Ensoniq Corporation Transoniq Hacker Archive Issue #088 088
Ensoniq Corporation Transoniq Hacker Archive Issue #088 th_088 Ensoniq Corporation - Transoniq Hacker Archive - Issue #088
Ensoniq Corporation Transoniq Hacker Archive Issue #088 th_088 Ensoniq Corporation - Transoniq Hacker Archive - Issue #088
User Manual: Ensoniq Corporation Transoniq Hacker Archive Issue #088 Ensoniq Corporation - Transoniq Hacker Archive - Issue #088
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Iransiniq
Ensoniq's DP/4 — The Review
Charles R. Fischer
Hacker
The Independent News
Magazine for Ensoniq Users
In this issue
Articles:
ASR-IO - Preliminary Specs
Product: DP/4 Parallel Effects Processor
Price: $1495.
From: Ensoniq Coip., 155 Great Valley
Parkway. Malvern, PA 19355, (215)
647-3930 or contact your local Ensoniq
d e a l e r.
• The DP/4 is furnished with a set of use
Ensoniq
6
ful effects algorithms (45 total), making it
Fun With the EPS-16-f/EPS
a versatile audio toolbox, capable of
Clark
covering a wide variety of signal process
ing tasks here. In addition to the gardenvariety reverbs and choruses, there're ex
Robby
Salisbury
9
VFXsd & SD-1 Mixdown Lowdown
Berman
11
otic treats like a Van Der Pol filter, tube
If you've kept up with the product re
views in the magazines lately, you've
seen a number of folks who appear to be
in competition to see who could sing the
amp simulators, — even a vocoder.
• And the thing is equipped with an ex
tremely powerful MIDI implementation,
they're excited about.
Ensoniq's first attempt at producing a
stand-alone digital signal processor,
about this machine; the sounds are the
here:
* The DP/4 is the first multiple effects
processor with 4 sets of audio ins and
outs, which may be used with the 4 on
board signal processors in just about any
way you might want. Almost all other
multi-effects
units
have
their
14
Charles
best I've heard for a signal processor in
its price range — $1495 US.
In other words, if this is gonna be another
one of those stupid enthusiastic reviews
wherein a legendary cynic like myself
ends up sounding like a leader of the En
soniq P.R. staff, you can be certain that
this product being covered is exceptional.
The System
effects
R.
Fischer
17
1; The SD-1 Power Primer — Part in
doesn't deliver. The audio quality of the
ia
To n y
DP/4 is remarkably good for the most
part. I know, some people still associate
Reviews:
Ensoniq with second-rate sound quality
The DP/4
because of early products like the Mirage
and ESQ-1. There's nothing second-rate
nificant. The DP/4 is noteworthy for a
number of reasons, which I'll quickly list
Wave Mutilation for SQs & KSs
Jack
Stephen
To l i n
Living With Your Dinosaur ESQ/SQ-80
Of course, all the dope features in the
world don't mean a thing if the sound
The DP/4 Parallel Effects Processor is
which makes the results even more sig
13
which raises its usability by a large leap.
loudest praises about the new Ensoniq ef
fects processor, you guessed it, the DP/4.
Well, if you're holding out hope that I'm
going to contradict the rest of the
reviewers, you're encouraged to skip over
the rest of this story — I know what
SQ-1 =B-3, Partn
Mark
Clifton
Charles
Thomas
R.
Fischer
18
cover
Basement Tapes: Tim Rovnak
Daniel
Mandel
5
The Navigator — EPS-16-1Pat Finnigan
12
EPS-16+ Operations & Sampling
from Alexander Publishing
Anthony
Ferrara
16
Regular Stuff:
Random
Notes
3
Hypersoniq
Current
3
O.S
31
hardwired in between their inputs and
It's all too easy to be confused by the ar
outputs — there's no way you can use
one or two effects on one signal, and use
the rest on something else.
chitecture of this device, so we'll begin
with an excellent explanation borrowed
Hackerpatches
Sam Mims & Jeffrey Rhoads 21
from the owners manual:
The
C l a s s i fi e d s
Hacker
ISSUE NUMBER 88, $2.50
20
Interface
Booteeq
24
31
OCTOBER. 1992
"Picture a rack of effects containing the following:
few added jumper wires, there was no evidence of last-minute
modifications or rework (a fairly frequent occurrence in
• four state-of-the-art effects processors
high-tech products). It appears to be rugged enough to handle
touring without any problems.
• a patch bay to route the input signals to the four units, and to
connect them together in almost any configuration,
The Software
• and a mixer for combining and adjusting the output levels of
Another strength of this unit is the large number of highly
the four units.
usable effects algorithms. If you want variety, you've come to
the right place, my friend — you'll find everything from
choruses and compressors to wahwah pedals and vocoders.
This thing is literally a "greatest hits" of effeets in one box —
the only things I missed were a state-variable filter and the
"Now suppose you could change the effect in all four units,
repatch the patch bay into a whole new setup, and adjust the
levels on your submixer, all with the press of a button (or with
a MIDI program change, or a press of a footswitch).
rarely-used ring modulator.
One thing that must be mentioned is that units and effects are
"That's the DPI4."
not always the same thing; some algorithms can produce as
Of course, there's a little bit more to it than that, but it pretty
much describes the power behind this unit. Because of this ver
many as three effects simultaneously, while others make use of
multiple units (for example, the vocoder uses all 4 units in con
satility, there are a few opportunities for confusion as you leam
your way around; this can be minimized by learning Ensoniq's
insider terms for the features and concepts used in the DP/4.
cert).
First, you'll find that most of the algorithms were apparently
chosen for their musical usefulness; there are lots of
For example, Ensoniq refers to each effects processor as a
"unit." The routing of the audio input to the units is called a
"source" (each source can consist of either one or two inputs,
bread-and-butter effects here (reverbs, chorusing, flanging, dis
tortion, speaker simulators, and delay lines). While this means
that most of the presets are geared to the so-called working
depending on how the unit is set up). But the most important of
these concepts is what is called the "config," short for con
musician, technos and other fiends need not worry — this
machine can be programmed to produce some truly bizarre
figuration.
sounds.
The config consists of the various parameters that control how
the sources get wired up to the units, as well as how the various
units are interconnected. You can chain multiple units in paral
lel or series, or create feedback loops between units. The latter
is useful for producing Carlsbad Cavern reverbs, unbelievable
There's a number of less-often used effects, as well. There's a
Doppler effects, and other def sounds. The DP/4 design offers a
global configuration setup, as well as 100 config presets.
expanders, and a few more specialized items. One algorithm
good rotating speaker simulator with overdrive (so you don't
have to waste a unit to get the sound of a Hammond in heat), an
envelope follower with distortion (which can also be used as a
wahwah pedal), several types of pitch shifters, compressors,
generates sine waves and noise, allowing the unit to double as a
function generator in a pinch (very clever!).
The Hardware
That's all for now. In the next installment, I'll get into the
The DP/4 is neatly packaged in a 2U rackmount case. The front
sound quality, the MIDI capabilities, and some of the possible
uses for this unit. Talk to ya soon. ■■
panel boasts a large rotary knob for editing parameters, a
two-digit LED display (indicating the present preset number), a
backlit LCD (much like the ones on the SQ synths) and an as
sortment of buttons and LEDs. There's even an additional
Bio: Charles R. Fischer is a test technician for AKG Acoustics,
audio input jack on the front; this lets guitarists plug in and
Inc. In addition, he writes for several magazines, designs cus
play without having to mess with the cables on the back panel
tom MIDI controllers, plays keyboards, and finds time to sleep
— a nice touch.
once or twice a week.
On the back, you'll find a socket for a standard AC line cord
(no wall warts to break or lose), MIDI in, thru, and out ports,
and ten 1/4-inch phone jacks. These are set up as four sets of
audio inputs and outputs, with the last two offering inputs for a
footswitch and an optional footpedal or external control volt
CHANGE OF ADDRESS
Please let us know at least four weeks In advance to avoid miss
ing any issues. The Post Office really will NOT reliably forward
this type of mail. (Believe us, not them!) We need to know both
your old and your new address. (Issues missed due to late or no
change notification are your own dumb fault-we mailed them I)
age.
Of course I removed the DP/4's cover. I'm pleased to report
that the unit appears to be very well put together; aside from a
2
Front
Panel
RND
SAMPLING & MOVING SAMPLES - Jack Loesch, (201) 264-3512.
Eastern Time (N.J.). Call after 6:00 pm.
Hacker News
MIDI USERS - Eric Baragar, Canadian MIDI Users Group, (613)
392-6296 during business hours. Eastern Time (Toronto, ONT) or call
It's been a while since we've changed much around here, so we
MIDILINE BBS at (613) 966-6823 24 hours.
figured we're overdue to try something new. Either this issue or
next (depending on learning curves...) we're going to be doing
the printing in-house. So you're going to notice some differen
ces in how the Hacker is put together. What we hope to do is
MIRAGE SAMPLING - Mark Wyar, (216) 323-1205. Eastern time zone
(OH). Calls between 6 pm and 11 pm.
SD-1, sound programming, sequencing, & MIDI - Eric Olsen, Pegasus
Sounds, (616) 676-0863. Mon, Tues, Thurs, Fri: 4 pm to 9:30 pm Eastern
Time. Sat: 12 to 10 pm. (No calls on Wednesday please!)
have a heavier, more Post-Office resistant outer cover (except
for the non-U.S. issues — which go in envelopes anyway), and
SQ-1 QUESTIONS - Pat Finnigan, 317-462-8446. 8:00 am to 10:00 pm
probably a pretty standard bond paper for the inside. Eventual
ly, after we find out whether regular normal humans can actual
ly run a press (and we find a regular normal human), we should
E S T.
ESQ-1, MIDI & COMPUTERS - Joe Slater, (404) 925-7929. Eastern
time zone.
be able to have more and different colors and maybe try some
other things to jazz things up a little bit. Meanwhile, if some of
your pages are upside-down or anything, just try to work
around it — probably all the copies are like that. (The ones
with the inky fingerprints are collector's items.)
HYPERSONIQ
We're looking for an experienced piano player with an EPS-
Latter Sound Productions has compiled Volume 1 of public
16+ to review some sounds.
domain sounds for the VFX, VFX-sd and SD-1. These sounds
NEW PRODUCTS
are divided into ten banks covering atmospheric synth, tiner,
Ensonlq News
piano/keyboard, woodwind, brass, guitar, organ, string/or
chestral, effects, and percussion. All VFX and SQ-1 (conver
sions) Hackerpatches through Issue #85 are included. 62
sounds, 20 presets. $12.50 Disks. Forr more information or to
order, write or call: Latter Sound Productions, 1341 Westhaven
See pages 6 and 7 for a major aimouncement about a major new
instrument.
Court, Tallahassee, FL 32310-8625. Phone: 904-575-5561.
TRANSONIQ-NET
HELP WITH QUESTIONS
Q Up Arts has just released a new drum library containing
some of the heaviest hitters in the business: the explosive
sounds of Tommy Lee of Motley Crue, the uniquely powerful
All of the individuals listed below are volunteersl Please take
that into consideration when calling. If you get a recording and
leave a message, let 'em know if it's okay to call back collect
(this will greatly increase your chances of getting a return call).
sounds of Alan White of Yes, and the distinctive sounds of Jim
ALL ENSONIQ GEAR - Ensoniq Customer Service. 9:30 am to noon,
1:15 pm to 6:30 pm EST Monday to Friday. 215-647-3930.
recorded and EQ'd for album production. Over 400 hard & soft
and dry & ambient versions of kicks, snares, toms, hats and
Keltner — world renown studio drummer. Heavy Hitters
Greatest Hits delivers the synergy of the entire set, not just
miscellaneous drum sounds. Each sample has been digitally
ALL ENSONIQ GEAR - Electric Factory (Ensoniq's Australia dis
tributor). Business hours - Victoria. (03) 4805988.
cymbals. All 44.1kHz, 16-bit stereo. Available in CD-Audio
the first week in September: $149.00. The principals of Q Up
Arts (Douglas Morton and Susan Wilson) were the develop
SD-1 QUESTIONS - John Cox, 609-888-5519, 6 - 8 pm EST.
ment and marketing team that published the highly-regarded
SQ-80 QUESTIONS - Robert Romano, 607-533-7878. Any oF time.
Reflective Arts Sound Library while employed at Optical Media
International. For more information contact: Q Up Arts, P.O.
HARD DRIVES & DRIVE SYSTEM - Rob Feiner, Cinetunes. 914-9635818. 11 am-3 pm EST.
Box 1078, Aptos, CA 95001-1078. Phone: (408) 688-9524.
SQ-80 QUESTIONS - Michael Mortilla, 805-966-7252 weekends and
after 5 pm Pacific Time.
Dietmar Tinhof has released Volume 1 of the Austrian Sound
Library offering a broad selection of acoustic instruments typi
EPS & EPS-16 PLUS QUESTIONS - Garth Hjelte. Rubber Chicken
Software. Pacific Time (WA). Call anytime. If message, 24-hour callback.
cally used by folk-musicians in Austria, Switzerland and
Bavaria. All samples are original recordings and are exclusive
(206) 821-5054.
ly available for the EPS and EPS-16 PLUS. Volume 1 consists
ESQ-1 AND SQ-80 QUESTIONS - Tom McCaffrey. ESQUPA. 215830-0241, before 11 pm Eastern Time.
of five disks which contain well-known sounds like the Styrian
Accordion as well as rare instruments like the "Hackbrett" (dul
ESQ-1 QUESTIONS - Jim Johnson, (503) 684-0942. 8 am to 5 pm
cimer). $39 (plus $6 shipping for US orders). In Europe, the
Pacific Time (OR).
ASL is distributed by Key-Wi Music. For more info contact:
Dietmar Tinhof, Himmelhofgasse 46, A-1130 Vieima, Austria.
EPS/MIRAGE/ESQ/SQ-80 M.U.G. 24-HOUR HOTLINE - 212-4653430. Leave name, number, address. 24-hr Callback.
3
Hypersoniq (Cont.)
Now You
Can Affordably
Prosont Your
Music With
Confldenco!
Demo
Rubber Chicken Software Co. announces several new sets of
Package
samples for the EPS/EPS-16 PLUS. First, 01IW Samples: 35 of
the best on 10 disks. Complete programming is implemented
Includes:
and superb recoding and sampling. Price: $49.95. Then, D-70
2 5
Samples: another 10-disk set. EP to digital. $49.95. And, reviv
ing the VFX tradition: VFX meets EPS, Volume 4: a 10-disk set
of samples of the SD-1 32-Voice. $49.95. And finally: Mino
Jackets
and Labels
Svrt/j Your Name,
taur Studio's Ultimate Organ Library has been added to Rub
^A^ress, Phone,
ber Chicken's product line. All the organs you'll ever need.
Sohg^tles^nd
Your Copy^ght
$59.95. Rubber Chicken has also cut the price of the Chicken
^nformation^ir
Drive down from $699 to $599 — the lowest advertised price
~>Black Type.
for an EPS-compatible Syquest 44MB removable. For more
info contact: Rubber Chicken Software, P.O. Box 428, Renton,
PLUS,.:
WA 9 8 0 5 7 . P h o n e : 1 - 8 0 0 - 8 7 7 - 6 3 7 7 .
^sis%.Ybur Photo or^.
m^i^phlc
^ in^Black
on
the doyer ! i
SUBSCRIPTION INFORMATION
1 2 M O N T H LY I S S U E S
US: $23/year. All others: $32/year (please use International Money
Order, payable in US funds). Please make payable and mail to:
C A S S E T Te P A C K A G I N G
22 N. Main St, Ste 323
New City, N.Y. 10956
PHONE: 914 638 6310
FA X : 9 1 4 6 3 9 1 5 4 2
TFIANSONIQ HACKER
1402 SW UPLAND DR., PORTLAND, OR 97221
aptlxase
Cases for
Cnsoaiq Cquuuneut
Now available direct from factory (except in current dealer
areas) our full line of ATA cases Category I and II
EPS, EPS-16 PLUS, VFX, VFX-sd,
Keyboards:
Module rack cases:
SQ-80, SQ-1, SQ-1+, SQ-2
3-space, 4-space, 5-space, 6-space.
(2-space racks available with surface
mount hardware only.)
Shown: 4-space rack with EPS-16 PLUS module,
2-space rack, Eagie-I VFX-sd case
Mention the (TH) code number 839 when inquiring to
receive our special factory direct pricing.
C A L L U S AT 1 - 8 0 0 - 6 3 7 - 6 6 3 5
8:00 am to 4:30 pm CT, Mon. - Fri.
We accept: COD, Visa, Mastercard, American Express.
Dealer Inquiries Welcome!
OPTI-CASE . RT. 6, BOX 235 • HENDERSON, TX 75652 • FAX: 903-657-6030
4
Daniel
H A C K E R B A S E M E N T TA P E S
Monde!
another synth lead that takes over, trading off throughout the
song. The synth lead is more aggressive and expressive than the
bottle-flute patch. The funkiness quotient is a bit too high for
this to be considered an all out new-age piece. The lead really
doesn't sing enough of a melody to stand out and be remem
Hang onto Your Baseball Caps, Kidz
— Here Come ttie RoguesI
Tape: Select.
A r t i s t : Ti m R o v n a k .
bered and the last bars trail off into silence...
Contact info: TR Productions, 35 Starr HUl Rd., Groton, CT 06340,
phone: (203) 446-9131.
JUNCTION FUN HOUSE — Horns! Horns blast out the intro
and the drums are funky. All the instruments here are crisp and
clear. Good stereo separation and mix! The conga drums come
through very easily. There is a mallet part after the bed of
music is established that plays out the melody. This is
Equipment: Ensoniq VFX-sd, AKAI AX60, Alesis Quadraverb, Sony and Tascam recording equipment.
Tim wrote, "I'm currently with a successful band in Eastern
Connecticut called The Rogues. We've been performing in
clubs and bars throughout the state for over a year. Our
easy-going funky-Latin-Caribbean sounding stuff. The lead is
material includes Genesis, Rush, REM, B-52's and some
couple of good breaks punctuate the sections.
somewhat metallic in the middle, but not very strong, under
stated. The horn section carries the theme and hits home. A
originals.
TIGHTROPE — The exhilaration and thrill up here beats the
fun house by a mile! Right from the swoosh at the intro we are
"The picture and tape are part of a demo package that I've
been mailing to record labels. The tape is basically a mixed
bag chosen from many songs that I've written and arranged."
swept up to dizzying heights. Syncopation and new instruments
introduced all the time. There are horns synths, great percus
sion and bass work. The percussion cuts out to leave the
syncopation holding us up — it's a bit frightening. But the per
cussion kicks back in and we are swept over the top of a ridge
as we reach the end of the song. A lofty big feel. Quite short.
This tape just smacks of professionalism, polish and pizazz!
Tim has put out a very presentable cover together with a photo
of his handsome mug — and the music is superb.
There are four songs, all instrumental. The recording is silicon
CATCH ME — The chase is on and the pace is set right from
the beginning. Out of the chute running, it's anybody's bet. The
clear and crisp with no noise to speak of. All of the mixing is
synth bass pumps and drives. There are some backward soimds
well done. There are twists, stops and turns in this music that
tend to break it up and keep your interest. The songs are fairly
short, although a couple are rather interesting in their com
plexity. At best they are fascinating to follow through as the
that break things up with all the instruments sounding strong
and solid. Tim knows how to set the build up and prepare us for
— where did he go? The music really stops on a dime, turns
down that one blind alley and then out of the comer of our eye
we whirl back into the beat that sets the heart racing. The synth
mood is established and evolves. At worst, Tim's music can get
a bit too movie-esque, with no real strong lead instruments —
running that same car chase scene over and over in your mind
can be sorta boring. And it's worth mentioning that when you
are listening to the music you aren't paying attention to how
keyboard is very FM sounding. Just when we think we're about
to catch — what, again? — we're confronted by an organ
grinder with a monkey seemingly mocking us — but then the
organ grinder takes off his disguise as we turn away and takes
off down another street! The monkey scampers up a drain pipe.
The changes are fast and crazy and we can barely keep up until
the drums kick in again. The chase is on again and the beat is
Tim put together his sequences. As I've said in the past this is a
big plus. If sequences are obvious they detract from the music.
pumping.
Ti m ' s i n t r o s a n d o u t r o s w e r e a l s o w e l l c a l c u l a t e d . I ' v e h e a r d
that in the business, some of those hardened professionals only
Good luck to you, Tim, and to all the Rogues! Let me know
listen to the intro — fast forward and listen, fast forward and
listen — fast forward and listen. If they like what they hear
when you tour Califomia... wm
they keep listening. Forewarned is forearmed, and Tim seems
If you want your tape run through the ringer, err. Hacker, just
to know how to introduce his songs.
mail it off to: Basement Tapes, Tran-
Here's how the songs break down (forgive my overactive im
soniq Hacker, 1402 SW Upland Dr.,
agination for the imagery):
Portland OR 97221.
THE LIFE NIGHT — The introduction is soothing and draws
Bio: Daniel Mandel is a songwriter,
sound designer, and has sold pro
audio and keyboard equipment and
you into its own space with the sounds hollow and spread out.
Great sounding keyboard pads. The overall effect on this song
is a large room reverb. The beat is sharp, but you are eased into
it and the bottle/flute lead patch is gentle on top. There is
produced demo tapes for local bands.
5
New From Ensoniq
The ASR-10 Preliminary Specs, 9/14/1992
Ensoniq Corp is pleased to introduce the
ASR-10 Advanced Sampling Recorder. This
next-generation sampler includes many of the
Fully expanded (16 Megabytes/8 Megaword):
features that the readers of the Hacker have
271.4 sec (4.5 minutes) @ 29.76 kHz mono
135.7 sec (2.3 minutes) @ 29.76 kHz stereo
requested from us. The main features include
31-note polyphony, stereo sampling, 2 Mega
bytes of RAM expandable to 16 Megabytes
(using standard SIMMs), 49 effects algor
ithms (including most of the DP/4 effects!),
re-sampUng from the keyboard or sequencer.
Audio Tracks, which aUow the routing of ex
ternal audio through the effects processor for
live performance or sampling, a Quad-density
183 sec (3 minutes) @ 44.1 kHz mono
91.5 sec (1.5 minutes) @ 44.1 kHz stereo
• Dedicated stereo audio input preamp with
hardware mic/line switch and input level trim
control
• Individual Signal and Peak LED's for each
channel '
• Programmable pre-trigger time of up to 250
m
• Each individual wavesample has a complete
set of program parameters including;
2 independent multi-mode dynamic digi
tal filters (low pass, high pass, variable
bandwidth band pass)
pitch, filter and amplitude envelopes
(5-stages with 21 parameters per enve
lope), with velocity interpolation between
Soft and Hard Envelope levels
14 preset envelope templates for ease of
programming
1 multi-waveform LEO with delay
s
(HD) disk drive, and much more. The ASR10 will retail for $2695.00 and will be avail
• No minimum or maximum size for Instru
Variable rate random Noise generator for
able at the end of September. Following is a
complete product specification.
ments (within the limits of available memory)
modulation
• Expert System Autoloop
15 modulation sources routable to pitch,
filter cutoff, volume, pan, loop para
meters, LFO depth or rate, and all effects
• Wide variety of Digital Signal Processing
Keyboard
• 61-note (C - C) weighted synth-action
commands, including: wavesample copy,
truncate, mix, merge, splice, convert sample
Poly-Key™ (polyphonic aftertouch) keyboard
rate, volume smoothing, gain normalize, fade
4 different mono modes possible (Legato,
in, fade out, 5 kinds of cross-fade loop (with
Pedal, Trigger, Mini)
with programmable velocity and pressure
sensitivity ♦
the ability to audition most of these edits)
• Time compression/expansion function
Controllers
• Exclusive Patch Select Buttons for instant
access to 4 different sound variations within
(non-real time) with compression up to 1/2
the original time, or expansion up to 2.5
times the original wavesample length
each Instrument *
• Sampling (stereo or mono) through the ef
• Pitch and Mod wheels *
fects processor
• Programmable Foot Switch (SW-2, optional
• Real time stereo re-sampling (also through
the effects processor) of notes played on key
board, played by the sequencer or received
SW-10)
• Dedicated Foot Switch for use as Patch
Select controller (with optional SW-10)
• Mod/Volume pedal (optional CVP-1)
Internal Memory
• 2 Megabyte internal RAM (1 Megaword 16-bit format)
• Expandable to 16 Megabytes (8 Megaword
- 16-bit format) internal RAM with standard
SIMMs
via MIDI
• True 16-bit linear sampling utilizing 64x
oversampling Sigma-Delta (one-bit) technol
ogy
• Maximum sample times:
Std Memory (2 Megabytes/1 Megaword):
20.5 sec @ 44.1 kHz mono
10.3 sec @ 44.1 kHz stereo
30.3 sec @ 29.76 kHz mono
15.2 sec @ 29.76 kHz stereo
end, loop position, and wave start index
from any of the 15 mod sources
Transwave loop modulation for con
structing unique spectral interpo lation
waveforms
Each wavesample can be individually
panned and assigned to one of six stereobusses (with optional 0EX-6sr output ex
pander)**
Playback
• Frequency response: 2 Hz - 20kHz -^/- 1.5
keyboard
• Each Instrument can contain up to 8 Layers,
dB @ 44.1 kHz
• 94 dB signal-to-noise, 96 dB dynamic
range, 94 dB THD + noise (< .002%) at unity
playback
• 2 playback modes:
which can be cross-switched by velocity, and
crossfaded at any number of points by the
keyboard, pressure, velocity, or any other
modulator
• Layers can be delayed up to 5 seconds, with
14.8 kHz frequency response
23 voices at 44.1 kHz playback rate for
delay modulated by velocity
• Fully programmable pitch tables with 1 cent
20 kHz frequency response
resolution and extrapolation capability
• Compatible with all existing EPS-16
PLUS/EPS libraries
Performance Preset Parameters
• Double-click to Stack up to 8 Instruments,
• Stereo or Mono sampling available
• 2 Sample rates; 44.1 kHz, 29.76 kHz
Real time modulation of loop start, loop
• Wavesamples are organized into Layers,
which map groups of wavesamples across the
31 voices at 29.76 kHz playback rate for
Sampling
parameters
with key split possibilities
Vo i c e A r c h i t e c t u r e
• 31 voices dynamically assigned
• Instant selection of alternate samples with
exclusive Patch Select buttons, velocity, or
legato playing
• Each Instrument can contain up to 127
wavesamples
6
• The combination of up to 8 Instruments
with special performance parameters can be
stored as a Performance Preset
• Performance parameters include Mix, Pan,
Output Bus, Key Range, Transpose, Patch
Select Status, Pressure Mode, Effect Control,
MIDI Out Channel, Program Change and
• Step-editing, transposition, time-shifting,
• Connectors for optional DI-10 Digital I/O
MIDI Status
append, change length, track merge, and filter
board
• A Bank contains up to 8 Instruments, 8 Per
formance Presets, a global effect and all of
the current Sequencer memory (including the
events commands
Song)
• Banks can call up the needed Instruments
from different floppy disks, directories on a
adjustable click track and Tap Tempo control
• Auto-locate controls (Bar/Beat accuracy),
Display/Panel
• 22-character alphanumeric display with
• MIDI Auto Mix automated mixdown fea
d e d i c a t e d m o d e i n d i c a t o r fi e l d s
ture records all volume/panning changes for
• 38 front panel buttons, 10 with dual LED
e a c h Tr a c k
indicators
SCSI device, or even different SCSI devices
• Dedicated Data Entry and Volume sliders
M I D I
Effects
• Poly, Omni, Multi, Mono A and B modes
Standard Accessories
supported
• Multi-timbral, accomodating up to 8 simul
taneous polyphonic MIDI channels
on O.S. disk)
parameter
• MIDI Local On/Off per Instrument allows
• Essential Sound Manual
• 49 algorithms
up to 8 outbound MIDI keyboard zones for
master controller applications
• Current Operating System disk
• Custom VLSI 24-bit digital signal processor
(ESP Chip) with 48-bit accumulation
• Programmable stereo multi-effects process
ing with real time modulation of any effects
• 4 programmable variations per effect
• Tutorial Manual (with examples provided
• Musician's Manual
• 8 Essential sound disks
• Global controllers in Mono mode for use
• 6 Stereo busses for dry, individual or
with MIDI guitar and alternate controllers
• SW-2 Foot Switch *
grouped effects processing, and routing to
optional 0EX-6sr output expander ♦*
• Audio Tracks allow the routing of external
• MIDI Song Position Pointer and Song
• Detachable power cord
Select supported
• XCTRL allows any inbound MIDI con
Optional Accessories
signals through the effects for sample input
monitoring, or live performance (external
signal can be merged with on-board sound
generation - keyboard, sequencer or MIDI)
• Each Audio Track has its own Mix level.
Pan and Output Bus routing, with instant
troller (0-127) to be used as a modulator
Disk
• 1.4 Megabyte Quad-density (HD) 3.5"
Sequencer
micro-floppy [also reads/writes Doubledensity (DD) disks]
• DMA (Direct Memory Access) for "Play
While Load" capability
• 8 polyphonic tracks, each with separate In
• Save MIDI System Exclusive dumps from
strument, Volume and MIDI channel
any MIDI device to disk (up to 1.4 Mega
bytes standard/16 Megabytes fully expanded
- to SCSI device only)
muting
• 8 additional "Song Tracks" permit record
ing of song-length tracks once Sequences are
assembled into a Song, for virtual 16-track
recording
• Tracks can play internal voices and/or ex
ternal MIDI instruments
• Up to 80 Sequences (sample memory per
mitting)
• Song form provides up to 99 Steps with up
to 63 Repetitions for each Step (each Se
quence Track in a Step can be individually
muted and transposed)
• Sequence size limited only by internal
memory (up to 320,000 notes standard, up to
2,560,000 notes possible with 16 Megabyte sample memory permitting)
• Clock resolution of 96 PPQ, synchronized
• Optional SCSI connection (SP-3) allows
hook up to hard disks (up to 5 Gigabytes) or
CD-ROM players with "direct dialing" of any
sound on the storage device
• Additional sound disks [AS Series (5 disks
per set). Signature Series (3 disks per set), SL
series (5 disks per set), SLT-1 thru 13 (10
disks per set)]
• SW-10 dual Foot Switch - 2 pedal piano
damper for sustain. Patch Select and sequen
cer control
• CVP-1 (CV Pedal) - for voice modulation
or volume control
• 0EX-6sr output expander provides 3 addi
tional pairs of stereo outputs or 6 mono out
puts ♦♦
• SP-3 SCSI interface with opto-isolation for
noise elimination
• DI-10 Digital I/O board (consumer AES/
EBU digital interface)
• User definable macros for instant access to
any directory within a SCSI device, or to in
stantly change SCSI devices
• SCSI features include access up to 7
devices, copy SCSI device, and Backup/Re
store utilities
Physical
• Keyboard dimensions; 40 3/8" (102.55 cm)
wide X 4" (10.16 cm) high x 14 1/2" (36.83
cm) deep
• Keyboard weight: 40 pounds (18.16 kilo
grams)
Inputs/Outputs
• Left/Mono and Right/Mono audio outputs
Limited Warranty
• Headphone jack
• One Year parts and labor
• Pedal/Control Voltage input (allows mod
to Internal or MIDI clock source
ulation of voices or volume control with
• 3 real time recording modes (Replace, Add,
optional CVP-1 pedal)
• 2 single/dual pedal inputs (SW-2, optional
• Keyboard version only.
SW-10)
puts.
Looped) and Multi-track recording
• Up to 31 intemal voices per Track, dynami
cally assigned (no limit on MIDI voices per
• Stereo audio inputs switchable between mic
track)
and line level
• Post-quantization (auto-correct to 1/64 note
• Audio input level trim control
triplets)
• MIDI In/Out/Thru
** Rack comes standard with additional out
Prices and specifications subject to change
without notice.
Copyright, 1992 Ensoniq Corp.
7
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Fun With the EPS-16+/EPS
Clark Salisbury
I've been working with the EPS family of instruments for some
thing like 153 years now, and I'm still amazed by the things
these wonderful instruments can do. And you know what? A lot
of the really cool stuff is really simple — no computer editor
needed, no degree in cybernetics, no exotic processing equip
ment. Just a little free time and a penchant for pushing little,
to decide on what sample rate to use. The EPS-16+ automatical
ly assumes a default sampling rate of 44.6 kHz, which will yield
a very high quality sound, but may burn through your memory
too quickly if you want to sample a very long sound, or a lot of
little short sounds. You can, however, opt to use a lower sam
square buttons.
pling rate, which will yield more sampling time. A sampling
rate of 22.3 kHz, for example, gives you twice as much sam
Some of this stuff is fairly essential information, but most of it
is more from the "just for fun" territory. You know — it's a
pling time as the default rate of 44.6 kHz — although the
sounds done with the lower sampling rate will tend to be less
hi-fi than those done at higher rates. Note that using a higher
rainy day, your Macrame-for-Peace meeting was cancelled and
your cat's watching a special on Geraldo about cross-dressing
field mice and can't be bothered right now. So you think, "Hey!
This might be the perfect time to play with my BPS-16+ Digital
Sampling Keyboard." And you're right — now is the perfect
time. So brew up a cuppa Joe and let's get started.
sampling rate than necessary can be inefficient — a sample rate
of 44.6 kHz will not necessarily give you a better sample than a
rate of 29.8 kHz if your input material has no high frequencies.
One trick, however — try the sample at a relatively low sample
rate, say 22.3 kHz or so, but open the input filter all the way, to
20 kHz, or even take it out altogether. You will find a lot of
material that you might sample will not have frequencies
Custom Samples
present that might cause aliasing — unless you are sampling
acoustic instruments using high quality microphones. With the
I get a lot of questions about setting up to do sampling, so
herewith is some of the basic stuff to be aware of if you decide
to give sampling a go. (And if you haven't tried doing some of
your own sampling, shame on you! It's the best part of the
machine, and it couldn't be any easier). All of the parameters
described in this section are accessed by scrolling through the
sampling pages — press the [SAMPLE] button, select an un
used instrument to sample into, and scroll.
input filter opened up, you don't end up filtering anything out
of the sample, but you might still be able to get away with lower
sampling rates. If you do find that your samples are aliasing
(characterized by high-pitched whistling sounds contained in
the sample) try the sample again with the filter cutoff backed
down a bit.
Remember, too, that the EPS-16+ will perform the nifty trick of
converting the sample rate of a wavesample up or down. So if
you are sampling sounds that you are serious about using down
the road, I'd recommend doing them at the 44.6 kHz rate — you
can always convert the sample rate down later if you find your
self squeezed for memory. If you do decide to convert the
The first thing you'll need to set, of course, is the input volume.
The EPS-16+ display acts like a VU meter when in level setting
mode, with the word AMP flashing to indicate clipping (distor
tion). Since the EPS-16+ provides no way for you to control the
level of the signal coming in (aside from being able to switch
sample rate of a wavesample later on, be careful. For some
reason, the listing of possible sample rates that the ESP-16+
will allow you to convert to is not presented in a completely
consecutive order — scrolling one direction takes you from 44.1
kHz to 48.0 kHz, while scrolling the other direction moves you
from 44.1 kHz to 312 kHz, and then on down. It's easy to mis
read 312 kHz as 31.2 kHz, and inadvertently convert your
between mic and line levels) you'll need to be able to control
the volume of your input signal — usually with some sort of
a u d i o m i x e r.
Precise input level setting is not extremely critical as you can
always use the "Normalize Gain" command (COMMAND/
AMP, applied to the sample after it's been taken) to bring a
quiet sample to its maximum volume before clipping. As a mat
ter of fact, you should probably always normalize the gain on
sample up to an unnecessarily high rate — so pay attention to
those decimal points when converting the sample rate.
If you are multisampling, (taking multiple samples to the same
your samples. Normalizing the gain increases the amplitude of a
soft EPS-16+ sample to the maximum possible without inducing
clipping. This will never damage a sample, but it can help bring
a weenie sounding sample back to life. Be aware, though, that
layer of the same instrument) try to do the samples is some
order — low to high, high to low — since each new EPS-16+
sample is assigned a consecutive number. It's a lot easier to
keep track of multisamples if the lowest one is numbered "1,"
the next one up is numbered "2," and so on. Also, when setting
normalizing the gain of a sound that's been sampled at too low
a volume in the first place may increase the volume of any noise
contained in the sample along with the volume of the sample it
self, so try to keep your source material at a good volume when
the keyboard range for the high and low samples on the key
board, it's usually a good idea to use the data slider (rather than
playing a note on the keyboard) and set the low and high note to
the maximum allowable. That way if you should need to
sampling.
The next thing you might want to do before taking a sample is
transpose the entire instrument up or down using the "Set Key9
two- , three-, or even four-part harmonies. Mix these tape
tracks so that they sound as good as possible on their own. Now
board Range" button, you won't end up with blank notes at one
end of the keyboard or the other.
sample this entire mix into the EPS-16+.
Wavesample Processing
Once the track has been turned into an EPS-16+ wavesample,
normalize its gain and make any basic processing adjustments
you'd like — change the enveloping, adjust tuning and filtering,
and so on (I've even gone so far as to apply a carefully designed
The digital effects built into the EPS-16+ are a joy to work with
and can help to create some very beautiful effects. But there's
another type of digital processing available that's often over
looked — it's what I tend to think of as "Wavesample Process
pitch envelope to bend the sample slightly sharp or flat in places
where the pitch was less than ideal in the original vocal track —
but don't tell anybody). It's important to get all the parameters
for the sample set as close as possible to the way you think
ing." The EPS-16+ provides tons of this type of processing for
the dedicated samplist — way more than I could ever hope to
cover here. But there are a couple of favorite tricks that can help
turn one of those "so-so" samples into something really stellar.
you'll want them when the sound is in its finished form, be
cause we're going to copy the layer and do some additional
By now, most of us have leamed the trick of copying a layer
(COMMAND, layer, scroll to "Copy Layer," press enter, select
"Params Only," press enter). Since a copied layer takes up al
most no memory, and layers can be treated independently in
terms of stereo placement, pitch detuning, and so forth, a lot of
sounds seem to make use of this technique. So here's a couple
of ideas for things to do with those extra layers.
processing. It can save some significant time if you're copying a
fairly finished layer and not having to duplicate programming
moves later on other layers.
Anyway, once the first layer is set up pretty much the way you
want it, copy it two times to create a couple of duplicate layers.
Pan one of these duplicate layers to the left and the other to the
right, and use the LFO trick described above to subtly modulate
each of these copied layers. The biggest effects are achieved if
Detuning a second layer makes for a nice chorusing effect, but
applying a slow, subtle LFO to one of the layers tends to
produce a bit richer, more realistic chorusing effect. I know
you use slightly different LFO rates for each of the copied
layers, so that each layer is being pitch-shifted at a slightly dif
ferent rate. In addition, you may want to tune one layer slightly
there's already a chorus algorithm built into the EPS-16+ digital
effects, but doing the chorusing in this way provides a some
what different sounding effect than the built in chorus, and you
sharp and the other a bit flat to spread things out a bit more.
may want to use the effects for something like phase shifting,
particularly on longer passages. The effect of speeding up or
slowing down the playback of a sample (which is what detuning
does) can cause long samples to move noticeably out of sync
with each other as time goes by.
You'll need to be a bit careful with the detuning, though, and
which can't be used simultaneously with chorusing. So try this;
Hit "Edit," select the layer you want to process, then hit the
LFO button. Try a speed of around 25 or so, to start. Set the
LFO depth anywhere between 20 and 60, depending on the
depth of the effect you are trying to achieve, and set "delay" to
Finally, apply a small bit of layer delay to each layer — perhaps
30-40 milliseconds to one layer, and 70-80 milliseconds to the
00. Hit the PITCH button, and scroll to the "LFO AMOUNT="
page — this should be set to around 1.0, unless you like your
sounds really wiggly. You might even try setting "LFO MOD="
(on the LFO page again) to something like PRESS if you want
to control the chorusing depth from key pressure.
other, or whatever sounds good to your ear. And voila! Huge
background vocal tracks on a budget. And if you want to be
really high-tech (and you have a hard drive) you can use a se
quencer synched to tape to load and play different backing
tracks at the appropriate times in a mixdown. This not only
saves on tape tracks, but makes you look like a genius as a
You can create an interesting doubling effect by using the
"Layer delay" function. Copy an existing layer as described
recording engineer, because the results are (more often than not)
superb.
above — remember to copy the parameters only. Select the new
layer (hit "Edit" and underline "Layer=XX," and set the value
here to correspond to the newly copied layer). Press the the
Anyway, there's some thoughts on cool stuff to do with the
EPS-16+ (actually, a lot of this applies to the EPS Classic, too).
"Layer" button, and scroll until you see "Delay=XXXX." Here
you can set the delay for anything from 0 to 5000 milliseconds,
in 1 millisecond increments. For a little added spice, you might
think about detuning one of the layers — tuning the second
Anyway, I gotta go. Geraldo is interviewing a toaster oven and
a Buick Le Sabre, and my cat's losing interest and sharpening
her
claws
on
the
Futon again... wm
layer up an octave, for example, yields a pitch-shifted delay ef
fect. You can even set multiple layers tuned to different pitches
to different delay amounts to create pseudo-arpeggiator and
other various twisted effects. And don't neglect the velocity
control — you can use both positive and negative velocity
Bio:
Clark
Salis
bury has been act
ively involved in
the composition,
amoimts to control delay times.
You can also combine the chorusing and delay techniques I've
performance, and
recording of elec
just described to create some truly awesome backing vocal
tracks. The idea is this. First, record your backing vocals to
tronic music for
over 8 years.
tape. If you're working in a multi-track format, try overdubbing
10
The
VFXsd
and
SD-1
Mixdown
L o w d o w n
Robby Berman
The ability to automate volume changes in your sequenced
YES to the SAVE CHANGES prompt.
songs is one of the more powerful features of the VFXsd and
SD-1 synthesizers (and, in fact, all of Ensoniq's current instru
ments). It's nearly as easy as your Musician's Manual implies,
although there are a few critical bits of information you might
The one remaining thing to do is to select a song track on
not have figured out (and on which the literature is mum).
ample, this would be song track four. Mixing down employs a
special form of ADD mode, so if you've already recorded
something on the song track, don't worry, the mixdown info
will harmlessly lay right over it. If you haven't already created
a song track in the necessary position, do it now by simply
which to print the mixdown data. The track has to numerically
correspond to the sequence track you want to mix. In our ex
Here's the real deal.
There are two different types of tracks to mix down: the tracks
contained in individual sequences ("sequence tracks") and
those that run alongside them once you've assembled yoiu' song
("song tracks"). The procedures detailed throughout this article
will refer to a single track, since that's all you can mix at a
time. To mix more than one track, follow theses steps over and
selecting the track.
Once these steps have been taken care of, here's what you do:
o v e r .
1. Press Seq Control and set RECORD MODE to MIXDOWN.
Let's assume you've sequenced all that you intend to sequence,
and that you've constructed yourself a song (and maybe even
recorded some song tracks). Song tracks are a true snap to mix;
2. Press Seq Control again and set EDIT TRACKS to Seq.
we'll get to them last.
level to where you want it at the top of the song.
Mixing Sequence Tracks
4. Hold down Record and press Play. Mix your little heart out.
Any moves you make with either the up-and-down buttons or
the data entry slider will be recorded, putatively, on the song
track (song track for in our example). At the end of the song, or
at a point after which the volume shouldn't change anymore,
3. Press Volume in the Performance section. Set the volume
Before you can actually mix a sequence track, you've got a lit
tle prep work to do. First of all, whichever instrument you plan
to mix down has to occupy the same track position in all the se
quences used in your song. Say you want to ride the level of a
string section, perhaps LUSH-STRNGS, which is on track four
in your first two sequences. You need to make sure that in all
the other sequences that are part of your song, track four is
press Stop/Cont.
where LUSH-STRNGS resides. Any track is okay for any in
ton. This will put you on the right screen to watch your hand
strument, but you must be consistent.
iwork go by.
If your mixdown instrument doesn't come in at the top of the
song, define a track in the position it will eventually occupy in
all the sequences leading up to its point of entry (track four in
6. Press KEEP NEW TRACK, or, to try again, KEEP
our example).
Suppose you've kept a mix and later decide to redo it. Since
we're dealing with an ADD-type mode, you have to remove the
old mixdown data before doing it over otherwise the new take
5. As you audition the mix, you can watch the changes you
made. Press Play and quickly double-click on the Volume but
ORIGINAL TRACK.
If the instrument does come in right at the begiiming, but at a
volume other than 99, go to the song's first sequence and set
will be added to the old one rather than replace it. Trying to
the track to its intended starting level.
find your old mixdown info using the event editor is an inter
esting experience. It's apparently not quite on either the song or
sequence track! Where it is, I dunno, but here's how to get rid
This next item is certainly the most important bit of info not in
the manual. Perhaps you remember that one of the things the
sd/SD offers to memorize ("SAVE CHANGES...?") when you
of it:
leave one sequence to go to another is which track was selected
7. Select the song track that numerically corresponds to the se
quence track you want to redo (in our example, it would be
(underlined) in the sequence you're departing. Before mixing a
sequence track you have to see to it that it's the track selected
song track four). At this juncture, it doesn't seem to matter
which sequence tracks are selected.
in every one of your song's sequences. In our example, track
four should be underlined in all of the sequences. If it's not,
simply select it and move on to the next sequence, answering
8. Double-click on either Tracks (1-6 or 7-12) button. If you're
11
the curious type, you can now observe your mixdown data with
work to do. Just select the song track you want to mix and fol
low steps 1 through 4 above, with one exception: in step 2, set
EDIT TRACKS to SONG. To watch your fader moves as you
listen to what you did, press Volume twice. To remove data
from an earlier take, simply follow steps 9 through 11 above.
the event editor (set it to MXV).
9. In the Edit section, press Track.
10. On the display, press MORE and then FILTER.
It strikes me as a real shame that none of the VFXsd or SD-1
11. Use the up-and-down buttons or the data entry slider to
locate MIXDWN VOLUME, press YES and KEEP NEW
owners I personally know are taking advantage of this extreme
ly useful mixdown facility; I suspect they're intimidated by it.
But as for you, Reader, you now know how to do it — don't be
afraid to try. h
TRACK.
One last cautionary note. Once you've mixed a sequence track,
don't erase the corresponding song track, or your mixdown data
will be lost. You can record on the track, you can even filter
out key or any other kind of events (except MIXDWN), just
don't use the ERASE command under the Edit Track button.
Mixing Song Tracks
Bio: Robby Herman is a musician living in internationally in
famous Woodstock, NY. He's just wrapping up work on his new
double album (yikes!), "Rings and Rings,"/or which he's cur
Mixing song tracks is much easier. First of all, there's no prep
rently seeking distribution.
Cheatsheet of the EPS-16 PLUS Gods
Pat Finnigan
protector for a looseleaf 3-ring binder. For novice users the
Navigator will be quite indispensable. Even veteran users who
For: EPS-16 PLUS
Product: The Navigator, a quick reference sheet.
occasionally forget how to get to the "Invert Data" page will
From: Keith Peterson, 711 Park Ave., Dunkirk, NY 14048
find the Navigator a boon. Given the veritable plethora of com
mands for the EPS/16 the Navigator is frankly pretty handy for
Price: $6.95 + $1 s/h ($2 outside North America).
just about everybody.
Isn't it fuimy how we gripe to manufacturers to put more power
in their little black boxes? We gotta have every conceiv
The price is right, it's easy to use, and you're sure to save time
with it. Given the Navigator as an adjunct to the owner's
manual (not a replacement), I'd recommend it. If used like Cliff
Notes you'll only be cheating yourself and your EPS. That's the
able/possible tool/utility to get the ultimate sound. So they give
it to us, but all we can do is whine about how we gotta press
control/alt/delete while facing west at exactly 2:32:18 PM the
night after a full moon to access the particular parameter we
want. We're a pretty hypocritical bunch, demanding the power
and then seldom using it. If we do decide to use some of that
only caveat about Keith Peterson's Navigator: it's not a re
placement for the owner's manual, but an enhancement, sort of
a resource summary. And yes, Keith, Ensoniq did print a trifold
index-card sized Command Summary for the original EPS (I
don't know about the 16+), but I wonder how many people out
there really used it? I lost mine...
power on tap, out comes the owner's manual, a flurry of page
turning gets us to the section we need, and perhaps a half-hour
later, we've used 0.05% of our instrument's power. And, dur
ing this process, our creative juices have shifted from right
brain imagery to left brain objectiveness. We forgot what we
were trying to musically realize.
At $6.95 I recommend it. It'll save you the headache of trying
to get back where you were before trying to perform an opera
tion. It'll save wear and tear on your owner's manual. It'll help
Keith Peterson's Navigator is designed to reduce that left-
brain/right-brain flux by condensing the "direct-dialing" codes
(button presses) for accessing EPS/16-F menu pages and opera
you memorize direct-dial codes much faster. Even if you've got
a computer, it'll cost you more in time and energy to write your
own navigator than the $8. Used as designed, it's a real labor
tions to a single two-sided letter-sized sheet for easy access.
saver,
h
Bio: Pat Finnigan is a service tech turned musician who writes
secret messages in sequences on his EPSs, wondering how
much harder he can push this Malvern silicon before it reverts
back to sand. His latest composition. The Ensoniq Suite, has
The chart is well designed and laser printed. Direct dial codes
are organized first by function (MIDI/System, Layer Edit, Ef
fects, etc.) and then by keypress in a boxed chart. The reverse
side is primarily "mini-tutorials" on specific EPS operations;
"To Create a New Sequence," "To Create Patch/Enable-Disable
Layers" in bullet chart form. The sheet comes in a plastic page
been banned by Hans Solo, but is available on EPS disk since it
isn't an audio medium and violates no community standards.
1 2
SQ-1 = B-3^
(Part 2)
Mark Clifton
If you read my last article, SQ-1 = B-3, you are no doubt
thirsting for more down-and-dirty grit on the art of Ham
you how) that contains all of the sounds that you want, plus
the necessary layers. Set MIDI status (in the parameter
bank) of each track to LOCAL. This way, the SQ will play
mond B-3 emulation for the SQ-1. I've discovered several
sions. So, as part of my 12-step recovery program, here's
all notes received over MIDI or played on its own keyboard
without transmitting any MIDI data. If you want to send
MIDI data such as program changes or notes to a sequencer,
the follow-up.
set this parameter to BOTH (the default). Then set the MIDI
Velocity Response
channel (also in the parameter bank) of each track that you
want played by the SQ-1 to the SQ's base channel and those
to be played by the external controller to its receiving chan
nel. Any sounds that are meant to be layered should be set
to the same channel, as this would trigger the sound meant
to be played from the SQ's keyboard.
new tricks since my release from the MIDI Madhouse and
have pondered this strange equation in my many group ses
In the last article I failed to mention that the B-3 is not
velocity-responsive. That is, the volume and characteristics
of the sound do not change with the hardness of the
With two keyboards and a MIDI pedalboard MIDI'ed up in
this fashion, you can do some heavy-duty pounding. If you
do like playing dense chords with multi-layered sounds you
can eat up polyphony pretty quickly when playing with this
kind of set-up.
keystrokes like they do on the piano. Make sure that all
parameters that pertain to velocity are at either OFF or 00.
Leslie Speaker Distortion
The Leslie rotating speaker is famous for distorting nastily
when the volume is cranked up all the way. Many synths
Weird Special Effects
and effects processors with a rotary speaker effect have a
Many old B-3 players would feed the sound of their organs
through various microphones, speakers and effects devices
to change or enhance the sound. There are basically no rules
as to what you can do to here. Some commonly used
devices were outboard guitar effects such as chorusing,
programmable distortion parameter but not the SQ-1 (it is
present on the VFX and SD-1, though.) If you have an ex
ternal effects processor with a regular, or even better, a tube
distortion effect, try feeding your B-3 sounds through it to
get that harder edge. If possible, modulate the distortion
amount from an external MIDI controller from your SQ.
flanging and wha-wha pedals. Some players would retrofit
their organs and Leslies to get different variations on the
sound. You might want to try feeding your B-3 patches
Try assigning the mod pedal to Volume (MIDI controller
#7) and controlling it from there. That way as you move the
pedal, the volume and the distortion effect will change
simultaneously. This may take some tweaking, but the
results should be worth it if you like that nasty, distorted
through a real rotating speaker for added realism.
Well, I hope these extra tips were enough to get you wal
lowing in B-3 bliss again. If you have any of your own tips
to add to this, be sure to write the Hacker Interface and let
Leslie sound.
everyone know about 'em. I myself am always thirsting for
yet more information to contribute to the great Grand
Unified Theory of B-3 Synthesis, h
Simulating Double Manuals
The B-3 has two five-octave (C — C) manuals that can con
tain a separate independent drawbar setting for each. This is
very convenient for synthesizing B-3 sounds since this is
the standard size of most synth keyboards. The SQ-1 is par
ticularly suited to B-3 synthesis because the Preset feature
allows you to assign different B-3 patches and layers to dif
Bio: Mark Clifton is a player and composer of Jazz, New
ferent MIDI channels. This allows you to play one patch on
the SQ's keyboard and another patch from the keyboard of
another multitimbral synth and/or even a MIDI pedalboard.
All you have to do is set up a Preset (the manual will tell
Age, Orchestral and Rap (yes. Rap!) music and an aspiring
Cyberpunk writer who also wouldn't mind going into sound
design or film scoring. His favorite color is the infinite,
star-speckled blackness of space.
13
Wave
Mutilation
101
for
SQs
&
KSs
P a r t 7 : A Tw o - P h a s e d Tr a n s w a v e
Jack Stephen Tolin
Ever since the beginning of recorded sound synthesis, people
have wanted to use a single wave to do it all. After all, if you
can make one wave do just about anything and you have a
For a good example of stereo motion, make the following
synthesizer with umpteen waves and waveforms in it, why lis
ten to a guitar, bassoon, radio or anything else. In fact, why
have analog ears at all?
ALL:
Of course, I'm exaggerating. The point of the synth isn't to
ONE (2) :
changes to voices 1 and 2;
(screen
ONE(1):
(screen
3)
Mod=ENVl
0)
00
99
00
00
10
10
10
16
+99
(screen 2)
M o d e = R E P E AT
(screen 0)
99
00
99
00
10
10
10
16
take over all other sound sources, it's to add to the overall
palette of possible sounds for the artist — which is my
philosophy with this series in wave mutilation. Why use a
synth to replace something else when it's simply an instru
ment with its own characteristics? And so, instead of dealing
with the synth as anything but a synth, let's enjoy what it can
do and explore some new techniques of synthesis never avail
able B.E. (Before Ensoniq). Like the old saying goes — "The
old things passed away; behold, new things have come."
*
Mcde=REPEAT
(screen 2)
For another example, make the following changes to voices:
ALL:
Wave
bank
(screen
3)
Mod=LFO
*
+99
LFO bank: LFO Speed=30; Noise Rate=00
Level=00; Delay=00; M0DSCR=ENV2;
Wave=POS/TRI; Restart=OFF
ONE(l):
ENV2
bank:(screen
0)
So, on that note, let's begin.
00
99
50
(screen
In keeping with the spirit of avant-garde sound as well as with
classic analog sound, I've decided to use the transwave for
further exploration. What we will be doing this month invol
ves a combination of synthesis techniques previously dis
cussed in past issues of TH. The emphasis is on modulating
the start index of two transwaves while both are split across
the stereo field. Remember everything you've ever learned
about envelopes and LFOs because you'll need that informa
1:
(screen 2)
ONE (2) :
ENV2 bank:(screen 0)
your
00
50
00
00
50
favorite
velocity)
M o d e = R E P E AT
99
00
99
99
50
50
00
00
(screen 1: same as voice 1)
(screen
2)
M o d e = R E P E AT
Here the addition of ENV2 as the modulator to the LFO
creates an even exchange in modulation between both chan
nels; each takes its turn separately.
tion here.
Enter the "2-Phased T-Wave" program as listed into your
For the SQ-80, first type in "L-WAVE" as listed and save it to
an available location. Next select "L-WAVE" for the Layer
SQ-1/2 synth. Note that ENVl and ENV2 are blank. They are
available for you to fill in later with your favorite parameters.
Program on the Split/Layer page. Then select the PAN amount
on DCA4 and reverse the polarity — in other words, pump the
value all the way up. Now write this program as "R-WAVE"
and save to an available location, preferably a location near
Everything is basically centered around the MODSCR of the
Start Index. The one I've used is a simple LFO. Notice how
the rolling of each wave in each channel is somewhat different
than the other. This is simply a result of the Restart parameter
in the LFO bank being turned off.
" L - WAV E . "
Since there are no resident transwaves in the SQ-80, I've
created the same type of sound with a similar LFO-sweep type
effect. In order to duplicate the resonant aspect, I've set the Q
to a value of 15. This choice was made so that the top would
sound whizzy and the bottom wowwy when the sweep comes
Let's experiment. Go to the Wave bank and select ALL voices
for editing. Next try setting the Start Index MODSCR to
ENVl. Now go to the last screen of the ENVl bank and try
out some of the default settings. You may even want to try out
different settings for each voice. (You will have to go back to
through. That is, a Q of 15 brings the sound toward the center
in terms of frequency cut-off including resonance, especially
t h e fi r s t s c r e e n o f t h e Wa v e b a n k a n d s e l e c t O N E a n d t h e n
select a voice that is "ON" to do this.) The Repeat mode in the
ENV banks is an added bonus. Play around with it as you can,
to a certain extent, produce your own original LFOs and cus
tomize the effect. Remember to save everything you like.
considering the fact that a low Q would yield relatively little
frequency when the Filter modulator (LFO or ENV) sweeps
down. To demonstrate this in a more practical way, try setting
the Q to 0 and try it out. (Remember that you have to edit both
14
SQ-1 /2 & KS-32 Prog: 2-Phazed T-Wave By: Jack Stephen ToUn
WAVE
1 4
14
S e l e c t Vo i c e
On
Wave Class
T ranswave
Transwave
Noise Rate
9 9
9 9
Wave
Resnt 3-X
000
Resnt 3-X
Level
9 9
000
Delay
9 9
0 0
0 0
IVIODSRC
L F O
LFO
Delay Time
Off
LEG
LFO Speed
O n
Wave Direction
Start Index
0 0
00
Wave
Pos/Trl
Pos/Trl
MODSCR
L F O
LFO
Restart
Off
Off
MODAMT
+99
+99
Restrk Decay
0 0
0 0
PITCH
1
2
F I LT E R
1
2
3
Filter 1
2Lo
2Lo
3
Filter 2
2HI
2Hi
Initial
9 9
9 9
Peak
9 9
9 9
Break
99
9 9
Sustain
9 9
9 9
Attack
00
0 0
Decay 1
Decay 2
0 0
0 0
0 0
0 0
Release
00
0 0
Ve l - L e v e l
13
1 3
Ve l - A t t a c k
00
Ve l C u r v e
00
Linear
Mode
Normal
Normal
KBD Track
+00
+00
Linear
Octave
+ 0
+ 0
FC1 Cutoff
1 2 7
127
Semitone
+00
+00
ENV 2
+00
+00
VOL
6 5
6 5
Fine
+00
+00
FC1 KBD
-25
- 2 5
Boost
Off
Off
ENVl
+00
+00
MODSCR
Pedal
Pedal
MODSRC
Pedal
Pedal
LFO
+00
+00
MODAMT
-50
- 5 0
MODAMT
-05
-05
MODSCR
W fi e e l
W fi e e l
FC2 Cutoff
000
000
KBD Scale
+00
+00
MODAMT
-62
-62
ENV2
+00
+00
A 0 C 8
AO C8
KBD Ptcti Track
O n
O n
FC2 KBD
+00
+00
Glide
MInlMode
MInlMode
FC1MOD-FC2
Off
Off
Key Range
Output Bus
Priority
FX1
Med
FX1
M e d
Glide Time
0 0
0 0
Pan
-98
- 9 8
Vel window
000
000
ENVl
1
2
3
ENV2
Initial
2
1
Break
Sustain
Sustain
Attack
Attack
Decay 1
Decay 2
Release
Release
Ve l - L e v e l
Ve l - L e v e l
Ve l - A t t a c k
Ve l - A t t a c k
Ve l C u r v e
Vel Curve
Mode
Mode
KBD Track
KBD Track
BY: Jack Stephen Tolln
+0
00
00
- 2
0 0
00
080 3
- 1
00
00
SAW
WHEEL
GRIT3
-24
WHEEL
SQUARE
WHEEL
OFF
-24
LEVEL OUTPUT M0D#1 DEPTH M0D#2 DEPTH
S B
O N
P E D A L
-2 0
O F F
DCA2
S
8
O N
P E D A L
- 2 0
O F F
DCA3
5 8
O N
P E D A L
- 2 0
O F F
FREQ
FINAL
DCA4
KEYBD
15
08
VOL
I
0
PA N
PA N
00
RESET
5
M0D#1
LFOl
53
FREQ
LF01
Q
1 062
O F F
MOD
DEPTH
M0D#2
DEPTH
+ 6 3
LFOl
+ 02 1
OFF
^
WAV
LI
O N
T R I
63
T1V
+00
Phaser Levellnput Invert
MOD (Dest)
BY (MODSRC)
99/Off
MODAMT
+15
Rate
Pressure
Here are two examples I've tried with just L-WAVE:
HUMAN
LV
-75
ST Cross Fdbk
modulator, that is, LFO or ENV.
D E L AY
L2
MOD
P R E S S
63
00
ENVl:
-53
+63
00
L3
5 0
Feedback
DEPTH
LF0 3
L2
Ptiaser Center
As far as the ENVs and alternate LFOs go, the same rule as
mentioned above still applies: play around with different
values and enter your favorites. Just make sure that you set
both modulators on the filter page to the appropriate
LF0 2
LI
9 9
most cases!
OFF
DCA1
1 5
Pfiaser Deptti
your edits.) Then set the Q value all the way up and try again.
This second one may sound just too quirky to actually use in
OFF
-24
9 9
Ptiaser Rate
L- and R-wave to hear the complete effect. You may prefer to
turn the LAYER parameter OFF on one program to test out
O C T S E M I F I N E WAV E M 0 D # 1 D E P T H M 0 D # 2 D E P T H
OSC 2
3
9 9
FX-1
FX-2
Decay 1
Decay 2
0SC1
2
PHASE SHIFTER
Peak
Break
SQ-80 PROG: L-Wave
1
3
Initial
Peak
FILIhH
lUTPUT
T1
T 2
T 3
T4
TK
ENV2:
ENV1
+63
00
ENV2
18
-63
10
-43
38L
00
28
09
-38
38L
00
43
28
09
28
ENV3
ENV4
+
63
+
63
+ 6 3
1 3 L
00
00
00
00
00
00
S e t t h e PA N o n D C A 4 t o d e a d c e n t e r. T h e n s e t M O D I a n d
SYNC
AM
MONO
GLIDE
MODESP OFF OFF OM 00
S P L I T / L AY E R
S/LPRG
L AY E R
LPRG
R - WAV E
VC
ENV
OFF
OFF
SPLIT
S
OSC
PRG
MOD2 on the Filter page to ENVl. Try it out. Next, set both
MODs to ENV2 and try it out. Hear some sort of synthetic
bass sound in the making? You may want to save each ex
CYC
OFF
SPUT
OFF
KEY
ample you come up with so that you can go back to them later
and form the sound into whatever it inspires you to create.
OFF
15
For the coup de grace, try layering both "2-Phased T-Wave"
ing the Hacker editor, as well as
and "L-WAVE" (or "R-WAVE"). The result is one of the
most — well, uh, — interesting (yeah, that's the word) sounds
the hundreds of hundreds of
ever to coup...er, I mean grace your ears. Fortunately this
patch represents what some creative programming can do for
your patches and programs and
Hacker readers — so send in
thrill us all. h
a lot less than a new RAM card or cartridge. Experiment.
When I first got my first synthesizer, I rarely messed with the
presets. Now I venture into the wild unknown and end up
learning little techniques that help enhance a sound into an en
Bio: Jack is currently a Psychol
tire musical composition.
ogy major at Eastern Nazarene
College in Quincy, Mass and
performs at Boston area chur
If you've actually survived this month's installment of Wave
ches with his musical ministry
Mutilation 101 you've good some great resources for creating
group, Clay in Hand.
unique moving soimds. You also have the potential for thrill
Holding Hands with Alexander
Anthony Ferrara
sources is given, ranging from microphone techniques when
For: EPS-16 PLUS.
going directly into the 16-PLUS, to working with pre-recorded
samples, whether from various tape formats or CDs. Each
major scenario is examined through the use of "sessions." For
example, "Sampling Session #5: Tape & CD Direct to
SamplerINo Mic," takes the reader through a detailed exercise.
Several tutorials are devoted to the concept of re-sampling
with effects, a technology which was not available on the
Product: Ensoniq EPS-16 PLUS Operations d Sampling Book, by
Lorenz Rychner, with Bobby Maestas.
Price: $24.95.
From: Alexander Publishing, 3537 Old Conejo Rd, Suite 10144, New
bury Park, CA 91320 (800)633-1123.
Those of us who build our home studios (and consequently our
sound) around the EPS-16 PLUS are amazed by its capabilities
but often confounded by the bare-bones facts as stated in the
original Musicians' Manual that came with the unit. The most
major shortcoming of the manual is its lack of step-by-step
tutorials pertaining to such techniques as effects/effects bus
ses, sampling/re-sampling, editing, re-synthesis, and sequenc
original EPS.
ing.
The most important question here is who's going to find this
One area that is not covered in this manual is the extensive se
quencer capabilities of the EPS-16 PLUS. Alexander Publish
ing says a volume devoted to this will be available at some
point.
book useful? It's clear that the novice hacker or those new to
Alexander Publishing purports to have created a solution for
this by releasing a new book entitled, "Ensoniq EPS-16 PLUS
this marvelous (but complex) instrument will benefit the most.
I feel that it makes a valuable supplement to the factory
manual, given the tutorial approach that is taken. It's a good
value for the price if what you're seeking is a very basic
tutorial approach — particularly after what you already
Operations & Sampling Book." At $24.95, compared to the list
price of $9.95 for the original manual, the question is whether
the added coverage is worth the cost.
shelled-out for the instrument.
The new book begins with material similar to that found in the
original manual, dealing with such basic issues as booting-up,
Happy sampling and I would love to
hear from those of you who are using
this board with a MIDI-guitar. I can
be reached at: Anthony Ferrara, P.O.
Box 14503, Philadelphia, Pa., 19115,
floppy disk care and information, and audio/MIDI connec
tions. There's more detail about MIDI connections and flow,
which the original seemed to neglect.
Technical possibilities and tutorials dealing with effects/ef
fects busses are very thoroughly explored, "...with conected
signal path illustrations for the EPS-16 PLUS that Lorenz
Rychner worked out with the Ensoniq engineers," as the
phone: (215) 742-0738. ■■
author tells us in the section on effects.
P.S. As a Philadelphia native, I still
refuse to say "youse."
In the area of sampling, extensive coverage of various sample
16
L e a r n i n g t o L i v e w i t h Yo u r
Dinosaur
—
Using Your ESQ-! / SQ-80 in the '90s
Charles R. Fischer
cover up the obvious weaknesses. The best part is that all of
Before we get started I just wanted to ask a question to see
where we're coming from. My question is, "How many of you
are less thrilled with your ESQ-1 or SQ-80 than you were the
this knowledge will make you all the wiser the next time you're
shopping for gear.
day you bought it?"
RULE #2; Look for any trick that can cover the worst flaws in
your setup. If you don't like the way it sounds, then process it
'til it sounds okay, or try layering it with a cheap sound
module. All it takes is one or two pieces of gear to fill in for
what your ESQ/SQ can't do.
Hmmm — I see. I know exactly how you feel; how come a
state-of-the-art instrument like the ESQ-1 or SQ-80 can turn
into such a bargain-basement axe in only a few short years?
It's really fuimy. Your axe once seemed so complete — it had 8
multitimbral voices, a totally bitchin' sequencer, and it did all
sorts of sounds so well! But now, those specs no longer cut it in
a world of 16-bit synths and samplers decked with dozens of
RULE #3: Learn to use your gear to the fullest extent that you
can. I'll take an experienced, creative musician with an ESQ-1
over a moron with a Synclavier any day!
voices, onboard effects, and plenty of audio outs.
That's why your band members sneer as you lug it into rehears
al and why the resale price of these machines shrinks daily. The
obvious thing to do is sell it and buy something newer (like an
SQ-2), but you can't. Or won't.
Practical Cures
What do you do now?
designs. And both lack the onboard signal processors that have
become a part of contemporary keyboards since the Roland
D-50. While I doubt if Ensoniq is going to release an ESQto-SD upgrade kit in the next millennium, the fact is that
Funky Sounds
Both the ESQ-l/SQ-80 lack the clarity of newer, 16-bit
In this article, we'll cover some of the things you can do to live
with the limitations of these instruments. By limitations, I mean
mediocre audio quality, limited number of voices and sequen
cer tracks, limited options for signal processing and more. But
you're already aware of that stuff, right?
anyone can add a signal processor to their setup, which will
help enhance the sound quality considerably. It's difficult lis
It's a Matter of Attitude
I reviewed the Alesis Quadraverb in the Dec. '91 Hacker, look
tening to an ESQ-1 dry these days.
ing at it as a crutch for the sonic limitations of our ESQ/
SQ-80's. At a list price of under $500, it's a lot less expensive
than buying a new axe for its onboard effects.
I know several folks who are still using an ESQ-1 paired with a
drum machine to handle all of their sequencing and keyboard
duties. They're patiently enduring its limitations until they get
signed to a recording contract. Until then, they ask me how to
help them make the best possible use of their gear. And while
Since I've heard some people complain that our instruments
lack something in the high frequency range, another signal
we're talking, I remember that I started off with that same
ESQ-l/drum machine setup — and how great it seemed at the
processor to look at is the Aphex Enhancer. It can actually syn
thesize harmonics that were missing from the input signal, ad
time!
ding sparkle and clarity to the sound.
What had been a powerful, cost-effective system in 1987 has
Not Enuff Voices
been reduced to a much lower class today. It's still the same
what we have!
Eight voices simply isn't enough for many situations. The
obvious solution: buy some inexpensive sound modules to
make up for this. One example would be the Yamaha TX-81Z
FM module. It has 8 multitimbral voices and you can find them
secondhand for $300 or less. There many other products that
can do just as well for minimal bucks.
RULE #1: While your gear may not be state-of-the-art, the
Not Enuff Outputs
ESQ-1 and drum machine (actually, we've seen a few software
upgrades since then). The only thing that's changed has been
our perception, which tends to be affected whenever we hear
about some newer instrument, somewhere. While we can't
return to 1987 expectations, we can learn to make the best of
good news is that it's yours. You can learn to work around its
I agree, two audio outputs is completely inadequate. How do
limitations, or buy a few inexpensive toys that will help to
1 7
you keep your bass line separate from the horns or strings, or
send the bass to an equalizer while everything else gets reverb?
Answer: You can't, — so we'll have to try something else.
First, you could pick up a used soimd module to handle the bass
part (I've seen several 360 Systems MIDIBasses for $100 or
less in the want ads this year). Or maybe a Casio CZ-101, or
something of that ilk. As long as it sounds passable and is af
fordable, it will solve your immediate problem.
Perversity, uh, Perseverance Pays
The second fix is for all you do-it-yourself types out there. In
the December 1991 issue of EQ magazine. Fellow Hacker,
P. O. Box 5372, Hercules, CA 94547. Please include a SASE if
I hope that you've been educated, uplifted, or even challenged
by my comments. It's easy to be frustrated when you believe
that what you've got doesn't cut it.
If any of you eight-bitters out there have any questions or com
ments regarding my ideas, you're invited to write me c/o:
you'd like me to reply. ■■
Craig Anderton, and I have an article that describes a simple
circuit called the Mudguard, which can be used to remove the
Bio; Charles R. Fischer works as a test technician for AKG
Acoustics, Inc. He also writes for several magazines, designs
custom MIDI controllers, and works as a studio musician now
low frequency portion of the audio, so that you can use reverb
and other effects — without the low-end slop. Check it out.. .
it works pretty well for our needs.
The
SD-
I
Power
and then.
Primer
P a r t 3 — T h e I n s i d e Tr a c k
Tony Thomas
While there are many workstations on the market, there are
few with a sequencer that can compare to the one in the
SD-I. It provides a virtually transparent user interface that
doesn't come between the composer and the music.
The SD-1 even memorizes the patch numbers used for ex
ternal MIDI devices and sends program change messages to
those devices when the sequence is called up. You can even
store banks of sounds from other synths using the sysex
record function. (Remember, this function will wipe out
And even though computer-based sequencers can bring a
your sequencer memory, so back up your work before doing
sys-ex dumps to the SD-1.)
tremendous amount of processing power to bear upon any
musical task, they are generally difficult to use. Watching a
computer monitor while fiddling with a mouse and two
keyboards — one computer and one musical — is no fun.
Sequencer Secrets
It is a good idea to make a template sequences with the in
With the SD-I, most sequencing tasks are only a few button
struments, MIDI channel assignments, drum kits and effects
that you use most. You can then copy these templates into a
fresh slot and begin sequencing. In addition, you can save
these templates to disk using the Save One Sequence/Song
command and load them in whenever you need them.
presses away. The large screen gives you a great deal of in
formation at a glance and the ergonomics of the instrument
keep you focused on making music. Of course, you have the
option of bouncing your work to a computer sequencer for
final tweaking, but with the SD-I's powerful editing func
tions, you probably won't need to.
You can name them according to musical style or feel, i. e.:
Jazz, Funk, Rock, Country, Metal, Dance, New Jack,
House, etc. You can also build up (or purchase) a library of
generic drum and rhythm patterns and fills which can be cut
and pasted into compositions. You can transfer these from
The Internal Advantage
The SD-l's internal sequencer is easy to use. 1 often find
myself hitting record and play during improvisations, just in
case 1 want to use part of it as the basis for a song. Using
the editing functions, it's relatively simple to cut out the
your favorite drum machines (although you may have to
remap the note numbers for the SD-1) or create them from
scratch. These will make it easier to compose without
having to go back to square one each time.
part 1 want and throw the rest away or file it away for later
u s e .
The SD-l's sequencer adapts to the way you like to work,
rather than making you conform to its whims. If you like to
work linearly (like a tape recorder), you can record a com
Since the sequencer is an integral part of the SD-1, all of
the sounds, effects and parameters (like pan, volume, etc.)
are called up with the sequence, making it simple to pick up
right where you left off days, months or even years later.
position as one long track, punching in here and there as the
need arises. If you'd rather create a song by stringing
18
hours, I was able to create about fifteen different versions
of the original sequence by changing the tempo, effects set
together a bunch of sequences (like a drum machine), you
can do that too. If you want to overdub over the sequences
after you've strung them together, you can do that using the
tings and patches and adding some new tracks. I brought
them to the program director who suggested some changes.
No problem. I loaded the disk, made the changes, created
SONG TRACKS record feature.
The SD-l's loop record feature is great for putting together
drum parts and short grooves. One of my favorite techni
some more versions and in about an hour I was done. The
music beds are now on the air. And the only instrument I
used was the SD-I! Using a traditional MIDI system, I
would have had to document synths, patches and MIDI
channels extensively to be able to recreate the sequences
ques is to construct a 4 or 8 bar sequence using loop record
and add several parts. I then go into song mode and string
the sequence together to construct a song using the
transpose and mute to change key and to bring different in
exactly as they were recorded. I would also have had to
document, levels, pan settings, EQ and effects settings (or
buy an SSL console). This would have taken hours. With
the SD-1, what could have been a complex musical task was
struments in and out.
The SD-1 Sequencer in Action
a snap.h
Recently, I had to produce several music beds for a radio
station to be used under their sweep liners. The program
director liked one of my compositions and decided to use it
Bio: Tony Thomas is a veteran jour
as the station's "signature" theme. Since I had it on a SD- 1
nalist who has contributed to several
disk, it was simple to load the theme complete with the
patches, drum kit and effects that I had used in a matter of
national magazines including Mix,
Electronic Musician, Music Com
seconds.
puters and Software, AVA^ideo and
R E P. H e i s a l s o a n e s t a b l i s h e d r e
I copied the sequence to a new memory slot and cut it down
cording engineer, producer, com
poser and keyboard player.
from song length to about 10 seconds. I made more copies
and changed the endings and instrumentation. In about two
UNAUTHORIZED
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V
I
19
N
D
U
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S
T
R
R
Q
I
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Y
C l a s s i fi e d s
EQUIPMENT
Mirage DSK, including disks, books and Digi
tal Dreams multi-timbral SoundProcess library.
$500. Kawai Kim sound module plus 2 RAM
cartridges $250. Alesis MMT-8 sequencer
$200. Yamaha QYIO sequencer/module $200.
Bruce, (504) 291-3211.
Used MIDI keyboards, all brands, digital,
analog, also rack effects. Save. Example: EPS
16+ 1-Meg expanders, new, $100. Call Steve,
(818) 761-2532.
Special Expander Offer - Free Sounds - Best
Prices. EPS-16+ 1-Meg Flashbank and 10 Free
Disks only $250. Expanders for EPS, VFX-sd,
SD-1. RAM memory for Akai, Casio, Roland,
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Partch creations; Industrial Percussion & more.
Mirage demo tape: $3. EPS demo tapes (Vol. II
or Vol. Ill): $6 each. U.S. funds only. Demo
tapes include disk list. For lists alone, send
SASE to: NIGHTWIND Sound, 170 Mar
PAT C H E S / S O U N D S
60 VFX-sd patches created by Jim Grote. Wide
variety of sounds with complete documenta
tion. Call for free Information Packet, or send
Monte Ave., La Selva, CA 95076.
$30 for VFX-sd disk to: Jim Grote, 3721 Fran
ces Ave., Cincinnati, OH 45211. Phone: (513)
Industrial/Alternative musicians: I have some
661-8885.
great EPS-16+ samples that I'd like to trade.
Drop me a line. Bob Green, 860 Briar HiU Ln.,
Traverse City, MI 49684.
Free Drum Patterns with 120 VFX-sdl sounds:
EPS Samples: Disks of Bolivian and Indian in
struments, invented instruments, prosaic
sounds, and the Recycle Orchestra. 9 Disks, 77
sounds, 308 patch selects: only $36. Bill
Sethares, 622 N. Henry St., Madison, WI
5 3 7 0 3 . Yo u h a v e n ' t h e a r d t h e s e b e f o r e !
$20. 100 Dynamic Drum Patterns SR16, HR16,
EPS/EPS16, VFX/SD, SD-1. Only $12. 2000
Digital Samples on 2 XLII-100 tapes. Best
sounds from Tl, DPM, SDl, Proteus, Moog,
lots more. $25. EPS/SPS16 Sound Disk. My 10
best disks, sounds like Steinway + Strings on
the modulation wheel, all fully programmed.
$35 a set. EPS/EPS 16 Sampling Made Easy
Video. Easy to follow, step by step. 2 hr video,
Pebble Creek Terr., Pensacola, FL 32526. Call
Professional 16-bit samples for the EPS-16
2 disks, 90 min cassette. $30. Satisfaction
Tony after 6 pm. (904) 944-6012.
Plus. Series 1: Analog Classics. Series 2:
Guaranteed. Wildwood Sounds, 4726 Pebble
Legendary Digital. Series 3: Studio Drums.
Series 4: Experimental Industrial. Series 5:
Creek Terr., Pensacola, FL 32526. Call Tony
after 6 pm. (904) 944-6012.
EPS-16+ Turbo with 150 disk library including
WaveBoy. Comes with soft gigbag. $1900.
(702) 333-5979 days, (702) 355-0709 eves.
Rave, House & Techno. Each 5-disk series: $25
+ $5 shipping. Make cheque or money order
N E W S D - 1 s o u n d s f r o m E r i c O l s e n I Vo l u m e 3
payable to: Dennis Cooke, 128 Greendale
and Volume 4 are now available. Killer organs,
shimmering EP's, punchin' basses, and wavesequences!! $25.00 each. Send check or money
order to: Pegasus Sounds, 6050 Adaway Ct.,
Grand Rapids, MI 49546. Phone: (616)
EPS with 2x expander and many disks, $850.
Yamaha TG77 tone generator with 2 extra
RAM cards - $950. Both used only in church.
Cres., Kitchener, Ontario, Canada N2A 2R6.
717-366-1300.
Compact Disk (CD). 600 samples total, cover
Proteus and U220 sounds digitally mastered on
ing 98 individual sounds. $14.95 + $2 s/h. CA
Res. add appropriate sales tax. Digitelesis,
5232 Camino Playa Malaga, San Diego, CA
676-0863. (Updated VFX-sd or SD-1 only.)
92124.
Mims! Soundset 4 takes full advantage of the
SQ-80's unique waveforms, and brings "hidden
Want to trade my 500cc Yamaha motorcycle
for your Mirage, Stratocaster, $400, or 7 Den
Mirage samples: Plus moving wavesamples all
over. 7 sounds in one bank, much more. List
waveforms" to the SQ-80 for the first time.
Also available for the ESQ and SQ-80 are
ver area. Call Bob at (303) 337-4570.
ings: $1.00. Demo tape: $6.00 (includes list
ings). Mr. Wavesample, 162 Maple Place,
Keyport, NJ 07735. 908-264-3512. Make
checks payable to Jack C. Loesch.
Soundsets 1, 2, and 3. Forty patches per set,
each with 22-page booklet of programming
notes and performance tips, for $17.95. Send
SASE for free literature. Syntaur Productions,
EPS 4x/SCSI $1000. Home use only. Original
box and manuals. Call Miguel at 617-693-7703
(day) 603-595-0399 (eve).
KS-32 $1550. EPS-16+ rack $1650. Both new,
purchased 7/24/92. Taken out of box only once
to check-out everything. Visa/Mastercard ac
cepted. Jones, Barnett Drive, Tazewell VA
24651. Phone: (703) 988-7442.
Ensoniq EPS-16 Plus with 4x expander, scuzzi
port, extras. Also sequences, disks, like new,
boxed. (813) 646-0442. Asking $1950.
MIRAGE SAMPLES. 57 new samples for
$30. Most are unusual. 5 disks, $6 each (US
funds). Demo $3. SASE for free listing.
Treehouse Sound, PC Box 18563, Boulder, CO
Proteus/1 $600. Alesis HR-16 $225. Alesis
M I D I a n d M i c r o Ve r b s $ 1 5 0 e a c h . A l e s i s 1 6 2 2
m i x e r $ 6 7 5 . Ya m a h a 8 0 2 8 - c h a n n e l m i x e r
$200. 1-800-926-2583, Visa & MasterCard
O k a y.
S A M P L E S
2315 Mid Lane #44, Houston, TX 77027, or
call (713) 965-9041.
S O F T WA R E
80308- 8563.
SUPERB EPS-16 PLUS SAMPLES of E-mu
ESQ-1 early model (metal case) $600. E-mu
NEW SQ-80 SOUNDS from the Hacker's Sam
Procussion, Minimoog, K-4, and more, from
the Hacker's Sam Mims, $9.95 per disk.
Post-production quality sound effects samples
for EPS-16 Plus, all from digital source record
MIdicaster is still available. The way-cool
operating system that turns your Mirage into a
very capable System Exclusive data librarian, a
20,000-note sequence player, a disk copier/for
matter, and wave-draw synthesizer is still
available for a limited time. For more informa
ings, $5.95 per disk, $5.45 each for six or
more. Mirage Disk 1, samples from Minimoog,
tion, or to order, contact Tim Martin, 1510 S
5 t h W, M i s s o u l a , M T 5 9 8 0 1 . P h o n e : 4 0 6 -
DX-7, and VFX, for $7.95. Send SASE for free
542-0280 And thank you for your support.
listing to: Syntaur Productions, 2315 Mid Lane
#44, Houston, TX 77027, or call (713)
MUSIC / SEQUENCES
965-9041.
ECCENTRIC SAMPLES (Mirage and EPS).
Ethnic, Ancient Greek, Medieval instruments;
"Anthony Ferrara, Contemporary Guitarist,"
2 0
O U T- O F - P R I N T B A C K I S S U E S
FREE CLASSIFIEDS!
PA 1 9 11 5 . 2 4 - H o u r d e m o l i n e : ( 2 1 5 )
M.U.G. will provide Out-of-Print issues for
cost of materials and postage. M.U.G. Hot
742-0738.
line: 212-465- 3430 or write: G-4 Produc
Well,—within limits. We're offering free
classified advertising (up to 40 words) to all
subscribers for your sampled sounds or
audio cassette, reviewed in July '92 Hacker.
Send $5.50, check or m.o., payable to: An
thony Ferrara, P.O. Box 14503, Philadelphia,
tions, PO Box 615TH, Yonkers, NY 10703.
Attn: TH Back Issues. Phone: (212)
♦MERRY Christmas^ Live performance
MIDI sequences of Christmas carols on flop
465-3430.
patches. Additional words, or ads for other
products or services, are 25 cents per word
per issue (BOLD type: 45 cents per word).
Unless renewed, freebie ads are removed
py disk for IBM PC. Other formats available.
25 Religious classics: $24.95. 25 Secular
favorites: $24.95. Plus $3 shipping and han
dling per order. MIDI Music Co., 230 Foster
St., Bldg. 2, Suite 1, Brighton, MA 02135.
Photocopies of out-of-print past issues of the
Hacker can be obtained by calling Jack
Loesch, 201- 264-3512 after 6 pm EST.
Phone: (617) 787-5980.
Folks in the New York City area can get
after 2 issues. While you're welcome to resell
copyrighted sounds and programs that you no
longer have any use for, ads for copies of
copyrighted material will not be accepted.
copies of unavailable back issues of the
Hacker - call Jordan Scott, 212-995-0989.
ESQ & SQ-80 Hackerpatch
Sam
ESQ Patch: BELSTR
by Sam Mims, Syntaur Productions
to darken the sound as desired. LFOs 1 and 2 add a chorusing to
make the string sound rich, while LEG 3 adds a slow back-and-forth
stereo motion. A very subtle reverb effect on the strings is achieved
by the combination of ENV 1 (operating on DCAs 2 and 3) and ENV
4. This patch is from Syntaur's Soundset 2 collection.
As the name implies, BELSTR is a combination (not a layer) of bells
and strings. OSC 1 produces the bell sound, which can be removed
with the CV pedal. Oscillators 2 and 3 form a standard analog
detuned-sawtooth string patch, and this sound is slightly increased
in volume with the CV pedal. The mod wheel closes down the filter
The Hack
It's easy to make this into a richer sounding string patch — without
the bell — by changing the values on the OSC 1 page to OCT=0,
FINE=-04, WAVE=SAW, MOD 1=LF0 2, and DEPTH=-04. Then,
change the DCA 1 values to those listed for DCAs 2 and 3. This
gives the string patch an extra detuned sawtooth wave for extra fat
B Y: S a m M i m s
ESQ-1 PROG: BELSTR
O C T S E M I F I N E WAV E M 0 D # 1 D E P T H M 0 D # 2 D E P T H
0SC1
+
00
00
B E L L
OFF
OSC 2
+0
2
00
00
S A W
LF02
+04
OFF
OSC 3
+
o
O
04
S A W
LFOl
+04
OFF
LEVEL
M0D#1
OFF
DEPTH
n e s s .
-
-
M0D«2
DEPTH
DCA1
5 9
O N
OFF
-
PEDAL
- 6 3
DCA 2
14
O N
E N V l
+ 63
PEDAL
+ 17
DCAS
14
O N
ENVl
+ 63
P E D A L
+ 17
F I LT E R
OUTPUT
FREQ Q KEYBD M0D«1 DEPTH M0D#2 DEPTH
I
33
06
07
EMV4
■» 5 1
WHEEL
-63
F I N A L V O L PA N PA N M O D D E P T H
D0A4 Hse
08
FREQ
RESET
HUMAN
WAV
LI
19
O F F
O N
T R I
0 3
02
10
O F F
LF0 2
2 2
O F F
O N
T R I
0 2
01
13
O F F
LFOS
0 8
O F F
O F F
T R I
I S
07
63
O F F
L1
L2
+ 63
+ 4 6
+ 63
+ 50
L3
LV
T1V
8
0 0
3 7
+ 42
00
0 0
+3
Bio: Sam Mims is a studio session player
and programmer in Los Angeles, and is
keyboardist for Richard Elliot. He owns
Syntaur Productions, a company that
produces music for film and TV and
markets sounds for Ensoniq keyboards.
+ 52
L F 0 3
L F O l
E N V l
T1
D E L AY
L2
MOD
T 2
T 3
T 4
T K
3 6
4 9
44
3 4
0 0
-
-
-
00
3 3
5 0
4 3
00
ENV 2
ENV 3
ENV 4
Mims
-
SYNC AM MONO
MODESr OFF OFF OFF
GUDE
00
VC
OFF
ENV
OFF
OSC
Hackerpatch is intended to be a place where patch vendors can show their
wares and musicians can share their goodies and impress their friends.
Patches designated "ESQ-1" will also woric on the SQ-80. The reverse is not
always tme. Once something's published here, it's free for all. Please don't
CYC
submit patches that you know to be minor tweaks on copyrighted commer
cial patches unless you have permission from the copyright owner. All sub
mitted patches are subject to consideration for mutilation and conunents by
Sam hhms-our resident patch analyst If you send in a patch, please include
your phone number. Requests for particular patches are also very welcome.
OFF
S P L I T / L AY E R S / L P R G U Y E R L P R G S P L I T S P R G S P L I T K E Y
O F F
21
SD & VFX Hackerpatch
Sam Mims
SD & VFX ProgrTREM STRINGS
By: Jim Grote, Cincinnati, OH
NOTES: This is an exampie from my coiiection of 60 patches that I offer. It is a foil string section
piaying tremoio, a technique where the bow is moved very quickly back and forth across the strings.
I've tried to capture the bright scratchy sound created by this technique. Try some chords around the
lower middle of the keyboard.The left patch select cancels two oscillators for more polyphony but a
thinner sound. Also, the TIMBRE slider sweeps the filter cutoff frequency, muffling the sound.
THE HACK: I love the motion of this patch; you can play whole notes and still have excitement.
There were two things that my ears wanted to hear differently. First of ail, the decay sounded unWAVES
Wave
1
Strings
2
Strings
3
4
Strings
Strings
5
Strings
have the real thing? So I shortened the RELEASE time of ENV 3 to 17* on both
these voices.My final edit was to the pitch of Voices 1, 2, 4, and 5. These ail
sounded way too sharp, so I decreased the FINE value on their Pitch pages by 5 A
fmai quick suggestion might be to program the mod wheel to control the volume
(on the Output pages) negatively, so that sforzando chords could be played in this
m a n n e r. - S a m M i m s
SELECT VOICE
6
Strings
Wave Class
StrlngSnd StrlngSnd StrlngSnd StrlngSnd StrlngSnd StrlngSnd
Delay
0
0
1
0
0
1 2
Direction
Forward
Forward
Fonivard
Fonward
Forward
Forward
Start
2
0
0
0
2
7
Ve l S t a r t M o d
9 6
0
-57
0
Initial
0
9 9
+17
99
0
Peak
9 7
9 9
9 9
Break 1
9 6
9 9
9 9
Break 2
9 6
9 9
9 9
_^usta]n_
_96
_99_
_9_9_
Attack
4 6
9 9
"4"6~
Decay 1
Decay 2
Decay 3
Release
K B D Tr a c k "
2 3
9 9
2 3
0
9 9
0
0
9 9
0
9 9
9 9
9 9
V00 MIXER
1
2
3
4
5
6
SRC-1
SRC-2
SRC-2 Scale
SRC-2 Shape
PITCH
ENV1
"9"9
0
0
1
2
3
4
5
6
+ 2
0
Vel Curve
Octave
0
0
Linear Linear
+1
Linear
+ 2
Mode
Semitone
+
0
0
0
0
Normal
Normal Normal
0
0
- 1 0
+ 6
Ve l - L e v e l
Fine
0
0
0
+ 11
0
0
P i t c h Ta b l e
System
Ve l - A t t a c k
0
0
0
System
System
System
System
System
1
2
3
4
5
6
Envl
L F O
L F O
Envl
Envl
LFO
- 8 5
0
0
- 7 4
- 6 2
0
Glide
None
None
None
None
None
None
ENV1
0
0
0
0
0
0
LF01
+ 3
+ 3
+ 4
+4
+ 2
+2
LTER1
1
2
3
4
5
6
3 L P
PITCH MODS
1*
naturally long and a bit too swimmy. So I changed the FXl setting of the reverb
mix to 50 (on the first Effects page), and this helped a lot. Voices 3 and 6 still
held on a bit too long for me; after all, why simulate a reverb decay when you
MODSRC
V. M O D A M T
10
Mode
2LP
2LP
3 L P
2LP
2LP
Cutoff
124
111
127
124
124
127
KBD
0
0
0
0
0
0
MODSRC
Press
Press
TImbr
Press
Press
TImbr
MODAMT
+16
+16
0
+16
+16
0
ENV2
0
0
0
0
0
0
ENV2
Initial
Peak
Break 1
Break 2
Susta|n_
Attack
Decay 1
Decay 2
Decay 3
Release _
KBD Track'
Ve l C u r v e
Mode
Ve l - L e v e l
Ve l - A t t a c k
I LT E R 2
1
2
3
4
5
6
1
2
3
4
5
6
2HP
I M P
2HP
2HP
1HP
Initial
8 8
0
71
0
0
5 5
Cutoff
2HP
26
0
127
22
0
8 4
Peak
9 9
9 9
9 2
9 9
99
9 2
K B D
0
0
0
0
0
9 8
9 9
9 9
9 8
TImbr
TImbr
TImbr
TImbr
Break 1
Break 2
9 9
TImbr
0
TImbr
9 9
MODSRC
9 9
9 9
9 5
9 9
9 9
9 5
MODAMT
+99
+99
0
+99
+99
+46
Sustain
8 6
8 6
8 3
8 3
0
0
0
0
0
0
Attack
8
6
1 7
86
4
8 6
ENV2
6
0
Decay 1
Decay 2
Decay 3
3 2
3 2
41
3 2
3 2
41
1 9
4 9
19
19
4 9
6 2
19
6 2
5 6
6 2
6 2
5 6
Mode
z ood reasons to
.sell voiirb-.f Vav. Earflsa, and more. Only $59.95!
Subscribe to the
Chicken Chronicle
If you wanl lo know more about your HPS, aiul the Hacker just isn't
cnoLigli. lurn to the Chicken Chronicle. With interesting articles,
regular monthly columns, and up-lo-the-minuie inlbrmalion on new
HPS releases, you'll know alt there is to know about your keybotird.
Only $10.00yearly
A Hard Drive for $599?
You got to be kidding?
No, were not, RCS is now selling their acclaimed 44tnb
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RCS sounds, lor $599. This is a full-lledged Syquesi
removeablc drive, guaranteed to work with no defect at all
with both the Original HPS and the 16-Plus.
Pedal Steel!
For'years we've been hearing the request of a quality pedal steel
sample for the EPS. Finally, here it is! Slide and plucked sounds,
with full use of the patch selects to obtain maximum expression!
This is a two disk set, complete with other country music staples
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So if you got SCSI, and you think you're ready to inch up
to hard drive storage, call iheeg^-perts. Rubber Chicken.
written? How about an annual or available
reference issue which contains a short
synopsis of each article's content.
Too bad about the lack of memory upgrade
for the EPS (yes, I have the 4X expander
and FlashbarLk...but too cheap for a SCSI
Flock to:
TOLL-FREE ORDER LINE
1-800-877-6377
RUBBER CHICKEN
SOFTWARE CO.
P.O. Box 428 • Renter, WA 98057-042S
Free catalog, just call or utM .
2 9
As far as using external controllers to
strument by 50 cents to create some
and facilities, and including pretty much
modulate effect parameters, the setup is
nearly identical to what I've just described
for panning, except that you assign the
controller and amount to use from the ef
"minus" space and then lowering the
every type of articulation you could think
of. I'd check them out.
master tuning of the keyboard by 50 cents
to go back to 440 standard! Is there an
easier way I may be missing?
3. When sequencing the the 16-)-, if you
2} Perhaps an easier solution to your
micro tuning dilemma would be that, in the
case of a note that you want tuned flat
[TH - 'We do have a Back Issue Index
want to record something begiiming at the
available to anyone who asks for it. You
40th bar of a 50 bar sequence, you put
from concert pitch, set its key to a
might want to check out Issue #46, Seven
your cursor under the bar number and say
half-step below normal pitch, and then
tune it up. For example, if you want "C4"
teen Things to do With Envelopes, by
"Go to 40" and record. If you don't like
to sound flat by 50 cents, edit the pitch
Gary Dinsmore, and Issue #59, Resonant
what you recorded (which happens fre
table settings thus; "KEY C4=B3 50
Filters for the EPS, by Brian Willoughby.]
quently) you say "No" to the Play/Keep
CENTS."]
fects menu pages.]
page and find your cursor sitting under the
sequence number. You have to remember
to hit the right arrow button to underline
the bar number again so that you can hit
Enter twice to take you back to bar 40.
Making that line stay under the bar number
(in the upcoming OS, perhaps) will be a
Dear TH,
1. Has anyone come across samples of or
chestral string sections for the EPS or 16-1where ensembles of an appropriate number
of musicians have been recorded (for use
in classical composing and demos)? So far
[Ensoniq - Clark is referring to SL-10-I3.
Each set is a complete string section, and
they retail for $39.95 each for 5 disk sets.]
Dear TH,
significant improvement since this may be
the most repeatedly used command.
I have heard only mixes of single instru
Many thanks for the publishing of a useful
and really great magazine!
ment sounds or recordings of 3 - 4 piece
ensembles, which sound thin and usually
very harsh.
Thank you,
Semih Firincioglu
I very much enjoy the articles and the
N Y, N Y
published patches. I just finished the
2. The pitch table feature of the EPS-16-f
[CS - I) By now, Ensoniq should have
is an excellent idea but someone must have
released four sets of state-of-the-art string
thought that micro tunings are done by
samples, (basses, cellos, violas, and
I would be interested in hearing from any
only sharpening the pitches because the
violins) co-produced and co-engineered by
one or seeing published patches for Pat
legendary hitmaker Phil Ramone. These
are samples of medium to large sections,
Metheny's synthesized guitar and electric
guitar and Lyle Mays' lead sound (sort of
done with the finest equipment, players.
a flute with an Oberheim-like sound...al
" Ta r k u s " a n d " H a m m o n d C - 3 " f o r t h e
fine tune option has only a 0 to -h99 range.
The only solution I can think of is sharpen
ing every note in every layer of each in
SD-1 and "Breath Soul" for the SQ-2.
though I'm not really sure).
I'm also interested in an editor/librarian
for the SD-1 and SQ-2.
Thanks,
Matthew Knight
Gainesville, FL
[CS - There is a sound in the Ensoniq
library that's quite a bit like the sound I
think you are describing as the "Lyle Mays
lead sound" -1 just can't remember what
it's called. Perhaps someone at Ensoniq
knows.
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Galaxy on the Macintosh, but it's strictly a
librarian. I believe Opcode also markets a
program called, "Galaxy Plus Editors,"
which includes editing capabilities for a
number of popular instruments - it might
be worth checking on.
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check for editor/librarian programs - they
have some excellent software available.
HACKER BOOTEEQ
Maybe even stuff for the Mac, now that I
think about it.]
^
FREE
ALESIS
FOR
[Ensoniq - Interval Music, (310)
478-3956, has an editor for the VFX-SD
on the Mac, and Dr. T's X-Or (1-800989-MIDI) has some editing support on
the Atari and Mac. We have tested an SQ
editor from Steinberg (818) 993-4091 for
the Atari, but do not know if it has been
released yet. Try contacting those com
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VFX, VFX-sd, SD-l owners —
BACK ISSUES
Back issues are $2.00 each. (Over
seas; $3 each.) Issues 1- 30, 35 - 38,
and 67 - 72 are no longer available.
Subscriptions will be extended an
equal number of issues for any issues
ordered that are not available at the
time we receive your order. ESQ-1
coverage started with Issue Number
13. SQ-80 coverage started with
Number 29, (although most ESQ-1
coverage also applies to the SQ-80).
EPS coverage started with Number
30. (But didn't really get going till
Number 35.) VEX coverage (which
also applies to the SDs) got started in
Number 48. The SQs got going in
Number 63. (SQ articles also apply to
the KS-32.) Permission has been
given to photocopy issues that we no
longer have available — check the
classifieds for people offering them.
A free back issue index is available
which contains the tables of content
for all issues since Number 43.
Volume 4 - Effects
Highway sounds, city noise,
the countryside, space, ghostly, & more.
ADVERTISERS!
Try an economical size ad in the Hacker. Our
one-twelfth page ad (the size of this ad) is the
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Rates for authors: Please send for writer-Info card.
Our (somewhat regular) Illustrious bevy of writers Includes: Craig Anderton, Barry
Carson, Mark Clifton, Walter Cooper. Gary DInsmore. Rob Reiner, Pal FInnlgan,
Subscriptions: 12 monthly Issues. US: $23/year, All others: $32/year. Payable
In US funds.
Charles R. Fischer. Gary Glebler, Jim Grote, Garth HJelte, Bryce Inman, Jim
Johnson, John Loffink, Kenn Lowy, Daniel Mandel, Sam MIms, Gary Morrison,
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Transoniq Hacker is the independent user's news magazine for Ensoniq
products. Transoniq Hacker is not affiliated in any way with Ensoniq Corp.
Seelay, Tom Shear, Joe Slater, Kirk Sllnkard, Bob Spencer, and Jack Tolln.
Ensoniq and the names of their various products are registered trademarks of
Copyright 1992, Transonlq Hacker. 1402 SW Upland Drive, Portland, OR
97221. Phone: (503) 227-6848 (8 a.m. to 9 p.m. Pacific Time).
the Ensoniq Corp. Opinions expressed are those of the authors and do not
necessarily reflect those of the publisher or Ensoniq Corp. Printed In the
United States.
DVZZZSSHH!
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Dvzzzshh! BGOwjhsh! KrzxsscWi!
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