JUNE 1987

•USA $ 2.95

MUST
;NADA $ 3.95 ,

TECHNOLOGY

B
BRUFORD
From Rock to Jazz via MIDI

SYNTH OR SAMP
• We Review Roland's D50 and

refii EMfri
The Truth 'Ab®u IDI Delays

Arts MI[D
st; Stein be
 THE SPEED
OF LIGHT
Discover the MIDI Converter
that brings the World
of Guitar Players to
the World of MIDI...

PHOTOn
1 MIDI CONVERTER
Designed for use with guitar or bass, nylan or Get all the details and discover why you should
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Photon System features: A FREE literature pack. Includes our
An Infra- red Pick Up to provide faster, authoritative publication " MIDI and
more accurate tracking. the Mocern Guitarist"

Adjustable parameters to accommo- Photon Owner's Manual. Send $ 5.00

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More programmability than any other cassette. Send $ 6.00 for tape, post-
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User updateable software cartridges The Photon Video/Manual. Dramatic

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The Photon MIDI Converter gives you the
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distributed by Write Product Manager: technology by

manufactured by Phi Technologies, Inc.
Dept. MT- 6

PHI TECH inll

g
=— —
4605 North Stiles
OklahomE, City, OF< 73105
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This is the F

OF SOUlD
CILUME-,

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 VOLUME 1, NUMBER 11
JUNE 1987

EDITOR
Bit k ,

ASSOCIATE EDITOR ( US)

Bob () Donnell

ASSOCIATE EDITOR
(INTERNATIONAL)
Rol ( 1,71,I,tem

THE OUTSIDE
SUB EDITOR
Trish McGrath

PRODUCTION CO-ORDINATOR
1,1711, ePurath

PRODUCTION MANAGER
Shaun Barrett

EDITORIAL CONSULTANTS
STORY
Paul White ( Recording)
Nigel Lord ( Percussion) IT'S ONLY BEEN acouple of dozen hours recently got his hands on some I6- bit reality in
Net Mi.. Marten (Guitar Synths) since the Audio Engineering Society's 5th the form of aCasio FZI sampler. His review,
International Conference ended. It has also which appears in this issue, indicates that the
SPECIALIST CORRESPONDENTS been ahandful of hours since most of MT's US times are changing faster than many of us had
Marcus Aigner, Dare 13ristint, 13d1 13m1ord, Jan
Burgess, Warren Cann, Jay Chapman, Julian editorial staff ( both of us) took in aD50 demo thought, though there are certainly those who
Colbeck, amid Ellis, Keith Emerson, Franco at a local music store. In acouple of weeks would have you believe otherwise. We don't
Fabbri, Trevor Gilchrist, Tan Goodyer, Mark you'll be reading this issue. specialize in misinformation, but there are
Jenkins, Chris Many, Chr6 Meyer, Ken McAlpine, The AES conference itself was encouraging. times amistake falls through the cracks ( which
Trish McGrath, Patrick Moritz, Nick Rowland, Paul
Tingen, Simon Trask, Peter Vinella, Matthew Headlining at the LA Biltmore as " Music and open mysteriously wide sometimes) despite
‘'osburgh, Ian Waugh. Digital Technology", aconference that proved our best efforts to prevent this from
a good opportunity to catch the drift of happening.
ART STUDIO designers, musicians, and writers working in For example, a mention of I2- bit A/D
Stuart Catterson (Director), .
Alien the deep end of music technology. Overall, conversion on the FZ in our NAMM report
(Deputy), Sam Masters, Lynn Cooper, John
Waterson, Elaine Tse. the conference managed to cover avariety of slipped through in the last-minute shuffle,
new and interesting musical applications for though it was our intention to remove this
PHOTOGRAPHY digital technology - from PAN's Perry remark when we were unable to confirm what
Samuel Barksdale, Tret or Gilchrist, Ton Goodwr, Leopold discussing how musicians can use amounted to no more than a rumor. In any
Matthew Vosburgh. telecommunications, to several discussions on event, all doubts regarding the FZI's specs or
digital audio workstations ( dedicated and performance are laid to rest this month.
ADVERTISING DIRECTOR
personal computer- based) and instrument Joining the FZI in the I6- bit arena is
design considerations. Roland's D50 ( admittedly not a sampler)
DISTRIBUTION MANAGER One of the topics which Ifound most which landed in our UK offices recently, and
tic Bali interesting was discussed by Bill Buxton of the which is overviewed in this issue. With so few
University of Toronto, and concerned the use I6- bit instruments in the marketplace right
ADMINISTRATIVE SECRETARY
of Local Area Networks ( LANs) in music now, the competition is likely to be like a
Kathy \ m in
production environments. It was Mr Buxton's friendly arm- wrestling match when compared
PUBLISHER concern for the established MIDI- based to the full-scale I6- bit Rollerball game that is
Terrs pa s musical community that caught this editor's sure to follow. With NAMM coming up next
ears, for there are apparently alot of " MIDI month, we hope to find out exactly how other
PUBLISHING DIRECTOR bashers" who are quick to condemn MIDI, but manufacturers have been preparing for the
),ou,
seem to forget that MIDI is a reality that event.
musicians live with. The main concern of Coming back to the matter of timing, about
MUSIC MAKER PUBLICATIONS, LTD.,
Alcmohia notoe, I\Ilium 1'1d, musicians is their music, not just keeping up how long it takes for MT's writers to see or
Cambridge, CI34 It'Y, England. with the computer industry - though that's not learn something and get the news to you, it's
Tel: 100441 223 31 3722 to say that doing so can't be beneficial. To my worth mentioning that everything in MT's
knowledge, there are currently not any pages could be found out by anyone with a
EUROPEAN AD MANAGER
commercially- available multi-user music healthy supply of determination. There are no
Graham Butterworth
programs which use AppleTalk or any other "secrets" to synthesizers, really, and there
MUSIC TECHNOLOGY LAN, but you can bet this isn't the last you've aren't any " secrets" on display at NAMM,
MUSIC TE( d ¡ M.)LOGY rs published monthlY, 12 heard on the subject. either. The demystifying of synthesizers has
ames per year, by Music Maker Publications. Deadlines being what they are, we were helped musicians to get past the ominous
Offices at:
unable to get a full report on the AES blinking lights of early electronic music, and to
7361 Topanga Canyon 13kil.
(:anogii Park, CA91303 conference in this issue, but rest assured that appreciate what these instruments can do to
Tel: (818) 704 8777 we'll have features on many of the topics expand their musical vocabulary.
Applications to mail at SCiOnd-ilaSS postage rates is discussed there into these pages in coming Similarly, by following the industry - seeing
pending at Canoga park, CA Postmaster: Send
months. Hopefully there will be afew more what it sees, hearing what it hears - musicians
address changes to abou address.
tangible examples worth presenting, also. can plan for the future, rather than try to live in
'"Copyright 1987 Music Maker Publitations Speaking of tangibility, our contributor it before it gets here. IM Rick Dirties
from the Great White North, Jim Burgess,

2 MT JUNE 1937
 Truly
sophisticated capabilities and warm. user-wave. They also have advanced
rich sounds. voice editing and librarian functions that
The K3 keyboard and its companion allow patches and user-waves to pe
K3M synthesizer module have beer ac- easily accessed from disk and via modem.

Professional cepted by leading professional musi-

cians such as Jan Hammer and —om
Coster. They find the K3's unique sound
So take alisten to the surprising
Kawai K3 on the "Miami Vice" television
show, on tour with Tom Coster and
In the short time they have been avail- aoerfect compliment to their existing "Vital Information:' or at your local auth-
able, Kawai's K3 and K3M synthesizers electronic music systems. orized Kawai electronic musical instru-
have been recognized by musicians Computer software companies such ment dealer.
and computer enthusiasts alike as truly as Opcode, Dr. Is. Hybrid Arts, ard
professional musical instruments with Cornpumates also support the K3 with Kawai America Corp. Kawat Canada Music Ltd.
sound editing software for the Atari Dept. EM Unit # 1
2055 E. UniversgyDr 6400 Shawson Dr.
ST and 130 XE, Appe Il and Macintosh, Compton, CA Mississauga, Ortano
IBM PC, and Commodore 64 computers. 90224-9045 Canada L5T1L8

16: AWA I These software packages allow graonic

N T•it NelE 1\1004.11
editing of the K3's unique programmable
KB rn

Jan Hammer Tom Coster

"When you think you're exhausted all possibilities
"The Kawai K3 and K3M
of-creating new sounds, Kawai brings out the Rackmount is apowetful com-
K3M which enables me to use awhole range of
bination: analog punch and
sounds that comphment both my FM and ana-
digital sounds of the 80's...a
log instruments."
welcome addition to my key-
board setup. Thanks, Kawai!"

KAWAI
The Master Builder
Tom Coster can be halm' on two new
CBS releases: 'Global Beat' Vital Informa
lion featuring Steve Smith and 'Songs of
Freedom' Santana.
 IN THIS ISSUE
New Albums 87
We listen to abunch of technology- oriented
records, including works by two of America's

El Jerry Goodman
leading jazz guitarists - Steve Tibbetts and
40 David Torn.

VVhat use does avirtuoso jazz/rock violinist Korg DDD5

la have for new musical technology, and what 37
CIE11111112113 Drum Machine
11
does he have to say about it? Find out in our
Another budget- priced drum box, this time a
exclusive interview.
scaled- down version of Korg's successful
Roland D50 Synthesizer 24 DDDI. Do the cost-cutting compromises
Bill Bruford 63
In the first part of a two-part appraisal, we make abig difference?
Modern drummers and percussion players outline the technology behind Roland's new
already owe a huge debt to this prolific supersynth, and analyze the characteristics of Dr. T Copyist 60
musician, whose fanatical interest in new its outstanding sound quality.
technology is just bearing its most creative We take an in-depth look at aprogram that
promises to make the art of traditional music
fruit . . . 360 Systems MIDIMerge+ 28 transcribing obsolete, by giving the job to a
A new MIDI merging box from a company computer. Is it as good as its human
Reader Tapes 67
that seems to specialize in producing handy equivalent?
MT's resident armchair critic Yung Dragen little interfaces at relatively low cost. Is this
looks at another bunch of demo tapes from one worth the money?
hopeful musicians. Is yours amongst them?

Hybrid Arts MIDITrack 68

Just when you thought you'd seen the ultimate
Steinberg Cosmo Software 30 computer- based sequencing package, we
If you're aCasio CZ owner and feel in need of analyze an ST- based program that lets you use
Horowitz & Deihim 72 some kind of computerized assistance in both pattern- based and track- based systems
programming new sounds, this new editing to record music.
Take an American who plays Moroccan
package could solve your problems.
noseflute and aPersian singer and dancer, and
you have one of the most unlikely but inspiring
Kawai R50 Drum Machine 31
duos operating in music today. Technology is
the missing link, of course. We preview Kawai's new stripped- down
beatbox, and find it's not so stripped- down
after all. Does it signal the dawn of anew era in
affordable drum machines?

4 MT JUNE 1987
 Fairlight's Father 52
We conclude our nterview with Kim Ryrie,
the man who co-founded the Fairlight
company, and whose ideas will have a
profound influence on the music- making
techniques of tomorrow.

R INE1111313 MIDI Delays 32

They're blamed for almost everything these
We Can't Go On ... 18
days, and almost everything else is blamed for
Casio FZI Sampling . . . Beating like th.s. In the third part of our causing them. We find out which instruments
Keyboard 78 series on creative drum programming, we are the real culprits, and how big adelay needs
assess the relative merits of different trigger- to be before it gets in the way of music.
We review the machine that promises I
6- bit
to- M IDI converters. Does bigger always mean
sampling fidelity for less than the cost of most
better?
I2- bit instruments. Does the extra resolution
make abig difference, and will musicians want
to make use of it?

More Miles Per Mac 26 111111111EMEIG1

There's no doubt the Apple Macintosh makes
Sample Dump 56
DORM oLl 0MD
one of the finest MIDI workstations money
can buy, yet it can still be a little slow for
After amonth's vacation, our series on MIDI's
musical applications. We look at ways to speed
newest standard data format returns with a
News 7 things up.
look at actually transferring sounds from one
We keep you in touch with the latest new sampler to another - and the differences in
Patchwork 46 quality that ensue.
instrument developments - with the help of
our extensive, up-to-the-minute news The MT readers' synth sound page, where we
coverage and our unique Software Page for let go of the reins and let budding
computer music updates. programmers have their say on what modern
synthesizers should sound like.

MT JUNE 1987 5
 The biggest improvement
to the new Mirage-DSK
is the smaller price...
$1295

•
When the Mirage was introduced two years exceptions; all existing Mirage editing soft-
ago, digital sampling was ahigh-priced tech- ware and accessories can be used with the
nology, available only to the rich and famous. new Mirage-DSK. New stereo outputs give
Now, over 20,000 Mirages are living proof that your sound increased width and depth.
any musician can enjoy the creative advantages
Visit your authorized Ensoniq dealer and see
of sampling.
just how easy it is to own the world's most
The new Mirage-DSK takes the best of the popular sampling keyboard.
Mirage and brings it to you at an even more
affordable price.
*There's always an exception or two, isn't there? The Ensoniq Sequencer
The vast library of Mirage sounds is 100% Expander Cartridge and Input Sampling Filter can't be used with the Mirage-
DSK. However, the cartridges can be used with the Mirage Digital Multi -
compatible with the DSK. And with few Sampler ($ 1195 US).

ENSONIQ Corp, 263 Great Valley Parkway, Malvern, PA 19355 C Canada: 6969 Trans Canada Hwy.. Suite 123. St. Laurent. Que. H4T 1V8 o ENSONIO Europe By,
Domplein 1, 3512 JC Utrecht, Holland o Australia: Electric Factory, 188 Plenty Rd., Preston, Vic. 3072 o Japan: Hammond Suzuki, Ltd., 1135 Koike-Cho, Hamamatsu

lensonict
e
 NEWS in fact, has three delay ranges (0-500msec,
500msec-2sec, and 2-8sec), and the sample
can be triggered by either the footpedal itself
or via a5V positive pulse. Digital delay effects
such as slapback, echo, delay and layering are
featured, and Echo Plus is also capable of
sound- on- sound in either the delay ( with
infinite repeat mode) or the sample recording
mode. Suggested retail price is $299.99.
MORE FROM Digitech, 5639 South Riley
Lane, Salt Lake City, Utah 84107. (el ( 801)
268-8400

BEAT CODE BEATS TIME

If you'd like the power of SMPTE at afraction
of the cost, and want to make the most of your
sequencer's MIDI capabilities, then the
Synhance MTSI synchronizer from Harmony
Systems could be just what you're looking for.
The MTSI is atape synchronization system
that provides your computer or dedicated
sequencer with the ability to sync to tape,
provided your sequencer supports external
MIDI clock sync. And a unique error-
correction method allows the MTSI to
operate properly even when it encounters the
kind of tape dropouts that normally ruin an
provides you with up to eight seconds of FSK sync- track.
FOSTEX SYNCS TO VIDEO
delay/sample time at 15kHz bandwidth But the beauty of the MTSI lies in its ability
Fostex is looking to set the world of post- (thanks to its I
Meg memory chip). Echo Plus, to bring full chase- lock capabilities to a >
production alight with the release of the
Model 460 multitrack cassette/mixer. In
conjunction with the Fostex 4030
synchronizer ( fitted with the 3.0 software
update), the 460 is capable of synchronizing to
both video recorders and other audio
recorders. The recorder section features a
true two-speed transport ( separate record
EQ circuits for the We and 33/tips options),
both Dolby B and C noise reduction, two-
position autolocate, search to zero, auto
repeat and SMPTE/EBU sync capabifil.
Although the 460 is a four- track recorder,
Fostex has seen fit to provide the mixing
section with eight channels ( each with XLR-
type mic connector, phantom powering,
stereo send, parametric EQ and solo), four
buss outputs, and adedicated stereo mixer for
the four- channel buss. The Model 460 carries
alist price of $2495.
MORE FROM Fostex, 15431 Blackburn Ave.,
Norwalk, CA 90650. re ( 213) 921-1112

FEET FIRST WITH

ECHO PLUS
Digitech's new PDS8000, code- named Echo
Plus, may De encased in afoot- pedal chassis,
but the compact digital delay/sampler
MT JUNE 1987 7
 memorized and stored in any of the 99
memories available ( accessible via a 10- key
pad).
The event fade time feature allows the
9081.1.100/111

MPX820 to smoothly fade from one memory

location to another, which allows the mixer to
simulate a moving fader automation system.
And since the MPX820 is MIDI compatible, it
can receive program changes from a
synthesizer or sequencer.
Frequency response is 20Hz-20kHz, and if
alarger mixing system is required, up to eight
MPX820s can be chained together for 64
programmable channels. Suggested retail
price is $ 2500.
Also new from Akai is the MG6I4, the first
multitrack cassette recorder to provide four
tracks of audio recording, and still have
synchronizing capability. The MG6I4 achieves
this feat by having Track Irecord the audio
signal and a sync tone; the sync tone is
modulated out of the audio range, thus
allowing Track 1to contain musical data while
also controlling external sequencers and drum
machines.
The MG6I4's mixing console section has six
sequencer that supports MIDI Song Pointers, signal level and the settings of the threshold, input channels, with channels 5and 6 having
thus providing SMPTE-like performance but range and release controls, and dynamically balanced XLR inputs for connecting low-
without the complexity and the cost. The varies the release time so that the gate impedance mics. Each channel has two- band
MTSI uses a proprietary " beat code" exhibits the desirable characteristics offered sweepable EQ and two effects sends with
recording method that completely captures by a " hold" circuit. Also, the employment of stereo returns.
the tempo and beat information of a the above circuitry allows Autogate to be used The new mixer shares many of the features
performance during the generation of the effectively on acoustic pianos, gLitars, strings of the acclaimed MG1214: for instance, abuilt-
synchronization track, so tempo variations in a and drum kits to remove " leakage." in computerized channel/track selector allows
song are well catered for, too. Valley has thoughtful'y included a trigger for noise- free switching. The versatile
And the MTSI doesn't stop there, either: it pulse generator on each channel, which autolocator allows for three memory
includes abuilt-in MIDI merge function that produces atrigger pulse each time the input locations ( for easy access to pre- selected
enables you to record into your sequencer signal exceeds the level of the Threshold sections of recorded music), plus a user-
while it's receiving sync information from control setting. This feature allows electronic selectable " capture" location can be
tape; a " keyboard echo" capability for live drums or synths to be played simultaneously programmed into memory. To this end, the
overdubbing of sequenced material; and two with acoustic drum kits and so on. and also control section has two tape counters: the
MIDI outs which may eliminate the need for a allows unsatisfactory recorded drum tracks to first reads the tape as it's moving, while the
MIDI Thru box. be replaced with sampled or synthesized second reads and stores memory locations.
The MTS1 is packaged in a half- rack wide drums. Meanwhile, the dbx Type Inoise reduction is
case and is available now at asuggested retail MORE FROM Valley People, PO Box 40306, claimed to reduce tape hiss by 30dB, while
price of $ 229. 2817 Erica Place, Nashville, TN 37204. greatly increasing dynamic range. The MG6I4
MORE FROM Harmony Systems, Inc., PO e (
615) 383-4737 is priced at $ 1799.95 retail.
Box 2744, Norcross, Georgia, GA 30091. e MORE FROM Akai Professional, PO Box
(404) 662-8788 2344, Fort Worth, TX 76113. e (
817) 336-
AKAI KEEPS ' EM COMING 5114
THE AUTOGATE TAPES? Visitors to the recent NAB show in Dallas GET GRAPHICAL WITH
Valley People has announced the Autogate- a were witness to demonstrations of two new
two- channel, frequency selective noise gate/ Akai units: the MPX820 programmaDle mixer SMART CURVE
expander and their most sophisticated such and the MG6I4 multitrack cassette recorder. ART announces the introduction of their
unit ever. As its name implies, many of The MPX820 is a MIDI- compatible eight- "Smart Curve" intelligent equalizer system.
Autogate's processing parameters are channel mixer with programmable functions The IEQ is amicroprocessor- controlled, 15-
automatically varied in response to the that include faders, panpots, effects sends and band 2 /3-
octave graphic EQ which uses digital
demands of the program material, thanks to returns, EQ, monitor sends, auxiliary input control of analog circuitry. The LCD on the
proprietary Auto Slope circuitry. Thus, if a levels and pans, master fader, and event fade front panel displays the current parameter
transition from expansion to noise gating ( or time. Each setting of each knob can be setting, and all parameters can be increased I>
vice versa) is demanded, the change in
processing modes occurs naturally, and is said
to be imperceptible.
Each of the Autogate's two cnannels
consists of an automatic gate and expander
featuring acontinuously variable high-pass and
low-pass filter set, a dynamic low-pass filter
(to remove quantizatior noise from sampled
and synthesized sounds, for instance), and
continuously variable Threshold, Range and
Release controls. Program Variable Release
Shape circuitry continually analyzes the input
8 MT JUNE 1987
LET AKG GIVE YOU
A HAND . OR

Who 'weds aheadset mic? Everybody.

Who likes them? Nobody... the way they used to be.
But all that's changed since the AKG C 410 \ And no
hit town. Feather-light, snug, comfortable on tradeoffs
any head, almost invisible in use, ivrtually either. The
indestructible — tie it in aknot and it'll C 410 doesn't
spring right back into shape — the C 410 auy comfort at
is the perfect mic for guitarists, the cost of quality.
keyboardists, drummers, eng neers, it offers the full-
vocalists. . frequency response of
aprepolarized cardioid
condenser, is slug-ready for
anything with 9 to 52 volt
phantom power, and there's
even a node' for wireless
applications.
So vela needs an AKG C 410?
AKG
1
You do. Because you've got better ;
things to do with your hands. 77 Selleck Street
Stamford. CT 0E902

AKG 19A7 41,..e.tische mid Kmo-Gerate GmbH. Austria Product design subiect to change.
Po. and decreased using simple front panel
controls.
The Smart Curve system ensures that the
displayed fader settings are an accurate
representation of the actual response. And as
the unit is digitally controlled, its possible to
store up to 128 curve memories, each having
its own user- defined name.
As acomposite video output is provided,
you can display the frequency response as well
as " slider" positions and system status on a
video monitor. And if you don't have a
monitor on hand, ART can supply a3U- high
19" rack- mount monitor for this purpose.
The IEQ itself comes in a I U- high 19"
rackmount unit and is available as amaster or a
remote version. The cheaper remote may be
programmed either from the master or a
computer for the curve settings, and once
programmed, curve memories may be
recalled via MIDI. (The remote also has the
hidden advantage of being tamper- proof in a
studio environment.)
With the 128 curve memories selectable
over MIDI, this allows you to choose a
different EQ setting for each synth voice, and
in a studio environment, the unit can be
triggered from aMIDI sequencer that's sync'd
to tape.
MORE FROM Applied Research &
Technology, 215 Tremont Street, Rochester, material, such as snare drums, will be left demonstrating the modular nature of the USS
New York. e (716) 436-2720 intact, and afade control offers smooth, linear stands.
fade times of up to 30 seconds. Threshold The former acts as the " recording station"
range is greater than 60dB, making the SG35 of the studio and is designed with multitracks
MESCAL KITS OUT useful for both studio and home recording and computers in mind ( nice features include
levels. a surface provided for writing or mouse
THE SKI Other features include detector symmetry applications and asix- way electrical outlet for
Mescal Music has released atrigger interface to within 1/dB, ahysteresis circuit to prevent
4 quick and easy power access). The table height
modification kit for the Casio SKI sampling chattering near threshold, high slew- rate is adjustable, and the second tier is ideal for
keyboard that allows any drum machine or circu try throughout, active balanced inputs, monitors. Also included in the package is ahalf
synth with a trigger output to trigger user and a I6- gauge steel chassis. tier for stacking drum machines and smaller
samples - particularly useful if you're using the The Ashly VCA used in the SG35 is said to devices. The suggested retail price of the HR-
SKI as adrum expander. exhibit extremely low distortion, low noise, 36BP package is $ 280.
The Mescal SKX kit is designed to be low control voltage feedthrough and excellent The Home Keyboard Extension, which
installed with a minimum of fuss, and the thernal stability. Ashly claims that use of the attaches directly to the Home Keyboard
stands, is available separately and comes
equipped with one 48" tier for keyboards, and
one half tier for sequencers and other small
units. Suggested retail price is $ 105.
Also new from Ultimate Support is the
two-tier Dakota keyboard stand that stands(!)
only 48 inches tall, giving the player high
visibility on stage. The stand is available in
either silver or satin black anodized steel, and
the A-frame design allows for an optional third
tier to be added. The Dakota is priced at $ 144
complete kit (components and instructions) VGA offers superior audio fidelity, accurate upwards.
sells for $ 15, while an assembled and tested tracking of two or more units tied together, MORE FROM Ultimate Support Systems,
interface board ready for installation is $23.50. anc attack/release times that are faster than PO Box 470, Ft. Collins, CO 80522-4700.
Both prices exclude a $ 1.25 postage and those of competitive models. r (303) 493-4488
handling charge. MORE FROM Ashly Audio, Inc., 100
MORE FROM Mescal Music, PO Box 5372, Femwood Ave, Rochester, New York 14621.
ARTISYN MIDI SAX
Hercules, CA 94547. e (415) 724-0804 r (716) 544-5191
Apologies are in order here: those of you
ASHLY AUDIO ULTIMATE AT HOME interested in the SX0I saxophone MIDI
controller from Artisyn which we told you all
ATTACKS NOISE AND IN DAKOTA about in our April issue will no doubt have
The new SG35 four-channel noise gate from New from Ultimate Support Systems is the already discovered our faux pas. That's right -
Ashly Audio is currently doing its bit to USS Home Studio range of stands, which wrong telephone number!
control leakage and background noise in comprise two sections: namely the Home The correct number to use if you wish to
recording and live sound reinforcement Reco-ding Package ( HR-36BP) and the Home contact Artisyn is in fact(
e (
0503) 295-1915,
applications. The fast ( 10msec) attack time Keyboard Extension ( HE- 48B), which are and we sincerely apologise for any
ensures that the leading edge of fast transient complemented by accessories aimed at inconvenience caused.
10 MT JUNE 1987
 A NEW TECHNOLOGY IS CREATING
A POWERFUL STORM
IN THE WORLD OF
SOUND SYNTHESIS

STRUCTURE

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 INTRODUCING THE 13-5(
THE BOLD NEW FORCE IN DIGITAI

To the Player It's aDream, To the Programmer It's predictions, analysis and control capabilities. Roland
aMiracle/Imagine anew technology that is so engineers have spent years developing anew highly
sophisticated that it offers totally new and unparal- sophisticated LSI chip, code-named the " LA Chip;
leled sound creation possibilities, combined with a that utilizes alinear arithmetic technique to
programming method so logical that it actually digitally synthesize sounds. The " LA Chip" is
builds upon the knowledge you currently the heart of the D-50.
FIGURE 1 PATCH CREATION
have of sound synthesis. That is the LA Synthesis Explained/LA Synthesis
[PARTIAL 1
essence of the D-50 Linear Synthesizer, a UPPER
TONE
is component synthesis on the highest
completely new, fully-digital synthesizer PARTIAL 2
order. To create complex sounds, the
realized by Roland's Proprietary LA PARTIAL I
LOWER 1_ D-50 starts with avery simple premise —
Synthesis Technology The sounds created PARTIAL 2
TONE
build sounds from the ground up by
by the D-50 are simply breathtaking, combining different types of sounds
resonating with character, depth and complexity, together, and then experience the interaction of these
but with awarmth and completeness digital synthesis sounds on each other. We start with individual elements
has never had before. The reason is that no sound of sound called Partials. Two Partials are combined to
has ever before been created in amanner so complex create aTone, and two Tones are combined to create
and rich with possibilities, and yet ultimately so very the Patch. (Figure 1) The D-50 can hold 64 Patches and
logical. Linear Arithmetic (LA) is normally used 128 Tones. Each of the two Tones can be processed
for computing complex mathematical problems in individually by on-board signal processing that is
the field of science. In the area of sound synthesis sophisticated enough to rival arack-full of equipment,
it is an ideal creative method, offering superb and includes digital reverb, digital parametric eq,

MIMICRY 110V10

LINEAR
SYNTHESIZER
4
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 NEAR
I
'!-4 NTHESIZ ER
0ND SYNTHE1 TECHNOLOGY

digital chorus, digital delay and more. But before we PCM Sampled Partials/A Partial can also be more than a
go too far, let's get down to the basics, the building digitally synthesized signal, it can also be aPCM sample.
blocks of LA Synthesis— Partials. Resident in the memory (ROM) of the D-50 are over
Synthesizer Partials/What is aPartial? A Partial can 100 carefully selected 16 bit PCM Sampled Wave Tables
be either adigitally synthesized waveform, or aPCM which can be used by themselves, combined with Synth
sample. Each of the thirty-two Synth Partials contains Partials or combined with each other. The PCM Partials
all the components usually FIGURE 2 STRUCTURES are carefully selected, and

v
found in the hardware of digitally processed so that
an analog synthesizer, J
they combine well with
presented here as digital other Partials. Some of the
software. This includes the Wave Generator (to create sounds include awide variety of the attack portions of
asawtooth or square waveform), the Time Variant percussive sounds: marimba, vibes, xylophone, ethnic
Filter, the Time Variant Amplifier, three five-stage instruments, grand piano hammer attack (with the
Envelope Generators and three digital LF0s. fundamental removed), avariety of flute and horn
In this way, even though the D-50 is adigital signal, breaths, arange of different string plucks and bows, nail
programming the Synth Partial is very similar to files, guitars, and many more. The Wave Table library
programming on an analog synthesizer, ( as these also includes Loop sounds and long samples, such as:
components react in the same way as VCO's, VCF's Male and female voices, organs, pianos, wind and brass
and VCAs on analog synthesizers) while offering instruments, and also Harmonic Spectrum sounds,
sound synthesis capability beyond the most advanced which are created by removing all of the fundamentals
digital synthesizer. of asound, isolating its harmonic components.

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The sounds created by the D-50's PCM Waveform hall sizes, gated (non-linear) reverb, reverse, stereo
Generator are far superior to wave table samples panning effects that can be routed to either or both
found in other synthesizers, which are usually of the stereo outputs. The awesome power of these
only one looped cycle in duration, and are usually built-in effects means that the D-50 requires literally
no more than 5milliseconds. In contrast, many no outboard effects processing. And just as important,
of the PCM Partials on the D-50 are up to because all the D-50's effects are processed in the
256 milliseconds. digital realm, they are completely noise free.
Structures/The combination of the Partials' opera- A Mother of aMIDI Keyboard/The D-50 is also an
tion modes can be set by selecting one of the seven excellent mother keyboard for your MIDI system, as
Structures. (Figure 2) By choosing one of these it is totally dynamic, offering 61 keys in four different
Structures it is possible to combine two Synth key modes (Whole, Split, Dual and Separate). In the
Partials, or two PCM Partials, or acombination of Whole mode the D-50 is 16 voice polyphonic, while
the two in several different relationships. In addition, in the other modes it functions as two 8voice synths,
the Partials can be cross-modulated by the digitally- one for each Tone. All mother keyboard functions
controlled Ring FIGURE 3 DIGITAL SIGNAL PROCESSING are programmable
Modulator, which IUPPER DIG. PARA. DIGITAL
per patch including
helps to create the TONE EQUALIZER CHORUS DIGITAL 20 BIT
UPPER TONE
aseparate transmit
REVERB DIA
complex harmonic LOWER ...0 DIG. PARA. DIGITAL DELAY CONVERTER channel and aseparate
LOWER TONE I
environment for the TONE EQUALIZER CHORUS
program change
resulting Tone. transmit. As the D-50 is
Unlike ring modulators of the past (which tended to truly bi-timbrai it can function as two MIDI sound
be interesting yet unpredictable), the Ring modules as each tone can receive on its own MIDI
Modulator in the D-50 is designed to track channel. All D-50 parameters and programs can be
with the keyboard, ensuring the proper harmonic saved on Roland's new M-256D memory card which
relationships as you go up and down the keyboard. M 256D MEMORY CARD offers 32K bytes of storage
Built-In Digital Effects/The final routing of the in the size of acredit card.
signal before it reaches the output is through the All of the D-50 functions
digital effects circuitry ( Figure 3) But, far from can be programmed
being merely an add-on, the D-50's effects are as internally, or externally
carefully thought-out as the rest of the instrument, with the use of the optional
and likewise just as integral to the creation of PG- 1000 programmer,
new and unique sounds. The first effect is the which combines visual
digital Parametric Equalizer, used to contour clarity and speed for
the equalization curve for the tone before it passes the programming professional.
into the digital Chorus, or we should say Choruses, Put It All Together/Taken as awhole, the D-50
as the D-50 fields an DC Innn opnr R KAMP")
-
represents more sound creation potential than most
arsenal of eight chorus of the leading synthesizers combined. And just as
circuits— all available important, it comes at aprice that you can afford —
simultaneously, $1895.00. Of course, the only real way to find out for
configured in any of 16 yourself is to play the instrument, but we'd like to
modifiable presets such suggest you do alittle more. Go to your dealer, but
as panning chorus, before you try the D-50, try three or four other
tremolo, flanging and synthesizers first — really give them agood going-
much more. Within over. Then spend some time on the D-50. We think
each chorus there are you'll find that the world of sounds you knew before,
parameters set up as to now seems to be black and white— while the D-50
how these choruses has just exploded you into auniverse of color. The
interact for maximum effectiveness. Lastly, the signal new force has taken you by storm. RolandCorp US,
passes through the digital Reverb, which can also 7200 Dominion Circle, Los Angeles, CA 90040
function as adigital Delay, offering various room and (213) 685 5141.

1987 Roland Corporation US

Roland®
WE DESIGN THE FUTURE
 THE
SOFTWARE
PAGE
Passport Design MIDI interface, MIDI/8 and a unleash the K5 editor on unsuspecting Kawai
BACCHUS EDITS FM MIDI-compatible synth. The program retails devotees at the June NAM M show, at aretail
Yamaha TX8IZ users may be pleased to hear for $ 79, with educational discounts available price of $ 129.95. Compu-Mates is creating a
that Bacchus has announced the TX8IZ to schools placing quantity orders. synthdroid editor with a wave- generating
Graphic Editing System, a sophisticated MORE FROM Electronic Courseware feature, which will allow you to load asample
mouse- based program for the IBM PC that Systems, Inc., I210 Lancaster Drive, from any sampling synthesizer and convert it
features icons, control panels, multiple Champaign, IL 61821. Tel: ( 217) 359-7099 to an additive wave that can be manipulated on
overlapping windows and pop-up menu screen or in the K.5 with aharmonic resolution
"stacks" in a high- resolution graphic of 128.
environment. All windows are active and KILL A HAPPY FACE? Other new products planned by Compu-
instantly accessible, which ensures that you Mates include the Final TRAK ST, acomplete
At last, a manufacturer has announced a multitrack MIDI sequencer that will support
can explore with ease the TX8IZ's front panel
software package aimed at the average SMPTE of all types and will also support
functions (which has got to be good news).
musician - or at least the mental age of the programmable MIDI to acoustic mixing. The
With the program's Performance Editor,
average musician . ' MIDIMaze, The Game', sequencer will allow you to select any track
the TX8IZ can be used as eight independent
from Hybrid Arts is amaze game that allows and print a score with musical and text
instruments; Microtuning, NoteShift, Pan and
up to 15 Atari STs to be networked together notations. There will also be a feature that
Delay are just some of the features available in
using MIDI ( the speed of which provides fast does real-time scoring to a dot-matrix or
performance mode. Pan, Delay and Chord can
graphics and response). Players are each laserprinter ( Atari is announcing alaserprinter
be adjusted using the Effects Editor and Micro
assigned an individual color Happy Face and at an incredibly low price with the new MEGA
tuning and Program Change tables are also
can play against the computer or in STs). The package will also have free update
fully programmable.
conjunction with as many as 14 other people. insertions periodically to keep up with the
Each of the TX81Z's Operators is given its
The object of the game is to find the other rapid pace of change - hence the name Final
own window with the oscillator wave
Happy Faces and exterminate them, while TRAK ST.
graphically displayed; the Algorithm Window
keeping your own alive. Players can use a Compu-Mates have some new hardware
shows all eight configurations simultaneously.
mouse or ajoystick and can even design their products up their sleeve too - namely aMIDI
Any voice, including the TX's internal RAM/
own mazes to run through. MIDIMaze is Programmable Patcher which will allow you to
ROM voices, can be instantly auditioned or
designed for players aged five to " adult" ( abit program sequences of events and sequences
retrieved for editing, and the Graphic Editor
optimistic, perhaps), and retails for $ 39.95. So of MIDI switching through 16 inputs and
provides complete librarian functions,
who said MIDI wasn't fun?! outputs. Future software packages will
according to Bacchus. Suggested retail price is
MORE FROM Hybrid Arts, 11920 Olympic incorporate features to manipulate volume,
$199.95.
Blvd., Los Angeles, CA 90064. pitch, parameters and so on, directly inside
MORE FROM Bacchus Software Systems,
2210 Wilshire Blvd., # 330, Santa Monica, this intelligence- based MIDI switcher. The
CA 90403. Tel: ( 213) 820-9145 unit will also allow you to sync to tape or sync
COMING SOON FROM to the Compu-Mate SMPTE Brain. The
Patcher is due to retail for $ 189.95.
COMPU-MATES The SMPTE Brain just mentioned is a
JAZZ IMPROVISING The company that's currently bringing you package which will lock to any SMPTE
graphic editors for the Kawai K3, Casio CZ, standard, sync, FSK, and so on, for the purpose
WITH MIDI and Korg DW synths, as well as the Kawai of synchronizing your Compu-Mates
Electronic Courseware Systems are making R100 drum machine, has announced details of sequencer with new digital tape machines and
available a new teaching tool for jazz their forthcoming releases. video machines, as well as the old stand-by
improvisation, which provides instrumental The Korg DSSI Synthdroid features areal- systems.
and vocal students with play-along material to time additive synthesis editor that can paint in Finally, watch out also for the Gen- Pedals
learn jazz improvisation using original tunes awave, accent 5th harmonic content, octaves, for the Atari ST. These are aset of eight MIDI
based on traditional chord progressions. or odd and even harmonics. It also features a assignable controllers; you can use eight
'MIDI Jazz Improvisation l', written by Tom Fourier Transform display with real-time cut standard volume pedals, modulation wheels,
Rudolph and Roger Morgan, allows for and paste, and an artificial intelligence android. faders, and so on, and the package comes with
flexibility of changing keys, presentation speed The DSSI Synthdroid retails for $ 129.95. an editor to allow you to assign the eight
and practice with selected tracks. Each Compu-Mates has also added the controllers to any MIDI parameter on any
exercise is organized to eight separate tracks, Oberheim Matrix 6 and 6R to their list of MIDI device with a system exclusive
comprising bassline, simpie chords, complex synthdroid editors; the new program will parameter change. You'll also be able to set up
chords, melody line, counter melody, scale incorporate all existing Matrix 6 parameters, 50 sequences of eight pedal setups that can be
study, sample improvised line, and rhythmic as well as added features that do not exist on accessed in sequence by an additional
pulse. the synth itself. The program is due to retail footswitch.
The program is designed for beginning and for $79.95. MORE FROM Compu-Mates, 8621 Wilshire
advanced improvisers, and is available for the And following in the footsteps of the K3P0 Blvd, # I77 Beverly Hills, CA 90211. Tel: ( 213)
Applel I, 11+, and Ile computers and requires a editor for the Kawai K3, Compu-Mates plan to 271-7410 or ( 818) 904-0661.

MT JUNE 1987 15
 sideways with tweeters closer to the center, experimenter and lover/manipulator of music,
woofers to the outside, then the sound path from sound and technology, I've been waiting for a
the tweeters to the listener is shorter than from magazine like this! Being indifferent to most
woofers to the listener. trendy, shallow or commercial publications, I've
Assuming that the speakers are about seven found just the well-rounded (not to mention
feet apart, that the listener is on the centerline "hip") supplement of information rye been
between the speakers and about six feet away and looking for in your magazine. Please don't change
that the woofer and tweeter are 18 inches apart, too much.
this would delay the lows by about 1.5msec Jai Salvatori
relative to the highs. Arranging the speakers this West Milford, NJ
way also puts the tweeters closer together to
minimize the "hole in the middle" effect and the What can we say but "thanks"? We work
woofers nearer the corners of the room to improve hard to maintain the " biased objectivity"
bass response. in our articles that you refer to and we're
In aperformance situation, where low, mid, glad to see it's appreciated. If you don't
and high-frequency drivers are in separate agree, however, don't be afraid to write and
cabinets, placing the high frequency drivers about complain. Every now and then we can use a
Dear Music Technology, afoot and ahalf forward of the mids and the mid good swift kick.
In their article "We Can't Go On Beating Like frequency drivers half afoot forward of the low
This", MT April '87, Chris Meyer and Matt frequency ones should create the same time Dear Music Technology,
Isaacson raise some important issues about the alignment as the Barcus Berry unit generates. This is in response to the suggested use of adigital
Barry Cook delay for stereo simulation in "We Can't Go on
use, abuse and limitations of drum machines. It
South Salem, NY Beating Like This", MT April '87.
should be noted, however, that like many other
articles which appear in the hi- tech music While the effect described works (Ioften use it
Perhaps, if that's what you want to do. I to fake adouble or to thicken individual tracks), I
publications, the emphasis is on the synthesizer as
think that the point of the review is that the would hardly advise processing an entire track
apiece of technology rather than as an instrument
BBE units essentially allow the "aligned" with it. The reason? Psychoacoustics. Even if the
with which music is made.
audio to be recorded. Once you've done delay return on, say, the right is equally loud when
While the limitations of drum machines are
that, the effect should be reproduceable on compared to the program on the left, the slight
quite as they spell out, the authors neglect to
virtually any speaker system. uniform delay of all the program material will
mention that most users are making dull nonsense
make the sound seem to originate on the left.
with their programming. They are working within
Dear Music Technology, There will be stereo ambience, to be sure, hut the
a style which allows little in the way of
Your review of Kahler's Human Clock, MT May imaging will be screuy.
imaginative rhythm tracks. The drum machine
'87, claimed the unit to be " unique", "the first of However, aDDL Can be used vers effectively
becomes avibrant instrument, on the other hand,
abreed", for its ability to "make machines follow to process the return of an old mono reverb unit.
when used by groups like Kraftwerk or Cabaret
humans in a live situation". This is incorrect. Put the program material in its proper
Voltaire, who allow them to express their own
Actually, synchronization to live musicians in perspective, put the straight revert, return on one
language instead of using them as excuses for live
real time is aGarfield Electronics first and has side and the delayed reverb return on the other
drummers, or as shortcuts to quick dance-fodder.
been available as one of many features on our and min stereo ambience plus proper stern
Listen to the use of drum machines by these
Master Beat SMPTE Synchronizer ( which was imaging!
groups. Every quirk is the result of the
first shipped in March ' 86, over ayear ago). Jon Gordon
unmistakable trresence of aunique compositional
The essentials of our system ( Gain, Mask, New York, NY
style, something lost on most electronic musicians
Window, Damping and Lead/Lag) are all
today.
duplicated on the Kahler product with different
As for cheaper machines, there is one Dear Music Technology,
names.
shockingly easy way to take the chintz out of the Ienjoyed reading your April issue which included
Dan Garfield
sound: speed up the pattern, record it fast and an article on the new Ravi Shankar album —
Garfield Electronics
then slow the tape down. Even the Roland Tana Mana. There is, however, one point which I
Burbank, CA
Drumatix sounds relatively convincing then. would like to clarify. The article states that Ravi
Happy programming. Quite right, Dan. Sorry for the oversight. and Ali Akbar Khan are "adopted brothers"
Carl Howard Readers interested in this subject should which was not really the case. Ravi was not
New York, NY note that Garfield is introducing a new adopted in the traditional sense, but instead was
product this month, the Time Commander accepted as a devotee of the greatest known
Thanks for the tip and the commentary. Real Time Clock, which also includes the musician in India — Ustad Allauddin Khan of
We're always willing to air our readers' tracking system. What This saintly and learned man became
views on technology and music (after all, Ravi's revered Guru.
that is what the magazine is all about), so if Dear Music Technology, Part of the confusion surrounding the use of the
you've got something you want to say to us Although any one person's thoughts are probably word "adoption" stems from the difference
or to fellow readers, drop a line. We love most accurately termed "opinions", thereby between eastern and western cultures. In India
getting mail. "biasing" one's reaction or outlook as verbally the Guru is like afather ( Guru Bhai), and fellow
expressed, there comes atime ( in my "opinion") devotees — like brothers, as was the case with Ali
Dear Music Technology, when afair level of objectivity may be achieved. Akbar Khan and Ravi Shankar. As achild Ravi
In your review of the Barcus Berry Electronics However, since people with common opinions perfomed throughout Europe as an Indian
Sonic Processors, MT March '87, you described tend to group together, let us ( in the interest of classical dancer. At the age of 15 he began
their function as changing the time alignment of objectivity) call it "biased objectivity". studying music intensely for 71/years with Ustad
2

low frequencies relative to the highs. Couldn't Anyway, if you folks continue biasing your Allauddin Khan. After years of world travel,
much of the same effect be achieved by speaker admirable objectivity as rue seen in your April Ravi returned to India every year to study with his
placement? '87 edition, then you'll have won an eager Guru for 10 years thereafter.
In ahome listening situation, if astereo pair of subscriber! Being an acoustic and electric bassist, Frank Serafine
two-way or three-way loudspeakers are oriented sound/recording engineer, electronics tech./ Santa Monica, CA
16 MT JUNE 1987
 IDONT WANT TO MISS OUT ANY LONGER
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40 COMBtNA-noNs OF FEROCIOUS DRUM S OUNDS

NDSTE
CAN
PERCUSSiO N
DO FOR YOU RDRUM SET
AAMtNG LATIN
Fi ND OUT WHAT ELECTe r RUM CENTER

SE EYOUR NEAREST 9MMONS D

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9
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 Illustration: Stuart Catterstm.
we can't go on

BEATING LIKE
THIS
part 3
The third installment in our series on creative percussion programming looks at
trigger-to- MIDI convertors and explores their usefulness for triggering drum
samples and/or sounds.Text by Matt Isaacson and Chris Meyer.

W
features and costs - the Translator 2from Phi jack for the wall- mount power supply. Notice
ESTARTED AT the ear and are
now working backwards. In the Tech, the DZI from Casio, the Octapad from anything missing? Well, there's the " internally
first installment, we explained Roland, the TM1 and MTM from Simmons, the adjustable ' set and forget" parameter controls
why drum machines sound like SC40 from Pearl, and the PMCI from Yamaha. over individual pad sensitivity, separate MIDI
machines, and offered afew quick It is worth mentioning up front that while we In/MIDI Out channel assignment, velocity
tips on how to get around it if you happen to originally approached this set of reviews from tracking, and selection from achoice of eight
own one. In the second, we suggested using the angle of a keyboardist (or other non- pre-programmed MIDI note assignment
samplers as replacement sound generators for rhythmic musician) looking for good ways to options!'
drum machines, and gave tips on how to trigger percussion sounds, we ended up being In other words, you have to open the small,
program those more effectively. We also fascinated with the keyboard-oriented sturdy meta. case to get at aset of miniature
hinted that playing plastic piano keys may not possibilities these devices opened up for trimmers and DIP switches to set up the
be the ideal method of triggering these drummers -fledgling young Bill Brufords, sit device. There are sensitivity trimmers per
sounds. up and read on! input plus amaster velocity curve trimmer ( ie.
So, in this installment we'll be looking at the What follows is a capsule review of each how subsequently stronger thonks translate
next step upstream - trigger-to- MIDI conversion system, in price order, from the to various MIDI velocity levels), MIDI channel
convertors, the things that turn aphysical, or bottom to the top (or vice versa, depending switches, and the aforementioned note
in this case electrical, "thonk!" into something on your current financial status). assignment options. These options are pre-
which can play our wonderfully programmed Phi Tech's Translator 2 ($249.50) was programmed for certain note values to match
sounds. In the next two installments we'll be the least expensive and the most basic of the up with a handful of drum machines, along
looking at those things you actually go interfaces we tested. Front panel "controls" with forming a C Major or C# Pentatonic
"thonk!" on - the pads (and other weird consist of a power LED, a single "trigger scale
strikeable devices) themselves. happening" LED ( alas, not one per input), and Hint: nave small tools availabie when
We got our hands on seven different a " panic button" to kill droning notes. The setting up this box - those controls are small.
trigger-to- MIDI convertors from six different back panel consists of six 1/
4"input jacks, six Also, even though hitting the panic button was
manufacturers, representing a variety of /"output jacks, MIDI In, MIDI Out, and a
4
1 supposed to reset the box after changing an
MT JUNE 1987
18
 internal DIP switch, we found out we had to The front panel is virtually the manual - that the particular TM Ichannel is being sent
unplug and replug the box more than half the there are four presets, and each " translator" down ( C)." Reading manuals like this no
time to " unfreeze" it after making achange. may have aMIDI channel, note number, and doubt contributes to the supposed illiteracy of
Once the lid's back on, things are cool. program change number selected for each musicians.
If it's not obvious already, this box is more one. When a new preset is selected, the Additional negatives include the fact that
suited to fixed setups where not much program changes are sent, and various numbers greater than 99 cause adecimal point
variation is expected ( the controls are fiddly, modulations are zeroed and the pitch wheel to come on in the display to indicate 100
and who wants to keep opening their box?) recentered. However, reading the non- onwards, and the autoscroll ( for value
such as alive gigging situation. However, if you offensive manual reveals a couple of other adjustment) seemed a bit overeager - we
are indeed using asampler for your playback thoughful features. often overshot values. Aside from that, the
device, you can map and transpose your The first is that hi- hat switch. While the manual's illustrations are helpful and, in
various drum and percussion samples to footswitch is left alone, one translator's note general, the TMI is easy to learn.
match up with the preset note configurations. number is sent per thonk at input 8. While the Having trigger sensitivity knobs on the front
An additional bonus is the ability to translate footswitch is held down, a different note is panel is abig plus, and there is an LED under
MIDI In to trigger outs - nice for driving an sent. At the time it is actually depressed, it also each one showing current trigger activity.
existing electronic drum kit ( the designers' sends anote, at aselectable velocity. In other Despite that, we still had acouple of problems
intention) or perhaps a cheap monophonic words, it can work just like ahi- hat ( or at least with crosstalk rejection, where hitting one pad
analog synthesizer ( our idea); we've heard as close as any drum machine has gotten so on astand causes another one to trigger.
some great electronic toms out of aPro One far). Just line up one note number with a Each trigger input ( not " channel", damnit)
and the likes . . . closed and another with an open hi- hat can be sent as a particular MIDI note on a
The Translator 2's most important feature sample. Of course, other samples ( slap bass, particular MIDI channel or be silenced
is its price. It doesn't present the same over- for example) may be selected just as easily - or altogether in apatch. ( Because the trigger ins
the- top creative options as some of the other this switch could just be used to extend your are echoed back out, presumably, in their case,
boxes we'll be getting around to, but it does its kit out to nine sounds ( the footswitch can be to an electronic drum kit - you may not want
job with little hassle, and the manual has a programmed to be silent when struck). MIDI doubling up your thonks on some
good, sardonic sense of humor - what more Another thoughful feature is amode where patches). There are 50 of these patches ( each
can one ask of adrummer? the velocity of aselected translator is displayed of which may send out a MIDI program
Casio seems dedicated to making when struck, including an overload indicator, change) that can be chained in various
technology affordable. True, occasional which is nice for the initial setup of atrigger- "sequences" ( not to be confused with
corners are cut from the " pro" point of view to- M IDI interface ( and for when you're sequences of notes - language problems
(ie. when are they going to make something - unsure just what velocity range should be again) and stepped through, back and forth.
anything - in rackmount form?), but, on the producing what results). A real meat- and- potatoes sort of machine -
other hand, they also manage to throw in a Finally, while you're editing a particular nothing fancy, but all of the basics are there
surprising number of well thought-out trigger's parameters, all others are blocked times 50 patches, and you don't have to open
features. The Casio DZI ( affectionately from being transmitted. This is a quick and the chassis.
referred to in this neck of the woods as "The easy way to figure out which pad is which One quite often thinks of the venerable
Dizzy One," just as the FZI is "The Fuzzy (even though it would have been nicer if the Roland Octapad ($675 list) as eight
One" - no reflection on either's quality), trigger number followed the last pad hit, rectangular pads in one case with aMIDI Out,
which retails for $399, is another such instead. Sigh, almost nobody does this). and indeed, we'll be looking at it in that
example. Disadvantages? Not many. The biggest is context next issue. But what one may not
On first blush, a " pro" sees things to gripe being restricted to only four patches. Once realize is that it also has six trigger inputs that
about - the rather nice metallic gray and you start using any of these interfaces beyond it converts to MIDI - in essence making it a14-
aquamarine case is not rack- mountable, but is the drum machine or drum kit level, it quickly "channel" thonk-to-MIDI convertor. The
about the size of ahard cover book and about becomes clear that four presets are not additional trigger inputs behave identically to
the weight of afootball ( not very confidence- enough. Also, the DZI is the only convertor the built-in pads with respect to programming
inspiring). It comes with no power supply - six not protected by ametal case - doesn't Casio options, and allow you to use other outboard
AAs are included ( the manual also gives realize that drummers are ... are .. . animals? pads ( or electronic kick pedals, or whatever)
instructions on how to run it with a car (Of course, more sedate keyboardists would at the same time.
battery). As a matter of fact, alot of Casio be safer owners.) And coming with batteries One immediate and obvious advantage of
equipment is battery- powered - hmmmm instead of arighteous power supply borders the built-in pads is that you save the roughly
When is their battery- powered amplifier/ on jive. But, it is the second cheapest device of 8X $ 100 that normal pads would run you ( not
speaker coming, so we can actually take these its kind, competent, and by far the easiest to to mention stands to support them). These
things to the beach? use. would be a necessary expense because the
Okay, let's remind ourselves of the price, Next up is our second " conventional" other trigger brains pretty much demand
and keep going. The back panel is generous, trigger- to- MIDI convertor. The Simmons them to get started. The Roland pads, al-
with room for eight trigger ins, four preset TMI, which retails for $455, is a one- rack though small, feel darn near as good as most of
selector footswitches, and ahi- hat switch (all height module with eight sensitivity controls, a the free-standing ones, and ( thanks to some
/1. Two wired- together MIDI Outs are
4
1 twin seven- segment LED, and an otherwise clever crosstalk- cancelling electronics inside
provided ( that's one less MIDI Thru box to minimal front panel. The back panel consists of the box) are entirely isolated from one another
purchase), along with anine-volt power input, eight trigger in and eight trigger out jacks, -not all pad/brain combinations can make this
power switch, and overall sensitivity control. along with MIDI In, footswitch, cassette ( an claim.
The top panel includes eight sensitivity sliders, unusual multi- pin DIN connector), and While banging out hard rock rhythms in a
a selector button per "translator" ( Casioan "suitcase kit" jacks. The trilingual manual is space the size of alarge TV dinner may not be
for "trigger input"), four preset selectors, four generally atad cryptic and wordy in places. For your idea of an ideal performance situation,
mode selectors, athree- digit LED display, and example, " channel" is used to refer to trigger/ there is something to be said for the
a pair of scroll keys ( used for parameter pad inputs, not MIDI channels, resulting in technique- related aspects of having all your
editing only - thankfully, they are not needed sentences like " Each channel in each patch can pads so close together - whether you're a
to access the parameters as on so many also be sent down amidi ( sic) channel, to see drummer or not. And by the way, just try
synthesizers today). Each trigger input and which midi channel has been programmed for carrying anyone else's trigger converter and
edit mode switch have an associated LED, each of the TM Ichannels, press the DISPLAY eight of their pads in one hand ( juggling
telling the user precisely what's going on - a button (A), you will see that the channel led counts).
basic human need overlooked on other more lights up in the display ( B) and the display has The Octapad stands alone among this group
expensive devices. changed to show one of the 16 midi channels in its very simple and elegantly- implemented
MT JUNE 1987 19
> programming interface. All you have to do is next - the trigger in connectors on the back feature may be programmed per pad ( we
choose aparameter for editing, then hit apad are all XLR. Fine for Yamaha's own pads found this very useful for drones or, say,
(internal or external), and that pad's values (which even come with their own XLR cables) phrasing abassline from the kick pad).
are displayed and may be changed. Once and early Simmons, but it means adaptors or Velocity may be used to decide how many
you've worked with it, it seems expensive cabling for most other pads. notes of the programmed chord get sent - this
incomprehensible that no other thonk-to- On to more positive things. The rest of the proved to be a very useful " punctuation"
MIDI convertor we tested is set up this way. back panel connectors include one MIDI In feature, either for thickening up drum sounds
The edit mode is either global ( edit all pads and two MIDI Out jacks, footpedal and (Yamaha's FM drum sounds respond very well
at once) or per individual pad, indicated by footswitch inputs, and a memory select to just whacking afistful of keys at once) or
slow or fast flashing of the two- digit LED footswitch input. The front panel of the two- bringing in notes and suboctaves of amusical
display. There are but six editable features - rack height case includes eight trigger chord. The display shows these by alternating
unfortunately, there are only four parameter sensitivity controls ( easier to grab and more between the basic note and these "simul-
buttons to hit. It is somewhat annoying that conveniently spaced than any other interface notes." There can be adifferent MIDI channel
two of them are accessed as hidden controls we tested - ergonomic points) with eight assigned per trigger in.
o (hit the " A" and " B" preset buttons while in large "select" buttons that have imbedded Now we start having real fun. Yamaha has a
edit mode), although there are few MIDI activity LEDs underneath. The five LED digits feature called " dynamic shift" which allows
percussion interfaces which are not guilty of are split into two groups, each with its own you to have the velocity information
some equally heinous trespass against inc/dec switches. The remaining controls determine the transposition of asingle note
reasonable programming methods. At least include 16 function select s ,vitches ( with their (the other four are dropped) instead of
these two, pad sustain ( time between note- on functions labeled on them) and aDX7 RAM determining how many notes of achord get
and note- off from a pad hit) and minimum cartridge slot (!) for downloading programs to played. The transpostion can be up or down,
MIDI output velocity, are less subject to an offline FM brain. Indeed, the PMCI came and selectable up to an octave. If you're driving
frequent adjustment than the other with aQXI disk and adouble- ROM cart of FM percussion sounds, this means that different
parameters, which include MIDI channel, percussion voices which, while perhaps lacking pitches or versions of asound can exist under
MIDI note number, trigger velocity curve ( a alittle in variation, literally blew us away with one pad. If you are driving akeyboard sound,
generous five choices), and pad sensitivity. their bite and frequent realism. The voices in you have just crossed into the realm of free
Being able to set up different sensitivities particular took advantage of the fixed- versus- music.
per pad is useful, even though there are built- pitched operators in the DX7, resulting in This mode provided an unexpected amount
in pads. This is particularly true, for example, different keys transposing the "shell" sound of enjoyment. As mentioned above, we had
when pads are mapped to multiple sound while keeping the skin, snare, and other noise MIDI Out B driving " normal" percussion
sources with different velocity characteristics. components of the sound constant across the sounds on asampler, and MIDI Out A driving a
Other spiffy features include a built-in keyboard - in other words, they transposed Prophet VS in split mode with the kick drum
merger that passes incoming MIDI gracefully. playing a monophonic bass patch and three
information to the MIDI output ( for chaining If you buy a piece of Yamaha gear, they tom pads ( one in chord mode) playing abell-
multiple Octapads, in case 14 thonks is not expect you to own nothing but Yamaha gear in like sound. We have taped documentation of
enough, for instance) and the ability to send the rest of your system. The manual is written what this sounds like - pretty intense. At times
program changes to your sound boxes in from this point of view, and something like the it even sounded like an ultra- tight jazz
response to pad strikes ( while also depressing PM CI is optimized to take advantage of such a keyboardist with adrummer ( circa early Frank
the appropriate footswitch). setup. Given that, Yamaha takes very good Zappa).
There are, of course, some areas in which care of you and presents you with a well- As time went on, we realized that the PM CI
the Octapad is lacking. The most oft- cited one integrated system that has a ton of power. was really oriented towards keyboardists in a
is that like the Casio DZI, there are but four Your mission is to fill in your own brand names good way. ( For further reference on the
presets. There is no way whatsoever to back (and MIDI implementations) in place of "keyboard potential" of drum playing, pick up
up this preset information - perhaps its Yamaha's to take full advantage of the system acopy of David Torn's Cloud About Mercury or
function as acontroller does not justify this -which ain't that hard. Earthworks' debut album discussed elsewhere
need in some people's minds, but it could have For example, Yamaha assumes that you are this issue, both of which feature Bill Bruford
allowed offline storage and retrieval of more driving one of theirsdrum machines and aDX/ doing similar things with his Simmons kit.)
than four presets. TX7. You are supposed to plug your Other features include afootpedal input for
What the Octapad ultimately does is fairly (Yamaha) drum machine into MIDI Out Band sending modulation to your slaved keyboard
bare- bones - one pad strike translates to one your ( Yamaha FM) synth into MIDI Out B. (it only goes out over MIDI Out A), program
MIDI note with variable velocity ( that does The MIDI In, which presumably connects to selects per trigger input ( since each may be on
not go down as far as it could, by the way) - so your ( Yamaha) sequencer or master a different MIDI channel) plus a " system"
some of the tricks from the more expensive keyboard, is echoed to both Outs. Since your program number ( for reverbs and the like), a
boxes would really sweeten the pie. And in (Yamaha) drum machine maps each of its reasonably generous memory of 32 programs,
place of " mode" LEDs, the display blinks at drum sounds to a selectable MIDI key, all and apatch edit/recall memory that saved our
different rates to state the mode, which can be MIDI Out B transmits is singular note ass at least once when we made changes we
annoying to some of us higher- strung types messages ( programmable per pad) on a didn't intend to.
(doesn't a blinking light mean that selectable MIDI channel. The remaining few percentage points of
something's about to blow up?). We hooked a sampler loaded with drum complaints include the wish that notes in
But overall, avery useful and cost-effective sounds to MIDI OLlt Band it worked just fine dynamic shift mode were selectable, like the
unit. - and so would practically any MIDI'd drum simul-notes were, so that scales and such
Speaking of blinking displays, the first thing machine. But since your ( Yamaha FM) could be programmed ( it's hard to play against
we noticed about the Yamaha PMCI, which keyboard on MIDI Out A has considerably anyone who could pick any of the 12 semitones
retails for $720, was that it had five large, red, more flexibility in terms of transpostion, in an octave on the next beat). Also, the hold
seven- segment LED displays, as opposed to chords, gate times and so on, this is where the footswitch could have sent aMIDI hold pedal
the common ( and expected) Yamaha LCD. fun really begins - and where we started to command - that would have meant we could
The second thing we noticed, right after we cross the line into using drums to create new program two different release times on
powered it on, was that the information in "keyboard" lines. keyboards that implement a " second release"
these displays blinked, alternating semi- Each trigger input may cause transmission function instead of just having everybody
leisurely between different sets of values. of up to five selected MIDI notes. The gate drone.
There - we have 80% of our complaints about times for these notes range from nothing up to The lack of an LCD, played against the
the Yamaha out of the way. about three seconds ( fixed). The footswitch wealth of features, meant constant references
Let's get another 5% or so out of the way can be used to " hold" these notes on, and this to the manual to learn the Yamaha, but
20 MT JUNE 1987
fortunately the manual was well- written and,
in general, we had alot of fun with the PMCI.
Our modus operandi tends to be checking
out equipment and making a lot of noise in

Nobody gives you

general on Saturday nights, traveling into the
local beach town ( Santa Cruz) on Sunday
mornings in search of the perfect brunch, and

more sound for less

then tackling one more piece of equipment
Sunday afternoon. The relaxed state of mind
this produces proved to be the best way to

than Sam Ash.

check out the Simmons MTM ($ 1150 list),
because it had the most features - and hid
them in the most devilish ways.
We don't want to give the impression right

Y
off the bat that the MTM was abummer - like
we said, it had the most features, and it proved
to be atotal gas once we figured it out. If you ou'll find even -thing you need to make music at Sam
follow the manual very carefully, you con figure Ash at consistently low prices. It's a fact that Sam Ash has
it out. As with the TM I, however, the manual been filling America's playing and recording needs for
left us wishing that the British would learn to more that 60 years. So whatever your needs may be,
speak plain English. The front panel features an you'll find that the helpful and expert people at Sam Ash
LCD - great - but it is sunken into the panel will bring music to your ears.
and not backlit, meaning you have to have a YOUR SOURCE FOR MI SIC AND SOI ( ND
bright light behind you and the display has to
be dead on eye level to read. The LCD also Call 1-718-347-7757
seems to be an excuse for not including any or ask Operator for Toll Free number.
status LEDs on the front panel, which made it
hard to figure out which pad you were
thonking ( even Simmons' lower- priced TMI
has LEDs per trigger input), for example. The
„
editing procedures also give the impression of
climbing down a hole to reach a certain
function, and needing to climb back out again
before climbing down some other parameter's 124 FU LION AVENUE HEMPSTEAD, NY 11550 MUSIC STORES
hole. In other words, it shouldn't be this hard
to use, guys.
On a more positive note for the user
interface, the trigger flowchart is printed on
the front panel, with each major section being
printed over amembrane switch which helped
select that function. The back panel includes
eight sets of trigger in and trigger out jacks
(both XLR and Al, along with MIDI In and
MIDI Out jacks. In fact, as mentioned earlier,
the MTM shares the rare quality with the Phi
SOFTSYNTHii
Tech Translator 2 of being bidirectional, in
Advanced 32 oscillator additive and FM synthesis software.
that MIDI In can be turned into triggers along
with triggers being turned into MIDI. Trigger
ins can also be routed to trigger outs, and
some cross- patching is allowed.
Now your sampler can
Like most interfaces, the MTM also includes
trigger sensitivity knobs on the front panel. In play every sound
addition, the MTM has the most
comprehensive trigger processing of any you've never
convertor we tested, allowing selection
between 12 different velocity curves and
control over threshold levels and trigger
heard. Sample
expansion and compression. Your
Now on to the fun stuff with this box. It,
too, has the ability to play chords from pads. Imagination!
As opposed to individually picking the notes,
the user selects from a variety of " canned"
chords and sets the root note for them - less
open-ended than the Yamaha system, but
quicker and also easier for those with little or
no music theory ( ie. many drummers) to use.
Velocity can be linked to how many notes in
the chord ( s) are played, or which single note digiclesign
1360 Willow Rd., Ste 101, Menlo Park, CA 94025
of the chord is played - much more tonal and
less random than the Yamaha's " dynamic Requires Macintosh' with minimum 512K (plus external disk drive) and MIDI interlace.
shift" effect. ( We disagreed on whose Softsynth works with: Ensoniq Mirage:" Sequential Prophet 2000/2002"Akai S9007 S700" X70007 and S612" Korg DSS-r'
Roland SIC" E- mu Systems Emax'and Emulator (Emulator II version requires separate interface cable).
implementation we liked better.) For more information contact: Digidesign (415) 327-8811.
A feature unique to the MTM is the ability>
MT JUNE 1987
21
 >for " echoes" to be generated per thonk. As set up asequence of notes for the MTM to example, velocity may be routed to gate time
with the thickness of the chords, the number transmit either on successive hits or as and delay. In the former, harder hits hold
of echoes can be velocity- derived. The delay "repeats" of an echo. Simmons originally sold notes on longer - the only convertor we ran
between echoes can be set from 8 to this as a " one- pad roll" feature, but ( as stated across that does this, and very useful for
800msec, steppable in 4msec increments. The in the manual) it can be used for basslines and varying how much of a sample gets played
echoes can repeat up to 51 times and succesive arpeggios. You can even program the phrasing back. The latter adds asmearing or delay effect
echoes can even be transposed. Echo decay is (spacings) of these notes. There can be up to to hits, which also proved to be auseful effect.
set in apercentage - down to I. These decays 16 notes in asequence, and if more than 16 Of course, the MTM also has such expected
are stated as rates - on short decays, you echo repeats are selected, the sequence features as the ability to select different MIDI

II cannot hear the repeats ( we would have

preferred that it took into account how many
repeats over. We personally didn't find this
feature as useful or fun as the chord features,
channels per trigger input and the ability to
transmit MIDI program changes for each of its
notes are in the echo, and calculated such that but it does add another dimension. 20 patches.
the last one ended up at the set decay). The MTM's not done yet either, as it allows Next up is the Pearl SC40, which retails for
Another interesting feature is the ability to still more fun to be had with velocity. For $2330. Why is it so expensive? Because along
o
MIDI Delays & Samplers study of the amplitude shape of the sound
coming out of the Ell proved interesting -

Text 13) Chris Meyer namely, even though the sound had started, it
was obvious that the amplifier's envelope had
IN OUR WORK with triggering sounds from noise on the front of the sound) can add not opened up all the way yet, and actually
A percussive instruments, delays become an further to the inherent delays. Of course, to needed another 5msec or so to reach full
unavoidable topic. Keyboardists are used to avoid getting bitten by this, it is best to test a amplitude. This resulted in arounding of the
delays - there is always some delay between sampler in the exact configuration in which attack of the sound, and explains why many
first touching apiano or organ key and when you intend to use it before plunking down the people ( including E- mu themselves) append a

m the hammer actually strikes the strings, the bucks. little bit of silence on the front of the sound to
switch is tripped, or air pressure builds up in We set out to actually test the delays let the VCA open up all the way. Other ways
the pipes. With aguitar the delay is abit more inherent in various sample playback units - the around this are to either leave the VCA
critical - there is always the noise of the pick things we advocate in our " Beating" series for release envelope out at its longest time ( which
first hitting and/or releasing the string as acue percussion playback. The delays involved in means for rapid-fire notes, the VCA doesn't

El
that something's happening, even if the amp is converting a trigger to MIDI, or in get a chance to close down, and therefore
30 feet away. transmitting the MIDI note itself, are both in opens back up to full right away), or to try out
Percussionists, however, are the ones most the order of amillisecond apiece - miniscule the hardware modification E- mu recently
used to instant feedback - their noisemaker is by themselves ( and by now you're announced to get around this problem ( see
at most an arm and astick away, and starts sophisticated enough to realize that such our News section last month).
making sound the instant they hit it. Any things as length of cables contribute mere On the other hand, the VCA on the
perceptible delay between a strike and the microseconds which are certainly not audible Prophet seemed to open up about a
resulting sound is going to be most alien to - also, they tend to be fixed. Therefore, we millisecond before the sound actually started,
them. Therefore, when selecting á sound built the adjoining table of times (Table 1) meaning that nothing got rounded off, but an
module for electronic drums or percussion, based upon how long it took 10 samplers to additional bit of delay got added. The two
less delay means a more natural, more convert MIDI into asound. To do this, we set fastest machines - the S900 and SP12 - do not
responsive instrument. lip a repeating sequence of identical MIDI have afull compliment of envelopes ( the Akai
Also mixed in with that equation is the notes driving asample that had been truncated lacking afilter envelope and the SPI 2any at
variance in delay - if one strike has X amount down to a very short burst. We used an all), afact which may help their performance.
of delay and the second has Y, the groove can oscilloscope to display the MIDI stream on These times also validate their current
suffer from this unpredictability - particularly one line and the audio output on another. popularity as percussion sound brains. We
if the player is adeadly accurate drum machine Then, we measured the time between the last were frankly shocked at how fast and steady
or sequencer. The general rule- of- thumb is bit of the MIDI note- on message and the start the DSSI and Studio 440 were ( true, the
that adelay of 10-15msec between an action of the sound. What we found is ranked by DPXI was faster, but varied), and
and asound is perceptible to amusician, and average response time ( fastest ones first). disappointed at the wild variance of the
that a variance as little as 2-5msec against A couple of the numbers in the table need Rolands.
another event or rhythm is enough to change additional explanation. The Ell is commonly In short, these are some stats to keep in
the feel of adrum pattern. maligned as having a built-in 15msec delay. mind before purchasing your drum brain -
As audio playback devices, samplers are Thus, we were surprised by the numbers we important ones that you probably won't find in
much more complex than the average drum were actually measuring. However, careful any glossy brochure.
machine and are expected to produce higher
sound quality. As a consequence, in the I
process of outputting asound, asampler has a (all figures in milliseconds)
larger number of steps to go through, and may Sampler Fastest Response Slowest Response Average
spend somewhat more time setting things up.
Under most conditions, the resulting delays Akai 5900 1.5 1.5 1.5
E- Mu SPI2 2 3 2.5
are not highly noticeable, but when an
Oberheim DPXI 2 6 4
intricate, rapid drum pattern or a drummer
Korg DSSI 4 5 4.5
playing MIDI pads is brought into the picture,
Sequential Studio 440 5 5
these delays can present a real problem.
Ensoniq Mirage 4 8 6
Unfortunately, until now there has been little
Roland SSO 2 II 6.5
hard information to go by ( and no
E- Mu Emax 5 9 7
specifications are published by manufac-
Roland SIO 4 10 7
turers), but impressions abound with respect
E- mu Emulator II 7 10 8.5
to the relative time delays exhibited by
Sequential Prophet 2000 9 I1 10
different samplers upon playback. Sloppy
sample editing ( ie. leaving abit of silence or
with being atrigger- to- MIDI translator, it is a
sound playback brain. We're not here to make
an extensive review of its sound capabilities,
but it's worth mentioning that the sounds are
an interesting combination of sampled sounds
and analog processing that range from snares
to tightly looped cymbals to tubular bells to
electronic toms. We started out really liking
the sounds, many of them being unique, but
about half of them grew tiring quickly. To each
his or her own though, so listen for yourself if
you're also looking for an electronic
percussion sound module as opposed to a
sampler.
The Pearl has several very nice features -
such as an LED bargraph showing the level of
the trigger along with an LED bar trigger
input, and amode where the eight front panel
buttons played the currently selected sound at
eight levels - very nice for working from the
front panel. It also had sensitivity trimmers on
the front panel - little round knobs with slots
in the middle - atad fiddly and harder to read
than Yamaha or Simmons. Continuing
downhill ( unfortunately), the Pearl won both
the Most Cryptic Front Panel and Most
Indecipherable Manual awards of the group.
LEARN THE ART OF RECORDING
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There was also one fatal editing flaw - for an LEADING ' HANDS ON' TRAINING PROGRAM FOR SOUND ENGINEERS, PRODUCERS
edited MIDI key number to take effect, one AND STUDIO MUSICIANS. WITH OR WITHOUT PREVIOUS EXPERIENCE, IF YOU'RE
SERIOUS ABOUT A CAREER IN MUSIC, OUR INTENSIVE, SIX WEEK PROGRAM CAN
must leave that mode - annoying, to say the GET YOU STARTED AND PUT YOU AHEAD, FOR FREE BROCHURE, PLEASE CALL
least. OR WRITE TODAY
The SC40's MIDI implementation is fairly
THE THE RECORDING WORKSHOP
simple and straightforward. There are RECORDING 455- K MASSIEVILLE ROAD, CHILLICOTHE, OHIO 45601
(800) 848-9900 (614) 663-2544
ultimately 32 kits, arranged in two banks of 16. WORKSHOP OHIO SiIITE BOARD OF SCHOOL AND COLLEGE REGISTRATION OB0-07-06967
It has three velocity scales that can be applied
to both input and output ( numbered 0, I, 2 -
how very computerese). It allows selecting if a
pad triggers internal sounds, MIDI, or both.

PHI TRAC.
The Pearl can be played from MIDI, of course,
and the MIDI key per trigger is selectable.
The one sleeper feature is the ability to
expand from eight to 16 inputs. The drum kit
we used for these tests included seven pads
and acouple of kick pedals, and it becomes
Acoustic Drum Triggers
The Affordable, Technological Breakthrough in Drum Triggers that Greatly
very tempting to have an octave of pads for
Expands the Modern Drummer's Creative Flexibility.
playing scales and the such. In a live
PHI TRAC FEATURES:
performance setup, one could quickly
• High Performance Electronic
outgrow eight trigger inputs.
Components to provide maximum
In general, though, unless you are an
dynamic sensitivity. Made in the
electronic drummer needing a sound brain U.S.A. and backed by atwo-year
along with atrigger to MIDI convertor and warranty.
really dig the Pearl's sounds, this was the least • Durable. Lightweight. Alumi-
desirable of the convertors we tested. num Sensor Casings to withstand
Several blown eardrums later... In this direct hits and reduce dampening of
part of our quest for The Better Beat, choice is the acoustic drum head.
not lacking. There are indeed afew different Superio- " Ultra Trac Drum Trigger Adhesive for improved
tracking and secure positioning on the drum head or shell.
approaches and a wide range of prices out
• Full Compatibility with Phi Tech's " Translator 2 "" MIDI
there in the trigger- to- MIDI world.
Drum Controller and most electronic drum interface units.
A tight budget cries for the Phi Tech drum machines and sound generators.
Translator. A couple hundred more buys the
FREE OFFER:
solid TM I, or the rather competent Casio
To learn more about drum triggering call or write for a
DZI. A Roland Octapad is perhaps the best FREE copy of "Triggering Tips for the Modern
buy, because it gives you eight pads and six Drummer" or visit your nearest Phi Tech dealer.
additional trigger inputs along with some Then get TRAC'ing! Phi Technologies. Dept.
basic, useful functions at a reasonable price. MT- 6, 4605 North Stiles, Oklahoma
And the Pearl is just plain expensive. City, OK 73105. Phone ( 405)
But the real jewels, to us, were the Yamaha 521-9000. Dealer Inquiries
PMCI and Simmons MTM - they do the basic Invited.
thonk-to-MIDI conversions of the less
expensive units, and if you have the extra cash,
they open up quite a wealth of alternative
approaches to percussive and melodic playing
techniques.
MT JUNE 1987 23
 Roland D5 0
Linear Arithmetic Synthesizer Part 1

Few instruments cause as much stir in the MT offices as this: a synth'it sounds brilliant, looks
relatively easy to program, and doesn't cost a fortune. Superla are not enough.
Reviett by Simon Trask.

"THE ROLAND D50 is very different from fact, it's your UK- based Reviews Editor who and plugged into a passing keyboard amp.
any other synthesizer, past or present, and as needs more time, owing to the fact that MTs Fingers are laid to rest on keys, and suddenly
such heralds the dawn of a new era in rev ,ew model arrived on the doorstep just as the office is filled with vibrant sounds which
synthesis." the magazine was going to press. We couldn't instantly mark the D50 out as something abit
Yes, it's 1987 and the synthesizer is alive anc pass up the opportunity to tell you about the special.
well ( as, so it seems, is the enthusiastic manual DSO as soon as possible - but not at the Now, MT staff are as capable of child- like
writer). The D50 is Roland's first all-digita' expense of thoroughness. So this first part will excitement and fascination as the next idiot
polyphonic synth ( and their first I6- note concentrate on providing an overview of the musician, and the D50 is certainly doing its
polyphonic synth), and the company has come instrument, while part two will look in more best to bring out the best in us. Could
up with anew name - and a new synthesis depth at just what the DSO can and can't do. Roland's enthusiastic manual writer be right
system - to delight us all with: Linear Before we start considering the delights of after all?
Arithmetic Synthesis, which is implemented Linear Arithmetic Synthesis, consider the Well, put simply, the D50 retains all the
on a new custom- designed chip known, not scene on a Wednesday afternoon in MT's richness of tone that you typically associate
surprisingly, as the LA Chip. English offices. One of only five D5Os in the with Roland's upmarket analog synths, and
In fact, so new is the D50 that we've country has just arrived courtesy of amajor couples it with a " bite" and " sparkle" that is
decided to spread our review of it over two security firm in the UK, and the staff are more generally associated with digital sound-
issues. We could say that this will give yo1. stirred into something resembling activity. In a generating systems. And the whole is
more time to get to grips with the D50, but ir matter of seconds, the D50 is up on the stand definitely greater than the sum of its parts.
24 MT JUNE 1987
 Background graphic form on the DSO's front panel - Processing
providing an invaluable amount of feedback
BUT WHAT IS this Linear Arithmetic INTEGRAL TO THE D50 are onboard
when you're trying to figure out what the
Synthesis, and do you need a degree in programmable digital reverb, chorus and EQ.
hell's going on. Essentially you can have
Mathematics to understand it? Well, if you As Roland is keen to point out, all processing
sample + sample, sample + synth and
were designing the D50 you probably would, on the D50 takes place in the digital domain.
synth + synth. But you can also choose
but fortunately, all you have to do is play it and The reverb is patch- programmable, while
structures which bring in ring modulation
program it. chorus and EQ may be programmed for each
(digitally implemented, of course).
The programming system which Roland partial within apatch. The D50 has four output
The synthesizer section allows you to
have devised isn't the easiest to understand modes ( again represented graphically on the
choose between sawtooth and square
initially, but if you stay cool, most of it clicks synth's front panel) which determine whether
waveforms (the latter with adjustable pulse
into place without too much brain-ache. And the programmed reverb effect is applied to a
width), while the synthesizer sound generator
in true Roland fashion, there's an add-on mix of upper and lower tones, upper and
has three sections - WG ( Waveform
programmer which allows you to adjust all the lower tones individually, the upper tone only
Generator), TVF (Time Variant Filter) and
D5O's sound parameters using analog sliders. or the lower tone only. Output mode is
TVA (Time Variant Amplifier) -with the PCM
The PGI000 (for so it is called) is the most programmable for each patch, as are the
sound generator missing out the filter section.
sophisticated programmer that Roland has yet balance of "dry" and reverb signal, and the
There are also three LFOs and a five-stage
come up with, which seems reeo.)able choice of reverb type - and that's about the
pitch envelope which can be applied to various
enough for what is really th... most extent of the control you have over reverb on
parameters of each generator.
sophisticated instrument they've yet come up the D50.
The "Time Variant" label is cleverspeak for
with, too. There are 32 reverb types, providing rooms,
envelope - filter and amplitude respectively
Essentially, the D50 achieves its results by halls, chapels, boxes, single delays and cross
for TVF and NA. As with the pitch envelope,
providing PCM samples of the attack stage delays, gates, caves, gated reverb, reverse gate,
these are five-stage affairs, with level and time
from a wide range of acoustic instruments, slapback and twisted space (!).
settings. The filter envelope allows you to
which can be combined with sounds created in Chorus is provided for by eight chorus
select the filter cutoff point for asynthesizer
the instrument's synth section. The idea types, which include flanging and tremolo
sound dynamically - not that common a
behind this is that you get the realism and bite effects. You can also set rate and depth
feature. And remember that these envelopes
that comes from the attack of a real sound together with abalance of "dry" and chorused
(which are adjustable in real-time) are digitally
(always an important element in the definition signal. EQ ( which is applied before the
defined - which makes the DSO's filtering a
of asound) combined with the sonic flexibility chorus) is a two- band parametric, and
great improvement on the digital filtering
of a synthesizer section for the rest of the essentially allows you to set LF frequency and
found on, say, Roland's SIO sampler.
envelope. gain, HF frequency and gain and the width of
Carrying on up the hierarchy, two tones can
The D50 has 100 PCM samples onboard. be combined into a single Patch, of which the high frequency band.
Forty-seven of these are one-shot and 29 are there are 64 onboard the D50 ( organized in Anot patch-specific feature implemen-
looped. The remaining 24 are combined and Bank/Number format). A further 64 patches ted in so vare on the D50 is Chase Play. This
looped versions of the other samples, for can be stored on one of Roland's new wafer- replays notes that you have just played to give
some more unusual effects. Roland's attack thin memory cards ( like credit cards, but aDDL-type effect according to level and time
samples include all manner of percussion cheaper in the long run), giving instant access settings. If you're familiar with the Roland JX10
instruments, together with piano, to 128 patches at any one time. The D50 synth, you'll no doubt be familiar with Chase
harpsichord, organ, electric and acoustic comes with aROM card which duplicates the Play. It's avery effective feature, and adedi-
guitar, electric and upright bass, flute, clarinet, factory set of internal patches ( so you can cated front- panel button allows it to be
trumpet, trombone, violin and cello ( often overwrite the latter without fear of losing switched in and out with ease.
with several versions of each instrument type). them), but you'll also be able to get RAM
These PCM samples provide one type of cards, and it seems likely Roland will be Coming Soon . . .
sound source (the other being the synth supporting the D50 with asound library. IF YOUR LOCAL music store salesman starts
section) for what is known as aPartial. Don't talking about the LA sound, you'll know now
The way the two tones ( specified as Upper
get these confused with harmonic partials: a and Lower) are placed on the keyboard is that he's not referring to the latest West
D50 partial is really acomplete sound in its Coast craze. But the D50 does have asound -
taken care of by the keyboard mode -
own right. and ultimately it will sit next to other synths
essentially whole, split and dual. While whole
Two partials together with various with other sounds. We racked it up with the
mode obviously gives you I6- note polyphony
parameters that are collectively known as a DX7II, and a wonderful combination they
and dual gives you eight- note, split can be
Common block ( because they apply to both made, too. As we said at the start, the D50
either 8+8, 8+1 or 1+8. You can also set the
partials - it's easy, really) make up what is excels at lending sparkle (thanks to the PCM
instrument to whole solo and dual solo, while
known as aTone, which constitutes asingle samples) to warm synth sounds that have
separate solo modes take you into the weird
voice on the D50. As each partial can be either plenty of movement.
and wonderful world of MIDI.
a PCM sound or a synth sound, you can of From the factory programs, those with the
Dual mode actually allows you to layer up to
course decide to combine two of the former four sounds ( 2X2 partials), while you can greatest impact are " breathy" sounds, strings
or two of the latter. You can get some very sounds, and special- effects voices with
adjust the volume balance of the two tones in a
effective sounds very quickly by combining patch - which means, in effect, that you can complex envelope settings. But the existing
different PCM samples (a violin scrape balance all four partials. Volume balancing is piano and brass sounds are not the 050's
combined with a flute chiff gives a very accomplished using an onboard joystick forte, and there's nothing to compare with the
convincing impression of the shower scene best acoustic guitar sound on the DX7II, for
(which can also be used for coarse adjustment
music from Psycho, for example). And further of all parameter values - inc/dec buttons take example.
flexibility is provided by the DSO's ability to care of fine adjustments). This shouldn't be But the D50 is an exceptionally impressive
balance the volume of your chosen two and intriguing machine which looks capable,
confused with the Prophet VS' joystick- based
partials. perhaps more than any instrument since the
mixing of timbres.
What can be annoying is that there seems original DX7, of bringing a new quality to
Structure sound synthesis. Next month, we'll go in the
to be no quick way of selecting either the
ROLAND HAS PROVIDED seven Structures upper or the lower tone for whole mode ( you deep end.
which determine whether each partial is a always get the upper), while for split and dual PRICES D50 $ 1895, PG 1000 $395
PCM sound source or a synthesizer sound modes, there's no quick way of altering the MORE FROM RolandCorp US, 7200
source (this setting is one of the Common combination of tones other than by copying a Dominion Circle, Los Angeles, CA 90040.
parameters). These structures are printed in tone from one patch to another. ?) ( 213) 685-5141
MT JUNE 1987 25
 getting more

MILES
PER
MAC
Apple's Macintosh computer has become an established application program, you'll grow to appreciate
Zapper fast.
standard for many music applications, but it can be slow to
"Voilà" is ahandy text outliner that you can
work with. We offer some helpful tips to increase its speed and use to make point-form notes in hierarchical
efficiency. Text by Jim Burgess. format. Users of Thinktank and More will
appreciate having many of the features of
those programs in the form of a desk

S
PEED. THE FASTER the better. If you Customizing accessory. Use Voilà as an organizational tool:
make music for fun or profit, the speed keep track of the sounds you're using, effects
and efficiency with which your system FIRST, CUSTOMIZE THE Mac's System File. settings, the production plan, lyrical ideas - in
operates can make the difference - more Use Apple's Font/DA Mover utility to create a fact, just about anything you might like to jot
songs, commercials, soundtracks or compact version of the Mac System specifically down quickly.
original sounds for the time you spend using it. for using with your music software
If you use aMac for music, you already know applications. Remove all fonts except the ones
the beauty of its user interface for musical the Mac needs for its own use ( no need to
applications. Now see if you can speed things worry about what they are; Font/DA Mover
Using Ramdisks
up by using some of these tips to get your Mac won't let you remove them when you try). ONE OF THE easiest ways of getting things
moving fast. Now remove every desk accessory except the moving fast is to make full use of ramdisks. You
Most new Mac users have to endure the ones that you might need to use from within a should think of aramdisk as akind of extra
bitter experience of swapping the same two music application. You might consider keeping drive - except that it only exists within a
disks back and forth for what seems like the Notebook, Calculator and Control Panel section of the Mac's memory. A ramdisk
forever. If you use asingle- drive Mac system, DAs, for example. If so, go ahead and remove partitions off aspecified amount of the Mac's
it's not unusual to find yourself dutifully all others. Be ruthless. Now you've got extra RAM to be used exclusively for whatever you
obeying the Mac's requests to first insert this memory for afew third- party desk accessories put inside that space.
disk then the other then back to the first then that are of special interest to musicians. Because of the temporary nature of RAM,
again the other . . . "Tempo" is an easy- to- use macro recorder. it's important to never put important data
Sound familiar You can avoid this situation You can use it to speed up any function you inside your ramdisk. After all, asingle power
entirely just by taking into account a few use frequently that requires one or more surge and the new song you just wrote could
simple rules. In normal use, the Mac usually repeated operations. Tempo can reduce a be vaporized. Instead, put your newly-
wants to have access to at least three different series of operations to a single keystroke customized System file in there. If your Mac
files: command. You teach it what to do by has I Mbyte of RAM or more, you might even
1) The System File - because it contains most recording the movement and actions of the try putting your most commonly- used
of the Mac's operating instructions and as such mouse. Tempo will play it all back whenever program ( s) into the ramdisk, but this can
is required regularly. you ask it to do so. Mind- numbing routines for create problems in some instances. Use the
2) The Application - that's the program transferring data ( le. open this, copy it, paste it System to start - it's asafe bet.
you're running. It might be asequencer, sound to here, close it) are ideal candidates for Ramdisks are easy to set up. Use the Get
editor or librarian or any number of dozens of Tempo automation. Info command on the desktop to find out the
existing Mac music applications. "Teleport" lets you get from one program precise size of the System and Finder files, plus
3) The Data File - your ail- important data, to another by bypassing the Mac's regular any frequently- used desk accessory data files
whether it's asequence file, afreshly- edited Desktop. Use Teleport to load anew program (your notes, macros, and so on). Add it up and
sample or your latest synth patch. directly from within the one you're using now. add an extra 5K for safety. Now you know
To get the best possible performance from Teleport quits the program you're in and how large your ramdisk should be. The actual
the Mac, you have to let it have access to all boots the one you want in one smooth method of installing the ramdisk may vary
three of these types of file at all times. Taking operation. depending on which one you use ( there's
this harsh reality in mind, here are some "Zapper" lets you get at your files from many available). I've had great success with
simple tips designed to ensure that your Mac is within an application program. If you need to RamStart.
cruising at full speed. delete, copy and rename files from within an Once you define the ramdisk, you can use it
26 MT JUNE 1987
to boot the Mac every time you use it for Switcher is great - when it works.
Conclusions
music. The better ones will proceed Unfortunately, not all music programs like the
immediately to partition the RAM, copy the Switch. You may have to fine-tune the BY NOW IT should be pretty obvious that
files you want into it, quit, return to the individual memory allocations, the Switcher most methods of improving the Mac's speed
desktop and eject the boot disk. Now you can optons and even the order that you install the are ultimately limited by the amount of RAM
enjoy the benefits of a new, compact and app ications in to get your own custom and the size of the storage device you're using.
powerful System that lives right in its own combinations to work consistently. Of course, The good sews is that both RAM chips and
RAM nest and makes everything faster. once you've got it, you can store it and it really hard drives are now available at reasonable
is worth the effort. By the way, Switcher . sone prices, and things will get even better in the
of the cheapest and most widely available next few years.
Combining Applications programs for the Mac, and the excellent But what if you've got ameg or more, you
IF YOU HAVEN'T already done so, copy all of documentation that Apple provides is well use a ramdisk and Swkcher, you've got a
the software applications you use on aregular worth the price of the program. 40Mbyte hard drive and it's still not fast,
basis together onto several disks, each Some music software manufacturers and enough?
featuring a different but useful collection of many of the new breed of computer music Start planning to get a Mac II. Its faster o
programs. If you've got an old Mac and you retailers can supply you with their own processor, greater RAM capacities, larger
haven't updated the single-sided drive yet, you Swftcher configurations for many useful screen and color will make it the natural for all
might only be able to fit one or two programs program combos. Bulletin boards such as demanding computer music production
onto each disk. Mac users with 800K drives PAN are another great source. applications in the next few years. •
should be able to fit two, three or even four

Guitar Music and Beyond

applications on the same disk. Don't fill the
disk completely, however. Be sure to ieave at
least 60K as atemporary workspace to store
datafiles you're working on.
By assembling anumber of work disks, each
containing useful combinations of your most
STEVE TIBBETTS
frequently- used software programs, you'll be
able to move from one program to another
without having to eject disks.

Hard Drives
IF YOU'RE ONE of the growing legions of
hard drive owners, you've probably already
installed all of your music software onto it. If
you haven't, check the manual for each of your
programs. Most Mac music software
developers provide users with the means to
install acopy of their program on ahard disk.
Of course, convenience isn't the only
feature ahard drive offers. Disk access time is Steve Tibbetts
EXPLODED VIEW
improved tremendously ( more so with SCSI
Rock, folk, ethnic musics & sounds tom everyday life =le together in guitarist
hard drives) so the programs themselves work
composer Steve Tibbetts music Blendirg acoustic & electric guitars with Ka-
faster. Hard disks also provide large limba, voice & Marc Anderson span-cultural percussion work, Exploded View is
workspaces that can be backed up easily to Tibbetts most raucous & assertive album to date
floppies with any number of hard disk backup 831 109
utilities now available.
Plus, now that the first SCSI-equipped
samplers are appearing on the market, hard
drives are even more appealing as a more
efficient memory storage means than floppies
alone. With the price of Mac hard drives
dropping consistently, it's only a matter of
time before every music software user has
one.

Using Switcher
APPLE'S SWITCH ER UTILITY lets you get
the most out of your Mac's RAM. Switcher
takes RAM partitioning to the max by allowing
you to configure multiple portions of RAM for
use by different programs. You can make a
David Torn
Switcher configuration for every one of your CLOUD ABOUT MERCURY
combination disks. That way, you can boot a
Cloud About Mercury demonstrates that David Torn is more than an impressive
number of different programs at the same young guitarist on the rise In collaboration with Ma -klsham ( trumpet), Tony
time and instantly toggle back and forth from Levin ( Chapman Stick, bass synth) & Bruford ( Dri.ms, percussion), Torr re-
one to the other - without quitting, closing or veals his maturity as awriter, group leader & conceptualist with adesire to delve
into previously unexplored m. .isical territory.
opening. To make this even more fun, 831 108
Switcher's designers gave the program some

ECM
Available onCompact Disc, LP and Cassette
simple animation tricks that make the screens
slide across when you toggle between
programs. r 1987 ECM PolyGram Classlcs ECM DIstributee by PolyGram Classhts 810 Seventh Ave. NYC 10019

MT JUNE 1987 27
 IN B•R•I•E•F

360 Systems MIDIMerge+

The newest box from the makers of the MIDI Bass and Patcher is a data processor which gives

D users the ability to combine, filter and alter MIDI data. Previett by Rick Dautc\.

a •
•
INPUT • • • • glie

Midi MERGE*
INPUT 2 • • • • • •

rrem PANS cet

1111 111,11 s111 Ill Ill Ill
D
Channel Merger Data Edger raneposet

41111 ENABLES
MI
a

IT'S OFTEN HELPFUL to have a good more than just sitting around all day keeping drum machine, but don't want its MIDI timing
analogy to work with when you're learning a tabs on what sort of MIDI data is assaulting messages to affect that drum machine's
new subject. Take MIDI, for example; there is their input ports, and this makes most internal sequencer. Simple - just switch on the
afirst time for ( almost) everybody, and unless mergers much more than their name implies. Real Time filter.
you're already versed in the ways of other Hence the "+" tacked on to 360's model. If filtering isn't the only thing you need, look
serial communications interfaces, there are We'll see what this signifies in the following to the Channel Bump- Up switch ( alongside
bound to be times when you ask "Why doesn't paragraphs. the filter switches) which allows all incoming
this happen when it's supposed to?" Housed in atrim single- rack space chassis, messages to be shifted up by one MIDI
Truth of the matter is that MIDI is still in its the MIDIMerge+'s back panel requires little channel. Too bad you can't shift them up by a
infancy - not necessarily because explanation. There are two input sections, variable number of channels, though . . .
manufacturers don't know how to implement each comprising aMIDI In and aMIDI Thru. The MIDIMerge+ allows incoming MIDI
it, but because there are so many different Then there are two " Merged" MIDI outputs notes to be transposed up by a variable
applications and instrument configurations which provide identical MIDI signals, should interval, and individually per input also. For
that it isn't safe ( or fair, for that matter) for you need to drive more than one MIDI device. this function, and for the user- definable filters
manufacturers to dictate to musicians the only A 1 /4" input socket accommodates a too, the unit provides a "Set" switch which
way to hook up their equipment. momentary footswitch which, when closed, tells the processor when to look at either
The analogy that often gets used for first- causes the unit to send out All Notes Off MIDI input for relevant note intervals ( for the
time MIDI users is that of audio systems. This messages over all MIDI Channels - ideal for transposition), or for continuous controller
is mainly due to the number of sequencers those times when your synth module is leaving data ( for the user- definable filters). This is
which use terms common to audio: tracks, a note hanging on here and there. The All great, but it makes me wonder why they
filters, transposition, and other favorites. Notes Off messages can also be initiated from couldn't have done the same for the Channel
Synth modules tend to have one MIDI asimilarly named front panel switch. Bump- Up feature.
input, but are often driven by more than one If the MIDIMerge+ was a mere merger, There's not awhole lot you can say about
MIDI controller at various times. Perhaps you you wouldn't really expect much of the front this unit that isn't indicated by its clearly
need to play asynth module from akeyboard panel, but the "+" sports ahost of switches labeled front panel, except perhaps " How
one minute, from a sequencer the next and LEDs, so it must be up to something many patches does it have?" And there's the
minute, and at some point, from both. A MIDI more. Like six preset filtering options, eight rub. For although it does remember all the
switcher will only help matters for the first user- definable filters, and a transposition various parameter settings when it is switched
two instances, but come to the third, and it's function. The filters help clear up the MIDI off, it only remembers one set of settings.
time to scratch our collective heads. For output signals by removing unwanted or So is the MIDIMerge+ worth $ 295? Taking
unlike audio signals, which can be hard- wired unnecessary MIDI data. Iwon't go into why a look around the market, it appears worth
together. MIDI signals cannot - unless you you might want to filter out data - there are considering. Other, more expensive,
really want to confuse your synth module. So too many reasons, and it doesn't take much programmable merger/processors ( like JL
here the audio analogy breaks down, right experience with MIDI to discover what Cooper's MSB+ ) can cost hundreds of dollars
where the MIDIMerge+ comes along. several of these reasons are. Suffice it to say more, and even if they do offer more bells and
360 Systems' latest MIDI processor follows that this unit lets you filter out pitch- bend, whistles than the 360 model, they are not
their MIDI Patcher ( reviewed in MT modulation, aftertouch, program- change, real what every MIDI user actually needs.
September'86); alogical move, and asensible time ( clocks, and related messages), and The MIDIMerge does what it sets out to do;
implementation at that. The function of a system exclusive ( patch dumps, sample it does so in the usual 360- style rack- mount
MIDI merger is to monitor two MIDI signals, dumps, and so on) data, and any eight chassis; and it does so with afull assortment of
and funnel them down into a single MIDI continuous controllers of your choice ( or switches, avoiding the sort of " hidden
signal. Since MIDI mergers are required to disliking). function" lunacy that plagues so many other
prevent two MIDI messages from conflicting Each of these filters has adedicated front MIDI devices.
with one another, they must actually keep panel switch with two LEDs ( one red, one Sounds simple enough. And if you're being
track of the data that flows through their green, for inputs one and two respectively) harrassed by multiple MIDI sources, simple
circuits, so a microprocessor is usually above it to indicate whether or not the filter may well be all you need.
required to handle this task at the required affects either or both MIDI inputs. This ability
speed. The bad news is that microprocessors to selectively filter one input and not the other MORE FROM 360 Systems, 18730 Oxnard
cost money. The good news is that comes in handy when, for example, you want Street, Tarzana, CA 91356. ( 818) 342-
microprocessors are capable of doing a lot to send asequencer's MIDI note messages to a 3127

28 MT JUNE 1987
 NEW! More reat Synth, MIDI and Drum
Machine Boo sfrom Alexander Publishing
And by special arrangement, you can now order them directly from Music Technology
Synth Manufacturers are like man) agreat Hallelujah! NEW! Touch Sensitivity, Volume Iwith tape
artist: they can do it, but they can't always Now Shipping Books On by Jack Wheaton. Designed for use with a
explain how they do it, or how you can do it. sequencer and a programmable synth
And of course, the unhappy result is apoor
New Yamaha Equipment.
(especially if it split the keyboard). Volume
manual that's frustrating at best. Thankfully, Icleans up technique problems, gives an
the solution to this problem comes from that
Don't hold back. Get your copy
isotonic exercise to improve
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 IN BRIEF

Steinberg Cosmo
Of all the ranges of voice- editing computer software currently available, Steinberg's is one of the
biggest. We put their Casio CZ package to the test. Review by Ian Waugh.

it is lost forever. There is acompare function,

however, which flips from the current sound
to the original one, which is very handy.
As soon as you boot the program, it grabs
the contents of the synth's internal presets
and stores them in its own internal edit bank.
In order to keep these presets safe, you must
transfer them to one of the program's other
eight banks and preferably save them to disk.
The program can only access the synth's
internal presets, so cartridge voices must be
placed in internal bank first.
All editing, loading and saving operations
take place within the internal edit bank. When
you load a bank from disk it automatically
replaces the synth's internal voices - which is
why you must be sure the originals are safe.
As you edit a voice, the changes are
immediately transferred to the synth so you
can hear what it sounds like. You can give the
voices names, too, which is essential when you
come to organize your creations.
One of Cosmo's best features is the way it
lets you handle banks of voices. It uses a
separate screen for this, and lists the internal
DIGITAL SYN 7 HS SHOULD carry ahealth DC0s, DCVVs and DCAs both graphically edit bank down the left and one of the eight
warning. 1mean, you know where you are with and numericaly. Down the center of the other banks down the right. A total of 128
an analog synth the VCO's connected to the screen are the wholly numeric parameters voices are provided on disk to start you off,
VCF, the VCF's connected to the VCA. the such as key follow, vibrato, ring modulatior, and some aren't at all bad - maybe I'll keep a
VCA's connected to the amp. And you can noise and detune settings, and so on. You few. A voice is highlighted on each side of the
plug your LFO into , ust about any VC you move around the screen with the cursor keys, screen, and you can scroll through the sounds
want. All good, clean, straightforward stuff. and atext window at the bottom of the screen and change banks with the function keys. The
Not so the digital synth. All those numbers spells out exactly which parameter has been aim is to line up avoice from one of the eight
and not agraph 11 sight. That's 3robably why selected. Al very neat and tidy. banks with one from the internal edit bank.
many owners never get around to The two sets of waveforms for the DCOs Having done that, you press Return and the
programming their instrument. That's also are displayed graphically, and you can flip two sounds swap. It's simplicity itself to pull
probably why anumber of voice editors have through then with the function keys. Fl together the voices you require to make your
appeared on tie market: the software selects the first waveform and F3 selects the own sound banks, and it's particularly useful
companies saw agap and proceeded to plug it. second, but to switch off the second one you being able to work with eight banks at once.
Steinberg among them. Ir act, Steinberg has must press F2 ( which is F1plus Shift); I'd have You can get aprintout of any screen, too.
voice editors for Yamaha's FM synths, thought F4 r F3 plus Shift) a more logical Cosmo scores heavily in the ease- of- use
Ensoniq's Mirage, <org's DVV8000 and choice. department: you get 128 voices and Ireally like
Roland's Alpha Juno synths But today it's tie You alter the parameters with the + and — the way it handles banks of sounds. In fact, I
turn of their editor for Casio's CZ synths, keys, a method similar to us.ng the Casio's was really very happy with the program and it
cutely named Cosmo. value buttons, so seasoned programmers is only in comparison to other CZ editors
If you look at the manual - wh,ch all good should feel at hone. The graphs are re- drawn (from Dr. Ts and Hybrid Arts) that it suffers.
software reviewers should do at least once as you alter the parameters, which helps If you are acommitted Steinberg aficionado
during areview - the first thing which strikes erormously, but you can't latch onto asection and voice organization is top of your list of
you is the Germanic English and some of graph and pull it about. priorities, then stick with the company you
"incompartible" spell ngs. The second thing The sustain point is shown by vertical lines know. If you would like afew more editing
which strikes you is just how few instructions cutting througn the graph at the appropriate facilities and perhaps have an eye on your bank
there actually are. Whoopee! The program is a places, which sagreat help when trying to account, it may be worthwhile checking out
breeze to use and the textual incongruities visualize what the sound is actually doing. 1do the others.
don't seriously hamper the process, though I have agripe ajout the way the end points are
tend to think that when you're payng this sort handled, though. If anode has apositive level
of money for something, you're entitled to value and you decide to stick an end point PRICE $149
some comprehensive documentation. :here, the level naturally enough reverts to C. MORE FROM Russ Jones Marketing Group,
But enough whining - what of the program? On the synth, if you then shift the end point 17700 Raymar St., Suite 1001, Northridge, CA
The main screen shows the two sets of Casio you get your original value back, but in Cosmo 91325. (
e,(818) 993-4091
30 MT JUNE 1987
 I• NBRIEF

Kawai R50 Drum Machine

First there was the RI00, now there's a younger, cheaper and in some ways more inventive
brother, the R50. Preview by Rick Davies.
the desired pad setup, then record. Each setup
lets you define which sound appears on which
pad (s), its tuning, volume, panning, and
effects.
Effects? Yup. There are three simple digital
effects (flange, short delay, and gate) which
KAWAI may be assigned to any pad, so you can have
slightly different processing on each drum
W:g
e 13
-E sound without having to rely on individual out-
puts to do so.
Although the R50's ten programmable pads
CALI. RArtrOIN TOAC OPEC STEP REC. SUNG GIOY are much more flexible than the R100's four-
GAN. sona BUILD NMEN ASSIGN SAYE,OAD bank preset sound assignment, the R50 is lim-
ited by its non-dynamic pads. Considering that
INSEOT -.LETT - MULTI,/

the RIOO's dynamic pads make that instrument

INFO

UMW WNW

.11 11
OA» CO.! NO
apleasure to program, the R50 suffers in com-
PAO 3 P. • NOA EN , N ,
parison. Of course, the programmable pad as-
signment feature could be put to use to work
e le Inf
_ around this drawback by merely assigning the
PAD P. 7
same sound at different volume levels to dif-
ACCENT rut. n PAO 0 STOOYCNIT

ferent pads. But then again, you could just as

easily use the programmable accent level to
add dynamics to your patterns, and so save
pads for more creative sounds.
The R50 also gives you several footswitch
ONLY A FEW months ago, MT had alook at reo image (something we'll get around to in a control options, including tap tempo (for
Kawai's first " serious" drum machine, the moment). manually counting in the initial playback tem-
RI00, and found asolid and flexible machine Apart from these differences, the MO is po), hi- hat open/close control, and "vamp"
equipped witn an assortment of very nice 12- basically the same instrument as the RI00. The (for temporarily holding on apattern within a
bit, 32kHz-sampled digital percussion sounds, 24 factory-supplied I2- bit drum samples are song during playback).
dynamic pads, eight individual and two stereo the same, and in fact, Kawai's new alternate Kawai has also updated their idea of adrum
outputs, and aMIDI implementation to rank sound ROM for the R100 also works with the machine's MIDI implementation to allow up
up there with the best of rhythm program- R50 Another pleasant surprise is that even to 70 user- definable drum events ( including
mers. Barely ayear after the RIOO's introduc- though the R50 lacks eight individual outputs, tuning, volume, pan, and so on) to be
tion, Kawai announced the R50, which at $495 it is still an eight-voice instrument, just like the triggered by individual MIDI notes. This last
improves on the R100 in some aspects and RI 00, so you're not likely to run out of voices feature in particular makes the R50 well suited
represents acompromise in others. too quickly. for control by another drum machine, or
Most of the guts of the R50 are essentially The R50's programming functions are better yet, a sequencer of higher memory
the same as the RIOO's, with the odd excep- basically the same as the RIOO's, and allow real- capacity.
tion of course. For example, the pattern mem- time or step-time recording, along with As one might expect, the R50 transmits and
ory has aI 700-event limit and is approximately variable tuning, volume and panning per event syncs to MIDI clocks, and also responds to
half the capacity of the RI00. This smaller - meaning you can twist each pattern event MIDI Song Position Pointer messages, which
memory may be divided amongst 50 patterns into various shapes, sizes, and positions, and makes it useful for operation with sequencers
and 10 songs, and to make life more interest- do so as often as your patterns require. and SMPTE/MIDI converters in recording
ing, Kawai has thrown in 50 preset patterns Having spotted the most obvious environments.
which really can come in handy from time to similarities between the R50 and its In summary, the R50 is really a lot more
time, and which may be added to or torn predecessor, the newcomer's strengths can be than merely half of an RI00, at slightly more
down, but never replaced altogether; instead, more easily emphasized. For example, the R50 than half the price. Kawai has indicated that
the R50 automatically puts the new version of is tiny. ( Not that the R100 is bulky, but the R50 the R50 would make asuitable expander for
the preset pattern into an available program- really is compact.) owners of the RI00, and since it is
mable pattern location. To keep the front panel uncluttered, its programmable over MIDI, it seems that the
Apart from the memory capacity, the other controls have been simplified. Instead of aten- RIOO's dynamic pads would help compensate
main difference between the two drum ma- key pad, there are two sets of cursor cont rols: for the R50's non- dynamic pads.
chines is that the R50 only provides one indi- one set positions the cursor within the LCD, But the R50 also offers alot of novel and
vidual output in addition to the standard ste- while the other cF•anges control values. And useful features for a drum machine under
reo outputs. Although this may seem like a instead of taking up front panel space with $500, and would make agood drum " brain"
strange place to save costs, the compromise listings of the internal sounds, ten drum for MIDI sequencing systems, or home re-
the single individual output represents , rs not switches have access to any of 12 sets of drum cording setups with limited mixing facilities.
really that severe, since the R50 lets you assign sound assignments.
any instrument to that output, so you can still Four of these sets are preset; the other PRICE $495. Alternate sound ROM, $ 129.
process, say, the snare or kick drum separately eight are user-programmable. Depending on MORE FROM Kawai, 2055 E. University Dr.,
from any instruments panned across the ste- the type of pattern you need to record, call up Compton, CA 90224. Tel: (213) 631-1771
MT JUNE 1987 31
 the last word on

MIDI
D DELAYS
11 The infamous MIDI delay problem has sparked agreat deal of controversy and confusion amongst
both experts and end users. We present the real story. Text by Carts Meyer.

IEAT, DRINK and breathe MIDI. 1think it has

been the best thing that has nappened to the
music industry since the Min . moog - perhaps
even the fuzzbox. And, yes, Iadmit it has
problems and limitations - including delays.
However, hearing people attribute faults to
MIDI that just don't exit ( or are really
something other than what they confidently
espouse) makes my blood bLrn. The world is
confusing enough without further misleading
users witn a burst of incorrect techno-
gibberish. A few months back we focused on
one such area in Modes of Confusion. This time
around we're going to lay on the table exactly
what " MIDI delays" are and explain where
they really do and do not come from. Knowing
this, we can then deal with minimizing or
eliminating them - along with castrating those
who would lie to us about them.

The Biggest Myth

"AVOID USING MIDI Thru jacks, since each
one adds three milliseconds of delay." How
many times have you heard that? I've seen it
isolated and set in bold print in acouple of
major music publications Not quite as often,
but often enough, I've also seen, " Avoid long
runs of MIDI cable - this also contributes to
MIDI delay."
But areal, honest- to- God MIDI Thru lack
actually has just acouple of microseconds of
delay. This is irduced by the cpto-isolator that
the signal passes through. There is avery brief
amount ol time that the LED inside an cpto-
isolator needs to turn or and off, and an
equally brief time for the photodiode to detect
what the LED is doing and convert it Into an
electrical signal. By definition, this time has to
be less than aMIDI bit - 32 microseconds, If It
was any longer, the bits that make up aMIDI
byte would start slurring ,nto each other and
the integrity of the signal would be ost
(resulting In notes being left on, etc.). For an
opto- isolator to have a oree-mIllisecond
delay wou/c1 mean that it had some place to
store up 90 to 100 MIDI bits (the equivalent of
three full MIDI note on messages) while it was
busy delaying them - and that takes aRAM
buffer and so forth, In other words, it's
physically Impossible.
The same holds true fcr MIDI cables.
Electricity through acable travels, at worst, at
32 MT JUNE 1987
half the speed of Ight. There is not an audible microprocessor? -'-hen there is an additional with information so 'ast - rzmely, 3125 bytes
delay in the amount of time it takes light to perceivable delay involved in the processor per second. Taking tricks like running status
travel ahundred feet. Once again, the integrity actually recognizing the existence of a byte, into account, you need on the average 2-2 1/
2

of the MIDI signal can be lost through such and managing to get it back out again. In bytes to define a MIDI message. This
things as cable capacitance, but in reality, reality, Iwould not expect chis delay to be translates to about 1200 to 1600 messages a
you're not going to perceive it. over the three milliseconds of an MSQ700 second before MIDI cries -No more!" and
If you remain paranoid about these (and quite often it's less), but Isometimes simply won't transmit any more, just like after
suppo-ied delays, look for cables with low have to wonder when Isee things like the acertain point, asponge car't hold any more
capac itance and replace all the opto-isclators manufacturer of one such oevice bother to water.
in you ,- MIDI equipment with ones that have write an editorial in another magazine That still seems like a oc. until we throw it
fast -rise times" - you certainly won't be claiming people ca- not perceive a 20-30 against the 10-3 milliseconds it takes us to
hurting anything, and you will be saving
il
millisecord delay -- trie real figure is more like perceive 3delay. That means we can fit roughly
yourself potential problems if you do happen half of that time. one to two dozen message-. (note-ons, note -
to run aMIDI sigral over acouple hund-ed of Next - what if the box is actually processing offs, individual pitch-beucl,. modulation, and
feet through several MIDI Thrus. the MIDI data? If part of the job of the box is channel pressuie commands) into an " instant
Now, there always tends to be some germ deciding whether or not to actually pass the of time" ( ie. a downbeat) before we notice
of truth or reality behind any myth, rumor,
story. or old wives's tale. The MIDI Thru delay
is ore such case. Some supposed MIDI Thrus
message or translate ir into another one, it has
to wait until it gets enough of that message
before it can send it back out again. For
something's going wrong - like asmearing or
somethirg. This, along with our " too many
hands at once" example above, is when and
u
are rot really just opto -
isolators - the signal example, if a MIDI mapper is splitting a where we start to notice MIDI clogging. If too
peses through the microprocessor inside an keyboard by sending different key ranges out many messages try to fit down one MIDI cable
instrument before going out the back panel. It over different MIDI channels,. it would have to and into an instant of time, somebody's got to
is the time needed for the processor to wait at least until it rec.eived the second byte of wait.
recognize the exktence of the message and anote- on message ( tie one which carries the Continuous controllers and the like tend to
send it. back out that causes the delay This key number) before retransmitting it - a640 - be the biggest culprits. A note is just one
situation is knowr as a " software thru", and is microsecond delay, rot counting processing message, and one or two dozen notes are alot
aually very useful on things such as MIDI overhead Some combination boxes care so to fall regularly on every beat. However, a
sequer:cers. For example, you can have the much about this tha: if they detect that they pitch- herd or apressure Jig sends out dozens
data from amaster keyboard that's recorded are not going to be process ng a signal that and dozens of messages to describe its actions.
and passed along to the actual ,, ound goes from one MIDI In to another MIDI Out, How fast it sends out these messages decides
generating modules merged with wiatever they don't even pass it through their processor how bad the clogging gets. A synthesizer with
eke tie sequencer happens to be playing back. and direct wire it to the qxo-isolator (JI._ a weak processor that's busy doing other
The infamous " three millisecond" number Cooper's MSB+, reviewed atew months back things will tend to look at the wheels/
actually originated with the venerable Roland in these very pages, is one such box). benders/gropers on y once every several
MSQ700 MIDI secuencer, which did precisely Time to put this all nto perspective. Several milliseconds, not causing ier-7many problems.
this - .and happened to take that long to do it. psychoacoustic stucies pick the 10-15 Master controllers that ti3VE 'nothing else to
millisecond range to be the one where a do but sit around arid send DUC MIDI have
musician can begin to perceive adelay. In the been known to clog MIDI just off of apitch -
Unnamed Culprits
signal processing realm, this corresponds to bend alone.
THE ABOVE D SCUSSION should have chorusing. Shorter times - 2-10 milliseconds - How does one get around this? The " too
touched off something in your head like, ' Hey, enter the flange range, and some musicians many hands" issue can orly be saved by
didn't -le mention ' merging' as being the real and manufacturers claim , through actual multiple MIDI outputs on asequencer. This
'Pin? delay?" Yep. And even though one listening tests) this is enough to shake the splits up : he load across several MIDI cables,
ra-ely sees MIDI mergers, mappers. and "feel" of one instrument agairst atight groove thereby giving several times the bandwidth.
proccing boxes mentioned as sources of or another instrument. The transmission of a Over- eager controllers car be curbed by
MIDI delay, the7 are indeed guaranteed single MIDI message does not take long preventing unwanted data from even being
sources of it. enough to induce thi-, much delay, so any fault sent, and there are features on some
Ary time a MIDI byte passes through a rests on just how hot a MIDI processor is at sequence-s( such as the one from Voyetra
microprocessor, it will incur at least 320 passing MIDI data on. ( Don't you wish Technologies) that allows the user to " thin
microseconds d&ay. Why? MIDI data is minimum and maximum dela Ywas arequired out" the MIDI controller stream_ Iwould not
transmitted serially - this means one bit at a part of the specification? Like frequency be suprsed to see ultra-
fancy master
time. All ten bits & aMIDI byte ( eight for the response and distortion are for audio devices? controllers of the future Char allow the user to
actual message; two to mark the beginning Me too.) pick the density of the con:roller data sent
and end) must be received by a UART Unless, of course, there's . out, allowing 2 balance d smoothness of
(Universal Asynchronus Receiver/ performance versus MIDI bandwidth to be
Transmitter) before it can be assembled. MIDI Clogging struck.
Then. it is sent back out, one bit at a time, TAKE YO JR RIGHT nand, and start bashing a A person testing aM I DI sequencer Iwrote
where it is received by another UART and five- note staccato chixd of 64 th- note triplets in a different life once complained of ragged
acted upon there. In the very best case of a at 250 beats per minute. Have you outrun timing of notes entered ir step time. We
nDI merger with no competing activity ( ie. MIDI yet?' Nope - lx.1 you're pushing it. finally determined that the keyboard was
nc two messages coming in at the same orne), Now reach over •••••ith your left hand and transmitting pressure every time he struck a
abytc must be read in by aUART, recognized start moving the modulatIon and pitch note, ano all of these pressure commands
by the processor and sent back out the wheels/levers/grope controllers back and were piling up on the same - rtstant - of time -
UART, giving a minimum delay of that one forth while doing that Now have you outrun particularly if he held his finger on the key for a
MIDI byte and some slight software over-lead. MIDI? Choke, gasp, : log . . . maybe. while after strik ng iba note _.
If tnere is any competing data, one message Now sa,' you want five- note chords banging Also. Fm aware of one guitar-
to- MIDI
must wait until the other is fully transmitted out 64th- rote triplets on all 16 MIDI channels designer who is doing his master's degree
Wore it can be sent. A typical MIDI message with achannel pitch-bending and modulating thesis on "The Psychoacoustics of MIDI - -
is two to three bytes, meaning adelay of up to for good measure. Suddenly you find your studying which pieces of intornation (pitch-
two-th:rds to afull millisecond waiting for the composition chugging, along at somewhere bend, modulation, ncte at- tactic and so on)
other message. around 15 beats per minute (no, that's not a need to be heaid in whar order. so that the
What if the creator of a MIDI merger is a typo). less critical information can be sent last and
poor software engineer, or is using a weak \What's going on here? MIDI can only deal not interfere wi:h the more sensitive stuff.
MTJNE 1987 33
 The Biggest Culprits equipment ( rot to mention par icking their Once you double the baud rate, you are
owners), it just wouldn't solve anything w.th caught ir adouble jeopardy - for agvert period
BROADLY SPEAKING, THESE are the
today's ( or tomorrow's, or next year's) level of time, you have twice as much data to
synths and samplers themselves. Uh huh.
of affordab:e synthesizer comput ng power. process, arid are spending twice as much time
that's right. The actual receivers of MIDI data
The thing most often mentioned in receiving it. At double baud, abyte comes in
(which also quite often happen to be its
connection with MIDI 2.0 is 3 higher baud rate every 160 microseconds, The processor wants
source) are the ones that introduce the largest
- in other words, increased bandwidth. The 80 of that to keep up the voices, and you need
so-called " MIDI Delays".
bandwidth issue is the only valid source of 70-80 of that just to receive the byte. If data is
Take this no - mal, and quite real, sequence
actual MIDI- induced " cle1ay" uncovered coming in at full bandwidth, you have less than
of events involved in transmitting aMIDI note
above. All of the other delays cone from 10 microseconds ( 20 clock ticks of a 2MHz
from one synth to another. You strike akey on
insufficient processing power. A MIDI processor. with the most primit-ve actions
akeyboa-d. Either the main microo-ocessor
processor delaying a signal by three taking aleast acouple apiece) for every byte to
scans the keyboard every couple of
milliseconds does it because of insufficient do something with it - along with .ceeping up
milliseconds or so to see if you've done just
processor power. A DX7 which .exclaims everything else. VVInc: has rime for more data?
that, or aslave processor figures that out and
D tells the nain processor what happened. A flag
"there has been aMIDI error" when Fit with a More powerful processors are becoming
bandwidth- full of pitch -
bend does so because available - ar 8MHz 68000 ( main processor in
gets set, or tie note gets loaded into abuffer.
of insufficient processor power. the Macintosh, Amiga, and Atari STI, for
Another subroJtine comes around and asks,
A good portion of the problem stems from example. is becoming popular. However, they
"Hey, do we have any new notes to process?"
the fact that aMIDI'd synthesizer or sampler still cost several times more than alowly Z80
It unloads it, figures out what voice gets that
has alot to do other than just send or receive or 6809, and can only process up to two times
new note, and loads it into abuffer to transmit
MIDI cata. It has to look out for the user more primitive instructions than their weaker
over MIDI. Another subroutine actually starts
pressing buttons. It has to keep the voices counterparts in agiven period of time.
the transmission.
playing bad < and envelopes moving along -
So far we're talking about one to five Software slyness can buy a bit more
that procedure alone usually takes up fully half
milliseconds to get the note to the MIDI Out performance. but there is abrick wall lurking
of the processor's available resources.
jack. It takes another millisecond to transmit nearby - and quite often tnis extra processing
It is true tnat raw data, with the proper
it. On the other end, the receiver is loading power gets thrown at new and more features
hardware, can be u-ansfe-red at rates up to 16
this new message into abuffer. About as often as opposer; to MIDI barxiwidtF. Throw in
times the normal MIDI rate ( such as tne
as it checks its own keyboard. it checks to see some people's demands that a " MIDI 2.0"
Emulator II's PS422 computer port).
if it has gotten zny new MIDI messages to deal include abilites such as tell ng the sencer that
However, it doesn thave time to do anything
with. From here, it sets aflag or loacs another it indeed got or is willing to receive amessage
with that data while receivine it at that speed.
buffer, until the routine mentioned above (who has tme for that noise?) along with all of
An implementation like mat could result ir. a
ccmes around and says, " Hey, do we nave any our other -easons, and 1can assure you that a
rather unexciting musical instrument.
new notes to process?" Then it urloads the MIDI 2.0 is not around the corner.
Let me gve avery real- world example. I was
data, figtr-es out which voice gets it, and sets But why is any of this aproblem in the first
one of the central players ir the faux pas of
some flags for another routine to actually start place? A very good quest on. Do you think
giving Sequential's Prophet 2000 the ability to
playing that voice ( start the envelopes and so three or four guitarists can land six- string
transmit and receive MIDI data at twice the
on). This normally takes two to seven power chords within 15 milliseconds of each
normal MIDI hardware specification
milliseconds, although I've heard one other? Ithink not. So, why is it aproblem that
(62.5Kbaud). Aside from being bluffed that
manufactJrer say that the entire process can MIDI has trouble doing it?
another major manufacturer was about to
be as long as 15 millseconds. Along with drum machines and MIDI'd
introduce two- and four- time rates on their
The case tends to be worse if you're a sequencers came today's current fashion of
machines, we wanted to see how fast we could
sampler - the voices are harder to get started multi- layered, tightly played. tightly
transfer sample data over MIDI. The first
than on anormal synthesizer. One has to shut sequenced material - they're what made it
barrier was the UARTs we were using - they
down : he filter and amplifier envelopes possible. This form of music would not exist in
made no promises above 100Kbaud. The
gracefully ( one to eight milliseconcs), stop (over)abundance without MIDI. and it is this
seconc barrier was how long it took us to
playback of the one sample, redirect the form of music that points up MIDI's timing
receive a byte from the UART. buffer it,
playback electronics to the start of another weaknesses. Technology begets its own worse
unload t, and process it - th!s fell very roughly
sample, and start its playback and envelopes enemy - atwist on the old chicken- and- egg
arounc 70-80 microseconds with the 2MHz
up again. dilemma.
6809 processor we were using. Under normal
conditions, a MIDI byte takes 320 Use multiple MIDI outputs. Don': use
MIDI 2.0 microsecords. which gave us 240 continuous controllers excessively.
IF YOU WANT to get a synthesizer or microseconds to process it. However, the Compliment manufacturers whose machines
sampler manufacturer angry. go up to him or processor was taking half of its available time react faster than others. Don't wait on MIDI
her and mention " MIDI 2.0". Aside from how to keep up voice payback. giving 160 2.0. Take mellowness lessons. And castrate
hard-wor compatibility within MIDI 1.0 has microseconds free to do other things, and 80 the next person that tries to tell you not to use
been, anc the desire to avoid making obsolete microsecords to do everythirg else other than too many Thrus because each one has a
several hundred thousand existing pieces of MIDI. three- millisecond deiay.

MTUNEI 1987
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 Korg DDD5
Dynamic Digital Drum Machine

0
NE OF THE WORST plagues to hit
modern music is non- dynamic,
robotic-sounding drum machine
parts. Let's face it, the never-ending
stream of static sounds from adrum
machine is enough to drive anyone crazy.
Non-dynamic hi- hat parts, in particular, can
absolutely destroy any type of groove which
you've worked hard to create.
Thankfully, a number of manufacturers
seem to be aware of this problem and are
starting to incorporate dynamic sounds into
their machines. On lower- priced models, like
Roland's TR505, this usually comes in the form
of velocity- sensitivity over MIDI ( which
means that a MIDI drum pad or velocity-
sensitive keyboard can control the machine
dynamically). Touch-sensitive pads are the
other possibility, but until quite recently, they
were a luxury that could only be found on
higher- priced machines like E-mu's 5P12.
With the introduction of Korg's DDDI and
Kawai's R100 last year, however, touch-
sensitivity became an affordable option for
many musicians. Now Korg has launched yet
another, even more inexpensive drum
machine with dynamically sensitive pads, The new beat box from Korg maintains most of the important
which promises to make non- dynamic drum
features found on its big brother, the DDDI, and adds the unique
parts ahorrible cliché of the past.
capability of being two machines in one. Review by Bob O'Donnell
Overview DDD5 also shares anumber of features with function matrix similar to the one found on
AT FIRST GLANCE, the DDD5 appears to be the DDDI, but to different degrees. The the DDDI, making it easy to see where yoL
a scaled-down version of Korg's popular DDD5, for exanple, includes 29 onboard are and where you need to go in the
DDDI, but it is actually two very powerful sounds (as opposed to only 18 on the DDDI). programming process. The only complaint I
machines in one. Thanks to an ingenious bit of seven touch- sensitive drum pads ( 14 on the have about the layout of the machine ( and it's
design, the DDD5 can function both as a DDDI). and two expansion slots for ROM aminor one) is that the Play, Stop and Record
preset rhythm box and as a programmable and/or RAM cards ( four on the DDDI). The buttons are rather small and difficult to find.
drum machine. It achieves this remarkable feat memory capacity of the DDD5 resembles that Slightly larger, color-coded buttons would
by having two operational modes included in of the DDDI as well, but it's divided up have been more helpful.
its software. To switch from one to the other differently. The DDD5 can store 100 patterns The 29 sounds that come with the DDD5
you simply press a button, confirm the of up to 99 bars each, and 24 programmable are all stored in the same eight- bit companded
operation and then, most importantly, change and 24 preset songs, each of which can hold up format used by the DDDI. The variety is
the front panel. to 99 parts. ( A " part" can be either apattern excellent and includes: three snares and three
Now, you might be re- reading that last or another entire song according to Korg's kick drums ( one of each sampled with gated
sentence and thinking, "What? Change the definitions.) The DDD5 also has 100 preset reverb), a rimshot, open and closed hi- hat,
panel? How?" It's actually very easy. Korg uses patterns and 24 preset songs in onboard ROM ride and crash cymbals, stick ( two drum sticks
simple ( but effective) clips to hold the panels which can be recalled at any time. ( The clicked together), three tuned toms, three
in place, and to change one you simply pull patterns are used in the factory preset songs.) types of congas, timbales, handclaps, two
back the clips and lift up the panel. The reason One feature of the DDDI which the DDD5 bongos, cowbell, claves, tambourine, cabasa,
for this unusual arrangement is that the doesn't have is separate audio outs for each agogo bell and two bass guitars (" thumbed"
different software modes redefine the sound; only stereo outs are provided. This may and " pulled"). While these sounds may not
function of nearly every button on the front seem an unfortunate omission, but it's actually compare favorably to those found on some 12-
panel. So rather than trying to print multiple a sensible compromise when you consider bit machines, all the sounds are very usable
functions for the same button or spot in the that the price of the DDD5 is about 40% less and many, in fact, are excellent. Their
matrix on one panel, Korg has decided to use than that of the DDDI. Plus, the DDD5 usefulness is greatly enhanced by the fact that
separate panels. The beauty of the system is includes a sync- to- tape facility and seven- they can all be tuned over aone- octave range.
that because the two front panels are position programmable panning, so if you have their decay time altered over 15 different
conveniently color-coded and labeled want to process or record sounds individually, levels, have their volume level set to one of 15
"Programmable Mode" and " Preset Mode", you can either pan sounds hard left or right, or different levels, and be panned to one of sever
the idea of two independent machines is multitrack each drum part. positions in the stereo field. It's apity that the
reinforced. Brilliant. The actual packaging of the DDD5 is sleek sounds can't be reversed, though.
In addition to its unique characteristics, the and smaIl. Both of its front panels have a Korg has wisely included the capability to II>
MT JUNE 1987 37
'add up to 16 more sounds via ROM cards
which plug into the two rear panel slots. The
DDD5 uses the same cards as the DDDI, and
about 50 of these are currently available,
which makes it easy to mix and match cards to
suit your needs. You can get anything from
electronic drums to sound effects to extra
cymbals on these credit card- sized R0Ms,
most of which retail for $69.95. ( Half- memory
cards retail for $ 39.95.)
Korg has also included avery nice feature on
the DDD5 that was introduced on the DDDI.
Each of the individual voices can be
programmed to sound in one of three modes:
poly, mono and exclusive. The poly(phonic)
mode lets you layer the same sound over itself
up to 12 times, so that the sound decays
naturally and is not cut off if you repeatedly hit
the same pad. As the manual points out, this is
particularly effective for cymbals. In the mono
mode, every time you hit apad the previous
sound from the same pad is cut off. Finally, the
exclusive mode prevents selected sounds
from occurring on the same beat. In other
words, you can set up the machine to have the
closed hi- hat sound cut off the open hi- hat, for
simply push the corresponding function you would create an instrument setting with
example, or prevent the pulled bass from
button along the left- hard side of the matrix. If those sounds ( remembering to put the agogo
sounding at the same time as the thumbed
all you want to do is select a setting, then bell sound on two separate pads, perhaps with
bass does. You aren't limited to just two
adjust the displayed Setting number with the adifferent panning on each) and set up the
exclusive sounds, however: you can have up to
" - I/Yes" or "- I/No" button or the numerical initial parameters as you like them. There's no
14 exclusive sounds ( one per location - see
keypad. Simple, just as the rest of the need to assign all the different bass or agogo
below), each preventing the others from
machine's functions are. notes to different pads because they will be
playing at the same time. The various modes
To record apattern, press the Rec and Start put in after the pattern has been recorded.
often make only asubtle difference in sound,
buttons and off you go. You can chocse from Then, as you record the pattern, you simply
but they can be very effective in creating
nine different quantization levels, the highest put a bass note or the two agogo bells on
realistic drum parts.
being 1/96, and also program the speed of Roll whatever beats you want them.
As if all of these features weren't enough,
and Flam functions. One nice feature that After you've done that, call up the Sequence
each of the sounds can also be assigned to any
Korg has included is the ability to use more Parameters' tune function. put the DDD5 into
of the 14 available locations ( two per pad) and
than one quantization level per pattern, so record and use the data slider to make the
the dynamic sensitivity of each location can be
you want triplets against 16ths and afew real-- appropriate changes in pitch. You ain record
set to one of nine levels. The same sound can
time fills thrown in on top for amore human these changes in real time or in step time and,
be assigned to more than one location, as it
feel, you can easily program it all in. Step time, if you want, you can even rehearse them
can on the DDDI, and by using different
of course, , salso available and once again Korg before recording them. In asimilar manner,
parameters ( such as tuning, panning, and so
has managed to spice up a basic feature by the snare drum roll and cymbal crashes can be
on) you can program melodic lines or multi-
allowing you to hear everything that's already recorded and then manipulated afterwards
tom fills. ( An even more effective method for
been programmed as you step through a with the volume and decay parameters.
creating such effects is with the Sequence
pattern. Nice. Needless to say, this is powerful flexibility, not
Parameter function, which will be discussed
After you've recorded apattern that you're to mention agreat deal of fun. ( The DDD5
later.)
happy with ( amuch easier and more satisfying demo sequence does an excellent job of
To complete Korg's extremely flexible
process with touch- sensitive pads), the showing creative use of these features.
instrument assignment capabilities, the
DDD5 offers editing functions that allow you incidentally.)
DDD5 has memory set aside for six overall
to finetune your work into a monstrous Once you've created all the patterns you
configurations, which are called Instrument
groove or asubtle percussive accompaniment. want ( and named them, if you so desire), it's
Settings. These settings, which can be recalled
In addition to the typical delete. copy. and time to start assembling songs. Each song
via MIDI program change commands ( very
insert functions. the DODS has avery power- memorizes the initial tempo and instrument
nice!), memorize all the various instrument
ful feature entitled sequence parameters setting number, and patterns ( or other songs)
assignments and all the specific tuning, decay,
which allows you to adjust the tuning, decay are easily inserted, copied or deleted. Tempo
volume, panning and sensitivity parameters
and volume level of every drum voice after the changes can also be programmed into songs as
that you choose to enter into the machine. In
original pattern is recorded. well as repeats, including nested repeats.
other words, it's like having six different drum
"But Ithought you said you were supposed Songs can be named, but for some reason,
sets at the tip of your fingers.
to set up those parameters before you programmable songs and preset songs have to
recorded apattern." You're right. Idid. You share the same name. wnich is unfortunate.
Operation set up the initial parameters ( Korg refers to They can have completely different patterns
IF YOU WANT to record apattern ( which them as " total" parameters) for every drum and tempos, of course, but preset song
can only be done in the programmable mode), voice before you record apattern, but you can number one will automatically share the same
you must first choose the instrument setting then make even more changes to the sounds name as programmable song number one, and
you want to use. The DDD5 defaults to the afterwards. For example, let's say you want to so on. Strange.
programmable mode on power- up, so all you record a pattern that includes a melodic For playback, you can either adjust the
have to do is push the "4" and "f- I" matrix bassline, two-part agogo bell harmony, a tempo with the Tempo function in the
switches, and the Setting Select function will number of cymbal crashes and asnare re that function matrix ( an odd place to put atempo
automatically be active. To select another crescendos into the next pattern. ( OK, so it's control), or tap in the desired tempo on the
function in the Instrument Setting group, astrange combination, but it is possible.) First. Tap Tempo switch. The rear panel also
38 MT JUNE 1987
provides afootswitch input for controlling the patterns and songs. Istrongly suggest you get a
tap tempo, which keeps your hands free for
playing other instruments. ( Note that
RAM card to store your work. That way you
can keep the preset songs readily available and
Sinn
although you can continue tapping new you won't have to worry about confusing song
tempos into the DDD5 during playback, it names.)
doesn't seem to track reliably when you do
so.) MIDI
Preset Patterns THE MIDI IMPLEMENTATION on the MIDI Productivity.
AS IMENTIONED earlier, one of the most DDD5 is excellent, and its documentation
unique features of the DDD5 is that it can very thorough. Like the DDDI, the DDD5 can At Saved By Technology,
we put It all together:
function as apreset rhythm box. Once you put transmit and receive MIDI clock and
the machine into Preset mode you can choose associated commands ( Start. Stop, and so Synths • Samplers • Sounds • Computers
forth) as well as song position pointer data. Music Software • Sound Editing Software • SMPTE
from 24 different rhythms, including your
basic Waltz, Cha Cha and Samba and the Song select numbers can also be sent and The Result - Powerful, custom designed
mildly unconventional Heavy Metal 2, Rap and received over MIDI, and the machine will MIDI systems that perform.
Reggae I. to name afew. While you may not respond to Omni On/Off messages and Without compromise.

actually use them for recording or program changes ( only 0 through 5).
We service Canada's top pros
performance purposes, these presets are all MIDI note information ( with velocity) can with selected products from:
quite well done and work very well for quick be transmitted on up to 14 channels at once
songwriting purposes. Intros, fill-ins and (one per location) or, if you want, you can iii3Guik Softened •Aksa
e
Cicearaelia •Alesis
endings are available for all of them (they can disable the transmission of notes ( this will not
'04E0G0 GliP1 *APO*
be triggered either by front- panel buttons or affect clock information). The DDD5 also •Oigital Alum 'Alan

footpedals) and, if desired, tempos can be set responds to MIDI note and velocity •Intalligant Mum eArceas
-Casio
by means of the tap tempo button or optional information, but all the instruments receive on 9frain

il-
Auk of toe Unicorn +.11. Cooper
footswitch. The DDD5 also has memory space one, user-selectable MIDI channel. Each of the eCipcodie 'Roland
•Pasioort iSaquonnal
for eight combinations, which consist of two 14 locations can be assigned its own MIDI
iStesnt•eg Plaaaaren •Sycologic
basic patterns and two fill-ins. note, though ( it's the same for transmission
If you're not happy with the factory preset and reception), and you can even assign more Expert Demonstrations and Product Support
We've got custom sound libranes
rhythms, songs or combinations, you can than one instrument per note. You can record
for all of the instruments we sell !
replace them by changing to Programmable patterns with velocity from other MIDI
mode, and creating your own. ( Korg is also controllers, and with aMIDI keyboard you can
planning to release ROM cards with pattern even control the tuning and decay of each Saved By Technology
10 Breadalbane Street, Toronto
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fill-in and ending) in a preset song is MIDI notes 9-24 as decay levels, 72-96 as
programmed in the same manner as regular tuning and 25-71 as possible instrument
patterns. Preset songs are created ( also in the assignments. Then if you play an instrument
programmable mode) by assigning each key while holding down akey in the decay or
pattern to one of the four song sections. tuning ranges ( or both), the instrument will 41s• 40' 41...
sound according to the parameters you've
Combinations are done in the same way, but
chosen. Very useful for programming basslines
, REAL TIME
to hear the results of either of them you need
to switch back to the preset mode. or other melodic parts. MUSIC
The preset songs that you create can also be As mentioned above, the DDD5 can also SCORING
named and, like programmed songs, they can initiate amemory dump over MIDI, and any
memorize the instrument setting and initial device which is capable of recording MIDI MUSIC PRINTER GS (for the C-64)
MU-SCRIPT II COr the {URI ST)
tempo. The preset mode also offers the option system exclusive information will be able to
The Affordabie Easy-To- Use Notation Solfeare
of changing the parameters of the instrument store the whole of its pattern, song and Grandstan from One Track or Toe Four-Stan
Conductor's Score Choir ( S.K.T.13) Leadsheeter (Vocal
sounds ( level, panning, tuning and decay) and instrument setting data. Rano) Rees Parts ( Brass. Wnds. Etc) nth Equal
or Choice of 2Proportional Spaongs. Instrument and
Interval Transcosng Editing hlth MIDI Playback. Lincs.
Conclusions Chotis, and Symbols Venable Ouantiang of 4
"The DDD5's ability to send Parameters: Minimum Duration, Throw/Keep Sub-
Minims. Swaim Inter- Note Rest Duration. and
AS YOU MIGHT be able to gather, Ilike the Reference Clock Slat 12 KeyS. 3Deis. Times% Imm
velocity information over MIDI DDD5. It sounds good, it's inexpensive, well 1/4 to 24/16 Seconds, Clusters. Enharmonics Beams
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One important point you need to be aware 7User- Defined Output Notes for Each Input Note
velocity information over MIDI makes it Unique Chord on Every Key 7MIDI Channels. 7
of, however, is that to get to the factory preset
worth the price as aMIDI controller alone. ( In Volumes for Each Input Note Diatonic Harmonization
of Single- Note Lines Multi- Splits. Contrary Motion
songs you need to perform areset operation,
fact, it would be an ideal controller for Orchestral Chords. Guar Chores Pao-Paging for Easy
and in so doing you erase its memory. While Ram Pa ough Dud Changes. Masan Sounds hum
triggering drum sounds from asampler.) aSingle Synth Increcifee Muli-Synn Layering Pad>
this may appear to be a major problem, it Om Includes set of Harmony Maps to get iou darted
So if you're in the market for anew drum COMING SOON:
really isn't ( although it could be if you're not
machine or want to add dynamic capabilities C-64 Pent File EddoriGenerator C-64 Print File-To-
careful), because Korg has included three Sequence He Utilities Mu-Scnpt Ill for ffie Atan ST.
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different methods for storing the DDD5's Note Entry Features Diatonica-7 for the Alan ST
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MT JUNE 1987 39
 difficulties when trying to release the music

the they most strongly identify as their own.

Violinist Jerry Goodman, however, is in
the enviable position of being an exception

JERRY
to the rule. He and ahandful of other
musicians (including Patrick O'Heam, Ravi
Shankar and David Van Tieghem) record
for the Private Music label, one of the more
successful new record companies to have

Î
GOODMAN
sprung up over the last few years. Started
by former Tangerine Dream member Peter
Baumann, Private Music (an ingeniously

story
appropriate name) has developed avery
distinctive sonic personality by
concentrating on artists who produce
sophisticated instrumental music with a
healthy emphasis on electronics.
The material on Goodman's releases for
Private Music, On the Future of Aviation
and the more recent Ariel is being labelled
New Age music, acategory that, like most
others, has its advantages and disadvantages.
Goodman is quick to point out that
although it immediately places boundaries
around his music which he might find both
inaccurate and limiting, the label also
identifies his work with arapidly expanding
field of interest. He has enough business
savvy to understand the importance of
having some kind of method for selling the
music, and he's willing to accept some of
the category's negative connotations, as long
as it helps expose the music to awider
audience.
"I think the most difficult thing to do is
to get visibility for this kind of music", says
Goodman. "People don't know what's out
there, and how will they know if they like
it or not if they never hear it?" He adds
that at least the label gives people an
excuse to investigate the music.
But all of this discussion begs arather
important question: how did afounding
member of John McLaughlin's Mahavishnu
Orchestra (one of the pioneering fusion
bands of the early '70s) get involved with a
type of music which appears to be almost
the complete antithesis of what he had
previously done?
Actually, afew words of description are
in order. Neither On the Future of Aviation
nor Ariel contain the freneticism which
characterized some of the Mahavishnu
recordings, but they also (thankfully) lack
This fusion pioneer and former Mahavishnu violinist has been the dreariness and inactivity which mar so
creating instrumental music which he hopes will expand the many New Age projects. In fact, both
records strike an effective balance between
boundaries of New Age. More than that, he's combined the contemplative sonic atmospheres and what
characteristic timbre of his instrument with that of modern music Goodman himself terms "thoughtful
technology to create an intriguing new blend of sounds. Interview grooves". The music is intelligent and
expressive, shifting from sections of gentle
by Bob O'Donnell. lyricism to those with amore powerful

I
N AN AGE when the record industry rhythmic feel, particularly on Ariel.
appears to be satisfied to crank out The new music is also completely
music of the homogenized, commercial instrumental, of course, as was his work
variety, the idea of being able to make with Mahavishnu. But interestingly enough,
avery personal artistic statement with that fact nearly stopped him from getting
arecord is an attractive, if not altogether involved with Private Music. Having
likely, proposition. Even musicians who are suffered abit of "fusion overload",
recognized as innovators tend to run into Goodman was not particularly interested in
40 MT JUNE 1987
performing or recording instrumental music something on tape and played it for him, he
of any sort again. realized that it had alot of the elements
"Basically, when the Orchestra broke up that he was looking for, as well as
there was an outbreak of fusion bands that something else."
all seemed to me to have just been totally That "something else" is what's
misguided. They had gotten off on all the commonly referred to as rock 'n' roll.
wrong things, the wrong elements of the Distorted electric guitar (and violin),
best of the fusion bands, like the velocity screaming Hendrix-type harmonics and
and the volume, and there was really no powerful drum sounds are all prevalent on
musical point to what was going on other Goodman's records. He's not about to hide
than alot of self-indulgence. Consequently, his rock influences for the sake of
Iwas trying to avoid being stuck and maintaining complete tranquility in his
stigmatized by the fusion label. Iwanted to music, and he enjoys flexing his impressive
break out of that, so Iended up working skills as aguitarist. And as he points out,
pretty pointedly on trying to put something his style as aviolinist stems from his guitar
together that was more vocal-oriented. playing and his influences as aguitarist.
"I thought the whole fusion movement "I think my actual improvisational style
had been played out, and Ididn't want on violin was something that came after I
people to think, 'Oh, here's aguy who was had been playing guitar. Ihad never really
afusion musician in the ' 70s about to go in improvised on violin as Ihad on guitar, so I
to do an instrumental album again'. The adapted what 1did on guitar ro the violin.
thought of doing instrumental music, not Also, as asoloist my influences were
knowing what was expected of me at first, Hendrix, Clapton and all the other guitar
was not avery attractive one. Plus, Ididn't heroes that everyone had in those days, and
think that there was as much of an Ithink they are more responsible for my
audience for instrumental music as Iwould soloing style on violin than any violinist is."
have liked." On cuts like 'Brogue' and ' Rockers', both
Goodman's opinion on the matter has of which are on Arid, these kinds of
obviously changed since then. While he influences are indeed apparent. But the
may not be finding alarge enough audience most lasting impression that one takes from
yet, he has found that he can make listening to these or any other tracks on the
satisfying instrumental music without falling record is simply the sweet, soaring sound of
into the traps, clichés and stigma associated that violin. Transcendent or biting, but
with fusion. Now, of course, he has to always unmistakable, Goodman's violin ties
worry about some of these same problems together the various musics he blends into
under the New Age label. In this case, his own. As the producer of both records,
however, he doesn't seem terribly he also manages to place his violin within a
concerned. variety of beautiful synth textures.
"I think my change of opinion is Goodman currently uses two keyboard
primarily related to what I've been able to players to create those textures, but he has
do to make the music happen for me. experimented with doing some of them
They're labelling what I'm doing as New
Age, but most of what 1consider to be
New Age does not have too much "My improvisational style on violin was something that came after Ihad
excitement to it. So what I'm trying to do is
been playing guitar. Ihad never really improvised on violin as Ihad on
push the parameters of the New Age
category. I'm stretching it in as many places guitar, so Iadapted what Idid on guitar to the violin."
as Ican."
himself, via aMIDI violin. " Iused the Zeta

J
ERRY GOODMAN, IN FACT, feels very violin on afew tracks on the first album,
confident that he has been able to but Ifound that Icouldn't do awhole lot
create an interesting hybrid music which with it. Iwould like to try one of their new
combines elements of New Age with ones, though.
rock and classical music. Asked to "I've also tried the Fairlight
describe his work he called it Voicetracker," he continues, "but Iwas
". . . contemporary instrumental music. It never able to make it do what 1wanted it
encompasses avariety of influences, to. Idon't know if it was me or what it
including classical, rock 'n'roll and hi- tech. was, because I've heard other people say it's
There are alot of organic sounds blended the greatest, hut it's not very easy to
in with some hi-tech equipment, which understand and it's not user-friendly at all."
gives it avery different sound." Goodman has managed to stay informed
Goodman didn't exude that same on technological developments, hut he
confidence when he first played his music admits that "you could go crazy trying to
for Baumann, however. "To be honest, I keep up with everything that's out there.
wasn't sure at first if Iwould be able to do Another problem is that you have to be
that and have it be accepted by the label. independently wealthy to do so, and that
The kind of music that Peter had described kind of wealth and being amusician don't
to me was something more thoughtful and always go together". The effort has been
more flowing than what my own music made on his part, though, because he
came to he. But when Ifinally put understands its importance in his work to>
MT JUNE 1987 41
 >create the right sounds and textures for his been created they needed to be recorded,
music. and both albums were in fact meticulously
Sound, it seems, is asubject about which recorded at Studio Media in Evanston, IL
Goodman has adamant feelings. (The title (a suburb of his Chicago home) on a
Ariel, in fact, which is the name of ajoyous Mitsubishi 32-track digital machine. "We
character in Shakespeare's The Tempest, was record everything digitally for Private Music
chosen as much for the sound of the word and I'm in heaven working with that
as for its meaning.) "Ithink it's really machine. Ithink it's wonderful, especially
important to create an overall sound for the for the kind of music that I'm doing, it's a
kind of music I'm doing. You have to great match- up. Recording digitally makes
understand that my main axe produces a you so aware of what you can do with
very old sound that everyone recognizes, sounds; sounds that are going to be heard."
and Iwant to put that sound into afresh, Goodman adds that the digital recorder
new environment. I'm not just another even affects his compositional process. " I
violinist, I'm somebody who's trying to do find that when I'm writing, the fact that I'm
something special, and you have to create a doing digital recording is always in the back
special environment for it to he heard of my mind. I'm able to write some things
differently." now that Iknow will work, whereas afew
years hack they might not have worked as

T
URNING TO THE WONDERS of well."
modern synthesis, Goodman and his Another form of recording technology, in
keyboard players, Fred Simon and CI the form of sequencing, has also had an
Vanston, used avariety of tools to important effect on Goodman's composing.
create the impressive (and A self-professed amateur keyboard player,
appropriate) sonic environments. "We had he uses sequencers to overcome his limited
apretty incredible MIDI setup on the last playing skills. " I'm using an Ensoniq ESQI
record", says Goodman, "and we spent a for sequencing at home right now; it's a
lot of time getting the sounds we wanted. wonderful piece of equipment. It's very
At one point, Iremember the control room simple, hut it does great things."
And on Ariel, Goodman was able to take
advantage of the Synclaviees sequencer.
"It's important to create an overall sound for the kind of music I'm doing. "We used SMPTE to lock up the
My main axe produces avery old sound that everyone recognizes, and I Synclavier's sequencer with the Mitsubishi
want to put that sound into afresh, new environment." recorder, and were able to do some
incredible stuff."
was packet!. We had the Synclavier set up Goodman's compositions can easily tax
in there, aton of DX things and an the limitations of the sequencing equipment
Emulator II." he's using, though, because anumber of his
Goodman's also abig fan of analog songs are written in odd meters. When
synths. He used an Oberheim OBX on asked why he chooses to do so, he provides
both records and feels that " there's nothing an interesting response. "It's something I'm
like some of the older analog sounds — not totally thrilled with. You see, when I
they're wonderful. In fact, we even used the compose Itry not to try. Ijust try to write
Oberheim 4-Voice on the new album. It's a whatever is happening, hut Iget stuck like
killer." everybody else and fall hack on old habits.
Sampling is another tool which This is one that I've been struggling with
Goodman uses to create the textures on his and trying to drop, but when Iget into a
records. This is particularly evident on the strange time signature it seems to open up
title track from On the Future of Aviation, melodic ideas for me.
which features avery full, string section- "They can he effective at times," he
type sound playing arepeating eighth-note continues, "but there are drawbacks. Itry to
figure. Goodman explains that he used a put pretty simple, straight-ahead melodies
variety of techniques to create that effect. " I on top of bizarre time signatures, so when
overdubbed anumber of violin tracks and I'm out playing the music live there is
then Ialso added some samples of myself something for the audience to relate to.
from the Ell for depth. There's actually a The hand and Ireally enjoy playing in
those time signatures and the audience
usually seems to be getting off on what
"We had the Synclavier set up, aton of DX things and an Emulator II
we're doing, hut there's something missing
. . . but there's nothing like some of the older analog sounds. We even used in their response which would probably he
the Oberheim 4- Voice on the new album; it's akiller." there if we were grinding away in four."
Goodman is quick to add that he does play
blend of samples on it, but it leans heavily in conventional time signatures as well —
toward the real thing. just not as often.
"We did some sampling on Ariel too, hut Regardless of the meter, though, his
not much in the way of string sampling. I primary concern as acomposer is to create
didn't do as much big section stuff. The what he calls " thoughtful grooves". "What I
little hit of sampling that we did do for it mean by that", Goodman explains, " is a
was done on the Synclavier." repetitive figure which may or may not he
Of course, once the " environments" had in astrange time signature. Itry to put
42 MT JUNE 1987
together something to play on top of,
something to bounce with alittle bit,
something which will hold the listener's
interest.
"The repetitive quality is what Ithink
the New Age trend is really all about. The
music usually has afigure of some sort that
just gets burned into your memory. What
I'm trying to do with that is expand on it
and kick it harder."
Goodman's enthusiasm for writing music
with an edge to it derives from anumber of
different factors. One of the most important
of these is that, unlike many so-called New
Age musicians, he enjoys going out and
playing his music live.
"I really like to play out live, but for me,
live playing requires something alittle
different than what Ido in the studio. I
need to have alot of excitement out there
on stage to get off. Ican't just stand in
front of people and snooze."
Prior to and during the actual recording
of On the Future of Aviation, however,
Goodman didn't think that live
performances were going to happen.
"When Iwrote and recorded the first
record, Ireally didn't have any intention of
playing that music live. It was kind of an
afterthought, actually, because the album
had already been released before Iwent out
and played the music .. . The whole
recording process was affected. The
recording was more overdub-oriented and I
did most of the overdubs myself.
"The second album, though, was a
different concept. Ihad already pushed the
record company abit into acertain
direction, and they already knew what my
band was capable of doing with my music,
so Iwent into the studio with adefinite
idea that the second album would push
even further and even harder and that it
would feature the band." (In addition to
the previously mentioned Vanston and
Simon, Goodman's band includes Jim
Hines on drums, Bob Lizik on bass and
Craig McCreary on guitar.)
"We did alittle tour opening for the Human League. We got apolite

G
OODMAN'S FUTURE PLANS
response, better than Iexpected it to be, considering most of the audience
include apossible live album with was apathetic teenage girls with weird haircuts."
the band and apotential film
project. He also hopes to play more something other than just hot tub musk,
live dates, even if it means sharing a then we're going to be okay. In order to do
billing as odd as one he recently had. that, though, I've got to get out there and
"We did alittle tour opening for the put my face in franc of people. I'll do it
Human League, which was very interesting. with pairings as bizarre as they can get too,
We got apolite response, actually better because 20 per cent of that audience goes
than Iexpected it to be, considering that away thinking, 'Gee, that was kind of neat,'
most of the audience was apathetic teenage and that's 20 per cent more than Ihad
girls with weird haircuts." before.
Goodman explains that the pairing came Finally, Goodman reflects "I'm very
about because both bands are represented happy with what I've done so far. I've been
by the same agency. "They were and still able to incorporate anumber of different
are looking for ways to get this music out elements into my music, and Ithink it
to people." could change the definition of New Age a
Of course, getting wider exposure is a little bit. At least Ihope it does, because
cause which Goodman has taken on with a you can't really wash aBMW to my music
passionate fervor. "As long as we can get as well as you can to other New Age
people to start thinking of New Age as music."
MT JUNE 1987 43
 DIFF RE
Sure we've been laughed at. " ATARI, isn't that a game machine?" They used to say.
But the laughing has stopped. And the ATARI ST is now recognized as the most
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• \ c!,
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 PATCHWORK
This is the page where MT's Editorial team invite you, the readers to demonstrate your own
synthesizer programs.
II If you're still waiting to see your particular synth featured in these pages, then why not be the first to submit some sounds?
Send us your favorite sounds on aphotocopy of an owner's manual chart (coupled with ablank one for artwork purposes) accompanied, if possible, by ashort
demo- tape. Please include adecent- length description of your sound and its musical purpose in life, and write your full name and address on each chart. And
remember, edited presets are all very well, but an original masterpiece is always preferable. OK?
If we publish your patch, you'll be rewarded with acomplimentary one year's subscription to MUSIC TECHNOLOGY (if you're already asubscriber,
we'll simply extend your current subscription afurther year). Interested? Then get twiddling and get scribbling!
The address to send sounds to: Patchwork, MUSIC TECHNOLOGY, 736 ITopanga Canyon Blvd., Canoga Pork, CA 91303. •

KORG DW8000
Rivendell
Paul Nagle, St. Petersburg, FL

11 8 21 8 31 30 41 7 51 4 61 0 71 5 81 1 An extract from Paul's latest cassette album,

Wilderlands, due out later in the year, has made
12 10 22 11 32 2 42 31 52 31 62 19 72 6 82 2 its way into the MT offices. One of the tracks,
'Rivendell', features a classy lead string sound
13 31 23 21 33 3 43 0 53 0 63 17 73 11 83 9 which Paul describes as "a good sound for
melodic playing. It's nice as a layered MIDI
14 3 24 1 34 1 44 0 54 0 64 4 74 0 841-16
sound, say alongside a piano, and the touch-
sensitivity only cuts through with real heavy
15 1 25 3 35 28 45 7 55 20 65 0 75 31 85 2
fingering." One free prescription on its way. .
16 4 26 0 46 31 56 26 66 2 76 15 660-1

17 9 47 6 57 7 67 0 77 0 87
Key Assign: POLY 1

There's adefinite accent on axes this month, and 'Ford's Fender' typifies the sound made famous by early
ROLAND JUPITER 6 '60s guitar heroes like the Shadows. Being one half of aduo comprising keyboards/bass, Ford finds it
Ford's Fender useful for impersonating anon-existent guitarist. And if rock 'n' roll's your cup of tea, you'll get the beat
going with this one. II
Ford Elliott, Oakland, CA

LFO I VCO I Resonance 0 ENV 2

Rate 4 Range 8' Envelope —2 Attack O
Delay 0 Wave /N./ Env 4 Decay 4
Wave LFO 0 Sustain 5

VCO MOD
n...0 Keyboard 4 Release 6/
2
1

Keyboard Follow 4/
2
1
LFO o VCO 2
Env 1 0 R VCA
ange 32'
Env 2Level lo Glide Off
VC01 & 2 Off Wave
LFO
PWM
PW 5 r-Lu ENV It'•
Arpeggio Off

PWM l'/2 SYNC On Attack ASSIGN

LFO Decay Unison Detune 2/12
Sustain 51
/
2 Mode Unison
CROSS MOD 10 VCF
Manual 10 Mode BRF Release o
Env 1 0 Frequency 2/
2
1 Keyboard Follow 2 Key Mode Whole
46 MT JUNE 1987
 OP

YAMAHA DX7 MkI o 6

o 5

Axe o 4

Bob Cunningham, 17 7 T
RI 40 35 7 O OFF o 3

O 2
Santa Barbara, CA
o
WAVE SPEED DELAY PMD AMD SYNC PITCH AMPLI-
ALGO- FEED- TUDE
RITHM BACK
LFO MOD. SENSITIVITY

1 2 3 4 5 6 7 8 9 10 11 16
12 113 114 115
PITCH BEND PORTAMENTO
POLY/
MONO RANGE STEP GLISS- TIME
MODE ANDO

POLy 2 o FoLLow, O FF O

00 o 9540É0 9999 9I0 F2 -LI-L Io 3 o

0 o - U21'5 5'99 O A- I -L -L 0 o 80 O

OFF
00 +e ter 90 O O A3 -L -L o 60 8q- o
00 O 19 9590 96Io FE -L -L o 3 89 o rn
CP_
o
AXE
99
00 II CU O
CU cr, cr. %5
00 - 95 :0,0 9916 9410 A- I -L o 3 85 o
00 99 it-g"40 9995 9gI o A-1 -L -L o o 99 2
MODE/ FREQ. BREAK LR L RK.BOARD VELOC-
SYNC COARSE
FRE0 *
FINE
DE TUNE 1 2 3 4
RATE
1 2 314
LEVEL POINT CURVE DEPTH RATE
OUTPUT
LEVEL ITY SENS.
1 2 3 4 1 2 3 4
RATE LEVEL
KEY
TRANS- VOICE A
OSCILLATOR NAME
ED KEYBOARD LEVEL SCALING SCALING OPERATOR PITCH ED POSE

17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32
MODULATION WHEEL FOOT CONTROL BREATH CONTROL AFTER TOUCH
RANG E PIT CH AMPLI- AMPLI- AMPLI- AMPLI-
TUDE EG BIAS RANGE PITCH ED BIAS RANGE PITCH ED BIAS RANGE PITCH ED BIAS
TUDE TUDE TUDE

Bob's 'Axe' demo did such agood job at impersonating ascreaming guitar, no-one at MT guessed it was generated by aDX7. 'Axe' could be just what you need
for playing raving guitar- like solos on your remote keyboard stage front, and proficient use of pitch- bend will attract even greater admiration (and maybe afew
ta
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(602) 945-0368

11T JUNE 1987 47

 TESTING1-2-3 A POCKET SIZED CABLE TESTER
CASIO CZ101
Night porter
DESIGNED FOR MUSICIANS AND
AUDIO PROFESSIONALS Steve Conti, Mansfield, OH
• TESTING I-2-3 FEATURES.
' Automatic test with LED display.

N •
• • eel Checks both 3 pm Cannon
tbalanced) and 1/4' ( unbalanced)
cables ton conhnuity. shorts.
, and phase.

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'Night porter' was programmed ( surprise, surprise) in an attempt to recreate the mood of the Satie-
influenced Japan song of the same name. If the sound comes across too sweet for your taste, reduce the
Fine Detune to around 09 for amore piano- like sound. Some slow modulation delayed to the tail- end of
the sound adds adifferent dimension, too. IM
48 MT JUNE 1987
 4
.

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You said you wanted aDX7 with more And you can determine the position of the
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and dual tone system. More extensive MIDI LFO and key number.
implementation. Micro-tuning and alarger For more memory, we doubled the on-
backlit LCD. We heard you. board single voices to 64. We also added
We also did some listening on our own 32 internal performance memories to the
and came up with improvements like random So you can store voice position data with
pitch shift, real-time parameter changes, dig- function (or what we now call performance)
ital pan, two-channel design. And two models, parameter data.
the DX7IIFD with built-in 3.5" floppy disk We've also greatly expanded the new
drive. And the DX7lID. DX'71I's data storage capacity In two ways.
Both have dual and split play modes to First, with the new RAM4 cartridges.
ve you the power and sound of two DX7s. One of these will store the DX71I's total mem-
Any two voices can be combined and played ory including 64 voices and 32 performance
as one in the dual mode. Split mode lets you combinations, or 63 micro-tunings.
assign different voices to the right and left Second, with the DX711FD's built-in 3.5"
sides of the keyboard. disk drive. One 3.5" disk equals the storage
The dual FM tone generators in the II capacity of 40 RAM4 cartridges. So you can
IIAIR I AMU% _ 31
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tuning and fractional scaling library ready for system gives the DX7IIFD and l)e)C7IID
virtually instant use and access. And aMIDI greatly improved fidelity.
data recorder for recording and storing ex- So FM is sounding better than ever.
ternal MIDI equipment information. Especially when you hear the new DX'7IIs'
A new larger 40-character by 2-line very reasonable prices. Just visit your
backlit LCD and two alpha-numeric LEDs Yamaha Digital Musical Instrument dealer.
make operating and programming the II a And listen.
lot easier. Or write to Yamaha Music Corporation,
The II's new micro-tuning feature has Digital Musical Instrument Division, PO.
10 preset alternate tunings besides the stand- Box 6600, Buena Park, California 90622.
ard. And two on-board memories let you In Canada: Yamaha Canada Music Ltd.,
create and store your own. 135 Milner Avenue, Scarborough, Ontario,
The all-new fractional level scaling M1S 3R1.
function lets you precisely adjust the output
level of each operator in three-key groups. loo
The new Unison Poly mode combines 1887-1987
four tone generators for each key so you can
detune to achieve afatter sound. Aftertouch
can also now control EG bias and pitch bend. °YAMAHA.
 FAIRLIGHT'S
FATHER
In the second and final part of our interview, Fairlight co-founder Kim Ryrie discusses linking his
company's CMI to smaller computer systems, the future of storage media, and why DSP could be
the next big set of initials for musicians. linen icti by Sunon Trask.

A
S MY CONVERSATION with Kim Fairlight's latest CM I, in as much as the Series people might get interested in playing like they
Ryrie continued, we got around to Ill has three MIDI input and four MIDI output did in the good old days, in bands and so forth.
one area that unites his company's ports, and MIDI control is acentral feature of Ithink that has to be the next step with MIDI-
ultra- sophisticated, ultra- expensive the new CAPS sequencing software. based recording.
machines with those of less ambitious "CAPS can record multiple MIDI channels "Another advantage of this approach is that
configurations - MIDI. The great five- pin simultaneously", says Ryrie, "the original if people are doing compositions using PC-
standard has become an integral part of reason for this being that 1suspected one day based composer software, they can, if they be
52 MT JUNE 1987
want to, subsequently download to the Series however, and the possibility it offers for of drive when we feel certain that the
Ill without having to transfer tracks one at a digitally- based recording. But as it turns out, technology is not yet adequate. Otherwise
time". Fairlight aren't about to rush into any one you've got asituation where some people are
So presumably, a MIDI sequence dump digital recording medium just yet. spending maybe $5000 on an optional drive
standard would find favor with the Fairlight "There are about six options that we're only to discover six months later that
team? looking at", Ryrie reveals, "which include something really useful has come out at a
"Absolutely. Some of our users are already optical disks, R-DAT, high- density floppies similar sort of price. We have to hold back
asking for that kind of facility. Some Fairlight with data compression, and hard disk - and until all of this settles down."
owners are producers working with fairly also perhaps acombination of two of those.
small bands, and these bands are putting They all have different price levels, and what
together their compositions on an Atari setup we've been doing is talking alot with users to

O
or whatever. They want to be able to load try and ascertain what they -eally want. N A MORE general level, Fairlight is
their stuff into the Fairlight and carry on "What we've found is that not many of busy keeping up with new
working with that, which is perfectly valid." them want hard disk. Most of them have technological developments that may
Generally speaking, Ryrie is far from
dismissive of the low-priced music technology
multitrack and they're not particularly keen to
outlay the amount of money that ahard disk
have significant implications for the
music industry - though Ryrie is
o
that is emerging from the R&D labs of Japan system would cost. They're also very understandably cagey about giving away too
and America nowadays. concerned about the back-up situation - the many secrets about his company's
"It's amazing what has come out. Of course time it would take and the cost of it. R-DAT or investigations.
we're aware of the Akais and the new Casio optical would solve that problem, and the "We're in contact with acouple of different
I6- bit sampler. They certainly keep us on our technology is just around the corner. projects which we're hoping to get involved in,
toes. Synchronized R-DAT drives are an expensive or which we're hoping will be suitable for us to
"I know that if Iwas putting a studio business at the moment, but my overall feeling get involved in. Both of these projects use
together at home Iwould probably tend to is that R-DAT or erasable optical are the most completely new techniques for creating
run out and buy some of those things too. But desirable. complex sound, and we're hoping that these
-and obviously I'm biased - Iwould still want "Erasable optical disks are working in the will lead to anew generation. They'll be DSP-
them to be built around a Fairlight system. labs at the moment, but aren't yet based, of course.
There's an inherent architecture and commercially available. There is another "We have a DSP team now who are
expandability about the Fairlight, and an problem, in that the transfer rate to optical working on determining what will be the most
effective technology to use that will give the
required flexibility and complexity of sounds,
"We assume someone who is going to buy aFairlight will be using that as the
and control over those sounds in ameaningful
basic machine in their production environment. But we'll be adding software for way. Obviously control over sampled sounds
people to use other machines with the CM!." is reasonably limited, but then it's also pretty
limited on FM sounds with the technology
inherent sound quality standard, that you disk is slow; you could only record two tracks available today.
really can't achieve with those kind of at atime to disk, and even doing that would be "There's anew technology that allows just a
products. hard because of error detection and couple of .variable parameters to dramatically
"Our basic policy is that we assume correction requirements. and predictably affect the whole nature of a
someone who is going to buy aFairlight will be "There are high- bandwidth optical drives sound.
using that as the basic machine in their starting to appear, but at the moment optical "Both of these projects are happening at
production environment. But we will be disk transfer rates are running at about a different universities in different parts of the
adding to the Series III whatever software quarter of the rate for hard disks. But the good world: one in Italy and one in England. The
might make it easier for people to use those news is that with optical disks, you're talking locations are a secret, though! We're very
machines with the CMI, if that's what they about half agigabyte to agigabyte of storage. impressed by what both projects can do, and
want. "If you're using WORM ( Write Once Read what we're trying to do is come up with a
"For instance, if you don't like multitracking Many) optical disks, then the costs are just hardware solution which will be able to handle
you could instead buy an eight-channel Series astronomical when you consider that you're both of these technologies, because it's abit
III CM I together with other MIDI only getting two tracks down. If you wanted to hard to know which will be the most popular
instruments, and have a fully-sequenced record eight tracks then you'd need four until you've done it and got them out in the
production which can be recorded direct to drives; each disk is costing you £ 100, and you field."
Sony F1or whatever. You'll use the Series III can't erase it. That's obviously too expensive. However, Ryrie feels that today's
for the sounds that you'll need it for, and you'll "On the other hand, if you were recording commercially- available DSP chips aren't up to
use the other machines for the sounds that onto hard disk and using optical disks for handling the processing power required by
these new technologit s.
"People are concerned about the back-up situation with hard disk — the time it "I think DSP is the direction that everyone
will be going in. But there are problems with
would take and the cost of it. R-DAT or optical would solve that problem, and DSP today. When you look closely at the
the technology is just around the corner." current low-cost versions of DSP products,
you'll notice that it's not the numbers which
they're good at. That'll allow you to get a backup, that's more efficient. But because we have been used to associating with I6- bit
compromise system which will be better than optical can only record two tracks at atime, if digital. The reason for that is that when you
a $ 2000 setup, but which won't be the fully- you had an hour of recorded material it'd take start doing complex things ( signal processing
blown Series III." almost that time to back it up before you could such as reverb and equalization, for instance)
One area in which the Series III inevitably use your hard disk again. there's an amount of noise generated by the
scores is its massive amount of memory, "We don't like to leap onto aparticular type mathematics that has to go on - through
MT JUNE 1987 53
 S
101
rounding of values. a chip which has been more specifically 0 DOES KIM RYRIE see everything
" What it really boils down to is that the designed for DSP applications." ending up in asingle box?

O more powerful the processor, the less of that

problem you get. So in afew years Ithink DSP
And for anyone out there who's having
difficulty keeping up with the jargon here,
"I think that probably everyone is
assuming there may be more of a
will be the way to go, but right now you can Ryrie has a more easily- assimilated workstation approach to the whole
use DSP but it's very expensive to get what explanation of current trends . . . thing, whereby all the functions can be done
you really need. We've avoided jumping into "What we're talking about here is replacing from a very user-friendly control panel, a

W the early DSP processors because we feel it's a

first-generation thing. We'd rather stick with
electronic components with just aprocessor
that will do the functions that you would
series of panels, akeyboard combined with a
control panel, or whatever.
the technology that we know, and use DSP otherwise get using logic gates and medium- "Obviously there's lots of scope within that.
when it's really firing on all cylinders. scale integration chips. If you look at most Idon't think that anyone is going to come up
gi "We're using Transputers for the video side systems these days, the hardware functions with the system that's going to suit everyone.

El
of what we do, but we don't think they're are done by integrated circuits that are Some people on stage like to have 10
particularly suited for audio applications - basically doing logical functions. DSP means keyboards, even though today you only need
certainly not for what we want to do. A that you just have this incredibly powerful one to control everything. It's the same sort of
Transputer roughly has the power of a68020, processor. You have an A- to- D converter in thing in a studio: some people like to be
surrounded by mountains of effects
"So7ne people like to be surrounded h',' mountains of effects equipment with equipment with knobs, flashing lights and
knobs and flashing lights; they might not be so happN to hare one quiet- looking buttons; they might not be so happy to have
this one rather quiet- looking control which is
control that's capable of doing cuerything."
capable of doing everything they can think of.
but the beauty of Transputers is that you can front of it and aD- to- A converter after it, and It may obstruct the creative process of some
just pile them up on top of one another and do connected in there somewhere is abit of high- people to have to work like that. But in any
all your work in parallel. speed memory. In theory that box can do case, that's the direction we're heading in."
"But digital audio doesn't work like that. anything - from synthesizing sounds to playing At the end of the year, Fairlight will be
Although the Transputer can do DSP back sampled sounds to real-time synthesis to releasing aComputer Video Instrument Series
processing, it's often more appropriate to use signal processing." 11, intended as a fairly low-cost broadcast- II>

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54 MT JUNE 1987
I> standard system. But in the longer term, the
company is looking to fully integrate the audio
and video sides of their operation.
"I guess our long-term goal is the
production of asystem which will be the next-
generation audio system - and to some extent
the present generation with video production.
Powerful video effects generation, high-
resolution graphics, computer art . . . all that
sort of stuff, in apackage which is integrated.
And affordable, because Ithink that's the key.
"It'll be two separate boxes and two
separate products, but they'll be designed to
work together from the user interface point of
view, which is closely tied in with the creative
process. Integration means the user interface.
We need to work out ways of doing things
which are specific to working on music and
video simultaneously, which we haven't
thought too much about yet.
"At the moment a composer is given a
video and he adds the music to the video,
which is afairly simple situation. If it's amusic
video then of course the music is already done,
and the video producer has to add the vision. he video simultaneously. There's no reason research and innovation that's as strong as
First of all we have to cover both of these why asystem can't be made friendlier in that Fairlight's, there seems no reason why
direction." anything can't be done. Given time, or course.
processes, but beyond that Ithink there's a
requirement for creating both the music and Well, when you've got a tradition of

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55
MT JUNE 1987
 Making the Most of the
SAMPLE DUMP
STAN DARD
Part 3: Several Samplers, aCouple
of Problems, and aTruckload of
Moral Dilemmas

isarifeZZ.Za,

1= /heg....

— «lie —
e_"1D 11121
=__ «Me am —
elle OD CM eine — = —
«II ene sa — «Me
0 CM IS «Ille
«Z.

iliZ111111111111,1111n
In the third segment of our series we cover the trials
and tribulations of transferring samples between
different samplers through MIDI, and discuss the
implications and future of sample swapping. Text by
Chris Meyer.

A
S MENTIONED in previous ROM library unit that transmits samples via
installments, the Sample Dump SDS is perhaps the best justification yet for the
Standard ( SDS for short) was standard's existence. Thousands of samples
developed in the hope that it would could be available instantly for any sampler
become astandard way of transferring that implements it.
samples via MIDI between various devices, Enough about the past and future, though,
regardless of internal data formats or other and on with the present. The SDS, by its very
idiosyncracies. At the time of its creation, the name, is about dumping samples back and
intention was that, in addition to sample forth between instruments. In this installment,
swapping, it would also spawn various we look at trying to do this between the first
"universal" sample editing packages. crop of samplers to adopt it - the Prophet
Reality is always slower than ideals, 2002+, the Akai S900 and X7000, and the E-
however, and none of these have appeared yet mu Emax.
(but at least I'm hearing encouraging rumors).
Luckily, reality can also be more inventive than The Akai Dilemma
ideals. A recent announcement by Optical TIME FOR A bummer - the current version of
Media International concerning their possible firmware for the Akais will not speak to any
intention to create a version of their CD- other instrument properly implementing the
56
MT JUNE 1987
 SDS. This is not fully Akai's fault, though. As over MIDI. Consequently, tests are restricted
mentioned in our first article on the standard to transferring from the 2002+ to the Emax.
(see MT March ' 87), the first versions of the Why doesn't the Emax allow access? Part of
Prophet 2000's firmware implemented an the reason is indeed to block the " giving away"
early, unapproved version of the SDS. of E- mu samples to other samplers. The other
Unfortunately, this is what Akai modeled their part has to do with the fact that the Emax has a
firmware after. It seems that when the different way of numbering samples than what
specification was updated and approved by the the SDS expects. Samples inside the Emax are
MIDI Manufacturers' Association ( MMA), assigned to aparticular root key and preset,
there was some misunderstanding in the and their occurrences in that preset ( and
Japanese MIDI Standards Committee (JMSC) others) are referred to as " voices". In place of
over which implementation was indeed " the the usual two- byte sample number in the SDS
real thing." This confusion was finally settled in header ( see ' Implementing the Sample Dump
meetings between the MMA and JMSC during Standard', MT December '87), they use the
the January NAMM show in Anaheim, LSB ( Least Significant Byte) of the sample
California. But during this period of number to tell the root key, and the MSB
uncertainty, other Japanese musical (Most Significant Byte) to tell if it is a
instrument manufacturers shied away from "primary" or " secondary" sample. ( The
implementing the SDS until they were sure "secondary" sample has to do with sample
that the standard had indeed stabilized. This is layering.)
why, at this point in time, many more It's nice that some rudimentary form of
American and European instruments have mapping is being transmitted with the sample
featured SDS than Japanese. Ihope we'll soon (an area not covered yet by existing SDS
see this situation begin to change. messages), but it does slightly complicate
Returning to the topic at hand, do the Akais things. When a sample from the 2002+ is
indeed work with older Prophet 2000s? Yes, if transmitted to the Emax, it appears in the
the Prophets have firmware revision 2.1 or current preset, and anew "voice" is created
earlier ( as opposed to 3.0, or the " Plus" for it with the sample number equaling the
version, 4.0). Imanaged to procure acopy of root key. In the case of the 16 samples from
2.1 to test it and be sure. However, going back the Prophet, they equate to the lowest 16 keys
in revisions to 2.1 meant that Ilost several of an 88- key keyboard. They then have to be
features in the Prophet ( expanded memory transposed (" reassigned" in Emax lingo) to
and so on), and also meant that all of my disks where you want them on the keyboard.
,
that were created with versions 3.0 or higher Any other problems? Well, both
(99.9% of them) would not load. Oh well... instruments support two loops per sample,
Is Akai going to update their firmware to but the SDS, in its rawest form, only supports
the current level? I'm told there is an update one. ( An extension to the SDS, called the
available for the X7000 ( though Ihave yet to "Multiple Loops Message," was just approved
get my hands on it), and with additional by the MMA and JMSC.) What gets lost in the
features for the S900 being promised, like translation? The release loop - a fact which
trigger inputs, 1imagine it too will be updated follows the strict definition that the one SDS
soon. Also, Akai is aware of the problem so, as loop is the " sustain" loop. Unfortunately, it's
people like to say, watch this space for further the release loop that often turns out to be the
details. most useful on the Prophet. To make use of it
One additional tidbit about the Akai you must find the lost loop points again.
samplers - there is no way to dump asample Thankfully, the Emax is quite friendly in this
over MIDI to another sampler from the front regard, offering the exact sample number
panel; one must send aMIDI sample request
command to the Akai to get it out of there -
either from a terminal support package
(Sound Designer, etc.) or from instruments
like the Oberheim Prommer or Dynacord
ADD- One, which work that way. The
Prophet 2000/2002 will only volunteer a
sample from its front panel, as opposed to
asking for one, making communication kind of
one-sided in this case. It's a shame really; I
would have liked to have stolen the X7000's
factory slap bass. Or was this the point of not
allowing it from the front panel? Hmmm . . .

Software Versions
HAVING COVERED THE Akais, our where the loop is placed, but unfortunately,
attention focuses on the 2002+ and the the frugal 21 2 -
/ digit LED display on the
Emax. The Emax's version 3.0 software hates Prophet only reveals what " K" ( 1024- sample
SDS. It aborts adump after less than 6K of the segment) the loop is in. In other words, you
sound has been transferred. Quick end up having to reloop the sample half the
consultation with E- mu led to the discovery time. It's not abig pain with the Emax, but it is
that versions 3.0SD or 3.1 do work, however. extra labor - through nobody's fault, except
Like the X7000 and the S900, the Emax perhaps the Prophet's display ( or lack of it).
does not allow sample dumps to be initiated Also, the Emax only supports forwards- only
from the front panel - they must be requested loops. This is somewhat odd because its.>
MT JUNE 1987 57
 MON $11.11.1111t

III
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111.1.1011 Deli Mlle'

I 1 1 1 1 1 1 1 1
MVP 1.111,1111111

III j 1 1 I 1 1 1
ov JPI

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1 1 1 1 1 11111

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MU
ftophet 2CKI2

le. predecessor, the Ell, supports forwards- only hump to the sustained portion when com-
and bidirectional loops ( as does the 2000 pared to the same sample played back on the
family). True, forwards- only loops get used Prophet. This meant the good Bosendorfer
about 80% of the time, but it's another minor samples got their hammer and sustain tones
bummer. obscured on the E- mu, but that the duller
One more tip for sample transfers to the samples actually sounded better - the E- mu
Emax - don't touch the pitch and mod wheels. adding " excitment".
They'll abort atransfer on adime ( which is This perception continued when Itook a
okay if that's what you wanted, but freaky if variety of electronic, Latin, and " mondo"
you happened to get bored and played with drum samples from my 2002+ library and
them waiting for a transfer to finish). It transferred them over to the Emax via SDS - a
appears that they're not fully disabled while a bass thump got added to the attack, and there
transfer is taking place. If you do manage to was aslight midrange hump again. This was not
abort adump in such fashion, delete the result appreciated on the attack of a conga or an
before attempting to transfer again - Igot electronic cymbal ( in particular, Ithought the
hash when Itried pending the same sample midrange hump obscured some of the texture
across asecond time without first doing so. of my prize conga sample), but the type of
munching that the Emax does would certainly
Transfer Sound Quality help sound cut through live or in amix.
Next came the acid tests - sampling CDs
ALL OF THE above are only side notes and
into both machines at their respective highest
tips to watch out for. What about the transfers
rates, transfering the 2002+'s sample into the
themselves? In other articles I've hinted that
Emax, and then comparing all three. The CDs
the analog sections of samplers ( input and
output filters, etc.) may have more affect on in question were Speaking in Tongues by
Talking Heads and Flags by Patrick Moraz and
their sound than the digital portions. Also,
Bill Bruford. Sampling the opening of ' Burning
Sequential and E- mu use different digital
schemes - the Emax uses E-mu's 8- bit Down the House' further confirmed my
suspicions ( nice when things work out
proprietary version of delta code modulation,
consistently, isn't it?), with the 2002+
and the Prophets use straight 12- bit linear. I
was very anxious to put to test the " street sounding more accurate and detailed and the
rumors" that the 2000 is the most transparent Emax adding its own character. The rhythm
(ie. does not add or subtract as much from the guitar, in particular, benefitted from the
original) sampler in its price class, and that the Emax's EQ, sounding much " chunkier".
Emax munches the sound slightly - in avery Sampling various sections of Flogs pointed out
rock ' n' roll kind of way. a couple of tidbits about the Emax's input
section - it had atouch more noise than the
Istarted with aBosendorfer piano disk on
the 2002+. Some of the samples on it are 2002+'s ( audible during quiet sections), but
simply splendid, with lots of sweet hammer also sounded brighter ( for example, hi- hats
strike and abright, detailed tone. Others are a were alittle more forward in the mix). Iwas
able to isolate the source of this effect by
bit lacking in excitement. There are nine
transferring the Prophet's version of the
samples in all, some sampled at 3I.25kHz and
others at 4I.67kHz. Since 1would have to sound into the Emax for playback. In other
words, Ihad the exact same sample data,
remap the samples on the Emax after the
transfer, Inoted on paper how they were which had been sampled through two
different input sections, playing back through
spread across the keyboard on the Prophet.
the same output section.
This became doubly important because some
of the transpose ranges on the Emax are
different than those on the 2002+. For Conclusions
example, the Emax only transposes its highest YES, IT IS possible to transfer sounds from one
sample rate up a semitione, whereas the sampler to another via SDS. Second, samplers
Prophet goes up afifth. do appear to have different " sounds"
It took about 15 minutes to transfer the themselves, which can be a boon to an
482K- worth of I2- bit data across and ambitious recording engineer ( professional or
map it on the Emax ( not counting looping), bedroom), and possibly frustrating to
and yes, there were sound differences. The someone trying to make exact, digital copies
Emax seems to add a bass "thump" to the of another's sounds from adifferent sampler.
attack of the sound and a slight midrange
MT JUNE 1987
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 Dr. T Copyist
Software for IBM PC and Atari ST
Is computer-assisted music transcription aviable option, given the state of today's personal computer
systems? Dr. T's Copyist is one of the first programs to test the waters. Ret Lett C/iris Many.

M
USIC TRANSCRIPTION IS an and sharps are shared symbols amongst all the Professional copyists earn their livelihoods by
ancient art, dating back thousands of world's musicians, allowing everyone to copying parts for band or orchestra, cranking
years. Putting musical thoughts down understand precisely what the composer out page after page after page. It's alaborious
on paper using agreed upon symbols wants to communicate, despite his or her procedure, often requiring special onion skin
of notation is, in fact, one of the nationality. paper, India ink, calligraphic pens and other
oldest forms of written communication Being that transcription has been around as tools of the trade.
known and, through the ages, it has allowed long as it has, it's suprising that very few Here, then, is afield seemingly tailor-made
musicians the opportunity to freely exchange advances have been made to ease the task. The for computers; an area that, in this age of
their concepts of music performance. printing press certainly revolutionized the desktop publishing, could benefit enormously
It is fairly universal in nature; aquarter- note process, making scores legible and available to from some improved speed and quality.
in the US is written the same way : he world many aspiring musicians, composers and Enter the Copyist, asoftware program from
over, just as forte is read the same way in Italy conductors. But not mLch else has simplified Dr. T. This is a program that promises
as it is in Germany. Lines, staves, notes, flats the transcription process over the centuries. publication-quality musical scores, allows full
60 MT JUNE 1987
screen editing using the computer's keyboard Mouse implementation deficiencies aside, Help key, or some other form of online
and/or mouse, and also converts popular the editing features are fairly complete. All directory of commands or assistance. None is
sequencer datafile formats into standard symbols are entered from the keyboard, and included with the Copyist. Ifound myself
musical notation for editing and printing the assignment of keys is pretty consistent leafing back and forth through the manual,
purposes. Sounds great, but does it make the with their function. For example, to enter a trying to figure out how to do the simplest
process of music transcription simpler, with sharp, position the cursor where you want it things, trying to see why this happened when I
greater speed and quality the overall result? In on the staff and press ' S'. (' F' is used for flat, ' N' did that, and generally experiencing a
other words, does it make the musician's job for natural, and so on.) Ledger lines are drawn frustrating learning curve on the program's
any easier? Before answering that question, automatically, but you can defeat this feature if operation.
let's take alook at some of Copyist's features you want. Some symbols require two key Here's an example of how the editing
and how the program actually works. strokes; you type ' CT' for aTreble Clef, ' CB' tutorial is laid out: " Let's add some more

Format Transfer "When loading . nasequencer pattern or keyboard performance, 111

ONCE YOU'VE CONFIGURED the Copyist the computer can be all too literal in gauging your performance - a
for your system ( color or mono, Mouse
problem all scoring programs hare to sobe."
installation, printer type, and work and
program directory selections), you boot the for Bass Clef, and so on. It's fairly easy to move music by entering these strings of commands:
program and are then presented with the main around apage, whether you use the mouse or <f2> < up> < up> JB < f2> < down> B
menu across the top of the screen. The editing cursor keys. Iactually found it easier to use the <f2> < down> B < f2> < down> < down>
tutorial provided in the documentation keys, since all entry is done from the keyboard <down> + + I." It may not be fair to use the
suggests you load in asample file included on a anyway. tutorial example in areview like this without
sample data disk. Once it's loaded, the screen defining what all of those keystrokes do, but I
is redrawn displaying several staves of music, a Implementation felt just as confused as you do now as Isat in
title and arectangular cursor with which you front of my PC parroting this " tutorial" guide
navigate the score. If you've installed a MANY OF THE standard musical notation to editing. Icould look up and find out that
Microsoft Mouse ( I've been told it works with symbols are implemented in the program, pressing ' B' placed a black note ( quarter,
other popular brands as well), you can use it to including trills, formata, coda, damper pedal, eighth, and so on) wherever the cursor was
move the cursor. and arpeggiato. Beaming notes is another positioned, or that < f2> moved the cursor
Which brings me to my first complaint: feature provided, either above or below the one step to the right ( Icould see that when I
that's all you can do with the mouse, move notes. It's abit tricky to work out exactly pressed the key) or that the '+ + l' beamed
around. You can't access any menus with it; how to do it, but when going through the notes together. But for me, editing and
you can't drag notes, symbols, rests, tutorial examples, everything happens quite transcribing music on acomputer should be
accidentals or anything at all with it; you can't smoothly. Making the transition from hand- easier than demanding that Ilearn ten to
scroll to another page of music with it; you can held tutorial to working operation takes twenty new commands in order to get apage
barely put the mouse buttons to any use with some perseverance, but suffice it to say that of music written out.
it. In short, the mouse is used solely as a you can beam your eighths, 16ths, 32nds, 1suppose, in fairness, that if Iwas an expert
substitute for the cursor arrow keys on the and so forth, slanting them up, down or in the use of Copyist, my attitude might
keypad. Even broad- based, consumer- horizontally. soften. That holds true for many subjects,
oriented products like The Music Studio or "Erasing symbols can sometimes be though; once you know how to use atool, it's
Music Construction Set ( that sell for $ 100- troublesome", the manual tells us, and it's easy. The hard part is in mastering the tool.
$150 less) put the mouse to good use, letting true. The cursor must be correctly centered That's the complaint Ihave with Copyist's
you select note types, drag symbols all over upon the symbol to be deleted, and this presentation: it's slow learning compared to
the page and run the program from menus. becomes especially tough when using a the time you have to invest. I'll reiterate,
And it's not that the Copyist doesn't use mouse. The phrase the documentation uses though, that once you've waded through the
menus, it's just that the mouse is not enabled to describe the correct placement of the documentation and gained some experience
when the menu options are displayed. It sure cursor in most cases is " intuitive, but using this program, the editing features you
seems like the mouse feature was just tacked sometimes alittle experimentation is have at your command cover everything you'd
on, without any real determination to realign necessary". want in terms of editing music from a
computer keyboard.
In Use " ' Erasing symbols can sometimes he troublesome', the manual
tells us, and it's true. The cursor must be correctly centered upon the Applications
symbol to be deleted — especially tough when using amouse." COPYIST ALSO CONVERTS sequencer
song files into music notation, which will
the product to take advantage of a mouse. Copying bars or sections of abar can speed probably find more use than entering
(Note: Ireviewed the IBM version of the up score entry, especially if your music is a transcriptions into the editor. It currently
Copyist, not the ST version, but the repetitive motif. You can cut and paste, supports Texture. Sequencer+ and Master
implementation is the same.) although you need to insert aspace into your Tracks files, with conversion routines included
According to the folks at Dr. T, the reason score; Copyist doesn't do this automatically. to allow them to be loaded into Copyist. The
behind this approach is that dragging notes to This too can be a somewhat bothersome problem with loading in asequencer pattern
position them, and selecting note values or routine, at least until you've grown used to it. or keyboard performance is that the computer
items from amenu is too slow amethod for Which brings me to complaint # 2. can be all too literal in gauging your
note entry, and in the hands of an Ifound the editing features of Copyist, performance. This problem is one all scoring
accomplished Copyist user, notes can be although admittedly pretty complete, programs have to solve, not just the Copyist.
entered much faster than with conventional cumbersome to use, and not readily learned. For instance, how accurate are you in
mouse techniques. Let me give you some examples to help playing and releasing eighth- notes? Perhaps
While a professional mouse user might explain how Iformed this opinion. the computer feels you released afew of them
contest this statement ( and I'm not arguing a First of all, there are over a hundred too soon to be considered eighths, and so
mouse vs. keyboard input), the point remains different commands available for the user. transcribes them as 16ths. So you'll need to
that if software is going to support amouse, Obviously some will be used more than spend some additional time editing the
then that device ought to be put to its full others, but the fact remains there are lots of sequence after you've loaded it in.
utilization, giving users the choice of which options, editing or otherwise. Usually, This is not really afault of Copyist; it does
input method they prefer. programs that are somewhat involved have a do agood job of faithfully reproducing your
MT JUNE 1987 61
 performance, and allows you to adjust default to any other scoring program on the market; signatures).
settings ( include or exclude) for parameters my evaluations are based solely on my So if you are aprofessional copyist looking
such as rests, dots, stems or beams, or experience with computers as asubject, music for a way to ease your work load, keep on
whatever. But you can get a pretty odd- as an art, and transcription as a necessary looking.
looking score after you first load it in, with administrative duty.) If you regularly hire copyists to write out
64th- note rests and 16ths instead of eighths. So now the questions posed at the parts for you, have the time and effort to invest
You can change the note quantization beginning of this review should be asked again. in learning to use the program, already own an
amount to different variables which solves Does the program make the process of music IBM ( or ST), and use an IBM- based ( or ST-
some of this problem. It's asmart idea and a transcription simpler, with greater speed and based) sequencer, it's possible you can make
handy way to cut down re-editing time, but quality the overall result? In other words, does the Copyist acost-effective investment.

a
you'll probably have to do some tweaking it make the musician's job any easier? And if you just want to have fun with a
before you have ascore you're happy with. Unfortunately, the answer is no. program that will print out music that you can
Transcription is actually much easier doing it input, either by hand/mouse or from a
the old-fashioned way, by hand. It's much sequencer file, check out some of the
Testing
quicker, and the editing tools ( pencil and consumer- based programs.

n
WHICH BRINGS US to the final evaluation, eraser) are alot more user-friendly than those While Copyist is an admirable effort, it falls
printing out the finished piece of music. provided with this software package. The one short of its mark. •
Currently, Copyist supports several output function that might have sped up acopyist's PRICE $195.

O formats: Epson ( or an Epson- compatible

printer), HP lnkjet or Laserjet+ printer, and
work, atransposition feature, is only included
in a roundabout way ( move notes vertically
MORE FROM Dr. Ts Music Software, 66
Louise Road, Chestnut Hill, MA 02167. Tel:
HP- GL compatible plotter. Iused a regular one staff at atime and then readjust the key (617) 244-6954
la Epson printer, not having immediate access to
an HP Ink/Laserprinter.
The Epson configuration prints out in either
ahigh- resolution mode, in which the quality is Carlos Aloma
much improved due to continuous passing of
Guitarist/Composer with
the print head, or a regular mode, which
decreases the resolution, but speeds up the David Bowie, Mick Jagge
print process dramatically. This final point for DMC
brings me to my third and most major
complaint. No, it's not the quality of the
printed page - the music is very crisply defined
and more than adequate for publication or
archive purposes. ( In fact, I've seen the
Laserprinter output of Copyist at the NAM M
show, and could not tell the difference
between it and apage of sheet music or any
professional publication.) But the time it takes
to print out asingle page of music on adot-
matrix printer makes the program almost
prohibitive in terms of usefulness.
How long, you ask? Well, in regular mode
on an Epson printer, it took 81/2 minutes to
print out the first page of the demo song file
included with the program. And in Hi Res
mode it took over half- an- hour. For one page
of music! Honestly, I thought there was
something wrong with my printer when I
accessed printing in Hi Res.
Now, you can multiply this out as quickly as
Ican, and when you do you'll discover it's "When Ifinally went to Digital Music Center, not only did Ifind the
going to take an hour to print out two pages of
training, personnel & equitnnent to satisfy my needs, but Iwas also
music, two hours for four pages, and so on.
Although it speeds things up threefold to
happy to find that it wouldn't cost me my first born."
use regular mode, waiting half- an- hour for the
printer to produce three pages of music is be- EDUCATION SALES DIGITAL STUDIOS
yond the borden of acceptability from my Ilands- On Workshops, Consultation and Design of Fairlight•PPG
point of view. ( Even with a Laserprinter, it Classes and Private Lessons for Complete Digital Music Systems EMU
Musicians and Recording Engineers Computers, Software+Synths Photon Guitar
takes 15 to 30 minutes to print one page, de-
in the use of MIDI+SMPTE Total Music • Digidesign Kurzweil•
pending on the size of the printer buffer.) Equipment and Software Opcode • Hybrid Arts Yamaha • Roland
In fairness, a Laserprinter can produce a Support IlotLine Performer/Composer (reg trademarks)
very high- quality page of music in minutes, but
how many musicians have access to one?
mop 11111111111111111111 1111111111
Conclusions
A PROFESSIONAL COPYIST would run
D IGITAL M USIC
rings around this program. Even an amateur C ENTER
copyist, or your average working musician,
No matter where you are-from New York to Nashville to LA,
could easily write out apage of music faster
than it would take to print out apage with a we're as close as your phone line with training & support
dot-matrix printer, much less edit that page as
well. ( By the way, I'm not comparing Copyist 155 WEST 46TH ST NYC, NY 10036 • 212/302-4606 OR 221-5821

62 MT JUNE 1987
 STRIKE THAT
CHORD :

Bill Bruford, once one of progressive rock's greatest drummers, is now in the vanguard of anew wave of
jazz with his ensemble, Earthworks. Characteristically, he's in the vanguard of using new percussion
technology, too. We talk to him before his band gets to the States next month. Interview by Tim Goodyer.
ONG BEFORE THE record store too iffy told the world you did not (yet)
became the well-organized affair we're know what you were doing, and well-
familiar with today, it was often a thumbed sleeves meant second-hand or
dingy, rambling Aladdin's cave full of unsaleable stock — not to be confused. The
the sorts of people your mother record sleeves told their own story: those
warned you about. Looking through bearing an unintelligible logo supposedly
records, or "browsing", was an art in its needed no introduction, long lists of
own right and, like any art, it had its own equipment meant techno-rock, and endless
customs and traditions. Confidently notes explaining the intricacies of the music
skipping over desirable albums indicated meant jazz.
you already had them, pausing on anything . Bill Bruford, previously drummer with II>
MT JUNE 1987 63
 Yes, Genesis and King Crimson to name "That's the whole point: you get the
but afew, has anew band. Their name is rough with the smooth. Sometimes it's not
Earthworks and the sleeve of their album - so good because the musicians are bored to
called simply Earthworks - is covered with tears, and other times it's absolutely great.
intriguing sleevenotes documenting the As somebody that's spent some time playing
music and its players. shows where it's note-for-note every night,
"Yes, it's jazz", says Bruford with asmile. Iwelcome that. It's no bad reflection on
"I always thought sleevenotes were Genesis but, for it to make sense to me,
wonderful. 1didn't mind being told the there should be aperformance. Iwas
tune was in 5/4 or that the bridge was talking to someone who did 232 dates with
modulated to another key, 1was fascinated Dire Straits, which is very simple music
by it." anyway, and he said after 50 gigs he was
Alongside Bruford, Earthworks consists just looking at his hands. Those people are
of Django Bates on keyboards, trumpet and suffering, they're asleep on stage. Hopefully
tenor horn, lain Ballamy on assorted when Earthworks play, nobody's asleep. The
saxophones and Mick Hutton on double musicians may play wrong notes but they're
bass, aline-up Bruford describes as " a not asleep, I'll tell you that.
pretty fair English group". The arrangement "It's been fine so far except that we
is Bruford's introduction to the activities of haven't done quite as much work as I'd
anew breed of young British jazz musicians. have liked. That's partly because we're
Substitute Loose Tubes drummer Steve under rock management and they don't
Arguelles for Bruford and you have the lain really know you exist without an LP. You
Ballamy Quartet; alternatively, Bates and might think people like me make LPs
Arguelles are active as Human Chain. Bates automatically, but Ihave to form agroup
and Ballamy are also regular Tubes like anyone else. 1have to play in Japan,
members, and it was the musical empathy then in England so the management can see
they share there that first brought them to we can play and that we're reasonable guys.
Bruford's attention. Then you have to do ademo to get a
"They have an arrangement that makes record deal. .. Believe me, things don't get
the pair of them greater than the sum of any easier even when you've been around
their parts", he explains. "Mick, on the 20 years, but that's OK, if the music's good
other hand, is the quiet guy of the group it'll find adeal and if it's not, it won't"

A
who, when all the talking's stopped, is
ND GOOD IT IS. Anyone who
always right on the button. found Bruford's liason with Patrick
"I think they may have looked at me Moraz just alittle on the obscure
with some doubt to start with but, when side will welcome the honesty of
you're working with very good musicians, Earthworks. There's jazz in
you don't have to tell them too much. I abundance, tempering the odd rock
just said: 'I'm going to play this, you play outburst, and only occasionally is the music
what you like'." guilty of the frivolousness that plagued jazz-
The Earthworks sleevenotes also rock in its heyday. But more than anything
denounce the elitist attitudes often else, you can feel there's something going on
associated with jazz, particularly since its when Earthworks are playing.
recent resurgence in popularity on both "There's ahoneymoon period that all
sides of the Atlantic .. . groups go through", Bruford explains, with
"Far be it from me to pronounce on the some enthusiasm. "It's when the people on
state of jazz, but Ithink things have the stage don't quite know what they're
changed abit since the Tubes and their
"I was talking to someone who did doing, when they don't know how it's going
fraternity appeared. It used to be black, to come out. It's like astory book where
232 dates with Dire Straits, which then it got whitish, as long as it was you don't really want to know the ending
is very simple music, and he said American, now it can be anything - white too soon. I'm talking about aspirit, it's an
Norwegian, for example, like jan Garbarek.
after 50 gigs he was just looking attitude and all the people in Earthworks
We think it can be white and British. share that attitude."
at his hands. Those people are Earthworks has the spirit of jazz. At times it Unfortunately, no amount of enthusiasm
suffering, they're asleep on stage." gets blurred of course, but you can sense will sell records. Bruford the recording artist
that when the musicians don't play the falls uncomfortably between the categories
same thing twice, they're playing jazz. of "old rocker", "obscure jazz musician"
"It does require dexterity though: you and "technological innovator". So who the
cannot just become ajazz player because it's hell is going to buy his records?
the flavor of the month. People say if "You overhear these marketing
musicians play well they're showing off their conversations about which age group is
technical dexterity. Well, it's not just going to buy what, and the reason they
technical dexterity, but there is an element don't allow musicians in on them is because
where you can use the dexterity of they're brutal. It has you guys out as idiots.
musicians creatively. You don't get bogged We would like to treat you as adults, it's
down with all this 'should the bass player commonsense. If Itreat you as agrown-up,
play an For an F# here?' It's performance the music will have more meaning to you
music, and the performance will be whether you know there's aflattened fifth
different every night. in the scale or not."
64 MT JUNE 1987
 Flattened fifths or no flattened fifths, a. thought: 'to hell with this, I'll just get back
more major obstacle to Earthworks' to acoustics again and try to figure out what
marketability is the absence of asinger from that's all about.'
the line-up. "Two years later MIDI had come to
"I'm afirm believer that it really isn't drummers and things were getting much
such aproblem to listen to music without ' better. In the meantime my writing had
singing on it." says Bruford. "That has all stultified, Ineeded to write but Icouldn't
been an artificial constriction of the record figure out on what instrument. The
industry: it's either got asinger on it, in electronic set gave me something to write
which case it's something, or else it hasn't about.
and it's nothing. This whole New Age "Now Ifeel like amusician first and a
confusion, which is such alamentable affair, drummer second. I'm not sure I'm much of
has good sides and bad sides. Perhaps one adrummer any more, Idon't really know
of the good sides is that people now seem what Iam, Isuppose I'm akind of
to be able to listen to music without electronics character. Ido apply a
singing. percussive technique but I'm beginning to
"Traditionally the singer is the easiest feel anyone in the band could probably do
person to listen to, next down is the alto that. It doesn't matter to me that I'm a
saxophone, which is abeautiful instrument. drummer; I've only alimited interest in
'
We don't have asinger per se, but we do five-stroke rolls. They're useful tools, but
have aguy who sings on asax. Ithink our then so are alot of other things. You can .11
stuff is friendly and exciting, Idon't think it play your chords in five-stroke rolls and e. ••
41 '
••
sounds as if there's some abstruse game therein lies anew sound. What becomes of
fr:"•
going on that's designed to exclude the interest is the context in which it's used. I
listener. There are no games going on that can play asynthesizer from adrum set
you can't understand, and Idon't want to entirely unlike akeyboard player would
make the kind of music where there are. play it from the keyboard.
"If you play music without asinger, the "A lot of what's happened to me recently
income to the group is that much smaller, has been influenced by Dave Simmons. He
which means that everything is that much keeps producing these instruments that
tougher. No excuses, but you cannot have need playing. It's like having my instrument
the rehearsal time and so on that you'd taken away and being given anew one. 1
like. Now, that doesn't bother me because respect Dave very much; Ithink he's areal
I'm sure the energy of agig makes up for jazz musician now, areal busker. He's
those things. For Christ's sake, this album causing all kinds of mayhem and confusion
was recorded in the time it took King with instrumentation, which is the purpose
Crimson to set up their gear. If you're of jazz, so Ilike that. Ican't possibly not
interested in that kind of thing, you can play his gear - it's too challenging. Igot
hear the phone ring when the saxophone hooked on arig of his which allowed a
player is soloing and you can hear bass drummer to play chords and pitched notes.
drum mics distorting, but that all comes That particular device is all over this
with the music. Flaws always used to come album . . .
with the music but these days standards are "1 have no general rules: what happens is
very high and, if it gets too scuzzy, people Ifind apatch and aseries of pitches or
start to complain. If the John Coltrane chords that sound good and Imake atune.
Quartet recorded A Love Supreme and That tune may end up as strong as the sax
handed it in as afinished album now, it'd melody, which will then probably come as
probably be slung out by the record an obligato to it.
company. "Funnily enough, sometimes Ithink you
"I have always done my own marketing, miss the drum set. There am Idrumming
in the sense that Iwould ask myself: away like crazy and you're not hearing a
'Would Ipay my own admission to an drummer in the conventional sense, you're
Earthworks concert and divert seven or hearing some flutes or some
eight bucks for their album?' Well, the sounding bent timpani. So you have the
answer is 'yes' in both cases, and Idon't phenomenon of the drummer who doesn't
wish to be associated with any music where sound like adrummer. I've had to re-voice
that wouldn't be the Lase." things so occasionally abeat appears as well.

A
SWELL AS being recognized as a That means I'm part-rigged for pitches and
drummer of considerable talent, Bill part-rigged for drum sounds. It's abit of a
Bruford has conducted along- maze."
standing love affair with percussive ).1 apurely technical level, Bruford's
electronics. Like many drummers, he mt.:- currently involves aSimmons SDS7/
tried the Simmons SDS5 when it was first M rig. There are atotal of 11 pads, one
introduced and, also like many drummers, of which is stereo and four of which are
he gave up on it. routed directly to the SDS7 brain. The
"When Ileft electronic instruments in MTM takes care of the eight remaining
about '84, I'd been 'Crimsoned' to the channels, and allows aYamaha DX21
eyeballs", he recalls. "I'd been struggling synthesizer to be triggered from the drum
with stuff that was brutal to play, and I pads..
MT JUNE 1987 65
 editing which very few people seem to be
interested in at all. And on top of that,
there are even more confines in that the
record industry will only accept certain
parameters of sound.
"Something that irritates me is the
attitude 'Oh, you play electronic drums,
they're machines aren't they?' There's a
sense of pressing abutton and the damn
thing starts. Well, I'm here to tell you it's
done by flesh and blood. You have to
strike the thing to make it sound and the
harder you strike it the more the sound
changes, and that's important. It's funny
that you can say ' electronic drums' and that
means adrum machine, but if you say
'electronic percussion,' that's OK."

B
UT, ACCORDING TO Bruford, it's
not only the attitudes of outsiders
that are making the would-be
electronic drummer's life amisery.
"Watching some acoustic players
moving towards electronics is painful. Iwas
an acoustic player and Imoved slowly, but
I've got there. Keyboard players would
11›"My chords and pitches come from the insist on trying to play piano on a
MTM pads, and the others are additional synthesizer. Inever understood why,
sounds. That creates afair range — you because it's acompletely different
could even argue too great because people instrument. And there are drummers
like to have areference for sounds. I'm struggling to make an electronic drum set
really not sure about any of these things, sound like an acoustic set, and it doesn't
but when the music works, it all seems the and it never will. Instead of wasting all that
most logical thing in the world." effort, they should start doing something
Bruford claims the DX21 sounds "like interesting with it. Ilook out there and it's
junk" when played manually from a not nice for drummers right now, but
keyboard, yet comes into its own when they've only got themselves to blame."
fired off the pads. Enough, though, of where technology
"I got very lost with velocity-sensitivity", may or may not be taking drummers in the
he admits. "Firing it so the timbre will future. Let's get back to this drummer in
change with the strength of the stroke is particular. Where will new technology take
essential to drumming. Ithink you need a Bill Bruford next?
second sense for figuring out what's useful "The Simmons SDX, 1think, is going to
in sonic terms. be abeast of an instrument. It's not fully
"I can't hear anything sounding good fired up yet, but I'd like to take one of
until I've played it with another person. I those onboard in summer. Then I'll
can understand when you've got some probably have to disappear for another
horrible frequencies present in asound that three or four months while Iget it figured
make it unpleasant, but then Ican find a out.
use for all kinds of sounds. One of the "After that Ithink my next direction will
nicest things is to provide rapid bursts of be sampling. Iknow drummers are late on
sound with ear-grabbing variation. If you've this: keyboard players, as usual, are way
got 12 notes played very quickly, you try to down the line from us. Iimagine producing
select 12 different sources so the contour of sampled sounds and playing them will be
"Traditionally the singer is the the sound is exciting. My kit is set up to ultimately wonderful. Playing DX pitches
easiest person to listen to, next have unbelievable extremes of sound, so a and chords is purely an interim phase,
rapid flurry produces the oddest although this album is so dependent upon
down is the alto saxophone, which
combinations. At times I've felt it's suicide, them that Icouldn't really play it on any
is abeautiful instrument. We don't it's absurd. Then, just when you're about to other instrument; 'Bridge of Inhibition'
have asinger, but we do have a give up, you get the most glorious spray of cannot be played on any other drum set. If
sound. Iprogress to the SDX, Iwill have to keep
guy who sings on asax."
"I must admit Ihaven't found this easy this whole rig just to play that one song, so
work, but it makes sense for the future and you can get caught in atechnological time
it is terrifically exciting. warp.
"You know, Idon't know why we expect "Eventually, Iwould like to play adrum
to be able to sort new technology and new set where the drummer's skill is judged as
techniques out so quickly. Maybe it's the much by his use of timbre as his five-stroke
result of amarketing attitude: 'Here's your roll. Ithink somewhere there's an ability to
DX7, hey, plug it in and away you go'. You have the five-stroke roll and improvising
can do that, but there's this other depth in sense plus, say, knowledge of sampling." u
66 MT JUNE 1987
READER TAPES Reviewed by Yung Dragen. IF YOU'RE
NOT USING
"DONT BITCH - THINGS can get worse" is there's even a " happy" tune (' Growth an
agood modern-day translation of one of the Awareness').
SELL
main tenets of Karma. Last month 1made a Ireally did dig the dirge piece ' Free Speech'
good deal of noise ( two paragraphs worth) (complete with indecipherably processed IT!
about such minor physical problems as shin voice tapes), and many of the other pieces
splints and pulled muscles. Shortly thereafter, I wore better the second time around.
broke one of the myriad of bones that make up There were, however, a few regrettable
ahealthy human foot. Namely, aleft one. No pieces. ' Back Side' is corny - it may be cute live,
complaining this time - let's just say that I'm but please don't waste my time being cute on a
not dancing these days. So, this month we tape. And ' Back Beat' is just a boring drum
concentrate on more mental material - program with the same ( albeit interesting)
science fiction, revolution, and dirge rock. sounds throughout.
I'm proud of the fact that Ialways start And now for The Collapse of the Empire and
these reviews off on ahigh note - namely, I Other Erotic Fantasies by The Peace Mob.
really dig the first tape. Taking honors this The cover is aseries of three black and white
month is Reactivation by Human Folly. xeroxes with yellow marker and the caption
Human Folly is comprised of Alan Porzio on "A Titan 34D explodes just seconds after its
synths, computers, tapes, and vocals; Tim launch destroying a payload valued in the
Fluharty on all of the above minus vocals; Max hundreds of millions of dollars".
Urban on guitars; and Christopher Hoard on Want more? A statement inside says that
tapes and keyboards ( Alan and Tim also did "The Peace Mob is us, is you, is whatever you
the production). Imagine something along the say it is. If you think that war is acrummy idea,
lines of ' 70s European progressive rock the Peace Mob may be for you. The Peace
(Camel, etc.) with tapes as opposed to vocals Mob is for all types, even animals. Especially
on all but one song, 'Tranquility' ( nicely animals!"
handled by Alan if not especially remarkable). Even more? How about song titles like THINK
Imagine a science fiction storyline about 'How Blue was your Zeitgeist when Ike Iced
something called a " reactivation processor" You?', ' 10- Point Plan for International
BERTECH
(song titles like ' Reactivation Procedure', 'The Anarchy', and ' America Can't Come?' FIRST!
Boys in the Machine', and 'Technoverload' A little bit more? How about the
give you the idea). And imagine it all done with "musicians" themselves? Greg Fain,
slightly more modern sounds and edge ( as "Poetmaster", raging against all sorts of
opposed to psychedelia). All qualities 1enjoy. governmental and societal evils in an animated
They even went through the trouble of adding cross between a smirk and passion

)iskinakers
background dialog, noises, and bridging sound (occasionally through echoes with amadman
effects - in stereo, at that! on the delay knob); Mike White,
Not for dancing or headbanging, but a "Axemasteroid", on scabrous guitar through a
wonderful concept piece for headphone slightly overdriven amp with occasional MAKES THE RECORD
listening at night. Most important to us home BUSINESS
echoes, fuzzes, and phase shifters; and Robert
EASY FOR YOU...
studio warriors is that this very competent Cult, " recording engineer" and afore-
effort sounds like it was done without any mentioned madman, mixing all this together
seriously esoteric equipment - just fairly without much taste for variation and not we
straightforward synths, drum machine, guitar, bringing White's guitar up in level until the handle the
tapes, processing, and ( uh-oh, this one's hard) second side. jacket design.
imagination. Sounds refreshing instead of Now, Ihappen to agree with about 90% of printing

e
derivative. Or let me put it another way - 1 this band's opinions, but an hour of this and color
have never enjoyed any independently minimalism and Fain's overly forced and seps
released tape this much on first listening. Even cynical delivery made me shake my head and
the color xerox cover was great. Our editor hit " stop". Ifelt no desire to get up and shake
we handle the .%
was of like mind - he almost didn't give me our my fist along with him. Listening to apoet's
pressing
one copy . . . political essays over guitar can work - dig Billy
along with
On to Tomorrow's Rein by Amongst. Bragg - but it doesn't here. Iwould be curious
mastering, plating
Conspirators here include Tommy King on to hear what Mike can do on guitar without and record dikt
bass, guitar, synths, and drum programs and being buried behind distant miking and these
labels
Jeff Wilkins on guitar, synths, tapes, and ( also) distractions up front, but instead Ican't really
we handle the
drum programs. Knowing the local group of make acomment on his playing one way or
II - cassette
musicians and bands that Amongst is from, I another. duplication
was expecting something abit more wall- of- Next month, some rock ' n' roll - Ipromise.
and give you the
noise and dirge- like. What Igot hit with Until then, the backlog's almost gone - send in
complete job...
instead was cheap rhythm box ( replaced by those tapes!
it's that easy!
heavy, processed effects on a couple of
pieces), abassline ( sequenced, synth, or the Contact addresses: Human Folly do CALL TOLL FREE fTT
real wood thing chorused), echoed Earmark Productions, Alan Porzio, 4269 1-800-468-9353
monophonic synths on top, and overdubs of Moore St., Los Angeles, CA 90066. Fo, 011l
Complete Price Package
various types in arather minimal brew. Amongst c/o Rarefaction, PO Box 390331,

e)"IS kCC akers

e
On first listening ( at night), Ididn't like it. Mountain View, CA 94039.
On second listening ( during daylight) I Peace Mob c/o Crabmeat Recording and
lightened up a bit, and realized that the Publishing Company, 1035 Revere Ave., San NEW YORK • CHICAGO
material was also lighter than Iexpected - Francisco, CA 94124. PHILADELPHIA
MT JUNE 1987 67
 Hybrid Arts'

o MIDITrack ST

Until recently, the selection of sequencer programs for the Atari Unfortunately, it's been a long wait for
Hybrid Arts' entry to arrive, but it's finally
ST has been quite limited compared with the number available here. Iknow it's acliché to say it's been worth
for the Mac. Now Hybrid Arts has released a pair of ST- based the wait, but phrases become clichés because
they state the truth eloquently. And the truth
sequencers which not only boast impressive editing features, but
is, it has been worth it.
also support a variety of synchronization systems.
R,.-ttilt by Clui \hon. Format

T
HE ATARI ST has been finding its way more than ayear ago, people began looking at M ID ITRACK ST ( MTST) is a60- track sequen-
into more and more musicians studios spending alot less for ahigh-powered music cer, coming in two versions: SMPTETrack ST
and homes lately. Its hard to pass up a sequencing system than they previously had. and SyncTrack ST. They are identical
computer that offers the features of the Comparable 68000- based computers, the programs, the only difference being the
ST plus MIDI compatibility for less than Macintosh or Amiga, both cost hundreds synchronizing capability. With each package
$1000, and the 520s have been selling for more than the ST, plus they required you to you get a hardware extension called the
under $ 500. buy an extra MIDI interface. Tack on the cost SyncBox ( Beta versions of this product were
Consequently, when Hybrid Arts began of a good sequencer program and we're dubbed the STync Box, but that didn't go over
developing their flagship sequencer for the ST talking an easy $ 2000. too big with the marketing folks at Hybrid),
68 MT JUNE 1987
which handles all the sync pulse output ( more keyboard and mouse, but it's whatever feels will recall which tracks are turned on, the
on that later) and functions as akey lock for comfortable to you.) tempo and start/stop times ( for
the MTST. In other words, the disks them- MTST is avery visual system, making it easy autolocating). This is very handy while you're
selves are not copy protected, so you can to keep tabs on just how you are laying out the building up your tracks, as you can preset your
make backups to your heart's content, but the structure of your work. locate points, or do an A/B comparison
program won't function unless it's hooked up At the control panel, familiar tape recorder between two or more performances with an
to the SyncBox ( either SMPTE or Sync, buttons are used to start, stop or pause the easy click of the register.
depending on your version of the program). sequencer's operation. There is no record Section definition commands are also
Since it connects to one of the joystick ports button, per se, as everything played is accessed at the control display. These
and the RS232 port, you just leave it hooked automatically stored in abuffer; if you want to parameters allow you to define your patterns
up; a nice solution to piracy that doesn't save it, you do so as described above. If not, if you want to use the drum machine method
penalize legitimate users. just start the sequencer again and record the of sequencing. For example, let's say you want
When you boot the program up you're
presented with asplit screen; the left half is
the track display, the right the control display. In Use " It can get pretty involved, but the fact that you can run different
Across the top of the screen are headings for loops concurrently with real-time recorded tracks makes MTST the most
the main functions, which are accessed with
the mouse or, in most cases, through direct
flexible seiuencer Ihare ever worked with."
keyboard input. You can see 20 tracks at any
given time. To view or use further tracks you part over until you're satisfied with it. In to segment apart of atrack that is currently 50
scroll down the screen, or use the scroll bar to addition to a counter that keeps track of beats long, but you only want to make a
move more than one track at atime. It's avery where you are ( beat- wise), there are four pattern out of beats 8-24. Click on the section
neat layout, and not too cluttered. additional counters which are used for punch- icon, select the start point ( 8), the end point
The program allows you to be up and in/out and cueing up to alocation in the track. (24), and point to the track affected. Voila,
running very quickly. Recording is simply a This last function is what negates the need for beats 8-24 are now defined as section ( or
matter of pressing the space bar ( or clicking a rewind button; you can instantaneously pattern) I.
on the play " button" with the mouse) to start locate to any point in your music. By setting You have the ability to define 100 sections in
the sequencer, playing some music into it, and the location n beats and accessing the this way, and you can create sections from as
then clicking the keep button in the control autolocate function ( again by direct clicks of many tracks as you like. So if you want one
display when you've finished. Your music will the mouse), you cue up to this point section to comprise five tracks that include
be stored on whichever track you had immediately. Whether it's 20 beats in or 2000, drums, bass, keyboards, horns and lead, it's
selected. You don't have to decide which track you are located to that point as if it were astart done exactly the same way. You can also
you want to store it on first, though; you can point. This makes linear- type sequencing as define multiple sections using the same tracks.
play, stop the recorder, choose your track and quick as if not faster than pattern layout, In other words, any tracks can be combined,
then store it. To listen back, simply press the because you can keep moving your start points segmented or redefined in any way you want
play button, or the space bar. down the track as you build up your music. for as many times ( well, 100 anyway) as you
Overdub works exactly the same way - just The punch-in/out feature works the same like. Sections can now be linked together by
place your overdubbed parts on different as with most sequencers; you set your punch- using the Assemble chain command.
tracks. As you can see, the layout of MTST is in and punch-out points, point to the track you This makes for a very flexible sequencing
analogous to that of a multitrack tape want affected, and play. Save the result to package: you can record and play back either
recorder, and thus seems to favor the linear another track, or the same one if you want. as a pattern- type sequencer, or a linear
method of sequencing. It is not limited to that MTST automatically places the appropriate recorder, or both at the some time. That's right
type of operation, though, because it can also note- off command at your punch points, so -you can have adrum loop or an entire song
use avery flexible pattern method á la drum you won't get the dreaded MIDI drone notes laid out as aseries of chained sections, and also
machines. hanging over if you punch in during the middle overdub parts as you normally would on a
Each track can be named, assigned aMIDI of anote, or if alegato passage really has no multitrack recorder, without any attention
channel, and protected from accidental open spaces to punch into. paid to patterns.
erasure. The current state of every track is You can also enter your punch- in and The remaining functions are all easily
always on display, and you can easily see punch- out points on the fly. This convenient accessed from the drop- down menus at the
whether or not you've made changes since the feature allows you to avoid the meticulous top of the screen. Normal sequencer features
last time you saved your work, when searching for the exact start or end points that such as copy or mixing of tracks have become
something is occuring on any given track, and makes sequencer punching such apain. If you pretty much standard, but a helpful feature
how much memory aparticular track takes up. do want to get an exact punch point, though, included here is the ability to unmix previously
combined tracks. Providing that the mixed
tracks had different MIDI channel
Operation "The majority of commands are duplicated on the ST assignments, you can separate them out again
keyboard, so if you find it faster to work with single or double strike to the track ( s) of your choice.
Quantizing tracks is done after the fact, and
commands than with the mouse, it's just as easy to do."
the results are saved to either the same track
or to adifferent one ( so that you can preserve
Tracks can be muted or unmuted by clicking you can step through a96- clock resolution for your original performance). You can quantize
the arrow indicators next to the tracks on or each beat and find the precise moment when to the nine values already provided ( half- notes
off, and solo'd in asimilar fashion. the MIDI datastream starts or ends. to 32nd- triplets), or use any value you wish.
MIDI channel assignments are changed in The duration of the notes can be set the same
the same way: go over to the MIDI channel way, which is useful for those short sequenced
Features
indicator with the mouse and click the button passages.
to either raise or lower the channel number. GLOBAL TRANSPOSITION, TEMPO, MIDI You can adjust the velocity of the notes in
(Keep in mind that the majority of commands Thru channel selection, sync type selection several ways: shift the velocity values by a
are duplicated on the ST keyboard, so if you (Internal. MIDI or Sync Box/SM PTE), constant amount to make the entire track
find it faster to work with single or double metronome, patch changes and an overall louder or softer; scale the track to expand or
strike commands than with the mouse, or memory usage bar are also accessed on the compress the velocity range; or set all the
simply prefer it that way, it's just as easy to do. control display. In addition, there is memory notes to the same velocity level.
Ifind myself using a combination of both set aside to store 27 register settings. These Chain assembly is accessed from these'
MT JUNE 1987 69
> menus, as is section review. When you link song, you don't have to start your tape and note and you liked the natural flow of the
patterns together, adifferent screen replaces sequencer rolling from the top. Or if you are music. Or you just didn't want to bother
the normal MTST display. Four columns of writing music for film/video, you can have finding your in/out points. With the editing
two pieces of information are provided, the your music sync up directly to picture while screen, you have complete control over all
first being the time the pattern you want you compose without additional synchro- aspects of your performance, so you can go
played starts playing, the second being the nizers. Just take the SMPTE output which into that track, quickly locate that one note,
number of the section. The fact that you can would have been previously recorded on your lower its velocity by 20 or 30, and have it
see 40 patterns laid out at once, plus the beat video ( normally on track 2, or control track if repaired within seconds.
at which each pattern starts, makes song as- your VTR has one accessible) and connect it to The editing screen is neatly laid out,
sembly asnap. If you need more than 40 link the input of the Syncbox. Set your offset point, showing the time the event occurs, the hex

o
points, there are nine more pages available cue MTST to SMPTE lock, and you're information of that particular note or MIDI
(for atotal of 400 link points) so just scroll synchronized to video. Now you can see event, arepresentation of the note ( which you
down to the next one. immediately if your music is going to hit right, can actually play from the editor by clicking it;

a
and touch it up if it doesn't. And even if you are very helpful in finding which note you're
MIDI not working with video. SMPTE is the most looking for), the actual note itself ( A5. C3 and

u
THERE ARE ALSO MIDI options which stable sync pulse you're going to find in this so on - amuch easier form for musicians to
include input filters ( so you can selectively day and age. understand than aMIDI note number), which
record after-touch or controller changes), a

o
Iwill mention that other synchronizing MIDI channel the event is assigned to, and
screen which lets you transmit a variety of pulses and methods are also available; Type 0 what the event is ( eg. note-on/off, control
MIDI messages (all notes off, tune request, and RFSK, 24,48 and 96 ppqn TTL, DIN gated change, and so forth).
and so on), MIDI output choices ( song TTL, aspecial sync tone called Hybrisync, and You can change pretty much anything you
position pointers, echo MIDI events and the click. But if at all possible, just get the SMPTE want at this level: insert or delete events,
like) and patch limits (so that you can set version, as you'll never want to go back to extend notes, add sustain pedal activity where
MTST to accommodate your synth's patch using any other kind of sync. none exists, change timings...you name it, you
format). Once you've assembled your song, you are can edit it. You can even get your tracks
There is also an extremely handy command asked to save this information to a track of hocketing if you want to take the time to do it
which lets you offset every track individually your choice. The reason for this is that you can (assign every other note or event to adifferent
up to 96 clocks either early or late. This lets have more than one chain functioning at once. MIDI channel and have the different channels
you adjust in detail the sync of tracks internally Put your drum loops together in one chain, playing different instruments - asolo line is
and with each other, so if your kick on track 5 your bass/keyboards or whatever on another, something to hear when the timbre changes
every note).
Verdict "The fact that you can do both kinds of sequencing (pattern and In short, then, MTST gives you control over
every facet of your music. That's no mean feat
linear) in one package is great; that you can do them both simultaneously in itself, but to implement it in such away that
is simpIN incredible." it is easily achieved, and make it almost intui-
tive, is amajor programming accomplishment.
seems to be alittle ahead of the bass on track or add just achain of tom fills. If you forget
4, you can lay it back slightly until you achieve which tracks are assigned to which sections, Conclusions
the elusive " feel" that's so important when it use the section review function, which tells
comes to rhythm tracks. You see the EVERYONE DEVELOPS THEIR own
you the current state of all of your sections.
relationship of all 60 tracks on one screen, so sequencer of choice, and after working with
It can get pretty involved, if that's the way
it's easy to figure out which needs to be SMPTEMate for some months, putting it
you like to do things, but the fact that you can
adjusted forward or delayed. through some very demanding and gruelling
run different loops concurrently with real-
There are safety features ( which you can projects, 1 have made this sequencer the
time recorded tracks makes MTST the most
leave on or turn off) which alert you before center of my own music production setup. It is
flexible sequencer 1have ever worked with,
making certain actions, like deleting or easy to use and learn, and packs so many
bar none.
replacing tracks. You can also make the features in that it becomes astandard to which
Tempo changes can be programmed in a
program create backup files automatically. other systems are compared.
similar fashion. A separate screen comes up
And to top it all off, this sequencer locks That you can do both kinds of sequencing
and you enter the time you want the change to
directly to SMPTE. A desk accessory, (pattern and linear) in one package is great;
occur and the new tempo, and at that time the
SMPTEmate, enables you to read and write that you can do them both simultaneously is
tempo changes. It would have been nice to see
SMPTE in any of the four accepted standards incredible. The fact that the package includes
an easy method to accelerate or ritard the
(30, 25 or 24 frames per second or Drop its own SMPTE reader/writer is an excellent
tempo ( like ascale function from one point to
Frame). You can also dub timecode, so instead value in itself, that it also synchronizes to
another) rather than having to enter in each
of just re-recording timecode from your video SMPTE makes it one of the first of its kind.
minute change for every beat, but still, this
copy over to your 24- track ( or I6- track) In summary, then, MIDITrack ST is state-of-
does give you complete control over any
master, you can regenerate fresh code. Not the-art sequencing at its best. The fact that
tempo changes you care to make.
only this, but user bits are also made available anyone can get themselves a complete
A Glue feature lets you cut and paste
for you to add various forms of identification SMPTE-based sequencer like this one for less
portions of any track anywhere you want.
(eg. date, numbering reels or takes, and so on) than $ 1200 including the entire computer
Simply pick your start and end points, select
along with the normal timecode that is package, with no hidden expenses, makes this
the track to be cut, select the track and time
generated. the best value on the market in my opinion.
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RICHARD HOROWITZ & SUSSAN DEIHIM
Both Richard Horowitz and Sussan Deihim have associated with some of the greats of music and
dance. Their latest work, Desert Equations: Azax/Attra, brings their unique electronic and vocal
textures to vinyl. Interview by Rick Davies.

M
USIC AND DANCE have always already, and they certainly don't seem to be the genres that Richard had been
gone hand in hand, and live sticking to aformula in their compositions. integrating into his own music for many
performance has always been the Mind you, that's not at all surprising, years. Performances around the east and
most natural way to bring the two considering their backgrounds in west coasts then ensued.
elements together. But take away improvisational performance art. As they were preparing for anew set of
either element, and one is left with only a„ During the '70s, Richard played performances, Richard and Sussan explained
suggestion of what is missing. So, perhaps - keyboards with Alan Sylvas' Celestial how they go about making their own
the reason why Richard Horowitz' and Communications with Anthony Braxton, unique brand of music, and about the
Sussan Deihim's recordings are so satisfying and upon his return to the United States in coincidences which pique their curiosities.
is because of the extent of her contribution 1980, joined forces with Jon Hassell, Al Take, for example, the title of the new
to the music — take away the visual Dean. and Michael Brook. Sussan, on the album, which Richard seems to have
element, and she's still there in the mix. other hand, worked with Maurice B'ejatt in assembled from various sources . . .
Now, Ihave to admit that I've never Paris and Lindsay Kemp in London, before "'Azax' comes from this night when we
seen one of their performances, but after New York's La Mama theater provided her weren't getting along very well, and Iwas
hearing their most recent album, Desert with the type of support she needed. staying in afriend's loft. Iwas looking
Equations:Azax/Attra, I'm not likely to miss Richard and Sussan finally joined forces through some books, and there was one
the next opportunity to see them. The on the track 'Queen of Saba' on Richard's sculpture called 'Azax Axis Milo', which
import LP exhibits some of the most Eros in Arabia when they discovered uses the same ratios that I've been dealing
intriguing other-worldly production it has common ground. Richard had spent five with. It was also used in Metropolis, the
been this pair of ears' pleasure to take in, years in Morocco studying the ney, or Fritz Lang film. There is this statue that
and Richard's subtle keyboard textures and oblique flute, which works on atuning everybody bows down to. Iwas reading
Sussan's distinctive vocals make this record system common to Arabic, Persian, and about this, and reading about this article
like nothing you're likely to have heard Turkish music; Sussan was from Teheran which had derivations of this particular
before, let alone hear again. For the two (where she was amember of the Pars ratio and the ways it is used — the same
appear to be preparing for their next project National Ballet), and quite at home with ratios that are part of Arabic music, part of
72 MT JUNE 1987
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'Egyptian music. and oddly enough, now that they are based when it comes to deciding on which tracks
"It's avery popular subject right now. in the US, they are finding that Europe is to put on an album
This whole thing hout equal temperament; exptessing the most interest in what they're "I personally like what is on the record as
it's avery confusing term. First of all, they doing. In fact, Desert Equations is currently much as the totally atonal, harsh music. I
destroyed the gothic cathedral, and created available as an import only, through Rough don't know why arecord can't have ten
equal temperament, and the next thing you Trade, Important Records, and New Music kinds of different things on it; something
know there were skyscrapers. That's why Distribution. that surprises you ten times. Idon't know if
people in the west all have had tempers." The duo are now preparing for aseries that's astyle, or acommercial rule for a
Richard laughs, but leaves the impression of concerts around Europe; it seems that record for people who don't like to be
that there's ahint of seriousness behind alternative artists are still up against agood shocked in general, and that those who
this. "People think that if you have equal deal of hesitance in the USA, even in want to get shocked are asmall number."
temperament you're going to have agood performance spaces which usually The pair's next recording project is most
temper. But that's. not true, because equal accommodate "avant-garde" performers. likely going to be asolo vocal album, and
temperament makes people unhappy. "They tell us they are interested in ' more based on the calibre of the music on Desert
"It's like areflection of the destruction of established' performers like Philip Glass, or Equations, one can rest assured that this will
that whole cosmology; it's not just equal Phgip Glass, or Philip Glass...the fathers", certainly be like no other acapella music
temperament — its that whole world of all says Sussan. "We're like the rotten kids." you've ever heard before. This is obviously
of those subtleties between all those notes Well, let's hope that changes. because something that Sussan is looking forward
and all those pure architectural spaces. The .'established" or not, this pairing's musii: to, and apparently, she's getting her
whole thing is pretty serious. definitely deserves attention, and Desert sampling chops together for this next
"This statue of 'Azax Axis Milo' Equations even has some elements of endeavor.
happened to be part of that same field, and "accessible" music that many awestern ear "We're working on that now — using the
also had to do with Metropolis. I can recognize. Richard and Sussan both computer and the Akai S900 to get some
photocopied the page, showed it to Sussan laugh at the idea of this being their ideas. I'm so happy because usually, since I
the next day at rehearsal, and she said 'Gee-. commercial album. am asinger, Idon't really get into
Ijust went to see Metropolis last night!' So "We didn't feel we had to make any electronics. Ijust get into 'What is this?
Isaid, 'OK, that's agood coincidence'. I compromises, but we did use asnare drum. What does it dn? Ilike this program.' That's
like to work with coincidences alot. This is the first snare drum that I've used in my knowledge of gadgets. Ijust program
"The 'Attra' pm comes from the
attraction quotients", says Richard, referring
to the dozen or so odd equations included
in the Horowitz/Deihim press pack. "The
attraction quotients are just this funny
thing. Some people look at them and try to
understand, and then some people just get
it and they still to snicker .. ."
Well, what would you make of this:
elude
seduce —
deduce
delux
deluge =
delude

or,

debutante
seduce X deluge =
debauche
debauche
seduce X debutante —
deluge

Snicker ..."It all equals one, actually."

It seems that Richard and Sussan's 'Azaze
episode was another in aseries of
interesting coincidences. Richard explains
that at one point he went through his years! Idon't know if you want to call that things that help the voice, but Idon't use
"oblique" period, which started with his acompromise, or..." the computer. I've just started, really.'
playing the ney "State of Art communication", Sussan One might get the impression that she
"The oblique flute, yes. There is one intercepts. has already been using samples to produce
record Idid called Oblique Sequences. Paris "It was fun." Richard sounds as though the repeating rhythmic vocal lines on Desert
has this magazine called 'Oblique', and this was almost experimental for them. Equations, bu in fact, all of the vocal parts
there is also atheater called the Oblique "What happened was: 'Gee. An SPI 2. Look on tunes like 'Azax/Attra' are multitracked,
Theatre, and they publish this sort of at this! Phil Collins snare drum sounds! not sampled — the result of stunning vocal
performance art. Iwas really into this term Boy, these sound great!" They obviously techniques, as Sussan is adamant about
'oblique' for the whole time Iwas in enjoyed making this one. making clear.
Europe in the early ' 70s. Then when Imet Of course, this record is net exactly "This is nor sequenced! This is not
Hassell, he said `I'm going to do arecord typical of everything the duo has recorded sampled! There is only one song, and there
with Brian Eno'. Ididn't even know who lately, and atape of some pieces they're are only three times you hear asampler on
Eno was, but of course it was he that put saving for later reveals that they really have that one song. That's it! It's my life being
out Oblique Strategies . . ." shown more restraint than they might let spent on techniques! Also, nothing is
'Never Tech No Foreign Answer' was on to. In fact, they claim 30-40% of their processed so that the quality of the voice
Richard's first composition following his work is much more abrasive than the pieces changes, except for some harmonizer
return to the States in 1979. Both Richard on Desert Equations. Yet Sussan does not effects."
and Sussan spent time working in Europe, feel this is something which is necessary Richard adds: "We had an Emulator >
MT JUNE 1987
75
 ott• available to us, but an Emulator is not good Richard's interest in synthesizers didn't weaving terminology. Arabs say that the
enough to sample her voice, especially in come from his desire to build on his loom has asoul, that it breathes. So, maybe
the high end. It just wasn't good enough." keyboard techniques, but from his search the sound of awarp is the sound of asoul
In fact, there are alot of sounds on the for away to extend the sonic abilities of his modulating from one space-time dimension
record which are very hard to identify. flutes. This may explain why Desert to another. .. Does that sound too much
Sampled percussion and the real thing are Equations does not sound keyboard-heavy, like Shirley MacLaine?
often combined, and it can be difficult to despite the numerous synths and samplers "This whole tuning thing is not an
tell which is which - thanks to some listed on the album cover notes. intellectual thing for me. 1don't like the
creative processing, as Richard explains. "There are no piano-like sounds on the idea of thinking about it first; it was very
"My favorite sound is one of Steve record, nor solos. I'm not particularly much amatter of hearing the thing first,
Sheehan's on the first piece called 'Ishtar', technically- inclined. Ihad done alittle work and really feeling it. There are hundreds of
RIB where he places Balinese gongs flat on the with synthesizers when Iwas in Paris, but tuning systems out there these days, and
floor, and plays them so that you just hear not much. So then 1came back to the with the new DX7 you can get very precise.

13
the overtones. My favorite trick for States, and Frank Serafine said 'Hey, I'm With Jon Hassell, Ilearned about the
processing percussion is with the Lexicon getting aProphet 5 - you should check this Scalatron, which picks out thousands of

111
224X's overtone-splitting program with no out! It's really good, and you can tune it, overtones that you can tune to. It's made
delays. I've been using the overtone splitter too.' Except that the tunings weren't all that by Motorola; it's one of the original tuning
for awhile, especially on the ney, which is stable. Igot one of those, and that's where synthesizers - ahuge keyboard thing which
very breathy with circular breathing. You Istarted." can have 1700-something notes to the
can get into this thing where you can 'tune' For five years in Morocco, Richard octave!
the breath, so there's a 'shadow' around the studied ney, and now he is able to apply "I've had to swallow the technical stuff
flute. A lot of our work uses just the 224X what he learned about Middle Eastern because I'm interested in sound, not
with no delays." music to his own music. "The ney is the because I'm interested in technology."
... Indeed, the album is often dry in the key to the Arabic, Turkish and Persian When asked about the micro-tuning
reverb department, yet certainly doesn't systems", says Richard as we sit in rush- feature on the new DX7, Richard expresses
suffer from alack of ambience. hour traffic on the Bay Bridge heading for optimism regarding the future of non-equal
Many of the unusual textures on Desert Oakland. "For aney in C (there is one ney tempered tunings. "Ithink it's wonderful
Equations are the result of bringing together for every note in the scale), called the that there is all of this stuff out there that
independent musical elements in the Duca, there is no note for Eflat or E people can experiment with and get to
recording studio, and as Mr. Horowitz natural, there is only Ehalf-flat and B half- know about. It's just that Iwas lucky
explains, this sometimes turns out to be fla t, so the minute you can at least make a enough to hear these things through
part of the composing process as well. sound on the ney, you start hearing these historical context. Ithink it's good to be
"Each piece is different. There's no set half- flats because you have to when you lift able to go back and see how it was used
rule to 'do this, then do this, then this .. your fingers up." before. Say, for example, that Ihadn't had
There's one piece called `Jurn Jum'; that It becomes apparent that these overtones the opportunity to be in those places and
piece was an Electro Harmonix 16-second have naturally led Richard to applying the pick up on this stuff in the way that Idid,
delay loop of these furious drums and flutes 224X's overtone splitting program to all maybe Iwould have just stayed in some
in this rhythmic pattern that was in 40/8. sorts of instruments. apartment and listened to my warped
Then, Sussan had this vocal piece that was Yet although the ney also appears to be records for ten years - probably would have
done ayear before, and that was in the the key to Richard's involvement with had the same effect!" III
same tempo. We put both of those pieces technology, he is quick to point out that he
together through the 224X - it was just is not interested in technology for RICHARD HOROWITZ
after the 224X came out - and split all the technology's sake, and that his involvement DISCOGRAPHY
overtones. We didn't slow it down or with Middle Eastern tunings does not come Oblique Sequences/Solo Ney Improvisations,
anything, but it ended up sounding like this from an intellectual curiosity. He first heard Shandar Records, Paris, France.
drone. There are all these formant qualities the ney in Paris when he was 19. Eros in Arabia, Ethnotech Records.
in the drone that just sound very unusual. "I never thought it sounded warped or Desert Equations: Azax/Attra, Crammed
We never know what we're going to come out of tune. 'Warped' is afunny word; it Discs, Brussels, Belgium. •
up with - although now, with the comes from Viking term `wharpen' from
Macintosh it's getting abit more
formalized."
It seems, also, that there are also no hard
and fast rules when it comes to Sussan's
vocal pieces. Sometimes she develops ideas
in the duo's eight-track "ideas" studio, and
other times she develops her music from
loops created on the Electro Harmonix
delay.
"Some really nice pieces came out of
that", she says. "There was apoint when I
had to work by myself; Iwas tired of doing
just one vocal, then listening to it, then
doing another. Then Istarted doing these
delay loops, and four or five pieces came
out of it."
Sometimes her loops are used merely as
starting points, and other times, they
actually appear on the final cuts.
"Sometimes it works out that you can
actually re-record it. Sometimes, you never
get the same thing. If it's too hissy, you've
lost the piece."
Unlike so many other keyboardists,
76 MT JUNE 1987
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 Casio FZ1
Sampling Keyboard
Low-cost I6- bit sampling has finally arrived - and it bears the name Casio. How
does the FZI compare with what's already available in the I2- bit arena, and how
are pro musicians likely to react to it? Ret Lew by Jim Burgess.

M
ANY READERS ARE probably ready since it was first shown at the NAMM show in and line input for sampling. Also provided are
to flip to the next page right now. January. That's net surprising; after all. the jacks for footswitch/sustain pedal and a
After all, how could acompany like instrument sports true I6- bit linear sampling, a variable pedal that Casio likes to call " Foot
Casio make a truly professional powerful onboard digital wave synthesizer, Variable Resistance". All are Y," phono jacks.
sampler? Start changing the way you eight individual outputs, and ( perhaps best of Getting around the FZI is abreeze. When
think of this huge Japanese conglomerate. all) abuilt-in 96X64 graphic display screen for the review unit arrived, Iproceeded to give it
Forget about the watches, calculators and toy visual editing. the " acid test" - to see how far Icould go with
keyboards. Casio is moving upscale, straight At first glance, the FZI looks like a pro it without having to look at the manual. It's so
into the professional market, and with machine with its sleek black finish, its five- logically laid out. Iwas able to use most of its
products like the new FZI, it won't take long octave keyboard features both velocity and features straight away. Although this approach
for people to start taking them very seriously. aftertouch, and you'll find the familiar pitch- certainly isn't for everyone, it's agreat way to
bend and Modulation wheels right where you judge the instrument's user interface. Top
expect them to be. marks are well deserved.
Overview The back panel offers a mix out, eight Casio has implemented a simple yet
THE FZI HAS attracted a lot of attention individual voice/channel outputs, and a mic effective user interface that utilizes a
78 MT JUNE 1987
IN PAST ISSUES Steps Ahead, and producer Rupert Hine.
MARCH 1987
• We reveal why Adrian Belew is one of the world's
most innovative modern guitarists, and the unusual
method employed in recording Peter Hammill's
INAUGURAL ISSUE latest album. Also in conversation are jazz- fusion
Reviews include the Roland SIO and S50
• We talk to technology's champion Peter Gabriel, keyboardist Jeff Lorber and film- soundtrack
sampling keyboards, the Kawai K3 polysynth,
session musician Mark lsham, and Patrick Moraz. composer Michael Stearns.
Wersi's MK Isynth, the Fostex 160 multitracker, the
On test is Sequential's Prophet VS, Akai's S900 Being put to the test are the Yamaha DX7II,
JLCooper MSB Plus MIDI processor, and apreview
rack- mounting sampler, the Simmons SDSI000 Sequential Studio 440, Korg SG Ipiano, Simmons
of the Palmtree Airdrums.
electronic drum set, Yamaha's SPX90 multi-effects SPM8:2 mixer, Barcus Berry processors, and
Features to ponder over include the MIDI
processor, the Technics PX series of digital pianos, tv1egaMix and Intelligent Music's ' M' software.
Sample Dump Standard, Mono Mode on drum
and the Alesis MIDIverb. Bandwidth jargon is deciphered, MIDI Modes are
machines ( namely the Sequential Tom), aguide to
We introduce you to sampling theory and dissected, and experiments carried out to the
data transfer between sequencers, and the final
creative multisampling, explain FM synthesis and Sample Dump Standard.
episode of The DX Explained.
MIDI basics, guide you through your first recording
session, marry the MIDI and SMPTE standards, and
JANUARY 1987 APRIL 1987
make the most of Mono Mode on the Casio CZ.
• Mick Karn talks about bass playing, high
• Synth- pop pioneers, OMD, feature alongside
technology and jazz, while we catch up with Ravi
Heaven 17 and avant-garde composer Morton
SEPTEMBER 1986 Subotnick.
Shankar and Frank Serafine, a partnership of
• limy Banks reveals the sound secrets behind traditional Indian music techniques and applied
The review roll-call includes the E- mu Emax and
Genesis, while we catch up with Australian rock duo American technology. We also put the spotlight on
Akai X7000 sampling keyboards, the Kawai R100
Icehouse, and avant-garde composer Harold Budd. producer Hugh Padgham.
drum machine, Yamaha's QX5 sequencer, Stepp
Reviews include the Ensoniq ESQ1 synth, Reviews uncover the Yamaha DX711, the Roland
DG I guitar synth, Tascam Porta Two, and
Roland's RD1000 piano, the Oherheim Matrix 6R MKB200 keyboard and GM70 MIDI guitar, the
Steinberg's ProCreator software for the Atari ST.
expander, Digidesign SoftSynth and Burner Korg DRV2000 reverb, the Photon MIDI guitar
We start an overview of hard disk technology,
software, Hybrid Arts ADAP for the Atari ST, the converter, the MIDI Step bass pedal/foot controller,
conclude our series on creative mixing techniques,
Ibanez SDR1000 reverb, and Alesis MIDIfex. Sonus C64 software, and Auricle II film composer's
and see how guitarists can benefit from MIDI Mode
We also show you how to make the most of time processor (C64).
4.
studio time, continue our DX Explained series, A new series kicks off on programming drum
explain the mechanics of sampling, and investigate machines, and we detail how samplers can produce
Mono Mode on the Prophet 2000. FEBRUARY 1987 new waveforms for use in programmable wavetable
• The enigma of contemporary music - Frank synths.
Zappa - talks tech in arare in-depth interview and
OCTOBER 1986 Robert Irving III, keyboardist with Miles Davis, tells MAY 1987
• We sample Depeche Mode's approach to how he coped with the pressure of following in the • Allan Holdsworth, one of the leading advocates
technology, Vince Clarke's Erasure, and David footsteps of Herbie Hancock and Chick Corea. Also of guitar synthesis, and eccentric composer Holger
Torn and Kurt Vortrnan's view of MIDI's place in featured is Japanese composer/arranger Seigen Czukay, talk to our intrepid reporters, while Kim
modem jazz. Ono. Ryrie, Fairlight's co-founder, and Steven Randall,
Put through their paces are Korg's DSS1 sampling Reviews include the Oberheim DPX1 sample designer of the Stepp guitar, speak frankly about
synth, the Casio CZ1 synthesizer, the Dynacord replay unit, Roland RD300 piano, Jam Factory & their technological achievements.
Rhythm Stick, Elka's range of pro synths, the Boss Dr. T KCS software, and the revolutionary Mandala On test are the Casio SK2I00 keyboard, Roland
Dr Pads, the Ashly CL52 compressor, Akai MIDI video- MIDI instrument. MKS70, Yamaha RX5, Kahler Human Clock, Alesis
FX, and Yamaha's MCS2. On the feature front we continue our MIDIverb II and ART DR1 reverhs, and Texture
Mono Mode on the Akai S900 sampler is investigations into the worlds of hard-disk and ClickTracks software.
supplemented by aguide to looping, the third part of technology and MIDI Mode 4for guitarist, and take We assess the Apple Mac II, continue our drum
our FM programming series, aguide to sequencing, alook at how modern percussionists can keep in programming series, and explain how your sampler
and afeature on the implications of sampling for the time with the times. can produce stereo samples. •
music business.
PLEASE SEND ME the following issues of Music Technology (check issues
NOVEMBER 1986 required) at $ 2.95 each, including post and packing:
• Synth king Howard Jones talks recording and
01n/86 09/86 010/86 011/86 012/86 01/87 02/87 03/87 04/87 05/87
programming, David Sylvian comes clean, and we
track down The Philip Glass Ensemble, and touring 1enclose acheque for $
keyboardist Greg Whelchel. D Charge my credit card: OVisa :MasterCard
On test are Akai's MX73 master keyboard, the
Ensoniq Digital Piano, the Unique DBM controller
keyboard, the Fostex E16 multitrack. Dynacord's
Card number Expiry date
ADDone drum module, the Korg DDDI drum
machine, Steinberg's Pro24 sequencing software for Signature
the Atari ST, Yamaha's FB01 FM synthesis module,
and the Roland DEP5 multi- processor.
Name
We get the lowdown on rnixdown, examine the
SPX90's MIDI Mode 4, and continue our guides to
sequencing, FM programming, and creative Address
sampling.
City State Zip
DECEMBER 1986 Checks should be made payable to Music Maker Publications, Inc. The address to send to:
• Paul Hardcastle takes time out to tell us what it's Music Technology Back Issues, 7361 Topanga Canyon Blvd, Canoga Park, CA 91303.
like being The Wizard, and we chat to Talking Back issues charges to Visa/MasterCard can also be ordered directly on Tel: (818) 704-8777.
Heads keyboardsman Jerry Harrison, jazz group
MT JUNE 1987 79
hierarchical format to get around the various though only eight notes ( voices/channels) can function to summon up any of the FZI's six
menus available. Mac users will recognize the sound at any instant, using any combination of internal preset waveforms. Don't look for too
similarity to Apple's HFS ( Hierarchical File the 64 sounds available. Got it? many surprises here; you'll find the waveform
System), first introduced on the Mac Plus. In addition to the Voice number, up to 12 selection consists of sawtooth, square, pulse,
Four cursor controls ( up, down, left, right), a characters are available to name the sound double sine, saw pulse and random. Obviously
data slider, anumeric keypad with up/down using the numeric keypad to access the letters these preset waveforms are intended to make
increment keys, an Escape key and an Enter of the alphabet. It could be worse; at least you it easy to create some of the more con-
key provide the basic means to zip around don't have to use the data slider to scroll ventional analog- type synth sounds, and I
from menu to menu. through the alphabet. think they do their job just fine. If you want a
The FZI has two major modes of operation: The sample time is specified in increments pretty picture of any of the preset waveforms,

a
Play Mode and Modify Mode. Play Mode, as of 10msec, although the FZI always rounds off it's no farther away than pressing the Display
the name suggests, is designed for the specified time to the nearest multiple of button.
performance. The single menu it provides 1024 samples ( a number most computers Many of us will prefer to make our own

a
permits selection of individual Banks ( called
Presets on most other samplers) or individual
Voices ( samples), and also offers acommand
seem to like alot). The data slider/keypad or
the instrument's keyboard can be used to
define the original pitch and the high and low
waveforms, though. To make this as painless as
possible. Casio has provided three different
functions for generating unique original
for loading new disks within the Play Mode. notes for the sample you're about to make. waveforms: Sine Synthesis, Cut Sample, and
Hand Drawing.

a
Also associated with the Play Mode is aMaster Interestingly, the FZI's five- octave keyboard
Tune menu and a handy Key Transpose specifies arange from C2 to C7, rather than Sine Synthesis makes 48 harmonics available
function that lets you instantly transpose the the Cl to C6 that the rest of the world is used for generating waveforms. Each harmonic can
entire instrument ahalf- octave up or down - to from working with instruments like the be set to an amplitude level within the 256-
without affecting the key assignments of the DX7. Although Ican't see any reason to be value range provided. Although you don't have
individual sounds. concerned about it, Iwas puzzled as to why to use the graphic display to set up the
The Second Mode, called Modify, is where they chose to specify this unusual keyboard harmonics, it is by far the quickest and most
the action is. Sampling, synthesis, editing, range. intuitive way to do it. By summoning the
preset building . . . you name it. Casio has a You're ready to sample now. The LCD Display function, you are presented with a
menu for it. turns into amini- VU meter with its own peak graph which displays amplitude on the vertical
Seriously, though, this is where the indicator to help you set the input level axis and the 48 harmonics on the horizontal
simplicity of Casio's hierarchical menu system accurately. You can enable the sampling one. Create your own waveform using the
really shines. Literally dozens of different function manually, or use auto- sampling for cursor to step back- wards or forwards
menus and functions are buried in various eshold triggering. through the harmonics, and using the data
levels of hierarchy - yet getting from one to Sounds great, doesn't it? Hit the Display slider to specify the amplitude values of each
the other is quick and easy. button and presto! The sample you just made harmonic as you go.
Essentially, there are six sub- modes within is displayed on the LCD for your inspection. Once you're satisfied with the harmonic
the Modify Mode. Each has its own set of Besides impressing your friends, you'll be able amplitudes you've defined, press the Execute
Function menus, and each of these has several to use this feature to tell at aglance whether command to prompt the FZI to compute the
Parameter/Operations menus - and many of the sampling time you selected was sufficient, desired waveform. As soon as the waveform
these have avariety of Settings menus within and whether the level was set properly. has been computed ( it takes about asecond),
themselves. Count ' em - that's four levels of Speaking of peaking, the one difficulty Idid you can play it from the keyboard and see it on
hierarchy. Yet it's not nearly as complicated as encounter was that the small size of the VU the screen.
it sounds. You use the up/down cursor meter on the LCD made it somewhat difficult The Cut Sample function lets you "cut out"
controls to choose the sub- menu you want to to set the sampling level accurately. Ifound asingle cycle from anywhere within an existing
access. Hit the Enter key and you're inside that myself consistently overloading the A/D sampled sound and use it as a new sound
parameter. The Escape key gets you back to convertor, even when Ihad been careful to set source. You can define the area within the
where you were. the sampling level conservatively. It would be sample that you want to cut from either by
All of the FZI's functions are grouped especially helpful if the FZI let you know when specifying the sample block numbers ( coarse
together logically so that you work within you overloaded its inputs, either by saying so, and fine controls provided) or, better, by using
certain sub- modes depending on what or better yet, displaying the number of sample the graphic display function to see the source
function you're using at the time. points that actually peaked during recording. sample and position the cursor within it.
By the way, samples on the FZI may be It's important to realize that because you're
played back over amaximum range of three only dealing with asingle cycle, chances are
Sampling octaves above and three octaves below that the resulting sound isn't going to end up
original pitch. sounding very much like the source sample
THE FZI IS an eight- voice instrument
you took it from. Nonetheless, Idid come up
featuring I6- bit linear sampling at three
with some very interesting results using this
selectable rates ( 36k Hz, 18kHz and 9k Hz).
Wave Synthesis feature. For example,1 found awealth of PPG-
Fourteen- and- a- half seconds of sampling time
like waveforms by " cutting out" waveforms
is available at the highest sampling rate, and IWAS DELIGHTED to find a variety ot
from various, positions within asnare sample.
just over 58 seconds at the narrowest powerful digital synthesis functions built into
bandwidth. With the addition of the optional the FZI: an extra added bonus, so to speak. Rounding out the synthesizer section of the
MBIO RAM board, the onboard sampling time Casio has included four different means of FZI is my personal favorite, Hand Drawing.
can be increased to awhopping 29 seconds of using synthesized waveforms, each with its Using the graphic display, you draw your own
high- bandwidth I6- bit audio. own menus and functions. waveform by stepping through 96 positions
The available memory may be divided in any Just as in the sampling operations, the and using the data slider to specify a value
manner amongst amaximum of 64 Voices or instrument requires you to define a Voice (positive or negative) for each point. You
sound sources. To avoid confusion, it is worth from within the 64 available, name it, and might prefer to just hold down the cursor
emphasizing again that the FZI is an eight- assign it to arange on the keyboard ( if you control and step continuously across all 96
voice instrument; that is, the maximum don't want to do this yet, you can use the FZI's points, moving the data slider as you do so to
number of notes it can play at any instant is default assignment). literally " draw" the waveform in real time.
eight. What Casio ( and the rest of this review) Now you're ready to make some syn- You can also use Hand Drawing to edit
refers to as "Voices" is actually separate thesized sounds. If you feel particularly existing waveforms from the Preset Waves,
memory locations for sounds. Up to 64 unadventuresome, you might prefer to take Sine Synthesis or Cut Sample operations for
sounds ( Voices) can be held in RAM at once, the easy way out and use the Preset Wave unparalleled flexibility in waveform creation.
80 MT JUNE 1987
 Even with such awide variety of powerful playing it from the keyboard like many other quarter second. That only uses three of the
waveform creation capabilities, Imust admit I samplers. Although this may not be abig deal, available eight loop sets!
found myself wishing the FZI went just one it makes it difficult if you're using someone The advantages of this kind of looping are
step farther in this direction. All of the else's disk and you don't know what name they obvious. No longer do sounds have to bear the
techniques described so far do avery good job gave to each sound. tell-tale cycling that makes the loop stick out;
at creating a single static waveform. You can specify truncation points by their you can easily set up totally non-cyclic loop
Unfortunately, static waveforms sound just sample addresses (coarse and fine), but Ican't patterns. In addition, complex rhythms can be
that - static. Our ears prefer to hear sounds imagine anyone doing it this way when you can set up using samples that are not continuous
that change over time, the way real sounds in use the FZI's graphic display instead. Using the tones.
nature do. data slider, you can position the start and end Casio's trademark eight- stage envelope
Of course, you can add some motion to a truncate points anywhere within the sample. generators are used for controlling both the
single waveform using filtering techniques You can even zoom in on the display to line up loudness ( DCA) and filter ( DCF)
(analog subtractive synthesis is based on this truncate points precisely with zero crossings parameters. Once again, use of the graphic
premise), but. the options would really of the waveforms. When you're satisfied, you display will be appreciated by those who don't
multiply if you could create awavetable - a can delete the unused portion of the sound want to deal with rates, levels and steps as
continuous sound whose harmonic content and reclaim the memory for more sounds. numerical values. You can see the entire
changes over time. This usually involves Looping is done in asimilar manner, so it's envelope shape at aglance, and hear the effect
selecting several individual waveforms as input really easy to get great loops quickly. And of any changes you make instantly.
and using the computer to interpolate although there is no provision for backwards/ You can also copy an envelope shape from
smoothly between them. forwards loops, there's a cross- fade looping the DCA to the DCF ( or vice versa) to speed
Maybe I'm asking too much, but Isuspect function built in to make it easier to remove things up. This is especially handy if you want
that the type of capability I've described could those loop glitches. the same basic envelope for both filter and
easily be implemented in a future software Of particular interest is the FZI's ability to volume, but need to make aminor edit to the
update. specify up to eight different loops for each release time of one envelope or the other, for
sample. Each Loop Set can be adifferent size example.
and location, and you can even specify how The FZI's LFO section doesn't pull any
Voice Editing
many times one loop is played before going on special surprises. You'll find six LFO
NOW THAT YOU'VE made some sounds by to the next. waveforms, an LFO sync on/off option, and
either sampling or synthesizing, the FZ-I's For example, you might define the looping parameters for the rate and delay factor. The
comprehensive editing capabilities are ready of asample as follows: play through until the LFO can be assigned directly, in varying
to be put to use. end of the sound and then loop back to the amounts, to the oscillators, DCA and DCF in
Start out by choosing the Voice you want to beginning ( say, four times), play to the middle any combination.
edit. You'll need to know either the number of the sample and loop over asmall section of Velocity may be assigned in either positive
or name of the sound you want, because the the middle ( ten times), then go back to the or negative values to the DCA Level. DCA
FZI won't let you select aVoice for editing by beginning and loop continuously over the first Rate, DCF Level, DCF Rate and Filter

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MT JUNE 1987
81
 Resonance ( positive only).
THE NEXT GENERATION OF PC MIDIWARE IS HERE ... Then there's Mix Write, an FZI feature that
lets you combine samples together - with a
twist. You can set the mix levels of each of the
two samples, and detune them individually as
well. Furthermore, you can delay the start of
the second sample. That leaves the stage wide
open for any combination of delay and
chorusing effects.
Meanwhile, Cross Mix is amerge function
that lets you blend one sound smoothly into
another for a seamless splice. Like the Mix
function, you can specify alevel, detune and
delay time for each sound. In addition, you can
define the length of the crossfade zone to
determine how long it takes for the first
100% INTEGRATED PERFORMANCE AND STUDIO MIDI CONTROL sample to fade out while the other fades in.
Needless to say. Casio has also included a
Bored of the " button dance"? Nightmares over networks? Sick of signal delay?
reverse play option for playing samples
Relax . ., and meet the MIDI-MANAGER systems from Performance Computer Concepts.
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• Real-time and programmable voice 16 track full-featured sequencing
(Punch/Edit/Merge/TransposeiVe ) ocity/ -
librarianlfunction controller supporting
Track Sheet & more). Multi- sync Configuration
most pro gear. Upload or download
sine voices or banks, rearrange, sources ( 24/48/96 ppq, FSK read/write). THE FZI PERMITS eight independent Banks
rename, etc. Powerful batch command editor and (commonly referred to as " presets" on most
• Unlimited network switching over 14 processor allowing pie-programmed
automated systeni operation. other sampling devices) to be defined in
multiplexed MIDI ports ) 7IN. 7OUT).
Operates in real-time and programmed Unique performance programmer and memory at one time.
modes. controller suited to the most Each Bank may define up to 64 Voices. Each
• Programmable system configurations demanding professional live per- Voice is assigned to its own Area ( similar to
handling up to 50 MIDI devices at atime. formance requirements. the " Keygroups" another well-known sampler
PC/XT/AT uses). Each of the 64 possible Areas defines a
zone on the keyboard ( Areas can overlap in
7378 Sirius St.
Thousand Oaks, CA 91360 Rcf
--
any manner), velocity split parameters ( more
on these coming up), aspecific MIDI receive
Phone: (805) 493- i
476 •See Us at the NAMM Show channel ( if desired), and the routing to any
combination of the FZI's eight audio outputs/
channels.
Creating a Bank is easy. Select an Area,
assign one of the 64 Voices to that Area, then
define the keyboard range of the Area
(Original, Highest and Lowest Pitch) using
either the data slider or by playing the notes
from the keyboard. Each Area may be assigned
avolume level to make it easy to balance the
levels of the various sounds within aBank.
Now for one of the FZI's most impressive
features: multiple velocity splits. Many of you
will be familiar with the velocity switch
function found on most samplers. Casio has
taken this concept much farther by allowing
the user to specify aminimum and maximum
velocity value for each Area to respond to,
variable over the entire 1-127 range MIDI
provides. For example, if you specify
"minimum 64/maximum 80", only notes with
velocity values within that range will cause the
Voice assigned to that Area to play.
The potential applications for this unique
yet simple system are tremendous. Rather
than simply toggling between two different
sounds, you can set up multi- layered velocity
splits.
You might use this capability, for example,
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Another application might be to have one
82 MT JUNE 1987
 p.
sound assigned over the entire velocity range, disk drive, MIDI, or the 25- pin port on the
while others assigned to the same notes are back of the instrument. You can Load, Save,
only played within certain velocity ranges. This Merge, Verify or Erase the entire memory

&
keyboardç
way, the first sound remains constant while contents of the FZI, or just certain types of
the second sound it is mixed with changes
depending on the velocity played.
data such as Banks, Voices or Effects.
Most of the data operations are self-
a we' 10
Using a large MIDI system with a explanatory, although Merge deserves special
sequencer? Perhaps you'd like to access all of note: it loads new data into the available
the FZI's 64 Voices without "taking up" more memory space of the FZI without erasing the
than one MIDI channel for the instrument. existing contents of the onboard RAM. Select prod cts at
Velocity split makes this easy: set up eight The extensive data handling capabilities of
comp e prices with
different keyboard splits, each with eight the FZI mean that you'll save time from the
full aft , r- sale support.
Voices assigned to it. Set each of the eight boring routines of using a sampler. For
We m to please.
Areas that overlap to respond only to a example, if you take the time to set up a
specific velocity range. Now use the editing custom Bank for drums/percussion (complete
capabilities of your sequencer to confine each with the desired key assignments and MIDI
track within the desired velocity range. setup), you'll be able to load that data to other
EMU OTARI
Naturally, you lose some dynamic range this disks and use it with other sounds. Perhaps
way, but you can't have everything. you have acertain performance set up for the ENSONIO TASCAM
Effects controllers - load it into any new disk SEQUENTIAL FOSTEX
MIDI + Storage of sounds and they'll be customized to your ROLAND LEXICON
own playing preferences. And, of course, you KURZWEIL ALESIS
THE FZI'S MIDI implementation is complete
can quickly assemble anew disk from sound LINN FURMAN
and logical. In its simplest application, you may
sources located on other disks by loading the OBERHEIM SMPL
define a basic MIDI channel for both
transmitting and receiving data. You can also Voices into RAM one at atime. KORG JBL/UREI
enable or disable control and program PPG SOUNDCRAFT
changes. Conclusions 360 RAMSA
If multi-timbral operation is more to your
THE FZI IS akiller machine. It's hard to find PASSPORT RANE
fancy, you'll be glad to know that the FZI fault with it, especially when you consider its
makes no compromises there. Each Area (and "Music Technology for the 80's"
sub-$ 2500 price-tag. It is logically designed
therefore each sound) can be assigned to 2121 BROOKPARK ROAD
and does everything it sets out to do flawlessly. CLEVELAND, OHIO 44134
receive only on aspecific MIDI channel. All And even though Iwas warned the machine I
controller changes will be recognized (216) 741-2733
had to review was a prototype, all of its
individually on the channels for which they're functions were working smoothly and Ihave
intended. Unlike conventional Mode 4 yet to crash it.
operation (where all voices respond The sound fidelity is wonderful - everything
monophonically), the FZI's implementation sounds crisp and punchy. I was most FILM, VIDEO AND JINGLE
makes it atrue Multi- Mode instrument. The impressed with percussive samples. The COMPOSERS:
eight voices can dynamically allocate portion of apercussive sample near the end of FOR THE MAC 512 OR PLUS
themselves to any combination of 64 sounds its decay is usually a trouble spot for most
instantly, provided you don't expect the samplers, because when the signal amplitude BRUCE COUGHLIN'S
machine to play any more than eight notes at is low, the resolution decreases and the result
any one instant in time. CLICKTRACKS 2.0
is usually noise. Not so with the FZI: all the
The FZI also appears to have acomplete percussive sounds Isampled decayed into
MIDI System Exclusive implementation, silence. CLICKBOOK—Clicktrack book on adisc.
including full sample dump capabilities. Works in BPM or Frame Tempos, any film
Many people will wish the display was alittle
Unfortunately, Iwas unable to experiment or video format. Enter shift for Start-Of- Cue
larger. You do have to get the viewing angle
with these functions in the time Ihad the locations.
just right to see it properly, and Ididn't find
keyboard for review. any way to adjust it from the front panel as is HITLIST—Enter list of hits in any format.
Also contained within the Effect/MIDI sub- common with most LCDs. Nonetheless, that Displays exact location and suggested
mode are the parameters which define how little screen is going to make alot of people musical locations: Beat and location
the FZI's various performance controllers are happy. within the beat . . . in musical notation
to behave. The range of the pitch- bend wheel, graphics! Feature is menu- selectable:
There's a couple of ways that the user
for example, can be defined in semitones. Show hits to nearest 16th triplet, 16th, 8th
interface could be improved. Ireally think you
Additional controllers such as the modulation triplet, 8th or 1/
4 note. Add/delete hits, save
should be able to select samples for editing by
wheel, after-touch and the Foot Variable to disc, print list.
playing them from the keyboard, preferably
Resistance Pedal can be assigned to any without having to leave the menu you're in. SCAN—Scans your hitlist and suggests
combination of destinations in varying The option to select anumber of samples at the 7tempos which make those hits on the
amounts. For example, each of these devices beat. The real test of aClicktrack Program!
once for simultaneous editing would also
may be used to control the amount of LFO $84.95 Retail.
speed things up.
modulation on the oscillators, DCF or DCA. These truly are minor criticisms, however.
Similarly, they can be assigned to directly AVAILABLE NOW AT:
Every one of them could be corrected in
control the DCF or DCA levels. software, and Casio has provided a blank PERSONAL SUPPORT COMPUTERS, LA
The standard FZI has IMbyte of memory WESTWOOD MUSIC, LA
menu called " optional software" and the word
onboard, expandable to 2Mbyte with the MANNY'S NYC
is that afew third-party companies are anxious
optional MBIO RAM expander. Loading afull IN CANADA CONTACT:
to develop software for it. SAVED BY TECHNOLOGY (TORONTO)
disk takes a leisurely 66 seconds, but who's
The final verdict? Everybody should have
counting? People who will want to use their
one. Now. DEALER INQUIRIES:
FZI in demanding live applications, perhaps. BRUCE COUGHLIN / 16 DEAN ST. 4C
The data management capabilities of the PRICE $2495 BROOKLYN, NY 11201
FZI are comprehensive, though. Data may be MORE FROM Casio, Inc., 15 Gardner Road, 718-624-2571 ( PAN: "SCORES")
routed to and from any of three sources: the Fairfield, NJ 07006. q, ( 201) 575-7400
MT JUNE 1987 83
 Korg SQ8
measure number, MIDI channel(s), track
status, current function and remaining
memory can be displayed at once, making it
very easy to determine exactly where you are
in the sequencing process.

Operation

Eight- track MIDI Sequencer

THE SQ8 OFFERS six basic functions, each of
which has an effect upon the sequencer's
overall configuration or the status of individual
tracks. To access any of these functions, you
simply push the centrally- located Function key
until the arrow points to the function you wish
to use.
Thanks to its battery backed- up memory,
.N 120 4/4 the SQ8 displays all the information stored
from the last time it was used as soon as you
u k.,1AY TRACK
switch it on. The function cursor defaults to
RAC TRACK
ERASE MAC> the Tempo/Beat location and allows you to
STEP 1AAKTE, ("CHER
reconfigure the basic recording and playback
* 6 10 66 40 ADM parameters quite easily. The tempo is variable
from 40-192bpm, and the time signature
(which Korg refer to as Beat) can be chosen
2/ 4/4 56
4
from one of five possibilities: 2/4,3/4,4/4,5/
4 and 6/4.
Now, for 90% of the music you may want
to record, these time signatures will probably
suffice; but if you want to record that 7/8
groove that's been floating around your head,
This dinky little box of tricks brings stand-alone you're going to need another sequencer.
Another limitation ( pointed out in the very
eight-track sequencing to a, new price level. Has Korg basic owner's manual) is that once you've
cut too many corners to get it there? started to record or play back at aparticular
tempo, you can't change it; the tempo remains
Review by Bob O'Donnell. fixed until you stop. Admittedly these are not

D
thoughtfully incorporating astand into it. As a major faults, but unfortunately, they are
ESPITE THE POPULARITY of many
sequencing software programs, result, it can either be laid flat on top of a typical of the corner- cutting measures that are
dedicated hardware sequencers seem keyboard or other nearby surface, or propped found throughout the SQ8's operation.
to be making a comeback. Roland's up for easier viewing. Unfortunately. Korg A much larger problem stems from the
MC500 is proving to be incredibly haven't applied this convenience principle to SQ8's inability to sync to the outside world.
popular, and with the recent introduction of powering the unit. Despite the fact that it While it does output MIDI clock, start, stop
the company's less expensive PRIO0 and requires amere nine volts to operate, the SQ8 and continue commands, it does not respond
Yamaha's QX5, the future of hardware does not offer the option of battery power. to any of those messages. Consequently, it
sequencers is looking quite positive. Korg do include an external power supply with must serve as the master clock for any MIDI
First-time sequencer buyers, in particular, the SQ8, but having to use an adaptor system it is being used in, and in this context,
seem to be attracted to the easy portability definitely decreases the unit's potential its rigid tempo controls take on a greater
and overall affordability of stand-alone units. portability. significance, too.
Even though many hardware units lack the The SQ8's connections to the outside The next section accessed by the Function
editing capabilities of software programs, world are very simple: aMIDI In port, aMIDI key is MIDI Channel mode. This allows you to
many first-time users prefer the simple Out port and a mini headphone jack for specify any of the 16 MIDI channels for each
operation of hardware sequencers. Korg has monitoring the unit's metronome output. In individual track. To do this, you simply hit the
apparently taken notice of this phenomenon, one of Korg's many cost-cutting measures, key assigned to the track you want to change
and with the introduction of their inexpensive however, the SQ8 does not come with the MIDI channel for, and then use the up/
SQ8 eight- track sequencer, they're addressing headphones. It doesn't have an internal down buttons to choose the appropriate
this growing market in earnest. speaker either, so if you want to listen to the channel. The SQ8 only operates in the Omni
metronome's click as you record, you'll have Off/Poly Mode ( Mode 3), so transmission and
to supply your own Walkman- type head- reception of MIDI data can only occur on the
Basics
phones. Thankfully, the volume level of the properly selected channels.
THE GENERAL SPECIFICATIONS for the click is adjustable, but that small benefit The Play Track function comes next for
SQ8 include the ability to record up to 6500 doesn't excuse Korg from omitting what some reason, but I'll follow the example set by
notes with velocity on eight individual tracks, should have been astandard accessory. To be the manual and skip over that to discuss the
each of which can be set to its own MIDI fair, the unit does have ablinking visual display Record Track function first. Once you've
channel; the ability also to record pitch- bend, of the tempo, but how many people will really entered the record mode, all you have to do to
modulation, program change and aftertouch depend on that? begin recording a sequence on the SQ8 is
data ( which can also be filtered out); and the In addition to its compact size, one of the select the track you wish to record on ( you
possibility of being operated in either real- first things you notice about the SQ8 is its can only record on one at atime) and push
time or step- time recording modes. Pretty well- organised, uncluttered front panel. A row Start. The bar indicator counts down two
basic, perhaps. But Idid forget to mention one of multi- function keys runs along the bottom measures of whatever time signature you've
small point: it does all this in apackage that and right-hand side of the unit, and an chosen to record in, and the SQ8 then begins
measures alittle over 7" X3" X I", and weighs informative, pre-printed LCD ( much like recording automatically. The letters " REC"
less than two pounds. those fitted to Roland's drum machines) fills initially appear blinking in the display next to
Korg have added to the simplicity and the upper left-hand portion. All relevant the track you are recording on, but as soon as
convenience of operating the SQ8 by information about tempo, time signature, the unit begins to receive data, the display
84 MT JUNE 1987
 stops blinking. (This subtle little feature
prevents you from missing that " incredible
take" as a result of incorrect MIDI KEYBOARDS
connections.) DRUM COMPUTERS
To stop recording, you simply press the SEQUENCERS

MIMUsIC
Start/Stop button and the record display PA
begins blinking once more. You can then begin RECORDING
recording again from the point where you had SOFTWARE
stopped, but be forewarned that the SQ8 only
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works in complete measures. This means that
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An odd feature which deserves mention is 1E ouEnziai

the SQ8's ability to record in fast-forward. I'm AKAI ST- 1040-520

Is \‘‘ 11
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except perhaps to reduce the drudgery of
KORG
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want it.
CASIO
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When you've finished recording a track, rtx
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some of the more serious limitations of the -

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are any mistakes, you have to put the
information into aform that you can't alter
anyway. Now, if this isn't aserious Catch- 22
situation, Idon't know what is.
If you are absolutely sure that you made a
mistake, however, the SQ8 has anice feature
which does allow for some basic editing. Once
you've stopped recording, you can press the SOUND DESIGNER
Rewind button and the sequencer outputs the
Waveform Editing/Digital Signal Processing Software
MIDI information in reverse (!), so that you
can listen for the point at which the mistake
was made. Once you've found it, you can
punch in ( recording can only start at the
beginning of ameasure, remember) and re-
Time
record the track to the end. Punch- outs, (msec)
unfortunately, are not possible. If you made
more than one mistake, make sure that you "rue
h eib e ith.e.
j kbik t e

rewind to the point where the first one

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tool
occurred, otherwise you'll have to record over
e
your first punch- in. for ••••—•—•

One other small point that you need to be

aware of ( and which, again, the owner's sculpting
manual doesn't address) is that the SQ8
erases as it rewinds in record mode, so if you
rewind too far you'll have to re-record starting kk:
from the point you rewound to. Hitting the
Fast Forward button won't do any good
because it only starts to record in fast forward.

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Needless to say, this is a frustrating and
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Returning now to the Play Track function, 1360 Willow Rd., Ste.101, Menlo Park, CA 94025
the SQ8 allows you to listen to or mute
whichever tracks you want, as long as the
selections are made before playback is started.
This flexible setup allows you to record and
Requires Macintosh' with minimum 512K (plus external disk drive) and MIDI interface.
store two or more individual songs in the unit, Sound Dei.igner is now available for the E mu Systems Emulator and Emar Sequential Prophet 2000/2002" Korg DSS-1"
even though it has no special provision for this Akai S900"and Ensoniq Mirage" For more Information contact: Digidesign (4151327-8811.

application. Making use of my trusty CZ101, 1

MT JUNE 1987 85
was able to record one mufti - timbrai increment that you can use is a16th- note, and have to be reset each time the power is turned
sequence on tracks 1-4 and then, while muting every note that you input has to be divisible on.
the playback of those tracks, record an entirely into 16ths, so triplets are not possible in step
different sequence on tracks 5-8. A glamorous time.
Verdict
application of technology it is not, but given The actual inputting process requires you to AS A BASIC vanilla flavor, real-time recording
the SQ8's healthy 6500- note memory, it does hold down the note that you want to enter, sequencer the SQ8 does a perfectly
represent a viable way of squeezing out as and then press the Up button as many times as respectable job. It offers very simple
much performance from the machine as there would be 16ths during that note's length. operation, adecent- sized note memory and,
possible. A half- note, for example, requires eight with eight individual recording tracks, more
Another nice feature available in Play mode button pushes, while an eighth- note requires flexibility in recording than most of the
is the Measure Memory function. What this only two. If you don't hold the note down competitors in its price range. It seems one of
allows you to do is locate aspecific measure at while you're pressing the Up button, the SQ8 the main reasons behind the introduction of
which the SQ8 will automatically stop. With a interprets these button pushes as rests. the SQ8 was to offer amachine which quickly
bit of intelligent planning, you could also use I'm happy to report that you can enter the and easily displayed the multi-timbral
this feature to record two independent eight- step write mode from the real-time recording capabilities of Korg's impressive new DS8
track sequences, one on each side of the mode, but unfortunately, you can't do things synthesizer, and that it should do well enough.
marker. ( To do so, you'd have to record track the other way round. Once you leave the step So, if you're the type of musician who
Iof song 1, then track 1of song 2, then track 2 write mode, you can only go to the unalterable doesn't like to mess around with editing and
of song 1, then track 2of song 2, and so on.) play mode. you're in the market for a portable,
Fast forward and rewind are also available in The Step Write/Other function also allows inexpensive first sequencer, Isuggest you take
Play mode, but thankfully, they operate in you to turn four general system parameters on alook at the SQ8.
normal tape transport fashion, without and off. Key Transposition allows you to If, on the other hand, you're looking for a
destroying any information. change the key of the sequenced data based sequencer with ahealthy selection of editing
Erase Track is the fifth function which can upon a MIDI note input, but only if the features and abit of flexibility. Isuggest you
be accessed by the Function key, and it machine is reset, stopped or repeating; Repeat look elsewhere. The SQ8 simply overlooks
operates just as you would expect it to. You On can be used for the entire sequencer's too many minor .details ( and some significant
can either erase tracks individually or do all memory, or, in conjunction with the Memory ones too - like the lack of an external storage
eight collectively. The SQ8 also features adata Measure feature, for a small segment of a medium) to justify its addition to most
protect switch, which allows you to prevent complete sequence; Echo Back allows the sophisticated MIDI systems. In fact, the
accidental erasure of important sequenced incoming MIDI data to be sent out of the limitations it places upon the user can turn
material. SQ8's MIDI Out port, like a MIDI Thru what should be an enjoyable experience into a
The final function is the ominously titled feature; and Aftertouch Off tells the tedious and frustrating one.
Step Write/Other. Like the rest of the sequencer to ignore incoming ( and memory-
machine's functions, the SQ8's step- time hungry) aftertouch data. For some PRICE $279.95
mode is somewhat limited and can be a bit unexplained reason, the status of these MORE FROM Korg USA, 89 Frost St.,
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86 MT JUNE 1987
NEW ALBUMS Reviewed by Christopher Hoard.

David Torn's ECM debut, Cloud About provide a textbook for electronic
Mercury, is one of the most unconventional percussionists, and combined with Levin's

o
(assuming that there is a "conventional" ECM earthquaking Stick bottom, Torn has realized
sound) new recordings produced by Manfred an effective alternative to traditional rhythm
Eicher. section instrumentation.
Torn achieves asound and approach quite
unlike anything else previously attempted ( to
this reviewer's ear), the album's primary
Like Tibbetts, then, Torn demonstrates he
is worthy of asolo career as agroup leader -
even if his arrangement details still need alittle
u
attraction being the powerful and precarious fine-tuning to be genuinely, consistently
balance of this quartet. The '80s King Crimson inspiring.
rhythm section of Tony Levin ( playing
Chapman Stick in the bass register for the
most part) and Bill Bruford ( playing Simmons Wayne Shorter: Phantom
drums with intermittent acoustic snare drum Navigator
and percussion) provides the rhythmic
(Columbia)
juggernaut beneath Torn's diverse
explorations on electric guitar. To balance the WHILE SHORTER'S PREVIOUS, brilliant
high end, there is synthesizer soundtrack whiz solo release. Atlantis was a welcome outing
Steve Tibbetts: Exploded View Mark Isham ( Group 87) playing trumpet, from the sometimes overbearing technology
flugelhorn, and synth on one of the tracks. of Joe Zawinul, his latest effort is a
David Torn: Cloud About This recording's best moments recall an comparative disappointment - though this is
Mercury updated version of Miles Davis' early ' 70s said in light of the fact that any recording
fusion music, especially with ' sham's containing the tone of Shorter's soprano sax is
(ECM)
superlative horn melodies and improvisations. worth owning.
DESPITE PAT METHENY'S departure from As might be expected, though, Torn Good points first. At least two of the tracks
the label, ECM flourishes as apantheon for the dominates the spotlight, and his efforts fall - ' Mahogany Bird' and ' Flagships' - remind us
electric guitar's freshest young voices. Claud between excess self-indulgence and inspired of the near total creative bankruptcy of the
About Mercury and Exploded View represent instrumental drama. "jazz fusion" genre as awhole. They are classic,
the two best examples of anew generation of When Torn played on a recent Jan whimsical and enchanting Shorter creations
experimental guitarist. Garbarek tour, he used aSteinberger guitar to that speak volumes when compared to an
Steve Tibbetts' ECM debut, Northern Song, control a vast array of synth and processed army of funk groove combos with afew bebop
failed to reveal the Minneapolis- based sounds. The same remarkable abundance of licks.
guitarist's vibrant potential. But Exploded View, textures is represented on Cloud About The two problems with Phantom Navigator
Tibbetts' third ECM release, is acontinuation Mercury, on which the guitar player are the production and the inevitable
of the contrasting hard- edged and placid demonstrates immense promise as an comparison to Atlantis. For while the latter
pieces of his previous album, Safe Journey. arranger. arguably contained several of the best original
His fusing of a small ethnic percussion Yet for all of Torn's multi- faceted sonic jazz tunes of this decade, this new batch of six
ensemble with either electric or acoustic wizardry, his contribution to the group can be tracks comprise aweaker offering.
guitar and tape effects (and now occasional overly capricious. While several compositions Shorter may deliver some of his best, fiery
background vocals) often revitalizes what stand out, the extended jams seem to serve solo runs on ' Condition Red', and ' Remote
could be considered outdated technology. Torn's fuzzbox, rather than the other way Control' may be a sensuous blend of
The image conjured by ' Name Everything', around. Too often, blaring and beefy guitar Mediterranean sounds cast over aboisterous
for example, is that of Hendrix testing his screams wash over Bruford's and Levin's funk backbeat. But excepting ' Mahogany Bird'
feedback to the limit in the company of fierce complex backing rhythms, rather than (which features Chick Corea on piano), Tom
tribal drums - in this case a percussion and interacting with them. Bechtlein's booming electronic snare and
voice sextet headed by Tibbetts with co- And during the interludes and preludes. tomes intrude on the music's subtleties,
leader Marc Anderson. Torn opts consistently for amorphous, fluid rather than adding the intended techno-edge.
Some of the predominantly acoustic tracks chords, filling in an orchestral space with Synthesist Mitchell Forman, bassists Gary
prove equally pleasing, the best of them deliberate looseness and rhythmic irregularity. Willis and Alphonso Johnson, and
featuring the visually evocative textures of He may have consciously abandoned the percussionists Scott Roberts and Bill Summers
Tibbetts' tape loop effects. guitar in its traditional role of synchronized contribute expertly to the album's better
Far from being contained in an identifiable hammering, but at times, the mirlody and passages.
jazz genre, Tibbetts' sound often straddles a chords stray too far beyond their rhythmic Yet though the album's better moments
space that blends folk guitar, pan-cultural foundation. and its few finessed uses of sequencers and
percussion, and industrial noise. As aplayer, Torn could also be criticized for sounding samplers elevate it above the level of failure, it
his technique on acoustic and electric guitar is too derivative of many great mentors; most is an unfortunate example of the increasingly
one of the most refreshingly original to be guitarists will pick out parts which owe to audible struggle between fantastic
found outside of the mainstream. Holdsworth, Fripp, and especially Frisell. Yet musicianship and fantastic technology.
So while about a fourth of the recording he dreams up a healthy serving of his own Phantom Navigator charts a firm course
delivers little more than tedious minimalism, amazing sounds, and his best efforts are through battering waves of electronic
many brighter moments justify the price of exquisitely blended with these legendary innovations, but much of the music sinks too
admission. sidemen. Bruford's tuned Simmons drums far beneath the surface.
MT JUNE 1987 87
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 Why should asampler and asynthesizer be combined?
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ing let you control the oscillators di- for precise touch control of Autobend,
rectly. Use each technique independently, VCF, VCA, envelope rates and other param-
or combine them in richly textured multi- eters. Velocity Switch lets you play com-
samples and wavetables. You edit samples pletely different sounds as you change
and waveforms with powerful functions your attack.
like "IYuncate, Mix, Link and Reverse, plus Unlike other samplers, the DSS-1 lets
auto, back and forth or crossfade looping you access 128 sounds without changing a
Ineed to get to my sounds quickly and modes. Then apply afull set of synthesis disk. Each disk stores four Systems of 32
also create new patches when I'm on tour. parameters, including two-pole or four- sounds. Within each System, your pro-
The DSS-I gives me that flexibility Its' a pole filters and Korg's six-stage envelopes. grams combine up to 16 sample groups
very responsive instrument. and/or waveforms with complete sets of
Exact Control Choose from four sam- synthesis parameters and keyboard set-
Steve Winevod pling rates between 16 and 48 KHz, with
Multi- Instrumentalist, Vocalist, Composer ups. In effect, the DSS-1 becomes anew
up to 16 seconds of sampling time. Config- instrument every time you call up aSys-
ure the keyboard with 16 splits assignable tem. The library of easily available 31
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2
over the full 127 note MIDI range. Layer or disks is already substantial and growing
Korg combines the realism of sampling detune the two oscillators on each of eight fast. Four disks — each with 128 sounds —
with the flexible control of synthesis to voices. Then process your sounds with a are supplied with the DSS-1 to start your
create anew kind of keyboard with un- complete synthesizer architecture and two comprehensive Korg sampling library.
limited possibilities for musical experi- programmable DDLs. By combining the best of digital sam-
mentation: the DSS-1 Digital Sampling The DSS-1's power is easy to use, so you pling with familiar and flexible control of
Synthesizer. The DSS-1 recreates sounds can work with sound and music, not pro- synthesis, the DSS-1 allows the modern
with digital precision. But it also shapes gramming manuals. The backlit 40 char- synthesist to experiment with new sounds
the complexity and variety of sampled acter LCD display takes you through the never before available.
sources into new dimensions of sound. total sound generation process with op- Start exploring the fusion of sampling
tions and instructions at every step. Soft- and synthesis now, at your authorized
Exceptional Ranr DSS-1's ex- ware that talks your language and alogical

Kum ®
traordinary potential or creating new Korg Sampling Products dealer.
front panel menu help you go beyond syn-
sounds begins with three sound genera- thesis, beyond sampling — without dictat-
tion methods. Digital oscillators sample Sampling
ing your direction.
any sound with 12 bit resolution. Two so- ' Products
phisticated waveform creation methods — EXplille011 The DSS-1's five octave key- Division
Harmonic Synthesis and Waveform Draw- board is velocity- and pressure-sensitive,
SAMPLING IS ONLY THE BEGINNING
F;,r.afree cat,111.g rl Korg products, send your name and address. plus $1.00 for postage and handling. to:«org USA. 89 Frost St., Westbury, NY 11590. © Korg USA 1986

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