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Hello everyone and welcome to issue number 23 of Ketron News
and Tips (KNAT).
This issue is targeted for June 1, 2003. We are back talking
about registrations on Ketron products again as well as some
really sensible methodology for getting maximum performance
out of you Ketrons for the music you play.
If you have a question to ask or a tip to submit, please
let me know at jay@ketronus.com. Also I love your comments
so don't hesitate to let me have a response.
If you are on this mail list by mistake or wish to unsubscribe,
follow the removal directions at the bottom. Also if your
name or email address is weird and you would like to continue
to receive this newsletter, drop me a reply and let me know.
Some very professional methods to use on Ketron
Recently I got an email from Michael Wooster through to Solton
Club, that was so well written and so correct for the working
professional musician that I emailed him asking permission
to include it in my newsletter and to put it on my web site.
Permission was duly received and there are no changes to his
document except some short comments in brackets []. This is
obviously a player who deals in practicality and what works.
The approach is absolutely to be commended and if every musician
in the world were playing Ketron products using this approach,
still no two would sound alike!
He is using an older MS100 (at one point in time my favorite
machine) and getting out of it many more things than most
performers are getting even on newer machines.
I haven't written in a while but thought I'd drop my info
on you on
how I do things with my MS-100 (which should be basically
the
same for the X-1 or SD-1). [essentially it is: JS]
First I save and listen to every stinkin' pattern/style I
can get my
hands on.....hours and hours of playing to them at speed,
slower,
faster, all instruments on or off etc. etc. [This is absolutely
essential JS]
This is to find out whether or not they are actually usable
for many
songs. Since I can only fit about 22 patterns in my internal
memory
(instant access) I am VERY picky which patterns will work
for me. I
know that I can quickly load new patterns in memory from my
hard
drive but my goal is NO waiting between songs on stage if
possible. [Again, the mark of a professional performer]
This is where the registrations work very well.
For example .....I can use Rock and Roll 1(Ketron style) for
about
20 to 30 songs by varying tempo and instrument set-up and
hold
each in a separate registration. Many of the styles on the
Ketron
can be used in a multitude of ways by changing drum sets,
instruments....etc. etc.
Out of the hundreds of styles/patterns available to me I have
chosen only about 100 that will work. I then distill these
down until I
am using "bare bones" patterns.
I use two methods to keep track of my settings.....in my song
book(s) I put a piece of removable white tape with the registration
number next to the song. I also tape a play-list on white
paper with
song names and registration numbers next to them. All of this
is
noted on paper while doing the setting up the registrations
in my
studio and saved in case of major damage to keyboard. [There
are other methods of achieving this; you just need to find
what works for you.]
Immediately after finishing a song....I can choose a new
registration
(maybe even using the same style with a different set-up)
and start
new song with hardly any delay.
In the event of a song that needs something that the styles
or
patterns do not offer....I write my own patterns and try to
utilize all 4
arrangements and intro/endings to give me the most use.
For example: I wrote a pattern for Susie Q using arrangement
A and
B. C and D will also fit the song for variety but I can also
use C OR
D for completely new songs. In this way I don't waste pattern
space
for just one song. Most songs have a recognizable "riff"
that can be
written on one arrangement then the rest of the arrangements
in
that pattern can be used for many other songs. [This method
is excellent for saving space and it should be obvious that
many Ketron styles in ROM are good for more than one song
just by changing the tempo and using a different Arrangement.]
I just got done going over my entire show and did some minor
changes but realized that it was easier NOT to learn some
obscure
song that I might perform once every 10 gigs then to waste
pattern
space. There are too many good songs that will work without
the
strain of loading and unloading patterns all night long. [Another
good point for the performing professional.]
Another way of dealing with special songs is to leave enough
empty
space in the internal pattern memory to fit in one new pattern.
you
would delete the pattern and then load new one in from hard
drive
then delete that one when finished using and load new one
again. I
do not use that method very often as it slows my show up too
much. [Another good reason for leaving a couple of vacant
slots is for trying new patterns without changing your basic
show.]
Registrations are the way to go using the Ketron equipment
and if
you don't use them you are wasting time and energy on stage.
If you have any questions ......feel free to email me direct
at my
address below. Sorry this is so long but I want to make clear
my
method of utilizing pattern space.
Thanks again, Michael, for a good look at some very useful
methods. If you want to follow up some of my own ideas on
registrations go to my tips page and look at some additional
things about registrations. It is my honest opinion that Ketron's
registrations, when fully utilized, make these keyboards and
modules the most powerful on earth.
Have fun and let me know what you come up with.
Visit me at www.ketronus.com. Or email me at jay@ketronus.com