Our primary focus in March 1988 was on MIDI sequencing, starting with “Sequences That Swing with Performer,” a feature on creating a swing feel by experimenting with quantization. The techniques could be applied to sequencers other than MOTU Performer, assuming they had the requisite quantization features. Groove quantization was unknown at the time, so you had to create a swing feel using a calculated combination of offsets, quantize-sensitivity settings, and a Quantize Strength (Performer's term) parameter that allowed you to move notes a specified fraction of the way toward the desired grid location.
“The Feel Formula” applied to sequencing the principles expounded in our popular October 1987 cover story, “The Feel Factor” (discussed in the October 2002 “15 Years Ago in EM” column). Author Dave Edwards discussed shifting the timing of drum and percussion parts to affect the rhythmic feel of a piece, and he provided a table for calculating the number of milliseconds per clock pulse for any given tempo (in beats per minute) and sequencer resolution (in pulses per quarter note). A copy of the table is available on our Web site at www.emusician.com.
Frequent contributor Jim Johnson addressed the problems inherent in using sequencers in live performance. Although he touched on AC-power problems and sequencer song-loading speed (sometimes a problem in 1988), most of “Sequencing for Live Performance” discusses programming and using a “test and tune” sequence to make sure everything is properly set up and ready to go.
When a car crash cost Def Leppard drummer Rick Allen his left arm, MIDI-controlled electronic drums and samplers saved his career and kept the band rocking. Author Jay Savel reported on Allen's and mixing engineer Robert Scovill's MIDI system, which was highly unusual for a metal band like Def Leppard.
Legendary avant-garde master John Cage predicted the emergence of noise-based electronic music back in 1937. Although he is better known for percussive pieces, prepared piano, and experimentation with randomness and found sounds, he also created several computer-based works. John Diliberto brought us a wide-ranging interview with Cage, then 75 years old, that is well worth reading today.
“Eliminating Noise” focused on preventive medicine, including proper grounding, setting up an optimal gain structure, cleaning electrical connectors, and routing cables away from electrical and RF fields. We also offered two DIY stories: a program for the Commodore 64 computer that randomly generated Roland Juno 106 and Yamaha DX21 synth patches, and a simple hardware mod that makes the Roland JX8P keyboard's Aftertouch more sensitive.
We ran three full reviews: Craig Anderton's special report on the Ensoniq EPS sampler and SQ80 synth, Ian Gilby's evaluation of Voyetra's Sequencer Plus software for the PC, and Dean Friedman's investigation of a Sound Quest DXII editor-librarian program for the Amiga computer. Our brief First Take reviews were positive evaluations of four Atari ST programs and one C-64 program; however, only MIDImouse Fast Tracks, a live-oriented sequencer, was the least bit memorable.