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LOOP delay Service Manual

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1. esssssssssseseeeennenn nnne nnn 30 MULTIPLE eti tete He oix Ende 31 MIDI gies ial agin Weil eee 32 SYNGJACK SOGKETS 2 E Etc Ret e e ee 33 BEAT ieee re tede tee ute ve De Lo rov c pe Le e Fa e Lao v dee tee 33 BROTHER SY NG sec oie e reete tob trees deeb 33 POWER a etd s HS 33 DIP SWITGHES 34 COMMUNICATION 35 RESET tat edo coii ced ie nailer ahaa 35 The Reset 35 geddl pene 36 SYNGHBONIZATION gt cedi tentem Ded dud e tete Lider teu 37 What is Synchronization 37 Synchronization levels siiin arei 37 Concept for Synchronisation 38 The use of BROTHER SYNC and 40 to ndo LM SINUM UA EUR LE UR 42 Jl e 43 MIDI CORI IEEE 43 MIDIR EI oTe ANa cC P 44 PLAYING HINTS si a a ee eck ee eee eee 45 INSGENE RAL EAE e prese e pape et eR era puse taba 45 ore ead ecc eee ede ee ee Du
2. Insert Break Undo StartRecord OverdubOn StartMultiply StartInsert StartBreak These functions are executed when a switch is pressed long Record X Overdub Multiply Insert Break Press startRecora OverdubOn StartMultiply StartReplace StartBreak Release reset overdmort stopRePlace These functions are executed when another function has already been activated i Record i Overdub i Multiply _ 1 Insert 1 Break 2 Record stopRecord _ startRecord ustopMultiply OverdubOn OverdubOn OverdubOn OverdubOn StartMultiply i a Ee rne RehearseOn StartBreak StartBreak StartBreak 2 Undo UndoRecord SunpBack Undemuitiply LOOP delay Manual 58 MIDI IMPLEMENTATION CHART Function Transmitted Recognised Remarks Basic Channel 1 16 1 16 Default 16 Mode poly Notes 36 46 1 24 82 Prog Ch E Controllers 1 1 Mod wheel 123 127 All keys off Sys Ex System Common Start Song to start sync System Real Time MIDI Clock MIDI Clock Notes interpreted as Control Keys Key Sent and received additionally received MODE 36 C1 CO C2 RECORD 38 D1 DO D2 D3 OVERDUB 40 E1 EO E2 MULTIPLY 41 F1 FO F2 INSERT 43 G1 G0 G2 G3 BREAK 45 A1 AO A2 A3 UNDO 47 B1 BO B2 B3 FBSwitch MODE 37 C 0 C 2 BROTHER 42 F 1 only sent BEAT SYNC 46 A 1 A 0 A 2 A 3 FEEDBACK Contr 1 Modulatio
3. It is impossible to operate a foot switch to 1 5ms of accuracy It makes a big difference whether the user presses the key right before or right after a mark e g loop start So rounding is a must The most important improvements in the program have been in this area Now what does it mean to round in real time Either the key was pressed too late and the past has to be changed or itis pressed too early and the jump into the future should happen It means that we always have to count on the possibility that a key will still be pressed and so all the parameters must be ready to pretend that the key was pressed earlier or we keep the operations cool until the right moment has come to execute them And all should be executed exactly at the same time Another trick is to find the moment in the past that corresponds to the moment in the future we wantto jump to But isit really the same For the user it is helpful to imagine the loop as a train that is continuously driving in a circle picking up notes at the locomotive end and leaving them by the last wagon But luckily we managed to design the LOOP delay so that in a standard application you will not notice these problems LOOP delay Manual 3 CREDITS Eric Oberm hlner made the basic software and much more with his fanatic envolvement and enthusiasm Willi Strehler of GEDDOP Winterthur is the tester of MIDI and SYNC section and brought fundamental ideas and energy into the tired las
4. Reset is similar to a turn off turn on of the LOOP delay It takes the LOOP delay is in the original state and you can start over Long OVERDUB helps you to play single notes onto the loop Press it while playing and release it when the overdubbing should end We will discuss the special functions of the other switches in the following chapters Long pressing of switches activates special functions long RECORD Reset long OVERDUB gt Overdub as long as pressed FROM ONE FUNCTION DIRECTLY TO ANOTHER You normally end a function by tapping the same switch for a second time With the LOOP delay you can end a function with another switch In this case the second function becomes active at the same time You do not only avoid one extra stroke but it also helps you prevent an interruption of your recording This principle goes for most switches All active functions the corresponding LED is red can be ended by switches with green LEDs This second function gets active immediately You cannot use the switches with orange LEDs however they have got special functions Here a second example tap RECORD e play the basis tap OVERDUB on playing the LOOP delay records over the old loop tap OVERDUB An active function can be ended by another switch when its LED is green The function of this switch gets active at the same time LOOP delay Manual 18 INSERT switch With INSERT you can insert additi
5. Then you will probably record bass line and harmonies let us say over 16 beats a second multiplication This kind of music is often building towards a climax which is very convenient because it is hard to simplify the groove Enda groove Using the CP1 as a volume pedal you can reduce the loop volume while your actual playing undertakes the loop theme after fadeout you close with a coda An other possibility is to reduce feedback and reoverdub several instruments while it fades out Weaving a sound carpet Sound carpets have been the most common electronic loop until now Use feedback overdub and a volume pedal to construct sound carpets Start with RECORD for this application precision is not that important Play a loop length of 2 to 5 seconds End RECORD with OVERDUB in order to get a clean transition of the sounds Sometimes you do not want any attacks at all The looped sound carpet will then be very even Advanced MODE is recommended Use the pedal to control input volume Each note will be faded in take also advatage of the dynamic of the instrument This can also be done in Delay MODE The limiter is helpful when weaving an even carpet Overdrive the input so that with each attack the LED turns red Then the limiter will even up your carpet In this application FEEDBACK is not fully open Otherwise your carpet will grow too thick Control the development Quicker change requires a feedback turned rather down opening feedbac
6. Completely new rhythms result from the repetition of this part a new piece of music out of old sounds MULTIPLY RECORD recorded over the existing loop while multiplying new loop unrounded original loop i p IEEE 3 i MULTIPLY OVERDUB Ends MULTIPLY and activates the state of OVERDUB MULTIPLY INSERT Switches from MULTIPLY to INSERT direclty no rounding is done The green display goes on counting Just FEEDBACK turns off internally so the following recording is without background When you terminate with INSERT the usual rounding is done MULTIPLY BREAK MULTIPLY is ended and the loop mutes after rounding LOOP delay Manual 27 MULTIPLY gt UNDO The loop goes on as if you never had pressed MULTIPLY Note again With MULTIPLY you cannot fill up the whole memory because the original loop has to remain in the memory otherwise MULTIPLY could not be cancelled with UNDO The MULTIPLY LED turning dark tells you While Recording It makes no sense to go directly to MULTIPLY because more than one third of the memory is used up While Playing It is not possible to expand the loop by MULTIPLY While Multiplying It will not be possible anymore to add an intire beat You should stop MULTIPLY or better cancel it with UNDO INSERT REPLACE Additional beats are inserted into the loop Tapping this switch stops the loop and starts new recording The green display is counting At a second ta
7. by resetting waiting for a SYNC a flash of the left green decimal dot and quantize into the new beat Brother Connection with external synchronisation If the brothers are playing with a sequencer all can follow the MIDI SYNC One LOOP delay receives the MlDlclocks and sends the derived SYNC through BROTHER SYNC to the others also set to l all brothers follow the oldest dancing with MIDI MIDI In MIDI Out MIDI In LD 1 MIDI Out LD 1 MIDI Out Beat IN Beat Out Beat Out Brother Ou Brother In l Brother Ou SEQUENCER DRUM MACHINE Brother In The same goes for synchronisation to a sound source or key connected to BEAT SYNC of one of the LOOP delays MIDI In LD 1 MIDI Out TRIGGER SIGNAL Beat IN Beat SOUND SOURCE LD 1 MIDI Out Beat Out Brother Ou Brother In l Brother Ou Brother In Note The BROTHER SYNC does not trigger Samples BREAK MULTIPLY see page 25 If you want all brothers to be triggered together when they are waiting in BREAK you have to connect the sound source to all BEAT SYNC jacks or use MIDI BeatSync Hint Connected brothers can be partly independent and partly mastered if you connect the LOOP delays through a MIDI filter For example BREAK and BEAT SYNC could be transmitted to allow the leader to stop and start the band precisely while MULTIPLY and OVERDUB is filtered out of the MIDI line to leave the musicians independent BROTHER SYNC is also transmitted t
8. each repetition LOOP delay Manual 51 SAMPLEMACRO The samplemacro is the heart of the software A single sample is read from the analog digital converter ADC saved in the memory and read out to the digital analog converter DAC read sample from memory send value to DAC multiply with feedback value read sample from ADC add both samples ADC memory feedback write result into memory Since the family of computer users has grown tremendously here the same in a simple PseudoCode MemSample lt Memory DA MemSample MemSample MemSample FeedbackPedal NewSample AD NewSample NewSample MemSample Memory lt NewSample and now graphically Ouput Input LOOP delay Manual 52 ACCESSORIES AND EXPANSION FOOTSWITCHES For the rhythmic application we have developed a new kind of footswitch the FSP1 It looks normal though inside it is completely different The switching action is ultra short and sensitive a precise switch element has been placed directly underneath the lever The LOOP delay includes one FSP1 for the RECORD function For further functions as MULTIPLY or synchronization additional FSP1 switches are recommended The FSP1 is made as an edgewise case that allows to couple several boxes together to one switch panel Depending on your loop technics some of the functions maybe are less critical and can be operated with normal footswitches close contact when pressed PE
9. function LED green Key is ready to start a new function with LED red This function is active LED orange A special function is active or The presently active function can be terminated in a special way RECORD gt RECORD Records a new loop This loop is immediately played back Looping Anything you do not understand and many tricks and ideas are in the back of the manual JUST ANOTHER DELAY If you want to use the LOOP delay like a regular delay you do not have to know anything about loops PF ONZ Connect the machine as described in STRAIGHT INTO IT 1 5 Press MODE once to make the bottom LED turn green Adjust delay time with two strokes on the RECORD switch The interval between your two strokes is your delay time Apply the feedback in the regular way A pedal CP1 recommended controls the input volume a practical medium of expression LOOP delay Manual The LOOP delay is not primarily developed for short delay intervals and modulation This canbe achieved with BROTHER and BEAT SYNC however You get more information in FROM LEFT TO RIGHT especially in the chapter MODE IMPORTANT HINTS FOR BEGINNERS Maybe you are not used to operating switches at an exact moment So far most footswitches have been used to switch programs Precision was not a necessity then In the LOOP delay however the rhythmic precision of the loop directly depends on your ability to communicate your rhythm to the mac
10. left leg APPLICATION EXAMPLES The Rehearse Trip Traditional delays have commonly been applied in two ways that are helpful at the beginning of a song You start with a musical theme to be looped but the rhythm is not yet perfect When recording the theme it may be correct but it will not have the necessary drive It has to be played over for a while until it is ready to be recorded In Rehearse state you keep getting confronted with your own irregularities Only when the LOOP delay and yourself are playing exactly the same will the theme be ready to record Leave Rehearse with INSERT and conserve the musical theme The other application is the exact opposite You have no idea what to play but you feel the beat Tap RECORD play anything then INSERT First you have the impression of a great chaos But each phrase will be a reaction to what you have just played before Suddenly you play a new theme Maybe you could not even replay it But itis conserved in the LOOP delay In order not to lose it tap INSERT as soon as you have heard it once or tap OVERDUB to continue directly with activated overdubbing Building up a groove Select the most simple element to start with In a salsa for instance the bell Record one or two beats at the most with RECORD You could end the recording with MULTIPLY and immediately start recording a second instrument Then multiply with four You may use OVERDUB to record several instruments over these four beats
11. off loop time 0 red display shrinks to a dot OVERDUB turned off The SYNC input stays awake but no SYNC is sent The Reset Parameters The parameters for communication are displayed by pressing the respective key in Reset state and modified at the second pressing Reset gt RECORD RECORD The normal function the only one to exit Reset Heset OVERDUB Quantizing off atstartup Quantizing on Reset gt MULTIPLY MIDI Sync 1 1 Note 8 at startup MIDI Sync 1 8 Note 1 MIDI Sync 1 4 Note 2 up to 20 8 Note 20 Reset gt INSERT SYNC OUT BeatSync Output O at startup if DIP 2 OFF SYNC IN BeatSync Input l at startup if DIP 2 ON LOOP delay Manual 36 Reset gt BREAK UP MIDI channel up at startup channel16 Reset gt UNDO DOWN MIDI channel down at startup channel 16 To reset the Reset parameters Allthese parameters can be set to initial value with a Jong pressing on the corresponding key This feature does not only speed up the operation but allows it to operate blindly After pressing itlong you know where it stands and how many times you have to press it shortly to get what you want With MIDI programming this is essential because it allows you to set parameters in the beginning of your sequencer program in an extremely simple way Example If the song is programmed in a 3 4 measure and when the sequencer is running do the following operations before you play l
12. pullup resistors are in parallel connection Block For technical reasons 64 samples have been collected into an inseparable block Since a beat always starts at the same place in a block the machines are synchronized at block level automatically when synchronized on sample and beat level Beat An easy way of synchronization is to correct differences at the end of each loop as in samplers However clicks can be heard because information has to be inserted or deleted Luckily at the end of aloop the sounds are normally fading and at the beginning of the next loop the clicks cannot be heard because of the attacks The rhythm within a loop does not get corrected only the end Speed increases etc become meaningless At the very leastthe loop can be synchronized by strokes of a bass drum a footswitch or the rhythm of a drum computer LOOP delay Manual 38 Concept for Synchronisation Signals involved SYNC is made up of the following synchronisation signals BEAT SYNC BROTHER SYNC MIDI BEAT SYNC or MIDI SYNC They almost do the same thing but cannot be received and sent out all at the same time Therefore you can control the desired application with the 2 SYNC MODES l and O that are selected with INSERT during Reset Limitation Suggestion Note For synchronisation remember that each adjustment means a jump in the memory that can be audible Synchronisation can only happen backwards In consequence a SYNC
13. style Soon we will be listening to recordings of different people and learning about the various styles simply describe the different styles so far for those who want to be as versatile as possible REPRESENTATION Words in capitals refer to OPERATING ELEMENTS of the LOOP delay for instance a switch Often the same words appear in normal writing Then we talk of the function of a switch Bold words refer to the respective Chapter in the manual Texts in boxes summarize the preceding chapter Special Inserted paragraphs are are marked with Important or similar titles and refer to specialities you should not miss Have a good loop LOOP delay Manual 5 BASICS LOOP A loop is a repeating sequence in music Elsewhere the word is used for the prolonging of samples and for the inserting of effects But first there was Tape Loop Art and this is the meaning we refer to MULTIPLICATION It is possible to build up long loops out of short units We call this the multiplication of a stored phrase See example with diagram in the following paragraph BEAT The beat is the basic loop element Without multiplication beat and loop are the same A loop is always made up of an integer number of beats Often you will create a loop a way so that one beat is made up of a musical beat In the LOOP delay you start by recording a phrase meaning one beat Then create a complete loop lenght by multiplying the beat In this
14. with the MODE button between loop mode and delay mode With the CP1 pedal connected you have access to even four modes of operation oop mode delay mode output mode and advanced mode The two LEDs next to MODE indicate the actual state of this function MODE STANDARD Pressing this button changes three modes of operation loop mode top LED burns green delay mode bottom LED burns green advanced mode top LED burns red MODE EXPANDED Connected with a pedal the LOOP delay offers four different modes loop mode top LED burns green delay mode bottom LED burns green output mode top LED burns orange advanced mode top LED burns red A long pressing of MODE sets itto oop mode Loop Mode top LED green This is the regular mode of the LOOP delay If you have the CP1 connected this pedal controls FEEDBACK instead of the front panel control Delay Mode bottom LED green No looping but regular delay The pedal controls the input volume The OVERDUB switch now changes its function to HOLD that works as used to traditional delays Output Mode top LED orange Similar to the loop mode except the CP1 pedal controls the loop output volume FEEDBACK can be controlled with the front knob Advanced Mode top LED red Similar to the loop mode except FEEDBACK is always fully open although the front control is setted backwards FEEDBACK reduction only happens if OVERDUB is activated If a pedal is connected it co
15. CONTENTS CONTENU SS e aa E e eO teen eee eee nee ee ee etter eeceeee 1 INTRODUCTION fo ohio ee cn ie e a cere pacer setae secre aaa 1 PREFACE BY MATTHIAS GROB INITIATOR AND DEVELOPER 1 Introduction to the Version 2 2 sssssssee mem 2 WHY READ THE MANUAL mene a aaki nnne nnns 4 WHY NOT READ THE MANUALI ssssssseeneeeee nemen ers 4 WHERE TO READ IN THE MANUAL 00 eee eee ee cece eee e cece 4 REPRESENTATION et tun eto ve ebat eden teehee dh bokeh 4 BASICS 5 LOOP EE 5 MUETIPEIGA TION 5 ene 5 D mc E E A E E 5 PRESET ccc IE EE 5 PEDAl e ALTO IN MM D IM IN MM Ed 6 THE QUICKEST WAY TO THE LOOP eeeeeeues 7 STRAIGELTSIBITO b E o sitos ccm cpm ecc 7 JUST ANOTHER DELAY rore aed ces 7 IMPORTANT HINTS FOR BEGINNERS sse eene 8 STEP BY STEP 2 020 aaa aaan e E Da Eae ace ect sca eee ers D iei Doe 9 GONNEGRING op 9 MEANING OF THEEEDS eis ro e eb oa ater eo bod ira eds 10 Avedon venient ae Yn e espere ne 10 Function display e Eodem uei a cen Riera ed 10 RECORD
16. DAL For an enhancement of expression we designed a multi functional pedal application The pedal jack socket at the back panel can be used in four ways connected with a controller pedal connected with a controller pedal with switch connected with a switch only not connected functions accessible at the front panel Controller Pedal CP1 With our pedal you can bring your loop music into action more expressive either as volume or feedback controller depending on the MODE see page 19 If you wantto recycle your old volume pedal we love recycling here is our hint to modify it Control the potentiometer value 10K 100K resistance 20Kohms mean Make a special Y cable that unites two mono jacks to one stereo Note The pedal jack socket is stereo One lead tip conducts the power and test voltage 5V the other one ring the control voltage 0 5V s TIPRING 4 Serene ses More elegant would be a directly inserted stereo jack cable If the range of the potentiometer does not work properly try to adjust it by changing maybe just taking out the resistor R28 close to the DIROUT socket inside the LOOP delay LOOP delay Manual 53 Pedal with switch Connecting the tip of the jack with ground switches the MODE With some skill you can modify your controller pedal and add a function stereo jack a EDT socket in Roa ee RING J agents bl MEMORY
17. DIR OUT MIX CONTROLLER Important The output should not be connected to an overdriving guitar amp except if you want to build very dirty loops so called thick walls We recommend connecting all effects before the LOOP delay except for reverb Then you should connect a system that is as linear as possible for instance a PA or HiFi system The MIX output is always in use The DIRECT OUT is only in use when the direct signal is processed separately from the loop signal This allows you to separate acoustically the loop from your current playing by panning them or using different amounts of reverb In case you have only connected the MIXOUT the MIX knob controls the relation of direct and loop signal If both outputs are connected MIX controls the loop volume TIP LOOP delay Manual 23 FEEDBACK Feedback means sending information from the output to the input of the system The amount determines high feedback Continuous growth e g population explosion 1 consistent waves e g natural growth in a healthy forest 1 slow fade out e g echo in a valley The FEEDBACK control sets the feedback value between 0 and 1 Thus you control the number of loop repetitions between 1 and ee In intermediate positions the loop fades out The feedback loop level LED indicates the volume of the loop and should hardly ever turn red The limiter does not prevent the eventual distortion when overdubbing many layers The feedback L
18. ED points this out by turning red loop volume i time feedback at max feedback reduced loop never fades 1 loop fades Important When OVERDUB is active the feedback will automatically be reduced to a maximum of 9596 see OVERDUB page 22 Hint If aloop isfaded out and you wantto discover it again press UNDO several times it will come up again MODE You can switch between four modes Each stroke switches to the next one Along pressing of MODE sets it to loop mode Loop Mode This is the default mode selected when the LOOP delay is turned on top LED is green Most of this manual is about the loop mode An additionally connected pedal controls FEEDBACK Delay Mode It is indicated by the bottom green LED The LOOP delay becomes a regular delay The RECORD switch now determines time setting An additionally connected pedal controls the delay input This is very helpful when extending or prolonging notes during solo play or when playing short licks The overdub function is turned to a regular HOLD Regular state green is delay In HOLD red the loop just played is frozen and repeated infinitely Output Mode The output mode orange top LED is close to the loop mode the CP1 pedal controls the output volume while FEEDBACK is controlled by the front panel control LOOP delay Manual 24 Advanced Mode The advanced mode simplifies the use of FEEDBACK without pedal The adjusted FEEDBACK reduction on the front
19. EXPANSION The LOOP delay is equipped with RAM memory modules that are also used in PC Macintosh and certain samplers SIMMs Various sizes and prices offer different memory capacities 256k 1Meg and 4Meg fit to the LD1 Their speed is uncritical it should not be more than 120ns Configuration The LOOP delay contains of four SIMM places which are fitted with 256 k SIMMs 12 5 seconds in the standard version To expand the loop capacity bigger SIMMs have to be installed The modules must be replaced by pairs of identical SIMMs we call them sets but two different sets are accepted The maximum of 199 seconds results from four SIMMs of 4Meg Inserting The exchange of SIMM modules is quite a bit difficult and needs some practice It shall be our pleasure to replace them for you In case you are far away from PARADIS also in computer shops and in certain music shops you can get assistance Do not hesitate to order your LOOP delay with the desired memory already fitted Instructions to replace the SIMM modules Disconnect the power cord Then unscrew the bottom of the LOOP delay and open it At the left front corner of the print you find four module places with installed SIMMs The two sockets at the edge of the print have allways be fitted with SIMMs otherwise the red display would show HLP 00 as error after turn on To take out the SIMMs from their upright sockets you need a fine screwdriver and patience The modules h
20. Em 11 Red digits digital display see 11 FEEDBACK eonim 12 OVERDUEB 3 13 Bd ce EL 14 Green digits digital 15 LONG SWITCH PRESSING aaee ererat paenan nea e Arana ap 17 FROM ONE FUNCTION DIRECTLY TO 17 INSERT SWItCh cito Lett teer ts t Lees 18 SPECIAL FUNCTION nhe nnne ern nn enses na 18 BREAK SWIICh ea tes tendis eben pete decken dec Oba eee uper pe ee Road ed 19 Pete rnnt ren aes Bae A nacen En cena Deae ege Ert 19 MODE SWICK EET 21 FROM LEFT TO RIGHT ardi Eee iuar EEan 22 MIN MT eet hapa 22 UNF ON Ropes trenton ree re rene eco Eo 22 PEED BACK tena UL LR tL aes cage M LEAL 23 AAS rp rede Dee its waved sch devia Ge 23 FUNCTION SWITCHES esten Decade a Laie 24 How to control a lot with a few switches seesseee 24 RECORD fiat CS 24 OVERDUB eee reddi baee theta aud oaks 25 MULTIPLY ciii e tede ete Part eh aia 25 INSERTIS MA DE CLA 27 lc 28 ul pem LET E EE 28 DISPEAY p DE EE EE 30 LOOPTIME red digits
21. MULTIPLY is possible only if the memory capacity is at least tree times the recorded beat The MULTIPLY LED turns to dark if the memory capacity is insufficient Three bars in the display indicate an overflow of the memory MULTIPLY MULTIPLY MULTIPLY lets you create an expanded loop composed of a number of beats The LOOP delay automatically rounds to an integer beat RECORD RECORD MULTIPLY gt 1 2 3 4 MULTIPLY This is the usual procedure to create an expanded loop of 4 beats Green digits digital display After RECORD gt RECORD the green digital display still is off Big Multiplying the LOOP delay counts each beat shown in the MULTIPLE display green Note that the LOOPTIME red digits starts at 0 and counts up to a multiple of the basic beat until you tap MULTIPLY for a second time iB ig e D36 After terminating the multiplication the MULTIPLE display green starts at 1 and counts to the last beat of your loop This way you always know in which part of the loop you are LOOP delay Manual Display MULTIPLE The green digits tell you in which beat your music is 16 LOOP delay Manual 17 LONG SWITCH PRESSING Up to now you have only tapped the switches Strange things happened when you accidentally pressed them for along time Most switches offer special functions when pressed long long RECORD gt Reset long OVERDUB gt Overdub is only active while pressed
22. OVERDUB reverses its state If you want the loop to start over select one of the following special functions BREAK gt MULTIPLY special function TriggerSample Nothing happens until a SYNC signal comes Then the loop wil be played once Subsequently it falls back and waits for the next SYNC If there isa new SYNC signal before the loop is played it starts over Note This special function corresponds to a sampler For SYNC read page 29 following BREAK gt INSERT gt special function PlaySample Nothing happens untila SYNC signal comes either from a BEAT SYNC or via MIDI Then the loop is played once before returning to BREAK state It is especially usefull with a regular SYNC signal like MIDI SYNC BREAK gt UNDO gt special function Replay The loop is set to its starting point and is replayed Only possible if the loop does fill at most the half of memory capacity UNDO During a TIMING function RECORD MULTIPLY INSERT You may have pressed a wrong switch and you want to save the loop UNDO was developed for this purpose LOOP delay Manual 29 During RUNNING state When you press UNDO you jump one entire loop back in the memory all you recorded since you have been inthe same part of the loop is erased There is a rounding so that if you tap next to aloop start you jump back to the start of the last loop If you press UNDO long it erases always the current and the whole lastloop So if you press it long i
23. Pedal 1 nennen enne nnne 52 Pedal with Switch EN EESTE ENA nnne nnn 53 MEMORY EXPANSION 53 Gohfigu ratiOn c aei ne id nevi De Ep DR EA E uie Dee EE Se 53 tale as hoagie 53 Instructions to replace the SIMM 53 SOETWAREVUPDBATE 5 oe eee Tes m epi 54 APPEND eI D 55 CONNECTING EXAMPLES iipasi naiiai sees nennen 55 At home using the stereo equipment 55 With an instrument 55 From the instrument rack to two channels on the 56 Inserting to a mixing mm eene 56 TABLE OF LOOP FUNCTIONS ni 57 MIDI IMPLEMENTATION CHART 0 cceeceee eee eeeeeeeeeeeeceaaeaeeeeeeeeeeseaaaaeeeeeeeeeeeeaaa 58 LOOP delay Manual 1 INTRODUCTION PREFACE BY MATTHIAS GROB INITIATOR AND DEVELOPER OF THE LOOP DELAY believe the coming together of a group of musicians to play for some listeners is the most important acoustical event on earth But as a preparation for these events and for his own development a musician spends far more time alone with his instrument In this time he discovers most of t
24. T which will be explained later on Hint Users may sometimes have trouble to realize whether the LOOP delay is recording or not The red digital display can tell you It is only counting when RECORD is active or MULTIPLY or INSERT Display LOOPTIME the length of the loop is indicated in seconds by red digits LOOP delay Manual 12 FEEDBACK control When feedback is turned up FEEDBACK control on the right or pedal pressed down the loop is repeated infinitely without loss of quality When the FEEDBACK control is turned down the loop fades out step by step the steps depend on the setting of the control loop volume time feedback at loop never fades feedback reduced loop fades Feedback reduction does not react immediately it takes one loop lenght to respond Consequently the loop is repeated exactly once when feedback is set to 0 FEEDBACK determines the speed of fade out Hint Long loops gt 20 seconds need special attention for proper use of FEEDBACK Since the reaction time takes one loop it is not easy to control its decrease A fast fade out of long loops could be rhythmically disturbing if FEEDBACK is reduced just somewhere in the running loop We recommend to adjust FEEDBACK right at the starting point of a rhythmical loop For advanced controlling of FEEDBACK we recommend to use the CP1 pedal LOOP delay Manual 13 OVERDUB switch OVERDUB gives you the chance to recor
25. TIPLY you can play it with each BEAT SYNC exactly once and wait again just like a sampler When you tap INSERT while BREAK PlaySample the loop is played once and then returned to BREAK Note We cannot guarantee the noisefree functioning of synchronization connections In order to correct the beat time blocks have to be deleted or inserted Depending on the kind of music clicks or blips can be heard Usually at the beginning of a loop there is a sound attack that covers the cut Beat Sync as output O A digital impulse is given with each beat The signal can be amplified directly and serve as a metronome its sound is not very pleasant though It can trigger any sound producing machine BROTHER SYNC By connecting several independent LOOP delays through a stereo jack cable they can play on the same beat Through the tip of the plug the machines are synchronized on sample level Therefore they have the same time basis Through the ring the synchronisation signal is exchanged to allow the players to find a common beat The player opening the session gives his beat to his fellow musicians by a recording All can then build their own loops independently If the Brothers follow each other O is recommended to avoid unnecessary synchronisation if they follow an instrument l is needed Hint The BROTHER SYNC input can be abused for modulation With a variable generator producing a 5V signal with pulses at 20kHz to 45kHz the sampl
26. agine you could draw a Feedback curve in the sequenzer to be executed during Insert for example It is internally fixed to 0 and independent on MIDI Controller Quantizing is extremely helpful when working with MIDI SYNC especially for fitting the loop into the sequencer timing LOOP delay Manual 44 MIDI Clock MiIDIclocks can be used to synchronise with a sequencer or drum computer without any additional programming on these A controllable beat counter divides the quick MIDlIclock signal into a musically reasonable MIDI SYNC usually 1 Beat The switching between the various measures of beats is done in Reset with MULTIPLY The number of measures is displayed in the green display Incoming MiDIclocks LOOP delay setted to l They are passed directly to MIDI Out The internal generation is switched off BrotherSync is not received at all Beat Sync is only received to trigger samples If MiDiclocks are not received during 400ms about the slowest possible application we assume that none are coming and start the internal At the next Reset the Brother and Beat Syncs are switched on again To prevent overloading the sequencer we do not send out the internal MiDIclock if it would push the sequencer beyond 300beats sec So for very short loops use MIDIBeat Note For low measures Reset Multiply 1 or 2 the internal MIDIclock becomes very inaccurate LOOP delay Manual 45 PLAYING HINTS IN GENERAL Modesty Sta
27. arriving too early can only be satisfied by jumping almost one entire loop back So it can only be executed if there was nothing new in the last loop otherwise the addition would be erased As a result during OVERDUB MULTIPLY INSERT and when FEEDBACK is not fully open synchronisation does not work properly If you need to have a fading loop synched to the sequencer reduce the speed of the sequencer a little bit after you have made the first recording so the SYNC signal is always late that makes correction possible Synchronisation or triggering may be disabled if the loop takes more than the half the memory capacity and jumping back is not possible In BREAK this situation is indicated with a dark UNDO LED Temporary Quantisation of Record In Reset the first arriving SYNC makes the RECORD commands temporary quantized Thus it is possible to record any number of SYNC periods at any time and the beat length will be adjusted to the SYNC coming from the master Afterwards synchronised playing can go on no matter whether you choose to quantize or not The temporary quantizing is switched off when going to Reset when RECORD key is released again after holding it Hint If you want to be free again from the beat of the sequencer or brother musician go to Reset and hold the RECORD key until you start your new thing so that no SYNC sets you to quantized while you release the RECORD key The connections of the SYNC signals If you
28. at state with along RECORD Reset pressing You can also record the first chorus with RECORD end the recording with BREAK and release this first chorus with UNDO to accompany it with a second voice The Loop band The dream of synchronizing several LOOP delays with BROTHER SYNC was one of the greatest impulses to develop the LOOP delay We are still unable to foretell the variety of sound to be made from this connection It is very unique to be rhythmically connected and at the same time have all the liberties of a solo play Rhythm musicians could be overdubbing short loops while the harmonic musicians might be multiplying long loops While the harmonies and solos go on the rhythm musicians continuously change their short loops You can experience polyrhythm when one musician builds a loop of 4 beats and another one of 5 beats LOOP delay Manual 49 A process of development from music to therapy have discovered a very special freely improvised musical style which obviously is connected to the effect of loops to audience and players It may be very personal but would like to explain it because it has become a ritual and oracle and has changed my life in a very interesting way rediscovered music starting with the OM for technical reasons there was no LOOP delay OM is a carpet of floating notes Then there were short tunes The harmonies grew out of the notes overdubbed because they matched each other Later t
29. ave a hole at both lenghtsides in which a small hook locks them Insert the tip of the screwdriver through the left hole unlock the hook and simultaneously lift this side slightly Change to the right hole and repeat the process Change again alternating left and right untill itlooses gradually Inserting SIMMs is much easier and needs no trick simply push them down into lock position Make sure that the part side of the modules looks left to the prints edge LOOP delay Manual 54 SOFTWARE UPDATE The software is burned into one pair of EPROM In case of an update this EPROMs have to be replaced Open the box like described before You find the two EPROM chips at the rightside of the SIMM places towards the center of the LOOP delay Use the lever that you get together with the update Put it under an EPROM and lift it slightly but not fully then change to the other side and lift it the same way change again Take care to not put the lever under the socket but only between socket and chip Push the new EPROMs down into the sockets Take attention to the polarity EPROM to Socket A the notch at the front of the chip must look to the front panel LOOP delay Manual 55 APPENDIX CONNECTING EXAMPLES At home using the stereo equipment SYNC MIDI SWITC HES PEDAL BROTHER BEAT OUT THRU IN UNDO BREAK INSERT MULTPLY OVERDUB RECORD FEEDBAZ MiXxgd DIR OUT INPUT HIFI AMPLIFIER AUX INPUT E OOOO With an instrument ampl
30. can help us by being a mirror for our work and send a word or tape to us Whenever the machine does not do what you expect intuitively we would like to know about it and try to get the obstacle out of your way LOOP delay Manual Introduction to the Version 2 2 During the further development of the LOOP software especially the communication facilities two basic problems came to light 1 There are two basic ways of building a loop a The intuitive playful unconscious spiralling that makes one high Such loops usually have no beginning and no breaks to disturb the player He can interpret the spiral differently each time with each pass he can hear a different beginning b The conscious composed structured organised way that produces a song With this way itis clear where the beginning of the theme is and how the bars are organised Therefore it is helpful that the machine remembers these moments and adjusts to them if the operator is not very accurate Synchronisation also belongs to this category My goal was to pack those two contradictory principles into the same software package It is important because all kinds of mixtures and sequences of the two extremes are possible like starting a structured song and getting off into the unknown away from the defined rhythmic pattern of the beginning It is interesting how the project is growing from an intuitive into an organised way 2 The big problem of rounding of time
31. conds iHd Three dashes in the display indicate OVERFLOW The memory capacity was insufficient to go on recording The function causing OVERFLOW is undone and the loop carries on unchanged The display remains in order to inform you about your mistake Press any key preferably OVERDUB tochange nothing to get the previous loop time back on the display The next change of the loop time is displayed normally i memory overflow When turning the LOOP delay on it will always inform you first about the total available delay time maximal loop time In Reset state there is just a little dot Reset A dash in the center of the display indicates that a BROTHER SYNC has been connected and that your LOOP delay is waiting for the brother to start i waiting for brother The display HLP 00 indicates that the memory modules have not been put in correctly see Memory expansion HL Pg Li no memory accessible J The display HLP 01 indicates that a switch has been pressed at startup The LED of the corresponding switches sparkles red The bottom MODE LED indicates a shortcut at the ring of BrotherSync e g amono instead of a stereo cable Switch pressed at startup LOOP delay Manual 31 The right decimal dot Agreen dot all right in the display flashes when the loop is passing its start point Note The flashing of the dot does not necessarily coincide with the changing of the beat numbers that de
32. d anything over the old loop without deleting the old one Thus you can record a second voice and more to a basic harmony Such layers do not consume memory time the basis loop time will not change Let us restart our example Note Important tap RECORD play the basis tap RECORD play a second voice without recording tap OVERDUB play the second voice over the basis loop tap OVERDUB Do not keep overdub active longer than necessary Open it only when you are ready to record your additional phrase and close the function after that Of course you can use OVERDUB all the time but then you ought to reduce FEEDBACK This is a very special style Everything that you play is repeated in the loop and fades out slightly one by turns OVERDUB OVERDUB Everything you play between two taps is recorded over the old loop At this stage it is important to put the manual aside and to take a constructive break Take your instrument and practice with the switches that you know by now There are numerous variations with RECORD and OVERDUB Maybe you will never need any more switches for your style of music LOOP delay Manual 14 MULTIPLY switch You have created your basic loop beat with RECORD gt RECORD With MULTIPLY you can now multiple that beat several times and join to an expanded loop While multiplying everything you play is also recorded similar to OVERDUB The operating is simple You tap the MULTIPLY switch to start
33. d off while you press As soon as you release it the loop goes on UNDO switch UNDO has two different functions 1 You have activated a function by mistake Tap UNDO to cancel the function 2 The previous movements in your loop can be cancelled when you are in regular play Try out the first case for instance with MULTIPLY Tap MULTIPLY wait for a while then tap UNDO You have gone backto the old loop without multiplication The following diagram may help you to understand the second case hello loop Kwrlt a RECORD RECORD OVERDUB OVERDUB UNDO You have for instance recorded a mistake with OVERDUB Now you want to delete it but save the rest of your carefully composed loop Tap UNDO and it will be gone LOOP delay Manual 20 UNDO UNDO cancels the previous movements in your loop If a function is active UNDO cancels it Note It depends on the memory capacity how often you can strike UNDO successively Cancelling a previous movement in the loop needs at least the half memory free The exact application of UNDO can only be learned through experience because the machine has its own way to decide whether you made a change in the loop composition or just played it See chapter AutoUndo if you want to know more LOOP delay Manual 21 MODE switch The LOOP delay can do more than just recording and playing loops As its name tells you it can be used as regular delay Switch
34. das 45 Experience loopability csse 45 How to learn from een 45 The MIX i 4 x eina EREE A REPIN ATENTATA tease er bert hee tein edet ipea 45 RAYTAM SWITCH nce 8 Sedo bet beet the Dee do e DH bna e bl dec bat ad ts 45 APPLICATION EXAMPLES aaaea Ea a aaa a sinn nns 46 The RENCA edente EEEE tete Eee tue ERLEARI ASES 46 Building up a groove AA HH enne nne 46 EAE TM 46 Weaving a sound 46 5 90 amp 6 oe eoe 47 The LOOP delay as 47 gencium 48 Sambplifig iine este Going lee eee Deve v anie aede extat ep ae eve a 48 Polyphony in a pandorra 5 mme Henne 48 The Loop ug te ete teet etes edere o pere eee dealt 48 A process of development from music to therapy 49 TECHNICAL EXPLANATIONS 50 LOOP ORGANISATION IN THE 50 SAMPEEMAGHRHOQO tote etis E oh td oat 51 ACCESSORIES AND EXPANSION eere reels 52 FOOTSWITLGHES m 52 DYA o DC M LE C M M E E um 52 Controller
35. delay grew under the influence of loops The effect of acoustic feedback has fed back to the material world LOOP delay Manual 50 TECHNICAL EXPLANATIONS LOOP ORGANISATION IN THE MEMORY The register medium of the LOOP delay is circular i e it starts over when reaching the end Imagine an endless tape It depends on the SIMM memory configuration how much space there isin your LOOP delay Digitized music is written into memory on one spot On another one the digital information is read and transformed back into music In computer slang we call these two spots reading address and writing address In atape recorder you could realize the same with two heads One of them is recording the other one is playing back the same data The tape runs over the heads while in the LOOP delay reading and writing address move over the memory The distance between writing and reading address defines the loop length The LOOP delay displays the loop length in seconds Maximum reachable loop length is defined by the memory capacity of course shorter loops can be made circular storage third but last loop loop length second but last loop last loop current loop reading sample writing sample Tape delay machines work the same way Feedback is done by writing the value from the memory added to the new sample back into the memory Modern machines as the LD1 do this in the digital plane in order to not loose sound quality with
36. e 28 48 UNDO switch 19
37. e green display shows its state Q 0 Quantizing OFF O I Q 1 Quantizing ON Received SYNC signals are used to temporarly quantize the record function See page 34 LOOP delay Manual 43 MIDI MIDI coding All keys are sent as white notes of the lowest octave of an ordinary keyboard MIDI Notes 36 47 They are received as the same notes repeated over 4 octaves FEEDBACK is patched to the Modulation Wheel FB SW BROTHER BEAT 1 The MIDI channel at startup is set to 16 and can be modified in Reset state with UNDO DOWN and BREAK UP A long pressing on one of them resets to channel 16 FEEDBACK C Stop RECORD sends a StartSong Start RECORD and Reset send a StopSong StartSong is received to restart MIDIclock MIDI Notes 123 127 switch hanging notes off which could happen when you turn the sequenzer off while the loop is running A further type of synchronisation works with the BEAT SYNC jack Its signal is transmitted by MIDI key G Programming this note anywhere into the sequencer is helpful to call samples from the LOOP delay If MiDiclock is on itis also used for synchronisation rather chaotic Brother Sync is transmitted as F as a way of orientating yourself on the sequencer screen or for special purposes It is not received For better understanding of the sequencer data PEDAL MIDI controller additionally transmits a O at Start RECORD and a 127 at Start BREAK and so on Note Don t im
38. example we assume a microphone has been plugged into the LOOP delay We call the first loop beat This beat is multiplied while we speak one two three into the microphone multiplying one two three new loop original loop beat M RESET Reset isthe state of the machine after power on You can also get to reset state while playing in order to start over LOOP delay Manual PEDAL A pedal is not an on off footswitch in this context but a continuous controller similar to a volume control see appendix LOOP delay Manual 7 THE QUICKEST WAY TO THE LOOP For users experienced in electronic equipment STRAIGHT INTO IT 1 Confirm the right tension above the power socket Connect a power cord 2 Connect aninstrument or a microphone to IN and an amplifier to MIX 3 Regulate the INPUT VOLUME to ensure the LED is mostly orange und sometimes red when the musicis loud 4 Put MIX to middle position 5 Turn FEEDBACK almost or fully up 6 Connect the foot switch to RECORD 7 Play a phrase or speak some words and hit the foot switch at the same time Hit it again at the end of the phrase here goes your first loop 8 Press the switch longer all is quiet again That is Reset Repeat point 7 or 7 8 until you feel secure 9 Try the other switches while playing and observe the displays and LEDs Be surprised This isthe shortest key we can give you to help you understand LED dark Key has no
39. free anymore and that no other function can be called during OVERDUB see OVERDUB DIP switch 4 There is a rather logical and also a rather practical interpretation of UnBreak So we give you the possibility to exchange BREAK gt UNDO and BREAK gt BREAK according to your taste In position ON the functions are inverted as follows BREAK UNDO The loop continues in the same timing pattern as if BREAK had never been pressed BREAK BREAK The loop starts playing from its beginning and may fall out of sync DIP switch 5 Switches the input on during rounding In position ON all you play during the rounding up at the end of multiplication is still recorded into the loop The advantage is that MULTIPLY can be pressed too early to terminate the disadvantage is that you do not define the end of the recording with your foot Caution To switch the DIP switches you will have to remove the bottom of the housing Therefore unplug the power cord Most DIP Switches will have no effect if you switch them while the machine is running LOOP delay Manual 35 COMMUNICATION FACILITIES AND DEEPER UNDERSTANDING RESET After turning iton the LOOP delay is in Reset state Input off Output off loop time 0 Max available loop time is shown OVERDUB turned off MIDI channel 16 SYNC MODE input After pressing the RECORD switch long you also return to the Reset state and the following happens Input off Output
40. he secrets about the construction of music and the ways to express his own personality and taste Although the LOOP delay has special features that facilitate playing together or with a machine it is first a mirror or maybe a crystal ball for the musicians studio There are quite a few musicians using delay machines to create simple loops although avaliable gear was very limited Some people modified machines others accepted that the loop time was short or unrhythmical was amazed in how many different ways people use loops This is because the character of repetition belongs to almost all music Of course loop music is not meant to remain at home and push the artists into loneliness Recordings made in Rio and Switzerland with various musicians who did not know my system yet and who probably never played with a delay demonstrate the variety of loop music Now am eagerly waiting for the results when initiated loop players come together and synchronize their LOOP delays would like to exchange such recordings Therefore a Loop Group could help Also we could reach a point where through information in the media the public knows what to expect when going to a loop show My interest is not to make money but to lead an interesting life and create as much beautiful sound as possible and to help others in doing so You are invited to profit from it by purchasing a LOOP delay that gives us the energy to do our development properly You
41. here are certainly no clicks The LOOP delay normally rounds up to the next multiplied number of beats and only rounds down when the exact multiplying is overshot by less than 600ms The green display MULTIPLE shows in which beat your expanded loop currently is Let us assume for instance that a microphone has been connected with the LOOP delay The first loop consists of beat and is going to be multiplied while you speak one two three into the microphone You can even start MULTIPLY in the middle of beat without introducing rhythmical errors LOOP delay Manual 26 MULTIPLY at any time t multiplying rounding new loop one and beat original loop beat M X EE not at the same time Hint An already multiplied loop can always be multiplied for a second time to reduce or expand it again Thus you can cut any number of beats out of an expanded loop with multiply Important As you can see in the diagram the beginning of the Loop does not necessarily coincide with the beginning of the beat Limitation Multiplication is possible only if the memory capacity is at least three times the recorded beat MULTIPLY gt RECORD gt special function Unrounded Multiply The multiplication is finished without rounding and a new beat is defined The green display turns off The new beat contains the music between your taps of MULTIPLY and RECORD Thus any part of the loop can be cut out from the loop
42. here were rhythms This process of the musical setup lasted about one year At the same time developed an application for this musical style you might try out as well As an important precondition you should not worry about the quality of your music Start with simple rhythms and tunes and do not think of success You see now why started with OM the origin the emptiness Meanwhile OM is not the only way to start a loop Often doodle around with a few notes to get in the right state For somebody not knowing the process would recommend the OM You can build up an OM by fading in a certain note or octave notes in different sound colours over and over again with overdub and much feedback into a loop of 2 3 seconds No attack should give a rhythm However the wave of slowly changing sound colour will give you the feeling of the exact loop length The OM calms you down and opens the channel to another world flowing over with tunes and rhythms You can play them until you find an interesting theme to be overdubbed with multiply and reduced feedback This theme might come from your interior and express a momentary state of mind Thus it can start thoughts and feelings that may consciously or subconsciously worry you This first theme of course is not the last It may be simply a trifle you fade it out and search on Probably you find a second theme which may be even deeper in your mind With feedback you control how long you want to remain in that
43. hine That is why we speak of rhythm switches Most beginners forget at first that the breaks have to be recorded too Some of them press RECORD and start playing some time later or they press RECORD too long and bring the delay into Reset state again Some end their recording too early by tapping the switch on the last note of the sequence Should you have problems try using the rhythm in your leg that you feel anyway when playing The switch should not be struck with too much force because it may cause you to play the first note more loudly or to become imprecise in timing Guitar players are recommended to use the free left leg The first tap on RECORD defines the first note in your loop The second tap terminates the recording and repeats the loopd immediatel Do not worry about the non schematic organisation of the switches Our practical experience has lead us to this arrangement You can experience this musical logic only through playing If you do not understand how the switches work read the chapter From left to right Maybe our diagrams can help you as well f you want to synchronize or sequence you have to read the respective chapter in Communication facilities For sampling read the paragraph BREAK The playing hints are interesting if you do not have any more ideas or if you want to discover one of the many ways of musical expression Start with few keys and short loop times Do not overcharge yourself You got a new
44. hrough MIDI but never received So far there is no concrete use for it except that it is handy as a guide on the screen of the sequencer and a base signal for your synchronising creativity LOOP delay Manual 42 QUANTIZE Users initiated a completely new way of operating the LOOP delay All the commands can be quantized on the beat It means that these commands are executed and terminated only at the start of the next beat In the meantime the LEDs remain dark Turning Quantizing on go to reset state long RECORD tap OVERDUB until the MULTIPLE MIDI display green shows 0 1 Turning Quantizing off go to reset tap OVERDUB until the display shows 0 0 MULTIPLY key is pressed anytime Quantize lets the function only happen at the end of the Beat eat original loop beat The following functions are quantizable Replace MULTYPLY INSERT RePlay BREAK UNDO Like a metronome quantizing is a limitation of freedom and expression at first glance It can assist structural composing in themes Quantize allows to tap the LOOP commands prematurely and have the foot free again knowing that the functions will be executed with maximum accuracy For some musicians it will be interesting to learn to deal with the discipline of the beat Quantizing makes that some functions are executed precisely at the beginning of the next beat and they have to be called early Quantizing is switched in Reset with OVERDUB Th
45. ifier INSTRUMENT ANC Instrument Amplifier RETURN SEND SYNC MIDI SWITC HES PEDAL BROTHER BEAT OUT THRU IN UNDO BREAK INSERT MULTPLY OVERDUB RECORD FEEDBACK MIXOUT DIR OUT INPUT LOOP delay Manual 56 From the instrument rack to two channels on the mixer INSTRUMENT BROTHER BEAT BREAK INSERT MULTIPLY OVERDUB RECORD FEEDBACK MIXDUT DIR DUT INPUT oOleoo oooooo 060 REVERB 0000 2 o 7 00000 t 00000 00000 000090 00000 t 00000 00000 t 00000 00000 I 00000 00000 Inserting to a mixing desk MIX control at max SWITC HES 990leoe jo090000 BROTHER BEAT e BREAK INSERT MULTIPLY OVERDUB RECORD FEEDBACK MOUT DIR OUT Iy AUX SEND LOOP delay Manual 57 TABLE OF LOOP FUNCTIONS The following table is asummary of LOOP delay functions after a certain switch activation StartX starts the timing function X LED goes red StopX stops the timing function X LED becomes green again The functions Multiply and Insert automatically round to the next beat UStopX stops the timing function X without automatic rounding LED becomes green again YOn starts the running function Y LED goes red Running functions do not get influenced by timing functions YOff stops the running function Y LED becomes green again These functions are executed when the respective switch gets tapped Record Overdub Multiply
46. ing frequency can be changed from the outside Thus speed and frequency of the loop can be changed not much higher but more than an octave lower if the generator creates a short positive pulse It is impossible to retain the sound quality however LOOP delay Manual 34 POWERCORD VOLTAGE FUSE The power socket is made for standard power cords The voltage is displayed in the small rectangle above the socket 110V 220V To change it press the two clips at the short sides of the rectangle with your fingernails remove the rectangle and turn the square containing the fuse by 180 so that the correct voltage appears Put the rectangle back in This fuse is the only one in the LOOP delay DIP SWITCHES In the interior of the LOOP delay there are five miniature switches You can get to the switches by unscrewing the bottom of the LOOP delay They are placed near the overdub plug To switch them you need a good fingernail ora pen These switches have the following functions DIP switch 1 Calls test programs for service DIP switch 2 Defines the start value for the SYNC MODE OFF gt O ON gt l This is a help for users that work a lot with synchronisation The values can always be achieved by INSERT too DIP switch 3 Switches off the normal toggling Overdub OVERDUB is then only active when the key is pressed with the advantage that the function never stays on by accident The disadvantage is that the foot is not
47. instrument and now have to learn to play it Without a process there is no quality Take your time it is nice to learn while playing The LOOP delay should not burden you with work but relieve you of it Even with RECORD and MULTIPLY you can give great solo concerts LOOP delay Manual 9 STEP BY STEP CONNECTING Before connecting the power cord confirm that the right voltage 220V or 110V is showing in the display above the power socket see also chapter Fuse page 30 Connect your instrument to the input IN with a jack cable Connect the output MIX to an amplifier Hint The simplest way of understanding the LOOP delay from our point of view is to connect a microphone and to build up a loop of short spoken phrases While speaking it is easy to operate and control the LOOP delay In our examples and diagrams we will often refer to this possibility Turn the LOOP delay on Turn the input control up so that the LED is often orange and sometimes red Set the MIX control to middle position Turn the feedback control up Compare your LOOP delay with the illustration in the appendix There the three controls are set correctly Your LOOP delay includes at least one footswitch Connect it with RECORD In case you have ordered several footswitches plug them into the OVERDUB MULTIPLY INSERT BREAK and UNDO sockets The frontpannel keys have the same functions as the footswitches Therefore you can use all LOOP delay function
48. k makes the carpet grow LOOP delay Manual 47 Composing a song Build up a groove as described before multiply itto get a verse Add a chorus with INSERT maybe in several layers with OVERDUB Append several verses and choruses with MULTIPLY Record intro or an end with INSERT The LOOP delay as protocol It is possible to record the last few minutes of playing in the practice room in order to listen to new ideas orto settle arguments about what just happened This is another application of the LOOP delay Connect a mixing desk output or a room microphone Tap RECORD wait for the maximum recording time to elapse then tap INSERT In order to listen to it tap OVERDUB twice LOOP delay Manual 48 Correcting UNDO and Replace both are correcting functions Replace renews a part of the loop completely UNDO deletes your last recording Replace is quite difficult to apply in loops with a great number of layers often you can hear that there has been acorrection Sometimes this does not matter because you may want to make some experiments At least even your correction can be cancelled with UNDO You can apply Replace in a creative way for instance you have recorded a beat of two chords and have multiplied it by 4 Now you think this sounds too boring so you exchange a chord with another one press INSERT play the chord and release INSERT exactly at the start of the next chord There is a risk with UNDO as well Maybe yo
49. knob only becomes effective by activating OVERDUB If a pedal is connected it controls the input volume FUNCTION SWITCHES How to control a lot with a few switches We had to develop a new manner of operating switches a combination of the well known radio buttons which start each other respectively and of engaging press buttons The former have the disadvantage in that only one can be active at the same time the latter that you have to operate several ones in order to achieve a certain state We have done research concerning the question of what switch combinations make sense at all and what combination should be used in what situation The resulting scheme while not appearing systematic is highly practical The most important functions are turned on and off with one switch When turning off afunction with another switch there are two variations In standard cases LED is green a new function is selected and the old function is terminated You will never have to operate two switches at the same time When the LED is orange tapping the respective switch activates a less important variation of the function A third variation is the long pressing of a switch The function is terminated as soon as you release the switch Each main switch function and its variations are now explained in detail RECORD Operating this switch is the basis of each loop It determines the beat length A first tap starts the recording a second one end
50. le stored for later use RECORD UNDO You can regain an old loop with UNDO if you pressed RECORD accidentally It will not continue straight in the rhythm a limited miracle OVERDUB OVERDUB records additional layers background or lead tunes as many as desired All your playing is mixed to the existing loop The loop increases its intensity but does not change its length thus does not consume additional memory Long OVERDUB overdub is only active while you press the switch this is interesting when overdubbing single notes You can always feel if you are overdubbing without depending on optical control For most applications however it is annoying not to have a foot free It is possible to operate OVERDUB exclusively in this manner You would have to switch a miniature switch in the inside of the LOOP delay see DIP Switches The OVERDUB function is special because it can terminate all other functions but cannot be affected by any other function Reset excepted Important Infinite overdubbing cannot cause a sound quality decrease but can cause an accumulation of noise and distortion Therefore maximal feedback is automatically reduced to 95 while OVERDUB is on This minimal feedback decrease is of no consequence whatsoever MULTIPLY Just like OVERDUB the recording continues but MULTIPLY changes the loop length Its length is always rounded to an integer number of beats The rhythmic regularity is conserved and t
51. n Red The switch has been struck once before and the function is active A second stroke ends the function Orange The switch has a special function Tap it only when you are sure or to try it out Generally The green displayed switches functions are ready to be started the red ones are active and ready to be ended LOOP delay Manual 11 RECORD SWITCH Tap the RECORD switch Play for a while e g one beat RECORD again Now you should be hearing the same beat over and over again This is what we call a basic loop As long as the LOOP delay is recording the LED next to RECORD is red At your second tap itturns backto green Now you can play on without changing the loop Once you have become sick of the loop tap again tap RECORD playing tap RECORD You have deleted the old loop and replaced by a new one This is the most important function of the LOOP delay You would get the same result by recording the same sequence onto a tape recorder over and over again with the LOOP delay you can do this live RECORD RECORD records a new basic loop This loop is played over and over again Red digits digital display As long as the LOOP delay was recording the red digital display kept counting It indicates the current loop length in seconds After the recording the counting stops and shows the present loop time It will change again when you record a new loop or starts MULTIPLY or INSER
52. n loop signal volume and direct signal seems trivial But think of it if the volume is unbalanced the first repetition of your loop is either louder or softer than the original In the first case you will have the tendency to play even more loudly Then the next loop will be even louder Thus your loop will push you up and up until it distorts or until you go mad In the second case you will probably play the loop more quietly your music will grow more delicate Of course you can get used to an unbalanced volume In polyphonic loops it is very reasonable to turn up the solo voice turn MIX a little down RHYTHM SWITCH Up to now there have been few footswitches to determine a rhythm It has not been important to be very exact when switching an effect We have modified a regular footswitch to our purposes FSP1 has an extremely short stroke requiring little force No undefined time period will pass In addition you have a better rhythm feeling when tapping than when pressing LOOP delay Manual 46 If you have trouble operating the footswitch try taking advantage of the rhythm in your leg Strike the floor as usual with the tip of your foot and move your foot over the switch at the beginning of the beat You are able to tap the switch without any extra effort Otherwise you will have the tendency to play the first note more loudly and to lose your timing Sitting electric and western guitar players are recommended to use their free
53. n wheel Note 1 C 1 17 12 03 INDEX 30 AUTO UNDO 36 band 48 bass drum 33 BEAT 5 BEAT SYNC 33 43 blips 33 Block 37 BREAK 28 BREAK gt UNDO 34 BREAK switch 19 BROTHER SYNC 33 37 43 circular 50 clicks 33 comMunication facilities 35 Delay Mode 23 DIRECT OUT 22 DISPLAY 30 distortion 22 electric guitars 22 FEEDBACK 23 25 FOOTSWITCHES 52 FUNCTION SWITCHES 24 FUSE 34 guitar amp 22 HiFi system 22 HLP 30 HLP 00 53 INPUT 22 INPUT VOLUME 22 INSERT 27 INSERT switch 18 LEDS 10 LIMITER 22 LONG SWITCH PRESSING 17 LOOP 5 LOOP FUNCTIONS 57 Loop Mode 23 LOOP ORGANISATION IN THE MEMORY 50 measures 44 MEMORY EXPANSION 53 metronome 33 microphones 22 MIDI 32 43 MIDI channel 43 MIDI SYNC 44 MiDIclocks 44 MIX 22 MODE 23 MODE switch 21 Modesty 45 modulation 33 Modulation Wheel 43 MULTIPLE 31 MULTIPLICATION 5 MULTIPLY 14 25 LOOP delay Manual Output Mode 23 OUTPUTS 22 OVERDUB 13 25 OVERFLOW 30 PEDAL 52 playing hints 45 PlaySample 28 QUANTIZE 42 RECORD 11 24 REPLACE 18 27 Replay 28 REPRESENTATION 4 RESET 35 Reset Parameters 35 reverb 22 RHYTHM SWITCH 45 rounding 2 28 rounding 26 Sample 37 SAMPLEMACRO 51 sampler 28 33 Sampling 48 sensitivity 22 sound clouds 22 SYNC JACK SOCKETS 33 SYNC MODES 38 SYNC signal 28 Synchronisation 38 Synchronization 37 Synchronization levels 37 therapy 49 thick walls 22 total available delay time 30 TriggerSampl
54. ntrols the input volume LOOP delay Manual 22 FROM LEFT TO RIGHT In case you are not sitting in front of the LOOP delay we recommend taking the enclosed LOOP delay diagram when reading this chapter Each operating element on the front corresponds to a connection on the back INPUT WITH LIMITER INPUT INPUT VOLUME LED Connect any sound source by jack cable The sensitivity allows connecting microphones At the same time the input has a sufficiently high impedance in order to conserve the sound quality of piezo pick ups For sensitive applications we recommend feeding the LOOP delay from an auxiliary output AUX of a mixing desk or a pre amp For electric guitars we recommend inserting the LOOP delay into an amplifier Insert socket or controlling it from the output of effects See Important in the next paragraph Connecting synthesizers is straight There are connecting examples inthe appendix Adjust the INPUT VOLUME so that the LED most often is orange but sometimes turns red Since there is a limiter you will not get a distorted sound even when the LED is red The limiter can be used as well as an effect This serves to make loop carpets so called sound clouds formed out of non dynamic sounds Note The limiter works for the loop only It does not affect the direct signal The limiter provides no absolute security against distortion you still can overload the loop with too many OVERDUB layers OUTPUTS MIXOUT
55. onal beats into your loop Let us assume your a loop is composed of three beats Tap INSERT after two play a beat and tap INSERT again e tap INSERT play one beat tap INSERT INSERT INSERT played while inserting and and E new loop rounded to 4 beats And is the new inserted beat The LOOP delay automatically rounds up to the next beat See MULTIPLY switch for rounding old multiplied loop INSERT INSERT What you play is inserted into the loop The LOOP delay automatically rounds up to an integer beat SPECIAL FUNCTION REPLACE Replace is a special function Activate it by pressing INSERT for a long time As long as INSERT is pressed the part of the loop currently running is replaced by what you are playing press release INSER played while replacing new old loop new loop LOOP delay Manual 19 long INSERT REPLACE As long as you press INSERT this part of the running iiid is replaced by what you are simultaneously pl BREAK switch Active BREAK turnes the output volume of the loop off Tap BREAK causes silence from the loop until a second tap on the BREAK switch BREAK BREAK As long as BREAK is active the output of the LOOP delay is muted The LOOP delay silently continues running when break is active Thus you keep the same rhythm after the break e g when your drum machine plays on When you press BREAK for a while the output is only turne
56. ong RECORD long MULTIPLY 6 times short MULTIPLY MODE has the same function in Reset as while running AUTO UNDO A big improvement for UNDO is a trick you do not notice when you use the other functions Each time an entire loop passes by without any move made AutoUndo automatically jumps one loop back in memory No move means FEEDBACK must be open all the time and no other function has been activated apart from BREAK As a result you can always erase the previous loop modification immediately although you have played together with your loop for several rounds In other words Only modified loops are kept in the memory The history of the loop composition is not erased any more by the repetition of a constant loop UNDO always jumps backto where something was really different UNDO permits you to go further back in the loop composition Remember the pattern of the beats AutoUndo cannot be done continuously itis done at the end of a beat or not depending on the moves during that period Moves mean FEEDBACK is reduced OVERDUB is on any other function that adds some recording to the loop LOOP delay Manual 37 SYNCHRONIZATION What is Synchronization Synchronization is the coordinated swinging of independent systems Synchronization of orchestral musicians is the basis to create a rhythm It is not easy We need a conductor or a drummer to give the beat In small ensembles a conductor is not necessary We think it is imp
57. ortant to find similar forms in the technical synchronization between musical machines There are different levels of synchronization An image may serve to illustrate this You could even call the simultaneous showing up of the musicians in the concert hall as synchronization If it goes deeper than the rhythm the musicians may breathe synchronically Even their heartbeat can get synchronical Synchronization levels in loops Sample Unfortunately the word sample has two meanings in music In this chapter we do not speak about recording and playing back short musical phrases but about the resolution of the digitized signal that represents the sound For CDs 44 100 samples second isthe norm Even though CD players are very accurate they are not synchronized Only when a CD is digitally copied to a DAT synchronization happens Then the CD player is the master and dictates the sample clock to the DAT In the case of two LOOP delays playing together synchronization at the sample level is important to avoid clicks and rhythmical inaccuracies Since no machine controls another one by nature we have developed BROTHER SYNC All machines are connected by a so called open collector Each LOOP delay informs the others when itis ready to execute the next sample Only when all are ready the connection changes state and all execute the next sample Thus all are waiting for the slowest brother Maximum synchronization is about 5 brothers because the
58. p the loop goes on and the time is rounded as in MULTIPLY This function is great to insert breaks or a B part of your tune into already multiplied loops INSERT INSERT played while inserting and Along pressing of INSERT does not change the timing but replaces the existing part of the loop with the actual playing We call this function REPLACE You can correct mistakes or insert variations in multiplied loops see also Correcting page 39 and NES new loop rounded to 4 beats old multiplied loop press release iux played while replacing new old loop new loop INSERT RECORD special function Unrounded Insert The inserted part is not rounded Thus a new beat is defined similar to MULTIPLY RECORD LOOP delay Manual 28 INSERT gt OVERDUB INSERT ends with regular rounding At the same time OVERDUB reacts its state INSERT gt MULTIPLY Direct jump from INSERT to MULTIPLY No rounding is done Some part before or of the Insert comes back as background of the multiplication Sometimes not very musical INSERT gt BREAK INSERT ends after rounding and the loop runs on mute INSERT gt UNDO INSERT is canceled BREAK The loop goes on but muted At a second tap the loop restarts sounding In fact only the loop output is turned off and on After along pressing of BREAK the loop restarts sounding as you release the switch BREAK gt OVERDUB BREAK is ended and simultaneously
59. pend on your last MULTIPLY action For sampling and synchronising the beginning of the loop the dot flashing is relevant MULTIPLE MIDI green digits when RUNNING The number of the current beat is indicated If you have not used MULTIPLY or INSERT the digits remain dark icf 4 shows the state of Quantize 0 0 means OFF 0 1 ON Quantize OFF Quantize ON RESET gt OVERDUB RESET gt MULTIPLY shows the number of eighths in the measure Beat measure RESET gt INSERT With INSERT in reset state the Sync Modes are displayed and changed O output input Sync Mode Output Sync Mode Input Sync Mode Slave RESET gt BREAK UP gt UNDO DOWN After turn on or reset you can select the MIDI channel with UP BREAK switch and DOWN UNDO switch The green display shows the selected channel e g Channel 14 MIDI channel The left decimal dot A flashing dot at the left green digit informs you about SYNC LOOP delay Manual 32 In Reset it indicates the incoming SYNC signal Thus you can tell your partners beat before you start playing If you are working with MIDI you can see whether you have chosen the right beat Furthermore you know after the first flash that temporary quantizing is turned on While playing it indicates when synchronisation has its effects i e the dot flashes each time there is a time change If it does not flash does notmean you are playing unprecisely Howeve
60. r you wil see that the dot never shows during OVERDUB and in fact synchronization is impossible MIDI The usual three sockets receive IN send OUT and transmit THRU MIDI control signals THRU is an exact copy of IN All switch activities and FEEDBACK information are sent to MIDI OUT to register them on a sequencer or to control a second LOOP delay IN receives the same signals for reproducing the switch activities or to follow the master LOOP delay It is recomended to use MIDI channel 16 but it can be modified in Reset state with UNDO DOWN and BREAK UP MlDIclock is received and can be used to synchronise with a sequencer or drum computer Further informations follow under the tile Communication facilities and deeper understanding LOOP delay Manual 33 SYNC JACK SOCKETS BEAT SYNC BEAT SYNC can be used for the synchronization of non MIDI instruments In Reset you can choose with INSERT whether the BEAT SYNC shall be input or output The MULTIPLE display shows O when output I when input Beat Sync as input I BEAT SYNC reacts to a footswitch we recommend FSP1 or to a sound signal with line volume When the loop is running all signals near the beginning of a beat are interpreted as synchronization signals and return the loop back to its start point Thus the loop can adapt to the speed of a signal e g the bass drum In case the loop has been stopped with BREAK and set to TriggerSample with MUL
61. resting experience Work yourself slowly through the functions Study the musical applications and get used to them before you go on Most functions are explained several times in different chapters Select the chapter most suited for your purposes and fill in the gaps with selections from other chapters WHY NOT READ THE MANUAL Even with one single footswitch RECORD you can realize many of your musical ideas It is not necessary to read a lot With courage and talent you can start immediately The texts marked Important are recommended for everyone though WHERE TO READ IN THE MANUAL In case you just need a delay and you are not interested in loops read the chapter Just another Delay We will explain in Basics what we mean by loops and define a few words necessary to talk about loops Straight into it shows you the quickest way to the LOOP delay Step by Step was written by Eric for those who would like to understand peacefully one part of the LOOP delay after the other However you will not know the whole machine once you have come to the end of this chapter Go on reading From left to right All elements are explained in detail In Communication facilities and deeper understanding we explain the functions that run behind the curtain and all the possibilities to connect and synchronize with other machines If you are a MIDI freak you are right here The Playing hints may not be necessary because you will develop your own loop
62. rt with a few switches and short loops You have purchased a new instrument and you have to learn to play it No quality arises without a process But this learning can happen ina playful way The LOOP delay ought to facilitate your playing not render it more difficult Let intuition grow through accidents and incidents Even with just the two switches RECORD and MULTIPLY you can give impressive solo concerts Do not forget to reset sometimes and just play alone Experience loopability Not every tune sounds nice when repeated In general glissandos gliding notes soon get obtrusive Take your time to experience the effects of different kinds of looped musical themes How to learn from mistakes Not everything we think of as a mistake really isa deadlock Often it is interesting to see which way you are going when starting with a mistake Therefore do not stop an awful loop immediately but work with it or change it round by looking for a positive interpretation of your mistake Once you have fought your way through the thicket you might arrive at a new area and the great view you get will explain why you made the mistake In music we also express our faults and can be made aware of them by musical treatment This is a way to wake up Often the music expressing the break through after a thorny thicket is extraordinary beautiful and can be published as an interesting result of a process The MIX control The relationship betwee
63. s it and immediately the recording is played The interval between your two taps is called beat time This replaces the circumstantial adjusting with up down in regular delay effects The LOOP delay takes up the rhythm directly from the musician s foot Long pressing causes reset Instead of tapping RECORD a second time you can end the recording in any of the following ways RECORD gt OVERDUB Record is terminated but the recording goes on uninterrupted and makes a layer over this loop RECORD gt MULTIPLY Record is terminated the recording goes on uninterrupted and MULTIPLYbecomes active LOOP delay Manual 25 RECORD gt INSERT gt special function Rehearse Record is terminated but instead of activating INSERT you go into Rehearse In this state all you play is repeated exactly once as if FEEDBACK were turned down and OVERDUB active Apply Rehearse to get used to the beat length By listening to the single repetition you will get used to the timing Thus you can try out different ideas until you feel comfotable with your starting theme Once you have developed a musical idea tap INSERT again to exit the Rehearse state and to continue in ordinary playing state Pressing OVERDUB instead of INSERT allows you to exit the Rehears state and continue simultaneously with active OVERDUB see chapter Correcting RECORD BREAK The timing beat is determined your recording is finished but remains mute like a samp
64. s with only one footswitch but the switches on the front can only be operated by hand another reason for starting with a microphone Operate the footswitches and of course the hand switches rhythmically i e only strike them gently Do not relax on the switches Many have special functions when pressed for a longer time The connected footswitches FSP1 do correspond to the functions of the front panel switches Tap the switches shortly do not press longer than one second for normal functions LOOP delay Manual 10 MEANING OF THE LEDS The LOOP delay has three kinds of LED displays level display mode display e function display Here we are only going to explain level display and function display which are LED dots We will come backto mode display in the chapter MODE switch All dot LEDs have three colours green orange and red Level display The input gain LED displays the level of the incoming sound It will often burn orange driven by loud passages The loop level LED also called feedback level displays the volume of the running loop If FEEDBACK is fully open to much overdubbing will take it to burn red and to distortion Function display The other LEDs serve as switch and function displays The different colours generally indicate the following Off The switch has no function at the moment Green The switch has the function written on the front panel Tapping the switch activates the functio
65. same external SYNC l So there are the following three applications of connections of several LOOP delays Stereo Connection Both LOOP delays are set to O so they do not sync each other but run in parallel The MIDI Out of the main LD 1 is connected to MIDI In of the other to transmit the switch functions MIDI In LD 1 MIDI Oui pe MIDI In LD 1 MIDI Out Beat IN Beat Oui Brother In Brother Brother In Brother Ou Through MIDIclock it is possible to control the speed of a connected sequencer from one of the LOOP delays MIDI In MIDI Oui i MIDI In LD 1 MIDI MIDI In LD 1 MIDI Out SEQUENCER Beat UN Beat Out Brotherin T Brother Brother In T Brother Ou DRUM MACHINE LOOP delay Manual 41 Brother Connection Several musicians each with their own LOOP delay play together in the same beat but use the functions independently All machines are set to O to avoid SYNC Through MIDlclock it is possible to control the speed of a connected sequencer from one of the LOOP delays MIDI In LD 1 MIDI In LD 1 MIDI Out MIDI In MIDI Out Beat IN Beat IN Beat Out SEQUENCER Brother Ou DRUM MACHINE Brother In Brother In If one of the brothers wants to starts his own beat independent of the family he only has to hold RECORD reset so that no SYNC comes in before his RECORD Then he starts unquantized RECORD and creates a new time base The other brothers can join
66. t does not matter when you press it This function is helpful if you have made a mistake in a carefully built loop You can apply UNDO as part of your own creativity too try out different phrases onto an existing loop and delete them in case you do not like them see also Correcting page 39 Hint If your LOOP delay has sufficient memory you can go back to the history of the loop composition by pressing UNDO several times The same goes for FEEDBACK see page 19 oldest loop is overwritten third but last loop second but last loop last loop before gt gt reading sample writing sample UNDO Y reading sample writing sample Note Changed timing cannot be reverted As a consequence UNDO goes back in different steps after a multiplication try out UNDO works together with AutoUndo You may be amazed sometimes in what part of the song you end up if you do not understand the co operation between Undo and AutoUndo If itis not possible to execute this function correctly maybe not a whole loop passed since the last change of beat time or maybe there is not enough memory capacity the LED goes dark and nothing happens if you press the key Sometimes the LED may blink because the conditions for UNDO keep changing during the loop runs Synchronisation can change the conditions too LOOP delay Manual 30 DISPLAY LOOPTIME red digits The display shows the length of the present loop in se
67. t phase of development Marco Birchler of BIRCHLER ELECTRONICS Zug is the patient sincere and responsible manager of the fabrication Thomas Bitterlin of DELFIN Z rich printed the housing carefully Ljubo Majstorowic is the incredible guitar player who presents and explains our inventions to the public but also contributed technical ideas function tests and loads of good mood Boris B gli sensibly made the prospect and manual understandable Dent de Lion DuMidi worked the english version of the manual through and kept diging us out of the dust with funny ideas and fantastic visions Thomas Oeschger is the supporting critic outsider judging from the listener s and reader s point He made his thorough knowledge of human nature available to us not only when correcting letters Rolf Spuler of PARADIS has been a perfect partner for many years learned so much about business and construction with He still assists with mechanical competence and taste for design Hermann Hogg of ALPHA77 is the discrete master that years ago taught me everything about electronics and much more Thank you Matthias Grob June 93 Musician and Certified Electronics Engineer ETH Z rich LOOP delay Manual WHY READ THE MANUAL The LOOP delay is unlike any existing machine Therefore do not underestimate the difficulties you may encounter when using it not so much in the ways to operate it but in the musical applications It will be an inte
68. the multiplication and tap it again to end it The time passing between your two taps defines how many beats your loop is composed of e tap MULTIPLY e play for a while together with your basic loop e tap MULTIPLY Let us call your basic loop created with RECORD gt RECORD a beat Tap MULTIPLY speak one two and three into the microphone and tap MULTIPLY again You will now hear this MULTIPLY exactly on beat played while multiplying new loop original loop The LOOP delay has exactly tripled the basic loop beat and summed it up to a single loop consisting of beatbeatbeat One two three have been recorded over this tripled loop We said the expanded loop is exactly three times as long as the original loop But what happens when you tap MULTIPLY inexactly tapMULTIPLY play tap MULTIPLY inxactely the LOOP delay rounds to the next beat The LOOP delay automatically rounds to an integer beat When you tap MULTIPLY quite precisely you probably won t even notice Tap it in the middle of a beat and you can observe the rounding process LOOP delay Manual 15 MULTIPLY at any time played while multiplying beat beat original loop During the multiplication the red loop time display continues counting Do not panic when most of the LEDs turn off The LOOP delay prevents false operation during the rounding new loop one and beat not at the same time process Note
69. theme and how quickly you go on to the next one In the beginning there are often nice thoughts to lead you onto a long journey with deadlocks obstacles yes even an accident awful sounds and chaos used to interrupt the loop until someone pointed out to me that such chaos is also a part of myself and interesting So I started working with these shocks and vales of tears started colouring them making them even more awful and learning to feel what actually is going on inside of me When playing or listening to the loop can think of my problems because consistently create the proper climate for myself The reverb serves for the same purpose because it creates the proper space which I consistently change by adapting reverb time and intensity with the foot pedal Using phones you can put yourself into an acoustic prison and free yourself to fly on a wave of long reverb The continous repetition can be something harassing Often this hurricane can calm down without knowing what has happened Then it it is easy for me to continue to play beautifully honestly without cheap simplicity while a new solution might come into my thoughts and a new story Normally play between 20 minutes and infinity without stopping In that way have taken all my essential decisions in the past few years have digested sorrow and problems in order to overcome them more quickly and have even solved technical problems for the LOOP delay The LOOP
70. u do not know where you are jumping back to when using UNDO To prevent clicks it is important to tap it exactly on an attack of your previous recording and not at any time after the mistake Sampling If you want to record a sample we recommend starting the loop with RECORD and ending it with INSERT That way you get into Rehearse and you can play the sample until it is exact Then you save it with BREAK When tapping MULTIPLY the LOOP delay is ready to play your sample each time it is told to by a MIDI or BEAT SYNC signal TriggerSample This is possible only if the actual loop does not fill more that the half of memory capacity You can connect any instrument to the BEAT SYNC input for instance the drummer s second bass drum He can then release your sample at his pleasure You can release it yourself with a footswitch best is FSP1 Leave sample state with BREAK to go backto your loop Polyphony in a band In a band the musicians often do not want to adapt to a machine and reject the LOOP delay as a rhythmic base very understandable However you can transform your solo instrument to a multi voice instrument for a short while You can either go into Delay MODE tap RECORD twice in the short rhythm of the beat and control the doubling with the pedal Or you remain in Loop MODE and record a phrase start with RECORD end with OVERDUB and immediately play a second or third voice One singer can thus build huge soul choirs Leave th
71. wantto do special applications you maybe need to understand the internal functioning of the SYNC The following diagrams shows how delicate is really is to create something simple to use LOOP delay Manual 39 MIDIBeat BeatSync MIDIBeat Trigger is BeatSync BrotherSync BrotherSync MIDIBrother MIDIClock N MIDIClock arriving SYNC signals internal functions transmitted SYNC signals The Sync Output O connection diagram D MIDIBeat BeatSync MIDIBeat Trigger NC di BeatSync shuts off pn Sync BEAT BrotherSync BrotherSync Y 7 i TempQuantize X MIDIBrother shuts off VA shuts off 7 N MIDIClock vs MIDIClock arriving SYNC signals internal functions transmitted SYNC signals 1 The Sync Input I connection diagram Arriving BrotherSync is ignored when a MiDIclock or Beat Sync signal is received Arriving Beat Sync is not used for SYNC when a MIDIClock signal is received Quantisation happens on internal BEAT except for the first RECORD LOOP delay Manual 40 The use of BROTHER SYNC and MIDI Between two LOOP delays BROTHER SYNC should be connected with a stereo jack cable That makes the LOOP delays hearts beat together and additional synchronisation between them unnecessary Even so we transmit the SYNC through the plug s ring of BROTHER SYNC With it RECORD can be quantized Also BROTHER SYNC transmits SYNC in case you want several LOOP delays to follow the

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