Ensoniq Corporation Transoniq Hacker Archive Issue #094 Th 094
Ensoniq Corporation Transoniq Hacker Archive Issue #094 094 Ensoniq Corporation - Transoniq Hacker Archive - Issue #094
Ensoniq Corporation Transoniq Hacker Archive Issue #094 th_094 Ensoniq Corporation - Transoniq Hacker Archive - Issue #094
User Manual: Ensoniq Corporation Transoniq Hacker Archive Issue #094 Ensoniq Corporation - Transoniq Hacker Archive - Issue #094
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IraiKmiq Waiting With Baited Breath Ensoniq Sound Libraries SL-6, SL-7, SL-8 Sam S. Mims Hacker The Independent News Magazine for Ensoniq Users In this issue Articles: VFX Quasi-Analog Rez Dara Jones 5 TRUMPET SECT (1348 blocks) is a siz Miragefreq zling clean section and includes fall-offs and "doights" (fall-ups?), as well as a Johnny nice double-tonguing effect on the patch Understanding Envelopes - SD & VFX Robby Berman selects. This one will see lots of use. TROMBONE SEC (861 blocks) is a fabulous sample of three trombones. It's beefy and energetic — great for the "Dragnet" theme. I'm not overwhelmed with the patch selects, but I'll let that slide. (That was a trombone pun.) Klonaris 9 The Perfect Piano - SDs, SQs & KS-32 Mark Clifton 10 Ensoniq's Customer Service Q & A To n y Ferrara 13 Business As Unusual Garth Product: Ensoniq Sound Libraries — SL-6, 7 Hjelte 19 SL-7, SL-8 TRUMPETS 507 (507 blocks) is an For: EPSs,ASR-10 e c o n o m i c a l v e r s i o n o f T R U M P E T S E C T. Price: $39.95 per set of five or six disks It gives up the fall-off and doight patch From: Ensoniq, 155 Great Valley Parkway, selects, but the main sound is still great. Ensoniq's SL-6, 7, & 8 for EPSs & ASRs CUP MUTES (785 blocks) is a trumpet section appropriately muted, and another Basement Tapes: Bruce Lehrer Malvern, PA 19355, (215) 647-3930 or con tact your local Ensoniq dealer. I love getting new sounds for my cher ished sampler. I'm addicted to it. The great, musical sample. Patch selects give double-tounging and subtle attack slides. problem is that, out of any new batch of MT TROMBONES (785 blocks) is a sounds, I usually have to decide what to do with a lot of samples that are of mar muted trombone section. This is another ginal quality — should they take up valu able space on my hard drive or should they be tossed? With sample collections from Ensoniq, that never seems to be a problem. Their latest sounds have all been dynamite, and the sets I reviewed were no exception. Here's what I thought... good sample, but pitch bending unfor tunately sounds hoakey, due to the mute changing in virtual size as the pitch is shifted. Sam Mims Daniel cover Mandel 4 MIDI Mark's Sound Disks - EPS & ASRs Bryce Inman Talking Owner's Manual - SQs Pat Finnigan 6 15 Ensoniq's Wordsynth - EPSs & ASRs Bill Sethares HARMON MUTES (1009 blocks) is the Regular Stuff: trumpet section using this unique type of mute. Great for jazz gigs. Random 18 Notes 3 Hypersoniq 4 C l a s s i fi e d s 21 BS TROMBONES (556 blocks) is a sample of bass trombones. Great, as SL-6 usual. A great collection of brass samples, all of them very bright and punchy. BRS ENSEMBLE (1507 blocks) is a ISSUE NUMBER 94, $2.50 Reviews: mapping across the keyboard of bass Hackerpatches Sam Mims & Jeffrey R hoods 22 The Hacker Interface 25 Booteeq 31 APRIL, 1993 trombones, trombones, and trumpets — a handy configuration, indeed. The bass trombone sounds slightly thin, but play all of these ensemble style and it's BIG — and convincing! THAT STRING (1076 blocks) sounds like a wavetable-synth SL-7 SL-8 Hip drum loops and assorted ear candy for dance grooves. Nicely set up for use with sequencers, either to lock other stuff to the loop, or to lock the loop to other stuff (with micro-pitch shifted versions across the keyboard). The individual instru ments of each loop are available on certain keys as well, and Strings aplenty. This is a magnificent set! VIB VIOLIN (1347 blocks) is a very natural sounding solo violin, with a great bite when the keys are played hard. I've been waiting for this one forever! Patch selects just alter reverb string patch, with a fast attack and cutoff. The patches add some nice chorusing and panning. a m o u n t . they have the characteristic "grundge" of resampled records and such. (That's good, you know.) There are 13 loops in all on the five disks, all of them happenin' and lots of fun. But here's what else you get: VIB VIOLA (1340 blocks) is much like the violin above in quality and programming. Superb. VIB CELLO (1380 blocks) seems a bit darker than the violin DANCE DINK (38 blocks) is a simple pitched percussive sound. It's not the greatest thing on its own, but you'll find a and viola, and the vibrato gets much too fast in the upper range. Still very nice, though. place for it, and at 38 blocks, it's cheap! ARCO CELLO (623 blocks) is, again, a bit dark. Patch selects BASS-N-GOOB (45 blocks) is nearly as cheap, but you get a add a fifth below, a monophonic patch for doing nice trills, and goober (similar to a dink, you know) and a bass sound. The bass works well with the loops. octaves. ARCO VIOLIN (542 blocks) is the same as above, in the THE GOOBETTE (54 blocks) is a nice spiky sound for ad ding background spice to a track, particularly in fast sequenced violin department. The aftertouch vibrato works very well. ARCO VIOLA (490 blocks) is again the same, in the viola r u n s . department. DANCE DRUMS (972 blocks) is a fabulous kit of TR-808 and TR-909 drums, along with some assorted rap/house scratches and percussive sounds. Very cool! CHMBR STRNGS (623 blocks) represents an ensemble of the above arco strings (cello, viola, violin), over the entire key board range. A nice combo of these three files, and cheap on SUPER GOOB (101 blocks) is a percussive electronic sound reminiscent of the TR-808 cowbell, only smoother. Like the m e m o r y. PIZZ STRINGS (998 blocks) gives us plucks of solo violin, viola, and cello. Very smooth. 808 cowbell played with a mallet, sort of. Nice. SUPER HITS-1 (439 blocks) is four hits: rock band, guitar, or chestra, and rap. The first and last sound cartoonish, in a cool Ensoniq's devotion to providing a first-class sample library is surely one of the reasons they sell more samplers than all other manufacturers combined. The Mirage library was very well done, and they just keep getting better. way, I mean. Patch selects turn them into scratches. HIPNESS KIT (176 blocks) is a very happening cheesy syn thetic drum kit, just like the TR-808 is happening and cheesy. These sets can't be beat, h HIPNESS BASS (50 blocks) is to the bass guitar what HIP NESS KIT is to a drum set. A very percussive bite makes it cut Bio: Sam Mims is a studio session player and programmer in Houston, 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. through. And all for 50 blocks! SUPER HITS-2 (254 blocks) is a collection of four more fun rap hits. They sizzle! S U B S C R I P T I O N I N F O R M AT I O N CHANGE OF ADDRESS 1 2 M O N T H LY I S S U E S Please let us know at least four weeks in advance to avoid missing any issues. Tfie 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 themi) US: $23/year. All others: $32/year (please use International Money Order, payable in US funds). Please make payable and mail to: TRANSONIQ HACKER 1402 SW UPUND DR.. PORTLAND. OR 97221 2 Front Panol RND We are also making available a version of the ASR-10 Advanced Sampling Recorder keyboard with SCSI installed at the factory. The ASR-10 with SCSI has a suggested retail of $2995 (US), which Ensoniq News represents a $50.00 savings over buying and installing the SP-3 SCSI We are pleased to announce the development of the TS-10 Perfor mance/Composition synthesizer, the new flagship of our line of synth esizer-based workstations. The 32-note polyphonic (31 when using sampled sounds) TS-10 offers 6 Megabytes of 16-bit waveform memory for a total of 254 different waveforms. These high-quality waves were created from source material that has been gathered for the last five years of our intensive sound development campaign, which has resulted in many top artist Signature Series libraries. The TS-10 has 300 Sound Programs and 300 Performance Presets, which are combinations of up to three sounds with a custom effect. Sounds can be combined by simply double-clicking a selection, and the TS-10 has a wide variety of simple editing controls over these sounds, in cluding mix, pan, attack/release times, brightness, key zone, velocity range, transpose, detune, controller enables. Patch Select status, MIDI interface as an option. We have adjusted the price of our first three volumes of CD-ROM sounds for the ASR-lO/EPS-16 PLUS down to $199.95. This cuts the price of these sound collections in half, and makes the purchase of a CD-ROM drive and libraries an amazing value for you. Take ad vantage of this great opportunity! In last month's issue of the Hacker we announced the discontinuation of the 32-Voice upgrade for VFX-SD's and SD-l's. This change resulted from a shortage of SD-1 32-Voice main board materials. Steve Coscia, Ensoniq's Service Manager, apologizes to the customers who may have been planning to upgrade for the abrupt cancellation of the program. Any customers wishing to speak to Steve may do so by information and more. calling 215-647-3930. Hacker News Unique to the TS-lO's voice architecture is the new Hyper-Wave™ mode, which enables the user to select a list of up to 16 different Call for writers: We're still looking for DP/4 material! waveforms and cross-fade between the waves with many creative con trols. The sounds possible from this architecture range from constanttime drum and rhythm grooves to ethereal and moving washes of Call for programmers: We still could really use some more Hackerpatches for the SQ-1/-2 & KS-32. sound. We'd like to welcome Power Track Productions to our Hacker To allow for even greater sound possibilities the TS-10 can be fitted with up to eight Megabytes of optional SIMM memory, enabling it to read and edit sample disks made for the ASR-IO/EPS family of sam pling instruments. With four Megabytes of SIMM memory the ASR-10 can hold 10 sampled sounds, and with a full eight Megabytes installed the TS-10 can hold 20 sampled sounds. These sampled family of advertisers. TRANSONIQ-NET HELP WITH QUESTIONS sounds can be used in custom Performance Presets and sequences, with full editing freedom. All of the individuals listed below are volunteers\ Please take that into consideration when calling. If you get a recording and leave a mes sage, let 'em know if it's okay to call back collect (this will greatly in crease your chances of getting a return call). The TS-10 includes 66 effects algorithms, many allowing for multiple effects with individual bussing for greater control in sound combina tions and for sequencing. Real-time modulation of any effects parameter is possible for expressive control over the signal process ing. Each effect has four variations in ROM, giving you access to 264 effect "templates" for your own sound programming possibilities. 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. All Ensoniq Gear - Electric Factory (Ensoniq's Australia distributor). Business hours - Victoria. (03) 4805988. The 24-track sequencer in the TS-10 holds 30,000 notes in memory, which is expandable to 100,000 notes with the optional SQX-70. Timing resolution is 96 PPQ, and all edits are able to be auditioned to hear the results before saving to memory. Up to 60 Sequences/Songs SD-1 Questions - Philip Magnotta, 401-467-4357, 4 pm - 12:30 EST. VEX Sound Programming Questions - Dara Jones, Compuserve: 71055,1113 or Midi-net and Fido-net. The local BBS is the Nightfly in can be held in memory, and these sequences' templates can also be Dallas: 214-342-2286. used to hold 12-part combinations for expanded performance needs. SD-1 Questions - John Cox, 609-888-5519, (NJ) 6 - 8 pm EST. The 61-key TS-10 also features Ensoniq innovations such as Patch Select buttons for instant access to four pre-programmed sound varia tions and a Poly-Key/Pressure keyboard for polyphonic aftertouch. Its high-density disk drive can store MIDI System Exclusive data from external devices, as well as sound and sequence data. When a user edits a sampled sound the TS-10 will only store the edited parameters, and will not require the user to resave the sample data, freeing up disk SQ-80 Questions - Robert Romano, 607-533-7878. Any oT time. Hard Drives & Drive Systems, Studios, & Computers - Rob Feiner, Cinetunes. 914-963-5818. 11 am - 3 pm EST. Compuserve: 71024,1255. EPS, EPS-16 PLUS, & ASR-10 Questions - Garth Hjelte. Rubber Chicken Software. Pacific Time (WA). Call anytime. If message, 24-hour callback. (206) 821-5054. space. The TS-10 has four polyphonic outputs, and can accommodate two programmable dual foot pedals and a control voltage pedal. ESQ-1 AND SQ-80 Questions - Tom McCaffrey. ESQUPA. 215830-0241, before 11 pm Eastern Time. The TS-10 will be available in April, 1993 and has a suggested retail of $2495.00 (US). 3 ESQ-1 Questions - Jim Johnson, (503) 684-0942. 8 am to 5 pm Pacific HYPERSONIQ Time (OR). NEW PRODUCTS EPS/MIRAGE/ESQ/SQ.80 M.U.G. 24-Hour Hotline - 212-4653430. Leave name, number, address. 24-hr Callback. Q Up Arts announces the release of "All Drums," 70 minutes of DDD acoustic and electronic drum tracks with various ambience Sampling & Moving Samples - Jack Loesch, (908) 264-3512. Eastern Time (N.J.). Call after 6:00 pm. and effects. Produced by Michael Welch, the All Drums CD-Audio disk contains grooves from every genre: Jazz, Urban, World Beat, MIDI Users - Eric Baragar, Canadian MIDI Users Group, (613) 392- Bossa Nova, Samba, Fusion, Carnival, Burlesque, Techno, Myster 6296 during business hours. Eastern Time (Toronto, ONT) or call ious Moods, Blues, Mickey Hates Jazz, Electro and Rock & Roll. In addition to the standard snares, toms, full drum sets, mallets, MIDILINE BBS at (613) 966-6823 24 hours. brushes, etc., the set also includes unique comedy fills. The pur Mirage Sampling - Mark Wyar, (216) 323-1205. Eastern time zone (OH). Calls between 6 pm and 11 pm. chase price includes lifetime ownership with no additional licens ing. Q Up is also releasing "Trails and Reflections" - 20 minutes of wet-only samples on audio CD. Every sample was captured using the AES digital in/out on the Lexicon 300 Digital Effects System - 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!) the cleanest reverb in the world. Samples include stadium, long and short gates, plates and reverse effects. Designed to be combined SQ-1, KS-32, & SD-1 Questions - Pat Finnigan, 317-462-8446. 8:00 am to 10:00 pm EST. (blended, layered, morphed, mixed, merged, etc.) with your current library of dry sounds. No samples were compressed, equalized or re-digitized. Either disk;$99.00. For more information, contact: Q ' ESQ-1, MIDI & Computers - Joe Slater, (404) 925-7929. Eastern time Up Arts, P.O. Box 1078, Aptos, CA 95001. Phone: 408-688-9524. z o n e . H A C K E R B A S E M E N T TA P E S Daniel Monde! I think that one way Bruce might expand in the future would Tape: Seraphim. be to explore the uses of more varied sounds within a work Artist: Bruce Lehrer. such as this. Many of the pieces contained in Seraphim seem Contact: Ashlay Music, 3908 Georgia Avenue North, Minneapolis, MN to overlap. That is what makes the moment of the large bell 55427. sound so special — it breaks up what has already been es tablished. Organic Seraphim — The Works of Bruce Lehrer Bruce passes my rule of thumb for analyzing sequences. If I am agonizingly aware of their presence, then something went wrong. Nothing has gone wrong here. I am more drawn to lis Equipment: EPS and JVC tape deck. This is an instrumental tape that fits squarely into the round ten to the flow of the music than to zone in on an underlying hole of new age music. It is light and airy. It is bells and strings and keyboards. It is sparse percussion. However, more than any of these, it is listenable music that Bruce has breathed life into in a variety of ways. sequence. Bruce wrote in, "I have spent about 1 112 years on the EPS coming up with the material for "Seraphim." The equipment Here we have moody head music with a light, rather intro is simple but so versatile. So far I have an offer from ACRA records in LA, but since I sent out 30 or so copies, I'm still spective sensibility. When I say Bruce breathed life into this waiting for all the offers to come rolling in." work, I want to give you a sense that almost literally there is a living pulse that ebbs and flows. This is achieved partly Finally I will leave you with some words of wisdom from with a low cello or bass string voice that bows in and out of several of the pieces. Bruce that explain why you should get in touch with him and listen to his tape: "Sounds can sometimes say what words can not." M One sound of particular interest is what I would call Big Ben. It is a huge bell sound that sets off JUGGLER on side two. Even on my Mordaunt-Short speakers (4 out of 5 reviewers If you want your tape run through the ringer, err. Hacker, just mail it off to: Basement Tapes, Tran- prefer this speaker) this huge bell was magnificent. soniq Hacker, 1402 SW Upland Dr., Portland OR 97221. Bruce relies on a very symphonic palette, with sprinkles of bells and vocal pads. It is amazing that with all of the Bio: Daniel Mandel is a songwriter, sound designer, and has sold pro audio and keyboard equipment and thousands of sounds available on these instruments most ar tists really do whittle their choices down to a small group of sounds from which they play. I suspect it is human nature to restrict or manage the number of choices. produced demo tapes for local bands. 4 UNAUTHORIZED BREAK-IN New WAVeBOY disk exposes direct audio input to EPS-16 PLUS Effects Send any signal through the EPS effects processor, with the new WAVeBOY Audio-In Effects Disk. Guitar, mic, or line level audio. Works with all 13 factory algorithms. Disk also includes Plate Reverb, Non-linear Reverb, and 3-voice Pitch-shifter that can process external audio and internal sounds. Just $39.95 Also available, the amazing WAVeBOY Parallel Effects Disk. Four different effects at once. Also only $39.95. "A Genius-at-work kind of product... I can't imagine any I EPS-16 PLUS owner who wouldn't want to have this disk..." -Craig Anderton, TH review, April, '92 Order now! Overseas add $6. PA Residents Add 6% sales tax. Mastercard or Visa accepted. To order call (215) 251-9562. Or send cashier check or money order to: WAVeBOY, P.O.Box 233, Paoli, PA 19301 A I VFX Quasi-Analog "REZ N V D U ft S T R R O I Y ES 9 9 Dara Jones aka 71055,1113 I believe it's prudent to have a variety of analog and digital analogish sound and you've barely gotten started! Next, select synths in order to achieve your own particular sound. You want a digital sound, you use a digital synth, for an analog sound you ENV1 as the modsource and +99 as the modulation amount. always use an analog. Right? Well....not always. For you analog purists, I gotta admit there's nothing like a real analog box to deliver that real analog sound. But the VFX does some mighty fine tricks that almost sound real enough to be the real thing. Not to mention the fact that the VFX's a lot more progranunable and versatile than a lot of these fine antiques. The VFX, how ever, is different from an analog in many ways. For instance, there's no "Q" knob to adjust the emphasis on the filter cutoff frequency. You may find that you have had to hunt in different places to find that effect. The transwaves are a good place to look as the waves themselves can be modulated to change their timbres. This, in conjunction with a modulated filter cutoff, can be very effective in giving a resonant type sound. I wanted to get a nice smooth sweep from ENVl, which can be tricky as it can tend to sound choppy so I used my trusty Oview program to give me something graphic to look at. However, since not everyone reading this will be using Oview, I've writ ten the parameters as they appear in the VFX: First, select a patch to write over, press SELECT VOICE and press the button over the first voice twice quickly to solo it. Then press COPY and select default. This will give us a basis ENV ENV 1 Page 1: LEVELS INITIAL=00 PEAK=99 BREAK1=94 Page 2: TIMES AT TA C K = 5 2 D E C AY 2 = 7 0 Page 3: BREAK2=47 D E C AY 3 = 4 7 Change the mode to "Finish" 3 Page 2:Change release to +56 on which to start. Press WAVE and select RESONANT-3 from OUTPUT the Trans wave waveforms. You should already begin to hear an page 1 : Change volume to 72 5 S U S TA I N = 2 1 D E C AY 1 = 4 1 RELEASE=65 limited. The sky, so to speak, is the only limiting factor on this Try it out in the middle register. You should be hearing what sounds like a resonant filter sweep. Remember, we haven't even here synth. touched the filter yet. But it does need something more, so press FILTER and set filter 1 up like this: On page 2 of OUTPUT, set PAN to 87. Press SELECT VOICE and underline RES0NANT3. Make sure both it and PULSE.l-X L O - PA S S / 2 CUTOFF=077 KBD=+25 M0DSRC=ENV1 M0DAMT=+61 ENV2=00 are not in parentheses and that the other four voices are. Go back to page 2 of OUTPUT and set voice I's pan to 18. You should notice a nice analogoid sweep and get a nice stereo ef fect from the differing pan settings. Leave filter 2 alone. It's already set to its default and won't af fect the parameters. Press PITCH and set FINE to +5 or so, whatever sounds right to I like big fat sounds sooooo...press SELECT WAVE, then press COPY and select MAKE COPY. Press SELECT WAVE again and press the button over voice 2 twice quickly to solo the you. voice. Press COPY again and select RECALL. This should ef For a little more bite on the attack try this. Press SELECT VOICE and underline voice 3. A second press will remove the fectively make a carbon of all voice 1 parameters. Press WAVE parentheses. Press COPY and select default. Press WAVE and and change the wavesample to PULSE. 1-X from the transwave select POTLID-HT from the tuned percussion waveforms. On waveforms. Try it out and you should notice a very different timbre than the previous RESONANT-3 wave. Envelope 1 is page 1 of OUTPUT set the volume to 90. On page 2, select FX2 for the destination bus. modulating this wave and it sounds as if the pulse wave is ac tually changing shape. Notice how it seems to "close up" for You might want to try pressing the patch select buttons and set part of the filter sweep. I wanted to tweak the filter cutoff a bit for this voice, so press FILTERS on page 1: each patch select. Also, try using other transwaves in place of or ting different combinations of voices 1 through 3 to sound for in addition to the ones I've suggested. L O - PA S S / 2 C U TO F F = 0 6 9 K B D = + 2 3 M0DSRC=ENV1 MODAMT=+99 ENV2=+00 It's not an Xpander, but it's a decent sound from a more than decent synth. I wonder what else we can make it do? Hmm... ■■ Now, press EFFECTS and select the 8-VOICE CHORUS. 1. For simplicity's sake, I just use the default parameters here, but that doesn't mean that you programming wizards have to be so Bio: Dara works as a horticulturalist by day, analog-hog by night. She plans to do film editing in the next year or so. MIDI Mark Samples Bryce Inman detuning layers and using differing sample start points have been For: EPSs and ASR-lOs. Product: Sound Disks. employed very effectively so that, when heard in a stereo en Price: $8 per disk or 6 disks for $35 plus $3 S/H; Demo disk $5, catalog vironment, these sounds come alive as they appear to dance is free. across a three dimensional field. These are all synthesized sound effects (as opposed to realistic effects such as door slams, car en From: MIDI Mark Productions, P.O. Box 217, Whittier, CA 90608. gines, etc.) You hear sounds like these in science fiction flicks. In this day and age when we seem to feel it's necessary to put Disks #79 and #80 contain a number of synths: Quark D, Acid warning labels on everything, I would like to propose that En- Pad and Happy Meals to name just a few. Most of these are ag soniq warn consumers about the insatiable appetite of the gressive, in-your-face sounds that would work as lead synths or would provide rhythm keyboards that cut through walls of soimd. samplers they sell. Although my EPS-I6 Plus already has thousands of samples from which to choose, it still begs for more and leaps joyously whenever I insert a new disk. I just fed my keyboard six new disks from MIDI Mark Productions and got it Unfortunately, some of the samples on these disks are looped poorly — lots of clicks and wobbly loops. to take a nap. So, let's try to get through this review before it wakes up again and wants more. Disk #81 contains 15 separate bass sounds. All of the basses on this disk are punchy synth basses suited for dance/pop music. These bass sounds have been sampled well, but none are looped. I guess it's assumed that you won't need a sustained bass for this First, let's take a look at disks #82 and #83 — both of which con tain a number of absolutely marvelous stereo effects with names type of music. like ALIEN CAR ALARM, CRAZY WA and CYBER BUG. Take note that the operative word here is stereo. Tricks such as A drum set titled "TI/T3 Megadrums" is on disk #91. Most of 6 these sounds have been sampled with reverb and they're all clean, bright and pack a punch. The patch selects are used to select backwards-type effects. contains a synth, an organ, a vocal pad, a bass, a drum loop (the drum loop is from the "Dance Construction Set Sampling CD" also available from MIDI Mark) and three effects. And, there's I was pleased to find that a number of sounds on these disks have been programmed so that velocity controls the filters. We're all actually a demo sequence on this disk... demo sequences sure are becoming a dying art. I highly recom mend that you order this disk. The in familiar with the technique of programming the envelopes so that formation I received indicates that the velocity with which a key is struck controls how loud or soft MIDI Mark has approximately 90 disks in their catalog. Obviously, I've the soimd is played. The folks at MIDI Mark have gone a step further and programmed a number of these sounds so that velocity also controls the opening of the filters. This little adjust only heard a few of their sounds, but the soimds on the demo disk are pretty indicative of MM's general style and ment gives a lot more character to the sounds. Nice touch. quality, mt Beside a few bad loops on the synth disks, the only other gripe I had was a lack of variations for the patch select buttons. Other than the drums, there were no variations on any of the sounds. Bio: Bryce Inman is a free-lance music editor and arranger. Although he has decided to make Texas his home, he The final disk I received was MIDI Mark's demo disk. This disk refuses to say "y'all" or "fixin'." M I R A G E F R E Q A Design for a Mirage Sampling Tool - Parti Johnny Klonaris This series of articles discusses how to write a program that will If you'd like to write such a program, you'll need to know how to read and write bytes to the MIDI interface of your computer aid in producing tones to help produce good loops on your Mirage. It also tells you how to get your hands on such a program (often harder than it sounds). Other than that, the ideas should apply to your computer. for the C=64/128 for the right price (free). Notation Notes: Some of my notation might be confusing. For The Restriction... hexadecimal numbers, I either explicitly say "hex" or I use the For the Mirage output hardware to work well, the length of a short loop has to be a power of two and the start page number C-language construct of starting with "Ox." My use of subscripts in formulae is fairly arbitrary and I seem to like to use C=64 to refer to the Commodore C=64 computer. Deal with it! should be evenly divisible by the length of the loop. The upshot of all this is essentially that one, two, and four page loops are probably most common for short loops. Much above that and it's difficult avoid subharmonics. The Advanced Sampler's Guide has more on this and I highly recommend that you get one of these if you plan on doing much sampling. Introduction: Huh? Those of us still in possession of that now somewhat quaint beast, the Mirage have learned how to deal with restrictions. But constraint is often the source of inspiration, and creativity (which leads to weirdness, but that's another thing...). The problem with all of this is that for the vast majority of pitched samples, we generally want the pitch of the looped por tion to match the pitch of the attack portion. This puts very specific constraints upon the pitch of the sound being sampled. In Anyway, one of the constraints of the Mirage, and all samplers, is a finite number of sampling rates. This becomes more of an issue with the Mirage because of the way short loops work. Wouldn't it be great to be able to get a synth to produce just the right pitch so that your loops would work out great? Well, read on...! fact, there are exactly two factors involved: ♦ Input sample rate (Parameter [73]) • Number of waves per page What I've done is to write a program that generates a pitch on my C=128 SID chip that I can play to, so that my short loops would work out right. I later adapted the program to generate MIDI note and pitch bend commands to make any synthesizer serve the same purpose (this has the added advantage of making it much easier to sample a synth directly). Given these two, there is exactly one pitch that meets these criteria. However, of the 80 sample rates available on the Mirage (without the Input Sampling Filter) only three are within 5% of an equal tempered scale (however two of these are within 1%!). This means that you either limit your sampling to A's and Bb's, This series of articles is about how I wrote the program and hope or you need to produce sounds that are in between the notes on an equal tempered scale. fully how you can write a similar program if you're so inclined. 7 So, how do you know what this pitch is and how do you go about producing it? limit yourself to either reading or writing but not both at the same time. In this case bothering to send the 0xF7 can cause you to miss the first byte sent by the Mirage. In any case, so long as you One way to do this is to use some device to play a tone that matches this frequency which you can then tune to. I used the Commodore SID chip and that program is available. only have a Mirage connected running MASOS 2.0, there does not appear to be a need to send the 0xF7. (I send it, but making it work was not as simple as it seemed.) The other way to do it is use MIDI key numbers and pitch bend ...and then receiving It. to produce the tone. The advantage of this is that you can then use it to sample directly from the synth in question (and it can be implemented on a computer that doesn't have a SID chip). We'll This is simply a matter of getting the bytes sent by the Mirage. The message you will receive is the Mirage Configuration Dump Data message. This message consists of a four byte header (just t a k e a l o o k a t t h i s i n a b i t m o r e d e t a i l l a t e r. like the one that we sent, except the fourth byte is a 2 instead of a A Better Look at the Problem 0), followed by 56 bytes of data. For the purposes of this pro gram, we're only interested in some of these: specifically the So, the problem looks like it can be broken down into the follow ing pieces: Sample Time [73], the Input Filter Frequency [74], and the Cartridge Filter Frequency [93]. The filter values are for some helpful fun we'll get into later. The offsets for these are shown in • Getting the current sample rate [73] from the Mirage • Converting this to a frequency • Producing this frequency this table: Offset Description 0-3 Header (Hex: FF OF 01 02) 4-15 First six values (12 bytes) (not used) 16-17 Sample rate value [73] 18-19 Internal filter value [74] 20-55 more of the message — unused 56-57 external filter value [93] 58-62 last few bytes. • Communicating with the user The first three are actually pretty simple and the last one isn't too bad either since the program has such a well-defined and limited purpose (famous last words). Getting the Sample Rate From the Mirage If you're planning on programming this, you hopefully have done some MIDI programming before. If not, this may be a bit big for your first project. Anyway, getting the sample rate breaks down Note that the values are stored in two bytes. Since SysEx mes into three parts: two MIDI bytes. Calculating the values we need then becomes: • Send the Configuration Parameters Dump Request message • Receive the results from the Mirage (handling errors) • Convert the data into a sample rate parm73 = bytel7 *16-1- bytel6 parm74 = (bytel9 *16-1- bytel8 ) / 2 parm93 = byte57 *16-1- byte56 sages cannot have the high order bit set (otherwise it would be a command) the data are sent as two nybbles, lower then upper, as or, in C, with the table above in an array named "data," you'd Asking for data... have maybe something like: To get the Mirage to send us the parameters we need, we must first ask for them. The MIRAGE running MASOS 2.0 will send the sample rate as part of its Configuration Dump Data message. We have to send a Configuration Parameters Dump Request mes sample_rate = data[17]*16 -i- data[16]; int_filter = (data[19]*16 + data[18])/2; ext_filter = data[57]*16-i-data[56]; sage. That message consists of four MIDI bytes: H e x Note that the value sent from the Mirage for parameter 74 is twice that displayed, thus the division by 2. Decimal FO 240 OF 15 01 1 SysEx start Ensoniq code Mirage code 00 0 Configuration parameters dump request It would be a good idea for the program to check the data to make sure that the message is correct. For example, my program simply throws away all data until it see the SysEx start (OxFO) and stops collecting data when it gets all of the data, or a byte is received that is greater than 127 (0x7F). Actually, this part of the The Mirage documentation does not show a SysEx end byte (0xF7) and in fact the Mirage starts sending as soon as the fourth byte is received. Whether or not to send the SysEx end depends program (and making it work on two computers with two dif ferent interfaces!) caused me the most problems. Have fun. on how your are doing your MIDI I/O. If your interface/com So, now we have the data we need, we can proceed.... ■■ puter/software can send and receive at the same time, I would say send the byte. However, on simple interfaces, like the Com modore's the choice is to write an interrupt handling routine or to Next installments: using this info to produce a frequency. 8 Understanding Envelopes in the SD and VFX Synths Part I — Basic Concepts SD & VFX Prog: RAW WAVES WAV E S Robby Berman A few months ago, a masseuse I know who owns a VFX called me up and asked if I'd explain envelopes to her in ex change for a massage. Having once struggled to understand them myself, I said sure, and before she stopped by for her lesson I thought of how I might best make the whole sordid mess clear for her. All to no avail. After several hours of my labyrinthine analogies, we both had headaches, and I'm not sure I brought her any closer to imderstanding when to use en SELECT VOICE Wave Wave Class Strings StrlngSound Delay 0 0 0 Start 00 Ve l S t a r t M o d Direction -fOO Forward 0 0 1 0 * * 0 1 1 • • 1 ENV1 1 Initial Peak MOD MIXER Break 1 SRC-1 Break 2 SRC-2 Sustain SRC-2 Scale Attack SRC-2 Shape Decay 1 Decay 2 Decay 3 PITCH velopes, why or how. And my wife ended up with the mas Octave +0 Release -i-OO "KB~Dfrack' sage. Semitone Fine -1-00 Ve l C u r v e P i t c h Ta b l e System Mode Ve l - L e v e l When the Hacker asked me recently to write an article on this Ve l - A t t a c k PITCH MODS very subject, I shuddered and thought how wise must be other Hacker writers to have avoided the subject all these years. Still bothered by my imbroglio with the masseuse, however, the challenge had some appeal and I accepted it. MODSRC Off ENV2 MODAMT - Glide None Initial ENV1 +00 Peak LF01 +00 Break 1 Break 2 Sustain In preparing to write this, the first thing I needed to figure out was exactly why this subject is so confusing. In the shower F I LT E R 1 Mode today, it came to me in a flash (well, maybe a splash). Here it is, get ready: Envelopes are generally conceived and shown in two-dimensional (height and width) terms, and the musical notes we want to use them on exist only in the fourth — time. Oooh, heavy. No wonder our heads hurt. LP/2 Cutoff 127 KBD -(■00 MODSRC MODAMT Off ENV2 •fOO 'Attack Decay 1 Decay 2 Decay 3 Release 'kbI) Track" Ve l C u r v e Mode Ve l - L e v e l F I LT E R 2 So let's try and ignore all this dimensionality and just say this: Envelopes shape sound. In the VFX-sd and SD-1 they can shape the volume of a sound, its pitch, the filtration of its fre quencies or its place in the stereo field. In Part I of this miniseries, let's just attempt to tackle this much. Mode HP/2 Cutoff 000 KBD ■fOO MODSRC Off MODAMT ENV2 •(•00 MODSRC Why don't we start by taking a few minutes to program my RAW WAVES patch into your VFX/SD. I created this so that I could audition the ROM waves in my keyboard without the MODAMT KBD Scale LO/HLKej_ camouflage of effects, filtering, or enveloping. You might find it interesting to go through the waves yourself by press ENV3 initial 9 9 Peak 9 9 Break 1 9 9 Break 2 9 9 Sustain 9 9 "Attack OUTPUT VOL Ve l - A t t a c k 0 0 0 0 Off Decay 1 Decay 2 Decay 3 +00 Release KBD Track 0 0 Convl 9 0 _C2-C7_ 0 0 0 0 +00 Dest Bus 5ry Pan 5 0 Ve l C u r v e Mode Off Ve l - L e v e l Normal 0 0 Ve l - A t t a c k 0 0 MODSRC MODAMT ing WAVE, underlining the upper left-hand field and scrolling Pre-Gain through them all. But do it later. Ve l T h r e s h Vo i c e P r i o r PGM CONTROL - P i t c h Ta b l e Off Bend Range Anyway, for now, just get RAW WAVES together and play middle C. What you're hearing is a plain STRINGS wave with the filter wide open and no FX or enveloping. Notice that the note will play at one volume from the moment you press the key until the moment you let go, after which it immediately switches off. This is because there is no enveloping being ap plied to the volume of the wave. An envelope would take that straight voliune line I set to 90 (on the Output page) and add FO Rate MODSRC 1 3 5 Off MODAMT Level MODSRC Delat "Wavesha'pe" 9 0 0 O f f _oq f riangle Restart Off Noise SRC RT 0 0 Delay *1 Restrike 00 Glide Time 00 PERFORMANCE Timbre 0 0 Release +00 shape to it, making it louder, or softer, at different times of your choosing. It would even affect how quickly the volume of the note dies away after you let go of the key. go momentarily sharp when their strings are plucked. Some instruments appear to flatten slightly as they fade away. To simulate such things, you'd have to have a way to shape pitch, other than just playing a key on the keyboard. Ooh, envelopes. The same type of thing is true of the filtering. As RAW WAVES is programmed, the lowpass filter cutoff is at 127, so Anyway, let it be noted that the common thread here is that you're hearing all the treble frequencies contained in the STRINGS wave for as long as you hold the key down. There's no shape to what's being allowed through the filter — it's just wide open all the time. If all your patches were programmed this way, things would start grating pretty quickly. You could set the cutoff lower to reduce the high- end content of what something that's static, a straight line if you will, can be turned into something more curvy. So much for my attempt at non-dimensionality. That straight line could be the volume level of a wave, which left alone is just a flat line that switches on when you press a key down and abruptly stops when you let go. It could be a filter cutoff setting, a pan posi tion or a pitch — all straight lines until you shape them. That's what envelopes do. you hear, but suppose you wanted the attack of your note to be nice and bright, and then wanted the rest of your note to settle into something more creamy? What we're describing is — not Next time we'll start actually just filtering — but filtration that needs to be shaped. working with the dang things. ■■ The pan position of RAW WAVES is 50, smack dab in the middle of the stereo field. While it's not unpleasant that it just sits there, if you wanted it to, for instance, swing over to the right (or left) after you struck the key, you'd need to add some shaping to that straight line going up and down the middle of your headphoned head. Bio: Robby Berman has escaped the soybean fields of southern Il With the pitch, it's the same thing. What you've got in RAW WAVES is a plain old static pitch, which most times is fine. But some instruments in the real world, like guitars, actually Hudson Valley. He's still a musician, though. His latest album is "Rings and Rings." linois and is back in his beloved How Sounds Work Part III: Ttie Perfect Piano Mark Clifton this patch the same as a real piano. This means you should be able to play the entire dynamic range of the piano without Many of you own (or like me) have upgraded to an SQ-1 Plus, and are wallowing in ecstasy over those spectacular 16-bit piano waves. So as a public service, I present to you lucky SQ-1 Plus (and SD-1) owners this little guide to getting touching the volume slider. The way this was accomplished was by programming a great amount of velocity sensitivity the most out of those soimds. i n t o t h e fi l t e r s a s w e l l a s v o l u m e . Yo u ' l l n o t i c e t h a t I ' v e a s signed the filter MODSCR to VELOCity as well as increase the Vel-Level of envelope 2 (which I'm using to sculpt the This month we'll look at the patch "Something Grand" from Volume 1 of Latter Sounds "Hardwire" Collection (what sound of the filter) to 99. This means that the sound will be else is new?). This is my all-purpose, super-realistic grand very soft and mellow at low velocity levels, and will become brighter and punchier as harder playing opens the filters. The Vel-level of the AMP envelope is set to a fairly high level too, matching the sensitivity of the filters so that both volume and brightness change realistically. piano sound, and it took me literally months of tweaking to perfect. I've noticed in the past that many piano sounds out there lack the life and responsiveness of the real thing, so I loaded this patch down with all kinds of spiffy features, such as super velocity response and simulated keyboard-tracking auto panning. So without further ado, we shall dive in and see what this baby's got. Another standout feature is simulated auto-panning. If you listen to the sound in stereo and play a gliss up the keyboard from left to right, you'll notice that the panning of the sound shifts from left to right as well, following your movements. One of the main features that stands out on this patch is the velocity response. This is an area that I've found lacking in Normally, to achieve this effect on a synthesizer, you would program keyboard position to modulate panning. The most sounds, so I decided to make the velocity sensitivity on 10 ENV1 1 2 3 ENV2 Initial Peak initial 9 9 9 9 9 9 Peak 9 9 9 9 9 5 Break Break 6 0 6 0 5 3 Sustain Sustain G O 0 0 0 0 Attack Attack 1 9 1 9 1 9 Decay 1 Decay 2 Decay 1 Decay 2 4 8 4 8 4 5 9 9 9 9 9 9 Release Release 3 0 3 0 3 0 Ve i - L e v e i Ve i - A t t a c k Ve i - L e v e l 9 9 9 9 9 9 Ve l - A t t a c k Ve i C u r v e 0 0 0 0 0 0 Ve i C u r v e Convex Convex Convex Mode Mode Normal Normal Normal KBD Track KBD Track +14 +14 +14 problem is, the SQ doesn't have a pan modulation parameter, HALL REVERB FX-1 36 FX-2 25 Decay Time Diffusion Detune 25 58 Rate 40 D e t u n e D e p t fi 1 2 HF Damping 33 HF Bandwidtti 93 LF Decay + 11 MOD(Dest) FX-1-Mix BY (MODSRC) Modped MODAMT +43 using stranger effects can really liven up your sound. Most piano patches will benefit from a little chorusing, which adds fullness and sparkle. Just be careful not to overdo it, though. Too much chorusing can turn the sound muddy, or can create an undesirable swirling effect if the Rate and Depth are set too high. For a little funk, feed it through the flanger. For even more funk, turn the Input invert on. For a sound not un like a pedal steel, feed it through the Phase Shifter with the so I had to create a simulation of this effect. So what I did was create two oscillators (1 and 2) panned slightly left and slightly right (in this case, -28 and +28). The two oscillators are nearly identical except that the one panned left is tweaked to play more realistically on the lower part of the keyboard, and the on panned right to play realistically on the upper part. Then oscillator 1 (the one panned left) is programmed through the KBD Scale parameter to fade out gradually toward the upper range of the keyboard, then vice-versa for oscillator 2. Now, as you play across the keyboard from left to right, the sound will slowly fade from oscillator 1 to oscil lator 2, simultaneously changing in character and panning position. Oscillator 3, which is panned at dead center, was Input invert on. The key here is experimentation. Don't be afraid to get a little weird and nerdy every once in a while. After all, synth programmers are the coolest types of com puter nerds, right? Right. That's it for now. Next time — lots and lots o' gee-tars! h created to smooth out the transition between oscillators. Here's a couple more tips. If you want a thinner sound with more pronounced auto-panning, simply mute oscillator 3. You can also control the width of the panning by increasing Bio: Mark Clifton is a player and composer of Jazz, New 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. the pan amounts on oscillators 1 and 2. The modwheel is set for detuning. To control brightness, change the FCl and FC2 cutoff on all the filters. The sound will get thinner and punch ier as you increase it, and mellower and fuller as you decrease it. Also, try feeding the sound through different ef fects. This patch is fed through a simple Hall reverb effect for maximum realism (the modpedal increases the reverb), but 11 (800) 800-4654 VISA nOUGHBRED MasterCard 'tfm JVIUUISIIO FAX (813) 238-5443 Your Music Department Store. NOW IN STOCK Memory Expansion Kits for SD-1, SQ-1, SQ-2 Carpet Cover ATA SQ-1, VFX, VFX-sd $ 11 9 ~ $235«' Mirage, Mirage DSK $11900 $235«' SQ-2 $150~ $270°° EPS. EPS-16+. 80-1, CUSTOM DESIGN YOUR OWN CASE!!! 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T M Addltlonel SYNCMAN Feature*; Any type HD available Any size, any format Also available for HD recording Song Pointer Sync Generator/Reader • Spedai Song Pointer Sync (SPS) Duplication feature allows you to duplicate recorded SPS Stripes. • Indudes 'Jam' Song Pointer Sync to recover from tape drop-out. • Built-in Merge Mode allows you to merge all keyboard or sequencer MIDI information with either MIDI Time Code or Song Pointer Sync information • Dimensions: 4' x 6' x 1' • Weight: under 1 lb. Lowest prices on anything musical in the USA! Customer Service Capers — From Ensoniq Tony Ferrara Hello, this is Tony Ferrara once again. As always, the ex planations found here are drawn from questions that Dennie Edwards and I (as well as other product specialists at En soniq) have found to be asked most frequently by callers to the Customer Service line. Although my column this month was written in response to a number of specific questions asked by SD-1 users, the following information applies as well to other current and recent Ensoniq workstations, includ lows tempo information to be recorded onto tape, for the pur pose of driving an external sequencer. It consists of a highpitched audio signal, which is recorded onto the last track of a multi-track format. This can then be converted to MIDI clocks. A FSK-to-MIDI converter will read back and convert the sync track, and send MIDI clocks out to the sequencer. "Smart" or intelligent FSK supports MIDI Song Position Pointer information. ing the KS-32 and SQ series, as well as the EPS, EPS-16 PLUS, and ASR-10 samplers. I hope that this installment MIDI Tape Sync is a technology that allows a multi-track helps clear up some confusion about a frequently mis tape deck to lock in with a sequencer. This is done by con verting the FSK tone (usually recorded onto the tape's last track) into MIDI clocks that can be used to control a sequen cer. This allows analog tape tracks to be played back simul taneously with the sequencer's virtual tracks, with the tape transport functioning as master to the sequencer. understood topic, using MIDI clocks versus MIDI Time Code when synchronizing your sequencer to a multi-track tape re corder. The following is a typical caller's question: "How do I get my SD-1 to synchronize with my TASCAM 644/688 multi-track cassette Midistudio?" Midi Time Code is a direct translation of SMPTE timecode Before answering this question, I'll briefly define some of the terms involved, so that we are all in sync, so to speak. I real ize that the following explanations only touch upon these into the MIDI language and protocol. It serves as a conver ideas, but hopefully they contain enough information so that we can distinguish between them, in order to answer the values of MIDI Clocks (measures, beats, and sixteenth notes), the length of which are contingent upon the song's particular tempo. MTC differs from both in that it is not actually sion process between the absolute time measurements of SMPTE (hours, minutes, and seconds), and the relative caller's original question. Since the following topics are deserving of discussion in much greater detail, a series of follow-up articles giving somewhat more specific discussion of each of these MIDI (and other) concepts and their relation ship to Ensoniq products is in order. Stay tuned. At least for recorded to tape; it is generated by an external converter that outputs MIDI Clocks, which can then drive a sequencer. SMPTE is a timing code which deals with absolute time in now, here goes: terms of hours, minutes, and seconds. It is generally striped to tape and used to synchronize video to audio in a multi media production. MIDI Clocks are part of the MIDI specification, and deal with the parameters of measures, beats, and sixteenth notes; the duration of which is relative to the particular tempo. The SD-l's sequencer transmits MIDI clocks (with Song Position Pointer data) by means of the "MIDI Out" port, enabling the Now, back to the first part of the caller's original question, which demands more immediate explanation: SD-I to function as the master to another MIDI instrument In this way, many MIDI instruments can be slaved to the se The SD-1 syncs to MIDI clocks with Song Position Pointer (SPP), not MIDI Time Code. It's easy to confuse these two terms, as they do sound very similar. By using the SD-1 as a quencer of the SD-1, which functions as the master clock. tone-generator with the internal sequencer's virtual tracks (such as a drum machine) which will follow along as a slave. The SD-1 can also respond in a passive role to such data, serving as a tone generator. following MIDI clocks for synchronization, you can lock in with the analog tracks on the Tascam multi-track tape deck. Unlike the ESQ-l/SQ-80 synthesizers (which generate their Song Position Pointer is a form of MIDI Clock information own tape- sync tones), more recent Ensoniq workstations re point at which the tape is started. Information is sent such as quire MIDI clocks with Song Position Pointer in order to lock in with live instruments recorded to audio tape. Both the Tas cam 644 and 688 models have a built-in MIDI Tape Synchro measure number, beat, and sixteenth note. nizer that will convert the MIDI clocks sent to the "MIDI In" FSK stands for frequency shift keying, a technique that al port of the MIDISTUDIO into FSK tones, which are recorded to tracks 4 or 8, respectively. which instructs a passive device as to exactly where in a song to begin. It allows the sequencer to "chase" and locate to any 13 The Tascam decks generate smart FSK with SPP, which al lows the SD-l's sequencer to "chase" to the precise location in the song at which the tape is started, down to the exact six teenth note. An external converter (such as the UNITOR 2 by Emagic, the SYNCMAN III by Midiman, or the Tascam MIDiiZER) is needed in order to have your instrument respond to other synchronization protocols, such as Midi Time Code and/or SMPTE. Keep in mind that it is far quicker and more accurate to have the sequencer chase and lock to the tape transport of the Tas cam 644/688, rather than the other way around. Make sure to place a high-quality tape in the 644; tape quality is not the place to compromise sonic quality for the sake of a few cents. Use one cassette per song and stripe the entire tape with the MIDI TAPE SYNC (FSK) tone, so that if you later decide to add additional sections to your tune, you will be more than • Rewind the tape after striping is completed. Driving the SD-1 's sequencer from the Tascam • Set the sequencer to receive MIDI Clocks on the first page of the SEQ Control page; the clock source should read CON TROL CLOCK=MIDL This puts your SD-1 into passive mode, whereby the sequencer will be driven by the MIDI clocks (with Song Position Pointer) converted from the FSK that you just striped to Track four of the 644, or track eight of the 688. • Connect a cable from the MIDI Out port of the 644/688 to the MIDI In port of the SD-1. • Turn the Record button of track four on the Tascam to OFF. covered. • Press the SAVE/LOAD button to LOAD. Because of the technical limitations of FSK, however, you will not be able to change the tempo of the song after you have striped the tape. Also, there is no need to use the Tascam's DBX noise reduction feature on the sync track, as it is not an audio track that will be monitored through your sys tem. Additionally, noise reduction has been known to oc • Press PLAY on the 644/688, and (after a few seconds) the casionally interfere with FSK, so leaving it off while striping would avoid any possible snag. receiving external MIDI clocks, as it will not re-start or chase-lock to the current song position pointer; use your tape deck as the "master" for control of your virtual tracks (other than volume), as the sequencer is now slaved to the FSK tones on track four. This will now allow you to continue Striping the tape • Set the Tascam 644/688 to SAVE. • Set clocks on the SD-1 for INTERNAL on the first SEQ Control page; the clock source should read CONTROL SD-l's sequencer will begin to play; you have now success fully synchronized the tape tracks to the virtual tracks of your s e q u e n c e r. Do not press PLAY or STOP-CONTINUE on the SD-1 while refining your SD-1 tracks by making changes such as editing effects and busses, switching programs, or even controlling external modules from the MIDI Out port for timbral variety and greater polyphony. C L O C K = I N T. • Put a MIDI cable into the MIDI Out port of the SD-1, with the other end going to the MIDI In port of the MIDISTUDIO; The SD-1 automatically transmits MIDI clocks, so you don't need to worry about enabling the MIDI Clock, as the Tascam manual alerts you to do. • Set the SYNC switch on the 644/688 to MIDI. I hope this has helped those of you who have been confused about the SD-1 and MIDI tape sync. I can't really close this article properly without extending thanks to the following people at Ensoniq for their help and suggestions in its writ ing; Bill Whipple, Bert Neikirk, Steve Coscia, Roy Elkins, and Jerry Kovarsky. As always, more information is only a phone call away! You all know where to reach me, so I'll be talking to you soon. Over and out for this month. ■■ • Press the SAVE/LOAD switch above the SYNC switch to S AV E . Bio: Anthony dreams of a ten record deal with a major label, a beach front • Press the RECORD button for track four to ON. house in Malibu, and a Ferrari Tes- • Press PLAY and RECORD at the same time. tarossa. He presently settles for a black Ford Probe, and an independ • A few seconds later, press the PLAY button of your SD-1. ent release on his own label, which was reviewed in the July '92 Hacker. • Set Loop = ON on the SD-l's SEQ Control page, if you Although a long-time resident of Philadelphia, he still refuses to say "youse." plan to continue to stripe through to the end of the tape. S u r fi n ' with TOM: The SQ-Series Talking Owner's Manual Pat Finnigan reference book takes more time than most of us are willing to Fon All SQ keyboard variants. spend, not only because it's an interruption of the creative process, but by the time you find out what you're looking for you've lost that musical idea that took you to the manual in the first place. Trial and error is, for relative purposes con Product: Talking Owner's Manual. Price: $13.95 + $3 shipping (mail order only). From: Talking Owners Manuals, 21405 Brookhurst Ave., Huntington Beach, CA 92646. FAX: (714) 631-5695. cerning the learning curve of musical hardware, successive ap proximation; no mistakes, no learning. Coming from this educational perspective, I guess it shows that I was once a As you probably know by now, I'm one of the SQ answerfolk of the Transoniq-net. And it's great to see all the applications and uses people have for Ensoniq gear, especially those people high-school biology teacher. from other countries (New Zealand, Australia, Finland). Enter the Talking Owner's Manuals. People from Japan even call for information, primarily for SysEx header codes and stuff (guess what postage on six poimds of MIDIspec info from Malvern to Japan costs?). Here in the states, most questions I answer are actually in the Dan Hakala and associates have not only spent a great deal of time doing that left brain-right brain dance for you, they've documented it and recorded it, step by step. They've gone Musician's Manual, albeit coded or buried somewhere. Ques through numerous brain spasms absorbing the operations of all Ensoniq equipment, hierarchically organized these operations into a logical and operable flow, and then recorded a narrative of these myriad button-presses in a tutorial fashion so that tions like "How do I change the sound on a track to a ROM card sound?" to "What does 'Unexpected Event ID=XXX mean?"' surface occasionally. Even Ed Shaughnessey (Johnny Carson's drummer) called last week to ask how to turn the your brain won't vent. These are so well-produced and docu mented they carry the official Ensoniq logo. click track off while recording (he's a polyrhythmic SQ-2 kinda guy). So while I ask you Ensoniq surfers to keep those cards and letters coming, I'd like to suggest an alternative. These are personal and professional observations, no Slinkard And did I mention thorough? The introduction consists of It has come to my attention that A, B, and C below are often identifying not only the buttons, but how they are organized into sections, a fact very often overlooked by the most veteran of users (yeah, me). This introductory tour is performed without turning the unit on or plugging any cables or pedals the case. in... (A) It's pretty well known Americans aren't the most literate society on this blue ball. Our newspapers are written at the 5th grade level, designed to entertain us for about 15 minutes. The Foy Readability Index, a standard measurement formula, sup ports the above. Some people's daily reading challenge is their The operation of your SQ-x is then explained in a step- is intended. by-step fashion. You're instructed to set your cassette recor der's tape coimter to 000 and note where the sections are lo cated so that you can stop, tinker in one area and explore. If you get stuck, just rewind the cassette to XXX and begin again. By the time you're done with side A you'll have al ready memorized the "direct-dialing" concept of parameter identification. The sequencer operations are dissected into both sequence, song and effect functions, and kudos are due to the effects routing section, the track transpose and muting TV Guide. (B) You just paid 1.5 bazillion dollars for your SQ. Who'll admit to reading the manual before they plugged it in and started tinkering? Sure you did (NOT!)! Only when I couldn't figure out how to change the effect on a track did I approach operations, and "Edit Song Steps" tutorials. In the "track copy" tutorial, you're not only exposed to copying data from one track to another, but clock shifting and transposing the clone tracks. All of this is presented in a reassuring and the manual. And it's not the same as (A); we've memorized what's on cable this month. (C) The SQ-series of Ensoniq keyboards (as well as their other products) are highly technical pieces of hardware masquerad ing as simple musical instruments. Although the manuals are descriptive, well organized and illustrated, and simpler to use than any other manufacturer's manuals, they still represent a technical document to a highly specific technical piece. friendly maimer by confident narrator, Tom Piggott. Explana tion of why the "Dirt Guitar" doesn't sound so dirty when in serted into a preset with "Warm Chamber" effects is a "branch and flow" chapter of effects processing, presets and track zones. Some very slick examples of layering sounds with dif ferent keyzones, volume, and pan positions are the most powerful sections of the tape: each step is documented and demonstrated, then the next key layer is added, zoned and Weighting down that left brain-right brain flux with a large 15 panned, also documented and demonstrated, next track added, own private SQ teacher, available any time, all the time, for zoned, layered, panned, well, you get the picture. Clear and concise without being demanding: good stuff here. These guys $17? These TOMs are such a necessary element of the Ensoniq fi r s t h a n d . . . foodchain, I wouldn't be surprised if Malvern started includ ing them with their keyboards in the near future; it would cer tainly ease Customer Service's load. I held off buying an EPS This tape is a must for all SQ owners; if the other TOMs are as tutorial tape had me up and running in under an hour. TOMs thorough, I can recommend them wholeheartedly. The TOM are not a substitute for the manual, but an enhancement for for the SQ would have saved me a ton of work had it been SQ, SD, VFX hackers, and an aid you'll use frequently when available in 1990; it tutors slick tricks that took me months to you're standing on the 0,0 intercept of the learning curve look ing east. I personally guarantee (for what that's worth) that use Ensoniq gear in their own post-house; they know it Classic until the infamous "Road Test" came along: the get to. All in about 90 minutes (your own personal mileage may vary depending on driving habits). Scott Frankfurt's you'll discover shortcuts about your SQ operations that you wouldn't have discovered anywhere else, and faster than you original SQl demo, "Tuning in to KSQl" is included (maybe that's why the Ensoniq logo is present; hmmm?), as is a could've located it in the 3-minute fusion jazz loop in Eb (so, as the manual says, "you owner's manual, tm can vamp on just the black keys") and jam a la musicminus-one (or your kids can pound sharps and flats). I wish there were more high end on the tape, but after 25 years of wars with Marshalls and HiWatts I wish everything had more 16k. The tapes are mastered on DAT and duped to commer Bio: Pat Finnigan is a cial-grade tape and shells. service tech turned musi So, for $17 TOM will give you individualized instruction for sages in sequences on his your SQ-1 on call. Available for all Ensoniq products (except the DP/4; ASR-10 coming soon), a real boon to novices and veteran hackers alike. Well conceived, executed and produced, EPSs, wondering how much harder he can push this Malvern silicon before no Ensoniq owner should be without one. How about your it reverts back to sand. cian who writes secret mes Cases for biswUi Eq^^eni Now available direct from factory (except in current dealer areas) our full line of ATA cases Category I and II Keyboards: EPS, EPS-16 PLUS, VFX, VFX-sd, SQ-80, SQ-1, SQ-1+, SQ-2 Module rack cases: 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, Eagle-I VFX-sd case Mention the (TH) code number 839 when inquiring to receive our special factory direct pricing. CALL US AT 1-800-637-6635 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 16 FINALLY... YOUR KEYBOARD'S INSTRUCTIONS Y O U D O N ' T H AV E T O R E A D ! As you listen and learn step-by-step, we explain the functions, use and potentials of your keyboard. With Talking Owner's Manuals^" instruc tions, you'll quickly learn the layout logic and operational commands without trial and error to unleash your SQ's full capabilities and power. Created and presented in a totally different order than your Musician's Manual, a Talking Owner's Manual™ will save you time, frustration and struggling to operate, sequence and perform to the max with your ENSONIQ SQ-1 or SQ-2 keyboard. You listen as your hands are directed to navigate through the controls so you will be up to full speed in the shortest time possible. All content is approved and edited by ENSONIQ to make understand ing your keyboard clear and easy. Please Print Clearly □ Send me your Talking Owner's Manual for the SQ-1 and SQ-2 Personal FA S T S E R V I C E V I A U . S . A l1l R M A I L Music Studio - 90 minute stereo cassette... $13.95 + $3 (S&H) = $16.95 COPY and MAIL or FAX this complete (ted form to; California Residents add tax (7.75%); Talking Owner's Manuals 21405 Brookhurst, #151, Huntington Beach, OA 92646 Make check or money order payable to T.O.M. (US funds only) Mailing outside US/Canada - Add $4.00: T O TA L E N C L O S E D : Name on Credit Card. Date Name. Credit Card # Address. State City Expires: Month. .Zip/PC. . (for order questions) Day Phone ( )_ Year □ Visa™ □ Mastercard^' Signature ORDER BY PHONE, lillAIL OR FAX - 7 DAYS PER WEEK • PHONE (714) 968-7009 • FAX (714) 965-2145 "Ask for T.O.M.' Write for ordering information on KS-32, EPS-16 Plus, SD-1, SD-1-32 Voice, and VFX-sd Talking Owner's Manuals^" The Rubber Chicken RUBBER CHICKEN Introductory Pak SOFTWARE CO. 10 disks of great sounds - from the entire RCS library - Oniy $59.95! Serious Samples for the EPS family of instruments You want some great drum sounds - but you also want good basses aitd strings and... well, you want everything! Here Call Today for your free Catalog you 'II find the best samples we 've got in one dynamite collection! You'll also find coupon for 15% off your next buy. and Sound disk! (available only to first time customers) PROFESSIONAL OUAUTY LOW COST Call today! Organs! Piano! Minotaur Uttimate Organ Library! Killer Hammond samples you'd swear were the real f COT for you ASR-IO owners, this piano is the standard that you pia) around! With fuii body and resonance. Just iike a reai piano, and not thing! With this to disk set, start finding good reasons to iike the non-"sustaining" fakes. Try it out - at a rock-bottom price! seiiyour S-3, and the rest, distortion Hammond, Chorus/ Only $2Tt.95! if you want to know more about your CFS, and the Hacker just isn 't enough, turn to the Chicken Chronicle. With interesting articles, regular monthly columns, and up-to-the-minute information on new CPS releases, you 7/ know aii there is to know about your keyboard. On!y $10.00 yearly TOLL-FREE ORDER LINE 1-800-877-6377 FOR THE EPS/EPS-16 PLUS, SQ-80, ESQ-1, VFX-sd, SD-1, Roland, IBM/DOS Vibrato, fast - Siow Leslie, and more! Only $59.95! TOP 40 COUNTRY Subscribe to the Chicken Chron icle SEQUENCES fflicroWave Chicken It! ROCK ('503, *608, 70s, 'SOs) The ground-breaking vector synthesis pioneer, the Korg BIG BAND Wavestation is the now favorite of many top performers and studio musicians. Sreat samples for you CPS for thousands of dollars iess! CALL OR WRITE ANY TIME 24 HOURS Only $59.95! F'ockfo i^aBBER CHICKEN SOFTWARE CO. P.O. Box 2513 • Kirkland, WA 98083-2513 MUSIC MAGIC 1 0 5 4 1 E A R L AV E . BENNINGTON NE 68007 1-402-238-2876 The Literary Side o f t h e E P S Bill Sethares Product: Wordsynth. let you move text around. Wordsynth shines in this area, For: EPSs and ASR-lOs. primarily because the EPS has numerous buttons that are as Price: $36.95. signed to tasks like "highlight, "cut and paste," "search," "find and replace." Each of the ten buttons to the left of the data slider is dedicated to one operation, and the documentation in cludes a plastic label template that slides over the buttons so you don't really need to remember which button does what. Of course it takes a few minutes to get oriented, but it's fast once From: Ensoniq, 155 Great Valley Parkway, Malvem, PA (215) 647-3930 or contact your local Ensoniq dealer. For all you recession weary musicians who have stood drool ing in envy at the latest MACs, IBMs, or ATARIs, unable to you learn your way around. Some of the buttons call up sub purchase a computer, now you don't need to. Ensoniq has menus which select among various fonts, font sizes, italics, bold, etc. The usual array of word processing features are come out with the ultimate upgrade — Wordsynth. With this innovative software, you can turn your sampler into a word processor. Using the keyboard, you type directly on your EPS! available. The editing keys allow all the usual cutting, pasting, and for matting operations that you expect from a moderately priced Special Features word processor. Using the special connector (included in the Wordsynth is more than just a word processor. Using the spe purchase price) you can connect almost any printer directly to the MIDI-out port. "Does it work?" you ask. Well, boys and girls, I typed this review with nothing more than my old EPS cial "play text" feature, you can listen to your document. A special map file assigns letters of the document to specific samples. The pitch and duration of each sound changes with classic and an Epson dot matrix printer. textual context, and the overall feel of the document can be mellow, middle of the road, or rambunctious, depending on the samples you use and the specifics of your document. The Getting Started results can be saved as a MIDI sequence file for later play Instead of loading in your EPS operating system, you load the back. I had problems getting the sequences to record on the correct channel. When I called Ensoniq, they agreed there was a small bug in the code. This will be fixed in version 1.04, which should be available by the time you read this review. special Wordsynth operating system. This disk also contains the program and a few demonstration files. After initializing the keyboard, a special set of characters appears on the EPS display. This is the Wordsynth main menu, from which you can load, save, and edit your document files. Gripes All the file access commands work exactly as you might ex My biggest gripe with Wordsynth is the screen. You can only pect. To load a file, hit LOAD, scroll through the files on the see a small portion of your text at any given time. Of course, this is not the program's fault as it is limited by the undersized disk using the up and down arrows, and then press ENTER/ YES. Similarly, saving files is the same as when you are deal ing with sample (or sequences) files. In fact, all the operations EPS screen. Nonetheless, it makes it hard to get an overview of the document. On the plus side, the data slider was a fast and responsive way of scrolling through the text. went so smoothly that I hardly needed to read the manual. The keyboard becomes your typewriter. In its default con Is It Right For You? figuration, the twenty six letters are stretched alphabetically from C2 to G5. The white keys map to lower case letters, but if you hit any black key along with a white key, then it is capi talized. There are also several alternate layouts for the key Wordsynth is not for everyone. If you already have a word pro cessor you like, you'll find Wordsynth's capabilities redun dant. If you don't have a good word processor, then you owe it to yourself to give Wordsynth a try. The price is right and the interface is unusual but workable (and might be great with a board. My favorite placed the vowels and all the most common letters in the center, leaving letters like "z" and "q" on the fringes. The manual claims that with a little practice, you can type as fast as on a regular typewriter. Since I'm a slow typist bigger display). Using the keyboard to type was surprisingly easy, and it only took a few hours to learn the program and type my first letter. The ability to listen to your text files is the most innovative feature I have seen on a word processor in anyway, that's not saying a lot. years. It's not often that such a groundbreaking new concept is Editing realized in such a clean and useful form, h The biggest test of any word processor is its ability to easily 18 / Business As Unusual Garth Hjelte, Rubber Chicken Software For Starters small ad and a good review, it is doing quite well. Converse ly, look at EPS-Sense, a remote EPS parameter programmer With the economy as it is, many more people are turning to for the PC family. How many EPS owners really program the American dream — starting their own business. If you go their own samples to make this product worthwhile? Not to any financial seminar, this way to financial prosperity is highly recommended. There are advantages to working for your own profits instead of someone else's, providing a tax shelter for your "hobby," having additional income to finance your musical ambitions, and providing a venue for meeting many, as the program's author found out. people and making yourself known. Or maybe you've got this great idea that you know people would need, and you want to profit from your work. In this two-part series, I want to introduce you to the basics of starting your own business, in particular, starting a third-party or music-related company. This is what I am in Somebody's got to buy your product. Who is it going to be? If you are going to sell sound samples, give it something uni que, like make a 10-disk set of Mongolian gongs. As soon as grunge-rock moves out of the mainstream, and Mongolian music moves in, you'll have a big wiimer on your hands. For heaven's sakes, don't be in it for just the money. People last a lot longer than things do, and always remember, you are selling to people. Do what you do well. I think there are certain expected standards for every product to qualify it to volved with with Rubber Chicken Software, and I prefer to be on the market. Samples should be optimized, computer stay within my field of expertise. This month, I'll focus on programs should be compatible and crashless. Hardware products shouldn't be fragile or unroadworthy. the basics of business administration and what it takes to start and maintain a business like this. Next time, I'll get into focusing on the technical particulars, with tips on making your product or service unique. My Story I'm not intending to toot my own horn, but I've been ruiming Business Basics Actually, I only want to stress one principle here. Maximize profit and minimize expenses. And for someone just starting , up, that means doing most of the work yourself. Whatcha got? There are some things you have to contract out, like copying, camera-ready ad-output (Linotronics are expensive!), and paying the Mongolian Gong player for bringing his antique gong into your studio. But don't pay someone for stuff you could easily do. Having your own computer with the proper software helps a great deal here. Rather than paying for print ing (which is an bottomless pit for $ to fall into), I produce final drafts of all my product catalogs, design my own ads, systemize my mailing list, and even print my own disk labels in-house. The extra time I spend doing this is manifested in Well, if you're going to sell something, you gotta sell some thing. What's your idea? Is it going to be something people Shop around for materials. Can you believe retail stores sell Rubber Chicken as owner for four years as an EPS third-party sample company — making us the longest running EPSexclusive sample-maker. It's been a long journey. Boy, I feel like I've seen everything under the sun! (You wouldn't believe the things I've seen...) I have been completely in volved with the business, from doing the samples to writing sales receipts to answering the phone. And I've enjoyed it (most of the time). will need? And how many? Will it be worth your time? These are all questions that will make the biggest difference in your profit. 3.5 DS/DD disks for $1.50 — $2.00 a disk? I buy my disks bulk (minimum order 25) for 35 cents apiece! For bubble- enterprise. wrap disk mailers, it'll cost you 30 cents apiece at the post office. You can buy them 250 at a time for 15 cents (that's Obviously, if you've spent the last six months hacking the EPS's OS, and you've reverse-engineered it to the point of customizing some new functions into it, well, that will sell. 50% less)! Ask around — people are more than willing to There are thousands of EPS owners, and most would be will ing to pay a reasonable sum for something different, if for no other reason than to do something different. Look at Wave- Boy's product. It is usable to a large user base, so with a help you find the best wholesale deals. Although I'm not into freeloading (everybody should be compensated for their ef forts in some way), borrow what you can from people (ideas, gear loaned for better recording. Alchemy for an occasional sample tweak, etc.), and remember to give back when they ask you for something. taxes on — unless I decrease that figure somehow. You do Setting Up that through keeping track of all (we mean all) your expen After you have your product, and feel reasonably sure there's a demand for it, it's time to set up. First, get the product ready. Make it look good. Would you buy it? Would you be happy with it? Give it to a couple of friends, or perhaps be ses, taking advantage your personal deductions, and so on. The main point I'm getting at is that your personal life and business life blur together, and you can turn what you might bold and send it to the Hacker, and seek advice. Next, adver have considered as personal into something that is business- tise somewhere. If the people you're selling to don't know you're selling anything, it doesn't do you any good. Now I'll related, thus giving you an opportunity to decrease what you report as income. This can be abused, but there are plenty of toot the Hacker's horn. I wouldn't be in business at all if I legal ways to take advantage of what the government will allow. You think this is crazy? I do! The government has a heavy hand in trying to influence what business does, and had to pay Keyboard Magazine's display ad rates. Since I only sell Ensoniq-related products, the Hacker is all I have to advertise in and I'm sure I'm reaching probably 80% of my market. If you are selling for other instruments (or maybe you're selling an instrument), try to get mailing lists from companies who sell to your target-market. It'll cost you, but those companies aren't making anything holding onto their "blackmail" within the tax code is one of the ways that it does it. Here's a couple final thoughts lists, either (unless you're competing with them). Start small. My business, for the last couple of years, sells about $50,000 a year. That's a lot, but I never expected that. Get a business license from your state. It only costs around $20, and that allows you to go to your bank and open an ac The best way to approach a business is to start with one thing, and see what the reaction is. Be encouraged by what count under your company name. Otherwise, you have a you see, and then do it again and do it better. bunch of uncashable checks on your hands when you start selling. And think of a proper (that's the main word here) Give good customer service. Listen to people and give them what they want. Be prompt, and (I can't help the cliches here) show random acts of kindness and selfless giving. Answer questions but don't be a know-it-all. Learn from everybody, and always know you have plenty to learn yourself. Do things company name. Rubber Chicken has been a blessing and a curse for me. People notice it because it's silly, but I get hung up on frequently, believe it or not. Make it short and sweet and catchy, so it will be remembered. for the customer the same way you would want to be treated. 'And consider the following: The best attitude a business can have is to be a servant for the customer. Those businesses succeed in one way or another • 800 phone nmnber for orders • Computer invoices every time. • Separate phone line to keep your business separate Next installment we'll talk about • Separate line for product info only • Fax/modem download possibilities some of the technical aspects of this way of life, h • Small business loans from banks • VISA merchant accoimt with your bank Bio: Garth Hjelte is owner of Rub ber Chicken Software, where they are hard at work developing the • Voice mail/pager • Get familiar with the mail system • Dealership contacts first 16-track digital answering machine. Having a Visa/Mastercard account can be a real advantage as it makes it considerably easier for people to order your pro duct. Getting a merchant account when you're mailorder only BACK ISSUES or first starting can be a bit tough, but it can be done. Back issues are $2.00 each. (Overseas: $3 each.) Issues 1-38, 61, 67 72, and 82 - 84 are no longer available. Subscriptions will be extended an equal number of issues for any issues paid for that are not available at Ta x e s 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 got going with Number 35 (and also applies to the ASR-10). VEX coverage (which also applies to the SDs) got started in Number 48. The SQs got A principal benefit of running your own business is being able to write off your expensive gear as a business expense. I have to have my EPS for my business, so now I can subtract going in Number 63. (SQ articles also apply to the KS-32.) DP/4 cover age started in #88 (much of which also applies to the ASR-10). Permis sion has been given to photocopy issues that we no longer have available — check the classifieds for people offering them. A free back the cost of that from the income I make. If you're a sole pro prietor, your business income is considered your personal in come. If I sell $30,000 in my business, and say I make issue index is available which contains the tables of content for aU is sues since Number 43. $25,000 in my regular job, there is $55,000 I have to pay 2 0 t C l a s s i fi e d s EQUIPMENT $999 EPS;4x/SCSI, all original accessories. (319) 242-6377. EXTREMELY RARE "SQ-80 M" - Ensoniq factory-modified ESQ-M with SQ-80 wave ROMs. Ensoniq reports fewer than ten were made. Plays all SQ-80 and ESQ-1 patches. Includes 2,000 ESQ-1 and SQ-80 public domain patches on disk format of your choice. Best offer. Tom McCaffrey. (215) 830-0241. with the run-time O.S. on each Disk. I have moog, DX-7, and VFX, for $7.95. Send SASE the "Lush," "X," "DeMity," "Addy," "Turbo," "Keyboard," and now a 1-bank disk of "SQ-1+" sounds, normally a $160 value, for $79! Also, used MIDI equipment for sale. Send a SASE for my list. Bob Spencer, 703 Weatherby Ln., Greensboro, NC 27406. for free listing to: Syntaur Productions, 2315 Mid Lane #44, Houston, TX 77027, or call BIG MIRAGE SAMPLE BLOWOUT! The famous MINOTAUR 8-disk set of Medieval and Renaissance instruments is available for Wanted: VFX users wanting to trade sounds. only $80.00! Lutes, viols, harps, bells, krum- Hills, Newark, DE 19711 or phone (302). (713) 965-9041. PAT C H E S / S O U N D S Please send Alesis Data Disk format to : Dave Musumeci @ 202 Catalina Drive, Harmony homs, much more! Get 'em while they last! Minotaur Studios, 52 State St., Canton, NY 368-7324. beautiful hard case, and tens of thousands of sounds! $1000. Ask for Tom at (315) 442- 13617. The Hacker's Jack Tolin presents CrossWave 6705. ASR STEREO SAMPLES IN NEED OF Mac Plus, mouse, kbd., stnd. kbd., pad, docs, disks, $400. Yamaha PSR-500M w/AC adapt Hacker and Minotaur Studios fame is looking for someone interested in buying the rights to er, pedal, docs, $400 obo. Spectra Acoustics EQ, $75. Roland Studio M wAMb expansion, disks, docs, $950 obo. Buying ASR-10. Call of acoustic instruments. Call (315) 379-9763. (2-disk set; 49 sounds); SYNTH-BITS! - turn your EPS-16+ or ASR-10 into a synthesizer with these low-memory samples - Ml Series (5-disk set; 50 sounds). All disks are $5 each (foreign s/h - add $5.) To: Jack Tolin, 23 E. Elm Ave., Quincy, MA 02170. Pat at 317-462-8446 EMI. ECCENTRIC SAMPLES (Mirage and EPS). Ethnic, Ancient Greek, Medieval instruments; 60 VFX-sd patches created by Jim Grote. Wide variety of sounds with complete docu Wanted: EEPROM RAM cartridge for an En soniq VFX. Also interested in an Alesis Data Disk or simiUar gizmo that has sys tem-exclusive recording capability through Partch creations; Industrial Percussion & MIDI. Call Dave, (302) 368-7324. send SASE to: NIGHTWIND Sound, 170 Mar Monte Ave., La Selva, CA 95076. SQ-80, mint condition. Includes manual, Sounds: The classic drums of the HR-16 GOOD HOME! Barry Carson of Transoniq EPS with 4x expander, disks, and manuals, $1000/B0. EPS 4x Expander, SCSI, and 80-Meg SCSI drive $400/B0. Rick, (603) 885-0628. Ensoniq KMX-8 MIDI Patch Bay. New - Not Used! $175 OBO. Vias/MasteiCard accepted. Call after 5 pm. (703) 988-7442. U S E R G R O U P S / C O N TA C T S a set of Highest Quality, Stereo ASR samples 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, Mirage samples: Plus moving wavesamples all over. 7 sounds in one bank, much more. List ings: $1.00. Demo tape: $6.00 (includes list ings). Mr. Wavesample, 162 Maple Place, Keypoit, NJ 07735. 908-264-3512. Make checks payable to Jack C. Loesch. ASR-10 Hacker desperately seeking sax ...sec tions, that is. Memphis horns, brass sections mentation. Call for free Information Packet, or send $30 for VFX-sd disk to: Jim Grote, 3721 Frances Ave., Cincinnati, OH 45211. Phone: (513) 661-8885. NEW SQ-80 SOUNDS from the Hacker's Sam Mims! Soundset 4 takes full advantage of the SQ-80's unique waveforms, and brings "hidden waveforms" to the SQ-80 for the first time. Also available for the ESQ and SQ-80 are Soundsets 1, 2, and 3. Forty patches per set, each with 22-page booklet of program ming notes and performance tips, for $17.95. Send SASE for free literature. Syntaur Produc tions, 2315 Mid Lane #44, Houston, TX 77027, or call (713) 965-9041. that re-create stax sound. Would like to cor The International Samplers Cooperative is available for aU sampler users to meet and trade non-copyrighted, proprietary and non proprietary samples. We also offer user sup port via MusoBBS (818) 884-6799, Midilink, and FidoNet. Check out our newsletter, "The respond and trade with other Hackers. Brian SEQUENCES Reardon, 595 Theodore Dr., Merritt Island, FL 32952, Call collect (407) 452-7201. MIRAGE OWNERS: SoUd SoundProcess patches from DIGITAL DREAMS! Disks "Anthony Ferrara, Contemporary Guitarist," audio cassette, reviewed in July '92 Hacker. Send $5.50, check or m.o., payable to: An thony Ferrara, P.O. Box 14503, Philadelphia, Loop." For details write: ISC, 20920-47 Ven tura Blvd, Suite 293, Woodland Hills, CA 91364. Voice: (310) 455-2653. contain runtime version of SP operating sys tem. Four-disk set including - VOLUME I, V O L U M E I I , T H E S T U D I O S E T, a n d SOUND STUDIO 2 for $59.95. Each disk 0738. SAMPLES available seperately for $17.95. Make check/ M.O. payable to Bruce Wallbillich, 18449 Lakefield Ave., Baton Rouge, LA 70817. RAGTIME AND NEW ORLEANS R&B SE PA 19115. 24-Hour demo line: (215) 742- funds). Demo $3. SASE for free listing. Tree- QUENCES on SD-1, VFX-sd DISK: Joplin, Eubie Blake, Jelly Roll Morton, Professor Longhair, James Booker, Dr. John. Ten for $30 + $2 P&H. Perfect for gig break - or fun. Check or MO to Joel Simpson, 902 Montegut St., New Orleans. LA 70117. Phone: 504- EPS, EPS-16+, ASR-10 samples you can real house Sound, PO Box 18563, Boulder, CO 943-7321 ly use: Grand Piano, B-3, Rhodes, Flute, Nylon Guitar, Pedal-Steel, etc. Quality not quantity. Tweaked for months. Minimal 80308- 8563. Wanted: Roland JD800 samples for EPS-16 Plus, especially stock and custom electronic piano, pad, and brass sounds. Bill Groener, 15940 SE Arista Dr, Milwaukie, OR 97267. blocks. For sound list write: "Little Buddy S o u n d s , " P. O . B o x 2 5 4 , S a n d y , U t a h 84091-0254. Blow-out sale! This is your last chance to get the complete SoundProcess library for Mirage MIRAGE SAMPLES. 57 new samples for $30. Most are unusual. 5 disks, $6 each (US SUPERB EPS-16 PLUS SAMPLES of E-mu Procussion, Minimoog, K-4, and more, fi:om the Hacker's Sam Mims, $9.95 per disk. Post-production quality sound effects samples SOFTWARE for EPS-16 Plus, all from digital source For IBM: Cakewalk 4.0 sequencer, and Dr. T's Copyist Professional music notation pro gram. Complete original programs with recordings, $5.95 per disk, $5.45 each for six or more. Mirage Disk 1, samples from Mini manuals. $75 each or $135 for both. Steve, (206) 565-4701. 21 Trade software for SD-1/32; MIDI for PC O U T- O F - P R I N T B A C K I S S U E S FREE CLASSIFIEDS! compatibles, software for Bachmanti WS2. Write to: Sansilvestri Claudio, Via Origoni 9, Barasso (Varese) 21020, Italy. M.U.G. will provide Out-of-Print issues for Well - within limits. We're offering free classified advertising (up to 40 words) to all subscribers for your sampled sounds or patches. Additional words, or ads for other products or services, are 25 cents per word per issue (BOLD type: 45 cents per word). Unless cost of materi^s and postage. M.U.G. Hotline: 212-465- 3430 or write: G-4 Productions, PC Box 615TH, Yonkers, NY 10703. Attn: TH Back Issues. Phone: (212) 465-3430. Midicastcr is stiU available. The way-cool operating system that turns your Mirage into a very capable System Exclusive data librarian, Photocopies of out-of-print past issues of the Hacker can be obtained by calling Jack Loesch, 908-264-3512 after 6 pm EST. a 20,000-note sequence player, a disk copier/ formatter, and wave-draw synthesizer is still renewed, freebie ads are removed after 2 is sues. While you're welcome to resell Folks in the New York City area can get 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 Hack er - call Jordan Scott, 718-983-2400. Sorry - we can't take ad dictation over the phone! available for a limited time. For more informa tion, or to order, contact Tim Martin, 1510 S 5th W, Missoula, MT 59801. Phone: 406- 542-0280 And thank you for your support. ESQ & SQ-80 Hackerpatch G u e s t H a c k e r : To m S h e a r S Q - 8 0 P R O G : D LY S E T wave on all three oscillators with attack transients... all the same for The Patch: a drum kit with a delay built in. The mod wheel a delay effect, or different ones on each oscillator for some pretty weird synth sounds. To tweak the level of the delays, alter the makes the echoes "ping-pong" in stereo. Playing the hihat with this delay can yield some really propulsive patterns that work great for turn DCA2's output OFF and do the same for DCA3. LEVEL on the DCAl and 2 pages. To get rid of the delay entirely, dance music. SQ-80 PROG: THUNDER The Hack: This patch uses the envelopes to modulate both the pitch and the amp sections of the synth. Try eliminating one or the other to see how both parts are necessary to the patch. It is possible to change the delay times by altering the T2 value on ENVl and 2. Values of above 50 don't really seem to work, though. There is no real way to alter this patch for use on the ESQ since it uses the DRUMS! wave, but it can be used somewhat less effectively with synth waveforms. SQ-80 owners should try replacing the DRUMS! S Q - 8 0 P R O G : D LY S E T This patch is Robby Berman's answer to a patch request. The Patch: This patch, when mixed into a track, sounds fairly real. Alone, it's somewhat less effective. Experiment with short and longer keystrokes. Note how the thunder travels across the stereo fi e l d . B Y: To m S h e a r 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 0 S C 1 - 1 00 00 DRUMSl 0 S C 2 - 1 0 0 00 DRUMSl E N V l + 0 S C 3 - 1 00 08 DRUMSl E N V 2 + 63 O F F 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 O S C I - 2 00 00 N0ISE2 ENV2 + 63 ENV2 + 63 E N V l + 63 0 S C 2 - 3 0 0 0 2 NOISEl E N V 2 + 63 ENV2 + ENV2 + 63 0 S C 3 - 3 00 04 NOISEl ENV2 + 63 ENV2 + 63 O F F 63 LEVEL OUTPUT M0D#1 DEPTH M0D#2 DEPTH D C A l 63 O N O F F DCA2 50 O N E N V l DCA3 4 4 O N ENV2 FREO FILIbH 1 127 0 KEYBD M0D#1 2 3 1 FINAL VOL OCA 4 11 " PA N 8 FREO LF01 6 3 O N O F F +63 OFF DCA2 6 3 O N E N V l +63 ENVl +63 OFF DCA3 63 O N ENV2 +63 OFF MOD 1 DEPTH +63 1 SAW DCA4 GO L2 01 MOD 63 LF0 2 LI - 6 3 Lf0 ENV2 - 6 3 U 6 3 SYNC MODES O F F + 63 KEYBD M0D#1 DEPTH M0D#2 32 E N V 2 +63 PA N PA N M O D 08 RESET 1 DEPTH + 63 1 L F 0 2 HUMAN DEPTH OFF WAV L1 DEUY L2 MOD - 0 7 O N O F F TRI 63 00 0 0 ENV3 3 L3 LV TIV T1 T2 T3 L2 L3 T I V T1 T2 T3 T4 TK 0 0 00 00 00 21 00 00 00 E N V l + 63 - 6 3 + 20 O O L 0 0 00 00 63 20 09 - 6 3 0 0 00 00 00 27 00 00 00 ENV 2 - 6 3 ENV 3 + T4 TK L1 0 0 40L 0 0 A M O F F MONO OFF 00 GLIDE 00 00 VC 54 ENV OFF ON 00 40 OSC CYC OFF O N ENV 4 00 MODES1 1 SPLIT/LAYER S/LPRG LAYER LPBG SPLIT S PRO SPLIT KEY OFF O F F - 6 3 ENV3 ENV4 0 1 " LF01 - ENVl 0 FREO WHEEL LF0 2 LF0 3 Q FINAL VOL H U M A N WAV L 1 D E L AY OFF O N FREO FILTER 1 127 DEPTH O F F L F O l RESET 17 DCAl DEPTH M0D#2 63 LEVEL OUTPUT M0D#1 DEPTH M0D#2 DEPTH O F F O F F PA N BY: Rcbby Berman SQ-80 PROG: THUNDER OFF OFF ^ LV - 5 8 - 6 3 OOL 0 0 00 00 31 63 00 63 00 - 6 3 0 8 L 0 0 00 00 13 20 04 + 63 + 63 - 6 3 OOL 5 4 34 34 54 42 00 SYNC A M1 MONO O F F O O F F N GUDE 0 0 VC ENV OSC OFF OFF O F F CYC O F F S P U T / U Y E R S / L P R G L AY E R L P R C S P U T S P R O S P U T K E Y ^ I 22 OFF ^ OFF ^ OFF 1 SQ-1/2 & KS-32 Hackerpatch Jeffrey Rhoods Prog:Fog - Surf - Gull By: Jack Carder Notes; Play a single note in the zone for each voice. Fog (zone C2 - G3): This fog horn sound drops in pitch with key release. Lower velocity brings the sound closer, higher velocity moves it WAVE 1 1 2 3 38 3 5 Initial 9 4 8 2 2 8 Noise Rate 7 9 0 0 Peak 9 9 9 9 9 9 NolseLoop Level 2 6 26 0 Break 5 9 9 3 7 6 0 Delay 5 3 53 0 Sustain 0 0 9 3 0 2 MODSRC Wheel Wheel Wheel Attack 2 3 0 3 5 1 Wave Sine Sine Tr i a n g l e 6 0 2 4 4 9 Restart O n O n On Decay 1 Decay 2 7 3 5 5 6 0 Release 4 9 1 6 7 2 O n O n Wave Class Breath Waveform Inharmonic Wave WoodFlute Clarinet Delay Time 0 Wave Direction Forarard Start Index 0 MODSOR L F O MODAMT 0 Restrk Decay 20 0 O n . 41 length of "key down." 0 S e l e c t Vo i c e 2 0 LFO LFO Speed away. With Gull, the opposite is true — lower velocity moves the sound further away. The pitch changes are a function of the ,MP 1 2 3 Ve l - L e v e l 0 0 1 9 19 Filter 1 2Lo 2Lo 2L0 Ve l - A t t a c k 0 0 8 6 0 0 Convex I LT E R 1 2 3 Filter 2 2Lo 2HI 2HI Ve l C u n r e Convex Quikrise Octave -2 + 3 - 2 FCl Cutoff 055 0 127 Mode Normal Normal Normal Semitone 0 +07 0 E N V 2 -47 +99 0 KBD Track 0 +98 0 Fine 0 0 0 FCl +16 +19 0 ENVl +99 - 3 0 0 MODSCR Off LFO LFO L F O 0 +01 0 MODAMT 0 +10 0 MODSOR Off L F O Off FC2 Cutoff 0 7 2 0 0 0 . ENV2 +65 0 0 ITCH MODAMT KBD KBD Ptch Track Off Off O n FC2 KBD 0 +28 0 Glide Off Off Off FCl MOD-FC2 Off O n O n Glide Time 0 0 0 )UTPUT 1 2 3 VOL 75 9 0 6 9 Boost Off Off Off MODSRC Off LFO Pitch MODAMT 0 +05 0 KBD Scale Zone Zone Zone C2-G3 C6-C7 C4-G5 FX2 FX2 Dry Medium Medium Medium +98 0 - 9 8 - 9 8 0 0 1 2 3 Key Range Output Bus Priority Initial 9 4 0 0 0 0 Pan 0 0 Peak 6 0 7 4 0 0 Ve l w i n d o w 4 3 0 0 Break 3 5 8 2 0 0 3 8 0 0 0 0 Sustain 0 0 0 1 0 0 0 0 0 0 00 Attack 3 6 1 4 0 0 Decay 1 Decay 2 0 0 0 3 0 0 4 5 1 0 0 0 1 5 4 7 0 0 Decay 1 Decay 2 4 8 9 9 0 0 Release 16 17 0 0 Release 5 0 2 2 00 FX-1 1 5 FX-2 15 Ve l - L e v e l Ve l - A t t a c k 0 2 6 0 6 6 Decay time 1 0 0 6 0 9 3 0 0 4 0 0 Ve l - L e v e l Ve l - A t t a c k 0 6 66 Chorus Rate 1 5 HF Damping Chorus Depth 20 Ve l C u n r e Convex Concave Convex Ve l C u n / e Linear Convex Convex Chorus Center 3 3 Feedback - 4 0 Mode Normal Normal Normal Mode Normal Normal Normal Chorus Level 4 0 MOD (Dest) Level KBD Track 0 0 0 KBD Track 0 +70 0 Pedal MODAMT 63 iNV1 1 2 3 Initial 0 0 2 7 5 3 Peak 5 6 0 0 Break 5 6 Sustain Attack ;nv2 The Hack: Obviously a fan of Sun & Surf, Jack's come up EFFECTS — CHORUS AND REVERB (See text) 12 FCI Cutoff to 078 and FCl Keyboard to -10. And since Jack decided to let us find our own settings for global effect, I've added mine to the chart. These settings are not intended for realism... they just sound good. with a pretty good Martha's Vineyard sort of sound. He's chosen to zone this patch with just a couple of "dead" keys in-between voices — a nice touch. Here are some ideas that might boost the realism just a bit. While making these changes, remember Jack's Jeffrey Rhoads high and low velocity uses. For the "Gull" — Voice 2: In the pitch section change ENVl to -91, then alter ENVELOPEl's shape: INIT 93, PEAK 35, BREAK 50, SUSTAIN 99, ATTACK Bio: Jeffrey Rhoads has been a keyboardist!composer on the Philadel phia Jazz and R & B scene for a period of time resembling forever. He 5 5 , D E C AY l 8 5 , D E C AY 2 0 8 , a n d R E L E A S E 7 4 . S t r i k e e a c h key for about one second — unless you want to play with the en velopes some more! This produces that "screaming" hungry sound these birds are known for. For the "Fog" — Voice 1: Simply go to the output section and turn up VOL to 90 and BOOST to On. (To obtain even more power, you can change FCl Cutoff to 75.) For "Surf — Voice 3: In the filter section adjust has an interest in cinema and has developed some film courses. Jeff still believes in magic and longs for city lights. Hackerpatch is intended to be a place where patch vendors can show their wares and musicians can share their goodies and impress their friends. Once something's published here, it's free for all. Please don't submit patches that you know to be minor tweaks of copyrighted commercial patches unless you have permission from the copyright owner. All submitted patches are subject to consideration for mutilation and comments by Sam Mims and Jeffrey Rhoads — our resident patch analysts. If you send in a patch, please include your phone number. Requests for particular patches are also very welcome. Pending Hacker-Requests: SQ-1/2 - An "Elton John" Oberheim Bass patch — like in Rocket Man. SD/VFX - A sitar patch. 2 3 SD & VFX Hackerpgtch Sam SD & VFX Prog: SAMS*PIANO By:Sam S. Mims, Syntaur Productions NOTES: Here is an acoustic piano patch that will hopefully satisfy the pending Hacker Re quest for "a piano patch better than the standard Classic Piano." It is a modification of SAMS-PIANO, which was published in Issue #64, but which had several typos that had quite an adverse effect on the sound (corrections in #65 & #66). The patch uses the standard VFX piano waveform, but does some pitch shifting (via ENV 1) in Voices 3 and 4 to slide beyond the normal split points of the multisample. I think youMl like the result The 0* patch select gives an acoustic piano an octave lower, the *0 select gives an electric piano, and the ** select combines both grand and electric. The mod wheel turns the grand into an out-of-tune upright. placing this waveform with CHIFFLUTE, OCARINA, VOX-OGOHS, MARIMBA, KALIMBA, SYN-PLUCK, PLINKHORN, and 1+2 HARMS (all horn the standard VFX). That should give you a pile of new sounds! - Sam Mims 0 0 WAV E S 1 2 3 4 5 6 Delay 000 000 000 000 000 000 Start 44 44 44 00 00 Vel Start Mod -46 -46 -46 00 00 Direction Forward Forward Forward Forward Forward - OD MIXER 1 SRC-1 4 5 6 . . . SRC-2 Shape - ITCH 1 • +0 - 2 3 4 5 6 -1 + 0 + 0 + 0 + 0 Semitone + 0 0 + 0 0 + 0 0 + 0 5 - 0 7 + 0 0 Fine + 0 0 + 0 0 - 0 6 - 2 8 - 2 8 + 0 6 P i t c h Ta b l e MODSRC System System System System 1 2 3 4 5 6 Off Off O f f Wheel Wheel Off + 1 6 + 1 6 - . G l i d e N o n e None None None None None ENV1 0 0 0 0 0 0 - 2 9 - 2 9 0 0 L F 0 1 0 0 0 0 0 0 0 0 0 0 0 0 FILTER 1 1 2 3 4 5 • 1 1 2 5 3 6 3 6 4 5 Initial 9 9 9 9 Peak 9 9 9 9 Break 1 Break 2 9 9 9 9 9 9 9 9 Sustain 0 0 0 0 Attack 9 9 9 9 Decay 1 Decay 2 Decay 3 9 9 9 9 9 9 9 9 9 9 9 9 Release 9 9 9 9 KBD Track Ve l C u r v e 0 0 0 0 Cnvx2 C n v x 2 N o r m 3 Norm 0 0 0 0 0 0 0 0 - Z >M C 6 M o d e 3 L P 3 L P 2 L P 3 L P 3 L P 2 L P Cutoff 0 1 4 0 1 4 0 0 2 021 0 2 1 0 0 2 K B D + 0 4 + 0 4 + 0 0 + 2 0 + 2 0 0 0 M O D S R C Velocity Velocity Velocity O f f O f f M O D A M T Velocity + 1 3 + 1 3 + 1 3 E N V 2 + 7 8 + 7 8 + 7 5 4-68 + 6 8 I LT E R 2 • Ve l - A t t a c k System MODAMT • 0 Mode Ve l - L e v e l System rrcH MODS 4 2 •NV1 . SRC-2 SRC-2 Scale O c t a v e 3 2 1 0 * Wave GrandPno GrandPno GtrHarmo GrandPno GrandPno DpnoTlne Wave Class StringSnd StrlngSnd StrlngSnd StrlngSnd StrlngSnd Waveform + 1 3 + 7 5 Mims THE HACK: I like this piano patch because it has the sustain that the SD-1 pianos seem to lack. I tried substituting the PIANO-16 waves from the SD-1 (or Mega-Piano VFX-sd) and still liked the original better. For the electric piano sound, however, the EPNO-SOFT and EPNO-HARD waves from the SD-1 work nicely replacing the DPNO-TINE of Voice 6.1 also had fun re 6 1 2 3 4 5 6 Initial 9 9 9 9 9 9 9 9 9 9 9 9 Peak 9 9 9 9 9 9 7 9 7 9 9 9 Break 1 4 9 4 9 4 9 4 9 4 9 4 9 Break 2 Sustain 3 0 3 0 3 0 3 0 3 0 3 0 0 0 0 0 0 0 0 0 0 0 0 0 Attack 0 0 0 0 0 0 3 4 3 4 0 0 Decay 1 Decay 2 Decay 3 6 6 6 6 6 6 6 6 6 6 6 6 5 8 5 8 5 8 5 8 5 8 5 8 7 2 7 2 7 2 7 2 7 2 7 2 Release KBD Track 5 2 5 2 5 2 0 0 0 0 0 0 0 0 Ve l C u r v e Convx2Convx2Convx2Convx2Convx2Convx2 Mode Ve l - L e v e l N o r m N o r m N o r m N o r m Norm Norm 4 4 4 4 4 4 4 4 4 4 4 4 Ve l - A t t a c k 0 0 0 0 0 0 0 0 0 0 0 0 0 0 .-5_2__. 0 0 1 2 3 4 5 6 M o d e I M P I M P 2HP 1HP IMP 2HP initial 9 9 9 9 9 9 9 9 9 9 9 9 Cutoff 0 5 9 059 0 0 0 6 3 6 3 0 0 0 9 9 9 9 9 9 9 9 9 9 9 9 KBD + 0 0 + 0 0 + 0 0 + 0 0 + 0 0 89 6 9 75 6 4 6 4 Off Off Off 71 MODSRC MODAMT Off +00 Off Peak Break 1 Off Break 2 5 5 5 5 5 6 5 3 5 3 5 0 op 0 0 0 0 0 0 op "oo" 0 0 + 0 0 op 0 0 E N V 2 _Sustain_ 0 0 0 0 0 0 Decay 1 Decay 2 Decay 3 4 0 4 0 4 5 33 3 3 2 9 6 5 6 5 6 0 6 5 6 5 6 3 8 0 8 0 8 0 6 0 8 0 3 6 3 6 3 6 ENV3 . + 0 0 + 0 0 + 0 0 + 0 0 Attack + 0 0 O U T P U T V O L M O D S R C MODAMT KBD Scale 7 4 7 4 74 7 4 7 4 Off Off Off Release 3 6 Off O f f O f f Wofrack" +~28 0 0 0 0 DesFius FX1 FX1 P a n 50 0 0 CO 0 0 0 0 _L^HLK^_ _ MODSRC __ MODAMT., 50 Keybd Keybd .±20_ +20,__ Pre-Gain On On Vo i c e P r i o r Med 000 Med 000 Ve l T h r e s h 8 0 7 4 "fxi" "FX2""" "FX2""" *fxF" MODSRC + 2 8 + 2 8 +28 +28 +28 C o n v x l C O n v x lC o n v x l Convxl Convxl Linear M o d e Norm Norm N o r m Norm Norm Norm Ve l - L e v e l Ve l - A t t a c k 1 7 1 7 1 7 0 0 0 0 0 0 17 00 17 00 28 00 5 0 5 0 5 0 L F O Keybd Keybd LFO - 9 9 4-20 -1-20 -f99 "On " O n On""" On"" P i t c h Ta b l e O f f Effect M e d L o L o Med Decay 41 0 0 0 0 0 0 0 0 0 Bend Range Delay 0 0 0 0 0 X 4 FXI Mix 3 9 Restrike 1 8 FX2MIX 25 G l i d e Ti m e 0 0 PGM CONTROL 1 9 1 9 Off O f f 9 9 9 9 O f f Off Delay^ Waveshape Tri TrI Restart O n O n Noise SRC RT - 0 0 0 0 EFFECTS (1) EFFECTS (3) Waveshape EFFECTS (2) M O D A M T Level Ve l C u r v e 5 0 LFO Rate MODSRC -36 __ 3 6 _ _ 2 4 Choru8+Reverb2 S i n e Chorus Rate 2 0 MODSRC Modpedal Depth Delay 0 6 Rev HF-Cut O f f M o d 0 0 M o d 0 0 Mix 5 0 0 1 5 PERFORMANCE Ti m b r e 0 0 R e l e a s e 0 0 Pressure C h a n The Interfooe Letters for The Interface may be sent to any of the following addresses: U.S. Mail - The Interface, Transoniq Hacker, 1402 SW Upland Dr., Portland, OR 97221 Electronic mail - GBnie Network: TRANSONIQ, CompuServe: 73260,3353, Internet (via CS): 73260.3353@compuserve.com. This is probably one of the most open forums in the music industry. Letter writers are asked to please keep the vitriol to a minimum. Readers are reminded to take everything with a grain of salt. Resident answer-man is Clark Salisbury (CS). Letter publication is subject to space considerations. Dear Hacker, make them compatible. 1. Hacker - 1 would love to see some articles 4. Ensoniq - Very simple yes or no question: Are you ever going to release the long, long-awaited OS 2.5 for the EPS? If so, any Not to belabor a point, but there are degrees of guesses as to when? And, if so, how can we loaded into an Ensoniq product, nor can SD-I EPS owners get a copy since none of the music stores have EPS Classics anymore for copying the OS disk? sequencer data be loaded into an EPS. That is incompatibility. EPS-I6 PLUS sounds can be Whiningly yours, communicate that these sounds could be on using the EPS sequencer with tape sync. I am in need of moving to virtual tracking in my home studio and want to know the best method of syncing the EPS Classic to tape. Will any sync do? What kind of sync boxes have other Hackers used with success? Is it true that "I syne, therefore I am"? 2. I really appreciate the reviews of samples for the EPS. Those of us on a budget who can't go out and buy all the sounds we want depend on the opinions of the reviewers for a general idea of the quality of the samples we buy. Since most samples coming out nowadays are done on and for the EPS-16+ and the ASR- 10, yet are claimed to be com patible with the EPS Classic, 1 would ap preciate it if reviewers would include a "Classic" review also, meaning auditioning Steve Vincent Tacoma, WA [CS -1) The EPS should sync just fine to any thing that sends MIDI clock, although devices that send MIDI song position pointer will offer an advantage in that they will allow you to auto-locate to points within a piece of music (the EPS will respond to song position pointer). There are a number of tape sync coming issue. It is also available from Ensoniq - give us a call and we'll send it to you. compatibility. An Akai sample disk cannot be loaded into an EPS, most with complete suc cess. When labeling the packages we wanted to loaded in, which is true. We did revise packag ing to more clearly state "some editing re quired" and now have a document to help you achieve that goal. We're sorry for any con fusion and/or frustration we may have caused you. 4) We are not currently working on the SCSI copylBackuplRestore functions for the original EPS. devices available from companies such as JL the samples without the effects (as in Pat Fin- Cooper, Anatek, and others, any of which Regarding copying disks in general, because nigan's review of the B3 samples in January, should do the trick. specific tweaks that we EPS Classic owners 2) Point well taken. our newer products use an HD drive does not mean that they won't work with DD disks. You can still copy disks from a newer keyboard that 3) As you've found, there can be some anoma will work on your unit. Just be sure to use DD disks and use the "Copy Floppy" command, '93 - thanks!) and, if possible, suggest will have to make to the samples for them to work on our boards - filter and amp changes most notably. This would make your already-valuable reviews even more helpful to 3. Ensoniq - A couple of years ago 1 pur chased your SL-2 set for the EPS-16+ and lies when playing back EPS-I6 PLUS and ASR-IO sounds on a standard EPS. The first thing to check out is filter cutoff. On the EPS-I6 PLUS and ASR-IO, filter cutoff goes from 0 to ISO, whereas on the EPS it ranges from 0 to 127. Consequently, if filter cutoff is EPS Classic and discovered the now-familiar set higher than 127, the EPS may have trouble In Issue #92 I saw comments about "New phenomenon of filter and amplitude incom patibilities with the EPS Classic. After two or three letters to Ensoniq, visits to the store where I had purchased them and even tracking down the artist who did the samples for En soniq in the first place, I was still left without some very basic information. What changes, specifically, need to be made to 16+ samples to make them compatible with and sound good on an EPS Classic? Your packaging clearly claims, "All sounds are compatible with the EPS Performance Sampler." I think interpreting the numbers. On the EPS classic, try moving the filter cutoff point all the way to 0, then back up to a setting that sounds good. The other problem has to do with the fact that Models." After my blood pressure returned from the stratosphere, I thought others might benefit from my thoughts. I put out over $10,000 between 1984 and 1987, "keeping up." My last straw was a duplicate of the chap the EPS-I6 PLUS and ASR-IO have a new in that issue who found the value of his gain boost parameter. If a programmer uses this parameter to get a bit more volume out of a sound, you may have trouble getting the machine down the tube a week after his pur sound to play back at the correct volume on that the least you could do would be to in wavesample that seems too quiet is turned up. All personal comments aside here's what it took me five years to come to. In 1988 I dumped all the gear and vowed "never again." Well, we all make mistakes and I just com pleted my studio. But now there's a difference. us 13-bitters. clude a paragraph in the docs explaining how the EPS classic. The solution is simply to check and make sure that the volume for any w e C l a s s i c o w n e r s c a n t w e a k t h e fi l t e r a n d I'd also like to mention that Ensoniq will soon amp parameters to make them compatible. Simply alerting us in the Hacker that we may need to make some changes in filter and amp settings is not enough as not all of us know enough about hacking the filters to make it sound right on our own. At forty bucks a pop, be releasing an applications note dealing with this subject in some detail, along with ap plications notes on a number of other topics. I believe that you can request these notes directly from Ensoniq; you should also be able to get them from your local dealer.] 1 don't feel 1 should have to do too much work just to get the samples to play correctly. 1 also don't think it would take too much extra work on your part to include demos on your disks for the EPS Classic. If you're going to call your products compatible, then please which simply reads the total disk contents into memory and then rewrites it to a floppy.] Dear Trans, chase. I view technology as a rising column. Gear is a form of bubble in that column. It sinks (repre senting value) as time passes. My purchase ob jective is to start as high in the column as finances will allow. That means that (normal ly) 1 can expect a good bit more life from my bubble than if 1 bought cheap gear. [Ensoniq - 3) We have been working on a more detailed document on editing EPS-I6 PLUS sounds to be played on the original I put up what 1 consider a very sizable bubble this time. I don't really care too much what EPS. We have finished that document and are comes next since there's little 1 can't do and I sharing it with the Hacker to publish in an up feel that this situation should last for years. 25 Why does this have such a profound effect? Because nearly everyone in this country has been conditioned to accept the Detroit Syndrome, which says that unless your item, car, computer, keyboard, whatever, is the latest, you are not with it. Sorry to say it took me a long time to realize this is rubbish. Another discovery I made was that it is a mis take to use only one company's gear. My sys tem contains products from Kurzweil, Ensoniq, Kawai, Alesis, Sonetic, Mackie, JL Cooper and one piece left over from Yamaha, (in my opinion the worst offender in the New Model racket). of a long sequence. I have to go to the song step and wait through the sequence until I reach the desired spot. On another matter, is it possible to record pro gram change messages to my sequencer, to load a new instrument during a sequence? I've tried to loEid an instrument during a se The gut-wrenching feeling one has when he perceives a NEW MODEL as something that demeans his gear is a very inhibiting factor in the creative torrent. That idea must be killed. If Ensoniq listens even closer they will recog nize that my bubble concept is really very ac tive among the buying public. I will never own a brand new car, promise. Those folks in To do so is very hard. Being satisfied with what one has is against human nature. This Detroit refuse to listen. situation is best described by the story of the man in south Africa who went to college in In accord with your other readers I am disap pointed not to see gangs of SD-1 info. But hey! it's your magazine and there sure are a lot of other models in the Ensoniq line so I won't be piggish about it. England to study soils. There he was told of the black clay which contains diamonds. He spent most of his life and a great deal of his father's money traveling the world in search of the clay. At last he returned to his father's sheep ranch and was told by his father that it was time he learned about sheep so that he quence while recording in add mode, but the system asks me to stop the sequencer first. Thank you very much for your help. I apolo gize if these questions have been addressed in previous issues of your publication, but I am a new reader. I very much appreciate your ser vices and thank you for spending equal time on samplers and synths. Bob Werntz Freeport, Illinois Finally, I was very pleased with the article on event editing by Robby Berman. It helps greatly to have such a complex subject dealt with in a logical and concise manner. Good passed on. In a downcast mood he went out and sat beneath a tree contemplating what he felt was his failure to attain his goal. He dug stuff! Cordially, [CS - Recording volume changes works dif ferently for sequence tracks than it does for song tracks. Whenever you first record a se quence track, the initial Mix Volume setting (as determined by the Data Slider and Up!Down Arrow buttons) becomes the volume his heel into the earth and dislodged a lump of John A. Diehl for the track. If you wish to change this set black clay. What followed we know today as Not Yet Recording Studios Kimberly Diamond mines. (Called "Not Yet" because I'm not yet in could care for the ranch when his father you'll erase previously recorded notes and other data), or you can edit the value for the operation.) Since I finished the studio I have not exper ienced this level of happiness in my entire life. ting, you can re-record the track (as you've learned, you'll need to be in ADD mode, or MV event you'll find at the beginning of the DearTH, sequence when viewing the track events using the EVENT EDIT TRACK command. I'd like some information on mixing track volumes with the EPS-16+. I have the dam- You cannot, however, record Data Slider dest time figuring out how best to deal with this as I sequence and thought maybe one of moves into a sequence track to control the track volume dynamically. You can record volume pedal messages or external MIDI con your readers or advisors can help. When sequencing a Sequence Track (as op posed to a Song Track) it appears that after I lay down the track I cannot record any $ ^rabuttione volume changes throughout the sequence. The instrument stays at the volume level I used during input unless I go back to the record-add mode as per the manual and set a new starting volume. Even so, in the "add" mode, if I try to make volume changes, they don't take - the volume just stays at the new starting level. A Division Of MidwEsr DiqiiAl SeuvicES W« are soon to be the first word in Rock Sequences! EPS, SQ-80,VFX-SD, SD-1 Cak«walk-IBM Custom S«qu«nclng flvoilablsl Ovor 26 yoon of keyboard experience! Free Catalog flvailablei MIdwEsi UlqliAl Services PO Box 21 WliAi ChEER, lA 20268 (212) 6J4'20I9 troller messages, though, which can be set up to dynamically control track volume. In addi tion, you can insert volume change messages into a track at any point using the EVENT EDIT TRACK command. Inserting either MV (mix volume) or VL (volume pedal) events will allow you to control volume changes at any point in a track. The Song Tracks are another story. Data Slider moves can be recorded when using Song Tracks. The single caveat here, though, is that if you record track mix data this way, However, at some points in the sequence, if I don't record the new volume level all the way through the sequence, the volume reverts back then decide to re-record the mix info, the new mix info will be added to the old mix info. This can create a certain amount of con to the old volume (usually where I've patched in some changes) leading me to believe there must be some way to effect volume changes in the middle of sequences. fusion. Therefore, it's recommended that you s p e c i fi c a l l y e r a s e a n y p r e v i o u s m i x i n f o before recording a new mix. In the Song Tracks, I seem to be able to record volume changes during sequences that stick, but is it true that when editing a Song Track, I have no way to go directly to a spot in a sequence other than to move by song steps? This seems very time-consuming if I just want to add a quick change in the middle 2 6 Probably the easiest way to make a "quick change" in the middle of a long song is to select the individual sequence in which you want the change to occur, enter EVENT EDIT mode, and insert a VL or MV event at the point in the sequence where you want to affect the volume change. As to your other question, you can record program changes into your sequence, but they ments. They can, of course, be used to control About the church organs; have you checked program selection on external MIDI sound sources.] out the KS-32 ROM sounds? There are a CD-ROM be hooked up to it? I called En soniq and they didn't have an answer. I real ize hooking it up may void the warranty but compared to spending $800 for an external ROM I think it might be worth it considering bunch of church organ patches in the KS the hundreds of sounds available from ROM - if you found one you really liked, I'm sure you could use the settings as a basis for CD-ROM. Also is there a way to add more SIMMS memory to increase sample time for DearTH, your own version.] hard disk type projects? Wouldn't it be nice to I am not going to waste your valuable space telling you how much I appreciate your newsletter and how much helpful information I get out of it. With your hints and ideas I am [Ensoniq - We also believe that using a MIDI disk drive or computer for storing SQIKS Thanks, sounds and sequencer data is a very cost- J o e Va n O r d e n effective idea. To achieve the competitive price points (and make some models that are affordable to customers who can't spend over Union Beach, NJ lishing any articles that might be forthcom ing. cannot be used to load EPS-16 PLUS Instru have five minutes stereo 44:1 sample time? learning more about the SQ-R than I ever learned about any other synth. But remember, I am not going to tell you any of this. about features to leave out. [CS - Most SCSI-based CD-ROM drives wili work with the ASR-IO; this would include most (but not all) CD-ROM drives marketed The problem for us in releasing sounds on for use with the Macintosh computer. CD-ROM drives manufactured for use with disk format is that there are too many formats to support (IBM, Mac, Atari, PC, NEC in IBM-type machines (of which the Radio Shack is one, I believe) will most likely not be SCSI Japan, AlesislPeaveylBrotherlRoland/Yamaha disk drives etc., not to mention the various equipped, and will not work with the ASR-IO (or EPS-16 PLUS, for that matter). US$2000) we have to make tough decisions CS requested to write if we want a 76-note version of Ensoniq's high-end instruments. I am looking for at least a 73-key synth/ master-keyboard. The KS-32 would be a good choice if it had a bigger display and sliders and switches. In live performance there is nothing like the four sliders that my old Akai MX73 has to adjust volume or glide time, etc. Ensoniq, in case you plan a new 76-note (master-) keyboard please keep sliders and switches in mind. software titles for each computer). We simply are not prepared to do that. Since you have a computer you can keep archiving Banks of sounds on floppies and reload them into the INT (RAM) memory as you need. Also please 4-meg SIMMs.] keep in mind that at your conversion value [Ensoniq - We support CD-ROM drives that use Sony or Toshiba mechanisms only. The Now for something completely different. There is little third party support for the SQ. But Ensoniq offers many ROM cards for only about $140 (resale price in Germany.) Con sidering that I like to change the patches, I have to waste valuable INT space to save my new expensive beautiful Ensoniq ROM patches. If I buy two ROM cards because I when you buy a card for $140 you are only paying $0.87 per sound (140 divided by 160 really like a few sounds I need a $140 RAM storage space and your total cost per sound is card to store my customized patches. That makes about $400 for my $1100 SQ-R. En soniq, this is ridiculous. Most MIDI musicians own a disk drive with a computer attached to it. Please offer your patches on the inexpen sive disk. What really annoys me is that many sounds for the more expensive VFX/SD are offered on disk for a reasonable price - 2 banks of 60 sound programs for $19.95 which would probably be $25 in Germany. TH, could you publish an article on how to make an SQ sound put of a VFX/sd sound? Then I could transfer your VFX/sd hackerpatches to my SQ-R. And I am looking for a really cool church organ patch. Could you help me with that? sounds). You buy the card and then send it as available) and you have a very cost effective system. In the worst-case scenario you add the cost of $0.87 per sound for the RAM card $1.75. Is that really that expensive for new sounds?] Dear Hacker, 1 just purchased an SD-1/32 and have not as yet come across any patches, presets or whatever giving me a sound similar to the heavily layered, thick textures intro keyboards you hear on many pop and R&B songs (usual ly ballads.) If any of your back issues have in formation on this or if you can point me in a direction, I'd greatly appreciate it. Sincerely, George Leinenweber Atlantic Beach, FL G e r a l d P. K a e n d l e r [CS - I'm afraid you'll need to be a bit more Leichlingen, Germany specific about what you're looking for; [CS - We get a lot of requests for a guide to "heavily layered, thick textures" could describe any of a number of sounds.] is not a trivial undertaking, though. I'm not Sirs: guide to converting patches. But if someone would be more than happy to look into pub Recently I traded my EPS-16+ in for the new ASR-IO. r LEARN JAZZ I M P R O V I S AT I O N f WITH YOUR MIDI r SEQUENCER! INTRODUCING JAZZ THROUGH MTOI™ r A FUN AND EXCITING NEW METHOD FOR LEARNING JAZZ. r Now you can learn authentic jazz f solos, study jazz theory, practice scales, and jam with your own jazz band anytime you want. Jazz f Through Midi has levels of skill for intermediate and r beginning, advanced players, and features a of popular jazz standards and r variety practice exercises in the following jazz styles: Bebop, Modal, Blues, r Latin, New Orleans and Fusion. Leadsheets are also provided with r complete transcriptions of all the solos. Requires a midi soundsource ith drum sounds. Available for r wMac, IBM, Atari, Amiga (Type 1 Midifiles) Roland, Yamaha, Kawai, f Ensoniq, and Koi^ sequencers. r r NEW SOUND MUSIC r P.O. Box 37363 • Oak Park, MI 4K237 I'honc: (3131 355-3643 r $49 95 m converting patches from various formats. This out there wants to give it a shot, the Hacker Tandy drive does not, so it will not work. It would take 53 Megabytes of RAM to offer 5 MIDI System Exclusive to your computer (running any number of MIDI programs Sincerely, even convinced that you could do a usable You can increase the ASR-IO's memory up to 16 meg by populating its four SIMM slots with Can the basic 27 Radio Shack DVZZZSSHW Dvzzzshh! Kerrranggg! Boowjhsh! That's about as close as we'll get to describing these sounds in print. Q Up Arts now offers you the most explosive libraries ever pre sented—and you've gotta' hear them to believe them. These libraries deliver the cleanest, most precision-engineered sounds, direct from the artists and engineers who make them happen. Blxghwzhww! However you spell it, Q Up Arts has it. To leam more, caU us today. CD-ROM LIBRARIES minutes of stereo sampling at 44kHz! You can, however, achieve a lot of production value out of the ASR-lO's resampling technol ogy. Create a verse "bed" using a variety of sounds and then resample that to a new In strument. Now you can erase the older Instru ments and sequence and use this audio snippet as a verse. By creating and resam pling short sections or phrases you can get a full-sounding production. That is the Re corder part of the ASR-IO's name. We will be sharing some application notes with the Hacker in the future on tips and trick to take advantage of this technique.] D e a r H a c k e r, II Mamter Stuilla Call. V. 1 & B 300Mb each of rare and ethnic instruments and percussion. "The Master audio Collection contains thousands well-recor ded usehii sound effects and musical instruments that provide a wonderftil varied resource for the sound editmfdesigner." —Bill Koepnick, Emmy award-winning sound editor S a n i c I m a g e s V. 1 S . S 300Mh each of synthesized orchestral sounds, musical FX created hy Christopher Franke (ex Tangerine Dream). "I believe in the Sonic Images sounds. They're clean and 5. Sonic Images Volume I $399 6 . S o n i c I m a g e s Vo l u m e 2 $ 3 9 9 Aj^A| siaaa/iiaa 1. 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Now available EIII/EIIIXP condensed! "We've never heaid anything like the Jaeger libary. Sampled strings just aren't going to get any better than this." — Keyboard Dynatek review CD-RDM Drive Desktop and rackmount Sony CD-ROM drive instantly hooks up through your SCSI port. CompadWe with ail CD-ROM supported samplers, Macint(»h and PC a>mputers. 3 disc set $1200 2. Denny Jaeger Master Violin Library Condensed 3. 4. 5. $495 Sonic Images Vol. I Sonic Images Vol. 2 Heavy Hitters Drums $399 $399 $399 6 . M a s t e r S t u d i o C o l l e c t i o n Vo l . 1 $ 3 9 9 7 . M a s t e r S t u d i o C o l l e c t i o n Vo l . 2 $ 3 9 9 8. EIII Factory Sound Vol. 1; 1-44 $299 9. EIII Factory Sound Vol. 2; 45-88 $299 digidesign S«mpleCeii/II 30 minutes of drum hits from Alan White (Yes), Tommy Lee 1. Sonic Images Vol. I $399 2. Sonic Images Vol. 2 $399 3. Heavy Hitters Drums $399 4. Digital Sound Series Vol. 1 SFX/PercSound Designer Files $299 5. Digital Sound Series Vol. 2 InstriPerc. Sound Designer Files $299 (Motley Criie), and Jim Keltner (legendaryjession drummer). IS ( M k a O fl J l I D Heavy Hitters Greatest Hits "...What's on this disc is first rate..." —Grec Rule, Keyboard Roland s-sso/s-t^-^o 1 . S - 5 5 0 U n i v e r s e o f S o u n d s Vo l . I $ 2 9 9 2 . S . 5 5 0 AV 3 0 C l u b 5 0 M a s t e r P e r f o r m a n c e S e r i e s Vo l . I $299 3. S-770 Sonic Image I disc $399 4. S-770 Club 50 Foundations $550 "This is the most happening, usable drum Hbraiy. They're the very best." —David Bryan, Bon Jovi All Drums from Illegal Radio HurxwweU K-SaOO Version 2.0 allows you to load all of our 70 minutes of DDD acoustic and electronic tracks with Roland/Akai brushes, mallets, rolls, comedy fills, loops, and grooves from every genre. '99"" 1. Sonic Images 2. Sonic Images lexicon 300, cleanest reverb in the woiid. Samples include taag DIXG 1 2 $399 $399 CD-RDM All brand names, logos & trademarks are proprietary or registered trademarks of their respective companies. Turbo and an ASR-10 with 10 meg memory upgrade. I was just curious if anybody out there knows how many original EPSs there are in the world. And how many EPS-16+s and ASR10s? Sincerely, Walt Gregory Sandy, Utah [CS - According to my scientific research, conducted under stringent scientific condi tions by my Lab Assistant, Max (actually, more of a Lab Retriever than a Lab Assis tant), and myself, the answer is "all of them." J [Ensoniq - While we won't release actual sales figures we will say that in total there are more than 60,000 and less than 100,000 En soniq samplers making music today.] DearTH, I'm a VFX owner. As 1 go back to some older Hacker volumes (mostly from 1990) 1 sec to convert to my VFX, but don't know how. a Th 5 P.O. Box 1078 iknos, U 95001-1078 Te i : 4 0 8 . 6 8 8 . 9 5 2 4 F u : 4 0 8 . 6 6 2 . 8 1 7 2 CD-Rmi D R U / E F D R ' S a S " ' In my nineteen years as a full-time producer, musician and entertainer I've bought more keyboards than anybody I know. Two of my most recent purchases were an EPS-16-F ESQ-1 and the SQ-80 that I'd love to be able Qt 30 minutes of wet-only samples digitally outputted from the Alw Vol. Vol. 16-F. Excellent choice, eh? some interesting patches written for the Trails & ReDecthms from Alpha Onega stadium, long and short gates, rooms, plates and reY'erse effects. Add new quality to your existing sounds and sequences. This new concept really works! '99°° CD-ROMs The last four times I was in Las Vegas, I couldn't help but notice that nearly every key board player in town plays an EPS or EPS- Master { Cad . f II S V J A A // M m AmS 9T IE R C A R D ACCEPTED 688-9524 (408) D e a .l lee r s Welcome! Most interesting to me were the programs "PROPHET" from October, 1990, "ARP 1" and "FUNORG" from that issue, "8' LES" (September, 1990) which 1 believe is a Vox organ, and "VOX 3" from February, 1990. Is there any way to get these converted to VFX programs? Also, has anyone ever written a Rhodes electric piano patch that is published anywhere? Thanks for your help, answered in the manual but I just can't figure Dave Musumeci them out. Newark, DE [CS-I'm ceroid that I know of no easy way to "convert" ESQ-l and SQ-80 patches for use on the VFX or SD series of instruments. If you have a pretty good understanding of both these types of instruments, you could probably pull off pretty good approximations of a con version, but then, if you had that kind of un derstanding of these products you wouldn't have written in the first place. Do write again, 1. How do you make your own patch select samples and programs and how do you get different samples on up key movements to down key? the layer on or off. You can now use any of the ASR-10 program ming tools to make variations for any of these patch selects; simply program variations for the layer(s) called up by any particular patch select combination. 2. When changing sound timbres on instru To change layers from key-up to key-down m e n t s i s t h e r e a r e s o n a n c e fi l t e r t h a t c a n b e layers: changed like on old analog synths? Press EDIT, the INST. though.] 3. Say you do your first sequence like so Drums on track-1, Bass on track-2, guitar on track-3. Now you go to do sequence two, but [Ensoniq - The raw waveform that is used for you want to continue to use the same drums a sound on a wavetablelPCM-based instru you laid on track-1 of the first sequence. How can you jump just the drum sequence from 1 to sequence 2 without bringing along the bass Enable any layers you want to be keydown layers by scrolling to their position in the list, and hitting the Up Arrow button to turn the and the guitar? layer on. results. Since the voice architectures are very different there is no kind of "automatic" con 4. How do you route instruments so you can version possible.] while doing a sequence and how many dif Scroll right until you reach the KEYUP LAYERS= display. ment accounts for much of the sound's timbre. Since the ESQ-I and SQ-80 have completely different waveforms than the VFX it is highly Scroll right until you reach the KEYDWN LAYERS= display. u n l i k e l y t h a t y o u w i l l a c h i e v e th e s a m e use different effects on different instruments 5. How can you have the ASR-10 sequencer Disable any layers you want to be keydown layers by scrolling to their position in the list, and hitting the Down Arrow button to turn the control another MIDI device on track 5, for layer off. ferent effects at one time? DearTH, I enjoy much of the Hacker and occasionally instance, while the other instruments are find helpful articles. I have owned an SD-1 ASR-10 sounds on track 1-4? for about a year now and have found it to be a tremendous instrument. 1 have two questions. What exactly is meant by a "pad"? What kind of a sound or characteristics does a pad have? 6. How do you create your own drum patches by taking bass drum from one disk, snare from another and so forth? 7. What does the "10" stand for in ASR-10? Is anyone out there interested in trading se 2) The ASR-10 includes a sophisticated multi-mode filter for each wavesample in an Instrument. These filters do not include resonance. They can be controlled in rather more complex ways than might typically be associated with analog synthesis, although they are based on standard analog (subtractive) systems. quences. Either originals or commercial well-known songs. If so, please write me. Thanks, 1 would like to see more articles on the SD-1 [CS - I) There isn't enough space here to go into detail about creating your own patch select variations, but I will give you a brief Lost in Manuals 3) To copy a track from one sequence to another: in the Hacker. Thank you, Fred Bass guide for creating patch select variations on a sound you've sampled: Worcester, MA [TH - Watch those copyrights, folks!] Sample a sound into a new layer of a new in strument. This will default to Layer I. Select the sequence you wish to copy the track to. Press Command, then Track, and scroll to COPY TRACK. Hit ENTER. Use the Slider or the Up/Down Arrow buttons to iocate the sequence you wish to copy the drum track from. When it is showing in the display, hit ENTER. ]CS - The term "pad" refers to a sound that's generally used as a textural component, often in the background in a composition. Pads are often characterized by having a soft, slow at tack and decay, and a mellow tone; think of a mellow synth-string sound, and you'II have a Select Layer I for editing - hit EDIT, and un pretty good idea.] to COPY LAYER. Hit ENTER and follow the d e r l i n e LY R = I . P r e s s t h e I n s t r u m e n t - Tr a c k b u t t o n t h a t c o r C o p y t h e PA R A M S ( n o t PA R A M S + D ATA ) only of layer I back into the same Instrument -press COMMAND, then LAYER, then scroll and set the measure range that you wish to responds to the drum track. Press ENTER, prompts. [Ensoniq - Another characteristic of a pad is that it is a sound that is meant to be sustained to fill space, and to help define harmonic structure.] Assign the new layer to a patch select - hit EDIT and double-click INST to move to the layer assign page. I've just sold my EPS-16+ Turbo and just purchased an ASR-10 with two 4 meg chips. I As you hold one, the other, or both patch select buttons, you will see which layers are active in any given patch. Change these as signments by scrolling to the layer you want to turn on or off for the patch you're working have a couple of questions which 1 know are with, and use the UP/DOWN buttons to turn Oh Great Hacker, 2 9 copy. Press ENTER; the ASR-10 should be displaying the name of your target sequence. Press ENTER, then select the track you wish the copy to end up on. Press ENTER, and set the bar at which you want the copy to start. Press ENTER. The copy will take place, and you will be presented with the audition page. If all went well, you can press ENTER one final time to KEEP the NEW version of the se quence. 4) You can use one effect algorithm at a time. Some algorithms have a number of effects that they can do at once; your manual can tell you which effects are present at which bus when using these multi-effect algorithms. Instru ments can be routed from a number of dif ferent places. From within a sequence, you might try hitting EDIT, then TRACK, and scrolling until you reach OUT=XXXX. This is the bus routing for whatever Instrument you have selected. Use the UplDown Arrow but tons to select among the various routings 2. Most of the programs for Ensoniq's demos "Fusionaire," "Plaything," "Earcandy," etc. ible with earlier versions of the VFX. are not on the SD/VFX sound library list. Where is this stuff from and why aren't they 4) The SD-I does not support tempo changes within a sequence. The only way to affect tempo changes is to use song mode to chain available; use the Instrument-Track buttons to the VSD sound libraries indicate? being offered in the accessories catalog. Are there more of these mysterious programs hiding somewhere? together several sequences at different tem pos. Fades can be handled in song mode as 3. What do the asterisks in names of some of down or pan settings for a sequence track un less the corresponding song track has been well. Note that the SD-I does not record mix- defined. In other words, if you wish to record select Instruments for routing. mixdown information for track three of a se create a MIDI Instrument that sends data on 4. How can I create a tempo change at some point within a sequence? How about a gradual change at some point over the length of four bars? How about making volume changes, you must be sure to define track three of song I by placing a sound (any sound) into the MIDI channel 5, and occupies track 5, do the like a fade at the end of a song? track. Also, I have found that the process 5) The ASR-IO generally controls other in strument via the use of MIDI Instruments. To following. Make sure that Instrument-Track 5 is empty. Press COMMAND, then INSTRUMENT, and s c r o l l t o C R E AT E N E W I N S T R U M E N T. Press ENTER. The display will show SELECT UNUSED INST=X. If it is showing some other Instrument than 5, press the Instrument-Track 5. When sequencing, I often load sound disk libraries into internal RAM in search of sounds which I copy one by one to cartridge before using. Since none of my sequences end up using internal RAM programs this way, I need a quick and simple trick to get both cartridge programs and their associated tracks to "default" to internal RAM when I've either completed a SEQ file or filled up the Hit EDIT, then INSTRUMENT, and scroll to MIDI OUT CHANNEL^X. Use the UplDown Arrow buttons to set this to channel 5 (or cartridge. That way I can save the new con figuration to disk as one file, use my cartridge for another project, and later be able to reload the old file without having to also look for the additional program file and waste time trans ferring it to cartridge. Is there a simple solu whatever MIDI channel you want to send on). tion to all this? If not, I'd like to see Ensoniq 5 button. Hit ENTER. The MIDI Instrument is now created. include such a "default" feature on the next This new Instrument can now be used just like any other Instrument - it can be saved, loaded, and sequenced. The only difference is that it will play no internal ASR-IO voices only external MIDI voices on channel 5. 6) I'm Just in the process of finishing an ap plications note on creating custom drum and percussion mappings. I'm afraid it's too much information to reproduce here, but when it's finished we'll see about running it in the Hacker. Also, your dealer or Ensoniq should be able to supply you with a copy once it's OS update. 6. I would like to have a realistic sitar pro gram for the SD-1. I'm not aware of one on any of the available libraries and would like to see one in the Hackerpatch, if possible. works best if you perform some steps in a specific order, which is to select the "Volume" page, begin recording, and then select the track for which you want to record volume changes. Make sure that "Record Mode=Mixdown" and "Edit Tracks=Seq" on the Seq Control page. 5) Unfortunately, there's no quick way to tell the SD-1 to "default" to looking at the inter nal RAM locations for track sounds that originally came from a cartridge. 6) We'II pass your request along to Sam Mims, who does the monthly SDIVFX Hacker patch column.] [Ensoniq - I) Those programs are the property of Sound Source Unlimited, and we must assume that by "acquired" you mean copied or traded. We have never released or d i s t r i b u t e d t h o s e s o u n d s . Yo u s h o u l d c o n t a c t the dealer or friend who gave them to you and let them know they are breaking the law. Then contact Sound Source Unlimited (800) 877-4778 to arrange some sort of payment. You didn't know better, but now that you do we urge you to "do the right thing!" Thanks for the forum, Becky Dierkson Lancaster, TX [CS -I) Um, I kinda hate to bring it up here, but these are programs created by Sound available. Source Unlimited, and as such are copy 7) It stands for "ten." ] righted material. The programs may have been released in an Ensoniq library, or in a Sound Source library, but in either case you [Ensoniq - 7) Some people have guessediassumed that it stands for 10th anniversary (1992 was our lOth year in business). Others have said that it stands for 8 Instrument plus quence which has been chained into song I, may find yourself liable for copyright infr ingement if you use them. 2) Often the sounds that are loaded and play 2) When we release a demo for a product we also release the right to use the sounds that are created specifically for the demo. We allow our dealers to freely distribute demos (but not sound libraries!). Any demo that comes with an Ensoniq product or is released through our dealers are an added bonus for you. We do not catalog those sounds, nor do we require the developer to make them adhere to our usual standards (using all Patch Select buttons etc.). They are most times tweaks of existing sounds to optimize them for the piece of music that was written. Enjoy them! the 2 Audio Tracks. We like Clark's answer as with Ensoniq demos are edits of other well.] Got a couple of mostly trivial questions and programs in the library, or are created specifically for the demo and were not in tended for release in a sound library. If you like any of the sounds, though, feel free to use them. You may even want to collect your favorites from the various demos together, requests: and save them as a separate file for easy ac gest that you use Programs that you store in c e s s . RAM rather than Cart. By saving programs DearTH, 1. I've acquired a couple of sound libraries for my SD-1 called SSUPGA and SSUPGB. Any idea where they are from? 5) Since the SD-1 can automatically load an associated group of programs (either 30 or 60) when loading 30 or 60 sequences, we sug with the full sequencer data (not the I Seq op 3) The asterisks generally indicate that the sound(s) in question use newer expansion waves, and as such may not be 100% compat 3 0 tion) you will always bring in the correct programs and sequencer data. When loading one of our demos like "Plaything" you will see a flashing "P" which shows that there is associated Program data with that file. There's actually more to this question than can be addressed here - we hope to elaborate on this in the next Interface.] DearTH: dure for it to send its entire contents to Per sert the sysex message; FO OF 40 00 00 14 F7 (hexadecimal). (See Appendix A page a-7 Sysex spec.) Create another track in Per former and Record Enable while you play the track with the sysex message you just in serted. Performer will record the sysex dump Sincerely, sent from the DP/4. [Ensoniq - Of course you must be sure that the DPI4 and the track in Performer are set to Any readers who happen to have a DP/4 and Performer may be interested in the following: Here is the DP/4 Dump Message and proce with the dump message you inserted. former. Create one track on Performer and in To send the dump back to the DP/4 all you have to do is Play Enable the track with the dump on it. Make sure you shut off the track Sal Centola Lansdowne, PA [CS - Thanks for sharing the info, Sal.] the same MID! channel.] HACKER BOOTEEQ Protective Dust Covers -Ensoniq SD1,KS32,ASR10 Reg. $24.05 Sale 19.95 Black Regency Only • Add $4.00 S&H Liven Up Your SQ-80! The PrivatLabel Collection - DANCE CONSTRUCTION SET CD - Over 140 Drum Loops, spoken SH-101, Moog by E.K.O., Hip See Review in #1 FX, Hundreds of drums and percussion. 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E A C H Also For: ASR-10, EPS-16, S-S50, S-330, W-30. (Specify) Demo disk $5 - refundable with purchase of disks. 3 1 0 - 6 9 9 - 0 0 9 5 E3 E3 MIDI MARK I BOX 217 » WHITTIER. OA 90608 L /G I HTN I GCONTROLLERS USEK ORDER BY CONFIGURABLE XV / • MAIL OR DRIVE Y A M A H A M A H A G E H PHONE N Y - A D D TA X ALL 1800 MODELS your keyboard on an IBM-PC using our Sequencer Conversion Packages $44 each (inciudes Disk Manager) 8038 Morgan Rd. Liverpool. NY 13090 «cowoi» SALE 16 BIT FOR SAMRLES EPS/1 6-h Series 1: Analog Classics Series 2: Legendary Digital Series 3: Studio Drums Series 4: Experimental Industrial S e r i e s 5 ; R a v e . H o u s e & Te c h n o Eai^i 5 Disk Series dennis cooke $20 with Free Shipping 128 Greendale Cres. D oU n KCi at cn ha e n .e r N , 2OAn l 2aR n6 o K bCbPUi M L AAKD CW da T H E N AV I G AT O R ASR-10 ; EPS-16-f All Direct Dial commands (and more) on a super-condensed, logically or ganized, 2-page, plastic-covered quick CL-3/1500 3 CL-3/1800 3 $229.95 reference sheet. The ultimate ASR/ $269.95 EPS-I6+ Cheatsheet! "Even veteran CL-6/18006 $359.95 • PRICES SHOWN ARE CONFIGURED AS MIDI users ...will find the Navigator a boon." (P. Finnigan, TH, Oct. 92.) Specify EPS or ASR and send $10 to: VFX-SD/SD-I EPS/EPS-16 SQ1/SQ2/KS32 Convert SQ80 Seqs/Songs to VFX-SD ($44) Call for software for other Ensoniq products Giebler Enterprises (315) 652-5741 Culver City CA. 90230 WAT T S DISKETTE MANAGERS Convert Standard Midi Files to/from Redshlft Limited in IT^ rf i f t Hollow Corner Road . Suite 126 D I S K E T T E 1/r Make check cr rrwney order payable to: Compulse C O N C E P T S 'mm • 810 Hooper Road • EidMll,NewYoi1(l37«l ■ 800-3B8-8II5 Play Along Sequences for the EPS 16+ and ASR 10 The Gospel Set Includes 8 songs designed specifically for the EPS 16+ and ASR 10 Perfect for offertories, preludes, etc. Each song Includes 6-8 new sounds and printed music SlO.CXD per song/$60,00 for the entire set Demo audio cassette and complete song list $3.00 TTie l^itjtlittt Tactor^ 1910 Cam ptite Court • Lewlsvllle, TX • 75067 214/315-8141 31 Keith Peterson 7 11 P a r k A v e . Dunkirk, NY 14048 WirVE NUKED OUR SAMPIJi! DISK PRIUES! ONLY $4 PER DISK! NhWI 3D Sounds is now distributing Sample Source CD #1 With 600 Stereo E-mu Proteus & U-220 Samples For Only $19 + $5 S/HI WE HAVE A HUGE LIBRARY OF SOUNDS FOR , ASR-10, EPS, EPS16t, MIRAGE, TX-16W, EMAX, I S-900, S-60/330rW-30, S-10/MKS-100 AND DPM-SP IPRICED AT ONLY $4 t ,60 S/H PER DISK. ALSO, 1 PATCH DISKS FOR SYNTHS IN MANY FORMATS AT $15 t .5( S/H PER DISK. IfEWGS-SPECfyFORT i PC yiMOOESAioyoNFy iWEHSPiliriDSimi BOX 114, STATION 0 KITCHENER, ONTARIO CANADA, N2G 3W9 VISA/MC 519-745-0021 B U L K R AT E U . S . P O S TA G E PA I D TRANSONIQ HACKER PORTLAND, OR 1402 SW UPLAND DR., PORTLAND, OR 97221, (503) 227-6848 P E R M I T N O . 11 S U B S C R I P T I O N M AT E R I A L ADDRESS CORRECTION REQUESTED DATED MATERIAL - TIME VALUE Postmaster: Please return Form 3547 as soon as possible so we can change our records. This is a monthly publication. Advertising rates: Please send for rate card. Publisher; Eric Geisiinger E d i t o r : J a n e Ta l i s m a n Rates for aitthors: Please send for writer-info card. Our (somewhat regular) iiiusirious bevy of writers includes: Craig Anderton, Subscriptions: 12 monthly issues. US: $23/year. Ail others: $32/year. Payable Rcbby Berman, Barry Carson, Mark Clifton, Gary Dinsmore, Dennie Edwards, Rob Feiner, Anthony Ferrara, Pat Finnlgan, Charles R. Fischer, Gary Giebier, Jim in US funds. Grote, Garth Hjeite, Bryce Inman, John Loffink, Alan Macintosh, Daniel Mandei, Sam Mims, Gary Morrison, Michael Mortiiia, William Pont, Jeffrey Rhoads, Brian Rest, Clark Salisbury, Tom Shear, Joe Slater, Kirk Siinkard, Bob Spencer, and Transoniq Hacker is the independent user's news magazine for Ensoniq J a c k To i i n . products. Transoniq Hacker is not affiliated in any way with Ensoniq Corp. Ensoniq and the names of their various products are registered trademarks of Copyright 1993, Transoniq Hacker, 1402 SW Upland Drive, Portland, OR 97221. Phone: (503) 227-6848 (8 a.m. to 9 p.m. Pacific Time). United States. 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 L. B. 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Henley Summertime — Standard S u m m e r t i m e I n Ve n i c e - S t a n d a r d December 1963 - Four Seasons It's Raining Men - Weather Girls Super Freak - R. James Do You Wanna Funk - Sylvester End Of The Road - Boyz II Men Layla - E. Clapton Masterpiece - Atlantic Starr Mills Brothers Medley The One - E. John Friends In Low Places - G. Brooks Georgia On My Mind - M. Bolton Have I Told You Lately - R. Stewart M o v e T h i s - Te c h n o t r o n i c s No One Else On Earth - Wynonna To Love Somebody - M. Bolton Way You Look Tonight, The - F. Sinatra Wishing On A Star - Cover Girls YMCA - Village People M U S I C A N D LY R I C S N O W AVA I L A B L E ! ! We Support Ensoniq • Korg R o l a n d • Ya m a h a & SMF Formats To l l F r e e O r d e r l i n e : 1 - 8 0 0 - 3 L B - M U S I C Visa and Mastercard Accepted L. B. Music 51 Charter Oak Drive, Newton Square, PA 19073-3044 215-356-7255 / Fax: 215-356-6737 We Now Support GS/GM
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