Ensoniq Corporation Transoniq Hacker Archive Issue #107 Th 107

Ensoniq Corporation Transoniq Hacker Archive Issue #107 th_107 Ensoniq Corporation - Transoniq Hacker Archive - Issue #107

User Manual: Ensoniq Corporation Transoniq Hacker Archive Issue #107 Ensoniq Corporation - Transoniq Hacker Archive - Issue #107

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TS-12

—

The

Rush

Buck

the

early

'?0s

the

lvlini

lvieeg

was

the

piece

have.

This

edd

little

thing

with

its

pep-up

cen-

trel

panel

and

mene

keybeard

drew

gasps

amazement

frem

players

and

en-leekers

alike.

remember

hew

lucky

felt

te be

able

ewn

ene.

But,

I'll

never

ferget

the

feeling

get

when

pewered

first

Prephet

Here,

beneath

this

leng

wedge,

was

the

ability

the

impessible;

ae-

tually

stere

yeur

ewn

settings

"presets"

fer

instant

recall.

Wew!

And

veices

pelyphenyl

Teggling

thru

the

presets(l),

fettnd

myself

awe

what

heard.

The

seunds!

was

tetally

entranced.

Heurs

dis-

appeared

endless

pessibilities.

What

sensatien...

what

rush!

I've

had the

chance

play

let

synths

since

then

(‘cause

I'm

eld,

see?).

While

seme

the

'beards

I've

sampled('i'

have

been

very

impressive,

even

greundbreak-

ing,

they've

never

quite

stirred

seul

the

way

that

Prephet

did....until

new.

The

rush

has

returned

again.

Enseniq's

TS-12

has

given

that

same

sense

discevery.

‘Why,

after

all

this

time,

the

T5-12'?

first

glance

it's

essentially

TS-10

with

weighted

piane

keybeard.

alse,

mere

less,

gives

intreductien

versien

2.0

0.5.

This

chip-upgrade

effers

seme

new

addi-

tiens

that

make

the

TS-10312

platferm

easier

fathem.

Versien

2.0

(2.02

this

writing)

alse

delivers

seunds

and

Jsﬁ

Rhee-as

pregrams

that

have

been

carefully

re-

veiced.

But,

the

TS-12

seems

mere

than

just

TS-10

with

new

keybeard.

seunds

and

feels

sernething

in-

dependent

and

cemplete

its

ewn.

What's

mere,

may

help

light

that

elusive

creative

spark.

Keep

reading.

The

Keybeercl

the

frent

the

TS-12

‘Id-nete,

weighted

piane

keybeard.

The

actual

physical

keybesrd

cemes

ceurtesy

Fatar

Cerp.,

well

knewn

the

manufacturer

seundless

centrellers.

fact,

it's

the

keybeard

that's

made

their

centrellers

desirable

and

pepular

with

these

whe

need

centrel

ever

ene

mere

synth

medules.

wanted

see

what

the

keybeard

felt

with

seund.

switched

eff

the

TS-12's

pewer,

thus,

iselating

its

key-

beard.

The

actien

firmer

than that

aceustic

piane.

The

keys

have

netice-

able

side

mevemcnt

and

their

return

feels

natural,

with

hint

back-

teuch.

And

this

keybeard

very,

very

quiet.

And

weighs

peunds.

New,

switch

the

TS-12

again.

The

true

sensitivity

the

keybeard

lies

semewhat

deeper.

Press

System

see

the

first

sub-page.

TDUCH=SYN-TEL

appears

the

lewer

right

cerner

the

display.

There

are

velecity

curves

yeur

fingertips

(ahe1'n!};

piane,

synth

and

fitted.

future

articles,

we'll

leek

these

mere

clesely.

Fer

new,

it's

impertant

knew

The

Independent

News

Magazine

fer

Enseniq

Users

this

it-SUE

Articles:

TS-12

—

The

Rush

Hack

Ieﬁﬁheads

......................................

cever

Sampling

Synthesizers

Partl1I

Tern

Sheer

The

EPS

9-dB

Beest

Med

Jehn

Leﬁink

...........................................

‘F

Putting

the

DPI4

Werk

Rhythm

Tracks

Micheetﬁervsy

Trick

Shuffling

Jsjfistten

Senic

Derivatiens:

Empire

Brass

Jerrtes

Greta

.........................................

Synthesising

the

Clavinet

Kirk

Stinkard

........................................

Reviews:

Basement

Tapes:

Steve

Wilde

Denis!

Mendel‘

.......................................

Latter

Seunds:

Hardwire

Pet

Fimtigeit

........................................

.. 11

Reguter

Stuff:

Randem

Netes

........................................

Hyperseniq

Current

0.5.

Classifieds

............................................

The

Interface

.......................................

Hacker

Beeteeq

...................................

ISSUE

NUMBER

10?,

$2.50

.l'

that

Enseniq

develeped

this

system

seftware

with

the

help

dif-

ferent

players,

each

with

different

playing

styles.

This,

aleng

with

the

piane

pregrams,

gives

the

1-teyheard

mere

human

feel.

Play

ene

the

TS-12's

enbeard

pianes

{try

“Steree

Piane"

ROM

BankSet

R2.)

Clese

yeur

eyes

yeu

play.

New,

imagine

playing

9—feet

Grand.

I've

played

different

serts

piane

music

using

different

"pianes"

and

velecity

curves

the

TS-12.

Bruce

Hemsby's

"Hereer

Lights,"

Herbie

Hanceck's

"Detphin

Dense"

and

Scett

ep1in's

"The

Strsnueus

Life"

all

require

separate

"feels."

Dif-

ferent

velecity

curves

can

chesen

fer

each

piece.

Remember,

theugh,

that

TOUCH

glebal

parameter

yeu

may

net

want

change

ence

yeu‘ve

feund

setting

yeu

like.

Yeu

can

fine

tune

the

upper

end

curve

using

the

'v'E.L-

MAX

parameter

lecated

the

right

TOUCH.

Take

yeur

time

with

the

velecity

curves.

After

seme

eitperimentatien

using

this

music,

I've

settled

TOUCH

value

that

suits

playing.

The

whele

precess

has

been

entirely

satisfying.

Synth

and

instruments

played

frem

the

TS-12's

keybeard

seund

they

pessess

life.

Cemplett

pad

seunds

translate

very

well

since

each

layer

can

have

its

ewn

velecity

attack,

release

and

level

settings.

Bass-synth

seunds

peund

yeur

chest

with

each

keystrike.

Yeu

can

feel

yeur

fingers

hitting

the

strings.

Leads

sizzle

yeu

dig

inte

the

keys.

Trumpets

seem

richer,

seprane

saites

are

mere

haunting

when

yeu

play

them

frem

the

TS-12's

keybeard.

Guitar,

ensemble

setmds,

drums...eny

seund

becemes

psyche-aceustic

playgreund.

suddenly

seems

bigger,

mere

than

just

itself.

Yeur

hands

were

designed

fer

this.

It's

get

real

guts

it.

Yeu're

playing

semething

subtle

yet

full

pewer.

Regular

plastic

weight

synth

‘beards

new

seem

implaus-

ible.

And

the

rush

centinues.

Opereting

System

2.0

stated

earlier,

with

the

TS-112

cemes

the

new

versien

2.0

Operating

System.

It's

available

fer

small

bench

fee

TS-10

ewners.

Yeu

guys

and

girls

whe

den't

have

yet,

I'd

recem-

mend

upgrading...like,

yesterday.

This

O.S.

dees

way

mere

than

rub

eut

bugs.

delivers

anneyance-bashing

teels

Tempe

Track,

Aute

Lecate

and

SCSI

suppert.

Reund

eut

the

seftware

with

Seundfinder,

include

reveiced

pre

grams

(en

the

D200

disk),

and

yeu‘ve

get

semething

werth

lusting

fer.

Tempe

Track

werks

cenjunctien

with

Seng

Mede.

Yeu

can

recerd

centinueus

(real

time)

tempe

changes

any

Seng.

All

the

ACTUAL

{recerded)

sequence

tempes

are

re-cemputed

the

Seng

TEMPO

value

using

percentage

increase

decrease.

example,

say

the

Seng

TEMPO

value

and

the

ACTUAL

(recerded)

value

its

sequences

025.

Set

value

the

TEMPO

has

effect

all

the

ACTUAL

{recerded)

sequence

values

that

make

the

Seng.

All

ACTUAL

sequences

remain

they

were

eriginally

recerded

the

Seng.

But,

Seng

TEMPO

value

changes

biases

the

sequences

ACTUAL

(recerded)

value

te 111.

Negative

TEMPO

values

bring

the

ACTUAL

value

dewn.

Cenfused?

Okay,

‘STEM-

PO-TRI-£*

pushing

the data

slider

makes

the

sen

faster.

Pushing

dewn

makes

the

seng

slewer.

Yeu‘re

prebably

geing

use

the

Tempe

Track

the

mest

during

mi:-tdewn.

Tempe

Track

real-time

adjustment

yeu

can

alse

use

sync

live

instruments.

Seng

Track

gets

the

Tempe

Track

default.

Unlike

nermal

tracks,

the

Tempe

Track

enly

centains

tempe

infermatien.

eannet

recerd

seund.

yeu

theught

yeu

ceuld

survive

witheut

the

new

Aute-Lead

feature,

rethink

it.

Aute-Lead,

effect,

takes

snapshet

yeur

TS-12

system

befere

pewer

dewn.

then

remembers

system

Sampled

Seunds

and

settings

the

neitt

time

yeu

turn

the

TS-12

en.

Fer

example,

using

the

Aute-Lead

feature,

Sample

Seunds

Sample

Edits

yeu

leaded

inte

the

TS-12

(and

then

turned

the

pewer

eff)

are

remembered

name,

disk,

file

path

and

(Sampled

Seund)

bank

fer

each

the

Sampled

Seunds.

{Sample

edits

must

saved

Sample

edit

file.)

The

Aute-Lead

prempts

yeu

AUTO-LOAD

ALL

SAMPLED

SOL1Nl]S----

(*YES*

*NO*)

when

yeu

turn

the

TS-12

en.

Select

*YES*

yeu'll

using

Sampled

Seunds.

The

Aute-Lead

prempt

will

alse

pep

yeu‘ve

leaded

60-SEQISONG

ﬁle

that

uses

{and

was

saved

with)

Sample

Banks!

Aute-Lead

alse

werks

with

varieus

SCSI

devices.

will

ask

fer

and

lead

Sampled

Seund

files

frem

fleppies,

ROM,

retnevable

cartridges

etc.

And

versien

2.0

effers

SCSI

suppert.

read-enly

SCSI

eptien

available

fer

the

TS-lOl'l2

platferm.

eptienal

SP-4

interface

must

installed.

(Centact

yeur

dealer

fer

details).

(After

the

SP-4

installed,

new

field

and

status

pages

will

displayed

allewing

yeu

select

the

ap-

plicable

sterage

eptien

(cheese

SCSI)

and

SCSI

I.D.

number.

Each

SCSI

device

within

netwerk

cemmunicates

using

I.D.

number.

Yeu

may

use

numbers

thru

and

thru

I.D.

Num-

ber

permanently

assigned

the

TS-12

and

can't

used

fer

ether

SCSI

devices.)

With

the

Read-enly

SCSI

eptien,

the

TS-10112

can

lead

Sampled

Seunds

frem

the

ASR-10,

EPS-16

PLUS

and

BPS.

The

TS-10,102

has

300

pregrams

and

300

presets

residence

it's

pessible

get

little

lest

yeu're

searching

fer

particular

seuud.

with

that

mind,

O.S.

2.0

effers

Seundfinder,

in-

genieus

feature

make

yeur

easier.

Seundfinder‘s

breeze

use

and

werl-ts

Seunds,

Presets,

and

Sequence

Medes.

Each

mede

requires

seme

simple

theugh

specific

steps

we'll

leek

Seundfinder

mere

depth

later

articles.

—

Currentlénsehiq

0.8.

(0isldEPFt0lvl)

SO-Fl

SQ-Fl

SO-Fl

PLUS

Si}?

ass

2.-tst2.4e

EPS-M

2.4at2.41

EPS-16

PLUS

1.3t1.00F

MASOS

MIRAGE

st:-2

ESE!

SO-1

EEC!-M

ED-1

4.10,’-=1-.10

SO-S0

DPI4

1.14

UFK

|{S—32

3.0l

‘v'Fl-t-S0

ASH-10

2.0!l.5

SO-1

I-(MK—B

2.00

SO-1

KMK-‘IE

1-50

—~e-~#www

—I~Q—I-—I-£|tJtI.'II't.Ill'.l'll'\J'D'

tin]-\"“CJ

sweeps

—l-DI"tJ—lDG‘

t'.I1i.ﬂI'\J

001.10

SO-1

PLUS

T5-10t‘12

2.5

Front

Pcsnel

RND

(.I‘J*J*)

Thlrd-Party

News

MIDI

Mark

Productions

new

having

sale

3.5"

sample

disks

for

the

EPSIASR,-’I'

You

can

get

any

disks

fer

$49

plus

sfh.

They

have

ever

200

disks

choose

from

and

specialize

seunds

fer

dance

music.

For

free

catalog,

contact:

MIDI

Mark

Produc-

tions,

P.O.

Ben

212,,

‘Whittier,

90003.

Phone:

(310)

099-0095.

Past:

(310)

099-0304.

HYPEHSONIQ

NEW

PRODUCTS

'i‘i'AVeBOY

Industries

announces

their

fourth

effects

disk:

The

Vader

—

keyboard-controlled

veceder

and

morphing

filter

bank

fer

the

EPS-10

PLUS

and

the

ASR-10.

Teach

your

sampler

talk;

synthesize

and

sequence

vocal

chorus

singing

the

words

your

song!

Get

these

classic

veceder

sounds

-—

talking

wind,

talking

bass,

talking

anything;

sequence

elaborate

changes

that

happen

sync

the

music.

The

Vader

effect

bank

programmable

filters

that

loads

into

the

effects

processor

EPS-I0

PLUS

ASP.-10.

The

ﬁlters

are

multi-band

parametric

equalizers

(EOs)

that

can

modulated

interesting

ways

—

most

notably,

they

can

make

seund

talk

sing

words.

The

Vader

imposes

the

moving

resonance

speech

onto

any

input

sound.

But

while

the

conven-

tional

veceder

uses

live

vocal

input

derive

the

control

informa-

tion,

the

Vader

uses

the

keyboard

MIDI.

The

Vader

contains

set

different

settings

which

are

programmed

imitate

the

formant

structure

different

phonemes.

Each

setting

as-

signed

different

key

the

keyboard.

The

active

frame

selected

the

keyboard,

any

list

modulation

sources

including

LFO

and

Random-Sample-and-Hold.

The

glide

time

be-

tween

frames

variable

and

can

also

modulated.

All

frames

are

programmable

and

net

restricted

speech

phonemes.

The

Voder

can

"morph"

between

frames,

the

Emu

Mer-

phcus.

Unlike

the

Morpheus,

the

'v'oder's

frames

are

user

programmable.

Chorus

effect:

delaylchorus

algorithm

available

simultaneously

with

the

EO,

BUS1

BUS2.

Any

instrument

can

sent

through

the

Vader,

creating

talking

drums,

talking

strings,

etc.

The

Vader

comes

with

demo

sounds

fer

solo

and

chorus

singing.

The

"|h"AVcBOY

Vader

Disk

available

directly

from

'WAVeBOY

Industries

fer

$49.95

including

shipping.

For

further

information,

centaet::

'lh"A‘v'eBOY

Industries,

P.O.

Boa

233,

Paoli,

19301

USA.

Phone:

215-251-9562.

The

Rhythm

Factory

announces

the

release

The

Elite

Set

—

disks

all

new

samples

fer

all

EPS's,

ASR's,

and

TS's.

Disks

are

each

$00

fer

the

entire

set.

hear

what

you're

getting

befere

spending

your

hard

earned

cash,

demo

cassette

all

Rhythm

Fac-

tory

preducts

available

for

just

~—

refundable

with

your

first

purchase.

Fer

further

information,

contact:

Bryce

Inman,

The

Rhythm

Factory,

303

Saddle

Bridge

Lane,

Franklin,

32004.

Phone:

(015)

591-9375.

Saundﬂerna,

running

under

Windows

3.1,

aud_io

conversion

utility

brought

you

Timothy

Dorcas.

Saandtllerna

will

allow

you

convert

Wave

3::

Samplclfision

files

into

Gieb1er's

format

(EFE

EPA),

let

you edit

Sample

Loop

points,

and

set

the

loop

type.

Seundilente

freeware

but

restricted

files

that

are

less

than

kilobytes.

you

use

it,

you

should

it.

Samples

are

included.

Soundlfert

1.0

full-featured

version

Sauhaiﬂenta

al-

lowing

you

process

files

any

length

and

adds

the

ability

convert

Waves

into

Samplelfision.

Anyone

may

obtain

copy

Scundﬂerna

via

modem

Cempuserve

(in

the

MIDI

section);

Sound

Management's

BBS

(T03)

949-0434,

CempUSA

(401)

323-9250;

send

Timothy

Dorcas,

Kipling

St.,

Previ-

deuce.

0290?.

Sound‘v‘ert

1.0

currently

$15

(+$1.50

fer

SH-I}.

TRANSONIQ-NET

HELP

wm-|

esrteus

All

tbe

individuals

listed

below

are

volunteers!

Please

take

that

into

consideration

when

calling.

you

get

recerding

and

leave

message,

let

‘em

knew

it's

okay

call

back

collect

(this

will

greatly

increase

your

chances

getting

return

call).

All

Ensoniq

Gear

Ensoniq

Customer

Service.

9:30

no-on,

1:15

0:30

EST

Monday

Friday.

215-04'?-3930.

All

Easoniq

Gear

Electric

Factory

{Ensoniq's

Australia

distributor).

Business

hours

‘fictoria.

(03)

430-5933.

Sampling

—

The

Intemational

Samplers

Cooperative,

310-455-2053

via

MusoBBS,

313-334-0T99.

SD-1

Questions

Philip

Magnotta,

401-40'?-435?,

—

12:30

EST.

‘JFK

Sound

Programming

Questions

Dara

Jones,

Cempuserve:

T1055,

1113

Midi-net

ti:

Fido-net.

Local

BBS:

Nightﬂy,

Dallas:

214-342-2230.

SD-1,

DPI4,

ASH-10

Questions

lohn

Cos,

009-333-5519,

(NI)

Spot

EST

weekdays.

Any

time

weekends.

SQ-30

Questions

Robert

Romano,

00?-$33-T31-'3.

Any

ol'

time.

Hard

Drives

Drive

Systems,

Studios,

Computers

Rob

Feiner,

Cinetunes.

914-903-5313.

llam-3pm

EST.

Cempuserve:

'i‘1024,l2$5.

EPS,

EPS-10

PLUS,

ASH-I0

Questions

Garth

Hjelte.

Rubber

Chick-

Software.

Call

anytime.

message,

24-hour

callback.

(305)

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Compu

serve:

T2203

,2303.

ESQ-I

AND

SQ-30

Questions

Tom

McCaffrey.

ESQUPA.

215-330-

0241,

before

Eastern

Time.

BACK

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issues

are

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and

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{and

also

ap-

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during

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hours,

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(Toronto,

ONT)

call

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Computers

—

Joe

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(404)

925-‘I929.

EST.

The

Good

The

Bcld

and

Tape:

Nee-Classical

Electronic

Composition.

Artist:

Steve

"h-‘ilde.

Contact:

I320

Washington

Avc.,

Clcarwatcr,

Florida

34015.

Equipment:

Ob-crhcim

DMX

and

Yamaha

drum

machines,

ESQ-1

and

EPS,

Onkyo

mirtdown

deck,

(using

Dolby

C).

the

functional

title

implies,

this

Nee-Classical

Electronic

Composition.

Side

one

Nee-classical,

and

side

two

Electronic

Composition.

The

nee-classical

(15

pieces)

are

traditional

harmony,

counterpoint

and

chord

progressions

using

obvious

synthy

sounds

for

the

strings

(even

though

they

were

obviously

synthesized,

the

strings

still

sound

eit-

ceptionally

beautiful),

keyboards,

homs

and

reeds.

Side

two,

electronic

composition,

has

twenty-two

pieces

with

names

The

Beginning

The

Endf,

Space

Opera

and

Spocl:'S

Ears,

Before

and

After

Before,

Drains.

llfarios,

Klangfarhennrelodie,

Ana‘

Tone

Variations.‘

Quar-

tet

For

Strings,

Flute,

And

Piano.

The

electronic

composition

struck

very

free,

very

streamy

consciousness.

Steve

uses

lot

analog,

wet,

moog

synth

patches.

I-Ie

uses

theme

and

variation

sound

and

tonality

much

the

musical

statements

themselves.

The

downside

that

there

not

much

continuity.

Much

this

style

music

seems

inherent-

anti-conunercial.

There

are

not

lot

hooks

here.

the

Nee-Classical

side

all

sequences

were

well

e:-tecuted.

Introductions

and

endings

were

planned

and

natural

sound-

ing.

the

Elcctronic

Composition

side

any

sequences

were

transparent

the

slow

nature,

the

abstractncss

many

the

pieces.

Introductions

were

interesting

general,

but

endings

were

harder

come

by.

seemed

though

Steve

were

looking

for

way

out

the

piece.

often

felt

the

piece

was

being

abandoned

rather

than

finished.

Definitely

the

Nee-Classical

side

appealed

than

the

Electronic

Composition.

didn't

feel

drawn

into

the

struc-

ture

the

Electronic

Composition

pieces,

did

with

the

Nee-Classical.

Wilde

Tape:

Songs

ﬁ-orn

the

Wilde

SidelGttitaristlcs.

Artist:

Steve

Wilde.

Equipment:

Gibson

20th

Anniversary

Les

Paul

Custom,

Obcrhcirn

Dlvtltt

and

Yamaha

dmm

machines,

ESQ-1

and

EPS,

Onkyo

mirtdown

deck,

(using

Dolby

C).

This

tape,

well,

divided

into

two

definite

sections.

Songs

from

the

Wilde

Side

Steve

graces

with

his

voice,

which

deep and

scratchy

and

goes

well

with

this

rock)‘

jazz

music.

The

recording

quality

the

individual

parts

could

have

been

clearer.

would

have

been

hard

pressed

recog-

nize

any

the

lyrics,

ertcept

for

the

song

titles

printed

the

J-card.

This

the

second

three

tapes

submitted

Steve

Wilde.

Listening

any

one

these

tapes,

you

might

get the

impres-

sion

that

Steve

talented

musician

and

songwriter.

How-

ever,

listening

all

three

these

tapes

you

very

well

might

decide

that

Steve

enormously

capable

musical

visionary

who

would

equally

comfortable

scoring

sound

track

for

movie

recording

rock

ballad

sitting

studio

musician

utilizin

his

variety

styles

and

talents!

realize

that's

mouthful,

but

this

quite

amazing

body

music,

and

deﬁnitely

worth

listcnl

Grritaristics

features

Steve

the

guitarist

(Gee

Thanks,

Dani)

very

small

snippets

tunes

ranging

from

two

three

minutes.

Steve

says

that

his

musical

influences

are

Allan

Holdsworth,

Steve

Morse

and

John

Scofield.

Here

the

screaming

guitar

work

fascinating,

that

you

might

not

notice

the

supporting

work

underneath.

you

take

second

listen,

there

are

lot

repetitive

sequences,

doubt

from

our

friendly

drum

machines.

Fortunately,

the

main

instruments

are

worth

it.

Still,

few

variations

and

clever

fills

would

have

made

-profound

difference.

Steve's

jazzierffusion

pieces

have

well-planned

per-

cussion.

ii—I¢l-1-Ii

men

ene

CD-ROlld'l200ntb

werth

The

recerding

itself

clear.

The

min

acceptable.

Here

again,

the

min

seunds

better

the

jaaaicr

pieces.

This

may

because

all

the

separate

parts

can

heard

mere

clearly.

serne

the

reck

pieces

the

effects

tend

muddy

the

tnis

censiderably.

This

ene

the

rnest

fun

the

three

tapes

that

Steve

sub-

mitted.

Tape:

Jungle

Jassfer

the

One-h.lan~BandlNee-Classical

Hardball.

Artist:

Steve

Wilde.

Equipment:

Ob-erheirn

D1-1X

and

Yamaha

drum

machines,

ESQ-1

and

BPS,

Dnkye

miztdewn

deck,

{using

Delby

C).

This

the

third

three

tapes

that

Steve

submitted,

and

the

ethers

features

twe

distinct

different

sides.

Side

ene

features

Iungle

Jase

fer

the

One-Man-Band,

while

side

twe

features

Nee-Classical

Hardball.

Jungle

Jaesfer

the

One-Man-Band

centinues

the

Wilde

traditien

really

geed

cempesitien

the

reckljaazlfusien

categery.

This time

Steve

shews

eff

his

keybeard

prewess.

Mest

these

sengs

are

three

feur

minutes

lung.

This

side

epens

with

streng

mever,

E.Z.

Bees

lt,

which

quickly

develeps

funky

greeve

that

seunds

dewnright

fun

jam

te.

(p'“°/tits

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piece.

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music,

the

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this

side

are

the

easiest

listen

te.

Maybe

even

the

mest

cennnercial,

al-

theugh

net

sure

I'd

that

far.

Steve

seems

aware

the

nen-cemmercial

aspect

his

sengs.

cetnments

that

“a

recerd

cenipany

has

sell

200,00

units.

they

den’t

think

yeu'll

sell

that

many,

yeu

wen’t

get

signed

Ultimately,

yeu

were

geing

centact

Steve

and

request

ene

his

tapes

yeu

weuld

have

hard

time

deciding

which

ene,

tmless

yeu

cheese

squarely

within

the

genre

yetu'

cheice,

and

then

yeu

weuld

deubt

pleased.

suspect

that

these

are

small

sampling

what

Steve

has

effer.

That

is,

hasn’t

been

signed

recerded

since

last

submitted.

yea

want

yeur

tape

run

threugh

the

ringer,

err,

Hacker,

just

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Easement

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Transeniq

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-""'UEl?'l:P:f

"151

M'Wewners.Callferdetail.s.

Sampling

Synthesizers

Pelt

—

Petting

Suggestions

all

has

gene

well

since

the

last

time,

yeu

prebably

have

ceuple

disks

stuffed

the

brim

with

seme

great

synth

samples.

Yeu've

getten

them

leeped

successfully,

but

new

what?

This time

areund

I’ll

effer

seme

suggestiens

aheut

hew

yeu

can

pelish

them

mere

finished

seund.

yeu

haven't

dene

already,

threugh

every

wavesample

and

GAIN

NORMALIZE

them.

the

seund

questien

nen-sustaining

seund,

such

drum

marimba,

yeu

sheuld

use

the

FADE

OUT

cemmand,

alse

en the

AMP

page,

with

START

value

abeut

and

END

value

99.

Use

the

defaults

fer

any

ether

parameters.

This

will

give

the

nen-sus-

tained

seund

smeeth

adeeut

instead

the

tell-tale

clicks

these

seunds

semetimes

centain

their

tails.

The

neat

part

will

depend

largely

the

setmd

yeu

are

using,

can't

tee

specific.

Basically,

yeu

will

want

reintreduce

any

LFO,

pitch

effects,

digital

effects,

etc

that

yeu

pregrammed

eut

the

seurce

synth

fer

smeeth

sampling.

This

weuld

geed

time

tweak

the

envelepes

and

ﬁlters

tee,

necessary.

pessible,

listen

the

criginal

seund

the

synth

side-by-side

with

yeur

sample

until

yeu

are

satisﬁed

that

yeur

sample

dees

the

eriginal

seund

justice.

Ne:-tt,

these

yeu

with

EPS-16+

higher

sheuld decide

which

the

en-beard

effects

use.

the

seund

yeu

sampled

had

effects

it,

try

repreduce

this

clesely

pessible.

Otherwise,

yeu

have

little

mere

freedem

use

what

yeu

want.

Here

are

seme

general

tips

I've

feund te

werk

well

(these

enly

cever

the

eriginal

15+

algnrhythms:

Fer

drums,

percussien,

and

percussive

instruments,

use

the

HALL

REVERE

tweaked

with

DECAY

TIME

Fer

mest

synths

general,

the

CHOR+REV+DDL

werks

great.

The

cherusing

isn't

etttreme

the

CHORUS+

RE-

VERE,

much

mere

subtle

and

werks

wider

variety

seunds.

fer

seme

reasen

yeur

samples

are

very

neisy,

try

assigning

them

the

PHASER-t-REVERE

with

the

DEEP

PHASE

varia-

tien.

This

werks

very

well

hide

the

neise

and

gives

exag-

gerated

phasing

effect

that

adds

very

spacy

seund

yeur

sample.

The

phases

werks

well

just

abeut

any

kind

pad

well.

Use

this

ene

sparingly.

When

yeu

find

the

effect

yeu

want

and

have

adjusted

its

para-

meters

yeur

liking,

use

the

COPY

CURRENT

EFFECT

cem-

mand

the

COMMAND

EFFECTS

page

cepy

the

effect

yeur

imtrument.

Finally,

it's

time

put

tegether

the

patch

selects.

This

great

feature

and

virtually

ene

uses

it.

WH“r’l'll

Threugh

creative

Tern

Shear

use,

this

eptien

allews

yeu

quadruple

the

number

seunds

yeu

have.

start

eff,

use

the

COPY

LAYER

cemmand

cepy

yeur

current

layer

{PARAMS

ONLY,

yeu‘ll

drive

these

bleck

numbers

threugh

the

reef

l).

yeur

sample

resyn-

thesiaed

uses

multiple

layers,

cepy

them

well.

New

when

yeu

can

have

seme

fun.

Press

the

EDIT

INSTRUMENT

battens

and

yeu

sheuld

see

semething

that

leeks

this:

PATCH

123-----.

This

where

put

tegether

eur

patch

selects.

What

yeu

see

new

what

layers

will

playing

when

patch

select

buttens

are

pressed.

Make

sine

adjust

this

that

enly

the

layers

yeu

want

playing

are

listed.

the

case

ene-layer

seund,

this

sheuld

read

PATCH

------

--.

The

fellewing

example

as-

sumes

yeu’ll

using

ene-layered

seund,

but

deing

this

with

twe

three

layered

seund

very

similar.

eur

first

patch

select,

press

the

left

hand

patch

select

but-

ten

and

the

display

sheuld

change

read

PATCH

SELECT

-2

----

--.

Change

reads

PATCH

SELECT

----

--.

Press

EDIT

again

that

yeu

see

the

"Name

Instrument"

LYR=

WS=ALL.

Tweak

the

LYR

number

read

LYR=2,

eur

recently

cepied

layer.

Press

pitch

new

and

find

the

ROOT

KEY,

FINE

page.

changing

the

FINE

value,

can

make

eur

sample

have

natural

cherusing

that

makes

great

patch

select.

Any

value

+,l-

and

abeve

will

give

yeu

pretty

netice-

able

results

Obvieusiy,

yeu

can

enly

highllew

until

this

starts

seunds

awful,

ettperiment

until

yeu

find

the

“safe

range."

Yen

may

even

decide

this

peint

that

yeu

this

ver-

sien

yeur

seund

much

that

sheuld

the

default

seund!

Repeat

the

precess

abeve

with

ether

layers

and

patch

selects

until

yeu

have

all

three

patch

select

slets

pregrammed.

Here

are

seme

examples

useful

patch

selects

yeu

might

want

try:

Adjust

the

SAMPLE

START

parameter

(EDIT

WAVE

page)

past

the

attack

pertien

the

seund,

change

the

ENV3

SLOW

STRING,

cepy

this

layer

and

tweak

the

FINE

PITCH

value

mentiened

abeve

fer

a_warm

pad

vsriatien.

the

EDIT

WAVE

page,

change

the

MODE

BACK-

WARDS

-N

LOOP.

Tweak

the

ROOT

KEY

yeur

cepied

layer

give

higher,

lewer,

ectaved

versien

yeur

seund.

Try

tuning

perfect

ﬁfths

well.

Apply

wild

pitch

envelepes

fer

tmusual

seund

effects.

yeu

teek

yeur

samples

escillater

time

and

resyn-

thesised

them,

let

individual

layers

play

themselves.

ether

werds,

yeur

final

seund

cemprised

layer

strings

and

layer

bells,

pregram

the

patch

selects

that

just

the

strings,

and

then

just

the

bells

cart

selected.

Think

the

sample

just

en-beard

waveferm

and

really

dig

inte

these

synthesis

functiens.

Yeu

can

get

just

abeut

any

kind

basic

seund

frem

meledic

sample

yeu

werk

hard

eneugh.

‘lllhe

says

string

sectien

makes

leusy

bell‘?

Whe

says

ﬂute

can't

human

veice?

‘werk

tmtil

yeu‘ve

mutated

the

settrtd

beyend

recegrtitlen.

ain’t

easy,

but

it's

werth

it!

there

yeu

ge.

Make

sure

yeu

save

yeur

werk

and

enjey

yeur

hard-earned

new

creatien.

final

werd

advice,

use

the

COMMAND

WAVE

page

eptien

CONVERT

SAMPLE

RATE

push

the

sample

rate

dewn

little

bit.

Only

few

seunds

such

cymbals

and

bells

truly

need

the

full

44.1

sampling

rate.

Meet

ethers

sheuld

seund

mere

less

exactly

the

same

rate

hit!

lew

se.

This

will

save

yeu

let

time

and

wasted

disk

space.

hepe

this

series

has

been

helpful

these

yeu

whe

have

been

wanting

sample

synths,

but

feund

the

task

tee

daunt-

ing.

Yes,

let

werk,

but

sure

e-w

beats

lugging

yeur

megaten

Prephet

yeur

gigl

—

‘fl’

Bie:

Tam

Shear

weuld

net

mind

all

Lflinseniq

decided

send

him

free

AER-I0.

D.l.Y.

Project:

The

EPS

9-dB

Boost

Mod

Recently,

while

mixing

piece

that

uses

venerable

EPS

Classic,

came

against

the

preblem

the

lew

eutput

sig-

nals

the

earlier

medels.

erder

get

the

EPS

samples

suitable

level

mixer,

had

set

the

EPS

faders

maxi-

mum

and

all

ether

insmunents

mid-level

have

rather

medest

mixer

with

trim

centrels.

This

net

geed

situa-

tlen

fer

getting

the

eptimum

signal-te-neise

ratie

frem

mixer.

alse

reduces

the

range

levels

fer

the

ether

instru-

ments

half

the

mixer

fader’s

travel.

—

whe

venture

enward:

yea’re

year

ewnl]

Since

can‘t

resist

tinkering

inside

insnuments,

decided

geed

D.I.Y.

preject

was

stere

fer

me.

‘With

ehmeter

ene

hand,

screw

driver

the

ether,

and

EPS

warranty

leng

since

expired,

cracked

epen

the

shell

EPS

and

began

examining

its

centents.

The

BPS

eutputs

are

driven

quad

amp

(U61)

lecated

the tep

right

cemer

the

machine.

The

final

stage

cen-

figured

fcllewer

driven

filter

netwerk.

Since

there

feedback

resister

fer

this

stage,

there's

way

add

gain

witheut

deing

seme

cutting

the

printed

circuit

(PC)

beard.

went

back

ene

stage

and

feund

inverting

amp-

lifier

and

single

pele

lew

pass

filter.

This

where

decided

add

the

gain.

Leeking

back

Keyheard

Magazine's

sampler

sheeteut

(March,

1989),

netcd

that

the

EPS

eutput

was

lewer

than

mest

the

samplers.

The

review

Keybeard

February

1991

shews

that

the

EPS

16-Plus

eutput

full

greater

than

that

the

EPS

Classic.

Since

wanted

the

EPS

Classic

eutput

reughly

match

that

the

l6-Plus,

decided

sheet

fer

9-dB

beest

the

eutput

level.

This

med

enly

applies

EPS*s

with

serial

numbers

belew

16582.

Later

medels

have

ti-dE

beest

the

eutput

circuit.

Jehn

Leﬁinlc

Unless

yeu're

geing

te de the

werk

ycurself,

have

friend

whe

will

gratis,

then

yeu

sheuld

take

yeur

EPS

yeur

nearest

Enseniq

Autheriaed

Service

Facility,

because

Enseniq

will

previde

6-dB

upgrade

kit

free

charge,

though

yeu'll

still

have

pay

the

laber

charge

set

the

service

facility.

Enseniq

will

net

previde

this

kit

directly

their

custemers.

den't

knew

the

Enseniq

med

similar

ewn.

This

medificatien

will

net

impreve

the

signal-te-neise

ratie

the

EPS.

Since

all

we're

deing

beesting

the

gain

amplifier

the

eutput

stage,

neise

beested

just

much

the

signal.

The

EPS

eutput

net

nearly

quiet

the

‘I6

Plus

later

Enseniq

instruments,

but

cemparable

12-bit

equipment

that

era.

any

the

terminelegy

this

article

cenfusing

yeu,

then

yeu’re

prebably

net

qualified

the

med.

The

fellew-

ing

teels

{and

experience

using

them)

are

needed:

hex

allen

wrench

Phillips

head

screw

driver

Adjustable

wrench

seldering

statien

vacuum

type

deseldering

statien

net

recemmend

using

deseldering

braids, pumps

bulbs

remeve

cempenents

frem

the

EPS

multi-layer

beard,

these

teels

may

damage

it.

Yeu‘ll

need the

fellewing

supplies

fer

the

med:

selder

331-t-Ohm

£22k-Ohm

fer

5-dB

beest)

IMW

Reslsters

—

each

(T5

fer

ti-dB

beest)

50?

Ceramic

Capaciter

—

each

miniature

shrink

wrap

fer

disc

type

capaciter

leads

beard

flux

retriever

Don’t

tempted

use

lower

unknown

tolerance

capaci-

tor

that's

all

you

have

hand.

The

capacitor

part

low-pass

filter

and

+20-30%

type

ceramic

capacitor

would

seriously

affect

the

cutoff

frequency

that

filter.

The

result

could

either

loss

high-end

response

eacessive

ultrasonic

frequencies.

We‘re

now

ready

begin

the

mod

disassembling

the

EPS.

First,

remove

all

connectors

from

the

rear

the

EPS.

(Espe-

cially

the

power

cord!)

Now,

carefully

flip

over

the

EPS

onto

soft

surface

couch

bed

will

fine)

and

remove

the

Phillips

head

screws

located

2-1

and

'i‘

inches

from

the

front

the

instrument.

Holding

the

keys

place,

flip

the

instru-

ment

back

over.

Use

the

adjustable

wrench

remove

the

jack

nuts

for

jacks

Audio

through

Footswitch.

Use

the

Hes

Allen

Wrench

remove

the

four

screws

from

the

faceplate.

You

can

pop

open

the

front

the

EPS

with

little

force

holding

both

ends

the

faceplate,

lifting

and

back

towards

the

rear

the

instrument.

Locate

connector

labeled

—

Keyboard

and

carefully

remove

from

the

board.

Now

slide

the

keyboard

out

toward

the

front,

under-

neath

the

two

posts

used

for

securing

the

faceplate.

Put

the

keyboard

aside,

keys

down.

Just

the

left

the

Footswitch

jack

pair

transistors

with

heatsinks

labeled

and

Q2.

between

those

two

resis-

tors

grounding

lug

for

the

EMI

shield

underneath

the

board.

Remove

this

screw

carefully

because

has

lock

washer

that

could

easily

come

off

and

find

its

way

into

some

remote

corner

your

EPS.

You

need

remove

all

cables

going

the

board.

These

connections

are

Disk,

-—

Auxiliary

Eztpansion

{if

SCSI

installed),

Display,

—

Wheels

and

J10

—

Power.

Remove

the

seven

screws

around

the

circumference

the

board.

You

may

need

remove

the

memory;'SCSl

espansion

from

the

rear,

though

was

able

slide

off

the

connector

Ipulled

out

the

board.

You

can

pull

out

the

board

flipping

toward

the

front

and

pulling

toward

you

until

the

jacks

are

pulled

out

their

holes.

The

illustration

shows

component-side

view

the

area

interest,

oriented

you

were

facing

the

rear

the

board

where

the

jacl-rs

are

located.

Find

U61,

14-pin

DIP,

which

the

left

daughtercard.

will

replacing

R122,

R134,

C121

and

C136.

Unfortunately,

these

labels

are

under-

neath

the

components

you'll

have

use

the

diagram

your

guide.

The

resistors

removed

are

the

only

kohms

the

area,

but

the

capacitors

are

not.

Remove

the

specified

resistors

and

capacitors-with

your

desoldering

tool.

Verify

the

correct

reference

numbers

the

board

where

the

parts

were

removed.

There

are

two

options

with

this

mod.

6-dB

boost

sufficient

for

your

needs,

then

use

22k-Ohm

resistors

and

capacitors

replace

the

ones

just

removed.

you

prefer

9-dB

boost,

then

use

335:-Ohm

resis-

tors

and

capacitors.

Ideally

we'd

use

capacitor

retain

the

enact

some

cutoff

for

the

low

pass

filter,

but

such

animal

eitists.

According

rough

measurements,

the

larger

capacitor

reduces

the

output

-1.22

kHz

instead

-1.09

the

original

circuit.

You

won’t

hear

the

difference.

your

replacement

capacitors

are

not

the

artial

type

then

use

the

miniature

shrink

wrap

guard

leads

from

contact

with

the

board,

there

feedthrough

beneath

C121.

After

soldering,

clean

the

board

with

isopropyl

al-

cohol

your

other

favorite

non-CFC

cleaner.

-1-

—t..-::-»-

—r._1~+-

-=:.:-

-11:1-

—+.Z:=-

-co11:t:>-

—=::ntto-

-t:trtto-

-ctttto-

—C[l]ID—

-onuu-

-cttur:-—

-mtt:»-

7c1nn:>-

Ei TI

‘[..-J;

,.1r-5'2

-%:::D-

-CHHI?-

E114

Ciel

C135

*£111ID—

UGHTEIRC.1~.REl

FIG.'

EPS

EORRD

CLUSEUP

You

can

new

reassemble

your

EPS.

Angle

the

board

back

into

place

and

replace

the

‘I

screws

and

jack

nuts.

Replace

the

Elvll

shield

grounding

screw

and

lockwasher.

Reconnect

J2, J8,

and

J10

their

proper

positions.

Make

sure

that

the

flat

ribbon

cables

are

oriented

properly.

The

red

line

the

ribbon

cable

denotes

line

mate

with

the

numeral

silk-screened

the

board.

and

are

both

34-pin

cables.

goes

your

ﬂoppy

drive

and

goes

your

SCSI

interface,

installed.

Now

slide

the

keyboard

back

into

place

and

reconnect

J7.

found

easier

screw

down

the

keyboard

assembly

propping

the

insmunent

upright

and

putting

the

screws

from

the

bottom,

since

tends

not

line

properly

assembled

face

down.

The

top

level

your

keyboard

stand

may

good

place

for

doing

this.

Replace

all

lil

screws

hold

down

the

keyboard.

Double

check

all

connections

before

you

replace

the

four

hert

screws

on the

EPS

faceplate.

When

you

reconnect

your

EPS

and

power

up,

you'll

notice

definite

boost

the

output

level.

This

boost

effect

whether

you

use

the

line

outs

use

the

left

out

head-

phone

amp,

careful

with

the

volume

slider,

This

probably

one

the

simplest

mods

you

can

make

your

EPS,

and

it‘s

well

worth

it.

Bio:

John

Loﬁink

designs

digital

hardware

and

DSP

software

for

large

U.S.

space

agency.

His

home

MID!

studio

houses

few

pieces

equipment

that

have

never

been

modified.

Putting

the

DP/4

Work

Rhythm

Trucks

The

first

step

recording

typical

pop

song

lay

down

the

basic

rhythm

tracks.

With

band,

the

members

simply

troop

into

the

studio,

pick

their

instruments

and

play.

Depending

the

quality

the

performances,

some

these

parts

may

survive

the

final

mix.

Unless

the

artist

and

producer

are

aiming

for

unadulterated

live

feel,

however,

the

basic

rhythm

tracks

are

usually

supplemented

even

replaced

subsequent

overdubs.

not

uncommon

for

every

part

but

the

drum

kit

re-recorded

during

the

cotuse

typical

commercial

project.

future

articles,

will

explore

uses

for

the

DPI4

band

situations

and

how

best

record

specific

instruments.

Ini-

tially,

though,

we’ll

assume

the

most

basic

arrangement

poss-

ible:

one-man-band-producer-engineer

working

with

sequenced

rhythm

section.

Rhythm

tracking

this

case

con-

sists

recording

premix

version

sequence

serve

guide

for

the

overdubs

follow:

vocals,

acoustic

instruments,

solos.

this

point,

the

sequence

can

remain

sketch,

leaving

some

“creative

space"

allows

for

ideas

develop

and be

in-

corporated

the

project

unfolds.

Remember,

though,

once

you

start

committing

music

tape,

you

are

locked

into

your

arrangement

and

tempos.

your

experimenting

with

length,

song

structure,

tempos,

and

time

signatures

now.

(This

would

correspond

“pre-production"

for

band.)

Unless

your

sequence

already

fully

realiaed,

may

sound

ﬂat

sterile

this

point.

Perhaps

not

all

your

sound

modules

have

onboard

effects.

perhaps

the

mix

needs

just

little

ptmchier,

your

face.

Since

will

discarding

these

tracks

later,

don"t

want

invest

too

much

time

tweaking

them.

Nevertheless,

there

are

some

simple

ways

give

them

life,

investment

that

will

help

inspire

your

vocalists

and

musicians

{in

this

case,

you)

deliver

strong,

informed

performances.

should

come

surprise

that

the

DPI4

perfect

for

the

job.

Last

time

[Issue

#105},

set

the

DPX4

for

this

task:

calibrated

levels,

wired

into

our

system,

and

built

framework

for

the

necessary

patch.

Since

this

patch

essential-

split

the

DPI4

two

into

effects

processor

and

sig-

nal

processor

-—

called

the

patch

“Schiaoid."

Assuming

you

have

used

your

DP!-4

since

the

last

article,

ahead

and

load

"Schiaoid"

the

active

patch.

(Remember,

it's

Config

patch.

Hint:

you

want

patches

load

automatically

soon

you

stop

scrolling,

press

the

SYSTEMZMIDI

button

and

advance

parameter

#55.

Use

the

jog

wheel

toggle

“Auto-

Load

Preset

{Selectlvlodel

=“

from

“Off”

“On.")

The

premix

can

improved

both

enhancing

individual

parts

and

enhancing

the

entire

mix.

Sounds

simple.

reality,

the

DPI4

can

used

limitless

ways

achieve

Michael

Harvey

these

goals.

Alas,

paper

and

ink

are

not

limitless;

this

article

allows

space

examine

only

one

approach:

will

use

the

processing

group

formed

units

and

(group

AB)

the

DPI4

apply

cherusing

and

some

delay

"widen"

in-

dividual

parts

our

premix.

time,

we’l1

use

group

apply

compression

and

enhancement

the

entire

mix.

Effect

algorithms

for

group

can

selected

one

two

ways:

can choose

directly

from

existing

two-tmit

patches;

alternatively,

can

load

one-unit

algorithms

into

each

unit

individually.

save

work,

let's

see

there

are

any

two-tmit

patches

can

use

starting

point.

Press

Unit

button

The

jog

wheel

will

now

scroll

through

all

100

two-unit

presets

stored

the

DP!-4.

(Refer

the

manual

see

complete

list.)

hear

the

different

patches,

start

your

sequence

play-

ing

and

use

your

mixer‘s

effects

loop

send

signal

the

DPI4.

You

may

want

solo

few

parts

hear

the

effect

clearly

—

bass,

drums

and

piano

cover

the

spectrum

nicely.

its

you

scroll

through

the

algorithms

{assuming

this

wasn't

the

very

first

thing

you

did

when

you

unpacked

your

DP,l'4l),

you

will

amazed

at the

range

possible

effects.

Keep

scrolling

until

you

come

patch

#41,

“Detune

Spread."

you

don’t

have

“Auto-load"

turned

on,

press

SELECT

load

the

patch.

The

LCD

window

reveals

that

this

algorithm

applies

chorus

and

delay

incoming

signals.

you

are

monitoring

your

sequence,

you

will

hear

the

bass

spread

out

occupy

the

entire

stereo

spectrum.

You

may

also

hear

some

increased

sibilance

even

discrete

echo

you

are

ap-

plying

this

effect

drums.

Let’s

begin

working

with

the

chorus

algorithm.

Bypass

all

four

units

pressing

the

CON-

FIG

button

twice.

Now

press

Unit

button

twice

reactivate

it.

Press

the

EDIT

button

enter

editing

mode.

(As

the

edits

accumulate,

sure

save

your

work

regularly.

You

can

tog-

gle

between

the

most

recently

saved

patch

and

your

newly

edited

version

repeatedly

pressing

the

EDIT

button.

This

allows

you

compare

the

two

versions

before

cormnitting

the

altered

patch

saving

it.)

Chorusing

pitch-based

effect

that

splits

the

input

signal

two,

rhythmically

detuning

and

rettming

one

half,

then

recom-

bining

the

dry

and

effected

portions.

The

result

"fatten-

ing"

the

original

signal.

The

DPf4‘s

“B

Voice

Chorus"

algorithm

offers

few

additional

twists.

Instead

splitting

the

input

signal

two,

this

algorithm

effectively

creates

copies

the

input

the

left,

the

right),

applying

in-

dividual

detuning

and

retuning

each

copy.

The

algorithm

also

features

stereo

delay

that

permits

feedback

between

the

left

and

right

portions

the

signal.

The

possible

effects

generated

this

rich

algorithm

range

from

simulating

en-

semble

players

from

single

source,

our

goal:

adding

body

sotmd.

noted

above,

chorusing

depends

balance

between

the

wet

and

dry

signals.

The

effect

strongest

when

both

signals

are

near

the

same

level.

Accordingly,

most

chorus

presets

the

DP!-4

are

programmed

with

“Mix”

setting

somewhere

around

50.

Since

are

using

our

mixer's

effects

loop

apply

the

chorusing,

will

actually

control

the

mixture

be-

tween

the

wet

and

dry

signals

the

mixer

itself,

Normally,

this

would

imply

fully

wet

Mix

setting

99.

Since

are

applying

delay

series

with

the

chorus,

however,

and

since

want

the

delay

affect

both

the

chorused

and

unchorused

portions

the

signal,

need

send

moderate

amount

the

dry

signal

“arotmd”

the

chorus

directly

the

delay;

Mix

setting

around

will

do the

trick.

The

parameter

page

lets

set

the

rate

and

depth

detuning

applied.

The

“Rate”

determines

how

fast

the

chorus

oscillates

back

and

forth

between

tunings,

while

“Depth”

determines

how

far

apart

those

tunings

are.

These

two

parameters

comprise

the

heart

the

chorus

effect.

Play

with

the

settings

explore

their

effect:

slow

rate

with

wide

depth

produces

the

aural

equivalent

open-ocean

swells;

fast

rate

with

wide

depth

akin

riding

sonic

roller

coaster;

and

on.

For

subtle

fattening

sounds,

find

that

moderately

slow

rate

about

10,

combined

with

moderate-

narrow

depth

about

2.0

produces

pleasing

effect

across

wide

variety

instruments.

Parameter

“Stereo

Spread”

superimposes

stereo

field

the

signal.

The

higher

the

setting,

the

wider

the

field.

Use

this

parameter

increase

decrease

the

amount

horizontal

space

instriunent

takes

up on

your

song's

virtual

sound

stage

{the

simulated

space

you

create

panning

instru-

ments

within

the

stereo

field).

For

fattening,

find

that

set-

ting

around

produces

pleasing

“heft”

bass

sounds

without

creating

wall

mud,

while

giving

pianos

and

or-

gans

good

presence.

The

remaining

parameters

control

the

be-

havior

the

built-in

delay.

Since

will

applying

delay

separately,

moderate

settings

can

used

within

the

chorus.

Try

settings

around

15,

lilms,

20ms,

and

for

"Regen,"

“Left

Regen

Time,”

“Right

Regen

Time”

and

“Delay

Regen,"

respectively,

add

interest

the

chorus,

without

creating

distinct

delays.

are

now

ready

for

the

delay

algorithm.

Press

Unit

Button

twice

order

reactivate

it.

The

LCD

reminds

that

this

"Dual

Delay.”

Since

Unit

the

ﬁnal

stage

this

pro-

cessing

chain,

want

its

output

hot

possible

maxi-

miae

our

signal-to-noise

ratio.

Start

setting

the

Volume

parameter

99.

Remember

that

Units

and

are

connected

series.

Unit

will

therefore

apply

its

algorithm

the

full

output

from

Unit

Since

gave

Unit

Mix

setting

‘I0,

this

output

mixture

wet

(in

this

case,

chorused)

and

dry

signal.

For

the

finished

patch,

are

striving

for

com-

plex

sonic

stew

consisting

chorused

copies

the

original

signal,

delayed

copies

the

original

signal,

and

delayed

copies

the

chorused

signal...

can

use

the

Mix

pmameter

for

Unit

control

the

balance

between

these

various

ele-

ments.

set

the

Mix

value

99,

the

entire

signal

will

delayed,

interesting

result

but not

quite

what

we're

after.

Mix

setting

around

produces

the

desired

effect.

The

“Dual

De1ay"

algorithm

allows

complete

control

two

independent

delay

lines,

one

for

the

left

channel

and one

for

the

right.

The

two

lines,

furthermore,

can

interact,

with

the

output

one

line

feeding

back

into

the

input

the

other.

With

long

delay

times,

this

"cross-regeneration"

can

used

create

swirling,

stereo

ping-pong

effects.

For

our

purposes,

can

use

short

delay

times

simultaneously

add

width

and

transparency

selected

sotmds.

Somewhere

between

and

milliseconds

lies

the

threshold

which

delayed

sound

heard

(by

humans,

least)

distinct

copy

rather

than

part

the

original

signal.

Delay

times

tmder

this

threshold

lead

perceived

widening

the

original

sound

and

can

actually

used

place

sound

within

the

stereo

field

much

precisely

than

level-based

panning.

For

the

current

patch,

delay

times

Zilms

and

Sllms

work

well

for

the

left

and

right

channels

respectively,

with

"Regen"

amounts

ll]

and

15.

Leave

the

"Pan"

settings

-99

and

+99

for

wide,

airy

sound.

modest

setting

for

the

“Cross

Regen"

parameter

adds

barely

perceptible

sense

depth.

The

“Regen

Damping"

parameter

can

left

“U”

since

the

feedback

signals

our

patch

creates

are

too

short

reveal

any

high

frequency

roll-off.

you

haven't

done

already,

now

good

time

save

your

work.

(Be

sure

save

the

entire

patch

Config

preset.)

Since

group

also

works

well

stand-alone

patch

for

synth

pads

and

bass

sounds,

you

might

want

save

separate

two-unit

preset.

so,

press

Unit

Button

and

then

the

WRITEICOPY

button.

Pick

revealing

name

“Punehy

Bass”

the

for

your

new

patch.

Assuming

that

you

are

still

listening

your

sequence,

beghi

applying

small

amounts

“Schisoid”

individual

parts

your

mix

via

your

mixer's

effect

sends.

Bass,

kick

drum,

synths,

even

piano

sounds,

can

all

benefit.

The

adage,

“All

good

things

moderation,"

applies

particularly

well

ef-

fects

processing,

however.

selective.

Improving

one

two

parts

can

create

surprising

improvement

the

entire

mix.

Speaking

which,

time

we'll

turn

the

DPI4

loose

the

entire

mix

itself

and

hear

how

this

amazing

box

can

bring

snap

and

sparkle

your

Sting.

—

Bio:

Michael

Harvey

earns

his

living

the

Business

Manager

for

Consumer

Pro-

ducts

for

Microsoft

Sweden.

spends

his

living

grown-up

toys

from

Ensoniq

and

other

companies

the

military-industrial-musical

complex.

Hclrdwire

Sounds

For:

All

Variants

{including

KS-32}.

Product:

Hardwirs

Sounds

Sets

LB.

From:

Latter

Sound

Productions,

1341

‘Westheaven

Court,

Tallahassee,

FL323ll]-SE-19.

Phone:

(RG4)

5T5-5551.

Price:

$55

for

"ll'PXsdISD-I

Sysex

disk.

Looks

everybody's

jumping

onto

the

sound

band-

wagon.

Coupla

years

ago

you

couldn't

f'md

third-party

com-

pany

who

couldfwould

offer

sounds,

and

given

the

quality

Enseniq

sound

cards,

there

wasn't

much

reason

consider

entering

that

particular

market

niche.

Anyway,

it's

given

that

you've

got

one

Enseniq

key-

board,

chances

are

you've

got

another

Ensoniq

keyboard

sit-

ting

the

same

keyboard

stand.

the

only

question

what

fomiat

offer

the

sounds

(“Excuse

me,

sir,

what's

the

model

your

other

Enseniq

1-:eyb0ard?"),

and

this

year

we're

liter-

ally

seeing

esplosion

series

sounds.

And

guess

why‘?

Half

the

Enseniq

current

keyboard

line,

least

the

affordable

half

(for

those

with

mortgages)

variant:

you

factor

the

21-voice

earlier

series,

well,

all

sudden,

it's

become

market

entry:

one

set

patches

works

with

‘I

instruments.

This

month

see

how

well

the

Herdwire

sets

work

with

the

SQ's.

Interesting

pads,

punnet

square

bank

and

screen

sound

locations,

promotional

sheets

other

sound

offerings,

OK,

the

usual

documentation,

and

sheets

sound

descrip-

tion

and

modulation

routings.

Good

docs,

not

the

laser

stuff

we'd

ettpect

for

$65,

but

quite

usable

and

very

esplanatory.

I'll

typically

read

the

docs

first

just

get

handle

where

the

programmer's

coming

from

and

where

the

sounds

are

going

before

load

set

and

begin

dissection:

"When

all

else

fails,

read

the

owner's

manual..."

Hardwire

1A:

The

Roses:

“Phat

Boy"

great

Juno

106

anahrass

pad

with

perfect

low-to-mellow

filter

choke

applied

for

warm

fills

without

taking

over your

mitt.

“Bass-X"

good

starting

point

for

21-voicers

hag

fretless

sound

without

craving

the

“fretless"

espansion

wave

the

32-voice

siblings.

“Alien

Pod"

demonstrates

how

carefully

you

have

set

flange

parameters

(especially

feedback!)

the

effects

section

before

self-oscillation

demonstrates

how

the

dynamic

range

the

SQ's

greater

than

your

amp

and

speakers’

dynamic

range.

This

patch

won't

blow

your

speakers,

it's

pretty

carefully

sculpted,

hut

roll

the

mod

wheel

around

little

bit

and

you'll

get

some

idea

the

self

-oscillation

potential

Per

innigon

the

effects

DSP

onboard.

“Andromeda"

the

definitive

“Forbidden

Planet"

sound

wash:

can

almost

see

Robby

the

Robot

motoring

around

with

Leslie

Nielsen

this

one.

The

obligatory

Megawave

program-as-dance-loop

represented

with

“Killer

Radio,"

although

couldn't

ﬁnd

the

2 and

you

don't

dance

when

you

sit

behind

B-3,

wouldn't

know.

first:

eirtra

drum

kits.

True,

the

SQ's

give

you

percus-

sion

kits,

but

consequently,

nobody

does

drums.

there's

some

personal

interpretation

the

BUS

school,

fusion,

rock

and

live

kits

represented.

Nothing

totally

rad,

but

variations

the top

programs

(31-99}

are

welcome,

drum

map-

ping

bit

involved

than

the

occasional

tweaks

ROM

sounds.

The

Thorns:

“B-3

Pedals“

ain't:

this

Hammond

Organ

sound

again.

“Real

Rhodes"

ain't:

just

another

Flvl

piano

tacked

onto

mellow

un-Rhodes

wave.

“Real

Rhodes

variation

“Real

Rhodes";

bit

closer

but

convinc-

ing.

“Studio

EP"

“FM

Tines"

with

different

reverb

algo-

rithm.

“DX

Ballad

Split"

has

the

telltale

annoying

bass

tick

present

when

VGA

shut

down

before

filter

envelope

closes.

The

tick

desirable

certain

B-3

patches

for

key

click:

it's

pain

the

arse

when

shows

up on

other

pro-

grams

“Pno,t'BassSplit"

and

II,

where

the

reverb

amplifies

the

annoyance

tmusable

point.

Jazz

Split

has

filter

high

the

entire

program

hisses

keydown

and

disappears

when

the

envelope

closes

key-up.

“Addi-

tive

B-3"

supposed

add

octave

harmonic,

but

the

har-

monic

just

flat

enough

that

you'd

bust

the

mod

wheel

trying

get

tune.

The

pianos

(40-5

are

disappointing.

Given,

the

original

piano

waveset

dated,

but

I've

gotten

very

credible

piano

emulations

with

slow

randomized

chorus

give

the

illusion

beating

frequencies

among

the

2-3

strings

single

piano

note.

These

improprieties

can

certainly

edited

out,

but

shouldn't

there

the

first

place

this

level

progranmting.

Hardwire

The

Roses:

“Blade

Runner"

cross

between

ﬁlter

sweep

and

amplitude

envelope

mutually

complementing

each

other

into

muted

analog

string-muted

brass

pad.

“Wind

Song"

chiff

flute

with

attack

tick

brought

foot

controller.

“Ice

Strings"

string

pad

evolving

into

sus-

tained

bell

harmonic,

“lvlartian

Krybs."

clavinet

evolving

into

ﬂute

with

flute

volume

tmder

mod

wheel

control;

the

mod

wheel

pulls

one

the

clav

waves

5th

the

same

time

(“So

it's

not

just

clever

name,

eh?"].

"Sail

Away"

with

envelope

tweak

the

identifiable

sound

from

the

songlcommercial

the

same

name.

"Marimba"

has

reverb

depth

under

the

mod

wheel,

“Finale

Hit"

Qrch

stab

with

crash

cymbal

added

high

velocity,

lot

modulation

rout-

ings

for

templates

here.

The

Thorns:

The

“Soprano

San"

still

sounds

its

parent

oboe

wave,

the

“Bari

San"

sounds

just

the

“Tenor

San"

without

even

octave

transposition

make

any

distinguish-

able

difference.

And

all

know,

bari

sakes

are

consid-

erably

larger

(and

heavier,

marching

band

members)

than

tenors,

and

consequently

sound

lower

(scored

4th

lower),

what

gives?

“Muted

Trumpet"

sotmds

standard

trtnnpet

through

constrictive

filter,

and

editing

filter

parameters

doesn't

help

much

(some

things

are

only

possible

with

ea-

pansion

waves,

guess),

"Electric

Violin"

sounds

loud

violin

with

effects.

“Tympani,"

well,

somebody

change

the

calfskin...

These

collections

represent

good

starting

point

hack

and

tweak

from,

there's

good

patches

use

templates.

Changing

waves

and

simple

but

effective

editing

can

give

some

novel

sounds:

for

enample,

try

"Martian

Kryb:-t,"

swap

the

transwaves

for

the

clav

and

vocal

ooohs,

change

the

oc-

tave

for

the

ooohs,

and

modulate

loop

points

those

trans-

waves

with

the

mod

wheel

and

foot

pedal,

and

you

start

get

the

picture.

Not

gloss

over

the

work

that's

present

here,

I'm

sure

that

quality

time

has

been

spent

this

series:

it's

UPI‘-(RS8

Case:

for

Enseniq

New

available

direct

from

factory

(except

current

dealer

areas)

our

full

line

ATA

cases

advertisements

have

wood-

grained

hinged

top

panels

and

four

screw-in

legs

that

can

stored

inside

the

instrument.

Mine

recent

model,

having

four

rubber

feet

and

being

covered

black

vinyl

panels,

black

padded

panels,

and

black-painted

metal

panels,

making

its

appearance

bit

closer

that

Ensoniq

instruments.

Its

keyboard

has

one

note

less

than

the

usual

five-octave

C-to-C

keyboards

common

synthesizers

and

organs.

The

Hohner

has

the

lowest

note

and

the

highest.

Decades

ago,

due

its

compactness,

the

clavinet

became

popular

rock

and

jazz

band

substitute

for

general

harpsi-

chord-type

applications,

and

its

own

unique

sound

also

made

popular

its

own

merits.

first

listened

mine,

was

SO-SD

ROG:

SOSCLV

Bl"

Kill!

55"!‘-ITII

oct

sent

FINE

wave

nous:

DEPTH

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DEPTH

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DEPTH

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DEPTH

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+os

osrmn

cons

- - - - -

cons

- - - -

FFIEO

HETBD

MDD#1

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save

DEPTH

MDDH

DEPTH

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FINAL

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Envs

- - -

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5-SL

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SPL|TiLA"|"EH

sitaae

LATER

tr-no

Si_1‘LiT_SPFtC

sat.rr_xsr

OFF

U“

—

OFF

‘

_I_-'_RED_

RESET

HUMAN

WA?‘

DELA'l"_

MODI

—

struck

how

similar

its

sound

The

Stick

—-

very

relative

the

electric

guitar.

looked

inside,

and

sure

enough,

the

strings

are

vibrated

almost

exactly

the

same

way

The

Stick

—

when

key

depressed,

small

rubber

bumper

attached

its

bottom

side

pushes

string

down

against

raised

metal

fret

near

the

end

the

string

where

its

timing

peg

is,

causing

the

length

the

string

between

the

fret

and

the

bridge

vibrate.

Stick

player

taps

the

strings

against

its

fretboard

with

the

tips

his

fingers.

the

short

length

the

clavinet's

strings,

between

the

frets

and

the

timing

pegs

(undemeath

the

keyboard),

the

strings

are

heavily

interwoven

with

yarn

which

quickly

damps

the

whole

strings

when

the

keys

are

released

(The

Stick

uses

piece

felt

above

the

first

fret

for

this

function).

Unfortunately

for

purposes

here,

the

Hohner

Clavinet

has

four-band

equalizer

with

each

band

having

its

own

onfoff

switch,

plus

two

guitar-like

pickup

select

switches

choose

different

combinations

its

two

really

long

pickups.

Figure

shows

the

primary

control

panel,

which

located

the

left

the

keyboard.

The

volume

slider

panel

o|=|=

LUANT

TREBLE

it,

closer

the

player.

The

pickup

switches

select

between

the

treble

pickup,

the

bass

pickup,

both,

and

chooses

whether

not

they

are

phase

with

Carma":

each

other.

these

‘

two

switches

give

the

user

choice

fom

basic

tones

send

into

the

equalizer.

HOHNEH

The

clavinet

also

has

mechanical

slider

knob

the

right

the

keyboard

which

used

apply

big

macho

strip

felt

all

the

strings

the

bridge

(like

where

guitarist

would

mute

his

strings

with

his

hand}.

When

activated,

this

makes

all

the

notes

very

short

and

plucked-sounding.

This

combination

switches,

including

the

mute,

actually

gives

120

sotmd

variations

(and

that's

not

counting

the

volume

control

the

silence

when

all

equalizer

switches

are

off).

Waveforms

Rather

than

trying

480

patch

sheets

for

this

article,

thought

would

settle

for

four

that

simulate

typical,

some-

what

bright

settings

the

Clavinet

-—-

the

settings

that

most

closely

match

the

Ensoniqs_in

tone

color.

This

way,

you

can

tum

the

filter

cutoff

frequency(s)

down

little

simu-

late

other

less

bright

sounds.

Enseniq

has

already

done

the

hardest

part

supplying

most

their

synths

with

waveform

that

appears

single-cycle

sample

from

actual

Hohner

Clavinet.

the

SQ-SD,

this

called

"CLAY,"

newer

types

have

the

"CLAY"

and

"CLA'v'.VAR"

waves.

The

“CLA'+I."v"AR"

sounds

brighter

and

ap-

propriate

for

general

clavinet

patch

this

particular

kind,

"soft."

WAMES

were

Wave

Ciaaa

Delay

Start

Clav."v'ar

Waveform

D00

VFX

Prog:

CLAVINET

$II—

By:

Kirk

Siinkard

SELECT

VOICE

NOTES:

For

maximum

authenticity,

set

velocity

response

.-I|.—I|—I|.—l.

EHV1

MOO

_MIIER

SHC-1

SHC-2

SFIC-2

Scale

SRO-2

Shape

PITCH

___

Octave

Semitone

Fine

Pitch

Table

+00

System

PITCH MODS

MODS

FIC

MOOAMT

Glide

El"-I'iJ'1

LFO1

Off

Hone

+00

FILTE

1___-

Mode

Cutoff

HBO

MOOSCFI

MOOAMT

ENV2

LoPa.se.-'2

csa

-ca

‘voice

-05

+55

FILTER

Mode

Cutoff

KBD

MODS

FIC

MODAMT

ENV2

Passia

032

-or

lieloc

-ca

+55

OLITF

‘vet.

MOOSF-IO

MODAMT

HBO

Scale

Dear

Bus

Pan

MODSFIC

Pro-Gain

1.-'oice

Prior

Mei

Threah

.Li3i'i

Liter.

_ _

.--

I1-“|l.1l.l3'.=1"il~il.T__...

‘Off

§E'_¢_7"..

Dry

Off

Sit

"""

Med

+000

--.‘,-

Attack

Decay

I-CBD

Track

val

Curve

Mode

‘v'ei-Level

"v'ei-Attack

Initial

Peak

Break

51-Istslﬂ

____

_FI.'il€.a§E

_____

-Q1111

_1a___

-|-

.-.

-111.11

—..I.—|1.na.-

EHV2

nitiai

Peak

Break

Assists.

t.t=o,

Hate

MODSRC

MODAMT

Level

MODSFIC

_I_ia'sx

Waveshape

Ftestart

Noise

SFIC

FIT

1.1.1.-..-na--_

-I

-Ir

Attack

Decay

HBO

Track

Mel

Curve

Mode

1.-"el-Level

‘v'ei_-Attack

S-1-1.1

..Fi.r-‘lease

___

.?.l

_2§__-....

+15

-S0

Linear

I"-Io

rmai

DID

___

Iil'ii'3

Initial

Peak

Break

Sustain

Attack

Decay

Fleiease

‘vfei

Curve

Mode

Mei-Level

liei-Attack

a.-__a.-.

_____-_-_-.._.

HBD

Track

____l1lil____-

__.._l.'I'

+3?

Linear

Normal

PGM

CONTROL

Pitch

Table

Oil‘

EFFECTS

—

None

Bend

Flange

Delay

Fteetrike

Glide

Time

PERFORMANCE

Tiiﬁbre

1Fieiease

+§itl

l—u—

plus

it's

the

closest

match

for

the

SQ-80's

waveform.

The

SQ-B[l‘s

“CLAY”

waveform

produces

tone

comparable

the

Hohner

with

the

pickup

select

switches

l.he

“CH”

position,

and

only

the

”BRI]..LlANT"

switch

activated

the

equaliser

controls.

‘The

"v'FX's

”CLA‘lr'.VAR”'

waveform

sounds

Hohner

with

its

pickup

switches

the

“DA”

setting

and,

this

case

also,

with

only

the

“BRILLIANT”

switch

the

equaliser.

you

change

the

VI-'*'X‘s

SQ-1's

waveform

“CLAY,”

sounds

you

have

changed

the

equalizer

have

only

the

“SOFT”

switch

ac-

tivated.

the

down

side,

these

waves

don't

change

their

tone

across

the

lteyboard

the

quite

the

same

manner

that

the

Hohner

does.

Also,

the

Hohner

has

complex

attack

that

[haven't

been

able

exactly

duplicate

here.

And

the

Hohner

changes

its

waveshape

slightly

sustained

(in-

dependently

brightness

and

amplitude

decays).

But

don‘t

worry

too

much

about

these

differences,

they're

not

really

terribly

signiﬁcant.

never

even

realised

they

existed

tuttil

started

doing

these

nit-picking

AIB

comparisons.

for

the

ESQs,

we'll

have

come

with

substitute

for

the

“CLAY”

and

“CLAV.VAR"

waveforms.

[figured

that

logical

starting

point

would

be a

narrow

pulse

wave

—

the

real

thing,

not

the

questionable

“PULSE”

waveform

supplied

with

this

synthesizer

{see

pulse

width

modulation

article

Issue

#85).

the

“SYNC”

function

applied

oscillator

which

set

‘\"*'l‘~“'E

-_-

sure

glad

that

don't

mal-ce

patches

for

living.

Both

the

filter

and

amplifier

envelopes

have

short

release

times

simulate

the

quick,

but

imperfect

damping

the

clavinet

strings

upon

key

release.

Miscellaneous

The

Hohner

Clavinet

has

keyboard

feel

that

found

surprisingly

most

organ

and

synthesizer

keyboards.

The

main

differences

are

that

Hohner

Clavinet

keys

offer

just

little

bit

less

resistance

when

you

play

them,

and

you

can

feel

little

the

string

vibration

when

you

hold

key

down,

especially

with

the

lower

notes.

basically,

playing

one

these

patches

feels

and

sounds

very

actual

Hohner

Clavinet

D6,

except

that

here

you

are

missing

notes

the

high

end

the

keyboard,

and

you

have

extra

notes

the

bottom.

Keep

mind

that

many

popular

recordings,

the

clavinet

gets

some

treble

boost.

get

this

sound,

just

tu.n1

the

filter

cutoff

frequency{s)

tuttil

sotmds

right.

you

mellow

out

the

sound

little

lowering

the

filter

cutoff

fre-

quency

value(s),

you

can

also

use

these

patches

applica-

tions

that

call

for

Stick.

Since

the

has

single

output

jack,

these

patches

are

all

panned

the

middle

the

stereo

field

with

pan

modulation.

the

SQ-1

and

VFX

patch

so-1:2

KS-32

Prog:

CLAVINET

By:

set

Slinlcerd

Notes:

For

maximum

authenticity,

set

velocity

response

“soft.”

LFD

Speed

“SQUARE”

waveform,

which

ends

Salecwulca

Sign

giving

real

variable

pulse

wave.

make

closer

authentic

clavinet

tone,

here

combined

with

the

“KICK”

and

“V0lCEl"

waveforms.

Filters

and

Amplitude

used

the

VFX,lSl)l's

and

newer

SQ-‘s

two

filter

sections

together

single

4-pole

iowpass

filter

that

would

easier

mal-te

all

the

patches

similar

possible

(the

ESQs

and

SQ~3lll

have

this

filter

configuration

only}.

The

VFXISDI

and

newer

SQ’s

velocity

responses

the

envelopes

are

set

linear,

not

only

because

the

ESQs

have

only

this

type,

but

also

because

the

actual

clavinet

re-

sponds

velocity

linear

fashion.

Envelope

decay

times

were

adjusted

separately

for

high

notes

and

low

notes,

first

for

the

filters

and

then

for

the

amplifiers.

Wave

HOUSE

MODAMT

Wave

Glass

Delay

Time

Wave

Direction

‘Start

Index

1Flestrlt

Decay

Waveform

Glavﬂuar

tllltl

Dﬂl

|=-_|rcH_

Semltone

Fine

EHV1

LFO

MODSGH

MDDAIUIT

Glide

'OC1Ia"ll'E

-—-

HBD

Ptch

Track

Glide

Tlrne

+oo

+0-D

+ll-D

+iliJ

Oil

Dif

EIW1

1_._..

Initial

Pealt

Break

Iﬁustain

lllttaolt

Decay

‘E

Decay

Ftelease

;§Vel-Level

'il'e|-Attaelt

Val

Gurue

Mode

-h-

xao

Traci-t

Noise

Hate

Level

Delay

MODS

FIG

Wave

Hestart

FILTER

Filter‘

Filter

i_FC1

cures

‘ENV

FG1

KBD

MDDEGH

nlooalur

FOE

Gutoll

ENV2

‘reasen

FG1MClD-FG2

2Lo

D32

+55

-o4

Veloc

-D4

D32

+55

~04

initial

Pealt

Break

Sustain

Attaclt

Decay

Fiolease

‘hlel-Level

‘lfol-Attaclt

Vol

Curve

Mode

KBD

Traclt

_._.

|_|=o

ante

Linear

Norm

+3?

OUTPUT

ENV2

lnltlal

Pealt

Elrealt

Sustain

Attael-t

Decay

Flelease

‘vial-Level

'u'el+lllltaclt

Val

Curve

Mode

KBD

Traclt

E-ill

Linear

Horrnal

+16

VOL

Boost

MGDS

MGDAlv'l‘l‘

KBD

Scale

Hey

Henge

_Dutput

Bus

Priority

Pan

-Val

window

Elli‘

D11‘

G2-G?‘

Dry

Medium

one

___I

EFFECTS

—

None

sheets,

notice

that

the

outputs

are

routed

the

dry

bus

and

effects

are

specified.

with

real

clavinet,

you

have

choose

your

own

effects

(if

any).

These

patches

are

designed

very

accurate

and

usable

they

arc,

with

modifica-

tions,

but

think

them

place

for

you

start

making

your

own

custom

patches.

lvlay

you

clav

long

and

prosper.

lvlod

You

Later,

good

‘oi

Kirk.

EQUIPMENT

Enseniq

EPS

Sampling

Keyboard.

Includes

lvlemory,

SCSI

Port,

S-{Iiutput

Expander,

can'y-

ing

case.

$350.

Call

(912)

43?-1345.

Looking

buy

VFX-sd

SD-I

keyboard

good

working

condition.

Call

Cesar

509-

1-'Sl5-2323

after

(PST).

I-lave

new

PC-2

SplitslLayers

card.

Will

sell

for

$60

trade

for

EX-1

EX-2.

Call

after

Eastern.

(T03)

SSS-T442.

ASR-10,

hard

case,

excellent

condition:

S1’.-'50.

Call

(609)

293-4421.

Selling

EPS-lo

Plus

with

memory

and

out-

put

expander

plus

100s

sounds

for

$1600

best

offer.

(201)

348-0’i'3'l'.

SAMPLES

ilGreat

Sounds,

Great

Pricell

mixed

bag

custom

samples

birthed

through

the

union

SY-Ti‘,

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00,

Sequential

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and

other

synths

— all

sounds

performance-ready

and

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block

efficient.

disks

for

only

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Send

cheek

money

order

plus

s,-‘h

to:

Pro-

ductions,

T34

Baugh

Rd.,

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31221.

Analog

Fusion

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for

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Con-

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Strings,

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more.

Bendable

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your

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each

(s&h}.

Send

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[or

SASE

for

list

these

and

our

other

available

samples)

to:

Silent

Force

Music,

Box

222,

Struthers

44401-0022.

ECCENTRIC

SAMPLES

{lvlirage

and

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Ethnic,

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instruments;

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creations;

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more.

lvlirage

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derno

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‘iiol.

111}:

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Demo

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disk

list.

For

lists

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send

Missing

Damaged

Issues?

Every

month

mail

out

thousands

issues

and

every

month

about

dozen

get

‘misplaced’

the

Post

Dlfice.

you‘re

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the

winners

this

lottery,

just

give

call

[503-22?-EH4-E-l,

|.'

—

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(However,

you

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you

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helpful

subscription

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musician

magazines.)

SASE

to:

NIGHTWEID

Sound,

1'i'0

Mar

Monte

Ave.,

Selva,

951106.

"I-Icy

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Don't

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low-cost,

hi-fi

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Tom

Shear,

255

Small

Road,

Syracuse,

13210.

The

Hacker's

Jack

Tolin

presents

Crosswave

Sounds:

The

classic

drums

the

HR-lti

(2-disk

set;

sounds};

SYNTH-

BITS!

tum

your

EPS-16+

ASH.-10

into

synthesizer

with

these

low-memory

samples

Series

{S-disk

set;

sounds).

All

disks

are

each

{foreign

silt

add

$5.}

To:

Jack

Tolin,

9310

Myrtle

Ave.,

#191-',

Kansas

City,

64132,

phone:

(316)

T63-0407.

PATCHESISOUNDS

‘JFK-sd

(SD-1}

patches

created

Iirn

Grote.

Wide

variety

sounds

with

complete

documentation.

Call

for

free

Inforrnalion

Pack-

et,

send

$30

for

‘v"FX(SD-1}

disk

to:

Jim

Grote,

3'i'2l

Frances

Ave.,

Cincinnati,

45211.

Phone:

{$13}

651-SE35

EST.

Paar

set

aso-1

{so-so)

sounds

plus

two

booklets.

Classic,

pop,

ethnic

sounds,

hid-

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waves

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effects

patches,

multisplits

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Available

ESQ-l

data-

tape,

Mirage,

Atari

ST,

IBM-PC

lvlacintosh

disk.

Read

review

TH#l00.

Contact:

Paul

Tirnmerrnans,

Steycnltoflaan

33,

B-3130

Betekom,

Belgium.

Zspfl

Cnmchl

Bang!

Powl

SD-l

owners,

we're

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patches,

demos,

pages

documentation.

These

sounds

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Now

yours

for

$20.

Crush!

Slam!

Send

today.

Steve

lvluggiin,

110

Grant

Ave,

Deal

0'r"l'23.

SOFTWARE

Universal

Sound

Designer

Dlgidesign

for

Bio:

Kiri:

Slinicard

hangs

our

near

Denver,

plays

synthesizer,

and

collects

and

restores

vintage

rock

staff.

His

favorite

color

ultraviolet

and

he’

the

sarne

age

Marcia

Brady

year

older

than

Kevin

Arnold).

a_I_w

../ \_

Classifieds

the

Atari

ST.

Waveform

editing

and

Digital

Signal

Processing

capabilities.

For

EPS

Classic,

Mirage

and

many

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but not

the

'lti+.

S200.

Dick,

3200

Indian

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Racine,

402.

Phone:

414-I539-2l'Ir'5.

RECORDING

CCllvlPACT

DISC

RECORDING:

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Call

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Jim

Grote.

{$13)

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{eves}.

OUT-OF-PRINT

BACK

ISSUES

ivl.U.G.

will

provide

Gut-of-Print

issues

for

cost

materials

and

postage.

.ivI.U.G.

Hotline:

2l2-4l55-

3430

write:

G-4

Productions,

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l515TI-I,

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Attn:

Back

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Phone:

{2l2)

465-3430.

"‘

Photocopies

out-of-print

pest

issues

the

Hacker

can

obtained

calling

Jack

Loesch,

90ii-2l54-

3512

after

EST.

* *

Folks

the

New

York

City

area

can

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copies

un-

available

back

issues

the

Hacker

call

Jor-

dan

Scott,

713-

SS3-2400.

FFIEE

CLASSIFIEDS!

Well

—

within

limits.

We're

offering

free

classified

advertiping

(up

words)

for

your

sampled

sounds-or

patches.

Additional

words,

ads

for

other

products

services,

are

$0.25!

word

per

issue

(BOLD

type:

$0.45,lword}.

Un-

less

renewed,

freebie

ads

are

removed

after

issues.

While

you"re

welcome

resell

copyrighted

sounds

and

programs

dist

you

longer

have

any

use

for,

ads

for

copies

copy-

righted

material

will

not

accepted.

Sorry

—

can't

take

dictation

over

the

phonel

Change

Address

Please

let

know

least

four

weeks

advance

avoid

missing

any

issues.

The

Post

Dffice

really

will

NUT

reliably

forward

this

type

mail.

{Believe

us,

not

theml}

need

know

both

your

old

and

your

new

address.

[Issues

missed

due to

late

change

notification

are

your

own

dumb

fault

mailed

theml}

-4‘

__-

..'_.,.__

i-_,-.1,-_

ii.

II—|I-I

H“

’

‘pl,

'1'

' '

Ii.

‘ill

|'-|

—

L1;-~:-—

-____P_

i_'-:,1=_.;-_.=;I-renal-r-_-.,,|

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____,___

______

_________

___

___.

_ _ . .

The

enstmiq

keyboards

are

the

most

fun

keyboards

the

market

But

YOU

have

know

all

the

tricks

and

shortcuts

have

fan.

When

you're

havin

gﬁm

you

excel

whatever

you're

doing!

You

already

know

that

...

ask

yourself

...

. .

writer

,,.,,-wars‘

ASR-10

. .

$119.95

(‘Cl

-=~

......

Herr

Hurt

Ts-12

$119.95

TS-10

KS-32

???

edit

mod;-decay

$119.95

$39.95

Why

Cram

the

Books‘?

I-lave

Watch

VALUE:

Even

the

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set

over

six

hotus

instruction!

Ifyou

the

instructions

should

take

least

ten

hours

complete

the

tapes!

Most

our

customers

are

saying

takes

25-so

hours

complete

the

ASR-ll)

set!

That's

$11.95

hour

for

detailed

instruction

POUR

keyboard

{

Remember

you

can

rewind

and

watch

again

try

that

with

lessons!)

ASR-IBIS

hours,

TS-121"?

hotus,

TS-10!’?

hours,

SD-lid

hours.

Get

the

most

out

your

keyboard

really

getting

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friend

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expert.

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You

sec

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and

the

goal.

With

the

goal

deﬁned,

you'll

walked

through

the

solution

step

step,

button

button.’

With

the

use

analogies,

charts

and

shots

...

you

will

master

your

keyboard

(We

even

cover

common

mistakes

and

the

workarounds!)

Course

say

this

kind

stuff

but

listen

some

other

people

. .

Music

Stores

After

Using

and

Selling

Our

Tapes

had

record

sales

month

December

and

owe

lot

these

tapes"

Scott

Laythem

lvfclvlurray

Music

St.

Louis

Customers

after

purchasing

the

tapes

learned

the

ﬁrst

hour

video

than

did

the

ﬁrst

days,

your

contmtutication

skills

are

incredible

Rick!"

Dr.

Jack

Fowle

Science

Adviser

U.S.

Senate

[TS-ll]

owner]

"If

these

videos

hadn't

helped

me,

call

was

Dr.

Kevorkian!

Satisﬁed

Customer

that

wishes

remain

anonmous

alive!

[SD-1

owner]

"In

the

ﬁrst

two

hour

tape

realized

the

real

power

what

own,

can't

wait

see

the

rest!

Thanks”

Dave

Mathis

Liverpool,

l'il.Y..

[ASR-Ill

owner]

Try

Our

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. .

[800]

687-1607

Call

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Marifyn

today

place

your

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_,_

-|.

covert

videos

s1s

ealtl-3ilsl.tIte144

roclnvalhtexae

racer

[z14]rzz

-|so1

fax

[214]i~"22

1404

Letters

fur

The

Interface

may

sent

any

the

fellewing

addresses:

I.l.S.

Ivlail

The

Interface,

Transuniq

Hacker,

I-'-lll.'?.

Upland

Dr.,

Pertland,

97121

Electrunic

mail

GI-inie

Netwurk:

TRANSUPIIQ,

Cempuﬂerve:

'i'3Ii'.EIl,3353,

Internet

{via

CS}:

'I32dU.3353@cumpuserve.cem.

This

prebably

ene

the

mest

epen

ferums

the

music

industry.

Letter

writers

are

asked

please

keep

the

vitriul

minimum.

Readers

are

reminded

take

everything

with

grain

salt.

Resident

answer-man

Clark

Salisbury

{CS}.

Letter

puhlieatien

subject

space

censideratiens.

T.H.:

knew

hew

much

yeu

guys

getting

ASH

tips

{and

knew

hew

much

reading

‘em},

theught

I‘d

send

aleng

twe

mere

that

read

the

EPS

Mailing

List

Internet.

But

rather

than

paraphrasing

and

taking

all

the

credit

fur

the

ideas,

I‘m

including

the

[edited]

Intemet

message

itself,

aleng

with

its

rightful

auther:

“Frem:

CRDFDOT@CS.BU.EDU

"Well

since

are

sharing

seme

tips

and

tricks

theught

weuld

threw

ene

just

figured

eut.

pertains

sample

editing

and

first

seems

ceunter

intuitive,

but

werks

much

better.

"Must

peeple

edit

sample

end

puints

befere

trun-

catien

{sample

start

usually

set

perfectly

the

seund

exceeding

the

thresheid).

Assume

yeu

have

4-secend

seund

and

yeu

are

manually

in-

ching

the end

peint

just

the

right

peint

This

takes

lung

time

and

requires

listening

the

entire

sample.

have

ceme

with

twe

setu-

tiens

fer

this.

First,

while

helding

dewn

the

reet

key,

use

the

pitch

bend

wheel

speed

the

sample

until

elese

the

end and

then

let

fail

nermal

speed.

This

can

used

ferm

scrubbing.

rarely

use

pitch

bend,

have

even

centemplated

changing

the

glebal

bend

range

higher

value.)

"The

secend

and

better

way

truneatien

meve

the

start

peint

instead

the end

peint.

Repeatedly

hit

the

key

while

siewly

meving

the

start

peint.

When

mere

seund

heard

{make

sure

net

lese

any

reverbs)

then

yeu

are

at the

true

end

peint.

“New

just

arruw

the

sample

end

screen

and

drep

the

slider

all

the

way

dewn

and

will

autematically

set

the

start

peint

yeu

had

set.

Then

hack

the

start

peint

screen

and

clrep

the

same

back

te II

with

the data

slider,

then

trun-

cate.

This

quick

way

because

yeu

enly

have

listen

millisecend

the

seund

see

there

attack

instead

the

entire

sample

multiple

times.

Matthew"

Heat

tips,

think.

Hcpe

yeu

can use

‘em

the

Hacker!

checked

with

Matthew

and he

says,

“I

glad

that

yeu

enjeyed

the

tips.

myself

was

quite

surprised

after

tried

them.

seemed

ceunter

intuitive

te he

werking

frem

the

frent

the

sample

wanted

clip

the

end,

but

tvurked

great.

Tltttnl-ts

fur

sending

eff

Tran-

seniq,

new

mere

peeple

will

able

use

it.

Regards,

Matthew.“

Itnd

leng

I‘ve

gut

yeur

ear...

{hew

many

times

have

yeu

read

THAT

befere},

have

questien:

dees

anyune

knew

hew

"uncle"

delete

presets

frem

hank,

etttside

setting

whele

new

hank?

Once

they're

set

using

“CREATE

PRESET"

they

seem

there

ferever.

have

several

live

perfermance

hanks

where

created

presets

and nu

lunger

use

want

them

present

den't

want

slip

and

hit

ene

these

accident

while

perfemting).

New

can‘t

get

rid

them

ether

than

everwrite

them

with

"safer"

presets.

Luuking

ferward

the

—

and

every

—

issue.

Thanks!

Gerry

Leune

‘iiicteria,

Mlti

G.LEDNE@genie.geis.cum

{CS

—

Thanits

fer

the

ceei

tips!‘

Serry,

hnew

way

delete

presets

ence

they're

created.

l"ett

cetdd,

cettrse,

re-create

the

hanhﬁem

scratch,

then

re-save

it,

hat

den’t

knew

yea'd

ﬁnd

this

any

snicker

than

re-

writing

the

presets

"safer"

versiens._i

Helle

Clark!

Fer

the

Hacker:

Helle

hackers!

just

received

the

Feb

External

Cemmand

Sp-ecificatien

fer

ASH-1|]

chargel

Thank

yeu

Enseniq!

The

SCSI

page

was

very

interest-

ing

read.

very

tired

dealing

with

fleppy

disks

and

siew

data

transfers

via

MIDI.

I'm

sure

all

future

Advanced

Sampling

Recerders

will

have

SCSI

interface

(I{2{l!Ili}

has}.

MIDI

tee

slew

trans-

fer

all

the

infermatien

users

require.

SCSI

will

the

future

MIDI!

Qaestiuns:

Ijust

heught

IBM

PSI

IISEDXZ

5!lMHa

cemputer

with

le-bit

Seundblaster

card

think

(er

hepe)

teday's

standard).

What

kind

(medel

and

brand)

SCSI

interface

adapter

{ISA}

need

cunnect

ASE-ID?

What

SCSI

address

{!]~'i']

are

ASR-Ii}

and

cemputer

werlting

have

this

adapter?

Will

cempanies

the

“near

funire"

suppert

with

seftware

fer

this

eenfiguratien?

un-

derstand

{ef

the

External

Cemmand

Specifica-

tien)

SCSI

cemmunicatien

very

similar

MIDI.

Suppert

fer

SCSI-MIDI

sheuld

easy

implement!

Cemments

seftware

cempanies,

please.

[Any

Sequencer

vendersf}

Gary

Giehler‘s

Enseniq

Disk

Manager

very

much,

but

ﬂeppy

disks

are

tee

slew

fer

buth

and

ASR-Iii.

Hew

ahuut

Enseniq

SCSI-MIDI

Manager‘?

‘Wlty

net

replace

new

ASE-Ii}

and

the

new

TS-1!}

fluppy

disk

drives

with

fleptical

disks

{IIMB

3.5“

special-disks}?

Dues

any

hacker

reading

this

(er

Enseniq],

have

experience

ahuut

this?

Best

regards,

Iesper

Eiummesen

(Intemet

Email:

jesper@iss.se}

{CS

I'm

afraid

I’II

have

piead

ignerance

this

ene;

werit

aimest

entirety

the

hfacintesh

werid,

have

ewn

set

ufprehiems

deal‘

with.

Itnew,

however,

that

the

ASR-Iii

per-

manentiy

set

SCSI

3).

I'm

passing

year

Ietter

Enseniq

st-tspect

se.-neene

there

wiII

have

pertinent

cumment

twe.j

{Enseniq

Unfertanateiy

the

anestien

nut

what

brand

SCSI

interface

shut-dd

yea

hay,

hat

what

cerdd

yea

I)‘

yea

had

SCSI

interface

year

PC.

and

the

answer

cnrrentiy

nething

with

the

AER-Iii.

Itnew

su_Il'ware

which

sttpperts

any

type

SCSI

cemmanicatien

with

the

ASII-Iii.

Sampieltisien,

frem

Turtle

Beach,

eniy

st-tpperts

MIDI

transfers

wave

data.

Perhaps

yea

readers

shettid

centact

them

and

Iet

them

knew

that

yea

wetdd

Iihe

see

that

package

stip-

pert

SCSI

data

transfers in

the

ftttare.

Dues

anyune

ettt

there

Irnew

anything

that

den’t

blew?

The

ASH-Id

permansntiy

set

SCSI

and

yeur

ether

SCSI

devicescan

set

any

number

ether

than that.

See

aheve

answer.

-II]

Perhaps

Gary

wiII

he'II

have

answer

fer

himseI__t".

Unfertanateiy,

ﬂepticai

drives

are

censiderahie

mere

expensive

and

censttme

mach

mere

pewer

than

cenventienai

ﬂeppy

drives.

They

are

net

necessariiy

ahie

suppert

the

Enseniq

dhiz

fer-

mat,

which

net

IBM

cempatihie.

have

eh-

viettsiy

Ieeited

inte

them,

hat

cannet

suppert

them

ttntii

these

issues

are

resuivedtchanged,

which

seems

anIiI:eIy._,I

Helle

Transeniq

Hacker!

After

let

hard

werk,

frustratien,

and,

ul-

timateiy,

satisfactiun,

have

finished

'iIersiun

I uf

Seundliert.

Wliat

dues

de'l

Seund‘!-'ert

cen-

versien

pregraru

that

transfurrns

Wave

St.

Sample-

Misiun

ﬁles

inte

Ciiebler’s

ferrnat

and

changes

Wave

Files

inte

Sample‘visien‘s

femiat.

cen-

junctien

with

the

Enseniq

Disk

Manager,

yeu

can

recerd

and

edit

seunds

and

then

create

diskettes

all

yeur

PEI

This

weuld

useful

fer

any

sampler

lteybeard

that

reads

Enseniq

disks.

TS-Ill

ewner,

this

has

pruved

especially

useful

(new

can

held

eff

purchasing

dedicated

sampler...

least

fer

little

while}.

Currently,

distributing

SuundDemu

which

restricted

versien

Suundhiert.

SenndDeme

freeware

while

registered

versien

Suund‘v'ert

l.0

$15.00.

Please

feel

free

cepy

and

dis-

tribute

SnundDeme.

Initially,

yeu

can

get

cupies

SeundDemn

en:

Eagle

Nest,

(401)-353-3359

faverite

lncal

beard;

Seund

Management

BBS,

{T03}-949-E434

—

faverite

audiu

beard;

CempUSA,

{#01}-S23-9255

—

favuritc

free

heard,

{except

it's

tell

call).

yeu

have

any

preblems

ﬁnding

it,

yeu

can

tim.dnreas@enest.cnm

leave

message

MlDILink

MIDI-l*~!et.

Happy

music

making!

Tim

II'~ITEiRl'~IET:tim.derc

as-@—enest.cum

ICS—Ceel.j

[Enseniq

Seundr

very

interesting.

We'll

have

leg

and

take

leek.

Thanirs

fer

the

sap-

pertI,l

Dear

Hacker,

weuld

leve

hear

frem

sumeene

whe

ewns

KS-32

and

uses

the

Galaxy

librarian

with

fer

setmd

sterage,

preferably

sumeene

whe

runs

Galaxy

It'll’

Mac.

have

Centris

{Quadra)

660

and

have

been

degged

fer

menths

what

Spp-:31’

framing

errers.

The

Opcude

and

Enseniq

tech

lines

have

dune

all

they

can!

Call

cellect

303-443-620'?

(evenings

MST)

(Internet)

te:

jec@gesualdu.celerade.edu.

Thanks!

Iee

Islet

{CS

—

I've

used

Galaxy

Mac

llci

fer

quite

seme

time

witheut'tee

many

prehlems,

I'm

afraid

den't

really

have

let

insight

{the

enly

real

ditf"'tcu.lties

I've

experienced

eccurred

when

trying

u.se

elder

versien

Galaxy

with

the

newer

Mac,"

since

upgrading,

these

prehlems

have

pretty

much

disappeared}.

have

heard

that

yeu can

experience

prehlems

Ap-

pletallt

active,

hut

I'm

net

netwerized,

sel

have

direct

experience

with

this.

any

eur

readers

has

clue

what

might

geing

here,

perhaps

they'd

hind

enettgh

whatever

infe

they

may

have...

[Enseniq

have

hard

time

helieving

that

Elpcede

can’!

help

yeu,

hut

will

try

leuh

inte

this

seen.

Clarlt

right

leaving

IlppleTalI:

ceuld

preduce

this

hind

errer.

We'll

call

yeu

when

have

set

up a

test.

,1‘

-|||—i-Iii;

Dear

Haclterl

yeu

knew

any

secend

seurce

RAM

cards

fer

the

series?

The

eriginal

Enseniq

cards

cest

abnut

$150

which

seems

rather

expensive

cempared

RILM

cards

advertised

with

ene

batik

seunds

fer

$99.

Itnether

questien:

I'm

leuking

fer

pregram

fer

up-

and

dewnleading

seund

banks.

Anuther

nice

feansre

weuld

tn be

able

greup

seunds

frem

different

bank

files

inte

new

banks.

didn't

lind

any

pregram

buth

the

public

demainlshareware

and

the

cemmercial

area.

Rebert

Plutkin

I05:

ceuld

install

FTP

site

fer

seunds,

get

seunds

stere

and

distribute.

Thanks

advance!

Martin

Ilrwaleck

Internetmrwalec!-t@ps

.iaee.tuwien.ac.at

‘Iierma,

Itustria

{CS

—

Again,

have

heg

ignerance

fI've

never

tried

Iecating

RAM

cards

Austria).

I'm

net tee

sure

Enseniq

will

jumping

the

chance

tell

yeu

where

huy

preducts

that

are

campsit-

tive

with

their

ewn,

hut

yeu

never

ltnew;

I'll

pass

yeur

letter

aleng

just

case.

There

are

puhiic

demaintshareware

pregrams

fer

upleading

and

dewnleading

system

exclusive

data.

The

pregrams

I'm

familiar

with

treat

sysex

generic

data

type,

den't

Itnew

yeu'll

find

anything

speciﬁcally

designed

allew

yeu

re-arrange

seunds

inte

new

hanks.

yeu

den't

mind

feregeing

that

capahiiity,

then

ene

pregram

yea

might

leek

fer

semething

called

"Gall!"

helieve}.

Yeu

sheuld

ahle

ﬁnd

this in

ene

the

user

greaps,

ene

the

enline

services

{such

CempuServe_l.

,1‘

{Enseniq

All

can

e_tfi’er

help

yeu

that

these

cards

are

38-pin

I‘l'l'tCanen

memery

cards.

‘We

den't

ltnew

any

cempatihle

cards,

hut

h’

card

claims

ITTICanen

cempatihle

sheuld

werlc.

The

cards

are

expensive

they

are

hecause

are

charged

high

rate

fer

them.

pass

them

ear

users

little

preflt

hecause

are

sensitive

their

price.j

Hey

TH,

Get

cepy

the

v2.01

upgrade

yesterday.

haven't

tried

the

audiu

tracks

feature

yet,

genna

that

tuday,

but

did

run

inte

semething

very

strange

yesterday.

main

werk

drive

tzr-tau

Quantum

SCSI.

beet

eff

this

drive

and

leaded

the

untu

it.

alse

use

Maxtnr

213-MB

drive

backup

enly

drive.

backup

the

entire

I2’?-MB

drive

ente

the

213-MB

drive

fer

safety

until

there

Digital

IID

backup

selutien

(pleasel).

realize

that

this

type

backup

dees

nething

fer

fragmentatien,

but

still

backup

and

werks.

have

had

use

it.

Here's

the

preblern:

attempted

new

backup

with

v1.01

and

abnut

minutes

inte

the

backup

freezes

every

time

with

CREATE

NEWDIRECTDRY

the

display.

then

re-

quires

that

pewer

eff

and

rebeut

the

ASR-I0.

Hnwever,

beet

with

vl.ti

and

attempt

the

same

backup,

werks

perfectly

fine.

What's

happening

here?

alse

tried

rebneting

fmm

the

v2.01

Flnppy,

fermat

the

backup

SCSI

drive

and

then

ence

again

tried

the

backup.

Same

results,

freezes

again.

this

seme

new

ubscure

preblem

with

the

new

deing

semething

wrung

which

seems

semewhat

unlikely

this

case

vl.l5

werks

fine‘?

Regards,

lee

Santactece

MlDILink

{Enseniq

have

had

ether

reperts

this

hug

and

have

identified

the

prehlent.

expect

teﬁx

the

release.

Stay

tttned.jl

Dear

Hacker,

sent

tape

and

pestage

Clark

hear

deme

made

his

TS-I0

abnut

twe

menths

age.

D-h,

Clark,

where

are

yeu?

Geerge

Finiaie

Wiimingmn,

Califernia

{CS

Geerge,

apelegize

fer

the

delay.

just

finished

seme

majer

remodeling,

and

several

things

had

heen

misplaced,

including

yeur

eriginal

letter.

Iiewever,

sent

the

tape

aleng

aheut

ﬁve

weelts

age;

yeu

haven't

received

yet,

please

let

Irnew,

and

I'll

get

yeu

anether

cepy

ASAP-I

Te:

Transeniq

Hacker

Recently

cuuldn't

get

ASR-lll

beet

upl

believe

was

"ERROR

003

REBUUT‘l"

Any-

way,

after

trying

all

disks,

tuuk

the

Maybe

yeur

questien

has

already

been

answered

—

Interface

Disk

Ever

hunt

threugh

that

eld

stack

Hackers

leuking

fer

that

reference

Berneuili

drives

—

sumewhere

the

letters

eelunm?

using

the

Back

Issue

Index

yeu

can

usually

find

the

article

yeu're

leuking

fer

—

but

letters

are

different.

Well,

lucky

yeu,

here's

yeur

selu-

tien

—

electrenie

files

raw

text

frem

the

last

feur

years‘

werth

letters

culurnns

—

all

ready

pattern

searched

fur

whatever

yeu

want.

(DDS

fermatted,

'I20k,

3.5")

l.__I_

“Iii

_-§'1-I

1990

(Issues

#55

#615),

5181:

1991

[Issues

#67

IFI3),

310k

1992

(Issues

#'IEl

#90),

356k

I993

(Issues

#91

#102),

416k

Cine

disk:

$10.

Any

disks:

$16.

any

disks:

$21.

All

disks:

$25.

{Pﬁces

include

shipping]

Transuniq

Hacker

I402

Upland

Drive,

Pertland,

W221

call

I-B00-543-B925

{I-503-225-943?

nutside

the

ILS.)

and

ready

with

yeur

‘v'isa

Mastereard,

name

address,

and

yeai-(s)

wanted.

ILSR-10

fer

repair...

hence,

cemplaint

begins.

teek

ASR-I0

Audie

Electrunics

Dal-

las,

TH.

ehuse

this

particular

shep

because

was

listed

under

A.utheriz.ed

Enseniq

Repair

Sta-

tiens

the

list

Enseniq

included

with

the

ASR-10.

The

man

behind

the

desk

prucceded

cepy

sales

receipt

fer

warranty

purpeses

and

then

asked

wanted

Prierity

Warranty.

said

that

weuld

cest

$25

and

that

heught

the

right

have

ASR-10

lucked

tlnee

days.

went

say

that

didn't

pay

the

S25,

guaranteed

that

ene

weuld

much

leek

fer

days

twe

weeks.

even

theugh

sumeene

might

free

inspect

suuner,

they

will

net,

punishment

fer

net

paying

Audie

Electrenics

S25.

Everyene

I've

spnken

has

said

that

was

un-

fair.

brether-in-law

lawyer

and he

said

that

what

they

are

deing

unethical

business

practice.

weuld

hear

yeur

cnmmcnts,

but

especially

cnmmcnts

frem

Enseniq

since

they

recermnended

this

cempany

their

list.

Its

yeu

all

can

clearly

see,

Enseniq

net

blame

any

way

that

knew

ef.

the

ASR-I0,

all

equipment

frem

space

shuttles

lit-

tle

red

wagnns

need

repair

eccasien.

really

ASR-I0.

really

den't

unethical

business

practices.

And

what

all

the

errer

messages

mean?

Iehn

Cechran

Arlingten,

Texas

{CS

far

the

errer

messages

ge,

they

have

real

"meaning"

that's

any

use

the

mer-

tal

man._l

{Enseniq

Audie

Electrenics

has

been

Autheritted

Enseniq

Repair

Statienfer

almest

ten

years.

Their

service

track

recerd

very

geed,

and

their

persennel

are

prefessienal

and

genuinely

cencerned

ahuut

their

custemers.

"Rush

charges"

are

very

cemmen

the

musical

instrument

repair

husiness.

The

purpese

rush

charge

meet

the

needs

custemers

with

rigid

scheduling

requirements.

This

special

service

has

value

and

repair

statiens

charge

ac-

cerdingly.

I-Iewever,

ﬁnd

unimaginable

that

the

service

facility

weuld

actually

tell

yeu,

"Even

theugh

sumeene

might

ﬁes

inspect

seener,

they

will

net,

punishment..."

Per-

haps

yeu

read

inte

what

they

actually

said

little

bit?

Anyway,

we'd

really

glad

talk

yeu

ahuut

this

further.

Pie-use

call

did-dd?-SSSII

and

ask

fer

Steve

C'etscia._l

Tu:

the

Interface

the

September,

I992

Interface,

Clark

indicated

that

bunk

cumpiling

the

series

articles

the

instruments

might

effered

seme

peint.

‘Where

stand

that

preject?

Itlalhala

markets

cellectiun

"E-3"

seunds

fer

the

Reland

series

synths.

yeu

any

yeur

readers

knew

any

such

effering

fer

the

Silt?

werk

with

beach-'RdtB

band

and

ceuld

use

geed

cellectiun

nrgan

patches

fer

SQEIB2.

D.‘iI.Ienes

PC!

Hex

I303

Cedar

Bluff,

‘tlirginia

24605‘

Well,

the

beck’

the

back

burner

fer

new,

while

cencentrate

prejects

geared

mere

teward

making

mertgage

payments.

will

keep

yeu

pasted,

theugh,

this

status

chan-

ges.

knew

cards

fecused

specifically

ergan

seunds.

Hewever,

Enseniq

recently

an-

neunced

the

release

EX-4,

card

centaining

the

seund

set

ﬁrem

the

KS-32.

There

are

prebably

ergans

this

card,

well

ten

ether

keybnard-eriented

stttff;

yeu

might

want

check

eut.)

Dear

TH,

have

SQ-1

keybnard

which

very

happy

with,

but

was

wandering

what

upgrade

paths

are

available

and

what

the

cests

weuld

be.

seems

mest

patches

advertised

fer

sale

are

best

the

extended

SQs

[which

net

have)

even

they

werk

mine.

Are

there

third-party

venders

fer

the

upgrade

hardware

and

are

there

arty

batches

patches

fur

just

the

erdi-

nary

SQ-1?

Are

there

many

peeple

still

with

erdinary

SQ-ls

have

missed

the

beat

far

upgrading

gees?

Yeurs

faithfully,

Rusanne

McKinley

New

Zealand

Unfertunately,

den't

knew

any

third-party

venders

fer

hardware

upgrades.

One

pessible

way

put

little

eur

classiﬁeds

either

leaking

fer

upgrade

selling

yeur

and

leaking

fer

used

PLUS.

The

ditference

between

the

twe

sheuldn'r

tee

much

diilerent

than

the

cest

upgrade

i'hepefully...,I.,l

Dear

Hacker,

Ase

there

any

SQ-S0

users

whe

weuld

have

specifics

the

“anti-clack"

keybnard

mediﬁca-

tien

fer

the

SQ-S0?

I've

had

success

get-

ting

any

assistance

frem

Enseniq

techs

this

tnatter.

Thank

yeu,

Michael

Mueney

l'I4I

Chariet

Mt.

Prespect,

50056

{T03}

42'?-1515

I'm

aﬁraid

den’

readers

?,l

Dear

TH,

Regarding

the

TS-12

versien

2.5

upgrade

Ijust

heught

TS-I2

January

I994.

already

have

fnrk

ever

anether

$99.95

fer

this

upgrade?

Dees

this

upgrade

include

ability

readI"W1'ite

standard

MIDI

files?

Can't

believe

the

TS-I2

can

this.

Finally,

why

isn't

the

details

the

SysEx

sterage

fer

sequences

net

decumcnted?

Thanks,

Rubert

LuSasse

Chicagn

{CS

Ne,

yeu

den’

The

upgrade

net

mach

upgrade,

epinien,

"side-

grade"

will

net

impreve

the

perfermance

change

the

specs

efyeur

TS-I2

any

way.

What

dees

allew

yeu

use

yeur

TS-I2

Gill’

seund

seurce;

the

can

cenﬁgured

respend

MIDI

channels,

and

select

the

cerrect

{GM

cempatible)

seund

when

receives

pregram

change

message

frem

external

se-

quencer.

yeu

already

have

signiﬁcant

library

Grid-centpatible

sequences,

are

planning

creating

GM-cempatible

sequences

fer

ene

reasen

anether,

then

adding

capability

yeur

may

make

sense.

Hnwever,

ifyeu

are

net

using

sequences

new,

and

have

real

plans

use

them

the

future,

use

the

meney

fer

semething

else.

The

will

net

read

write

standard

MIDI

files.

Believe

it.

The

details

fer

Systiix

eperatien

any

Ettseniq

instrument

are

decumented,

and

available.

Write

the

"MIDI

Speciticatien

Desk,"

Enseniq,

I55

Great

Valley

Parkway,

Ildalvern,

I5-"355.

Re-

quest

infermatien

Sysllx

fer

the

TS-I2,

and

yeu

shall

receive.

{Enseniq

net

that

everleeked

Stan-

dard

li-IIDI

files,

den't

believe

their

e_ﬁ’ec-

tiveness

fer

sharing

sequence

data

between

devices.

The

plain

truth

that

betlt

eur

sequen-

cer

design

and

eur

disk

fermat

weuld

have

had

re-written

implement

that

feattue.

Stan-

dard

MIDI

iles

need

transferred

IBM

cempatible

fermat

disks,

which

diﬁerent

than

eur

fermat.

And

the

sequences

must

suppert

sixteen

channels

inferniatien

eur

sequencer

currently

supperts

twelve.

was

majer

seft-

ware

jeb

get

the

TS-Iilllil

"listen"

six-

teen

channels

inceming

MIDI.

Adding

cemplete

recerding

and

editing

ftmctiens

fer

six-

teen

channels

MAIDII

seﬂware

ejfert

that

can't

undertake

fer

the

series.

recegniee

the

value

SI!-fFs

and

will

net

rule

eut

cempatihility

with

them

futttre

preducts

with disk

drives.

den't

include

MIDI

Sysllx

decumentatien

every

rnanual

because

increases

the

sizelcest

every

manual,

when

enly

small

ntunher

eur

custerners

actually

want

it,

distribute

fer

ﬁres

anyune

whe

wants

it._l

Dear

Hacker,

Enseniq

samplers

are

faverite

since

the

EPS-Iii+.

nething

cemplain

about

hut...

have

1.-El

fer

the

ASH-lil.

The

AER-10

c-nnnected

RUM

TE1‘*iEI..

Dh-‘I

3ll'2l

and

frem

there

gees

eptical

drive

{I23

3{lOlIi

TEAC

and

then

Reland

ST-’5[l.

The

SCSI

IDs

are

AER

3,tl:te

ROM

the

=4-and

the

ST5l]=Tr'.

Everything

went

perfectly

with

1.61.

Httt

with

2.[l=

every

time

want

save,

eenfigure

tracks,

save

the

OS,

glebal

parameters

get

DISK

‘WRITE

PROTECTED,

even

with

the

physical

pretectien

eff.

Iimew

that

the

CID

will

net

fast

eneugh

andie

the

dislt.

But

afraid

that

never

will

able

use

the

new

seftware.

what

geing

wreng'l

Sincerely

yeurs,

Adriane

Censinette

Brussels,

Belgium

{CS

l’m

afraid

have

infe

ejj"er;

Enseniq,

theugh,

says

they'll

leelt

inte

yettr

prahlsrn

and

see

what

they

can

cents

with.

{Enseniq

have

had

ether

reperts

efthit

hag

and

have

identified

the

prehlern.

expect

fa:

the neat

release.

Until

then

yea

ceuld

keep

rising

I13.

versien

.l.l5.l

—

slay

tttned._,l

I-Iaclter,

weuld

lilte

start

saying

what

wenderful

reseurce

yeur

magazine

fer

Enseniq

users.

appreciate

all

the

tips

and

help

yeu

have

previded

with

fer

AER-lil.

have

ques-

tien

that

the

fnlks

Enseniq

were

unable

answer

because

they

were

unfamiliar

with

the

prehlem

esp-eriencing.

Wlten

using

the

new

2.0

digital

recerding

almust

always

have

RAM

audie

tracks

playing

back

way

tee

slew.

set

everything

preperly

the

way

the

manual

explains,

but

avail.

SIMS

are

the

cer-

reet

bit

type

and

keybnard

expanded

lti

Meg.

have

meg

remevable

hard

drive

(which

heught

mainly

fer

the

digital

recerding

feature)

that

dees

the

same

thing

when

using

dis-

ktraclts.

Enseniq

techs

suggested

that

send

equipment

them,

which

deﬁnitely

eut

the

questien.

yeu

have

any

idea

why

this

weuld

eccurring?

Any

help

weuld

much

appreciated.

Despite

preblems,

weuld

alse

thank

Enseniq

fer

creating

fantastic

music

making

feel

and

fer

listening

censumers‘

ideas.

Thanks,

Iasen

Huffman

lvlerced,

Califernia

{CS

seunds

rne

yen

nary

recerding

year

arrriie

tracm

sampling

rate

-tlslti:

and

playing

them

lracl:

ililh.

This

ceald

happen

yea‘

rising

-Hi:

eﬁect

while

recerding,

and

Etllt

eﬂect

while

playing

hack.

can

alse

happen

yea

try

recerd

steree

4-till:

ante

Syﬂnest

rernavahle

drive,

which

net

qtrite

fast

enangh

steree

4'4

lr.,l

{Enseniq

—

Gar

seftware

department

has

been

trying

reach

yea

since

received

these

let-

ters

yen

have

net

spelren

the

tirne

this

printed

CALL

US!

While

Clark’

answer

ceald

pessible

cattse

den’!

ltnew

eneagh

frent

year

letter

help

yea.

Getting

cepy

data

ﬁle

that

exhihits

this

prelrlern

weuld

help

feel:

inte

it.

want

help

yer-t._,l'

Dear

fellew

AER-ID

userslﬁnsnniqlliackerstaff;

The

mest

armeying

thing

feund

this

year

yet

that

AER-lllfs

new

2.l]

deesn't

let

the

Audie

tracks

sync

ettternal

sequencer.

The

manual

page

says

that

this

because

incensistent

tempe

eaternal

MIDI

eleclts.

seems

beth

childish

and

peliticai

frem

Enseniq

put the

blame

the

eutside

wcrld:

the

truth

prebably

mere

that

the

titted

preeessing

capabilities

the

ASR

are

tee

slew

simple

handle

the

SCSI

stress.

That

anneying

and

ever-

lasting

"Data

Shuffling"

sheuld

preve

semething.

There

saying

Helland

which

translates

te:

Who

says

you

have

nt_)_

HESONANT

FILTER?

The

ASH-10

and

EPS-15

PLUS

can

new

"Bwaaeeww."

unpredictable:

really

crazy,

really

fat,

and

semetimes

really

The

HEZ

FILTER

algerithm

striking

re-creatien

analeg

synthesizer,

the

classic

lvlinimeeg.

feur-pele

lew-pass

resenant

filter

ceupled

|ightrting-

fast

ADSH

envelepe

generater.

The

filter’s

resenance

centrel

[else

knewn

emphasis,

bandwidth,

Cl]

gives

that

distinctive

analeg

seund

creating

sharp

peak

the

frequency

respense.

This

peak

swept

the

envelepe

any

medulatien

seurce.

dees

things

yeu

can‘t

sampling

analeg

synth.

demenstrate

seme

applieatiens

HEZ

FILTEH,

the

disk

cemes

with

eellectien

raw

lvlinimeeg

samples

that

ceme

life

when

they

hit

the

resenant

filter.

Elut

what

yea

want

warp

yeur

ewn

seunds,

and

yeu

can—

yeu'll

quickly

transfenning

yeur

entire

library

clean

digital

samples

inte

tat

and

juicy

dweeps,

bweps

and

darnts.

The

FIEZ

FILTER

effect

algerithm

alse

ineerperates

seme

WAveBDY's

trademark

parallel

effects:

hath

eherua

and

reverb.

Either

fun

features

include

acheice

single

multi-trigger

medes

the

envelepe

generater,

and a

sample-and-held.

But

wait...

there’:

rnere:

this

disk

includes

anether

algerithm

that

dees

frequency

ntedulatien

[Flvti

Again,

ettampie

seund

included

that

seunds

terribly

much

the

Elli-T.

Elut

The

Dirt-T

used

enly sine

waves—yeu

can

further.

This

algerithm

allews

yeu

medulate

any

seund

with

any

ether

seund!

The

results

can

grungy.

HEZ

FILTEH,

Flil+FJt

includes

chenis

and

reverb

which

can

added

the

eutput

used

fer

ether

seunds

BUS2.

The

FIESOHAHT

FILTEFI

disk

just

$39.95

direct

frem

Wh‘v'eBCt"r'

Industries,

including

shipping.

Fereign

erders,

add

$6,

residents

add

tan.

Use

visa,

Mastereard,

meney

erder

cashier

check.

WAVGBOY

Industries

P.O.

Ban

233,

Paeli,

Pa1ssu1

use

erder

phene:

(215)

251-H562

*'.-cine;

..--

,,-

==..

;.3=i-.-ti

‘.-.;

"-|.,.:_._.I

-_.'i

‘F13’-

Buying

cheap

proves

expensive

after

all.

For

work

use

video

master

sync

generator

which

controls

Audio

Kinetics

synchrcnlaer

which

turn

conuols

Sony

Umatic

video

and

Tascsn,

through

SMPTE

and

then

Cubasel'Atari-STe

sequencer.

Supposedly

this

bit

overkill

stability

MIDI

clocks

but

Altai

Sllllil

slaves

its

hard

disk

recording

thing

perfectly

through

MIDI

events.

Even

with

the

master-sync

switched

off.

does

the

Akai

through

MTC

and

most

drum

computers

through

MIDI

cloclts.

bought

the

ASR

plus

CD-RUM

and

hard

disk

peripherals

for

its

musical

quality

sample

han-

dling.

And

the

then

"unofficially"

arutounced

audio

track

possibilities

seemed

real

winner.

still

respect

the

ASR-ltl

and

its

inventors

very

much

after

almost

year's

use.

But,

alas,

with

the

current

2.tl

came

the

Downer

The

Year:

the

ASR

SCSI

audio-track

thing

has

play

its

ovm

playground

and

doesn't

interface

with

the

rest

the

world.

feel

discriminated

against

and

I'm

not

even

black

(beautiful

the

way}.

Suggestions

for

Et1soniq's

RSrD:

When

you

com-

pare

the

price

the

little

hardware

fitted

the

DI-Ill

digital

interface

seems

very

expensive.

That

goes

for

the

SCSI

board

for

the

keyboard

ASR.

Maybe

Maartists

some

other

company

will

come

with

fairer

priced

DI-ll}

hoard

and

you

lose

business.

Can't

RrirD

develop

Enseniq

DI-xltl

board

with

co-processor

some

sort

improve

the

syncing

the

audio

tracks?

There

seems

enough

empty

space

the

DI-IU

double

the

silicon

stuff.

SMPTE

{MTC'?)

Q-list

Akai

uses

probably

too

much

ask

the

simple

LCD

display

the

ASR,

but

MIDI

event

triggers

maybe

extra

MIDI

channel

the

multi-setup

should

come

handy,

and

you

wouldn't

need

MIDI

clock.

Realtime

sync

MTC

tops

all.

suggestions:

Why

don't

you

include

highl

low

note-priority

settings

playback

certain

instruments.

Basses

need

this.

It's

the

SQ's.

Please

include

DAT-S,-"PDlF-streaming

mem-

ory

content

whole

and

SCSI

devices

through

the

DI-llll.

How

about

reading

Altai

Sltllltlldtliltl

format

CD-RDMs,-‘hard

disks

through

SCSI?

user

standard,

and

Akai‘s

sample

data

protocols

are

very

similar

Sample

Dump

Standard

anyway

you

might

well

include

too.

Through

MIDI

and

SCSI.

Watch

out

for

the

com-

petition,

Enseniq:

the

Kurewell

Illltllllll

least

dohtg

really

well

Europe.

Reads

even

Roland

TDD

series

stuff.

pity

the 44.1

kl-la

DI-Ill

limitation.

Most

musicians

own

simple

HiFi

DAT

which

has

the

dreadful

copy

protect

on $4.1

kHz

and

uses

ll-S

kHa

digi~ins.

USER

TIP‘:

{US

LEI}

When

you

trigger

stereo

samples

sometimes

the

playback

externally

triggered

samples

runs

out

phase.

loops

etc.,

noticed

loss

high

frequencies

with

the

stereo

outputs

patmed

mono.

you

don‘t

believe

me,

sample

mono-loop

stereo.

The

solution

found

switch

the

stereo

layer

link

off.

Bug?

Dnly

l.bl‘l

Nout

Grttpstra

Box

533ti3

The

Hague,

Holland

{Enseniq

really

don't

want

argue

with

you

are

not

placing

the

blame

the

out-

side

world.

The

complexity

heaping

the

on-

board

sequencer

and

the

Audio

Tracks

sample

accurate

big

issue.

You

seem

have

plenty

gear

cover

your

needs,

you

can't

ac-

cept

this

design

consideration

we'll

have

ac~

cept

the

fact

that

you

won't

use

the

digital

audio

recording

features.

don'lfeel

that

setting

your

computer

exter-

nal

snot

clocl:

interface

with

the

ASIE-ill

such

terrible

thing

have

do,

but

respect

your

opinion.

Eiur

Di-ll]

costs

what

does

because

the

digital

interface

chips

are

expensive

have

real

control

over

that.

The

SP-3

contains

hi-speed

opto-isolation

couplers

eliminate

SCSI

noise,

which

generally

undesirable,

and

for

hard

disli:

recording

totally

unacceptable.

Removing

them

would

reduce

the

price,

but

destroy

the

accept-

able

ﬁrnctienality

the

ieteijface.

The

Dl-ill

does

support

input

sarnplingfrom

ltlla

source.-'

Stereo

sample

lock

was

fxed

versien

Thanlrs

for

all

your

other

comments

can't

address

each

one

this

limited

space.j

Dear

Transforming

Hackers,

letter

regarding

the

TS-12.

First

all,

thanks

for

your

mag

and the

help

it's

been

for

since

SQ-St}

days.

After

the

Bil,

bought

the

KS-32

because

wanted

the

Tb-key

weighted

keyboard

and

the

great

piano

sounds.

But

the

small

display

was

the

downside

the

KS.

But

then

here

comes

the

TS-12:

thought,

“YES,

this

what

wanted

the

first

place:

‘iii

keys,

big

display,

weighted

keyboard,

nice

piano

seund...."

Disappointment

#1:

HUT

after

purchasing

itl

disappointed.

Although

the

operation

much

nicer

with

the

big

display,

not

all

soundwise

the

KS-32.

The

piano

sound

different,

with

different

waveform

than

the

IEBIT

piano

wave.

And

the

STRING

sections

are

really

hammers.

Even

Enseniq

customer

service

people

agree

with

me.

There

are

some

new

disks

coming

out

with

new

sounds

and

they

say

that

the

SLT

sample

series

supposed

have

string

sounds

that

are

really

good.

have

tried

some

ASR

strings

and

they

have

the

same

"wobble"

sound

them.

far

the

new

disks

and

the

samples,

seriously

doubt that

the

su-ings

will

that

different.

Disappointment

#2:

The

supposed

have

better

effects

processor,

but

has

the

same

neise

the

RS-32.

very

hissy

and

even

has

"afterglow"

even

"talk"

type

sounds

and

hue-

aes

which

are

not

romantic

say

the

least.

Has

anyone

else

out

there

experienced

this

"effect"?

Disappointment

#3:

When

I add

delete

bars

from

sequence

and

then

try

to"

and

edit,

hear

notes

sounding

from

instruments

that

aren't

even

on;

also

hear

notes

playing

“out

time"

from

the

other

ones.

play

the

sequence

from

the

start

does

not

happen.

Enseniq,

please

FDI

this,

okay‘?

Disappointment

#4:

understand

that

sequence

mode

only

one

effect

controls

all

the

tracks.

this

true

does

each

track

keep

its

own

effect

and

they

all

get

sent

out.

true,

what’s

the

point

having

different

effects.

certainly

would

want

drum

effects

utilised,

but

not

have

them

applied

piano

sound.

ﬂanged,

distorted,

gated

pianol'?’l'?'i

don't

think

Tim.

this

all

completely

misunderstood,

please

excuse

newly

found

ignorance.

I'm

crying

I-[ELF

please.

Can

anybody

out

there

program

some

string

sections

that

sound

the

ltSs32

DYNAMIC

STRINGS

patch?

Another

sound

I'd

see

duplicated

the

ENCORE

electric

piano patch

the

KS-32.

Also

the

KS-32

DRY

GRAND

and the

MELLDW

TENDRI.[sax).

I'm

willing

trade

some

"tweaked"

sounds

for

these

even

PAY

for

them.

Also,

you

have

some

samples

that

are

under

meg

that

may

what

I'm

looking

for

please

let

know.

Can

anybody

out

there

handle

this

challer1gel"I"l

you

are

KS-32

owner

and

are

thinking

about

going

the

TS-I2,

play

lot

before

you

decide.

Also,

you

absolutely

MUST

get

Giebler

Enterprise‘s

programs

for

the

KS-32.

wish

had

gotten

them

sooner.

They

are

very

quick

and

very

helpful

storing

and

managing

f'1les

se-

quencer

and

sounds.

enabled

dump

the

expanded,

full

memory

IBM

flea‘s

sneese.

Great!

Spencer,

French

Camp,

39745

(Gill)

54'?-6365

{CS

The

piano

waves

the

are

derived

from

the

some

source

the

id-bit

waves

the

KS-32;

the

dtﬁbrence

you

hear

due

different

programming

and

effects

parameters.

shouldn't

too

hard

take

the

closest

piane

sound

the

T.5'~l2

and

edit

lilre

your

favorite

piano

ﬁrom

the

KS-32

{perhaps

someone

your

local

dealer's

can

help

you

you're

not

too

comfortable

with

programming).

And

den’t

give

up on the

strings

there

are

artgful

lot

string

sounds

the

ASH

library;

should

thinl:

yeu'll

able

ﬁnd

semething

you

lilte.

The

TS-I2

eﬁects

processor

much

ouieter

than

that

found

the

KS-32.

you

are

ex-

periencing

similar

amount

noise,

l'd

have

conclude

that

there's

something

wrong.

You

might

wsrnt

get

touch

with

Enseniq

Cus-

tomer

Service

(215-dd?-3930)

and

see

what

they

have

say.

3,!

l've

never

experienced

the

problem

you

describe

TS-iii;

you

might

want

run

this

one

Enseniq

Customer

Service

well.

4,l

While

true

that

you

can

use

only

one

efl

fects

algorithm

time,

you

can

get

multiple

ef~

facts

out

the

selecting

algorithm

that

includes

than

one

e,tfl'ect.

For

example,

using

the

tIllortrs+lleverb+iItDL

algorithm,

you

can

set

up a

sequence

which

trumpet

has

echo

{DBL},

guitar

has

chorusing,

and

piano

has

reverb]

{Enseniq

We’

surprised

your

reaction

the

string

and

piano

sounds

the

TS-l2,

they

use

the

sortie

wave

data

the

if-5'-32,

with

the

addition

few

multi-samples.

Be-

cause

this

fact,

expect

that

trying

new

programs

should

help

you

ﬁnd

sounds

that

you

better.

Your

statement

that,

"Even

Ensonia

Customer

Service

'people'

agree

with

you"

about

the

strings

can't

right.

tilur

Customer

Service

Reps

acltnowledge

that

not

everyone

will

agree

what

good

sound

is,

but

the

entire

department

believes

that

the

T5-l2

strings

are

superior,

mostly

because

they're

flexible

their

programming

and

expressive

possibilities

than

the

KS-32

allows.

But

the

main

point

that

you

don't

lihe

them.

and

hope

some

our

aﬂer-rnartcet

libraries

will

satisfy

your

tastes.

The

TS-l2

uses

the

same

e_,fl'ects

chip

the

K5-32,

but

runs

higher

speed

with

many

instructions

per

algorithm,

hence

the

definite

higher

quality

and

versatile

e_tjl'ects

algorithms.

We'll

have

lool:

into

this

one.

The

TS-I2

does

use

global

efect

for

all

traclcs

seauence.

But

have

designed

give

you

lot

ﬂexibility

applying

ejflects

dtferent

tracks.

The

three

eﬂects

busses

ojfler

you

choices

where

route

each

traclc

algorithm,

you

should

study

that

your

manual.

And

developed

whole

series

parallel

ejlects

specifically

address

your

scenario,

giving

you

three

dtferent

efects

single

algorithm

for

maximum

mixing

ﬂexibility

(yes,

write

spec

sheet

and

copyl}.

Given

little

bit

time,

we're

confident

that

you

will

master

these

ideas

and

making

great

music

without

“flanged,

distorted,

gated

pianos."

Unless

you

really

that

sort

sound...)

Dear

Hacker

enclose

subscription

renewal

and

just

want

thank

you

for

producing

such

interesting

and

helpful

product.

own

EPS-16+

Rack

(and

SD-1}

and

con-

sidering

SCSI

interface

upgrade.

also

own

SS5

DX-t-I]

and

would

purchase

I2B~lvIB

removable

cartridge

drive

and

RUM

drive

which

could

use

for

both

machines.

The

removable

drive

have

mind

the

Fujitsu

lvl25ll.h

I23-lv[l3

Optical.

know

that

the

reconunended

drives

for

ROM

are

those

from

Sony

and

Toshiba

but

these

tend

the

expensive

ones.

NEE

have

recently

intro-

duced

triple

speed

drives.

Will

these

suitable

alternatives

and

will

they

give

any

advantages?

Also

are

Ensoniq's

Roms

the

future

only

likely

to be

suitable

for

the

ASR-ID

memory

size

are

they

worthwhile

for

EPS-16+

users

also‘?

Hope

that

you

Ensoniq

can

help

on the

com-

patibility

questions.

‘With

many

thanks,

yours

sincerely,

Marcel

Gtech-lvlarguetat

Poplar

Avenue

Eedford

Beds

lvI"It'.-'-ll

BBL

England

{CS

-Sofar,

the

results

testing

NEG

CD-RUM

drives

with

Enseniq

products

have

not

been

en-

couraging.

The

newer

triple

speed

drives

have

not

been

checlted

yet,

but

l'd

proceed

with

great

deal

caution,

were

you.

Also,

there

are

some

fairly

tricky

issues

involved

using

the

smaller

optical

drives

with

Ensonia

products

you'd

well

advised

try

before

you

buy,

par-

ticularly

with

any

storage

device

that

does

not

appear

Ensonia's

approved

drives

list.,l

{Ensonia

NEC

CD-Rﬁhls

don't

worl:

the

AER-Ill

and

probably

don't

the

EPS-id

PLUS

either.

don't

have

Fujitsu

optical

can't

comment

that

one.

our

sound

development

try

take

into

consideration

dtferent

users

with

diﬁerent

memory

sire

needs.

Both

CUR-l

and

wort:

with

the 2

rnemory

your

unit,

and

intend

support

both

large

memory

sounds

(6-id

MB}

and

smaller

memory

versions

{under

-tlMlEl,l

future

releases,

for

sequencing

needs

and

the

memory

limits

the

series,

which

can

only

load

sampled

sounds

that

ore

4MB

smaller.

Wherever

possible

will

lceep

the

memory

sire

down,

but

cannot

promise

hold

all

releases

2MB

lbnit.

are

also

redesigning

our

series

pacltaging

better

reﬂect

memory

sires

and

their

compatibility

with

various

Ensonia

products._l

Dear

TH,

Forget

about

oscillators

and

envelopes

for

minute,

and

let's

clear

some

important

issues

that

have

been

nagging

for

some

time

now.

First

all,

I'm

sorry,

but

just

can't

buy

your

response

Kirk

SIinkard‘s

letter

(March

'94

In-

terface}

which

you

tried

explain

the

mean-

ing

"Transoniq"

having

with

"all"

t[“u'ans-"J

"Ensoniq"

gear.

all

know

intuitive-

{and

our

spouses}

that

siuing

front

Enseniq

keyboard

induces

immediate

trance.

This

trance

comes

from

the

blue-green

light

the

display,

and

carmot

broken

except

{I}

threat

divorce,

(2)

alI~notes-off

message,

which

you

will

notice

Enseniq

has

can—-

veniently

left

out

all its

products.

Therefore

submit

you

that

the

"Trans-"

“Transoniq"

comes,

appropriately,

from

the

word

"trance."

Secondly,

must

take

issue

with

yotu

choice

the

word

"bevy"

describe

your

writers

[back

cover},

and,

recently,

your

advertisers

(p.

Issue

#105}.

According

Webster's,

"bevy"

defined

{I}

drinking

bout,

{2}

group,

espe-

cially

girls

women,

and

{3}

ﬂock,

chieﬂy

quails.

This

last

deﬁnition

supported

that

scholarly

work,

The

'i-"enereal

Game,

which

details

the

history

terms

given

groups

wantl

animals,

in,

for

example,

murder

crows"

{popularized

Sting

The

Soul

Cages].

Al-

though

have

never

been

included

yotu

"bevy"

writers

{one

has

wonder

what

one

must

do to

join

this

elite

listingl},

were,

would

protest

being

identiﬁed

drunken

brawl,

female,

quail.

can

make

some

sense

out

the

ﬁrst

two,

but

not

the

last.

Tltirdly,

question:

For

years

now

have

patiently

observed

the

first

section

your

"Front

I-"anal"

identified

"RI‘~lD"

followed

three

eighth

notes

parentheses.

have

doubt that

"RND“

stands

for

Research

abld

Development,

but

what

the

heck

are

those

three

notes?

and

why

are

they

parenthesieed?

It's

time

you

came

out

the

closet

and

let

the

rest

this

insider's

mystery.

Lastly,

and

most

seriously,

must

inform

you

that

yeu‘ve

been

caught.

Uh,

sure,

deny

you

will

but

have

incontestable

proof

that

you

are

engaging

subliminal

advertising

for

Tom

Shear!

The

Hacker

has

woven

tapestry

typos,

anagrams

and

numerological

sequences

throughout

its

March

‘94

issue,

designed

keep

the

name

"Shear"

front

our

eycsl

Exhibit

Tl-I‘s

response

PegIor‘s

leuer

(p.

23),

read:

"...because

the

shear

(sic)

siae

this

series..."

{emphasis

mine).

ob-

viously

deliberate

typol

Eﬂtibit

page 4,

Daniel

Mandel

writes,

ETHEREAL

POP

£11

e-=

PRIMARY

SCHOOL

I-UK-Kﬁﬁilt

the

release

E"I'HiHEhl.

lihﬁl

dial:

organiser

lot

die

computers.

new

data

base

program

that

lets

you

eaulog

all

your

dislts

andbe

able

loolt

any

sound

and

its

location.

This

way

lteep

track

all

your

Dar

catnip-late

-ﬁbrary

Ell

dislts

avaﬁ%

for

$149.

]

This

contains

over

2'llll'

sampled

syntlte

Hill

lilting.

h,rpﬁiE,‘Ipan|:le

IIEI

nah‘:

aiew.

Whenimdering

sounds,

let

know

you

have

clot

earn-purer,

and

will

send

yon

catalog-of

onrlanrtiatls

dish

that

helps

you

ﬁnd

thetypc

orsstatrsreestts

llrd

theentire

library

$149

ETl§lEHEl\I,Bh'SE

tlislt

organiser

S49

Library

liTI'HEllEllLBhSE

pltg

Sllll

an-iterhamhaalnﬂaral

ﬂl'l:lBlli.I|1.I'tIIl‘I'Ell'l.\tl!1'.Hll:I'II'll'L

pehaatlllﬂi

len|mn,tcnn

ttﬂl

talcpbun-I

‘ll!-'t'ﬁ-IISS-tit

"...you

can

here

(sic)

the

jazz..."

(emphasis

mine}.

This

glaring

typo

forces

the

reader

mentally

correct

the

spelling

"hear,"

which

is,

course,

eighty

percent

Tom

Shear's

last

name.

‘very

uicky!

Exhibit

D-n

page

ll,

Harry

Carson's

fifth

paragraph

has

five

different

words

beginning

with

{respectively}

a, and

And

all

know

what

that

spells.

Exhibit

you

convert

the

letters

"Shear"

their

numerological

equivalents,

you

get

I-t,

and

13.

you

the

same

thing

with

the

num-

bers

the

telephone

keypad,

you

get

'l,

4, 3,

and

{this

tricky!)

Tl.

Here's

point:

the

Transoniq

Hacker,

Issue

#105,

has

page

ntunbers

corresponding

each

these

letters!

And

you

thought

you

could

fool

us.

Exhibit

The

word

"share"

the

Hacker-

patch

ditty

page

I9.

This

obvious

anagram

"Shear."

Exhibit

You

have

shame!

The

very

title

this

esteemed

magazine

contains

all

the

letters

the

ubiquitous

name

SHEAR

P.S.

Just

because

you're

paranoid

doesn't

mean

they're

not out

get

you.

rest

case.

Steve

‘lincent

Tacoma,

Washington

Treat

Yourself!

ASR-10/TS-10/EPS

Samples

from

Thomas

Electronic

Musician

says

—

"Sound

Quality:

out

ofﬁ

Value:

out

of5"

[ElPl,

an.

'92]

Keyboard

Magazine

says

—

"Beautifully

recorded...

incredibly

smooth...

rich...

soulful...

crisp

and

seamlessly

mulri-sampled."

[Iirn

Aikin,

Keyboard,

Dot.

'91]

Free

Catalog

Demo

Tape

Thomas

Box:

23056

Stratford,

ONT

NSA-7"lt'8

Canada

Phone:

519-271-7964

519-273-7812

{TH

Well,

when

you're

right,

you're

right.

And

__lr-tst

when

were

about

add

you

the

bevy.

Slutchs.

fllh-‘D

Random

l'1l'otes.,lj

Dear

TH:

You

have

great

news

magazine.

really

enjoy

reading

the

Interface

and

many

the

articles

and

reviews,

and

course,

all

the

other

good

stuff.

Have

couple

questions:

Can

you

recommended

any

literature

sound

programming

that

explains

and

illusuates

each

aspect

the

process?

After

taking

apart

several

programs

with

unusual

feautres

still

unable

understand

some

the

creative

ways

which

envelopes,

etc.,

are

being

used

modulate

waveforms.

Could

someone

explain

what

means

for

En-

seniq

to add

General

MIDI

the

Series

announced

#1ll5'l

this

entirely

new

feature

expansion

already

existing

one?

was

under

the

impression

that

was

al-

ready

possible

playback

sequences

generated

computers

via

MIDI.

So,

how

does

SD-1

stand

this

regard?

Can

the

SD-1

upgraded

with

digital

outs?

Did

read

recently

that

the

TS-ll}

can

convert

SD-1

sequences

the

TS-ll}

fonnat?

Does

Enseniq

plan

releasing

any

new

sound

program

disks

for

the

SD-I?

ti.

Will

the

0.5.

upgrade

for

the

SD-I

sup-

port

tempo

changes

within

sequence?

{Doesn't

the

TS-ll}

have

this

feature?)

While

may

tedious,

would

possible

this

time

create

tempo

changes

the

event

list

page?

‘l.

I'd

lilte

join

Becky

Dierltson

{TH

#94,

p.3ll}

and

Sylvain

Lamy

{TH

lllllll,

3-ll]

asking

Enseniq

consider

including

the

D.S.

upgrade

the

ability

have

both

cartridge

programs

and

their

associated

tracks

default

internal

RAM.

too,

listen

the

seqlsong

play-

ing

while

searching

for

and

auditioning

programs

can't

imagine

doing

any

other

wayl}

and

end

with

the

same

problem

concerning

saving

and

reloading

data

simple

and

timely

manner.

Eliminating

this

dilemma

would

make

the

incred-

ible

SD-I

even

delightful!

Jeffrey

Fisher's

article,

‘FFK-sdlSD-I

Tips

{TI-I

#?T},

the

I0-th

tip

concems

Ivlaster

Key-

board

functions.

any

chance

lvlr.

Fisher

would

to go

into

greater

detail

this

subject

another

much

appreciated

article

for

the

much

appreciated

Transoniq

Hacker?

Thanks

bunch,

Robert

Johnson

Mesquite,

‘I'll

{CS

Nothing

springs

mind,

but

you

might

try

ll-:lix

Booltshelf

|'t'i-llltl

Hollis

EL,

Suite

I2,

Emeryville,

llddllli};

it's

usually

good

source

for

technical

books

relating

nntsic

and

audio}.

General

Mlﬂl

specification

that

states

{among

other

thhngs)

which

sounds

should

lo-

cated

where

terms

instrument's

pro-

gram

list.

The

idea

that

sequences

created

which

adhere

the

spec

can

played

back

with

little

editing

any

-Gil

instrument,

regardless

ofmanufacturer

model.

The

TS-ill

{and

every

other

Enseniq

instrument,

for

that

matter]

quite

capable

playing

bacl:

sequences

generated

computer

other

ex-

ternal

sequencer].

The

only

dtﬁerence

that

when

playing

baclr

sequences,

you'll

have

edit

the

program

changes

messages

sent

the

external

sequencer

that

the

correct

sounds

will

selected

and

played.

all

tlj

lilo.

don't

thirtlt

so.

ti}

.-‘ls

for

hnow,

there

will

upgrades

for

the

SD-.l.

The

SD-i,

product,

{as

they say}

"mature."

You

may,

however,

want

checl:

out

Watt

Products’

TC-It'll]

Tempo

Controller

(reviewed,

believe,

l'll?-l,

March

‘ll-lj.

lt's

add-on

hardware

product

designed

to add

programmable

tempo

changes

IFFX-SD

and

SD-I

series

instruments

($69.95

from

Watt

Products,

Pt‘?

Box

.584,

Bordentown,

NJ,

d8.5ll.'ij.,i

,{.leﬁ'irey

Fisher

responds

Yer

wish

com-

mand,

Robert.

the

editor

this

ﬁne

publica-

tion

will

grant

scant

page

two,

give

best

shot.

Well?)

[TH-Gofor

it.,l

llirtsoniq

-ll

What

you

probably

read

that

Giebler

Enterprises

has

software

package

for

the

that

will

convert

SD-l

sequences

format.

nifty

utility

that

we're

pleased

developed.

have

new

libraries

the

worlts,

but

there

are

plenty

third

party

companies

who

support

it.

Checlt

out

the

ads

here

the

Hack-

er.,l

Dear

Hacker,

Last

August

bought

KS-32,

and

since

than

I've

learned

how

much

still

have

learn

about

the

world

electronic

keyboards.

{Does

any-

body

really

know

how

use

everything

that

instrument?)

bought

hlesis

Data

Disk

save

files,

which

seemed

good

idea

the

time,

con-

sidering

that

memory

cards seem

pretty

expen-

sive

for

their

capacity.

However

now

realize

that

may

have

sacrificed

few

things.

First,

although

saves

sequences

ﬁne

the

"nzcv

MULT

SYSE-ll"

screen,

"REC?

ONE

S"l'.'SEl'i"

screen

only

works

for

saving

single

sounds.

The

"RECV

MIDI

SEQ"

screen

only

saves

play

Rtth-ti

RUM

sound,

not

fmm

songlpreset.

However,

when

the

Data

Disk

plays

back

the

MIDI

sequence,

will

work

through

preset

with

multiple

tracks

lit.

guess

does

the

minimum

what

Iheped

weuld.

Unfertturately

the

Data

Disk

dees

net

seem

able

ceuple

things

that

hep-ed

weuld.

wen‘t

receive

and

stere

multiple

ﬁles

when

try

uniead

the

KS-32's

entire

sequencer

werth

files.

The

KS-32

alse

will

net

receive

multiple

files,

even

theugh

the

Data

Disk

has

cemrnand

that

says

"Send

All

Files."

there

seme

little

trick

I'm

net

deing?

It-weuld

sure

nice

lead

bunch

sequences

and

presets

all

ence,

especially

when

play

public.

weuld

alse

nice

lead

ewn

suped

RAM

seunds

whele

bank

time.

far,

haven't

figured

that

cut.

The

peeple

l‘ve

talked

threugh

cus-

temer

service

buth

Alesis

and

Enseniq

weren't

much

help.

the

way,

has

anybedy

else

had

the

esperience

crashing

the

keyheard

the

first

time

they

used

the

Data

Disk?

I'm

sure

glad

the

HS-32

was

still

under

warranty

weuld

have

been

cut

E-i5DlI!

fer

the

cest

new

beard

fer

the

keybeard.

Fer

seme

reasen

the

keybeard

was

unable

receive

any

MIDI

data.

alse

have

few

ether

questiens

and

sugges-

tiens.

Why

deesn’t

Enseniq

sell

keybnard

cases

stands?

"Why

deesn't

the

KS-32

ceme

with

music

rack?

Wliy

the

KS-32

designated

"MIDI

Studie"

eppcscd

"Perfus-

manceltlempe

sitien"

keybnard?

Can

buy

specificatiens

enly

fer

single

seunds

listed

yeur

cards

instead

buying

whele

bunch

den't

need?

ever

meve

the

TS-12,

will

there

any

way

can

transfer

all

files

its

alien

veice

architecture?

Dees

anybedy

make

werkheek

help

new

hackers

the

bieck

leam

hew

design

eur

ewn

seunds

the

KS-32'?

alse

curieus

what

Enseniq

may

upgrade

the

KS-32'?

even

what

ceuld

upgraded.

llllltat

are

the

legalities

invclved

weuld

want

market

arrangements

fer

the

KS-32'?

spite

questiens,

I'm

awe

the

tech-

uelegy

yeu

guys

preduce.

wish

had

mere

time

day.

Years,

Dan

Rchde

2505

Fercst

Parkway

lilluscatine,

Lh.

$21-'61

{CS

Ll'l'm

nat

mistalcen,

there

are

.'i'ysEx

mes-

sage

the

sheuld

carisist

twe

parts.

The

first

handshake,

and

the

secend

the

actual

data.

The

will

reauire

pause

abaut

Zlltlntr

between

the

twa,

give

time

respand

the

first

message.

The

prablem

yeu're

ex-

periencing

ceuld

because

the

Data

Dtlth

nat

pausing pausing

between

messages,

which

wanlt

give

the

ssﬁicient

tints

prepare

far

the

dump.

believe

that

the

Data

Dist:

seftware

fat

least

its

mast

recent

versien)

canﬁgurable

allaw

ycu

insert

the

apprapriate

pause

the

ap-

prapriate

time.

Tau

might

want

check

with

Alesis

canfirm

this.

l’m

geing

have

defer

Ensania

mast

yaur

ether

auestians,

but

can

tell

yeu

that

it's

perfectly

legal

marhet

yaur

ewn

carnpasitians

an the

KS-32.

l'd

careful

abaut

marketing

ar-

rangements

ather

artists

capyrigluled

material,

theugh.

l"au

ceuld

expase

yaurseif

charges

capyright

infringement.

yau

really

want

marhet

yaur

arrangements

ather's

material,

pessible

secure

licensing

sa.

This,

caurse,

will

invalve

paying

same

cambinatian

fee

aridrar

rayalty

the

awner

the

warlc,

and

perhaps

ether

entities,

well.

l'd

recammend

enlisting

the

services

aualtfied

rrutsic

altar-

ney

shauld

yau

decide

praceed

dawn

this

path.j'

{Enseniq

—

are

relatively

small

cempany

and

haven't

seen

the

need

branch

aut

inta

cases

and

stands,

which

are

readily

available

_,ﬁ'am

number

affine

cempanies.

lilce

the

idea

that

varieus

cempanies

the

music

in-

dustry

can

wart:

tegether

and

suppert

each

ather's

preducts.

The

KS-32

actually

uses

alder

case

design

{frem

the

EDP-J},

which

didn't

suppert

incar-

parating

music

rack.

are

currently

warhing

an a

design

far

the

TS-l2,

which

sheuld

avail-

able

afew

menths.

Because

theught

Weighted

Actian

li~flDl

Studia

befere

Perjfarntancetﬁampasitian

Syn-

thesizer?

.lu.st

kidding,

simply

have

given

each

new

product

its

awn

descriptar,

and

each

ane

tries

best

describe

aur

intended

pasitian

far

that

praduct.

One

the

mast

impartant

fea-

tures

the

KS-32

its

weighted

actien,

while

the

TS-ll?

mare

cemplete

"warlrstatian,"

witheut

the

weighted

actian.

The

TS-l2

similar

ta the

TS-it]

that

didn’t

feel

the

need

change

the

descrrpter

reflect

the

different

lteybaard

actian.

The

KS-32

and

TS-I2

cannat

transfer

pregram

satauifiles

any

way.

rtn

appartunityfar

any

enterprising

hackers?

have

plans

far

upgrades

the

KS-32.

l"au

are

free

marlret

yaur

arrangements

far

the

KS-32

far

Enseniq

i.s

cencerned,

but

pay

attentian

the

paints

that

Clark

niches

regard-

ing

capyrights

and

such.

Dear

I-lacker:

l’m

ready

buy

micrescepe

keep

read-

ing

all

the

magnificent

and

entertaining

infcrmatien

yeu

all

with

each

ether,

it's

werth

the

effcrt.

yeu

can’:

spend

valuable

space

in this

peint

please

pass

Enseniq,

this

semetlting

I need

them

knew.

ti.

menth

after

updating

the

RUM

ASH-l'll

versien

1.5, and

feeling

little

disappeinted

getting

enly

the

Enter

Plays

Key

functien

fer

all

that

hassle

getting

the

key-

beard

the

Enseniq

dealer

and

paying

$2’.-'

have

ASH-ID

date

made

feel

little

sneb.

But

new

that

have

received

fer

free

the

new

‘ilersien

2.01

seftware

ceuldn‘t

resist

expressing

all

the

admiratien

that

cem-

pany

deserves

fer

previding

their

users

with

upgrades

that

net

enly

fir

bugs

but

cenvert

their

machines

inte

mere

desirable

enes

time

passes

and

technelegy

tends

make

everything

heught

befere

“'DLD"

stuff.

I-lave

ycu

hackers

neticed

the

incredibly

wenderfui

seund

that

new

cemes

eut

the

same

"OLD"

ASH.-ll}

‘iler.

l.Di5...?

lvly

ged!

really

wasn’t

dreaming

with

better

seund,

‘cause

knew

the

seund

was

the

best,

but

having

this

kind

rt-ii

kl-ls

effects

brings

new

ditnensien

in pewer

precessing

that

makes

ferget

the

reduetien

veices

peiypheny.

And

talking

abeut

pregrammability,

guysl

Wltat

are

yeu

trying

de'l

‘What

let

parameters

and

even

Expert

parameters,

new

I‘m

just

starting

realise

what

kind

things

yeu

can

with

yeur

ESP

chip.

New

wish

ceuld

change

all

the

5!]

ROM

effect

Iecatiens

fer

kl-la.

was

heping

have

the

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the

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hew

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get

it‘?

I"m

ready

send

yeu

meney

erder

but

what

abeut

the

shipping

cests?

Regarding

what

Brian

Rearden

says

his

let-

ter

{#l05},

there

much

easier

way

autemate

the

leading

instruments

yeur

.h.SR-Ill

frem

SCSI

drive

ileppy:

with

MIDI

PRDG

CI-IhI'~IGE=DN

and

MIDI

MODE

=-MULTI

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send

frem

the

cemputer

sequencer

MIDI

pregram

changes

101

12S

inveke

Macres

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(change

directery}

exit

the

previeus

directery

and

send

pre-

gram

change

equal

the

bank

file

number

yeur

drive

lead

cemplete

banks

inte

yeur

.h.SR-ll}.

The

ASR-ID

manual

says

ﬂtat

this

must

the

file

number

but

feund

that

must

the

same

number.

l'-lew

that

ﬁnally

have

hand

the

Extemal

Cemmand

Specificatien

{MIDI

implementatien

manual)

the

ASR-10

(Rev.

.Iune

23,

I993},

have

tried

autemate

with

‘vlirtual

Butten

Press

eemmands

and

even

with

PUT

PARAMETER

messages

the

selectienfdeselectien

and

mixlpan

adjustments

the

audie

tracks,

and

seems

that

this

just

deesn’t

werk

ail,

theugh

have

been

able

set

the

same

adjustments

fer

instruments

beth

ways

easily.

have

sent

Hex:

{I0

00 00 00

DE!

III}

ill

CID

Fir‘

change

mix

audie

track

but...nething

happens...there

seems

errer

because

the

manual

Sequence

track

parameter

Seng

Gate

Step

SysEx

high

byte

and

byte

{ll

the

same

gees

Audie

Track

mitt

parameter

Ell}

respectively.

Can

anyune

help?

Hew

get the

versien

the

SQ-H32

with

butten

presses?

I5}

‘When

after

several

intents

finally

sampled

eldluseless,l'eut-ef-tunelmenepheniclilTr‘-keys

Kawai

I00-F

analeg

synthesizer

ceuld

net

believe

the

amazing

pewer

the

ASR-ID.

I-lave

mentiened

it‘?

leve

itl

teek

several

heurs

hard

werk

but

leve

the

seunds

Ihave

getten.

Thanks

let

fer

yeur

cutstanding

magazine,

and

all

the

hackers

whe

make

the

Interface

the

heart

with

yeur

invaluable

infermatien.

Ycurs

sincerely...

ltngele

Zucce

Estade

2T3

Santiage

Chile

{Enseniq

--{I

We'll

have

laah

inta

this

and

get

back

yau.

Please

patient.

Dear

Hackers,

the

peint...

have

twe

hard

driveltech

suppert

preblems

which

weuld

with

fellew

hackers

the

desperate

hepe

finding

selutien

while

venting

seme

menths

frustratien.

self-empleyed

musician

whe

supplements

inceme

freelancing

MIDI

sequence

pregrammer

and

censultant.

While

currently

revamping

MIDI

studie

areund

IBM

clene

still

rely

heavily

eriginal

EPS

and,

until

recently,

was

leyal

and

patient

EPS

user

but

feel

that

the

time

has

ceme

fer

te,

ence

again,

climb

atep

seapbex.

first

prehiem

started

ever

year

age

{areund

January

1993}

when

decided

upgrade

En-

seniq

expander

with

SCSI.

The

music

stere

fermerly

frequented

seld

SCSI

reuefit

that

they

premised

was

100%

cem-

patihle

and

which

their

tech

persen

installed.

While

didn‘t

have

hard

drive

at the

time,

have

client in

Hurlingten,

with

SI}

meg

El-

teken

drive

{and

eriginal

EPS

purchased

abeut

the

same

time

ewn}.

ceuIdn‘t

hap-

pier

with

the

drive

which,

after

feur

years

smeky

bars

{and

his

drepping

celmt

‘em,

times},

has

perfermed

ﬂawlessly.

Anyway,

ean

lead

the

largest

bank

instruments

inte

his

EPS

abeut

secends.

‘Wlten

heck

machine

the

same

bank

takes

about

Iii}

secends

lead.

called

the

stere

discever

they

had

installed

Systems

SCSI

inte

Enseniq

4-X

expander.

called

Enseniq

whe

said

that

was

the

preb-

lem

called

the

stere

whe

called

Systems

whe

teld

the

stere

that

Enseniq

was

wreng

and

yeu

COULD

mix

the

twe

brands.

‘Well

after

weeks

calls

Enseniq,

Systems,-tliarth

I-Ijelte

Rubber

Chicken

(whe

was

genuinely

cencemed

and

helpful}

and

the

stere

{in

Cliften

Park,

NY),

the

stere

agreed

install

Enseniq

SCSI

inte

Enseniq

expander

{and

all

had

was

pay

the

difference

the

eest

the

twe

SCSI

retrefits

well

twe-and-a-half

the

three

different

in-heuse

technician

bills}.

...SAME

FRDBLEM...back

the

drawing

beard...

"Check

the

Rttlvl

and

ROM

versiens“

net

the

prebletn...

"They

sheuld

have

installed

the

‘new

chip

set‘

when

they

installed

the

SCSI

retreﬁt"

there

chip

set

versien

newer

than the ene

machine...

have

had

several

cenversatiens

with:

the

stere

“there's

i'i0t.l'ting

mere

can

de...";

Ramtek

[whe

teek

ever

Elteken}

whe

has

never

heard

this

preblem

and

Enseniq,

whese

tech

peeple

started

eut

being

helpful

but

abeut

d-S

menths

age

stepped

returning

calls

after

tech

sup-

pert

persen

teld

dist

weuld

talk

the

en-

gineers

and

call

hack.

Maybe

I‘il

have

vldee

phene

the

time

hear

frem

him...

any

rate,

the

preblem

was

never

fixed

and ne

ene

seems

interested

trying

selve

enly

selling

new

gear.

still

leve

EPS

even

theugh

hard

disk

access

enly

barely

faster

than

fieppy.

This

ene

will

shert...

That

same

Elteken

drive

which

has

been

werking

well

has

begun

acting

the

last

few

menths.

tried

buy

anether

drive

frem

Rarntck

but

their

"tested

and

appreved"

drive

weuldn‘t

werk

with

either

eur

Si]

machines.

lifter

geing

threugh

the

RAM

and

RUM

thing

again,

were

teld

that

certain

Quantum

drives

were

tee

fast

werk

with

the

eriginal

EPS

but

the

Syquest

drives

weuld

werk.

tried

that

with

luck

and

were

teld

that

while

the

SS-meg

remevable

weuldn't

werk

the

meg

weuld.

deesn‘t,

decided

i:ry

clean

the

Elteken.

believe

the

preblems

te he

primarily

the

result

disk

fragmentatien.

was

teld

mat

was

backup

the

drive

ente

ﬂap-

pies

and

then

restere

this

ceuld

selve

the

prehlem.

But

alas,

the

Backupfikestere

cemmand

deesn‘t

werk

(thank

yeu

Enseniq

fer

the

2.S

Ci.S.

Feb.

'94

Hacker,

frem

Enseniq,

“We

are

net

currently

werking

planning

any

further

revisiens

the

eriginal

EPS

Operating

Sys-

tem."J

Planned

cbsclescence?

Well,

client

spent

weeks

manually

cepying

everything

ﬂeppics

and

writing

dewn

bank

and

macre

infe

and

teday

decided

take

the

last

act

desperate

man

(er

was

the

first

act

Macbeth}

and

refermatted

the

drive.

lltfl;-et'

cepy-

ing

the

ente

the

drive

and

setting

the

directeries

per

the

directiens,

began

relead-

ing

the

instruments

enly

discever

that that

large

hank

instrrunents

that

used

fer

eur

bench

tests

new

takes

abeut

secends

lead

HIS

previeusly

fast

machine.

Semebedy

help

please!

Let

just

add

that

while

insignificant

nebedy

upstate

New

Yerk,

less

than

six

tetal

client

base

use

the

eriginal

EPS.

client

mentiened

threugheut

this

letter

was

plan-

ning

upgrade

te the

TS-12

but

the

lack

suppert

have

received

{with

the

netable

ex-

ceptien

Garth

thank

yeu

again}

has

really

ferced

examine

ether

eptiens.

apelegies

fer

negativity

and

leng-

windedness

and

special

kudes

the

Hacker

fer

previding

this

fcrttm

and

preving,

least

Hacker

readers,

that

there

mere

Pertland

than

the

Trailblazers

and

Skate-Gate.

the

way,

are

there

any

eriginal

EPS

users

left

eut

there?

Yeu

can't

all

upgrading

because

few

are

getting

rich.

yeu

are

there,

let

the

Hacker

knew

beuer

still

drep

line

and

maybe

can

cempare

netes.

Millien

Thank

Yeu‘s

Daryl

efferds

MIDI-Evil

Music

RR#3

Iiex

3404

Lake

Geerge,

12S-15

{CS

This

ane's

real

head-scratcher.

I've

passed

this

infe

alang

Enseniq

maybe

they

can

shed

same

light._,l

{Enseniq

April

15th

cantacted

Mr.

Jef-

fards

ayfer

same

suggestians

that

might

re-

salve

this

situatian.

geing

get

bacl:

its

with

the

aualtfcatian

results.

When

dees,

we'll

letaw

mare

abeut

what

da.

What

can

say

far

naw

that

very

dif-

ficult

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SCSI

issues

and

apalagize

far

the

prablerrts

yau

have

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TRANSONIQ

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This

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Publisher:

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Editriir:

Jane

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Dur

isomewhat

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illustrious

bevy

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Ensoniq Corporation Transoniq Hacker Archive Issue #107 Th 107

Ensoniq Corporation Transoniq Hacker Archive Issue #107 th_107 Ensoniq Corporation - Transoniq Hacker Archive - Issue #107

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