 •Off •Off " f x T 9 9 9 9 99 •Off DesTBus 97 9 9 9 9 0/C8 " AFX2 9 9 6 3 0 9 9 Break 2 5 2 VOL MODSRC 9 9 9 9 4 99 1 99 Cl U T P U T =NV3 M i x 0 2 5 156 MODSRC HFCut Modwheel Off + 4 0 + 9 9 + 1 5 3 3 PERFORMANCE Timbre 0 Release Pressure 0 Key The Interfooe Letters for The Interface may be sent to any of the following addresses: U.S. Mail - The Interface, Transoniq Hacker. 1402 SW Upland Dr., Portland, OR 97221 Electronic mail - GEnie Network; TRANSONIQ, CompuServe: 73260,3353, Intemet (via CS): [email protected] 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 to take everything with a grain of salt. Resident answer-man is Qark Salisbury (CS). Letter publication is subject to space considerations. Yo Hacker, self-consciousness for not being attracted to "hearing loss, a record deal, genital Every month I when I look at the Inter face, I see that it says "Letter writers are herpes," etc. asked to please keep the vitriol to a mini I wish to offer an expression of sympathy mum." Being illiterate, I had no idea what to Don Suite and an acknowledgement of his expressing what, doubtless, all of us have felt at one time or another (the ob solescence of the EPS-h, TH #90 Inter this meant. So I looked up "vitriol" in my dictionary and it says this: "1. A sulfate of various metals in its crys tallized form., esp. of copper (blue vitriol CUSO45H2O), iron (green vitriol or cop per as FeS047H20), zinc (white vitriol ZnS047 H20); - from the glassy ap pearance of many of these salts. 2. Hence, anything likened to vitriol as being caus tic; figuratively, virulence. 3. To dip in dilute sulfuric acid; pickle." Salt Lake City, UT enjoy the opportunities for progress (and to support the deserving folks at Ensoniq without whom our lives would be less rich)! has emerged. Can anyone comment in summary on what it does differently and/ or better than I.I? Sincerely your reader. Kirk Slinkard Temporarily moved by feelings of grati Lakewood, CO tude, Richard Rawson [TH - Aren't you the same guy who Sacramento, CA Don Suite [CS - This can be a confusing one, par ticularly because keyboard scaling won't do what you might expect when you apply it globally to an instrument or layer in the EPS-I6 Plus. The problem is that when you have multiple samples in a sound, as you would with a piano, keyboard scaling will be applied equally to each sample. In other words, say you have two samples split on the keyboard. You adjust an en velope that causes each sample to take 2 seconds to decay. If you apply keyboard scaling at the instrument or layer level and adjust so that the low key of the lower [TH - Actually, we thought we (TH) were a little terse in our response - but then we were in cranky moods at the time...] won't use the word "vitriol" anymore. In keep the Slinkard to a minimum." And a note to my editor; Our logo isn't all that and adjusting sustain times. Could you please go over a method I might use to ac complish this. progress...and thank goodness we all words that I can't understand! its place all writers are asked to substi tute the word, "Slinkard," as in "Please the note to sustain less as I go up the scale from C2 to C7. I've tried keyboard scaling Thanks, Finally, I noticed O.S. 1.3 for the EPS-t- [CS - Alright, Kirk. From now on, we parameters, samples, etc. The only problem I'm having is that I can't get the notes to sustain the right amount. I want face). Also, I'd like to acknowledge TH, Clark, and Ensoniq for their thoughtful answers. We all get to pay our dues for Will you guys stop using goldum freakin' recently said something similar about our little logo?] piano for about a month, copying wave [CS^- You, cranky? How could you tell?] sample takes 4 seconds to decay, and the high sample takes I second to decay, you'll find that the sample occupying the upper ranges of the keyboard reflects the same timings - its lowest note will take 4 seconds to decay and its highest note will [Ensoniq - O.S. version 1.3 features these take I second. This can be a particular major additions; problem at the split point, where the 1) The ability to load Banks via MIDI program changes when in Multi and little. Besides, it's not the size that counts [Ensoniq - We are also concerned about your reader's safety. If you are going to Mono modes. highest note of the low sample decays for 1 second, and the note a half-step higher (the lowest note of the second sample) takes four seconds to decay. be vitriolic (Slinkardic) please be sure 2) Copy/Backup!Restore functions for What you need to do to get the kind of there is adequate ventilation!] SCSI devices. scaling you're looking for is to set up your - it's the Slinkard.] basic envelope, and apply keyboard scal 3) A new effects algorithm compliments of Dear Hacker, WaveBoy Industries.] Subj: Basement et al. Thanks to Jay Armstrong for the out standing essay on the "basement" (TH #90 Interface). I feel much relieved of my TH, I have been patiently working on an EPS 26 ing globally to the layer or the instrument. Then, play the lowest sample, making sure to listen to the lowest and highest notes contained in that sample. Adjust the key board scaling until you are satisfied with the sound. Now play the highest note of this sample and the lowest note of the next sample up the keyboard - play them simultaneously, and listen to the envelope decay rates. You'll probably find that the higher sample takes longer to decay than the low one. Do not adjust the keyboard scaling! Adjust the envelope time parameters instead, lowering them until the two adjacent notes from the low and high samples are decaying at the same fects, and the EPS-16 PLUS was not. WaveBoy (that crafty guy) has been able to wring that function out of the EPS-16 aliasing filtering and other hardware that will guarantee better signal fidelity when 1. I have a MIDI setup including an 16 PLUS can offer.] Amiga computer which I use partly as a sequencer, partly as a MIDI filtering/distribution device. Whenever I play on my master keyboard (a Roland Juno-2), the MIDI data goes into my computer and TH, back out on some other MIDI channel of processing external audio than the EPS- Where's a good place to find extensive sound cards (RAM) for the the SQ-1+ and cartridges and disk sounds for the VFXsd? my choice. This all works fine with all of the synths in my setup and all other synths that I've ever had, but the SQ-R-f acts weird when I do this. Notes hang and I have to double-press the System button to release them. But this only happens when the SQ-R+ is in Multi Mode - NOT if I put it to Omni mode to just select a Thank you, Thomas Bonds dealer, but 1 realize that not all dealers single sound to play on. Why? It's very annoying when I'm trying to compose new pieces! I've tried most of the para meters in the System section without any stock a complete inventory of sounds for luck. Cambridge, MA [CS - The best place should be your local Dear Transoniq Hacker, you can help me with. PLUS, but the ASR-10 has better input rate. You may even want the higher pitched of the two notes to decay a bit quicker. Continue this process for all ad jacent pairs of samples on the keyboard when you're done, you should have a pretty good approximation of what you're after. From there, it's a simple thing to make any minor tweaks that are called for. Just remember - the key is to set up the keyboard scaling globally, and use the envelopes for the individual samples to compensate for the rough spots.] But enough grovelling -1 have a couple of problems with my SQ-R-i- which I hope the instruments that they carry. You can Please clarify. Is the Ensoniq ASR-10 able to perform, upon arriving new from the factory, all the functions of an contact Ensoniq for a catalog of all sounds available for any machine - write 2.1 sometimes want my SQ-R-h to play two sounds simultaneously, given a note to them at 155 Great Valley Parkway, only on one MIDI channel. For example, EPS-16+ outfitted with Waveboy's Paral lel Effects disk and/or Waveboy's Audio Effects disk which were reviewed by Malvern, PA 19355, or call (215) 6473930. Also, reviews in back issues ofTH for my solo instrument, I use MIDI chan should give you some good ideas on who to contact for third-party sounds. which consists of Burning Sax and Wail Craig Anderton in TH Issues # 82 and 90? If the factory ASR-10 is NOT able to per form the Waveboy features will Waveboy manufacture a disk for the ASR-10? Jerry Ray Washington, MO [CS - I'd be glad to. As far as the pro cessing of external signals, yes. The ASR-10 handles this quite well - and in stereo (the EPS-I6 Plus is used for mono-in effects processing with the Waveboy software). The Waveboy Audio Effects disk does provide some effect algorithms that aren't included in the [Ensoniq - Ensoniq currently offers 8 sound cards for the SQ-1 PLUS (that's 960 sounds!). The models are SC-1 through 6 and lSC-1 and 2. nel 4 and I wish to use an instrument ing Synth (or whatever). On all the other multitimbral synths I've ever had, this has been easy - I've simply used the same MIDI receive channel for two of the "parts" in the preset. But this doesn't seem to work on the SQ-R-(- as only the first of the two parts using the same MIDI The VFX-SD has 8 cartridges (that's 480 sounds) and 7 disks (with a total of 930 sounds!). The models are VPC-100 - 105, receive channel reacts to the MIDI data. lPC-1 and 2, VSD-1000 - 1004, and bytes! lSD-3 and 4. They are available through your local Authorized Ensoniq dealer or directly from Ensoniq. To find the dealer nearest you, or to order direct call 1-800- Finally, are there any third party develo pers of (relatively cheap) sounds for the Help me. Oh Hackers of those bits and SQ-R-H? 553-5151.] Absolutely finally, thanks for a nice mag, although there should be more SQ mater ASR-10, but take heart - Waveboy is preparing to announce a version of their Audio Effects disk for the ASR-10. There may even be press release to that effect in Dear Hacker Interface, ial and less EPS-16 stuff. I purchased an SQ-R Plus a few months Hack on, this month's issue ofTH.] ago. Unfortunately I got the 21-voice ver sion, only to find out that a 32-voice ver Bjom A Lynne Out of Norway, Scandinavia [Ensoniq - We'd also like to clarify the fact that the ASR-10 was built to be able to process external audio through the ef sion was available at the same price about a month later! And the upgrade is too ex pensive to even consider. :-( 2 7 [CS - I've no clue as to what might be your trouble when using your SQ-R Plus with the Amiga - it shouldn't work any magazines to locate them.] [TH - Third-party folks we know that are currently supporting the SQ are: Latter Sound Productions, 904-675-5561; Eye & track down a solution. I Productions, 408-945-0139; and Sound Source Unlimited, 1-800-877-4778. If As far as your other question goes, I'd recommend you investigate the SQ-R's preset mode. You can store a hundred presets in the SQ-R, each of which can remember any combination of up to eight there are any others, they should contact us!] internal and external sounds, each with its own volume, pan, output bus, key 215-647-8908. Please send us the O.S. range, transpose, MIDI channel, MIDI program, MIDI status, pressure type, sus tain pedal, timbre, and release time version of your SQ-R PLUS as well so we can better help you. You can find the O.S. sending a single program change on one MIDI channel. The SQ-R can even be used to re-transmit the MIDI data you send it, allowing you to turn your key board into a way-hip controller. toward Ensoniq for producing the ASR10 and discontinuing the EPS-16+. Oh please, get a grip. I couldn't believe what I was reading. Many compliments go to the counterpoints stated by Clark, En soniq and TH. I'm sure you were biting your tongues and holding back many "choice" comments. [Ensoniq - Since you are far away I sug gest you fax us your number so we can help you better. Our fax number is parameters. Presets can be recalled by reply. I read Don Suite's letter In the Dec ember Issue which told of his anger differently than any other MIDI slave. I'd suggest you get in touch with Ensoniq Customer Service (215-647-3930); they can help you to qualify the problem, and by pressing SYSTEM, holding it and pressing BANK SELECT. The current O.S. is I.I 5. If you can be reached by fax The fact that Ensoniq did crank out the ASR Is a plus for everybody. Including those who have a '16+ Qike me). Because It has upgrades to 16 megs Is proof alone that they (Ensoniq) listen to user feed back. The 50 effects show a different type of feather In the cap. Since I've been please give us that number as well.] reading the Hacker, I've never heard anyone complain about the amovmt of ef fects In the '16+. Waveboy was a cool Dear Interface, Idea by a third party to help "super charge" the sampler and get more out of what was there originally. Ensoniq shows F i n a l l y, y e s , t h e r e a r e t h i r d - p a r t y developers for SQ-series sounds. Consult This is the first (and hopefully last) time that they are hip to the third party scene I've read someone's letter and Immediate the ads and reviews in this and other ly jumped to write two cents worth of as well and without direct prodding by the consumer, they made major Improve- A SCSI Drive for The Rubber Chicken You've got to be kidding! Introductory Pak - $59,95! to disks of great sounds - from the entire RCS Library! You mint .wine great drum sound.s - hut you also want good basses and strings and... well, you want everything! Check this .set out! You 'Ufind the best sampie.s we have to offer ■ in one dynamite collection! You 'II also find coupon for 15% off your ne.xi purchase. Call today! Call Today for your free Catalog and Sound disk! (available only to first time customers) No, we're not. RCS is now ofTcr- ingihe44tnb Chicken Drive Ipompletc with a cartridge of quality RCS sounds, for $599. 'lliis is a full- fledged Syquest removable hard drive, guaranteed to work with no defect with both Original EPS and 16-Plus. lx>ok around in this magazine. No one can touch us. We even in clude a freccanridgc full of our excellent Rubber Chicken sounds. NEW OFFERINGS OI/IV Series/ A to-disk set ef seme ef the Minotaur Ultimate Organ Library/ And with proven Syquest technol ogy. you'll prepared for the fuiurcas well. No more running out of hard disk space! And for more storage for intense types of applications, we of PROFESSIONAL QUAUTY LOW COST SEQUENCES FOR THE EPS/EPS-16 PLUS, SQ-80, ESQ-1, VFX-sd, SD-1, Roland, fattest sounds you've ever heard! A variety of Hammond samples you'd swear were the sounds is represented here. Sample this recent real thing! With this tO disk set, start fer our 88mb Chicken Drive II, for the un-heard of low price of $899! IBM/DOS burning hot Korgsynth! Oniy $49.95/ finding good reasons to seii your S-3 and So if you got SCSI, and you're wanting hard drive storage, call the eggs-perts. Rubber Chicken. COUNTRY Vox, and the rest! On/y $59.95/ MicroWave Chicken i/i The ground-breaking many top performers and studio musicians. Creat asked by many for a quality steei sample. Here it isi With patch seieds for samples for you IPS for thousands of dollars iessi maximum expression! This is a four disk set, with other country favorites tike Oniy $59.95/ harmonica, banjo, and mandolin. On/y $24.95/ TOLL-FREE ORDER LINE 1-800-877-6377 40 ROCK ('508, '60s, 70s, '80s) vector synthesis pioneer is the now favorite of Pvdai Steei and More/ We've been IVe Accept... TOP ROBBER CHICKEN SOnWflRE CO. I New Address! ■ P.O. Box 2513 • Kirkland, WA 98083-2513 2 8 BIG BAND CALL OR WRITE ANY TIME 24 HOURS MUSIC MAGIC 1 0 5 4 1 E A R L AV E . BENNINGTON NE 68007 1-402-238-2876 ments in this part of the machine as well. of you would like to get your Roland Nobody was raising hell about the effects - they didn't have to add more. equipment repaired - try sending it to Japan via overnight air freight some about what one has to go through in the areas of advertising, production, taxes, copyrights, tradenames and so forth - the time... honest basics. If there are other sources auto manufacturers don't. Sincerely, which already deal with this kind of info, could someone please lead me in the Glenn Metzl proper direction? I will be watching what strange and inter Madison Heights, VA Thank you Ensoniq for doing what the US esting comments will be aimed at the per formance and performance feamres of the ASR-10. Who knows, maybe in two years the market will change and an ASR will be old hat. If Ensoniq keeps the customer [CS - You know, sometimes with all the Slinkard that a column like this can gen Thank you all. Jack Stephen Tolin Quincy, Mass. erate, you forget that the majority of En soniq users are people who have had [TH - Although we don't like to stray too far from our "Ensonlq-only" coverage, (like it was with the ASR-10), Don and I positive experiences In their dealings with the company and Its products. Thanks for w i l l b e fi r s t i n l i n e t o c h e c k i t o u t , U n t i l writing.] input as part of their decision making then, I'm smug and happy with my '16+! there does seem to be a high level of Interest (judging from the response to "Basement Tapes" for one thing) In [Ensoniq - Thanks for the kind comments. We're forwarding your letter to Bert's making money by making music. To that Paul Bissell Go Fish Music mom!] H o w To M a k e B i g M o n e y S c o r i n g end, we've asked Jeffrey Fisher, author of Soundtracks, and Garth Hjelte, of Rubber Ruston, LA Chicken fame, to each put together a few Dear Assorted Hackers: Hi Hackerfolks, small articles covering their respective areas of expertise.] Quick story for you guys. My ESQ-1 First of all, hi there! I've got an SQ-1 Plus with the 32-voice expansion upgrade [CS- The SQ-1 allocates memory dynam dinosaur synth quit. Just when I needed it and an SQX-70 sequencer expander. Not ically for Its sequences, so you should be most, with gigs coming up and me need able to save sequences that aren't too ing the bucks, it uttered no sounds. What only does the thing sound good, but now it holds 58,000 notes! What more could a jammed with notes. Try saving files of to do?? synthesist/performer ask for? varying sizes (you can check total mem Called Tom McCaffrey (Transoniq Net) looking for help and he says, "Try En soniq customer service." Yeah sure, Tom, the place that sells all those cool KS-32s I also have an SQ-80. I save all of my and SD-ls and ASR-lOs is really gonna make a dump because the SQ-80's mem ory isn't big enough to handle the thing! I've never had a problem like this before parameter will display the percentage of available sequencer memory. Subtract this number from 100% to find out how much memory your sequences are using. With a little experimentation, you should with my HR-16. Should I trim down my be able to determine how much sequencer SQ-1? Like Captain Kirk said once, "Too much of anything... isn't necessarily a good thing." Are there any expanders for the SQ-80's sequencer out there? Will buying a 32k RAM card solve the prob memory Is the maximum you can dump lem? Isn't it bizarre for such a popular and extent MIDI system to not have any means whereby one may save sequencer information? Any help you can give will be greatly appreciated. In an expanded SQ-1. The best way to Also, as a request, would somebody out there, preferably someone who has had SeqiSong or all memory. By saving SeqiSongs Individually you should be able to work with your SQ-80. ory used by the SQ sequencer by hitting give a about my beloved ESQ-1. Oh well. So next morning I called and the next morning after that they had the whole shebang in their lap via overnight air freight. Well, it seems like they do care, even about my old warrior. Moral of the story - it left the factory barely five days after they got it - it works great once again, they barely charged me for the repairs and a certain guy named Bert Neikirk put up with a lot of my stupidly nervous phone calls. I mean, you gotta realize, here's my synth a few htmdred miles away and I'm going through ESQ withdrawal and he's very reassuring and, well, what can I say? They bent over backward to take care of me and I REALLY, REALLY thank you guys for that kind of service. Maybe some SQ-1 files on SQ-80 disks via Sysex dump. But hey, guess what - the SQ-1 holds soooo many notes now, I can't even experience, please write an article or two the Edit Sequences button, then the Bank I button, then the Screen 6 button. This Into your SQ-80.] [Ensoniq - The SQ-80 has a 64k byte buffer which Is about 25% of the memory deal with your SQ-80 as a storage device Is to try not to save all the memory at once, but to save Individual files. When you choose to save via MIDI Sysex you are given the option of saving the current on how to put together one's own busi ness in the area of selling samples, Another choice Is to use a device like the sounds, jingles, music in general, and so on? I think it would be helpful to hear Alesls DataDlsk or Peavey DataStreamer, which spool data to a disk, or to use a 2 9 computer with any sequencer or program Sincerely, that records MIDI Sysex data.] Albert Weisman Dear Hacker, I have been using the EPS-16 with Turbo for the past ten months or so and have been experiencing a few problems. Orion Engar - the guy who is looking for a cost effective solution to the limited N e w Yo r k , N Y voice/memory EPS-16-t- - and no thank you, I don't fancy any more closed end [CS - The problems you describe are definitely not normal; I don't recall ever experiencing anything like them on an EPS-16 Plus. Contact your local service center or get in touch with Ensoniq Cus tomer Service.] sound modules. Sardis, BC Canada [CS- Put me down for one, too.] Sometimes during an instrument or bank save (or occasionally other commands), Dear TH: my EPS-16 will simply "lock up" on me making it impossible to complete the save or to get out of the page. Consequently, the only thing to do when this happens is Dear Hacker, Okay, so I didn't get my much desired sample playback box for my EPS-16+ from Ensoniq for Christmas. to turn off the EPS and start from scratch again. Needless to say, all data (with the exception of my Flashbank memory) is lost. Is this an inherent problem of the Well then, how about making a fully loaded SD-1 with SCSI, 2 meg sample EPS-16 PLUS or am I alone? This can be RAM expandable to 16 meg with standard quite frustrating as you can imagine. SIMMs and capable of directly reading What's the deal? EPS disks? (Watch out, SD-1 owners your turn for "Trade Up Trauma" may be next.) Also, after quantizing, my tracks will still sound ever so slightly out of time, espe cially when I am reaching maximum Let me add my voice to that of Keith Bar nes in the January 1993 issue regarding a 76-note keyboard for the SD-1 or ASR10.1 presently still own an original EPS classic. I love this keyboard, but I really tire of running out of keys at either end of the keyboard. I was raised on an 88-note piano keyboard and really miss the freedom of 88 keys. 76 keys would be a real step in the right direction. Of course 88 keys would be the best. Thanks for listening, I refuse to dump my still useful EPS-16+ Dennis Gurwell polyphony. Is it possible that too many for the pittance it is now worth in the Burbank, CA instruments are competing for downbeats or something? This is driving me crazy forcing me to cut back on polyphony in a vain attempt to correct the problem. Inci- marketplace just to upgrade to an ASR10. Talk about overnight depreciation. I dently (and ironically), I sold my Korg M-1 a few years ago because of the very sample RAM capability and the ability to access EPS/ASR sound data via 1.44 meg same problem. floppy and over SCSI. The Kurzweil On-board sequencers always seemed a K2000 comes very close except it can't read EPS/ASR disks. MIDI sample dump is painfully slow and I don't want to buy great idea, but for me they fall short. Am I just getting lemons or have other could, however, be moved to buy another new synthesizer that had at least 8 meg [CS - Well, you could always put two ASR-lOs next to each other - that would give you 122 keys (but watch out for that middle octave - it's a killer). Actually, I agree - an ASR-10 with 76 or 88 pianoaction keys would be pretty swell. Guess we'll just have to wait and see.] another hard disk.) workstation users experienced these Yours truly. problems? Current Ensoniq O.S. (DIsk/EPROM) BACK ISSUES Back issues are $2.00 each. (Overseas: $3 each.) Issues 1- 30, 35 - 38, 67 - 72, and 82 - 84 are no longer available. Subscriptions will be ex tended an equal number of issues for any issues ordered that are not available at the time we receive your order. ESQ-1 coverage started with Issue Number 13. SQ-80 coverage started with Number 29, (al EPS EPS-M EPS-16 PLUS MASOS MIRAGE ESQ ESQ-M SO-80 VFX VFX-SD SO-1 SQ-1 32 SQ-1 PLUS though most ESQ-1 coverage also applies to the SQ-80). EPS coverage got going with Number 35 (and also applies to the ASR-10). VFX coverage (which also applies to the SDs) got started in Number 48. The SQs got going in Number 63. (SQ articles also apply to the KS-32.) DP/4 coverage started in #88 (much of which also applies to the ASR-10). Permission has been given to photocopy issues that we no longer have available — check the classifieds for people offering them. A free back issue index is available which contains the tables of content for all issues since Number 43. 3 0 2.49/2.40 2.49/2.41 1.3/1 .OOF 2.0 3.2 3.5 1.2 1.8 2.30 2.1/2.00 1 . 11 2.03 1.1 SO-R SQ-R 32 SO-R PLUS SO-2 SQ-2 32 SD-1 SD-1 32 DP/4 KS-32 ASR-10 KMX-8 KMX-16 1.02 2.03 1.15 1.2 2.03 4.10/4.10 4.10/4.10 1.11 3.00 1.05/1.00 2.00 1.50 HACKER BOOTEEQ «towow 5Ml£ 16 BIX MiU.. VFX, VFX-sd, SD-1 owners — Volume 4 - Effects Highway sounds, city noise, the countryside, space, ghostly, & more. RECORDS, INC SOUND SUITE STUDIOS SAMPLES EPS/16-1- FOR New Fall Products Series 1: Analog Classics 14750 P U R I TA N $40 AV E N U E D E T R O I T, M I 4 8 2 2 7 SQ-80 owners — DON'T LET THE NAME FOOL Volume I - The Collection 40 sounds, 3 demos, & documentation. Series 4: Experimental Industrial S e r i e s 5 ; R a v e , H o u s e & Te c h n o YOUl WE CUT ALL KINDS OF " A LT E R N AT I V E " M U S I C B U T W E E S P E C I A L LY L I K E T H E H A R D - H m i N G INDUSTRIAL SCENE. SEND DEMOS Each 5 Disk Series denniscooke T O A B O V E A D D R E S S A S A P. Series 2; Legendary Digital Series 3: Studio Drums $20 with Free Shipping D c n I I A D $30 I f j n Canada, K i t c h e n e r,N2A O n t2R6 ano KEbULAK FOR SALE: EPS-16 PLUS • Turbo, Flashbank, and all that good stuff — top of the line • Extensive library of sounds available • SCSI port • Rackmount • New June '92 • All manuals • Reason for selling: my life is meaningless Disks: $19 LATTER SOUND PRODUCTIONS 1341 Westheaven Ct. Tallahassee, PL 32310-8625 (904) 575-6561 Florida residents add sales tax 7213 Fall/Winter Dust Covers Play Along Sequences for the EPS 16+ and AS R 10 The Gospel Set Includes 8 songs -Ensoniq SD1,KS32, SQ1 designed specifically for the EPS 16+and ASR 10 Perfect for offertories, preludes, etc. Reg. $24.95 Sale 19.95 - SQ2-Reg. 29^95 Sale 24.95 Each song Includes 6-8 new sounds and printed music Black Regency Only • Add $4,00 S&H Price: $1800 $10.00 per song/$60.00 for the entire set 1-800-228-DUST (Short of cash? Send $500 down & pay $250 per month. No interest. I'll help you keep it a secret from your spouse.) Demo audio cassette and Uatturcard/ Wm Accepted without the ASR-10 Tfte factory Jerry Huntslnger (804) 798-5192 (804) 798-1913 Fax EACH K O R G SHIPPING IN THE U.S.A. ORDER BY D I S K E T T E MAIL OR M A N A G E R PHONE Y A M A H A N Y • A D D TA X DISKETTE WE'VE NUKED OUll SAMPLE DISK PRICES! ONLY $4 PER DISK! MANAGERS DANCE CONSTRUCTION SET - Over 100 drum loops, hundreds of percussive. TB-303. Moogs, Analog Classics, Shredding Techno by E.K.O., 6 track, Hip Hop loops by Daren Black. 1000 sampl's NEWI 3D Sounds Is now dislrlbuting Sample Source CD #1 Convert Standard Midi Files to/from Wth 600 Stereo E-mu Proteus & U-Z20 Samples For Only $19 +$5 S/HI your keyboard on an IBiyi-PC using our Sequencer Conversion Packages WE HAVE A HUGE UBRARY OF SOUNDS FOR $44 each (Includes Disk Manager) ASR-10, EPS, EPSISt, MRAGE, TX-16W, EMAX, VFX-SD/SD-1 EPS/EPS-16 SQ1/SQ2/KS32 Convert SQ80 Seqs/Songs to VFX-S[3 ($44) Call for software for other Ensoniq products Giebler Enterprises (315) 652-5741 8038 Morgan Rd. Liverpool, NY 13090 Liven Up Your SQ-80! The PrIvatLabel Collection 120 handcrafted, seriously musical sounds Available in a three volume set No effects, no liller, no buzzes or doinks Now only $32.00! How can you stand to be without them? SQ-80 disk - or - Galaxy format California residents please Include 8.25% sales tax Make check or money order payable to: 9^ Redshift Limited " • • ^ llow S u i t *e8 0 4 1H2o 6 Schaumburg, III. 60193 214/315-8141 FREE $22 1223 Kingston Lane 1910 Com pfire Court • Lewlsvllle, TX • 75067 ALESIS ENSONIQ complete song list $3,00 Corner Road ' ' » ' I p u Culver City CA 90230 J S-900, S-50/330/W-30, S-10/MKS-100 AND DPM-SP IPRICED AT ONLY $4 t .50 S/H PER DISK. ALSO, #1 HOUSE ACID #2 TECHNO lUKEmwyiY USER CONFIGURABLE ALL MODELS 1 8 0 0 WAT T S ( J - y / CL-3/1500 3 $229.95 CL-3/1800 $269,95 CL-6/18006 $359.95 RICES SHOWN ARE CONFIfiURED AS MIDI Comput^e C O N C E P T S Sife273 • StOHooperHoad ■ SttivelNewM 13760 ■ 800-388-8115 CD DRUMS, TECHNO FX. INDUSTRIAL FX. SCI Fl FX. ACID SYNTH CLASSIC DRUM LOOPS CD 7s DOPE loops $52.®5 EPS. S-900 & S-50 SAMPLE DISKS Also For: S-550, S-330, W-30. (.Spcfiryl Demo disk $5 - refundable w/purchase SHIPPING /LIGHTINGCONTROUERS SAMPLING TR-606. DRUMUWTER, KORG KPR-77, RX-7,T£K STRING, OR-SSO. /j. - |-a MT-32, KORG SR-120.SIREN FX. RAP DRUMS. SIMMONS. TECH ^ H ^ AT $15 t .50 SM PER DISK. BOX 114, STATION C KITCHENER, ONTARIO CANADA NZG 3W9 VISA/MC 519-745-0021 CD P R O T E U S . H O U S E O H U M S . H O U S E A C I D F X . LY R I C A L H O U S E F X 1PATCHDISKSFORSYNTHSINMANYFORMATS F i BEEUSM l JS-SraFyFIM PC SAMPLING TR.808.TR-909,AKAI XR-10. DX-7. MINIHOOG. KORG BASS, EMU $ 4 9 FREE 310-6 INCLUDED C ATA L O G 9 CALL MIDI MARK 9-0095 I BOX 217 ■ WHITHER. OA 90608 YO ADVERTISERS! Try an economical size ad In the Hacker. Our one-twelfth page ad (the size of this ad) is the perfect size for testing the waters, moving up from the classifieds, dropping back from larger ads, or just maintaining visibility over long periods with minimal expense. 2.25" X 2.25" Only $30! We'll typeset it: $5 Reverse it (white on black): $5 Transoniq Hacker 1402 SW Upland Dr., PorUand, OR 97221 503-227-6848 B U L K R AT E U . S . P O S TA G E PA I D TRANSONIQ HACKER 1402 SW UPLAND DR.. PORTLAND. OR 97221. (503) 227-6848 PORTLAND. OR P E R M I T N O . 11 S U B S C R I P T I O N M AT E R I A L ADDRESS CORRECTION REQUESTED D AT E D M AT E R I A L - T I M E VA L U E Postmaster: Please return Form 3547 as soon as possible so we can change our records. This Is a monthly publication. Publisher; Eric Gelsllnger Adveitising rates: Please send for rate card. Editor: Jane Talisman Rates tor authors: Please send for writer-Info card. Our (somewhat regular) Illustrious bevy of writers Includes: Craig Anderton. Rob^ Barman. BarryFerrara, Carson.Pat Mark Clifton.Charles Gary DInsmore. Edwards. Rob Felner. Anthony FInnlgan. R. Fischer.Dennle Gary Glebler. Jim Grote. Garth HJelte. Bryce Inman. John Lofflnk. Alan Macintosh. Daniel Mandel. Sam MIms. Gary Morrison. Michael Mortllla. William Pont. Jeffrey Rhoads, Brian Rost, Clark Salisbury. Tom Shear. Joe Slater. Kirk Sllnkard. Bob Spencer, and Jack Tolln. Copyright 1993. Transonlq Hacker. 1402 SW Upland Drive. Portland. OR 97221. Phone: (503) 227-6848 (8 a.m. to 9 p.m. Pacific Time). Subscriptions: 12 monthly Issues. US: $23/year. All others: $32/year. Payable In US funds. Transonlq Hacker Is the Independent user's news magazine for Ensoniq products. Transonlq Hacker Is not affiliated in any way with Ensoniq Corp. Ensoniq and the names of their various products are registered trademarks of the Ensoniq Corp. Opinions expressed are those of the authors and do not necessarliy reflect those of the publisher or Ensoniq Corp. Printed in the United States. opClcase Cases for Cnsoniq Bqui/unent Now available direct from factory (except in current dealer areas) our full line of ATA cases Category I and II Keyboards: EPS, EPS-16 PLUS, VFX, VFX-sd, Module rack cases: SQ-80, SQ-1, SQ-1-f, SQ-2 3-space, 4-space, 5-space, 6-space. (2-space racks available with surface mount hardware only.) Mention the (TH) code number 839 when inquiring to receive our special factory direct pricing. Shown: 4-space rack with EPS-16 PLUS module, 2-space rack, Eagle-I VFX-sd case CALL US AT 1-800-637-6635 8:00 am to 4:30 pm CT, Mon. - Fri. We accept: COD, Visa, Mastercard, American Express. Dealer Inquiries Welcome! OPTI-CASE ' RT. 6, BOX 235 « HENDERSON. TX 75652 • FAX: 903-657-6030
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