You can use the Entrancer purely for audio processing, as with
the KP2, or solely for video processing, or both at once. Audio can be used as
the source to modify the video imagery in real time either directly or by using
the Tap/BPM function. You can call up any of the 100 video effects which can be
allocated to eight different Program Memories for fast recall, making it
possible to move through a variety of video effects as the music progresses. In
addition, you can work with the X-Y pad to create a range of fabulous visual
effects. All of these ´instant´ effects make it very easy to add live visuals to
any show and give you control over how images change in real time. In addition,
if you´re into totally programmed performances using sequencers and a bunch of
MIDI gear, you can use MIDI to control both the audio and video effects
selection. For a one or two-person show, this is great for adding professional
visuals to your performance. With just an LCD video projector, a DVD player and
a Kaoss Pad Entrancer, you can produce a mighty visual experience to back you up
on stage for very little effort — and it looks cool, too!
To get something out of the audio side of the Entrancer, it´s
best to feed it something. However, the video side is different, in that the
unit can produce automatic video effects without having to process any video
signal; you can just plug it in and watch the pretty pictures. These visuals are
a collection of simple waveform, spectrum-analysis and oscilloscope-type imagery
which the sound controls. The unit really comes into its own when you feed it a
video signal, be it from a live video camera or moving imagery from a VHS or DVD
player. Movement is the key here, as it´s the basis for generating really
exciting results. By manipulating raw source material, you can impose different
video effects and modify the output in real-time using the X-Y pad. When you
perform a pad movement you like, you can even record the pad motion and keep it
repeating. The two Sample memories let you record up to six seconds of motion
each and allow you to ´re-effect´ them as source material in your performance.
For example, you can sample a still image (a logo, say) into one memory and mix
it into the video stream as required throughout a show.
Typically, moving your finger around will change the current
image´s scale, coloration, amount of stretch, spin speed, and forward or
backward movement (this is great for ´scratching´ a video sample), and the FX
Balance knob tends to control the depth of the effect. When the unit is
operating in ´Combi´ mode, where audio and video manipulation is simultaneous,
choosing a particular video effect also calls up a complementary audio effect
(or what Korg deem to be complementary, at any rate — the choice is not left to
the user). For example, auto-rotation of the video image is combined with a
tape-echo treatment, while the Emboss video effect is combined with a phaser.
The speed of movement is instant, and there´s no discernible lag in the video
display — if you wish, you can swirl your video around, spinning and flipping it
until you make your audience ill. Oh, and on that point, Korg do include a
warning about the very real danger of visually induced epileptic fits, so don´t
There are eight Program Memory buttons where you can store any
of the 100 effects for instant recall. This is particularly important in a live
performance, as you don´t really want to be dialling through 100 options looking
for what you want. Unlike the two Sample Memory locations, these Program
memories are stored when the unit is switched off, and will remain so until you
overwrite a memory location with another choice. From a performance point of
view, whilst the eight memory buttons are clearly backlit and well spaced, the
lack of a ´write´ or ´scribble´ strip underneath them means you have to resort
to sticking a length of masking tape on the unit and write any prompt notes on
that instead. However, on the positive side, Korg have thought through the
ergonomics of the KPE1 and must be congratulated for grouping all the buttons
and switches in very handy positions and making them all backlit. This made the
unit a joy to use live in the typical low lighting conditions on-stage during
the recent Bill Nelson tour (see the box on the next page for more on this).
Apart from the X-Y pad, Program Memory buttons and the Hold,
Sample,and Rec/Stop buttons along the front edge, the other main performance
tool is a centre-sprung toggle switch on the right labelled ´Pad Motion´ in the
upper position or ´Mute/Freeze´ in the down position. Depending on your style of
VJ´ing, this switch could well become the most frequently used control on the
whole unit; it can really bring a performance to life. In the Audio mode, it
allows you to mute the sound on and off so that you can superimpose your own
rhythm onto the music. In Video mode, it freezes the motion of any image
currently being played.
The KPE1´s controls and main X-Y pad are sensibly backlit for
ease of use in dark surroundings — and it looks cool, too!
The KPE1´s controls and main X-Y pad are sensibly
backlit for ease of use in dark surroundings — and it looks cool, too!
With the switch pushed upwards, the unit functions in the Pad
Motion mode and lets you record up to six seconds of your finger movement or
tapping on the X-Y pad. Once captured you can play the captured motion back by
holding the switch up. This is designed very much as a temporary performance
´macro´ and it immediately disappears when you touch the pad again. This is
great live, because it means you can grab bits of sound and video manipulation
on-the-fly, build up ´phrases´ and repeat them over the top of the music or
video if you wish.
The final performance feature to look at is the Tap/BPM
function. Tempo values (in beats per minute) may be entered in one of three
ways. You can dial in a specific tempo value using the Program/BPM knob, or
switch into the auto-detect mode, where the KPE1 tries to lock onto a strong
beat from the incoming music signal. Finally, you can tap along to the beat in
manual mode and eventually the unit will sync up for you. There is actually a
fourth way to sync, which is to use an external MIDI Clock signal (from a
sequencer or drum machine, say).
Several of the 100 effects in the audio and video selection
are specifically designed for use with the BPM function, allowing the tempo to
drive the visual effects and produce all sorts of dazzling colour shows,
pulsating waveforms, spectrum analysis, lissajous figures and many more effects,
all sync´ed to the beat.
Ett års garanti. KORG, världsledande inom studio och DJ.
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