Mac G4 350 MHz
Cubase like a sequencor instrument

A nova (synthe analogical modelisation)
Used for the synthes and the arpegiateurs

A sirius (Synthe and limps at rate/rhythm)
Used for the large cases, the charleys, the percus and the arpegiateurs

S2000 (samplor)
Used for some kits of battery and effects.

Hpd-15 (limps at rate/rhythm) from 1/2002
For the rates/rhythms and the effects.

How to use the sequencor like a musical instrument.
One uses it by the intermediaire keyboard by using the function keys
(programmable in cubase) or why not with controller
I advise you to use a paper help of the function keys
(placees on the keyboard or of small labels collees) for the differencier
and reperer easily.

list the most significant keys .
F1 :explose the track active(if it is multichannel) out of N ways
F5 :repete once selection
F6 : Undo quantification on the selection
F7 ;Quantification on the selection
F8 :Quantification of the loop in the course of recording (just a passage over N)
F9 :effacer the loop in the course of enregistrement(just a passage over N)
F10 :Place lessors on the zone selectionne
F11 :selectionne the tracks not mute this finding between the two lessors
F12 :Solo only the active track plays
The recording of mute of track
From one to nine (on the top of the keyboard) to activate the configurations of mute
From one to nine with control (on the top of the clavier)pour to record configurations of mute

T binary or ternary
/ to activate loop
* to activate recording
SPACE arreter the recording
1 (paves numerical) to go to lessor 1 (beginning of loop)
2 (paves numerical) to go to lessor 2 (end of loop)
fleche to the top selectionner the track precedante
fleche to the bottom selectionner the following track

Place the keyboard of the computer at dimension of your keyboard you must be able to play
a sequence or to handle potentiometers with the right hand
and to transfer or enregister or to copy sequences to the following measure
with the left hand in same time without breaking the tempo.
The goal being to use the sequencor like an instrument

Essenciels

transfer (10 programmable selections of the tracks (active and mutees))
The example of my configuration uses of 1 A 8 to activate the selections
and " control " more than 1 to 8 for the creer

ex
Selection 1(toutes tracks without the large case)
to transfer track 1 and to support on control and 1
track 1 large case * transfers *
track 2 charley
track 3 low
track 4 synthe 1
track 5 synthe 2

Selection 2(seulement the low one and a synthe)
to transfer track 1,2,5 and to support on control and 2
track 1 large case * transfers *
track 2 charley * transfers *
track 3 low
track 4 synthe 1*mute *
track 5 synthe 2

Selection 3(toutes tracks)
not to transfer anything and support on control and 3
track 1 large case
track 2 charley
track 3 low
track 4 synthe 1
track 5 synthe 2

These selections of transfers make it possible to make the montees and the descents
and of the fast changes while looping to the same measures,
it are also usable for cammoufler the errors or the lack of idee.
it also make it possible to preserve best the sequences to copy them
to the following measures (without breaking the tempo)
as much to say essential...

Construct

a loop east constitutes of a whole of measurement included between the two lessors
It is possible of creer a piece on a loop of 4 measurements
however that Ci can be gradually saturates with sequences
for y remedier it is necessary while the sequence loops to copy to the measures
following the part to preserve then deplacer the loop towards new measurements.

ex
to activate the selection of transfers corresponding to the tracks
that one desire to preserve F11 for selectionner tracks not mutees (to
cross) F5 to copy 1 time the selection (repeter) ENTER to validate (it
copies to the following measures and makes them active) then F10 to
place carefully without breaking the tempo, the boucle(les lessors) to
the following measures to say as much essential...

Useful

the quantification it is very practical to correct the rhythmic
errors and to manufacture complex rates/rhythms two mode essential
binary repetition puts in ternary fright mobility gives groove the
quantification can be automatic with the recording according to your
technical level with the practical or essential keyboard... Functions
on the recording of the sequences the erasure of the notes of the last
passage of the recording the quantification of the notes of the last
passage of the recording according to your technical level with the
practical or essential keyboard...

Some small councils

Avoid recording the controllers on tracks of sequences.
Use preference a new track or more.
because it causes error (volume or filter drops or goes up brutally and it is difficult a to locate
for elimination (in small the function/midday function/ delete control dated )

To aillor in same finely useful function reduce control went back
It makes it possible to reduce the number of event of the controllers bus knew that
if you pass from the maximum at least on a pitch bend, you will generez an imposing number of events midday
what can only cause delays in the transmission midday of the other events controllers
because the notes have always priority.

Avoid the notes a horse on a loop that really does not go and cree a note off in the air.
The note is appuyee before the end of the loop (right lessor) and relachee after the beginning of the left boucle(locator)
at the time of the passage on the lessor of end a note off is cree in addition to your future relaxation of key.

Another case of source of problem, notes longer than the shares
they can be ramenees on the value of end of share by the use
in small the structure of trim vents to share

For the reasons rhythmic do not hesit a creat a track by element it is more maitrisable
and that allows finer modification and selections of transfers more interressantes.
same advantage with with the sequences of a synthe using several tracks
with ends of melodies or ends of agreements.

Note perso

For my part I use a tempo of 160 quantification to the
double croche(16) and loops of four measurements I often start with
the large case and the charley with against time low with against time
or more complex I record the battery then gradually (binary and
ternary) then the arpegiator for the synthes and sometimes a solo.
But it is only one example because nothing is determine. In same time
to make the song more alive I play with the selections of transfer
and the parameters of the synthes (filters, lfo, ect) I try not to
remain too a long time on a different loop to build idees. I play
upright to be able to dance and to better feel the music my principal
goal remains the fright in which us amene music. After a few hours of
play,on can feel great feelings to be well... The extase without
no taking extasy, it is magic and one quickly becomes accro... 8 ).
To finish the whole must remain very intuitive and spontane montees
which functions and which leads to something which pete bus for my
part,I am a ravor above all...

Polyphony + 4
16 notes of polyphony to the de12 place: )

A new form of wave a double wave " tooth of saw "
correspondent with 2 waves " tooth of saw " on only one oscillator
One can arrive to 6 oxillateurs in tooth of saw:
Interessants effects with the modulation of width
New filters and in premium of the double filters

A unison mode for the envelopes (in trigger) powerful which one can increase the polyphony
a mono voice can monopolize from 2 to 8 votes of polyphonies for a richer sound,
A more powerful distortion towards its maximum with more compression.

A function which missed makes its appearance
The potentiometers can be inactive as long as they did not reach to them derniere value
in the menu total function " knob mode " on pickup.
Very practical to avoid the inopportune changes.
It is about a problem binds especially to live and the direct recording.
The nova has 6 votes and all use the same potentiometers
Being given that those Ci are not motorize
That few entrainer changes when the value of the new way is oposee
with the initial position of the potentiometer of another way.
The sirius also acette easy way and in more it displays on its screen of the fleches to know if
the position was front or after the practical position actuelle.Autre function
Possibility of creer of the continuous notes
interessant for environments
in the constant menu trigger " function gate " in ON position.
Return has the index

S 2000 by akai (sampler)

specifications of S2000

32 notes of polyphony,16 ways independantes
sampleur16 bit (effects and left separees in option)
to know some more

ADVANTAGES
Freedom to put any sound or of the loops
a sympathetic numerical sound and large bookshops of very diverse sounds.
Almost completely scriptable for mac.

DESAVANTAGES
loudeurs to program the sounds and and much of time
on this subject here a script for mesa (software of edition)sur mac
who allows selectionner a whole of samples for the inserer in a program.
with two levels of velocite from 0 to 100 and 100 with 127(to double the sound starting from a velocit 3rd of 100)
Very particular format akai
the fitrage can make claquer the sound
little controller time reel

IN CONCLUSION
a numerical sound clearly and enough heat for a samplor
not too expensive. The system can be complete limps at rate/rhythm
and instruments or to become very good limps at rate/rhythm and
effects of environment but does not replace unfortunately an analog
synthe malgres its filter. and its fastidueuse programming and
complex exchange with each model. The output separe as well as the
multi effect are unfortunately in option...

tell application "MESA II "
-- utiliser l'objet mesa
set s to sampler 1
--si le sampleur s est branche
if (is online in s ) then

-- si un programme sp est selectionne
set sp to selected program in s
if sp is equal to 0 then error "Vous devez selectionner un programme "
set prog to program sp in s
-- Dialogue pour saisir la valeur r de la note du premier sample (48 (C2) par defauft kv )
set kv to 48
set r to display dialog "saisir la valeur de la note du premier sample " default answer kv as text
set kv to text returned in r as integer
-- si la valeur kv est erronee <21 ou >127
if kv is less than 21 or kv is greater than 127 then error "La valeur doit etre compris entre 21 et 127 "
-- kv2 = kv +2 limite basse kv et haute kv2 (2 notes par sample)
set kv2 to kv + 2
--nombre de samples numsamps dans le sampleur
set numsamps to count samples in s
--Boucle pour repeter l'operation pour chaque sample compteur X de 1 à numsamps
repeat with x from 1 to numsamps
--pointer sur un sample samp grace au compteur X
set samp to sample x in s
-- si le sample samp est selectionne (actif) insertion dans le groupe du programme.
if is selected in samp then
set kg to make new keygroup in prog
set sname to name in samp
-- creation du nom du sample pour les deux zones
set sample name 1 in kg to sname
set sample name 2 in kg to sname
-- modification pour les 2 zones de la limite basse et haute (-2 car 2 notes par sample )du sample pour le groupe
set lo note in kg to kv2 - 2
set hi note in kg to kv2
-- modification pour les 2 zones, la hauteur des samples reste constant malgres la hauteur des notes du clavier
set zone 1 pitch in kg to 1
set zone 2 pitch in kg to 1
--modification pour la deuxieme zone seulement ,la force de frappe (velocite) doit se trouver entre 100 eet 127
set lo velocity 2 in kg to 64
set hi velocity 2 in kg to 127
--incrementer les compteurs pour les samples actif suivants dans la boucle
set kv to kv + 1
set kv2 to kv2 + 2
if kv is greater than 128 then set kv to 127
end if
--Fin de la boucle (se repete tant que le compteur X est different de numsamps )
end repeat

-- rafraichir l'affichage
set update in s to true
else
error "Le sampler n'est pas allume "
end if
-- fin du programme
end tell

Voici le premier ensemble of kits to download akaicoolos.sit

LE MIDI INTO GENERAL

A large catch of tete for large the configurations
small for the others.
A rather old standard which allows telecommander the synthes
key, its velocite, its dure(relachement), its position in time supports
as well as controllers (modulation, pitchbend, filters, pedals, ect)
and the dumps, most tedious which makes it possible to send packages specific to the synthes
programs, arpeges, configuration, ect.
This standard vehicule not of the sound but of the codes of telecommande
as paper perforates of a barrel organ.
The use of an interface midday hardware is essential
for the PC with the card its or independante
for mac independante
for the atari 1024 or 512 integre (the best computer for the very small budget)
As for the software on mac OMS is the system more uses very complete.

While waiting future normalizes it which should emerge soon (a protocol with the flow for midday and the audio).

CARTE AUDIO

For the song i am the 8/24 from fire gadgetlabs(the societe with out!!)
a card 24 bits, 8 entrees and 8 analog outputs.
An audio card of quality is a good investment for a fast computer,
it will permetra you to fully use the effects and the virtual synthes of qualities.
You will avoid the purchase of an external recorder (minidisc dat) or external effects
what is not negligible with the sight of the exhorbitant price of these all these apparatuses
and will limit the transfers easily (analog numerical and vice verca)
as well as conversions of format.
The latency of the card (time for this declencher) must be weak
especially for viable use of the virtual synthes.
The 24 bits makes it possible to especially treat the signal with more precision
for the mixing or returned effects and synthes.
With the sight of the technological advances soon it will be the part maitress of the virtual studio...

SYNCHRO

the synchro is very significant in the music techno
it makes it possible to be synchronized with the clock of the sequencor
and thus to follow the beat of the sequencor perfectly
The mixture of elements synchronize and not synchronize
allows more alive pallets while remaining fixes on the tempo.
It is usable to plusior levels on the synthes
on the sequences of the arpegiator
for determiner the step of the sequence
on the delay
To avoid tedious calculations,
Many technoides knows the easy way consisting with
to fix the time of echo of the delay on the tempo of sequencor. That Ci
is often expresses in millisecond, aberation since this value
does not want to say large thing for the commun run of the musicians
who always work with measurements and times.
Those Ci are forces to make calculation to translate
in measurement or time.
ex
With a tempo of 160 beat per minute
a time corresponds to how much millisecond
60 seconds / 160 = 0,375 seconds
Therefore 375 milliseconds.
the delay will repetera each time with an echo of 375 milliseconds
Fastidueux to see irritating if you use complex measurements
often impossible with the values decimales.
A chance,il exists small programs which make conversion
and the synthes starts to have directly a musical notification.
on the lfos
Geniale to work the parameters of the sound in agreement with the tempo.
A very powerful opening for the handling of the sound.

THE COMPLETE SYSTEME

Index warning!!! Method Cubase Hpd15 Nova Sirius S2000 Midi MP3 Reason SURVEY!!!

Song with the magnifying glass

TranceUnite
TranceMirage
TranceAfrica
TranceliveInitial