TIPS AND TRICKS DOCUMENT

[The Man Himself <altruist@shoko.CALARTS.EDU>]

Fellows and others:

I recieved a few interesting posts from people for inclusion in the FAQ. 
I didn't include them in the just-sent FAQ 2 because they didn't seem to
be frequently-asked technical questions as such (and one of them was
non-Echoplex specific).  

However, since Kim has a space on the web site devoted to "Tips and
tricks," I thought it would make sense to start compiling something for
that.  I've re-posted Kim's tutorial on MIDI sync here as well as in the
FAQ, since any convergence of Echoplex and MIDI seems to lead to one
headache or another. 

In the immortal words of John Lydon, "Enjoy or die!"

==============================================================
FEEDBACK USE TECHNIQUES by Matthias Grob

The Plex uses a 256 step value and filters it almost evey sample so you can
smothly and quickly change it. I strongly suggest a pedal.
In longer loops you maybe want to grow only a part of it:
For example: Open +Overdub+ and reduce Feedback while opening the volume
pedal so the sound you hear from the Loop will be replaced next time around
by the one you fade in now. Not very difficult to imagine how it will
sound.
Then as your note fades, you open Feedback again and have a phase of the
loop as it was before.

+Replace+ is a function we have for this, but is to hard for most
aplications because it chops off/on. With the FB pedal, you do it more
creative and smooth.

Sometimes in long loops (like 25sec) I start increasing the dynamics every
turn around, rather taking back one part and then crescendo in to the full
part...

As it does not make sense to infinitally increase the content of the
memory, we reduce automatically the FB a little while +Overdub+ is on. This
prevents from the worst noises when somebody forgets  +Overdub+  on.


When you reduce FeedBack, **reduce loop time, too!**
(Million times executed experience - how it works for me):

Most music (and stories in general) has its static phase (contemplation,
solo) and its dynamic phases (walking, discovering).
Obviously, FB open is for the static and reduced for the dynamic phase.

Since in the static phase you have time, you will multiply and increase
loop time to make the loop more interesting, maybe less obvious.
Then, when you enter a dynamic phase, its a drag, because changes take to
long, or take a too radical reduction of FB which cuts the flow.
So you reduce FB little, but also reduce loop time! If the loop is rather
an educated one with a harmony sequence, built with +Multiply+, you will
aply +Multiply+ by 1 or 2 when the basic harmony comes back. The loop stays
on this base, maybe 4 or 8 times shorter, which gives you the chance to
change it gradually and then build (use +Multiply+ again) a new harmony
sequence.

If the loop is rather of the anarchistic/ambient kind, you can reduce it
with +Unrounded Multiply+, which is called by the RECORD following the
MULTIPLY key. This way you can cut out any bit, as short as you want, mayb
even aplying
+Unrounded Multiply+ 2 or 3 times in a row, to really chop up the worm
before the part with the heart grows again with more heads even... urgh,
ahem,,,;-)


=======================================================================
NON-ECHOPLEX SPECIFIC DELAY TRICKS by Chris Chovit

I use a counting method with a guitar (could be any instrument, though) &
delay, which may be of interest, so I will try to communicate it here:

Set delay to repeat only one time (ie. feedback at minimum), with a delay
~700 - 1000 ms (any longer can be done but it gets tricky). For this
discussion I will use a 750 ms delay.

(To get the feel for the delay time, I usually start out strumming muted
strings, with quick, sharp strums).

Break the delay time into an integer number of beats -- lets say 3.  So,
for this case strum every 250 ms.  Now, play notes, instead of strum.  Play
a 4 note, repeating meoldy (ie. repeats every 1000 ms).  Let s say the
meoldy is DO RE ME FA.  So, if we write the pattern on a time scale we get
(you might need to stretch your window size to view this correctly):

TIME    0       250     500     750     1000    1250    1500    1750    
2000
BEATS   1       2       3       4       5       6       7       8       9
PLAY    DO      RE      ME      FA      DO      RE      ME      FA      DO
DELAY                           DO      RE      ME      DO      RE

This creates an interesting harmonizing relationship between the performed
notes and the delays.  Now, play the notes of the melody on every 2nd beat
(ie. half as fast), so you get:

TIME    0       250     500     750     1000    1250    1500    1750    
2000
BEATS   1       2       3       4       5       6       7       8       9
PLAY    DO              RE              ME              FA              DO
DELAY                           DO              RE              ME

This creates an interesting "dynamic" pattern between the performed notes
and the delay, like a question/answer type thing.

Many of you probably get these rhythms, without counting it out.  But
counting it out has helped me to get some more complicated rhythms, that I
wouldn't have been able to get otherwise.  To communicate the pattern, I
could use 3 numbers:

Number of beats per delay time
Number of beats between performed notes
Number of notes in (repeated) melody

So, for the first example, I would write it as (3, 1, 4).
For the second example, I would write it as (3, 2, 4).

It is the relationship of the first two numbers  that creates the rhythmic
quality.  The third number will just affect the harmonic relationships, not
the rhythmic relationships

I have really enjoyed trying some more complex rhythms:  (Let X = 1, for
starters, ie. just repeat one note, or strum)

(4, 5, X);  (5, 4, X);  (3, 5, X); (5, 3, X); (5, 2, X); (2, 5, X); (6, 5,
X);  (5, 6, X) ....etc.

Some of these are tricky to play.  It's easier with a sequencer and a delay
that you can "dial in" the exact delay time.  I just use a Jam Man though.
For the larger first numbers, I use longer delay times.  If the first
number is 8 and my delay time is 1600 ms, I might strum every 800ms, then
every 400 ms, then finally every 200 ms -- instead of trying to break 1600
ms up into 8 parts right off the bat.

===========================================================================
ECHOPLEX MIDI SYNCING by Kim Flint

Yes, you can have the sequencer generate midi clock, and sync to that. You
can set the length the loop will be in relation to the sequence tempo, so
for instance you can make your loop equal 8 beats, 7 beats, 3 eighths,
whatever. The echoplex, once it is synced, will stay locked to the
sequencer and not drift. This works reasonably well in the current shipping
software, and the not-yet-shipping upgrade has many improvements in this
area.

To do it:

Set the sync parameter to "in"

Make sure you have the echoplex in reset, and midi out from sequencer is in
midi in of the 'plex. Make sure your sequencer is set to generate clocks.

Start the sequencer. It will send midi clocks, which the echoplex will
happily monitor. If you look at the display, you will see a little dot
flash at the sync interval. This interval is determined by the 8ths/beat
parameter, which basically tells the echoplex how many 8th notes will be in
the basic loop cycle.

Press record, the echoplex starts recording. (If you are using the quantize
function, its a bit different. I'll explain below) You have to wait until
after the clock starts to start record. Otherwise the echoplex doesn't know
its supposed to be syncing to something.

Play stuff, press record again. The echoplex will continue recording until
the loop is the appropriate length, end the recording automatically, and
start looping.

Your loop should be in time with your sequence.

If you use the quantize function, which basically quantizes the timing of
your echoplex actions, the echoplex will wait until the next sync interval
to start its recording. This way your loops are not only the proper length,
but the beginning point of the loop is right at the beginning of the
measure in the sequence.

Hopefully that makes some sense. (its quarter to 3am, I'm a tad groggy...)
Play around with it, the practical experience will make it more obvious.


I use this technique for live type playing a lot, to sync my loops to drum
machines. One thing that is fun to experiment with is to use 8ths/beat to
set the meter of your loops to be different from the meter of the sequence.
So you can get 3 verses 4, say. One thing I've had a lot of fun with is to
take a two bar drum machine groove and record it into an echoplex that is
synced to it, with the echoplex's 8ths/beat set to 15, for example. So I
record 15 of the 16 eighths in the drum pattern, and loop that along with
the original. With the loop shifting one eighth each time through, the
simple little drum machine suddenly sounds remarkably creative!

Another thing to try is syncing multiple echoplexes together with different
8ths/beat, to get fripp-like multi loops going where the different loops
are related by some ratio.



Using the echoplex to generate midi clocks and control a sequencer is also
really fun. Basically, set things up the reverse of before. Sync=out, midi
out of echoplex to midi in of sequencer.

Hit record, play your thing, hit record again. The echoplex will then
generate midi clock and send a start-song message to the sequencer. The
sequencer should then start, in time with the thing you just played. I also
do this with drum machines, so the pattern comes in at the tempo I just
played.

I showed Neal Schon how to do this and he went into his studio and riffed
away with his rhythm machine 8 hours a day, every day, for months. (writing
material for the upcoming Journey album that I'm sure you're all dying to
get ;-) ) Its real fun to have the sequence kick in with you like that. Its
just like having a real band, except they actually listen to the tempo you
set and don't mind if you make them start over 300 times while you refine
your guitar riffs.