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 overdo it.

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.