Ensoniq Corporation PARIS Introduction Manual
Introduction Manual
©1998-2000 E-MU Systems Inc. All rights reserved.
FI11584 Rev. A
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Systems®, and PARIS®. All other trademarks are the property of their respective holders.
Important Notice:
In order to obtain warranty service on your PARIS unit, the serial number sticker must be intact and you must
have a sales receipt or other proof of purchase. If there is no serial number sticker on PARIS, please contact
E-MU Systems at once.
This manual is copyrighted and all rights are reserved by E-MU Systems, Inc. This document may not, in whole
or in part, be copied, photocopied, reproduced, translated, or reduced to any electronic medium or machine
readable form without prior written consent from E-MU / ENSONIQ. The PARIS application is copyrighted and
all rights are reserved by Intelligent Devices. The PARIS driver and effects software and PARIS firmware are
copyrighted and all rights are reserved by E-MU Systems, Inc.
Table of Contents
Welcome to PARIS! 1
The PARIS Documentation ...........................................................................................................................1
All Roads Lead to PARIS................................................................................................................................1
Onward... ......................................................................................................................................................1
A Special Note for MEC Users.......................................................................................................................1
Listening to the PARIS Tutorial Projects 3
Overview .......................................................................................................................................................3
Install the Tutorial Audio Files Onto Your Hard Drive ................................................................................3
Unlocking the Audio Files on a Windows PC........................................................................................3
Linking the Audio Files to the Project Files .................................................................................................3
Playing the PARIS Tutorial ............................................................................................................................6
About the Other PARIS Tutorial Files ...........................................................................................................7
Getting Ready for the Introduction Tutorials ........................................................................................7
Creating a New PARIS Project.......................................................................................................................7
Saving a Project ............................................................................................................................................7
Adding Audio Files to a Project ....................................................................................................................7
The Editor Window 9
Getting There ................................................................................................................................................ 9
SUSHI Bar & Command Bars ........................................................................................................................9
Open the Audio Bin......................................................................................................................................9
Some Important Terminology ....................................................................................................................10
Audio Files ............................................................................................................................................10
Objects ..................................................................................................................................................10
Segments...............................................................................................................................................10
The Playing Field ........................................................................................................................................10
The Now Line .......................................................................................................................................11
Placing Objects on the Playing Field .......................................................................................................... 11
Using The Time Locked Selector Tool ..................................................................................................11
Context-Sensitive Cursors ..........................................................................................................................12
Playing Tracks ............................................................................................................................................. 12
From the Transport Window................................................................................................................12
From the Computer Keyboard .............................................................................................................13
From the C16 Pro .................................................................................................................................13
Other Functions on the C16 Pro and in the Transport Window ........................................................ 13
Before Proceeding with the Tutorial... .................................................................................................13
The Audio, Bipolar and Name Buttons ...................................................................................................... 13
The Paris Rulers .......................................................................................................................................... 14
Using Markers ............................................................................................................................................. 14
Using the Zoom Bars .................................................................................................................................. 15
Changing the Vertical (Tracks) Magnification .....................................................................................16
Working with the Horizontal (Time) Zoom Bar .................................................................................. 16
Changing the Horizontal (Time) Magnification..................................................................................16
Scrolling in the Editor Window ...........................................................................................................16
Saving and Recalling Local Views .............................................................................................................. 17
Saving Local Views ...............................................................................................................................17
Recalling Local Views ...........................................................................................................................17
Table of Contents PARIS Introduction
Editing Exercises 19
Exercise #1 - Manipulating Audio Objects .................................................................................................19
Exercise #2 - Creating a Fade-In .................................................................................................................21
Exercise #3 - Setting Sync Points ................................................................................................................ 22
Moving Audio Objects to Object Jails ........................................................................................................24
Using The Nudge & Slip Command Bar Features ...................................................................................... 25
Using the All Button ............................................................................................................................25
Start, End and Slip ................................................................................................................................ 25
Using the Start Tool .............................................................................................................................. 25
Using the End Tool ............................................................................................................................... 25
Using the Slip Tool ...............................................................................................................................26
Get Out of Jail Free .....................................................................................................................................26
The Mixer Window 27
Overview .....................................................................................................................................................27
Viewing Various Mixer Window Components ..........................................................................................27
The Green Null Arrow Lights on the C16 Pro ..................................................................................... 29
Mixing Volume Levels Using the C16 Pro Faders ................................................................................ 29
Panning Controls .................................................................................................................................30
Soloing Channels .................................................................................................................................30
Muting Channels ................................................................................................................................. 31
Adjusting EQ (Equalization) from the C16 Pro .......................................................................................... 31
Using the PARIS Effects............................................................................................................................... 32
Sending a Channel to an Effect ...........................................................................................................32
Selecting Effects .................................................................................................................................... 32
Editing Effects ....................................................................................................................................... 33
Effect Presets .........................................................................................................................................33
Recalling a Preset ..................................................................................................................................34
Saving a Preset ...................................................................................................................................... 34
Mixer Automation ......................................................................................................................................35
Automating Fader Moves .....................................................................................................................35
Automating Channel Mutes from the C16 Pro ...................................................................................35
Recording Panning Changes in the Mixer Window ............................................................................ 36
Exiting Mixer Automation Mode on the C16 Pro ...............................................................................36
Recording Your First PARIS Track 37
Setting Up ...................................................................................................................................................37
Setting the Record Path ..............................................................................................................................37
Enabling Recording .................................................................................................................................... 37
Setting Levels ..............................................................................................................................................37
Entering Record ..........................................................................................................................................38
Playing Back Your Recording ...................................................................................................................... 38
Tour of the C16 Pro 39
The Transport Section................................................................................................................................. 39
Numeric Keypad for Locating Views, Markers & Mode Buttons .............................................................. 40
The Channel Controls Section ...................................................................................................................41
Fader Strip and Main L/R Fader Section .....................................................................................................42
Jog Wheel Edit Functions, Undo and Control Room Functions ...............................................................43
PARIS Introduction Table of Contents
Tour of the Mixer Window 45
Overview of the Mixer Window ................................................................................................................. 45
The Channel Section ..................................................................................................................................46
EQ Modules ................................................................................................................................................47
Aux Send Modules ...................................................................................................................................... 48
Aux Masters Section General Controls....................................................................................................... 49
Aux Send Master Module .....................................................................................................................50
Aux Return Master module ..................................................................................................................50
Master Fader Module ..................................................................................................................................51
The Channel Status Bar ..............................................................................................................................52
Using the Channel Status Bar ..............................................................................................................52
Hiding Individual Channels ................................................................................................................52
Viewing the Selected Channel .............................................................................................................52
Table of Contents PARIS Introduction
Welcome to PARIS!
The PARIS Documentation
Congratulations on your purchase of E-MU’s PARIS. In your PARIS box, you’ll find two publications that
together will set you on your way to harnessing the incredible power of your new PARIS system.
The PARIS Introduction is where you’ll want to start as you get to know PARIS. This booklet will acquaint you
with many of the major features of PARIS by showing you step-by-step how to perform various operations. In
following its tutorials, you’ll gain a feel for how your PARIS system works.
The authoritative PARIS Reference is the primary manual for PARIS, with information organized according to
the windows presented in the PARIS software. Consult the PARIS Reference when you need detailed
information regarding any aspect of the PARIS hardware or software.
All Roads Lead to PARIS
There are as many creative methods as there are audio artists. A great deal of care has been given to ensuring
that PARIS provides methods and tools that you’ll find easy to use, no matter how you like to work. Whether
you like to click on buttons or type shortcuts from a keyboard, PARIS has been programmed with you in
mind. In a number of cases, the methods you’ll be learning in the PARIS Introduction represent just one of
several ways in which a given task can be accomplished. In the Introduction tutorials, we have not listed at
every turn the different paths to the same result, in an effort to help keep things moving along. Once you’ve
gained a basic familiarity with PARIS, make sure to consult the PARIS Reference for more comprehensive
descriptions of its methods and features.
Onward...
We’re confident that you’re about to have a very enjoyable experience as you get to know PARIS. You’ll
probably find the Introduction most helpful if you go through it all at once—the whole thing will take about
an hour.
Start off with all of the faders on your C16 Pro turned all the way down—you’ll learn how to synchronize
them to the onscreen controls later on. If for some reason you get interrupted somewhere in the middle of
the Introduction, type “P” to go to the Project Window and select Save from the File menu to store your work-
in-progress onto your hard drive. That way, you’ll be able to jump back in to the Introduction when you’re
ready.
A Special Note for MEC Users
Your MEC Master Module provides considerable signal-routing flexibility. When you first launch PARIS, its
main stereo outputs are routed to Output jacks 1 and 2 of your MEC Master Module, and PARIS’ monitor
outputs are directed to Output jacks 3 and 4. The PARIS Introduction demonstrates some features—such as
soloing channels—that require you to be listening to the monitor outputs. For that reason, connect Outputs
3 and 4 to your amplifier or other monitoring system while reading the PARIS Introduction. (Chapter 14 of the
PARIS Reference explains configuring the MEC Master Module.)
If you have any problems with your PARIS system, call E-MU Customer Service at (831) 438-1921. For the
latest PARIS information, visit the PARIS World Wide Web site at http://www.emuparis.com.
E-MU PARIS Introduction 1
Listening to the PARIS Tutorial Projects
Overview
This section explains how to install the PARIS Tutorial Project Audio Files onto your hard drive. You’ll also
learn how to play the PARIS Tutorial Projects placed on your hard drive when you installed PARIS itself. A
Project is the type of file that keeps track of everything related to a piece of music or audio.
Note: You must have a basic understanding of standard computer functions to use PARIS. If you don’t,
please read the manuals that came with your computer.
Your PARIS system was shipped from the factory with a demonstration CD-ROM containing the Audio Files
you’ll need for the PARIS Tutorials. PARIS can record and play back Audio Files directly to and from the
internal hard drive in your computer, or to a separate external SCSI hard drive. You may consider recording
PARIS files to a removable SCSI device—a removable drive can be handy for archiving your work, or for
transporting your Projects and Audio Files to someone else’s PARIS studio.
Install the Tutorial Audio Files Onto Your Hard Drive
1. With your computer already booted up, insert the PARIS CD-ROM into your CD-ROM drive.
2. Locate the Tutorial folder/directory on the CD-ROM.
You’ll need 316MB of free disk space on your hard drive for the Tutorial Audio Files.
3. Copy the entire PARIS Tutorial folder/directory to any location on your hard drive.
Unlocking the Audio Files on a Windows PC
All files on a Windows PC CD-ROM are marked as read-only. This means they cannot be changed or edited.
When you copy files from the CD-ROM to your hard disk—as you’ve just done—those files retain their read-
only status on your hard disk. You’ll need to “unlock” your newly copied audio Files. E-MU has provided a
handy batch file that does it for you. Perform the following steps:
1. In your just-copied Paris Tutorial folder, you’ll find a file called “unlock.bat” (if you have Windows set to
not show extensions it will appear simply as “Unlock”).
2. Double-click on the “Unlock.bat” icon. A DOS window will appear as the batch file runs, then disappear.
(If the DOS window remains on the screen, simply close it.) The files are now unlocked, and you can
proceed.
Linking the Audio Files to the Project Files
Any time PARIS records an Audio File, a path from the Audio File to its Project file is established, much the
same way other computer applications keep track of “linked” files. When the Audio Files are in the same
folder as the Project File, PARIS automatically establishes a link. Because the copied Audio Files and Project
files are NOT in the same folder on your hard disk, this is a good opportunity to learn how to re-establish the
file path between the Tutorial Project and its Audio Files. This is very easy to do, and needs to done only
once.
1. Launch the PARIS application.
2. From the Project Window File Menu, choose Open Project.
PARIS will present the following dialog:
3. Click the No button.
E-MU PARIS Introduction 3
4. Double-click the Projects folder—it’s inside the PARIS folder installed on your hard drive.
5. Select the file called “Crop Circles Tutorial.ppj” and click the Open button.
6. The dialog box show below appears, informing you that 18 audio files are missing. We deliberately placed
the Project file outside of the Audio file folder so that you could learn how to find missing files. Once
PARIS learns where the Audio files are located, the files will be automatically licked each time you open
the Project. (If the Project file and Audio files are in the same folder, PARIS automatically links them.)
7. At this point, the necessary Audio Files are not linked to the Tutorial Project. From the Windows Menu,
choose Audio Window (8), and the Audio Window will appear, as shown in the following illustration.
The red square to the left of
each Audio File’s name
indicates that the Project
does not know where the
Audio File is.
8. From the Edit Menu, choose Select Missing.
4 E-MU PARIS Introduction
9. All of the missing
Audio Files that do not
have a “linked” file
path will be selected.
Note: Not everything
in this window is
selected, as you can
see. The items that are
not selected are called
“Segments.” Segments
will be explained later
in the Introduction.
10.From the Functions Menu, choose Search for Files.
11.You will now see a standard Mac or PC dialog box similar to the one shown below. Navigate to the PARIS
Tutorial folder, and open it. You’ll see the PARIS Audio Files needed for the Tutorial Project. Click on any
one of the files and then click the Open button.
E-MU PARIS Introduction 5
12.The Audio Window will look as shown below, with each Audio File’s size now listed and the red “Missing”
indicator now unlit.
File size Sample rate Bit depth
13. Select View mode on the C16 Pro, then type 1. On the keypad to bring forward the Project Window.
14. Select Save from the Project Window’s File menu to save the Audio Files’ present location into the “Crop
Circles Tutorial.ppj” Project.
Playing the PARIS Tutorial
1. Press the Play button on the C16 Pro.
2. As “Crop Circles Tutorial” plays, and View mode
selected on the C16 Pro, type 2. on the keypad to bring
forward the Editor Window.
3. Type 3. on the C16 keypad to view the current mix of
the tutorial’s Tracks in the Mixer Window.
4. When the tutorial Project has finished playing, press the
Stop button on the C16 Pro.
Note: You can also control the playback of PARIS Tracks —
and perform other operations—by using the controls in the
Transport Window, which can be viewed by typing “t” on
your keyboard.
Stop Play
6 E-MU PARIS Introduction
About the Other PARIS Tutorial Files
Two Projects were created in your “Tutorial” folder when you installed PARIS. They are:
“Crop Circles Tutorial.ppj”—This is the Project you just listened to.
“Crop Circles no auto.ppj”—This is “Crop Circles Tutorial” without automated mix changes that you can use
to create your own mix of the song.
Getting Ready for the Introduction Tutorials
For the next portion of the Introduction, you’ll be working with a new Project you’ll be creating, starting
from scratch.
Creating a New PARIS Project
1. Type “P” on your keyboard (or type 1. on the C16 Pro’s keypad in View mode) to bring up the Project
Window, and select “New Project” from the File menu.
2. If PARIS asks you if you’d like to save the current Project, answer as you desire. If you haven’t created a
new Project, click the No button.
PARIS’ windows open.
Saving a Project
Let’s immediately save the new Project to establish its name and location on your hard drive.
1. Type “P” to return to the Project Window.
2. Select Save As... from the File menu.
3. Navigate to a folder/directory in which you’d like to save this Project.
4. Name the Project “Tutorial 1” PARIS will add the “ppj” file extension automatically as the saving
operation is completed.
5. Click the Save button to complete the procedure.
Adding Audio Files to a Project
You’ll be working with an Audio File that was used in “Crop Circles Tutorial.” This file has to be brought into
your newly created Project.
To add Audio Files to a Project:
1. Type “A” on your keyboard to call up the Audio Window.
2. Select Add Audio File... from the Functions menu.
3. Navigate to the Audio Files in the PARIS Tutorial folder and select LEAD VOCAL.paf.
E-MU PARIS Introduction 7
4. Click the Open button.
LEAD VOCAL has been added to your new Project, as shown in the Audio Window.
8 E-MU PARIS Introduction
The Editor Window
The Editor Window is where PARIS Tracks are created and edited. Much of your time in PARIS will be spent in
this powerful place.
Getting There
You can open the Editor Window in any of three ways:
1. Type “E” on the keyboard to call up the Editor Window.
2. Select Editor from the Windows menu in the Project Window.
3. Press the Views button on the C16 Pro and, on the C16 Pro’s keypad, press the 2 button, followed by the
period (“.”) button.
Tip: As you become familiar with PARIS’ windows, you’ll find that you can also employ this third method
using the Locator Window and your keyboard’s numeric keypad.
SUSHI Bar & Command Bars
In the upper-left-hand corner of the Editor Window you’ll find the Standard User Show Hide Indicator (SUSHI)
Bar.
Show / Hide Bar Grid & Snap Bar
Object Jails BarInformation Bar
Tools Bar Nudge & Slip Bar
Note: The Crossfade Bar—its button is next to the Object Data Bar—is not currently implemented.
The SUSHI Bar icons are buttons that allow you to display or hide the Command Bars needed to perform
various editing or display functions. You can view all the Command Bars at once, or show only the Bars
needed for the current task at hand. When each button is depressed—as shown above—its Bar is visible.
1. Click each of the buttons. The related Command Bars will appear or disappear.
2. When you’re done experimenting, turn all of the Bars on.
Open the Audio Bin
1. Click on the Show/Hide Bar button in the SUSHI bar if the Show/Hide Bar is not currently visible.
Audio Bin button
2. Click on the Audio button directly to the right of the Bin label.
The Audio Bin appears along the right-hand edge of the Editor Window. It shows the Audio Files you
added to the Project earlier in this book.
Tip: Drag the lower right-hand corner of the Audio Bin outward toward
the right edge of your monitor a little, then drag the lower left-hand
corner of the Audio Bin inward toward the center of the screen to widen
the Bin enough to show the complete names of your Audio Files.
The Audio Bin is a pared-down version of the Audio Window that—
among other uses—provides easy access to the Audio Files you’ll want
to work with in the Editor Window.
E-MU PARIS Introduction 9
Some Important Terminology
Much of the activity in the Editor window revolves around Audio Files, Objects and Segments. While closely
related, these are three distinctly separate things, and understanding this is important to mastering PARIS.
Audio Files
Audio Files are your sound files on your hard disk. Audio Files are not directly edited in PARIS, though they
can be subjected to a variety of special procedures in the Audio Window.
Objects
When an Audio File is dragged into the Editor Window from the Bin, it appears in the editing area—called
the “Playing Field”—as an Object. An Object, though it looks and acts like chunk of sound, is really just a
graphic representation of instructions that tell PARIS how to play the Audio File on which it’s based. When
you perform editing operations on an Object, you’re changing these instructions. This powerful form of
editing is called “non-destructive” since it doesn’t actually affect or change the Audio File on your disk,
merely the way it’s to be played.
The same Audio File can be accessed by as many Objects as you like—this allows you to use different pieces of
the same Audio File in different places and in different ways.
Note: When you record a new Track, the Audio File you’ve recorded on your hard disk appears in the Bin,
and an Object which plays the Audio File is created on the Playing Field (you’ll be recording a Track later on).
Segments
You can drag Objects you’ve created back into the Bin for later use. When you do so, the Object appears in
the Bin as a Segment shown underneath the Audio File on which it’s based. (A Segment is also automatically
created when you record a new Audio File.)
The Playing Field
The Playing Field is the place where all Objects in PARIS are edited.
The Playing Field
The surface of the Playing Field is divided vertically into numbered Tracks. Each Track is a slot into which
Objects can be placed, and in which they can be edited.
Each Track’s number is shown along the
left border of the Editor Window
Objects are placed or created in this area.
10 E-MU PARIS Introduction
The left edge of each Track is its beginning. PARIS reads through a Track’s Objects from this leftmost point to
the right as a Track plays and time passes.
In the Playing Field illustration on the preceeding page, eight Tracks are visible. You can use the scroll bars
along the Playing Field’s right edge to view the other eight tracks, or you can change the Editor Window’s
zoom setting, as discussed later in the Introduction.
Note: PARIS offers a an additional method for compiling multiple takes of a performance called “Free Form
Mode,” in which you can have up to 999 Tracks. Free Form mode is introduced in Chapter 4 of the PARIS
Reference. The Introduction describes working in PARIS’ standard mode, called “Constrained Mode.”
The Now Line
The Now Line is a vertical line that travels across the Playing Field to show what’s currently being played by
PARIS. When you’re not playing Tracks, the Now Line shows the location from which your next playback will
begin.
The Now Line
Placing Objects on the Playing Field
Objects are created on the Playing Field by dragging Audio Files or Segments from the Bin (or by recording a
new Track).
Using The Time Locked Selector Tool
Audio Files and Segments in a Project remember the time locations they occupied when they were last
dragged off the Playing Field into the Bin. The Time Locked Selector returns Audio Files and Segments to
these locations when you drag them from the Bin. When you drag an imported Audio File onto the Playing
Field, the Time Locked Selector tool places it at the beginning of the Track to which it’s dragged.
1. Click on the Tools Bar button in the SUSHI Bar if the Tools bar is not currently visible. The Tools Bar
provides access to the various editing devices available in the Editor Window.
2. Click on the Time Locked Selector tool button on the Tools Bar.
Time Locked Selector
button
3. In the Bin, locate the Audio File called “LEAD VOCAL” and click and drag it onto Track 1 on the Playing
Field.
Note that the Object created from the Lead Vocal snaps to the
beginning of the Track the moment it is placed on the Playing Field.
This is because you’re using the Time Locked Selector to drag an
Audio File you’ve added to the Project using the Add Audio File
feature.
Note: When a Track contains an Object, its light blue Data Present LED
switches on. This LED is located beneath the Track’s number on the left
side of the Editor Window.
Data Present
LED
E-MU PARIS Introduction 11
Context-Sensitive Cursors
When working with Audio Objects, you’ll notice different cursors—you can think of them as tools—that
appear on the Playing Field. The cursor shown changes depending on where you’ve positioned the mouse
pointer over an Object. The following illustrations show the cursors that will appear whenever the mouse is
positioned in the approximate areas shown.
The standard Selector tool is used to move an Object or group of Objects on the Playing Field. It’s also used to
drag Objects from the Playing Field into the Bin or into the Jails (Jails will be explained later).
The standard Selector
cursor appears when you
hold the mouse pointer
over the central area of an
Object
The Trim cursors are used for changing Object start and end times—they appear when the Selector tool is
positioned over the outer edges of an Object.
The Fade tool is used to create fade-ins and fade-outs of the selected Objects. It appears when the Selector
tool is positioned over a fade-in or fade-out handle.
Fade-in
handle
Fade
Tool
Fade-out
Playing Tracks
Transport commands can be executed from the Transport Window, the computer keyboard and the C16 Pro.
From the Transport Window
1. Press “T” on the computer keyboard to bring up the view of the Transport Window.
Rewind
Fast Forward
Loop Playback
handle
Stop Play
Record
12 E-MU PARIS Introduction
2. Using the mouse, click on the Transport Play button, and let the transport run for about ten seconds. The
music will start to play.
3. Click on the Stop button.
4. Having to wait ten seconds every time is a drag. So let’s set the Zero point of the Project to ten seconds.
5. Turn the Jog/Shuttle Wheel unto the Transport display reads: 00:00:10:00 (or close).
6. On the C16 Pro, press and hold the Stop button, then press the Rewind button. The yellow silkscreen on
the panel indicates “Set Zero” for these two buttons.
7. Press Play and listen to the vocal again. Whenever you’re ready, press Stop
8. Now you can double-click the Rewind button to rewind to the top of the Project.
Tip: To center the Vocal in the stereo field, press “M” on the computer keyboard to bring the Mixer window
forward, then set the balance control to “C” for center. Press “E” on the computer keyboard to bring the
Editor window forward again.
From the Computer Keyboard
1. Press the space bar and the music will play. Press the space bar again and the music will stop. Press the
Return key to rewind to the top.
From the C16 Pro
1. Press Play to begin playback, and Stop to end playback.
2. Press the Rewind button twice quickly—this is called ”double-clicking”—to rewind to the top.
Other Functions on the C16 Pro and in the Transport Window
• Press the Forward button to fast forward. • Press the Forward button twice quickly to locate to the end.
• Press the Rewind button to rewind.
Before Proceeding with the Tutorial...
1. Press Stop, then locate to the beginning of your Project by pressing rewind twice in rapid secession..
The Audio, Bipolar and Name Buttons
You can decide whether or not and how you want to view your Objects’ waveforms, and whether or not
you’d like to view your Objects’ names.
1. The Show/Hide Command Bar should still be visible—if it’s not, click the Show/Hide button in the SUSHI
Bar.
2. Click the Audio button a few times, and note how it changes the appearance of the Objects on the Playing
Field.
3. Do the same using the Bipolar button—when the Audio and Bipolar buttons are on, your Objects’
wavedata is shown rising above and falling below a center zero line. When the Audio button is on but the
Bipolar button is off, the zero line is moved to the bottom of the Objects, and only wavedata above the
line is visible.
Audio button
Bipolar button
Name button
4. Click the Name button on and off to see the names of your Objects appear and disappear. (Note: The
Name Label is located at the start of the Object.)
5. When you’re done experimenting, leave all three buttons in their on—depressed—positions, so that
bipolar wavedata is visible in your Objects, and each Object’s name is visible.
E-MU PARIS Introduction 13
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