| The
EWV2000 has one feature that sets it apart from all other wind synthesizers.
That feature is the EXTERNAL AUDIO INPUT. The most basic function
of this feature is to "process" the sound output of any
slave MIDI sound source. This sound source is injected into the internal
signal path through the VCA (voltage controlled amplifier) and the
VCF (voltage controlled filter) which are in turn controlled by breath
intensity. Thereby making it possible to give external sound sources
the same nuances of expression that are exclusive to the internal
patches.
The
great range of expression is due to the fact that the controller
(EVI/EWI) and the module (EWV2000) are analog, they use CONTROL
VOLTAGE (CV) which is continuously variable, making every change
in volume, pitch change, vibrato, etc. infinitely smooth. With MIDI,
every change must be represented by a number, creating a "stepped"
response which can be heard and felt by the player. When a MIDI
slave is processed through the EXTERNAL AUDIO INPUT, the response
is "CV" smooth. Now it's easy to see the value of the
EXTERNAL AUDIO INPUT when using MIDI sound modules!
When
using on sound module, its output can be connected directly to the
EXT IN, but when we start using multiple synthesizers we must deal
with the problem of how to route individual or combinations of these
sound sources. In addition to just routing the signals, we must
also have the ability to balance or blend these sounds to create
a desired texture. the way I have accomplished this is with the
AKAI MB-76.
The
MB-76 is a 1 rack space audio line mixer/patchbay. Each of its 7
inputs can be assigned to any or all of its 6 outputs. The level
of each input is programmable and can be independently mixed for
each output. Thereby making this, 6 programmable 7 input mixers
in a 1 rack space unit! The unit has 32 memory banks which can be
recalled with MIDI program change numbers.
There
are many ways that this device may be used. One way would involve
connecting all of your sound modules directly into separate inputs
and on output to the EWV2000 EXT. IN. The other outputs could then
be connected to signal processors such as a digital reverb, EQ,
delay, etc.... This type of setup would allow the user to send completely
programmable mix to each destination. Each signal processor could
have a completely different blend of the inputs. When the mix is
complete, all of this information can be stored to 1 of the 32 memory
banks and at anytime we can recall our complex sounds with the touch
of a button or footswitch.
Here
is an example of a small system setup with 2 sound modules and 2
signal processors. The sound modules will be an AKAI S-900 (sampler)
and a YAMAHA TX-81Z (FM tone module) and the signal processors will
be an ALESIS MidiVerb and a YAMAHA SPX-90.
The
MB-76 will be patched as follows:
Input #1 - S-900
Input #2 - TX-81Z
Output
#1 - EWV2000 EXT IN.
Output #2 - MidiVerb
Output #3 - SPX-90
Outputs
#4 & 5 could be sent to your main mixer to allow you to send
a direct or dry signal directly from either module.
Now
to create a program on the EWV2000 that utilizes the EXT IN port.
Select stock patch #31 - Clarinet, then push "edit", then
source 1 "osc", then "backward". This should
bring you to "EXT BALANCE", set this to -100, this will
pass only the EXT IN signal through the source 1 VCA and VCF. Make
sure that the Write protect switch is off and save this edit. (Push
and hold write then puts "3" in the top row and "1"
in the lower row to store it in the original slot).
The
sampler will play a PAN FLUTE sound and the TX-81Z can play its
ROM sound "Bright Celeste". By pushing the button marked
"output" on the front panel of the MB-76, the number of
the output that is currently available as a mix destination will
be displayed as we could begin that procedure. In this case we would
begin by blending the S-900 (pan flute) sound with the internal
patch. Be sure that the input level know is turned up. the press
the MB-76 output button until #1 is displayed and turn up input
knob #1 (S-900) to the desired level. Press the output button again
until #2 is displayed and adjust input #1 send level to the reverb
unit. Continue this procedure with the TX-81Z (input #2), perhaps
sending its output to a different signal processor and directly
to the main mixer input channel to retain the preset envelope of
the celeste sound. This would now be a unique combination of diverse
sounds; clarinet, pan flute and celeste blended and processed to
your taste. Then this could be saved to a bank location in the MB-76
simply by pushing the "copy/write" button on the MB-76
then select a bank number with the up or down buttons, then just
push "copy/write" once more and the job is finished!
the
MB-76 when coupled with MIDI patchbay/processor has made my system
capable of complete-system setups. Everything from synth patches
to audio mix can be preset and recalled quickly and inexpensively.
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I
used Sam's article above and his advise designing my own EWI rack
many years ago and have been very happy with the results. This setup
is very similar to what Mike Brecker uses live. The MB-76 is an
integral part of Michael's setup. It allows you to call up a complete-
rack patch immediately. I patched my MB-76 with all six inputs from
external synths and the outputs as follows: 1 - EWV2000 EXT IN.,
2- to main mixer channel receiving fx from the fx loop (Left panned)
3 - to main mixer channel receiving fx from the fx loop (right)
pan, 4 - to main mixer channel with no fx (left panned), 5 - to
main mixer channel receiving no fx (right). This allows me huge
amounts of flexibility in programming. It allows me for example
to send a direct signal from a synth to my main mixer like a big
pad for example, and then play over the pad that will continue to
ring with the rest of my patch setup.
Editor.
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