Expert Advice

Mar 1, 2000 12:00 PM, Mike Levine

Welcome to the March 2000 installment of "Operation Help." This month we hear from Roland on bouncing VS-1680 tracks with effects, from BitHeadz on setting up Unity DS-1 and Retro AS-1 to work with ReWire, and from Akai on how to use the BPM Match feature on its S5000/S6000 samplers. Plus, we'll reach into our e-mail bag and answer readers' questions about their gear.

FROM THE MANUFACTURERS Bouncing Tracks with Effects on the Roland VS-1680

If you're using effects on your project, it can be beneficial to include the effects processor's output when you bounce tracks-this is sometimes referred to as printing the effects. In doing so, you make the effects a permanent part of the audio, freeing the processor for use on a different track or for adding a different effect on the same track. Use the following procedure to bounce tracks 1 to 14 to tracks 15 and 16, with effects.

1. Assign tracks 1 to 14 to any of the available effects processors (1 to 4).

2. Hold down the track 15/16 Status button and press Clear.

3. Hold down the track 15/16 Status button and press Track Select buttons 1 to 14 consecutively. The Track Select buttons will start flashing.

4. Hold down the track 15/16 Status button and press the Eff Rtn button for all of the effects processors being used. For example, to record Effect 1 to tracks 15 and 16, hold down the track 15/16 Status button and press Eff 1/3 Rtn. (Note: If you are using Effect 3 or 4, hold down the track 15/16 Status button, Shift, and Eff 1/3 Rtn or Eff 2/4 Rtn to assign effect 3 or 4 to be recorded on tracks 15 and 16.)

5. Press the track 15/16 Status button repeatedly until it is set to Source mode (the button glows orange). Repeatedly press the Status buttons for tracks 1 to 14 until they are set to Play mode (the buttons glow green).

6. Press Play and adjust the level and pan settings for tracks 1 to 14 as desired. Press Stop when you're finished.

7. Repeatedly press the track 15/16 Status button until it is set to Record-Ready mode (the button flashes red).

8. Reset your song to the beginning. Press Rec, followed by Play.

9. Press Stop when your song is finished playing. Now tracks 15 and 16 will contain a stereo mix of tracks 1 to 14 with the effects included.-Duane McDonald, Roland Corporation U.S.

Setting up BitHeadz Unity DS-1 and Retro AS-1 to Work with ReWire BitHeadz' flagship products-the Unity DS-1 digital sampler and the Retro AS-1 analog synth-support ReWire (a digital audio transfer protocol developed by Propellerhead Software and Steinberg) under both Mac OS and Windows 95/98. In a sequencer that supports ReWire, you can route the audio outputs of either program directly into individual audio tracks. This allows you to work entirely in the digital domain.

Here's how to set up Unity DS-1 and Retro AS-1 with ReWire in Steinberg's Cubase VST and Opcode Systems' Studio Vision. On the Mac, you'll need Steinberg's Cubase VST 4.0r3 or later, or Opcode Systems' Studio Vision v. 4.5.x. On the PC side, use Cubase VST 3.6 or later.

1. ReWire driver installation. The only difference between the ReWire configuration under Mac OS and the configuration under Windows 95/98 is the driver install. Under Windows 95/98, the Cubase VST installer will properly load the ReWire drivers, and the BitHeadz installers will update the drivers if necessary. Under Mac OS, you must copy both the Unity DS-1 ReWire plug-in and the ReWire v. 1.1.0 extension to the Extensions folder. These drivers are in the Unity DS-1 Utilities/ReWire folder on your hard drive. Follow the same procedure for Retro AS-1; look for the drivers in the Goodies/ReWire folder on your hard drive.

2. Software configuration of the Unity DS-1 and Retro AS-1 engines. The rest of the configuration happens within the software, in the Unity DS-1 and Retro AS-1 control panels. On the Mac, choose Apple Menu => Control Panels => Unity DS-1 (or Retro AS-1). On the PC, click on the Start button and choose Programs => Unity DS-1 (or Retro AS-1) => Unity DS-1 (or Retro AS-1) Control Panel.

In the control panel, specify Plug-in as the audio-output type for the program. The audio output of the DS-1 or AS-1 will now be directed to the ReWire channel inputs in Cubase or Studio Vision.

3. Configuration in the ReWire sequencer host. The next time you launch Cubase VST or Studio Vision, you'll be able to access the audio outputs of the AS-1 or DS-1 as ReWire returns. First, however, you must enable the appropriate ReWire channels in your sequencer. Do this by choosing Panels/ReWire in Cubase, or Windows/Audio Instruments in Studio Vision.

4. Notes on MIDI setup. On the Mac, use OMS to establish MIDI communication between Unity DS-1 or Retro AS-1 and Cubase VST or Studio Vision. After you install the program, go to System Folder => OMS folder and make sure that the appropriate OMS driver is installed. Then launch the OMS Setup application and create a new studio setup. OMS will scan through its driver bank and "see" the BitHeadz driver. It will then include Unity DS-1 (or Retro AS-1) in your Current Studio Setup. If you can't find the Unity or Retro OMS driver, reinstall the program from your CD-ROM, update to the current version, and try again.

Under Windows 95/98, Cubase VST will recognize Unity DS-1 and Retro AS-1 as MIDI devices. Use the Multimedia control panel (Start button => Settings => Control Panel => Multimedia => MIDI Devices and Instruments) to verify that the program's driver is active and enabled. Then run Cubase VST's Setup MME utility to define and verify the MIDI input and output instruments.

That's it! Now you can route the audio output from Unity DS-1 or Retro AS-1 right back into your ReWire host. Enjoy!-BitHeadz support team

Using BPM Match on the Akai S5000/S6000 Akai has significantly improved the TimeStretch feature on its S5000/S6000 samplers. One notable enhancement, the BPM Match function, allows you to choose a sample at a known tempo and have the sampler automatically time-stretch it to a new tempo.

BPM Match is an operation performed on individual samples, so you access it in Edit Sample mode by pressing the F13 soft key. Enter the original tempo of the sample in the Source Tempo field, then enter the desired tempo in the New Tempo field. If you don't know the original tempo, you can probably estimate it by matching it to a click track on your sequencer.

Next, select the preset that best describes the source sample. Because different types of sounds respond differently to time-stretch operations, Akai has provided 18 different presets you can select from the Preset field. Each has three variations (represented by the letters A, B, and C), making a total of 54 presets.

Variation A provides a time stretch of average quality and the fastest processing; Variation B provides a time stretch of better quality but slightly slower processing; and Variation C provides the highest-quality result but the slowest processing.

For example, let's change the tempo of one of the samples from the factory disk set. First, load the Workstation #2 disk. We will change "M.Loop 1," but first we need to loop it. To loop the sample, go to the Edit Sample/Loop page and change the Loop End point to 108907. This will provide a proper loop at about 97.6 bpm. Now go back to the BPM Match page to continue the TimeStretch operation.

Enter the source tempo (97.6 bpm) in the Source Tempo field. Select 120 bpm (the default selection) as the desired tempo of the new sample. Then choose an appropriate preset. Because the sample contains a lot of midrange frequencies, select the Mfreq Rhythm B preset. It provides a nice balance of quality and speed. Press the Match New BPM soft key (F16), and the sampler will execute processing.

Once processing is complete, you can audition both the original sample and the newly created sample to determine whether the result is worth keeping. Keep the original sample, keep the new sample, keep both, or overwrite the old with the new. If you're satisfied with the results, you're done.

If you're not happy, press the Preset key (F10) again to open the Preset window, and try tweaking the Adjust parameter. As a basic rule of thumb, setting the Adjust parameter to a positive value improves the processing of high-frequency and percussive-type sounds, whereas a negative setting improves the processing of sounds with a lot of bass. Remember that when you're using any time-stretch feature, experimentation is the key to good results.-David Whittle, Akai

QUESTIONS FROM READERS PowerBook Quandary

Q: I teach band/music at the high-school level, and our school has agreed to purchase a new Mac for the music department. I would like to get a new PowerBook, but any new machine would be an improvement over the Power Mac 6100 and PowerBook 575 I'm currently using. I use Mark of the Unicorn's Mosaic and FreeMIDI extensively and plan to get into sequencing, recording, and CD burning. I have an Alesis QS6 MIDI keyboard with a rear serial port; it connects to my Mac via a direct serial connection (no MIDI interface).

Because the new PowerBooks do not include serial ports, I would like to use a simple adapter solution, like the Keyspan USB twin serial adapter. There are also PCI cards and internal (modem-slot) adapters that provide serial MIDI, but for those I would need a desktop Mac, not a PowerBook. Do you have any ideas on using new PowerBooks for music/MIDI applications, or should I abandon the idea and get a desktop system? Or should I hold out for the G4? Any suggestions would be greatly appreciated.

Bernie Stellar Mount Carmel, CA

A: Your letter raises several interesting issues well worth exploring. But your central issue-employing a USB-to-serial adapter to avoid using a MIDI interface-is really just a red herring. Without trying it myself, I can't verify that the Keyspan device will actually function in your system, although it might work fine.

The bigger question is, Why are you designing your desktop music system around a PowerBook in the first place? Unless you do some of your best work while commuting to and from school or while sitting in airports and restaurants, it makes little sense to build a music production system around a laptop computer. A laptop is by its very nature a heavily compromised device. How else could you cram a full-size desktop machine into a case the size of an omelet pan? Certain things just have to be left out-like expansion slots, drive bays, a full-size monitor, a mouse, and several other noteworthy items.

I have a PowerBook 1400c that I like very much, but I wouldn't dream of trying to run a score notation/layout program such as Mosaic on it. Viewing a full orchestral score on a laptop display would be like viewing the Sistine Chapel through a keyhole. And notation programs are not unique in that regard. Most of today's sequencers and digital audio editors offer so many editing views, mixing consoles, effects windows, plug-in displays, toolbars, and other screen elements that you need a good, clear, 17-inch (or larger) monitor for professional-level productivity.

Especially in an academic setting, a large, bright monitor, a full-size keyboard, a mouse, and a good set of speakers are essential components of a desktop music system. As for the CPU, you don't need a unit so powerful that the State Department starts watching your house. Any current G3 model with at least 64 MB of RAM (more is better) will work fine for most setups. (Of course, a G4 would be very cool, if your budget allows.)

Once you purchase the computer, forget about serial adapters and buy a good multiport USB MIDI interface. Since you're already using Mosaic and FreeMIDI, you might consider MOTU's excellent MIDI Timepiece AV. It integrates well with other MOTU products and lets you hook up multiple MIDI sound modules, samplers, and keyboards. It also provides time-code sync (for film and video scoring) and other advantages. Opcode, Midiman, and other companies offer comparable USB devices. With this setup, you'll be properly poised to "get into sequencing, recording, and CD burning."

At this point, however, I would be remiss if I didn't point out that the world of laptop music-making has made some important strides during the past year, and many musicians are now more devoted than ever to their portable computers. For more information about creating music with laptops, plus links to other sites, check out Brian Smithers's Web site The Musical Notebook Computer at members.aol.com/notebooks1.-David Rubin

Demo Dilemma Q: I am considering opening up my small home studio in Orlando, Florida, to other musicians who need a simple demo tape or CD. I'm using Cubase VST 3.6 and have various instruments available for use if needed, including a MIDI keyboard, drum kit, guitar, and mic. Do you think there are musicians out there who would be willing to pay a reasonable fee to have their demo tape created? And do you think my equipment is sufficient for the job?

Nick via e-mail

A: Every major metropolitan area is full of musicians who are potential clients for your demo studio. That said, establishing a successful demo business isn't easy. These days, most musicians either own or have access to MIDI and recording equipment of some sort, so if you want them to pay to use your setup, you have to offer something more. A high skill level as a producer/engineer is a good selling point, and an above-average studio setup is another. Although you didn't provide a complete list of your gear, it sounds as if you're a bit underequipped. (You certainly need more than one mic, for example.)

Most important, you have to establish a reputation so that you get jobs via others' recommendations. Word of mouth is the best way to get work of this type (or any type of work, for that matter), and it provides you with a better class of client. After all, you don't want to let just anyone into your studio. You run the risk of getting shafted on payment for a job, or even having your gear ripped off. (Before you open your demo business, it would be wise to look into liability and equipment insurance as well as local zoning ordinances.) Of course, developing a good reputation isn't easy, so in order to get your name around, consider doing a few freebie jobs for friends and associates and hope they'll talk up your skills to others.-Mike Levine