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An=@ .gDN^NuNVH?BCB..,. f#5R <`hlDRCJlDRCn8fzB`0l :HGH`xe`Jge`|fD#5R D`#5R JLN^Nu#5VNN/95VNu#5VNM/95VNu#5VNA/95VNu DDwwDD<xslidec.lstslidem.lstslide.lst#:- Deluxe SlideShow v1.1 -by John Brochu1987 Advanced SoftwareNot enough memory to run DSLIDE!Press a key to exit.TIME:PATH:FILE:NAME:0*.*.NEO.PI1.PI2.PI3.PC1.PC2.PC3.TNY.TN1.TN2.TN3No files found!Press a key to exit.NNN.&             @F&X (6$              X   *V  T <   ,vV&,< .j6D ,B 4"x: p6  * ("Hf(666 lƶ|       ` &       zf `*O.|*m - ЭЭм// ??<JNA N/<NA"/0<NBNuNVN.Q/]/Y/UNd 3$ `9 H0@0R9 9  m3./<$/<NPB?<NT.?<NBTH#&.n?<NBTH#&N^NuNVB?<NTNN0BWNN^NuNVB?<NT>//B/N#By>`" y2y>!0Ry>T y>>mN^NuNV &o4./. ?.?<?NP#& 9& l #&N^NuNV &o4./. ?.?<@NP#& 9& l #&N^NuNVB&BW/<!?<=N\3Jyla.B/<?9a,\.B/<?9a\ yl yBm yfn yBfb.b/< ?9a\./<\?9a\.!/<}?9a\J&l .ta`a` .a>?<>NT#&N^NuNVB&>N#BW/<!h?<?<>NT#&N^NuNVB&BW/<!?<=N\3Jyla.B/<?9a:\ yl yBm yfj yBf`.b/< ?9a\.!/<}?9a\J&l .ta>?<>NT#&a2` .aN^NuNVB&>N#09B|1"|!h9"HH@BW/<!h?<?<>NT#&N^NuNVB&BW/<!?<=N\3JylaT."/<?9a\9"H3B yg yBf yf yBf 9"o./<?9a0\.b/< ?9a\./<?9a\.@/<?9a\.0y/?9a\J&l .ta.09@H/?9a\` .a>?<>NT#&N^NuNVB&BW/<!h?<?<>NT#&N^NuNV yl092yRy`V0yBRy09H2yRy09HH@2yRyN^NuNV099HA3 yl09D@2yRy`X0yRy09H2yRy09HH@2yRyN^NuNV 9fd 9&мP#& >&m@ 9&м#& P&m" 9&м#& &fB@`p``B@N^NuNVByBy@B&3!>0y@0!Ry@aD3`, y&"|!00y>f`Rya  y&"|!00y>f 9ga0y@"y&!0Ry@ y&!3>a3J9fa`|`HRy0y@"y&!0Ry@ y&!3>a> y&"|!00y>g 9gar3 >&l 9gN^NuNV |2y4Jg4 |2y4 g 0y4"|0H3Ry4`t0y4Ry4# y2y4Ry4R y2y4Ry4 9f09D@3N^NuNVByB& 9"oxByF`0yF RyF y Fm.9"HW@"By4`aJylLByF`4 y&!2y0RyaJSyF09Fyn`JByF`. y&!2y0aRyF09FymRy3094ymF 9"op9"HA`9"H3BaN^NuNVa0>N3B9`89H0@!*/?<9H??<N\ _0R9 9mB@3D3`P.T?<NBT3.?<NBT3D09yDf.8?<NBT09yDg.?<NBT3 yfa yfPI? yfTNY yDfPI1 yDfNEO#!v6.6?<NT> /<?<NN\#&B?<NT`> yfa yfa yfa 9fal 9fB9 `R |!h9 HH"|!v9 HH |!h9 HH .f  "`R9 9 m |!h9"HHy |!h9"HHy |!h9"HHy yDfa yDfa4 yDfa$a>ON#&J&f>?<NTJgB?<NT>?<NTJg>?<NT>/B@09&N^NuNV##!J# #&###:> aF3&HpN^NuNV>a*pN^NuNV3# >4NdN^NuNV>MNd n0( n 0* n0, n0.B@09&N^NuNV3# >NNdN^Nu#NN/9Nu#NM/9Nu#NA/9Nu [2][Please select the source|format of the pictures|to convert.][Degas|Neo|Tiny][2][Please select the|destination format|of the new files.][Degas|Neo|Tiny][2][Select 'Cancel' to exit| or 'Convert' to begin.][Cancel|Convert][3][Source and Destination|formats cannot|be the same.][Ok][3][Picture file does|not match the|marked format.][Skip][3][Cannot set screen to|correct resolution.][Skip][3][Error reading|or writing|picture file.][Abort][0][Picture Compression Utility| | Tiny Stuff| by David Mumper| ][Thanks][0][This is Freeware...|mail donations to:|N68W25626 Silver Spring Ave|Sussex, Wi 53089| ][I'll give]*.NEOTNY.                                                                                            $    ======================================================================== Deluxe SlideShow 1.1 (c)1987 Advanced Software by John Brochu rev: June 16, 1987 ======================================================================== This program is public domain, and is not to be sold. Please do not distribute without this doc file. ------------------------------------------------------------------------ Changes from the Original Version --------------------------------- o Full color animation support o Titling has been fixed to display with highest contrast possible Features -------- Deluxe SlideShow is an attempt to combine all the currently popular ST graphics formats into one compact, but flexible slide show program. The program includes support for NeoChrome, DEGAS, DEGAS compressed, and Tiny format pictures. Any pic can be loaded and displayed on EITHER monitor. The low and med to hi-res conversions take a few seconds, but the results are very pleasing since a 16 (or 4 in the med-res case) level dither table is used to represent the different color intensities. Hi-res to med-res is the same conversion as used in PicSwitch 0.6 and is almost instantaneous. The user has full control over slide speed, titling, and slide order through the use of an optional script file. You can specify multiple search paths and/or filenames with full wildcard support. o Neo, DEGAS, DEGAS compressed, & Tiny support o Fully automatic res-switching o Fully programmable o Optional script files with separate mono & color scripts o Optional titles o Supports command line input, with wildcards o Full color-animation support (4 channels for DEGAS Elite pics) File Formats ------------ DSLIDE.PRG will load and display pics with the following file extenders... NEO............ NeoChrome PI1-3.......... DEGAS PC1-3.......... DEGAS compressed TNY or TN1-3... Tiny Script Files ------------ DSLIDE uses a fairly complex search routine to quickly find the desired files in the directory. If a valid file is found that matches the search path, the extender is first verified to be sure it is a picture file. When the program is run, the command line is first checked for a valid pathname or filename. If one is found it is processed and the slide show proceeds. If not, then the current directory is searched for one of three script files, depending on whether a color or mono system is used. If color, "SLIDEC.LST" is loaded and processed; if mono, then "SLIDEM.LST" is loaded. If neither is found, the default file "SLIDE.LST" is used. This allows you to have different slideshow configurations for color & monochrome on the same disk. If all else fails, the default path "#:*.*" is used as the search path, where '#' is the current directory. Script files may contain the following fields (all are optional, and can be in any order), default settings are given in brackets: NAME: a flag to indicate whether to title the pics [no] TIME: delay between pics (in seconds) [0 secs] PATH: Pathname list [current directory] FILE: Filename list [all files] The 'NAME:' field is a character string, a 'Y', or 'y' first character indicates the pictures will be titled at the bottom center, anything else will be taken as a 'no' (and this is the default). The 'TIME:' field is a numeric string specifying the number of seconds to display each picture. Note this is the actual time the pic will be on-screen. Unlike most other slide shows, DSLIDE takes disk-access time into account. If the pic takes longer than this to load, it will flip immediately after it is loaded. The 'PATH:' field consists of a list of pathnames to be searched one after another. If a full pathname is present (ie. "A:\PICS\*.PI1"), then that is the search path used. If a path is present without a filename ("A:\PICS\"), then the FILE list is scanned one at a time to complete the full pathname. Wildcards may be used in the filename only. The 'FILE:' field consists of a list of filenames (and filenames ONLY, paths will be stripped, ie. "A:\PICS\*.PC?" will be read as "*.PC?") to be processed one at a time. Again, you may include wildcards or use full filenames. The field names MUST BE UPPER CASE and MUST CONTAIN THE COLON. Blank lines are ignored, and all text before the first field is ignored, so that comments can be used at the start of a script file. The following is a sample script file: ---------cut here---------- This is a sample DSLIDE script file... Any text before the first field is ignored! TIME: 5 NAME: yes PATH: c:\pics\*.tny c:\images\ #: FILE: *.p?? *.neo *.tny ----------cut here---------- This script will display the pics with a 5 sec delay, and with titles. The first PATH entry will cause all Tiny pics found in the "pics" folder on drive C to be displayed. Since this is a full pathname, the file list is ignored for this path, and the pathname is searched as-is. After this is complete the second PATH entry is processed. Since it is a pathname only (no filename), each of the FILE entries in turn is appended to the path to form the complete search pathname (ie. the first path searched will be "c:\images\*.p??", then "c:\images\*.neo", and finally "c:\images\*.tny"). Finally, the third PATH entry is processed, again since it is not a complete pathname, the FILE list is scanned one at a time to complete the search pathname. The '#' character is used to denote the current drive (drive the program was run from). Note you can also specify the pics to display by name, in either the PATH or FILE fields, if you wish to display the pics in a certain order, such as: -----------cut here----------- PATH: a:\pics\ FILE: cat.pi1 house.pi1 dog.pi1 sketch.pi2 -----------cut here----------- or: -----------cut here----------- PATH: a:\pics\cat.pi1 a:\pics\house.pi1 a:\pics\dog.pi1 a:\pics\sketch.pi2 -----------cut here----------- The Command Line ---------------- A 'PATH:' or 'FILE:' entry can also be entered on the command line when running DSLIDE. To do this, rename DSLIDE.PRG to DSLIDE.TTP, or install it as a Tos Takes Parameters application from the desktop. You can also install it with a certain file type and then display a single pic at a time by double-clicking on the picture file's icon. Keyboard commands ----------------- The following key commands are accepted while the slideshow is running: SPACE......... pause at the current pic, any key resumes RETURN, UNDO.. abort the show ESC........... skip delay/animation and flip to the next pic HELP.......... toggle titles on/off F1-F10........ change minimum pic display time as follows: F1..... 0 sec F2..... 1 sec F3..... 2 sec F4..... 4 sec F5..... 8 sec F6.... 15 sec F7.... 30 sec F8..... 1 min F9..... 2 min F10.... 4 min Holding down the right mouse button also aborts the slide show. Comments, anyone? ----------------- If you have any comments on Deluxe SlideShow or suggestions for future enhancement, I'd like to here from you. I can be reached on GEnie [JAKOB] and CIS [70376,1235], or by mail at: Advanced Software 21 Northend Street Peabody, MA 01923 | DDPcScppg}M80 848484 84848484 84  80                                       1 ,86                       %                  -1 8O  ,  ,  ,  ,  ,  ,  >  ?  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Via Dark Star Public Domain Library. Oct 1989. The rhythmical element in computer based music often relies on a drum machine. These dedicated machines often have greater ease of use and musicality than a sampler system. As a result a drum machine is usually on the beginners shopping list, to assist you here is a guide to drum machines and their use... A rhythm computer, drumbox, beatbox, or drum machine are a part of music today regardless of cynical comments from ageing men in woolly jumpers. From Elton Johns' "Song for Guy" through Cabaret Voltaire to Kylie Minogue, they have formed the basis for many popular music rhythms. The following brief Guide will attempt to explain to the prospective buyer some of the features and jargon that clutter this often feared techno muso domain. Firstly, a quick run through of common features and terms that a salescreature might attempt to baffle you with, when all you want is a machine to sound like a reasonable rhythm to play to. Basically, an analogue drum machine synthesizes a drum sound (like the sound chip in a ST- but usually better!) and are typified by the classic Roland TR808 S\H. price around 300 pounds (hip hop, house etc.) . Digital drum machines have samples (snapshot recordings) of actual drums and depending on what you pay, sound much more like the original. All modern drum machines have preset rhythms which vary from the "bass-snare-bass-snare" Roland rock pattern (much beloved by every two piece band in a pub on a weekday) to complex shuffle and recently, hip hop grooves. The number of presets is unimportant, it is the quality of them is what matters. You can record in "tap time" or "real time" ie. bash out a looped rhythm to a metronome or in "step time", allowing you to precisely place a sound\beat where you want it, more difficult but useful for complex patterns. Remember, when recording a pattern in real time the drum box will usually quantise (correct) your fumbling, drunken rhythms into time with the nearest beat which should be assignable to various time signatures. Now you've given Sandie Nelson a run for his money, how do you keep that precious pattern safe? Most machines allow you to save to tape (on ordinary tape decks) notably, not the TR808, or to a quicker but pricey "card" or cartridge RAM, note with second hand machines it can be difficult to get hold of these cartridges. Wonderful, you've saved your data, not lost your wits, and sussed out your groove daddy oh hepcat! (or in Japanese manual speak, Followed steps marked 1 to 4 and assigned group patterns) Now to play it back. Most drum machines tempo's are notated in BEATS PER MINUTE (BPM). A dirge is about 60 BPM a dance track normally about 120 BPM and psychobilly through 150 BPM! Look out for records which quote BPM figures, Jean Michel Jarres' Zoolook 12" was remixed up to 135 BPM for example. Individual outputs ( a row of easily confused ports on the back! ) are useful for studio work but usually the standard L , R Stereo outputs are are adequate. Groups of patterns can be chained together to form "songs" or "tracks" allowing you to put in that thundering snare fill, in advance and just hit start\ play and eventually stop. When looking for a new machine, check out its' total song memory capacity (the bigger the better) Also, see if you are comfortable with its functions such as the way you can copy tracks or patterns or switch between step and real time without stoppnig the beat hopefully. Do not get blown away by the sales patter and booming demo patterns, remember what you want to use it for, will it suit your style of music? Try out each sound individually if possible without any effects such as reverb which could make a huge difference in the power of a sound. Is the display (which you will be peering into for long periods) backlit, easy to read (Roland machines are particularily good, Yamaha not so hot)? A GUIDE TO SOME DRUM MACHINES, OLD AND NEW: ROLAND: Invented the drum machine concept, their own control system for recording, displaying beats on a grid, has become the standard for ease of use and speed. TR808 excellent sounding. The most sampled drum box ever. Heard on virtually every dance record of the eighties. Second hand prices somewhat inflated as a result. (c. 300 pounds) Analogue and NO SAVE facility, you simply write it all down! TR606 DRUMATIX Cheaper drum box analogue sounds with a boxy but good snare. What most people think an old drum box sounds like! Easy to use, but due to age a bit prone to break down. c.60 pounds, as with the TR808, NO MIDI but could be linked up to MIDI using one of the Phillip Rees Midi products (cf. later). TR909 Highly recommended! Its' a TR808 with MIDI, sampled hi hats, and slicker styling. Less well known so it tends to be cheaper than its' cousin the TR808. TR707 The first modern drum box with decent MIDI spec. Sasmpled sounds and good control of sounds. Built in level sliders for each sound, individual outs, big display grid, RAM Cartridges easily available. C\V to MIDI converter, Its off white and rather large too! c.290 pounds. A latin percussion version that never took off is often sold at really low prices eg c99 pounds ! (called TR727). TR505 Another TR808 eg. a classic! Cheap, but great quality sounds meant it sold by the boatload when launched. Cut down version off the TR707 control display, very good MIDI, compact, reliable. c.195 pounds. TR626 Rolands' upgrade of the TR505, not a great improvement, merely a "stretch limo version" with more sounds, duff pitch control of the sounds but with a nice RAM card facility for saving patterns. Worth a long look...c.250 pounds MIDI AS TR505. R 8 The new concept from Roland faced with the growing use of samplers to replace drum boxes. "Human feel" programing means it can play very naturallly, but difficult to get to grips with. High quality "warm" sounds as usual from Roland. New styling, old quality. 665 pounds Oct 89. 16 bit 44.1Khz sampled sounds, More sounds on ROM cards, 665 pounds RRP. R 5 Cut down semi pro version of the R8. Similar size to a TR626. 430 pounds. Similar high quality sounds. 220 E\orA pocket sized drum machine not much use other than rough demo's E version has electronic drum samples A version has acoustic drums c120 pounds. YAMAHA: Known for more "dry" sounds than Roland (they leave the effects etc. to you). Often rather difficult to get to grips with on the recording side but all the machines have the YAMAHA air of quality about them. RX11 pro machine, full of features, tiny display though, good buy SH. c.200 poumds RX15 similar model slightly more difficult to find though. RX21 nice sounding, but pretty boring drum machine SH 125 pounds. Originally intended as a budget model also, latin percussion version, the RX21L, which is good value and features more well recorded interesting sounds c 100 pounds. SHand. RX17 better MIDI nice machine very much in the Yamaha mold. RX7 Now available for about 600 pounds. Excellent features good modern drum machine. RX8 Competition to the R5, a workhorse drum box. 16Bit samples sound fine but rather unexciting. ALESIS: HR16 \B c.399 pounds first low cost 16 bit sampled sound drum box good but a few faults (wimpy power connection rather flimsy feel to its' construction) Sounds great though! HR16B has more dance type sounds a la Simmons (RIP) very good for LAIBACH impersonations! CASIO: RZ1 odd one off, part of the cosmo series developments. Similar styling to the SZ1 sequencer. Nice user sampling feature. Sounds won't excite much but available cheap second hand reasonable MIDI.Individual outputs, and volume controls, twelve PCM sampled sounds, four user sample sounds, with a total time of 800 Msecs. at 20Khz sampling rate. Backlit LCD display- worth a look now the price has dropped dramatically. KORG: Superdrums : DDM 110 nine drums which are sampled and very uninspiring. Good value when launched but it has limited memory by modern standards. Needs the KMS 30 box to convert it to MIDI. Latin percussion version often sold for next to nowt! c.70 pounds. DDD1 better quality drum box good sounds odd programing. More sounds available on ROM cards. Nice programmimg features. Cheaper (295 pounds) DDD5 version also SH\ new. KAWAI: R50 Great sounding c. 220 pounds SH. Simple operation warm sounds. Please remember these are my views and you are well advised to use your own ears in deciding what you want from drum sounds! There are plenty of non- MIDI drum boxes about but few are worth spending money on a Philip Rees type converter. Philip Rees sell a range of useful welldesigned products enabling often excellent old gear to be brought into the world of MIDI. For a full list of their products write to : PHILIP REES FREEPOST BRACKLEY NORTHANTS NN13 5BR USING DRUM MACHINES: Some general tips: Follow Mr Eno's maxim and use less notes! A crowded drum pattern can all too easily be created by a good drum box, but is rarely very musical... LESS IS MORE. Listen to real drummers for ideas about structure and incorporating breaks and percussion. Try and actually copy beat for beat a drum track of say, some Kraftwerk etc. type group. It will teach you more than just mucking about ! Try alternating sounds, have a different snare for choruses, or a hand clap instead of a snare etc. Put in the odd slip in timing ( eg on hi hat ) it can help to ease up on the robotic feel. Don't repeat fills rolls etc. to often. Take drums sounds out of the mix then bring them back to build the track. Change the volume levels of the drums on different songs. Utilise the machine gun accuracy of a drum machine roll to good effect by using only kick drum or\and snare chattering out a rhythm, corny but it works. RECORD CYMBALS BACKWARDS AND SLOWED DOWN INSTANT HAWKWIND. Play a percussion part "by hand" on top of the main rhythm to add more feel. Add a fuzzzzzzzzz box to beef up the bass and snare! Alter the pitch (use tape speed controls if this is not available as a feature on your drum box) of the drums, generally down for best results. Time the bass drum with some rhythmical instruments in the whole song structure (usually the bass line). Edge the tempo control up a few BPM before choruses. Centre a song around percussion instead of the usual bass and snare. The art in using a drum machine is the programing so check out any of the following for inspiration (or bile rising annoyance!): viz. Human Leagues' "Reproduction" or "Unlimited Orchestra Love and Dancing" (on tape only). Kraftwerk: Electric Cafe, Trans European Express, Autobahn, Radioactivity etc. The John Peel Radio sessions (on the Strange Fruit label) of New Order, also by them,: Power Corruption and Lies, Movement, Factus 8 etc. The Dave Howard Singers, live if possible! Anything by Cabaret Voltaire, DAF, Suicide etc... You get the score... Roland publish a Rhythm Dictionary as do other publishers. These contain drum patterns in a standard written form, usually the grid system of Roland. Importantly, it is the way you use these tools and not the tools themselves that decide whether they sound good. So why is it when you switch off your ST (you DO switch it off sometimes, don't you?) and go to the pub, the two piece band is still pumping out "BASS SNARE BASS SNARE BASS SNARE BASS SNARE..." AAAAAAAAARGH ! ----------------------------------------------------------------- Released via Dark Star PDL Version 1.00 . Part two of complete guide. Released via Dark Star PDL Oct 1989 v1.00 MIDI and your ATARI ST MUSICAL INSTRUMENT DIGITAL INTERFACE = MIDI SOURCES OF FURTHER INFORMATION ABOUT MIDI: THE INTERNATIONAL MIDI ASSOCIATION: Subscription to monthly newsletter contact: 11857 HARTSTOCK STREET N HOLLYWOOD CA. 91607 USA SEQUENTIAL CIRCUITS (newsletter possibly still available) Provides a newsletter for Sequential related programmers\ software developers MidiGritti: 3051 N First Street San Jose CA. 95134 USA REMEMBER TO ENCLOSE A INTERNATIONAL REPLY COUPON WHEN WRITING OVERSEAS. ROLAND (UK) General advice available releveant to Roland gear see "Newslink" note in Multitrack file. For modem (comms.) users on the British Telecom Public Data Network, there is The Music Network (TMN) "Europes new on line computer system for musicians". TMN contains PD. software and hitechnology reviews Patches etc. There are three levels to the TMN, an open area, a second level which is closed access and the unlisted area accessed only by those authorised by the Area Director. Further information on this interesting deveolopment : The Music Network PO BOX 5 Somerton TA11 6SX TEL; 0458 7421 FAX; 0458 74356 INTERNATIONAL; +44-458- 74281. Pre - MIDI - Before MIDI ther was a non standard system of communication between synthesizers etc. which was the CV gate trigger connectors. Each octave on a keyboard was assigned a voltage, commonly 1v per Octave (but not always, see where the problems start!). Basically this meant to have reliable communication you had to buy from the same manufacturer, and have dozens of jack leads connecting everything up. The only advantage was that all these leads did look dead impressive, but thats` only my opinion! and then came MIDI... At the start of this decade, Roland, Oberheim and Sequential Circuits began talking about a universal connection system. By 1983 MIDI was born. MIDI is a standardised way of equipment talking to each other. Before MIDI arrived, each manufacturer made their own system, encouraging use of their equipment. Thanks to the inclusion of MIDI sockets the ATARI ST range has become particularily popular amongst musicians. Some criticism has been made of the fact that the ST has only the two IN and OUT sockets, but there are relatively cheap (from 29 pounds) expansion boxes available, such as the Philip Rees range. The cables used to connect MIDI sockets are West German Industrial standards DIN 5 pin. DO NOT USE HI FI 5 or 7 pin DIN cables! Also, beware the ROLAND SYNC (tm) sockets on pre- 1986 gear. These carried Roland`s own timing signals NOT MIDI, they are marked SYNC and should never be connected to MIDI devices except via a special converter box (CV or SYNC to MIDI). MIDI cables can be bought from most decent music shops or mail order from a company such as : MIDI MUSIC who supply MIDI leads in a range of colours (useful!) from 1 metre (2.95 pounds) to 10 metres (c.7.95 pounds) in length, a 2m lead is a good length to use. Contact: Midi Music, 25 Middleaze Drive, West Swindon, SN5 9GL or Tonic Audio, (address later). When using MIDI leads, be sure not to coil them too tightly or get kinks in the cable because of the number of comparatively fine cables inside a multicore MIDI lead, they damage more easily than a conventional cable would. Originally a synthesizer was a single unit, now with MIDI, it can be divided into the keyboard controller (with no sounds being produced, just control messages) and the sound source itself. Hence you can buy keyboard controllers themselves called Mother keyboards (such as the Cheetah range from 299 pounds) or sound expander modules, which lack a keyboard - a synth in a box in fact! A mother keyboard and (say) two expander modules would cost less than two complete synths, and be more manageable in terms of amount of gear to lug around. This type of set up would be easily upgraded or added to, and would be ideal to run with your ST. Details of these keyboards etc can be found in the SYNTHS.DOC on this disk. A sequencer is a program (either hardware specific such a Roland MC500 or a program for your ST such as Steinberg Pro 12\24 etc.) which stores data transmitted via MIDI. It can play back your song at different tempos, without the pitch problems associated with speeding up a tape recording. You can edit and experiment BEFORE committing the song to tape. The sounds can be experimented with, a good bass line might turn out to sound better on a percussion instrument etc. This can save you money if you plan to hire studio time and effort if you are using your own multi track set up. It is often a good idea to keep a sequencer recording when you are just "mucking about" (I mean playing, not seeing if your synth can bounce of the foor etc! ahem,) as it might just save that masterpiece that you would otherwise forget. Notes can be entered in real time and quantised to a specified time. Fine editing of notes can be carried out on a grid or step edit page, note cheaper sequencers often do not have this ability, instead they rely on real time input. Sequencer One is a recent sequencer program for c. 80 pounds which does have grid edit facilities, Steinberg 12 the cut down version of the Pro 24, does not have step time as on the Pro 24. Editing on a grid will give you a good visual feedback of your patterns` structure. Sequencers work in a similar fashion to a drum machine. Tracks are recorded, these can be grouped into patterns (specific passages of music) which can be copied or looped. EG :- Patterns, marked here as V for a verse type patern, C for chorus, and B for the break, could be turned into a complete "song" viz: Assembled in bars: V\V\V\V\C\V\V\C\B\B\V\C\V\V\C\ END this can now be saved as a SONG file by the sequencer. Obviously the structure is up to you and most sequencers allow a large number of patterns to be chained together. There is a standard MIDI SONG File format, but not all sequencers support this (typical!). This system will allow you to experiment with structure more easily than a tape based system. Some sequencers emphasize the drum machine type of looped recordimg, which can be very useful for creating quick riffs of notes and building them up into patterns Trackman (Hollis Research) employs a technique similar to a drum machine. MIDI sequencers are good value for money, even the most basic has more note storage capacity than quite expensive hardware based sequencers. Many sequencers require a Mono monitor to run and\or a 1 megabyte ST. There are many excellent programs that don`t require these facilities, they tend to be at the lower price range of the market. Here are a few sequencers currently available for you ST: The Waddington PD sequencer features 32 tracks and many useful functions Darkstar PDL can supply this software. Dr T. MRS 50 pounds 8 track budget sequencer, part of the excellent Dr T. range (the KCS level 1.7 for 199 pounds needs a 1040 ST 1 meg) Steinberg Pro-24 iii. 300 pounds, the industry standard, 1040ST 1MEG only. One advantage of using Pro 24 is that as it is commonly found in recording studios you can save time and money by taking your finished sequence in disk form and using their Pro 24! Cubase- 500 pounds, 64 tracks stunning features hence price! TWELVE- 129 pounds now packaged with the 1040ST. No step time version of the big brother pro 24. Hollis Research- TRACKMAN 199 pounds novel interaction, well thought out sequencer. 32 tracks. Records in loops as in a drum machine. Michtron- Super conductor- budget 50 pounds 16 tracks. Hybrid Arts: EZ track plus- 65 pounds, 20 track, budget. Edit track- 60 track 199 pounds well presented easy to use. The digital muse: Virtuoso- new sequencer 299 pounds 99 tracks, flexible. Gajits music software: Sequencer One- 32 tracks, loop mode recording and step time, new British program 79 pounds. There seems to be a new sequencer released each month, so keep in touch with reviews of new programs before parting with beer tokens. You may want to use a sequencer live at a gig, Stands are available (eg. the Series "55" for 55 pounds) and computers are reasonably reliable live, contrary to many peoples suspicions. A hardware based sequencer would be easier to use live, many reasonable ones are available new, or second hand (from about 125 pounds)- you could compose on the ST based sequencer then transfer the information onto the Hardware sequencer. See the Melody Maker`s back page classifieds for some good bargains S|H. ------------------------------------------------------------------ MIDI INFORMATION MIDI is split up into 16 channels. Each note on a keyboard has a MIDI value, or number. Third octave C is MIDI note number 60 etc. MIDI is used in different modes: These are modes of information transmitted over MIDI. Mode one: OMNI ON POLY (omni mode) The default mode of most synths etc. The omni refers to the fact that any information is listened to on all 16 channels. This is the simplest mode. Voice messages are received on all 16 channels, polyphonically. Standard default mode when MIDI devices are switched on. Mode two: OMNI ON MONO As with omni on poly mode but you can only play monophonically (maximum of one note at one time). Mode three: OMNI OFF POLY (poly mode) This is the most useful mode if you are using a number of sound sources, as each can be assigned to a MIDI channel 1 to 16. When you are running a MIDI sequencer, each track on the sequencer could be assigned to a specific channel, thereby controlling a specific sound source. (Don`t worry we`ll cover this all later!). Voice messages are only recognised by the device that is set to receive on the same channel as the transmitting device. Mode four: OMNI OFF MONO This is similar to the omni off poly mode, but is used to control specific monophonic voices each assigned a MIDI channel. Not all synths have this multi timbral mode (eg the DX7). Multi timbral is a term often used by American companies which denotes a synth that can play different Timbres (sounds) simultaneously. Various messages are used in MIDI: SYSEX system exclusive messages: Relevant to a specific synth etc. such as patch data, editing parameters etc. it will be ignored by all other synths etc. System common : This includes the useful SONG POINTER INFO MESSAGE. When you are using your ST, a synth and a drum machine to write a song, you can use this function to stop recording at any point and return to that point when you begin recording again. Normally found on post 1986 equipment. (eg the TR505 drum machine) Very useful... Channel voice messages: This is the most common group of messages. Note off and Note on messages tell connected synths when to sound notes and Pitch is ofcourse included. Function messages, such as Pitch bend control wheel signals are also found in Channel voice messages. At first there were a few problems with different manufacturers. If you connected a Casio CZ101, to a Yamaha, moving the modulation wheel on the Yamaha would cause the Casio master pitch control to wobble (!) most have now agreed on function messages. Channel program messages: This covers the sounds ("program" in this sense). Each synth with a memory for its sounds or patches can receive or transmit program change information. MIDI program change numbers are from 0 to 127 each manufacturer assigning their own patches to particular numbers. These will be explained in the manual, which is another reason to check if a second hand bit of gear has still got its manual! Pitch bend: (effect wheel on the left of a synth keyboard) A standard effect on a synth, this information is transmitted\received via MIDI the amount of pitch bend has to be set on each synth. After touch: As with pitch bend information, a performance effect though not usually found on cheaper synths. (see SYNTH DOC). Control change messages: MIDI will cover the use of various control sliders, switches etc. on various synths. ie. portamento, vibrato etc. Channel mode messages: Omni on poly\mono mode is covered here. Local control messages are sourced here too, which allow you to use your synth as a control keyboard, and have its` sounds played by an external device. SYSREL system real time messages: Stop start and continue messages used for timing, when equipment such as drum machines are being used. MIDI has a resolution of 24bpqn (beats per quarter note). Active sensing is used to avoid spurious messages if a MIDI lead gets pulled out of the back of your ST for example ! ----------------------------------------------------------------- If you are using a simple set up MIDI could be used as follows: A sound source such as a Casio CZ range synth, a software sequencer on your ST and a drum machine (eg. a TR505). You would connect the MIDI out of the CZ to the sequencer running on the ST, so that you can record. On playback the TR505 could be set up to receive its` timing (start stop and continue ) from the sequencer on the ST by connecting to the CZ Thru MIDI socket. If the sequencer was set up like this: TRACK ONE - SET TO MIDI CHANNEL ONE for a bass line TRACK TWO - SET TO MIDI CHANNEL TWO for a melody TRACK THREE - SET TO MIDI CHANNEL THREE for a percussive element The CZ could receive those channels using MIDI mode four and each sound could be played by the sequencer, although monophonically. The drum sounds on the TR505 could be played by the sequencer as well, bypassing the internal memory\ record functions of the drum machine. Each sound can be assigned a MIDI note number and could be played as if they were notes on a keyboard. ----------------------------------------------------------------- Importantly, MIDI will not solve limitations of equipment. Therefore if a synth with touch sensitivity (a function that detects the strength of playing of the keyboard and adjusts the volume\ pitch correspondingly) transmits to a synth without any touch sensitivity, the receiving synth will not magically start playing like the transmitting synth. MIDI devices are limited by their technical specifications. Some synths and sound expander modules will accept information that their own keyboards cannot generate (eg touch sensitivity) but this is not a universal feature and has only recently become more common. Connecting up MIDI between your ST and a synth is simple. MIDI can be as complex as you like but the basic functions work instinctively, well almost ! Random melody generators, as used by Jan Hammer on the Miami Vice theme tune, are another form of sequencer type program. Dr T. make two, Fingers and Tunesmith, Intelligent Music wrote M, the original random composer. (150 pounds) There are many effects that can now be used with MIDI enabling a patch change on synths to be matched with a change in effect. The sequencer programs above could be used to change parameters on these effect units automatically. AKAI make a range of MIDI devices many available second hand. The AKAI ME-10DL is part of this rack mounted range the ME-10DL, a MIDI delay that delays the MIDI signal can add to your synth sound or a MIDI split point generator for synths without this facility. At about 90 pounds second hand. AKAI also make a rack mount MIDI patchbay which allows you to store parameteras and set-ups and recall them without unplugging and plugging MIDI leads as you change from (say) recording to playback. (AKAI ME 30P). Other manufacturers make MIDI patchbays, such as DMC who produce the 6x8 MX8 ptchbay with merge and MIDI map facilities for 245 pounds or KAWAI who also make a rack mount patchbay. The MAV8 c. 99 pounds. Remember, the ST has only one MIDI OUT. Patchbays, like their audio equivalent, may sound complex but actually take away most of the annoying lead switching problems which can distract you from the point of it all ie. making music! The MIDI analyser is a LED covered little black box which will (guess) analyse any MIDI signal and tell you whats going on very useful, 49 pounds. The MA-36 is made by Studiomaster, who are renowned for their high quality products such as mixing desks. It covers 36 different aspects of MIDI and can be left in-line (rather like a guitar tuner) without effecting the MIDI signal. It allows you to get inside your system and see whats happening as it occurs. Pocket Pedals are small but not very cheap (c. 99 pounds) MIDI effects which do not need batteries (as with the Philip Rees range of MIDI gadgets) Filters, and even a minute sequencer are part of the range. Pocket Merge has two MIDI INs and one MIDI OUT. The Pocket Pedal (title of first pedal and range as a whole) sports jack inputs, allowing you to connect a volume \ swell pedal and a piano type sustain on\off pedal. These can control pitch bend, modulation and MIDI volume control. The sustain could be used to start stop a sequencer similar in action to the assignable Trackman pedal system, which is very muso friendly when your hands are being used to actually play something! All Pocket Pedals have a LED which remains on at rest, and flickers when a MIDI signal is passed through, useful. Contact Sound Technology Tel: 0642 480000. 6 Letchworth Business Centre, Avenue One Letchworth Herts. SG6 2HR. Tonic Audio supply a wide range of MIDI hardware and software, new address: Unit 20 Acorn Wprkshop Harold WIlson Industrial Estate Van Road Caerphilly Mid Glam, CF8 3ED. (as of Oct 89). Controllers: As stated earlier, MIDI information can be generated by Mother keyboards which do not have onboard sounds but instead can "play" other sound source devices. Other types of controllers are now emerging. Wind: The WX7 by Yamaha is a sax style (although it looks like a boxy snake charmers flute) controller. Courtney Pine uses one so it can`t be that bad. Yamaha also make a professional MIDIsax controller, which is an actual conerted sax. Casio produce their Digital Horn (which looks like a plastic toy sax) with built in sounds (not playable over MIDI, anyway, they sound awful!) and recorder style fingering. A MIDI OUT means it can be used to program a sequencer or play a synth. c80 pounds. A Pro version is now available which is black, instead of silver and has a few more functions. Battery powered, with built in speaker the Casio horn could be used for busking, by a complete prat... Drum: Roland produce a range of MIDI pad type controllers which vary in cost and design. The professional Octapad series has been leapt upon by drummers as a easy way of accessing new sounds over MIDI. The latest Pad 80 series two Octapad costs c. 500 pounds, on a lower budget is the new PAD 5 (designed in the UK) at c. 160 pounds is intended to be played by tapping on the pads, it is curved underneath to sit on your lap- very nice, Roland, but did you put stand mountings on it? No. So it would be a pain to use live (as most pads are) thanks a lot Roland. The Roland series products don`t have built in sounds, so don`t mistake them for an alternative to a drum machine. Yamaha for a cheap c. 79 pounds make a four pad controller, with a simple built in drum machine, built in PCM sounds, MIDI OUT, speaker and two drumsticks that clip underneath! Good value. The Yamaha DD5. Guitar: Stepp DGX guitar system led the way for MIDI guitar controllers, a pro instrument with a telephone number price AND it looked about as Rock and Roll as a Kenwood Chef. Stepp went bankrupt. Casio make a range of particularily ugly guitar MIDI controllers that are cheap. (99 to 199 pounds)Problem is, if you have any knowledge of guitars you will find them unplayable. Best left alone really. Further up their range they make Fender Strat type guitar controllers for 450+ pounds which are somewhat better. Yamaha make the ultrasonic sensing G10, a Stick like beast which seemingly provides the fastest tracking around. Generally, high quality guitar controllers are still expensive, therefore a lot of careful trial is advised before purchasing a system. The Soho Soundhouse has a large range so you can compare one make against another. Any good music shop should be able to arrange this on request. Because the systems to detect what pitch you are playing on a guitar basically sample the waveform and work out what pitch it is closest to, bass guitars have proved difficult. This because the waveforms created by a bass guitar are much longer (fewer cyles ie. lower pitch) and take longer for the system to correctly work out what pitch is being played, but they`re working on it folks. There is a Pro version of that strange beast, the OMNICHORD. This is played rather like an auto harp (you strum + select chords by pressing buttons). It features a MIDI OUT, so it could be used to give a more realistic strumming type control to guitar sounds or samples, thanks to its idiot proof touch sensitive strumming zone (I told you it was strange). Early Omnichords had a pretty limited range of styles (check out the Penguin Cafe Orchestra track which was recently used for the Hob Nobs biscuit advert!). It has built in sounds and speaker, so you could busk alongside the prat with the Casio Digital Horn... Midi can be used to connect up to light controlling mixing desks (eg Pulsar type computer control) so your ST could control the lights at a live performance via a sequencer. MIDI draw is a program that converts youre doodles into MIDI note signals, although apparently it doesn`t produce very much of interest. MIDI is constantly being used as a way that computers can interact in different ways with the outside world. Reportedly there is a brainwave to MIDI converter...! Oh yes, Hohner make a very natty MIDI accordian, honest. But WHY ? MIDI can be used to automate an audio mixing desk. As this requires rather expensive sampling, motorisation hardware in addition to a good mixer, they are not cheap. Yet. J L Cooper make a model as do Yamaha. THE USERS GUIDE TO MIDI AND MUSIC : by P Morgan v1,00 Placed into the Public Domain: Via Dark Star Public Domain Library Oct 1989 MULTI TRACK RECORDING INTRODUCTION In order to play back your work you will want to make a casstte tape of it. There are a number of ways of doing this but basically they fall into two groups; the sequencer based system and the multi track tape system. The sequencer based system could be based upon the following, a sequencer such as a package for the Atari ST, sound generation modules i.e. synths, samplers, drum machines etc. a mixer and a good quality HiFi cassette deck. The music from the sound sources is fed through the mixer (minimum of 8 channels) via effect units, to the tape deck where it is recorded in stereo. Although this sounds simple, and fairly cheap ,beware! A decent mixer is expensive and because this is a "one take" operation you will need enough sound sources for the whole track to be recorded. Therefore a fair amount of expensive hardware is needed, and this is not the most efficient way of using it. Alternatively, a multi track based system could be set up as follows; a sequencer (although not essential) a porta studio, a suitable sound source such as a reasonable polyphonic synth, drum machine and a cassette deck for duplication purposes. That`s a pretty basic set up but it would work suprisingly well. First a Portastudio (or "multitracker"). These have completely changed the amateur and pro music world within a decade. The principle is simple once grasped. A domestic or HiFi tape deck will record two tracks on side A of a cassette (Left & Right) and amother two on side B, by flippng the cassette over. Now enter the portastudio concept: record four tracks on the entire width of the cassette tape, so you dont flip it over, all four tracks run on one side. Now you can record up to four tracks, one by one building up the "layers" of a song. Here`s the clever bit, if you record say, bass, drums and chords on tracks 1 2 and 3 you can internally "bounce" (or ping pong as some Americans put it) those tracks down onto the remaining fourth track- voila! three tracks are now free for vocals (known as vox) or that fabulous didgereedoo lead solo ! That is rather simplified and I shall be dealing with more subtle techniques later on. With a four track tape recorder such as this you are in the situation that many famous artists were in the 1960`s - four track recording was pioneered by Les Paul and proved adequate for many classic songs. Ok, how much will this all cost? Well, as in anything the more you pay the better the quality and frills. Amstrad produce an all-in- one-box effort with a built in record player (!) this is the Studio 100, and represents the bottom end of the market at c.299 you get some mics, two tape decks and a hell of a lot of swithches and dials. This is Amstrad`s first foray into the portastudio market and it shows, frankly. The faders work back to front i.e. if you want track one louder on mixdown, you pull fader one towards you - insane! It hasn`t got a very good noise reduction circuit (essential)- a shame. Altogether an interesting buy if you haven`t got a HiFi to moniter recording through and copy tapes from the master, fairly well priced but lacking a good recorded sound. A better buy would be one of the cheaper true portastudios. The Vesta Fire (well known manufacturer of studio effects) MR range this encompases rather basic models but the recent MR 300 at about 199 is good as is the old classic by Fostex the X-15 (dolby B in first version) at about 275. Fostex have replaced this model with the X26 and the X30 both well made and good sounding machines- other than Fostex, the leading manufacturer Tascam (or TEAC) produces the Porta 05 as an alternative under 300. Above 300 you will find the details which really improve sound quality the main one being Double Speed recording. Normal tape speed is economical in terms of recording time but high speed portastudios can produce far better results. This is due to the fact that the faster the tape runs across the record head the more tape there is to record any given sound thereby increasing the quality. The Fostex 160 is the best cheaper machine with this facility (usually switchable to normal speed).c.399 and its bigger brother the 260 at 520 (better mixing facilities). Yamaha produce well made but rather pricey portastudios:- the first, Black Box series (my term) the MT1X a bit odd to use available S/H and the MT2X (hi speed model) the cheaper MT100 and the most recent machine the rather wonderful MT3X 550 pounds. The Yamaha MT1X is commonly the most available second hand, for around 200 pounds. Its' biggest plus is that it can record four tracks simultaneously, as opposed to the X-15 by Fostex and the cheaper Vesta Fire models which can only record two tracks simultaneously. The Fostex X-15 is probably the lowest priced SH porta studio available second hand, it is and excellent "note pad" type machine and can produce very good results if used with care around for about 150 pounds or less! (RRP was 295 pounds). Sansui have recently launched a SIX track porta studio the WS-X1, This features a 8 channel mixer and costs around 900 pounds. In order to keep the amount of tape hiss down, porta studios have usually got a noise reduction system. By keeping a high as possible recorded level onto the tape, it reduces the amount of hiss- so always record as "loudly" as you can onto the tape in use. Noise reduction is standard on all machines usually DOLBY C fast replacing the older Dolby B (though not entirely compatible with each other). The other system is the DBX system. Each system has its detractors and I fall into the Dolby camp as I feel that it is less prone to producing the "pumping" sound on High frequency sounds, this is subjective ofcourse, so when trying out a portastudio use your own ears ! Also ask the salesperson to:- 1. Record a simple drum machine pattern with plenty of HiHat, to check out its` dynamic range and handling of hi frequencies. 2. Does the operation of the machine seem a little confusing- it shouldn`t, compare the easy X-15 with the devilish X-26. Then muck about (gently!) with the EQ (tone controls on playback see how effective they are and which frequencies they effect. The best machines offer parametric EQ`s (cf glossary). Many companies offer deals on "packages" ie. free leads mics and tapes or similar, two good places for portastudios are the Turnkey Shop and The Soho Soundhouse, 18A Soho Sq.. London, W1 (100 yds from Tottenham Ct. Rd. Tube station) who both advertise in the main Music equipment magazines and provide a full range of Porta studios etc. Many other shops advertise in various publications. SOURCES OF INFORMATION : for related equipment and techniques etc. MAGAZINES: Monthly: International Musician and Recording World, 2.00 (Oct '89)- everything from ethnic percussion to drum machines, reviews, tips, info, and interviews- recommended. Sound On Sound, 1.40 (Oct '89)- "Britains No. 1 Hi-tech music recording Magazine" in depth reviews, interviews etc. Good value. Could be a little detailed for a beginner though. Music Technology (c.1.40) specific equipment magazine a bit difficult to find but very good. Home & Studio Recording (c.1.40), trade type magazine concerned with professional and home gear. Good for technique advice. MICRO MUSIC: "The specialist music magazine for computer users" (1.75p) Published monthly Argus Publications, Argus House Boundary Way, Hemel Hempstead, Herts. HP2 7ST. Started only in the beginning of 1989, covers everything to do with electronic computer based music. Little difficult to find but worth ordering from your newsagent. Recommended. No Letters page as yet! Weekly: Melody Maker (55p), the only "inkie" to cover (briefly except for Trade fairs) equipment, orientated towards the budget end of things (good for them!) a massive classified second hand section and trade advertisements, oh yeah, some interviews with pop stars too... YAMAHA: run an X Owners Club Magazine -covering the "X" series products, free magazine "X-press" contact: Yamaha X-press, Mount Avenue, Bletchley, Milton Keynes, MK1 1JE. ROLAND: run a mail order service and newsletter "News Link" (published in International Musician as well as mailed direct to you if required) covering the wide range of ROLAND products. Offers a helpline type service. Mail order : everything from Roland pens to usdeful synthesizer guide books (general) sometimes deals on hardware too! Contact : Roland (UK) Ltd. West Cross Centre, Brentford Middsx. TW8 9EZ Be helpful, and mark your enquiry "NEWSLINK" . Turnkey Shop, 114-116 Charing Cross Rd London WC2H ODT TEL 01 379 5148 -stocks a huge range of porta studios second hand and new, budget to professional equipment. Thatched Cottage Audio: have free info packs and excellent catalogue. Thatched Cottage Audio North Rd Wendy Nr. ROYSTON Herts. Finally, before we delve into the details of recording, if you can't afford a Multi track portastudio there is a hope! Sound on Sound (not the mag!) involves recording a track on a tape recorder, then playing that track back whilst playing another track on top which is recorded by a second tape machine. You could use a simple mixer to control the levels being recorded by the second tape deck. Its' fun easy (most people experiment with this at some stage!) - but has big drawbacks such as quality and control of the final sound. RECORDING - EFFECTS - The basic or untreated sound of any electronic\electric instrument tends to sound pretty dull and sterile. In order to combat this effect units hae been developed which allow you to change the nature, texture, volume and pitch of any signal. Ok, lets find out about some of them. Effect units can be quite cheap, such as the range of Effects pedals intended for guitarists\bassists use. These have steadily increased in quality in recent years, the biggest selling range being BOSS (a division of ROLAND Corp.). Ask for a copy of the " Boss Dictionary" from your local music shop, which lists the range and use of effects. Boss pedals are covered by a five year guarantee, and cost 36-100 each. Recently, a range of "mini" or "half-rack" effect units have been launched. Half the size of a professional rack mounted effect unit, ( 19" wide) with more controls than a pedal, often better quality these are more suited to a home set-up. Largest range is from (guess) Boss (Micro-Rack series) also AKAI, ALESIS, and now LEXICON (previously only megabucks pro gear). Professional units, intended for exacting studio use tend to be better constructed, bigger ( 19" wide, height measured in "U" or standard unit), quieter and damn expensive. Most electronic equipment manufacturers tend to have a range of professional effects. As with all hi tech gear standards are always improving so sometimes previously pro only gear is sold off at greatly reduced prices, to make way for the new range or model. The Soho Soundhouse often carries adverts for such "end of line" equipment. SOUND PROCESSING A USERS GUIDE- Initially, we shall look at effects used on electronic instruments but can be used on any type of instrument (or recording of an acoustic instrument. Delay or Echo: A common and useful effect. Basically it takes the incoming signal, then plays it back later. Early devices were based on the Les Paul (him again!) BBD or bucket drigade device. This was analogue and transferred the captured signal along an electronic delay line (hence the name). Revolutionary as it allowed what previously could be obtained by using a room built for echoes from a relatively small box. BBD devices are still available and are often termed as analogue delays (eg. cheaper guitar effects pedals eg. the Boss DM-3). Drawbacks are that the quality (of the effected signal) is poor, also, the length of the delay (measured in Ms or Micro seconds) is rather short. Digital Delay Lines (DDL's) are now more common. Offering much higher quality and length of delay they are better alue for money. The Boss DD-3 & DSD-3 pedals represent good value as do the other Arion etc. pedals available. The Boss Micro Rack DDL is more suited to the use of a home recordist, and is a good example of a typical DDL. The controls on a typical DDL are; Range- controls the length of the delayed signal. Feedback- controls the amount of regeneration of the signal, or how many times it repeats; Mix or Level- the balance between the uneffected signal and the effected one ( this is common to almost all effect units ). A delay can add rhythmically to a sound, such as a drum pattern. Unless you are looking for an odd sound delays should be adjusted to fit the beat of the music, with echoes falling on a beat, not either side of one! This is a classic pitfall for budding recordists. Keep the level of the delay down for a more natural sound. It may be boring to keep the level down of that nice new gadget youve just spent youre hard earned beer tokens on, but the end result will be better. Bear in mind that the longer the delay the more "space" the track will need to accommodate it without sounding muddled. A very short delay with low repeat level will do as an alternative to a reverb on drumtracks. Try recording a delay signal backwards like this!- a. record on say, track 1 a vocal or synth ...don't rewind when you have finished then... b. turn the tape over ! This will make track # 1 become track # 4 and so on (think about it!) when you play it back it will be track four temporarily and going backwards...then c.feed this signal out to a delay unit and record with delay level at maximum, the effected signal on track three ...then d.turn the tape back over track one will be back one track one and your track three will be now track two (its' easier to do than explain I assure you!) When you play it all back the echo track will be running backwards and actually be a pre-echo! This can be particularly good on drums (check out Adrian Belew's Big electric cat on his album, Lone Rhino). Short delays change the tone of a sound and can add atmoshere to a vocal track. Chorus: The original chorus was to be found on the Roland Jazz Chorus guitar amps of the 1970's. It instantly adds a "lushness" to the signal by delaying the signal modulating it (applying a waveform that controls the pitch etc.) and adding it back to the sound. Cheapo keyboards can sound much richer by the liberal use of chorus, turn up a chorus and it can knock the pitch completely out of tune thereby making an expensive keyboard sound er, not so good! A chorus such as the Micro rack series chorus or Pearl pedal series, will add much to the sound of virtually anything, but beware, use it on everything on a track and you end up with a out of pitch sounding track. It is often used on string patches (sounds) on synths. Many recent synths have a digital chorus built in, but a stand alone unit will be more useful. Most good DDL's will have a chorus facility, or a modulation control. Analogue choruses work well, but sometimes cannot handle the very high frequencies created by modern DX type synths. The classic tape loop based Roland Space Chorus is now available in digital rackmount form so you can have the best of both analogue and digital. Most chorus pedals (the exception being the preset Boss pedals the Dimension "C" range) have a rate control for tuning the chorus LFO (see glossary file) and a depth control. Flanging: Instantly recognisable "swooshing" sound effect. Originally coined from the trick of slowing down the reels on a reel to reel tape machine (putting your finger on the "flange" of the reel!). A more dramatic effect than the chorus. Basically it is similar to the chorus effect but deeper, by the addition of a much higher feedback level, again most DDL's can produce this effect. Many pedals for flanging are available one of the better ones is the IBANEZ DFL a digital pedal (c.110). Used as a very obvious effect on bass sounds it can add "movement" to a sound. It tends to thin the sound. Can be heard on widdly widdly guitar solo's and early Cure records. Phasers: Often confused with flangers, a swirling effect, that knocks the incoming signal out of phase with itself, whilst cutting out some harmonics- a non technical description would be WeeeeeWooooooaaarrr! More commonly used on distorted guitar sounds. Reverb: Not echo but reverberations- the complex multi delays present when you speak in a large hall for example. The practical difference between delay and reverb is that delay contains seperate distinct repetitions of the original sound(s) and reverb contains thousands of delays all mixed up together. It is this that makes natural sounding reverb very difficult to create from a small black box in your bedroom! Early attempts were the spring reverb. The signal would be split, one half sent down a spring (stop laughing at the back!) and mixed back together. The result can be suprisingly good, the Great British Spring Reerb is a classic cheap example. This method is still the most common for guitar\keyboard amplifiers, and can work well except for bass signals. A more serious option was opened with the first of the low cost digital reverb units such as the Alesis Microverb (and Microverb II) they sound great in comparison to the old springs, and are coming down in price every other day. A nore recent example is the YAMAHA R100 which sounds a little better than the Roland micro rack reverb (to my ears) and can be found for less than 150. One of the unfortunate side effects (groan! no more puns) of the dropping in price of these effects is that now everyone coats tons of reverb on everything they record. It can add a more pro sound to your demo, but it can also make it sound bloody unimaginative! Use a reverb with discretion. One interesting facet of modern techniques in recording have meant that people are now used to hearing records with seperate soundfields around each instrument, a completely unnatural sound, in fact ! Distortion: In hi-fi terms any unwanted spurious signal. In musical terms WELLIE! Ok, calm down. Distortion effect units, pedals normally, add harmonic distortion in an attempt to emulate the old valve guitar amps. Valve amps added an overdriven sound to a guitar, by adding harmonics and emphasizing certain frequencies. Much cheaper than a guitar valve amp is a pedal such as, well there are thousands of them but the biggest seller is the Boss Heavy Metal pedal for around 45. The early organs of the sixties were often played via guitar amps, so a distortion pedal (fuzzbox) will give a nice bit of dirt to a Hammond organ sound. Overdrive pedals are simply more mellow in effect. Try using one on a drum machine to add snappiness to snare and hi hat. The Boss ODD micro rack contains the sounds of the range of Boss distortion pedals for about 130 and is therefore excellent value. Noise Gate: A variable "gate" for sounds. It can be used to cut off hiss at the end of a sound by setting the volume pass level. This results in the sound being cut off when the volume drops below a certain level and allowed through when it rises above that level. When used with a reverb, it can produce the overused Phil Collins Gated Verb' type drum sound on a snare etc. When a noise gate is triggered by another sound (that is, switched to open and close) it can produce a stuttering sound (called "ducking"!). Accesit produce a cheap noise gate, which will work reasonably well. Compression\Limiter: Essential for recording using a microphone. This device acts as a "third hand" on mixing. No, it won't pick your nose but it will clamp down on volume peaks when recording, thereby ensuring the loudest possible signal on tape. Not much use on synths but will be useful for vocals etc. Equalisation: Such as a graphic equaliser, this allows precise control over the treble, midrange and bass signals of a sound. The typical graphic employs amplification or attentuation of a specific frequency by around 12Db. The simple treble and bass controls on many porta studios are often too extreme for cutting out high frequency sharpness for example. The other type of EQ is the Parametric. This has two controls per "band" a boost\cut dial and a Frequency dial. This allows you to find exactly the frequency you want not the preset one on a graphic or tone control. This means it is more flexible than average tone controls allowing you to remove feedback howling or hiss on a tape etc. Add a LFO and you have a Wah Wah type sound. Add a foot pedal controlling the frequency and you have a guitar type wah wah. Harmoniser: This is now found on cheaper multi effects units. It samples a signal and plays it back at a certain pitch thus creating a harmony part artificially. Unless the equipment uses very expensive and complex resynthesis techniques the resulting sound can be a bit dodgey! The Boss micro rack version copes reasonably well. Generally, these devices only accept monophonic (single note) input signals. Korg's DVP-1 provides a vocoder synth type effect as well as general harmony type lush sounds. Limited use to a budget set up. Aural exciter: An enhancer that synthesizes and adds (not simply boosts) hi gh frequencies. In use it will add sparkle to a dull recording, or make a an instrument stand out in a mix. Aphex pioneered the devlopment of these devices and Akai make a model in micro rack size for about 130. Alesis also make a Micro enhancer which is stereo 120. Multi Effect units: These employ digital technology to compress many effect units into one box and save you money in the process. Devices such as the Yamaha SPX90 or SPX50D have led the way to prices tumbling. The drawback is that they only allow a certain number and combinations of effects at one time. The Yamaha 16bit quality FX500 is the latest such effect unit and sounds brilliant even though it looks like a car stereo! Prices, due to competition are falling and most units now retail for about 399. They generally contain compressor, reverb, limiter, delay, and sometimes distortion, pitch harmoniser, complex EQ, parametrics, watch out for the model which makes you a cup of tea, out soon! Cheap effects: No money left after buying your shiny, well matt black, porta studio? Then this section is for you! Bog standard microphones will give you that instant wierd vocal sound. Your bathroom is an instant reverb room! Either record vocals in there or run a speaker out to the bathroom and re-record a track with the ambience of your very own bathroom ! Talk down a tube -instant flange! Recording synths etc. via a simple instrument amp live in a room can add interesting atmosphere. Use the pitch control on your porta studio on vocals and drums, cymbals to gongs etc! Pretend your Prince and produce dance records without 20 second reverbs... Housekeeping\ Tips: For good quality recording stick to decent tapes such as TDK SA-X C60' actually have slightly thicker base tape and therefore are less prone to stretching. Clean your tape heads using Isopropyl Alcohol B.P. (only 4.99 for 500ml at Boots the chemists) and a cotton bud. Remember to wipe the head dry after cleaning with a dry cotton bud. Clean heads as often as is convenient! Use TEAC Roller cleaner for the pinch roller mechanism rubber roller thingy. Use good quality leads for connection. Clean the Phono ports with a good contact cleaner (as sold by Tandy etc.) or even good ole' Isopropyl Alcohol. A word of warning do not try to smoke whilst using Isopropyl Alcohol! Demagnetise you tape heads by using a Cassette type head demagnetiser or the hand held type (2.99 from Maplins or Tandy) use these very carefully around tapes etc. Use headphones whilst monitoring for comparison (Sennheiser HD414 are cheap and good) try out your finished mixdown on as many tape machines as possible to compare how certain frequencies may need altering on mixdown. Record Drum tracks on the outside tracks to avoid spillage over onto other tracks (only a problem if the record level was too high anyway!). Get as good a level as you can onto tape to reduce tape hiss, experiment with different levels for different sounds ie. bass. Try totally absurd effect settings or mix levels. Experiment. Consider the frequency of a sound try to balance the mix, ie. don't have all the synths producing high frequency sounds, try a melody on the bass so as not to interfere with vox etc. Monitor at differing volume levels to avoid virtual bass (psychoacoustic creation of bass which isn't there!) at loud levels. So when you play back at a lower level it doesn't sound suddenly thin and wimpy. Above all use your multi track creatively and enjoy yourself! Useful free information can be found by reading Making Music, a free music magazine available from most music shops. Excellent coverage of new equipment, interviews, tips and publishes useful guides to all aspects of music. It is a colour mag. about the size of a broadsheet newspaper, if you are looking out for it (monthly). When buying new or second hand, you will find a large number of different manufacturers that produce Effect units. To help you here is a list grouping according to general price range : NB The ranges described as "cheaper" does not necessarily mean low quality! Medium|High Cheaper BOSS (Roland) ARION (pedals) IBANEZ FRONTLINE (JHS IMPORTER) KORG ROCKTEK (PEDALS) ALESIS GUYATONE (PEDALS) APHEX WEM PEARL SCHALLER (VOLUME PEDALS) YAMAHA ACCESSIT (CHEAP MICRO RACK UNITS) ART (US BASED) AKAI MARSHALL (NEW RANGE OF PEDALS '89) VESTA FIRE (OR SIMPLY VESTA) DYNACORD TAMEC CUTEC DRAWMER (PARTIC. LIMITERS \ GATES) etc. ! MICROPHONES: Briefly, you will need a microphone if you wish to incorporate any non electronic sounds. There are different types of microphones available, each with a particular characteristic. There are two types generally used, Dynamic microphones are tough, withstand live use onstage well, and can take high volume levels without distorting. Electret Condenser microphones are more sensitive but give better results, they are usually powered by a small battery, or sometimes by "phantom" power from a mixer, like a disk drive is powered via the main ST transformer. Microphones have different pick up characteristics. See DIAGRAM TWO on the DSlide picture program for a graphic explanation! Buying a mic. can be baffling at first but here are a few good mic's that are widely available and not too expensive for a recordist primarily interested in parting with his or her sponduliks on other gear! VOCAL MICROPHONES: AKG : The D80, a slim black dynamic well made out of steel (aluminum?) to withstand knocks etc. 210 ohms impedance, 60 to 15Khz range cardiod mic. Approx. 35 pounds reduced. General purpose mic. ALso D70E cheap recording mic. available. SHURE: The SM57 costs a little more than the D80, but is an excellent all purpose dynamic mic. SENNHEISER: The MD 43, can be more expensive than the above, but handles wonderfully. Very good sound, 50 to 16Khz range 700 Ohms XLR type mic. Totally reliable, as with the whole of the Sennheiser range. (yes, I'm a fan!) Also MD46 with improved range handling. If you are on a tight budget and simply whish to use mic's to capture the odd sound try out some cheap condensers from Tandy, they are cheap but will give very good results. Tandy also make a licensed copy of the radical SHURE P Z M mic' (Pressure Zone Microphone) which looks like a flat square, with a lead coming from it. It captures omnidirectionally any sound and will function in a similar way to the human ear, and cut out any unwanted resonance ie. it sounds excellent! Very useful for "atmosphere" recording of an amp, or even vocals, a very natural sounding mic' they also have a credit card size PZM which is cheaper than the full size (c.37 pounds) model - less quality though. Place PZM's on large flat surfaces for best results (ie. walls!). AUDIO TECHNICA: provide a wide range of keenly priced good quality microphones. The AT 818 is good for vocals. The AT816 is a reasonable recording unidirectional mic. at around 35 pounds. More expensive microphones will improve the quality, and "punch" of vocals, and are worth the investment if you can manage it! Try out: SHURE: SM58 vocal microphone a classic workhorse mic' will stand being run over by a car and still work! Soho Soundhouse sell it cheaply at about 85 pounds (Oct '89) good loud clear sound. The upgraded BETA SM58 is a;so available. Try the PROLOGUE RANGE from Shure for various other mid price mic's AKG: The excellent D321 and D330 mics are worth checking out as vocal mic's as are the general purpose 1200E series. Any of the Sennheiser range ! When you are trying out a microphone, check its' handling, is it poorly balanced? Don't buy a mic without trying it, when you do try it, compare it with a range of other mic's - this is not unreasonable so be persistant ! Check for handling noise, is the casing solidly built with no rattles? Look out for over emphasis of S sounds - sibilance or popping on B and P sound (Plosives) to much and it won't be much use for recording. Microphone stands are pretty essential and cost about 27 to 40 pounds. The placing of a microphone can radically change the recorded sound best results are obtained by experimenting with positioning. The closer the mic. to the sound source, the less ambience there will be. Please note all prices in pounds sterling correct Oct 1989. Multi track recording is both enjoyable and creative. Your work with an ST and synths etc. can be enhanced and enjoyed by more people, a ha! Tomorrow the world! Gibber Gibber! Recording hints are included in the second part of this Guide with reference to particular topics such as drum machines, synths etc. Released into the Public Domain via Dark Star Public Domain Library. October 1989. Note that this file, along with others in this Guide must not be altered and this note should remain in accordance with the authors wishes. Version 1.00 Updates c\o Dark Star PDL 2a Victoria Ave, Porthcawl, Mid Glam CF36 3HT. End of File: The Users Guide to MIDI and Music V1.00 By Peter Morgan. Released Via Dark Star PDL. SYNTHESIS & SYNTHESIZERS INTRODUCTION: Since the development of early electronics, people have attempted to make instruments from this technology. The Theremin, which produces those pure sine wave noises beloved by horror and sci fi films, was just such an early instrument. The Electronic Sackbut and other eccentric collections of valves and wires never quite took on as popular instruments. This was due to a. They rarely worked properly,and b. they sounded, well, primitive. Modern synthesizers can be traced back to the RCA Mk1 of the 1950`s. This was basically an early computer that ran on punched paper rolls for data retrieval. Milton Babbit composed music for this machine. By 1959, the elegantly named RCA Mk2 was in use. It could synthesize acoustic instruments and process external signals via microphone input. In 1964 Dr Robert (Bob) Moog made a Voltage Controlled electronic instrument, using principles suggested by the German scientist Harald Bode earlier in the 1960`s. This was a significant breakthrough, as it was a faster, accurate method of controlling an electronic instrument. The sound source was the Voltage controlled Oscillator (now abbreviated to VCO) an analogue sound generator. As every component produces a voltage, these voltages can be used to effect other components ie. modulation etc effects. Moog realised the best way to utilise this fact was to keep the system as flexible as possible. To this end, he produced these early instruments in MODULAR form, with each module being connected by patch leads (yes, thats where the term "patches" for sounds on a synth comes from!). To amplify the signals produced by the VCO, a Voltage controlled Amplifier (VCA) is employed, filtering of the sound (altering its` tone etc.) is handled by the VCF -voltage controlled filter. Synths use "envelopes" to mold the sound produced. in an analogue synth this is usually an ADSR type control (part of the contour generator section of the synth). A-Attack. The initial part of the sound. This controls how steeply the sound will reach the second stage... D-Decay. The rate at which the sound heads for release. S-Sustain. The length of time the sound will remain being heard (posibly infinite as in an organ envelope) when the keys are held down. R-Release. The rate at which the sound returns to O volume (off). This was the basis of the analogue synthesizer which gradually became more compact and cheaper. The MINIMOOG (now available as a MIDI rackmount expander) was one the most famous early 70`s synths. Analogue sounds are built up from simple waveforms, unlike natural sounds which contain many complex combinations of waveforms. So, when creating a sound on one of these machines you would start with a sawtooth wave and mix it with another wave such as a sine or square wave. Each wave has a characteristic, square waves sound somewhat like a pure clarinet, sawtooth waves are good for buzzy or brassy sounds. Early synths were monophonic, they could only play one note at a time. These single notes were complex sounding, though! The Minimoog bass sound has become the benchmark for all synths. Other manufacturers of the time produced similar instruments, EMS, Roland, Oberheim, ARP etc. The Synthi 100 by the British EMS company was adopted by German secondary schools as a teaching aid and was used to record the first Dr Who theme (BBC Radiophonic Dept.). The greatest of them all must have been the Electronic Dream Plant (EDP) UK synth the WASP! It looked awful, had membrane yellow and black switches instead of proper keys, and could be supplemented by a sequencer which never worked! However it sounded great, and now you can get two of them in a rackmount form from Groove Electronics with MIDI. (The Stinger!). Analogue synthesizers are characterised by their warm, powerful sounds. Polyphonic synths eg the Polymoog, Prophet Five etc. soon followed but their price meant that few musicians could afford them. Many can be retrofitted with MIDI. The present digital revolution was started by Yamaha, who produced the DX range of FM digital synthesizers. FM was "a totally new approach to synthesis" (Yamaha 1983). So much so, in fact that most users simply did not even bother to create their own sounds, and stuck to the excellent preset sounds onboard synths such as the DX 7. There were three synths in the range at first, all available second hand. The biggest selling synth for a long while, the DX 7 everyone who has heard modern popular music has heard one! The DX 9 a smaller brother of the DX 7 -a four operator synth that never really took on as it was too close to the price of a DX 7. The DX 1 - what a beauty! wood cased mega synth with flourescent displays, two DX 7 `s in a box basically, but with typically complex routing - hence incredible sounds. Casio produced the CZ as part of their undercut everyone else and sell crateloads policy. The CZ range was part of the Cosmo series synths, each item in the range was in fact a part of Isao Tomita`s mega synth\console\recording studio "Cosmos". The CZ series used PD (phase distortion) digital synthesis. Like all purely digital synths, they produced bright sounds that could easily cut through in a mix. FM sounds that became classics were the Bell type sounds, Rhodes pianos, and short "plucked" basses. CZ synths were used alongside Fairlights (c60,000 pounds) by the likes of The Thompson Twins, Dave Stewart, Jarre, Nile Rodgers etc. Digital synths such as the DX range use combinations of algorhythms to produce sounds. The FM (DX) system has operators which generate sound waves, the relationship between which are controlled by other operators assigned to control them. Each operator can be seen as a building block of the sound content, their relative volume levels affecting the outcoming sound. Each operator would be tuned to a pitch, rather like organ stops pitched in feet (8`, 16` 32` etc), instead, a DX operator is pitched in frequency value- but the effect is the same as adding organ stops. With complex algorhythms (combinations or patterns of operators) the effects may be less straightforward. In addition to the sound generation, digital synths have many staged envelopes, the scaling of which decides the final shape of the sound. These can be seen as more subtle and useful than a simple ADSR envelope. As this is a users guide, I shall not dwell on "what sound is" type explanations, instead, if you are interested in the theoretical side of sound and synths, try reading the following: The New Complete Synthesizer by David Crombie 7.95 Electronic Music by Andy Mackay, Control Data Publishers, now out of print but an excellent history and explanation of Electronic gizmos. A Synthesists guide to Acoustic instruments by Steve De Furia, 9.95 The Synthesizer and Electronic Keyboard Handbook by David Crombie, Published by PAN (they also have a good book on guitars in this series). Your local library should be able to order other books on the subject. This is worth doing, as due to the low foreseen market size of these books (very very few people want to read them!) the prices can be a little steep. Much like books on computers, ah well... Unlike the 1970`s the 80`s have seen an explosion in the number of different synth models. Here is a selection of models that are available second hand with MIDI, first a few tips on buying used keyboards. 1.Does it look as though it has been carefully handled. Some ads. will state "ungigged" as if this meant perfect. A synth covered in coffee at home is worse than a cared for synth that has been used a lot live (where it HAS to be relied upon). 2.Check to see if the original manuals are present, if not you could be ages trying to find out how to save etc. 3.Try everything to see if it works, tedius but important. Yes, every damn switch, as to repair one faulty slider could cost 35 pounds and a month`s wait... 4.Power supplies can be expensive , is the one supplied looking as though it will pack up after one session? 5.Are there any RAM packs (for memory storage) or other accessories included? Don`t be conned into parting with a low price for the synth then a large sum for peripherals... 6.Major manufacturers tend to support their gear, so manuals etc. are often available (as is written advice) for many of their products. But NOT ALWAYS! 7.Are the power supply connections and other connection jack ports loose or crackly? 8.Check each key works by nonchalantly pressing each key and straining to hear each note produced. This should produce mild annoyance in the seller, if it produces sweat continue only more slowly! 9.Does it produce the sounds that you want it to i.e. DON`T BE SWAYED BY THE BARGAIN OF THE CENTURY (which right now tends to be the Casio CT3000 Which sounds S*!T but is being sold by the truckload) ahem. 10. HAGGLE ! and good luck! Most private sellers of gear ARE honest and trustworthy (its` a small market anyway) but bear in mind the caveat emptors mentioned before... OK LETS` GET BUYING - THE SHOP TIL` YOU DROP SECTION For the computer orientated buyer there is the Casio CZ range, pretty cheap to begin with, now very cheap indeed! The CZ range is multi timbral, ('MIDI mode Four time!) and easy to use Billions of free patches have been written for the CZ101, some PD patches are available from Darkstar PD, complete with a jolly nice label (OK there`s a free plug, John!) ah yes , where was I ? The CZ101 lacks a full sized keyboard, modulation control wheel but otherwise is a pint synth in a quart platitude. Sounds good as an expander, perhaps not as the basis of a system. The range comprises: CZ101- small keyboard s\h c.150 pounds version of ... CZ1000- nice big hunky four octave (one less than normal) synth 225pounds s\h... CZ3000- Two CZ101\1000`s in one case, now you have the serious extra power of extra oscillators, bigger polyphony OR bigger sounds...a good buy 400ish pounds s\h probably less. CZ5000- a CZ3000 with a worthwhile built in two Casio SZ1 sequencers (total 8000 note storage, and easy to use) 500+ish s\h? Yamaha have a large range of s\h MIDI gear, notably the :- DX7- prices are falling for this classic synth s\h but remember it has NO multitimbral mode, so it would be an unwise investment as a sole keyboard for a MIDI \ST set-up. DX27- a price breaker when launched, again not multitimbral, four operator DX sound and a nice big keyboard c.200 pounds s\h... DX21- more flexible split point type sounds (i.e. "layered" piano and string sound at once- although on a four operator synth this can be overestimated in terms of usefulness...)good buy DX9- old four operator job. A bit duff really but good in the hands of those who have patience... DX100- Teensy weensy yello polka dot synthi version of the DX27. i.e. stupidly small keyboard and tacky buttons but CHEAP! Note: the early CZ and DX (DX9 and DX7) range synths had membrane (a la ZX81 !) type switches which proved less than positive in use! The Yamaha range is pretty large, with versions of the above with more features also available i.e. DX7ii, DX11 etc. They also have a more recent range of four operator synths, intended to make DX a bit easier to handle when creating sounds. This is the YS range. These are currently being reduced in many dealers. The YS200 features built in digital effects (chorus, reverb etc) which make a large difference to the sounds, however, the editing method is a little to crude for someone into creating sounds (a S|H DX21 would be a better bet for that purpose). A version with built in speakers (BS200) is also available. The YS100 (dynamic keyboard) RRP 690 pounds, YS200 (velocity and aftertouch, 8 track sequencer) 790 pounds, expect to pay much less than these prices though (as little as half). The DX11 is also available cheaply (c425 pounds) (velocity and aftertouch keyboard, multitimbral). Yamaha have a range of expander versions of their DX series synths. The TX range is aimed at the professional market, with the TX81Z being the most affordable one. As with most expanders, you pay less, not for inferior sounds but because there is no keyboard. It can be assumed that all recent synths have an expander version. Sometimes it is in Rack mount form, or in a modular form (e.g. the Yamaha TQ5, or Kawai range). If you have a Keyboard synth or Mother keyboard these expanders represent good value. The Roland MT32 has proven popular, as has the D110 (similar). These incorporate the LA tupe sound creation technique. Roland in an attempt (successful!) to win the battle for the lucrative pro keyboard market at that time dominated by the Dx range, launched yet another type of synthesis, the LA method. The flagship synth the D50 became a best seller immediately. The D50 (now followed by progressively cheaper versions, the D20, D10 and D5) sounded excellent due to LA ANALOGUE type sounds mixed with actual samples (recordings) of instruments. The start of a brass patch or a pan flute would be very realistic whilst the body of the sound would be the warmth of analogue. The D50 fell into the normal price bracket for a pro synth, c1300 pounds. The cheapest model in the range, the D5 is about half that price. The combination of samples and synth sounds in one instrument has been called a Hybrid or Samploid synth. The Kawai K series (K1 and rackmount K1R etc.) also employ this method, which is proving very popular as a way of attaining previously "expensive" sounds at a reasonable price. More mundanely. the first multitimbral offering from Yamaha the FBO1 expander (four operator DX27 TYPE SOUNDS) is available S\H for about 150 pounds and is recommended (even though it looks like a car stereo). ------------------------------------------------------------------ Recommended synths (available S\H) for a computer based set up: A few examples: Expanders: Roland MT32 (built in drum sounds) D110 (more pro version of MT32, better MIDI spec.) Yamaha TX81z FBO1 (cheap and effective) TX7 (DX7 in a box but not multitimbral) Cheetah MS600 (digital synth) c.200 pounds MS800 (ANALOGUE SYNTH) c.299 pounds Keyboards: Casio CZ3000 Yamaha DX21 DX11 (multitimbral) Roland D5 c,400 pounds Alpha Juno -2 DCO type analogue polysynth JX3P good sounding early MIDI synth. c.270 pounds. Akai AX73 underrated MIDI synth. Korg Poly 800Mkii ---------------------------------------------------------------------- Multitimbral synths are capable of playing (or being triggered to play over MIDI) independent sounds, either polyphonically (ie chords) or monophonically (maximum of one note per sound) simultaneously. This is useful for a sequencer based system as it allows you to use a separate sound for bass or melody etc. Recently, Korg (actually owned by Yamaha now, hence all the digital synths they have been releasing) produced the M1. The M1 heralded a new vogue in WORKSTATION synths. A workstation synth allows the musician to compose and play back complete songs without any other external pieces of gear (except an amp ofcourse!). So the M1, being one of the first workstations, has built in drum sounds (sampled) a reasonably powerful sequencer, and easy to use controls of all its functions. The Yamaha V50 equivalent etc. as with the M1 costs around 1500 pounds. Prices are being discounted, and rack mount versions are available. Editor packages for complex synths such as the Korg M1, are also becoming popular. As manufacturers insist on cutting costs by reducing the total number of buttons, sliders etc, on a synth to the now normal small LCD screen and nudge buttons, software houses such as Steinberg have come up with programs which can help edit sounds with the Atari ST. Editors are available for most modern synths, and range between 50 and 150 pounds. Editor packages are now beginning to appear in PD form as well. Most graphically represent sliders and other controls onscreen which are moved by the mouse pointer. Some even include small sequencer programs to use with your new sounds. The range of synths available new and second hand is constantly growing, the best information on new releases is magazine reviews and on second hand gear there is a series of books by Julian Colbeck called Keyfax (No.s 1, 2 and 3) published by Virgin books and now Music Maker publications. These are the "buyers bible" for synths and contain detailed reviews and assesments on almost every major synth ever produced, together with useful information. These books are essential for anyone thinking of buying second hand synths etc. (Again, try your library !). ------------------------------------------------------------------ Synths generally have two control wheels, on the left of the key board. These control Pitch bend and modulation amount. The pitch wheel is centre indented and sprung to return to that central (no effect) position. Pushing it will slide the pitch of the sound being played up pulling it towards you will slide the pitch down. This can be used for expressive effect when imitating plucked string instruments, or as an odd effect for emphasis. It allows you to get in between the notes, as with string bending on a guitar. The modulation control is not sprung, and normally off when it is fully towards you. Varying amounts of modulation may be added whilst playing. Roland have on certain synths, a joint modulation and pitch control. It is a laterally operating toggle. Pushing left and right will lower and raise pitch, pushing away from you will add modulation. Korg and Sequential circuits have experimented with a joystick type control, but this can prove less positive than the standard two-wheel configuration. ------------------------------------------------------------------ Velocity sensitive keyboards detect the speed with which you play the keyboard and translate that into varying volume levels of the sound being played. Dynamic sensitive keyboards sense the force used to play the keyboard and alter the sound accordingly. Aftertouch detects if you hold down notes as you play them, triggering various assignable effects, such as pitch change or modulation etc. ------------------------------------------------------------------ Most synths have a light "springy" highly responsive keyboard which may seem odd to a person used to a conventional piano keyboard. The term weighted keyboard on a synth means that it has an action similar to that of a conventional piano. ------------------------------------------------------------------ The audio connections are a vital link in your system, use high quality cabling for reliability. WhirlWind (USA) make leads with a lifetime guarantee, try using heavy grade KLOTZ cable if you are making up your own leads. Always use high quality shielded cabling to reduce the chance of picking up mains hum. Avoid long cable runs. Also don`t bother with "right angle" jack plugs which tend to be unreliable. ------------------------------------------------------------------ If you are unlucky enough to get something spilled onto and into your precious wee synth: SWITCH OFF THE POWER SUPPLY AND DISCONNECT FROM THE MAINS SUPPLY! If it contains sugar (soft drinks, cocktails etc): A.remove the excess liquid with a cloth, paper towel etc. B.carefully open the casing (and immediately invalidate your warranty, but try telling that to the Coke thats ruining your circuitry!) and spray liberally with a good electronic cleaner\degreaser (eg. "Tix" from Tandy`s) NOT WD40! (which leaves behind a petroleum based deposit). C.Let it dry naturally, before trying to see if it is OK (IT PROBABLY WILL BE) If it does not work give it to your dealer for servicing... If the liquid is simply water: As before BUT NEGLECT STEP B. as this should be needless. Allow a good while for the liquid to dry before switching power back on again. Remember, wet stuff, electricity, and haste spell dead muso...(ahem.). ------------------------------------------------------------------- Flightcases are a sensible purchase if you intend to take your synth about a bit. Expect to pay around 30 pounds for an ordinary hard case, 50 pounds for a semi flight case and c.70 for a full flight case (which gives the most protection, and allows you say "oh sorry about the dent in your concrete floor, mate" if you drop it). Alternative manuals have been written for various popular synths, usually under the title of "The Complete set-up for...". Often useful if you find the usual "Japlish" too difficult. ------------------------------------------------------------------- Sampling: A sampler converts analogue data (say from a microphone) and converts it into digital information (digitising). In musical terms a sampler will allow you to capture sounds and play them back using a keyboard or any MIDI controller. Thus sounds which are unpitched (eg. breaking glass) can be played as a melody or tune. Sampling has become a standard tool in most hi-tech musicians` list of gear. It enables (much to the annoyance of the Musicians Union) a keyboard player to create an approximation of the sound of a string section accurately, and easily, in fact any instrument may be sampled and played although a keyboard is not the most ideal way of controlling a guitar sound for example. Drum sounds are often the most common use for a sampler. A captured drum sample can be played using a drum machine or sequencer as a trigger. This is convenient and effective, allowing you to have a huge arsenal of sounds available without ridiculous numbers of drum machines or drum kits. Computers are ideal for sampling as they allow full visual editing of samples which is very important. The early samplers were computer based the Fairlight Mk1 (from Australia, whose indiginous instruments are, in order, the digdereedoo and the Fairlight computerised music system!) is such an instrument. Sampling is measured in various ways. The higher the sample frequncy, the better the quality (as more information is being recorded). This frequency is measured in hertz (or cycles per second). The human ear can theoretically hear from 20hz to 21khz, the Nyquist principle states that in order to capture the sample correctly, the sample frequency must be double that of the highest frequency in the sound to be sampled, therefore; no sample frequency need be much above 44khz. I said it was theory! Generally, compact disc quality means sampling at around 48khz. The other factor is the sample resolution. This is measured in Bits. The internal processor that actually does the work of sampling in most musical samplers is 16 bit input and 16 bit output. This results in good quality sampling with little loss in playback of a sound. There are packages for the Atari ST that can perform sampling, but most are limited to 6bit output (8 bit input) which is not good enough for musical use. Compare the specs. of a typical music orientated sampler: 16 bit input\output 32 bit internal processing, minimum 1meg onboard memory, hardware specifically designed with custom chips to reduce unwanted signals etc. But don`t despair! The cheapest of these samplers (the Cheetah rack mount) is around 600 pounds,so any sampling program for the ST is fantastic value for money. The best program around now is the Microdeal distributed Replay Professional. True 8 bit output 48 khz top sampling frequency, excellent editor program, drum machine program, and full MIDI control over four note polyphonic output. Other 2 Bit systems programs soon to come have higher quality sampling hardware at correspondingly higher prices than the 129 pounds Replay Professional. A sampler for the price of two Boss pedals! Compare that with the Mk1 Fairlight which had also 8 bit output limited polyphony, and cost 60,000 pounds. But don`t compare it with the latest Synclavier system from New England Digital Inc. - Full bandwidth stereo recording and manipulation, more memory than a small mainframe, sampling time measured in hours, free word processor and comms. package, a bargain at only 120,000 pounds... Synclaviers are used by such artists as Laurie Anderson, Frank Zappa (actually employed as a demonstrator!), Stevie Wonder, Jean Michel Jarre prefers the Fairlight system, Half Man Half Biscuit stick to a DX21 (yes yes I know its` not a sampler...oh never mind). The best bet if you are looking to buy a sampler is the new Cheetah rackmount, or a second hand AKAI S900 or 750. These have massive libraries of sounds ready for you to use, for some years now, the AKAI S900 has been the industry standard practical sampler, (now replaced by the hard drive AKAI S1000). ------------------------------------------------------------------ . ~S .. GFA_MIDILST OMI_MIDIBAS uTOY_MIDI  ' Eine Sammlung von MIDI-Prozeduren fr GFA-BASIC, ' siehe Bits & Music : MIDI-Programmierung ' (c) Bits & Music, G. Wagner 1988 ' ' Testprogramm: zuerst einen einzelnen Ton spielen ' Gosub Midi_init ' Gosub St_local_on Gosub Note_on(1,60,64) Gosub Warten(100) Gosub Note_off(1,60,0) ' ' dann eine zweistimmige Tonfolge nur mit dem MIDI-Instrument ' Gosub St_local_off Gosub Play_song ' ' noch einmal mit ST als 2. Stimme ' Gosub St_voice_on(0,1,0) Gosub Play_song ' Gosub Midi_exit ' '---------------------------------------------------------------- ' die MIDI-Events der ersten 8 Takte von "A Real Nowhere Man" ' Ereignis-Nr, Kanal-Nr, Ton-Nr, Wartezeit ' Data 1,2,36,0 ' 1,2 = Note-On auf Kanal 2 mit Ton 36 = C1 Data 1,1,55,20 ' Wartezeit bis zum nchsten Ereignis ist 20 Ticks Data 2,1,55,0 ' 2,1 = Note-Off auf Kanal 1 Data 1,1,55,20 ' usw. Data 2,1,55,0 Data 1,1,60,40 Data 2,1,60,0 Data 2,2,36,0 ' -- 2. Takt Data 1,2,43,0 Data 1,1,59,20 Data 2,1,59,0 Data 1,1,57,20 Data 2,1,57,0 Data 1,1,55,40 Data 2,1,55,0 Data 2,2,43,0 ' -- 3. Takt Data 1,2,41,0 Data 1,1,53,10 Data 2,1,53,0 Data 1,1,53,20 Data 2,1,53,0 Data 1,1,57,30 Data 2,1,57,0 Data 1,1,57,20 Data 2,1,57,0 Data 2,2,41,0 ' -- 4. Takt Data 1,2,36,0 Data 1,1,55,20 Data 2,1,55,0 Data 1,1,53,20 Data 2,1,53,0 Data 1,1,52,40 Data 2,1,52,0 Data 2,2,36,0 ' -- 5. Takt Data 1,2,40,0 Data 1,1,50,10 Data 2,1,50,0 Data 1,1,50,20 Data 2,1,50,0 Data 1,1,53,30 Data 2,1,53,0 Data 1,1,53,20 Data 2,1,53,0 Data 2,2,40,0 ' -- 6. Takt Data 1,2,44,0 Data 1,1,52,10 Data 2,1,52,0 Data 1,1,50,20 Data 2,1,50,0 Data 1,1,48,40 Data 2,1,48,0 Data 1,1,50,20 Data 2,1,50,0 Data 2,2,44,0 ' -- 7. Takt Data 1,2,45,0 Data 1,1,48,10 Data 2,1,48,0 Data 1,1,50,20 Data 2,1,50,0 Data 2,2,45,0 Data 1,2,40,0 Data 1,1,48,20 Data 2,1,48,0 Data 1,1,48,30 Data 2,2,40,0 ' -- 8. Takt Data 1,2,38,20 Data 2,2,38,0 Data 1,2,36,60 Data 2,2,36,0 Data 2,1,48,0 Data -1,0,0,0 ' ' ------------------------------------------------------ ' M I D I - Prozeduren ' Procedure Midi_init Dim St_voice_on%(3) Return Procedure Midi_exit Return Procedure Midi_out(X) Out 3,X Return Procedure Note_on(Kanal%,Ton%,Dynamik%) If St_voice_on%(Kanal%) Gosub St_note_on(Kanal%,Ton%-8) Endif Gosub Midi_out(144+Kanal%-1) Gosub Midi_out(Ton%) Gosub Midi_out(Dynamik%) Return Procedure Warten(X) Pause X Return Procedure Note_off(Kanal%,Ton%,Dynamik%) Gosub Midi_out(128+Kanal%-1) Gosub Midi_out(Ton%) Gosub Midi_out(Dynamik%) If St_voice_on%(Kanal%) Gosub St_note_off(Kanal%) Endif Return Procedure St_note_on(Kanal%,Ton%) Sound Kanal%,15,Ton% Mod 12,Ton% Div 12 Kanal_flag%=Kanal_flag% Or Kanal% Wave Kanal_flag%,Kanal_flag%,13,2000 Return Procedure St_note_off(Kanal%) Kanal_flag%=Kanal_flag% Xor Kanal% Wave Kanal_flag%,Kanal_flag%,13,2000 Return Procedure St_local_on St_voice_on%(1)=-1 St_voice_on%(2)=-1 St_voice_on%(3)=-1 Return Procedure St_voice_on(V1%,V2%,V3%) St_voice_on%(1)=V1% St_voice_on%(2)=V2% St_voice_on%(3)=V3% Return Procedure St_local_off St_voice_on%(1)=0 St_voice_on%(2)=0 St_voice_on%(3)=0 Return Procedure Play_song Read Ereignis%,Kanal%,Ton%,Wartezeit% While Ereignis%<>-1 If Ereignis%=1 Gosub Note_on(Kanal%,Ton%,64) Endif If Ereignis%=2 Gosub Note_off(Kanal%,Ton%,0) Endif Gosub Warten(Wartezeit%) Read Ereignis%,Kanal%,Ton%,Wartezeit% Wend Return ' Eine Sammlung von MIDI-Prozeduren fr OMIKRON-BASIC, ' siehe Bits & Music : MIDI-Programmierung ' (c) Bits & Music, G. Wagner 1988 ' ' Testprogramm: zuerst einen einzelnen Ton spielen ' Midi_Init ' St_Local_On' schaltet alle Stimmen des ST ein Note_On(1,60,64) Warten(100) Note_Off(1,60,0) ' ' dann eine zweistimmige Tonfolge nur mit dem MIDI-Instrument ' St_Local_Off Play_Song ' ' noch einmal mit ST als 2. Stimme ' St_Voice_On(0,1,0) Play_Song ' Midi_Exit ' END '---------------------------------------------------------------- ' die MIDI-Events der ersten 8 Takte von "A Real Nowhere Man" ' Ereignis-Nr, Kanal-Nr, Ton-Nr, Wartezeit ' DATA 1,2,36,0' 1,2 = Note-On auf Kanal 2 mit Ton 36 = C1 DATA 1,1,55,20' 20 = 20 Ticks warten bis zum nchsten Ereignis DATA 2,1,55,0' 2,1 = Note-Off auf Kanal 1 DATA 1,1,55,20' usw. DATA 2,1,55,0 DATA 1,1,60,40 DATA 2,1,60,0 DATA 2,2,36,0 ' -- 2. Takt DATA 1,2,43,0 DATA 1,1,59,20 DATA 2,1,59,0 DATA 1,1,57,20 DATA 2,1,57,0 DATA 1,1,55,40 DATA 2,1,55,0 DATA 2,2,43,0 ' -- 3. Takt DATA 1,2,41,0 DATA 1,1,53,10 DATA 2,1,53,0 DATA 1,1,53,20 DATA 2,1,53,0 DATA 1,1,57,30 DATA 2,1,57,0 DATA 1,1,57,20 DATA 2,1,57,0 DATA 2,2,41,0 ' -- 4. Takt DATA 1,2,36,0 DATA 1,1,55,20 DATA 2,1,55,0 DATA 1,1,53,20 DATA 2,1,53,0 DATA 1,1,52,40 DATA 2,1,52,0 DATA 2,2,36,0 ' -- 5. Takt DATA 1,2,40,0 DATA 1,1,50,10 DATA 2,1,50,0 DATA 1,1,50,20 DATA 2,1,50,0 DATA 1,1,53,30 DATA 2,1,53,0 DATA 1,1,53,20 DATA 2,1,53,0 DATA 2,2,40,0 ' -- 6. Takt DATA 1,2,44,0 DATA 1,1,52,10 DATA 2,1,52,0 DATA 1,1,50,20 DATA 2,1,50,0 DATA 1,1,48,40 DATA 2,1,48,0 DATA 1,1,50,20 DATA 2,1,50,0 DATA 2,2,44,0 ' -- 7. Takt DATA 1,2,45,0 DATA 1,1,48,10 DATA 2,1,48,0 DATA 1,1,50,20 DATA 2,1,50,0 DATA 2,2,45,0 DATA 1,2,40,0 DATA 1,1,48,20 DATA 2,1,48,0 DATA 1,1,48,30 DATA 2,2,40,0 ' -- 8. Takt DATA 1,2,38,20 DATA 2,2,38,0 DATA 1,2,36,60 DATA 2,2,36,0 DATA 2,1,48,0 DATA -1,0,0,0 ' ' ------------------------------------------------------ ' M I D I - Prozeduren ' DEF PROC Midi_Init OPEN "Midi",16 DIM St_Voice_On%(3) POKE $484,14 VOLUME 1,14,8000 VOLUME 2,13,8000 VOLUME 3,8,8000 RETURN DEF PROC Midi_Exit POKE $484,15 PRINT CHR$(7) CLOSE 16 RETURN DEF PROC Midi_Out(X%) BIOS (,3,3,X%) RETURN DEF PROC Note_On(Kanal%,Ton%,Dynamik%) IF St_Voice_On%(Kanal%) THEN St_Note_On(Kanal%,Ton%) ENDIF Midi_Out(144+Kanal%-1) Midi_Out(Ton%) Midi_Out(Dynamik%) RETURN DEF PROC Warten(X%) WAIT X%/50 RETURN DEF PROC Note_Off(Kanal%,Ton%,Dynamik%) Midi_Out(128+Kanal%-1) Midi_Out(Ton%) Midi_Out(Dynamik%) IF St_Voice_On%(Kanal%) THEN St_Note_Off(Kanal%) ENDIF RETURN DEF PROC St_Note_On(Kanal%,Ton%) TUNE Kanal%, INT(241/2^((Ton%-69)/12)+.5) RETURN DEF PROC St_Note_Off(Kanal%) TUNE Kanal%,0 RETURN DEF PROC St_Local_On St_Voice_On%(1)=-1 St_Voice_On%(2)=-1 St_Voice_On%(3)=-1 RETURN DEF PROC St_Voice_On(V1%,V2%,V3%) St_Voice_On%(1)=V1% St_Voice_On%(2)=V2% St_Voice_On%(3)=V3% RETURN DEF PROC St_Local_Off St_Voice_On%(1)=0 St_Voice_On%(2)=0 St_Voice_On%(3)=0 RETURN DEF PROC Play_Song RESTORE READ Ereignis%,Kanal%,Ton%,Wartezeit% WHILE Ereignis%<>-1 IF Ereignis%=1 THEN Note_On(Kanal%,Ton%,64) ENDIF IF Ereignis%=2 THEN Note_Off(Kanal%,Ton%,0) ENDIF Warten(Wartezeit%) READ Ereignis%,Kanal%,Ton%,Wartezeit% WEND RETURN % Eine Sammlung von MIDI-Prozeduren fr TOY-Prolog, % siehe Bits & Music : MIDI-Programmierung % (c) Bits & Music, G. Wagner 1988 midi_out(X) :- Y is X, ordchr( Y, C), wch(C). warten(N) :- N = 0; M is N - 1, warten(M). midi_init :- tell( midi). midi_exit :- told. note_on( Kanal, Ton, Dynamik) :- midi_out( 144 + Kanal - 1), midi_out( Ton), midi_out( Dynamik). note_off( Kanal, Ton, Dynamik) :- midi_out( 128 + Kanal - 1), midi_out( Ton), midi_out( Dynamik). play( Song) :- Song = []; Song = [ Event | RestSong ], process( Event ), play( RestSong). process( event( Ereignis, Kanal, Ton, Wartezeit) ) :- ( Ereignis = 1, note_on( Kanal, Ton, 64); Ereignis = 2, note_off( Kanal, Ton, 0); Ereignis = -1 ), warten( Wartezeit). test :- midi_init, note_on( 1, 60, 64), warten( 50), note_off( 1, 60, 0), midi_exit. play :- midi_init, song( Song), play( Song), midi_exit. song( [ % die ersten 8 Takte von "A Real Nowhere Man" event(1,2,36,0), % die einzelnen MIDI-Events bestehen aus event(1,1,55,20), % Ereignis-Nr, Kanal-Nr, Ton-Nr, Wartezeit event(2,1,55,0), event(1,1,55,20), event(2,1,55,0), event(1,1,60,40), event(2,1,60,0), event(2,2,36,0), % -- 2, Takt event(1,2,43,0), event(1,1,59,20), event(2,1,59,0), event(1,1,57,20), event(2,1,57,0), event(1,1,55,40), event(2,1,55,0), event(2,2,43,0), % -- 3, Takt, event(1,2,41,0), event(1,1,53,10), event(2,1,53,0), event(1,1,53,20), event(2,1,53,0), event(1,1,57,30), event(2,1,57,0), event(1,1,57,20), event(2,1,57,0), event(2,2,41,0), % -- 4, Takt, event(1,2,36,0), event(1,1,55,20), event(2,1,55,0), event(1,1,53,20), event(2,1,53,0), event(1,1,52,40), event(2,1,52,0), event(2,2,36,0), % -- 5, Takt, event(1,2,40,0), event(1,1,50,10), event(2,1,50,0), event(1,1,50,20), event(2,1,50,0), event(1,1,53,30), event(2,1,53,0), event(1,1,53,20), event(2,1,53,0), event(2,2,40,0), % -- 6, Takt, event(1,2,44,0), event(1,1,52,10), event(2,1,52,0), event(1,1,50,20), event(2,1,50,0), event(1,1,48,40), event(2,1,48,0), event(1,1,50,20), event(2,1,50,0), event(2,2,44,0), % -- 7, Takt, event(1,2,45,0), event(1,1,48,10), event(2,1,48,0), event(1,1,50,20), event(2,1,50,0), event(2,2,45,0), event(1,2,40,0), event(1,1,48,20), event(2,1,48,0), event(1,1,48,30), event(2,2,40,0), % -- 8, Takt, event(1,2,38,20), event(2,2,38,0), event(1,2,36,60), event(2,2,36,0), event(2,1,48,0), event(-1,0,0,0) ] ). end.