Ensoniq Corporation Transoniq Hacker Archive Issue #122 Th 122

Ensoniq Corporation Transoniq Hacker Archive Issue #122 th_122 Ensoniq Corporation - Transoniq Hacker Archive - Issue #122

User Manual: Ensoniq Corporation Transoniq Hacker Archive Issue #122 Ensoniq Corporation - Transoniq Hacker Archive - Issue #122

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Magazine for Ensonlq User:

1'.

Patchwork
(We oIn't talking about quilting)

Articles:

Torn Sheer

Patchwork
Toot Sheer

.---.

It always cracks me up (he said with a
smug smile...) to read letters from people
talking about how horrible it is that the
EPS doesn't have this feature. or that the
ASR lacks that ability. When you think
about it. very few sampler owners out

there even take advantage of the features
they do have. One of the most criminally
neglected of these features is the patch
select. This is a feature that is still more
or less unique to Ensoniq equipment and
yet, very few people take the time to eitplore it. So your sampler only has eight

instruments at once... So you only have 2
Megs of memory... Stop and think of
how you can get around these problems
with a little clever programming. After
all. you can have 4 patch variations per
instrument. and if you multiply that by S.
that brings us up to 32 instruments.
The most obvious types of patch selects

are slight variations that might be useful
for live performance. These include
having a chorused variation of the sound.

| ISSUE rvuivtess-t2s,$2-sc

cover

having the sound in octaves. or in fifths.
It could even be something as subtle as
having a slightly louder version available
to you to ptutch through on those big

From Cyberspace to Your Ear
Garth Hjelte ............................................... 3

choruses. Another useful variation for

6

Bass-ic Principles
Gerry

well-produced sequences is to have
variations of the instrument through different effects busses. If you're using the
CHOR+REV+DDL algorithm. you could
have the sound available through a fat
chorus. a cavernous reverb. and a delay.

Tune Your Bass with a DPM
Toot Tracy . .............................................. .. 3

Synchronir.:i.ng Keyboards to Ext Clocks
Anthony Ferraro ...................................... ll]

all selectable at your fmgertips.

It Pays to P{1)an Ahead
Don Roltde ............................................. .. ll

One trick some people like to use is to
have a backwards variation. While this is
most often used on drum and percussion
sounds. it cart be a neat effect with
melodic sounds too. especially ones with
distinct attack transients. The problem

The BPS and Background ‘Vocals — Part II
Robby Hermon ......................................... l5

with this is that you won't have a loop so
the sound will vary in length across the

That Old Syncing Feeling
Kiri: Slirtltord ........................................... 19

Kaptain KS
Jeﬁfetton

keyboard. with the lower notes stretching out awhile and the upper ones flit
away fairly quickly. ‘This makes using
the instrument melodically in a consistent-sounding way extremely difticult.
The way around this is found on the
EDIT-WAVE page. We're going to chop
off some of the extra length of the lower
notes in a way that adjusts as we play up
the keyboard so that the upper notes are
left totally unaltered. but the lower notes
are a little closer in length the upper
ones by cutting off varying amounts of

I3

Promotional Ideas for Musicians
Jeffrey Fisher ........................................... 23

Re-views:
Basement Tapes: Passion!-"'i:-t
Doniellliondel

22

its-guior Stuff:
Random Notes ...........................................
Hypersoniq ................................................
Classifieds ...............................................
The interface
.
Transoniq-Net ..........................................
Current O.S. .............................................
Hacker Eooteeq
ﬁ@§H§mw

the sotmd after the attack (or before it.
since we're talking about backwards
IIBIBHI)‘

------------------------------------- -1

i

auo-ustnvvs |

Scroll urttil you see the MOD parameter. Select START with
KBD as your SOURCE. Scroll right one more time and you'll
see the AMOUNT attd the RANGE parameters. Select +99 for
your AMOUNT. The RANGE parameter is a little trickier.

The correct setting for this depends on the sire of yotu
sample. Spend some time to find a value that gets you close to
what you're after and play around with varying combinations
of AMOLINT and RANGE until you're happy with the result.
You're most likely not going to end up with something the
enact same length across the board. but you can usually get it
ciose enough to be usable. For those who need more precise
control. try using the mod wheel as your SOURCE... now you
can adjust it by hand.

- Another easy variation on single cycle loop sounds (especially ones with a squarewave or bell type timbre) is to turn
it into an organ. Shnply copy the main layer and punch the
second layer up an octave. Optionally. you can add another
layer tuned a fifth above the main layer (you'll want to
lower the volume a little on the AMP page for this.
though...)
- If you're using a sweep type sound. try pushing the sample
START time up past the sweeping portion to where the sustain starts. Use this sustain portion to synthesise a
poly-synth or synth brass-type sound.
- Or. if you're using sustaining a sound with a distinct attack

One of the ways you can get the most variations is to use a
sound with a smooth. single cycle loop. By moving the loop
position around. you will find a number of different timbres
available to you. and a great starting point for synthesizing
some totally-different sounding patch variations. Of course.

there's no rule that says you even have to keep the same loop
at all. Each patch could very easily have completely different
loops set if you were so inclined. One of the biggest mistakes
people make regarding patch selects. assuming they can only
be used for slight variations on the main sotmd. On the contrary. you can ttun them into completely different sounds if

(i.e.. Synth Bells). punch the sample START past the attack. assign ENE’ 3 to the SLOW STRING envelope. and
voiidi Instant pad.
This is by no means intended to be the end-all be-all of patch
select articles — more to provide some food for thought for
budding programmers out there who may have thought they'd
exhausted the potential of their machines. Have your own
patch select tricks’? Write 'em in. we'd love to hear them! Bio: Hey... don't you owe Tom Siteor some ntoney?

you're willing to invest the time and Tylenol.

Finally. here are some quick suggestions for ways you can
give yourself a wide variety of sotmds via the patch selects.
- If the sotmd you're using has a single cycle loop. or you can
get a single cycle loop on it. try hitting E.DIT- LAYER and
setting the glide mode to MINIMODE and the glide time to
taste. Instant Minimoog lead!

eTH — A Faster. Cheaper Hacker
If you can receive e-mail via the Internet. you can mite advantage
of avoiding the post office and get a faster. cheaper. e-nutil version of the Hooker. The e-mail Tronsonio Hooker contains all of
the same information and advertising as the printed version. but
it's only $2llt'3tear — anywhere on the planet. Interested? Inst
send a message to us at eTI-l@transoniq.com and we'll e-tnlii
back complete subscription inforrnatiott. Let rt-s know if pol’!

like ofree copy of the current issue end we'll send one olong.

Front Pctnel

HND(Lu)
Hacker News
Sometimes it seems like the whole music industry goes into a
coma during the summer — letters drop off. writers have to be
chased down and begged. ads go on hiatus... Ensoniq didn't
even have arty announcements. Oh well. new feotttre — readable type in the Interface! It may just be that doing a July)’
August issue might be the best way to help make up for some
of the recent printing and postage increases. Obviously. we're
talking next year. here. Something to think about...
We received a couple of questions regarding the review of

ASR's O.S. 3.08 in last month's issue. Yes. 3.53 is the latest —
but 3.53 basically just tidies-up some features (as mentioned in
Front Panel Issue #120). 3.08 was a ntojor change — and the
review was run past Ensoniq mere hours before we went to
press. The review is current. but if you're upgrading. get 3.53.
We'd like to welcome a new advertiser. Tech Star Software a new source for sample sets for the ASRt".EPS.'TS families.
lll Years ago in the Hooker — Clark Salisbury presents our

first software review: Texture. a PC-based sequencer from
Cherry Lane Technologies. Erick Hailstone continues his ll-HDI
series. We have the beginings of our infamous letters coiu.::::.
and the first Hype-rsonjq new product releases — which
nothing to do with Ertsortiq products. but were all we ':-_ar.'..

On Point Productions announces their second sample
audio CD — New York 5'tylin'. 140 new hip hop loops, 110

live drum loops (a little more grungy that the more “classic
sounding" Representing Hip Hop), 100 freaky bits such as
bass loops, melodic loops, and subliminal sounds; followed

about 2'l'U loops and T10 samples. Produced by Don
Henning. $69.95. For further information, contact: On

Point Productions, 61 Superior St., Port Jefferson Station,
NY IITT6. Phone: 1-800-331-8841.

by 350 dntm samples from a variety of sources. All total,

From Cyberspace to Your Ectr
Port I —- Patches
Garth Hjelte

Computer communication has erupted into a way of life
nowadays; it’s certainly affected the music industry. Music
distribution, promotion, advertising sites all have changed
the scope of the music arts. And it’s affecting the way we
Ensoniq users approach our instruments.

Perhaps while cruising the Net you‘ve seen ﬁles that are

is an B-bit format, and isn’t easily read by people. Binary
files include executable files (.15-LXE), dynamic link libraries
(.DLL), sip files (ZIP), and more. Test files are usually
.TXT, .WRI, DOC, and other document formats. But to the
online world — and here's the complication — you can only
e-mail T-bit test ﬁles, and the majority of files we deal with
{especially the sound files we’re talking about) are 8-bit,

described as "ESQ-1 patches in Gala:-ty format," or “ASR

that is, binary. So how do we get around this? UUEncoding

3.53 OS in Giebler format," — things like that. So you
download it (if it's for your instrument it‘s gotta be good),
but then what? How do you get a file that’s laying in your

and decoding!

computer to your Ensoniq instrument? Well, this month
we’re going to look into various ways of getting those
patches into your synth. Nest month — samples.

But First... Getting It Offline
FTP {File Transfer Protocol) is easy enough. If you are unfamiliar with it check with your Internet provider and you’ll

UU You, UU Me
What‘s UUcoding'? (Note: for the Mac, the same type of
process is called Binheit.) It’s the translation of binary information into test format information. There are some good
UUcoding programs like Richard Marks UUCODE, and I

use Sabasoft’s UUCODE for Windows. For the lvlac there's
Biohes. They will take in a binary file and spit out a coded
test file to transmit. The coded version is usually 80% big-

unzip files for you and everything (wow).

ger than the binary file. Then you are ready to send it.
Likewise. when you receive a file from the Internet, it's
usually in a coded test file format (and most of the time

Send to a Friend

compressedjaipped, to decrease the size of the ﬁle). Thus
you want to decode it with your UU-Binhes program.

find out how easy it is to grab files from cyberspace and get
‘em into your computer. Some providers even decode and

This may be be slightly off topic, but maybe sometimes you
would like to send a sound file to a friend, or perhaps they
have some you want and they’d like to send to you. This
isn’t like Fl."P‘ing — you gotta send it e-mail. And if you are

Another online problem is that many providers only have
small “gateways.” A gateway is the maximum allowable size
of a packet of information coming through. A small gateway

Computer files come in two flavors — test and binary. Test

means large files {especially samples) have to be split up in
order to transmitfreceive. For example, for me to send a
demo of my EPSIASR Tools for Windows program to someone on the Internet, I have to UU Encode my sip ﬁle, split it
up into 64K packets, import each file into America On-Line

is a 7-bit format, and resembles the letters you are now reading. E-mail is made up of ‘T-bit test files. Binary information

{that's my provider), and send them all out. Typically, it
takes 15-16 full e-mail message's worth (it’s a 301,278-byte

dealing with America On-Line or CompuServe. that means
you have to jump through another hoop.

file). Then the poor guy at the other end has to put all the
UUencoded textfiles end to end using a word processing
program, UUdecode it and he's got it. It can get complex.

sound, but the different programs that alter those waves.

Note: If you are saying, "What's he talﬁng about? I
download files off the Internet all the time, and they are in

be in this format. (For the Mac, you'll usually ﬁnd something else.)

binary format, and I don't have to UU,i'Binhex anything!"
That's one, lots of Internet service providers convert text
to-from binary automatically, making it invisible to you. But

MIDIex is fairly easy to use. I made a batch file that reads
like this:

Let's look at a coupla sysfex transmitters. M[DIex is a
popular DOS utility with many patches online that seem to

with AOL, CIS, and the majors, it's still an issue. But if you

have a standard Internet PPP account, you'll probably never
encounter the problem. But since there's more and more

midiex i'I:'i‘ IB:-=l50000

AOL and CIS coming on-line (in droves), please be aware of
these "hoops."

because my PCM_[DICard is set to interrupt I. B stands for
buffer, and 450,000 means I have made 450,000 bytes of
memory available to sendfreceive data. I use MlDIex with a
lilfavestation (non-Ensoniq), but with your Ensoniq board the

Mac users will need Binhex to convert files to and from
binary. Binhex works in the background of a number of
Internet browsinglsearching/downloading programs, automatically converting the files as they are downloaded to
your machine. It can also be used as a stand-alone utility to
convert ﬁles that have already arrived, but in the wrong for-

buffer could be less. (Note: the MIDIex that is at the Transoniq ftp site is an updated version, but doesn't have the
"switches" as listed above — however, you'll probably not
need them.)

mat.

Another program of this type is the MIDI Data Filer (or
MDF). According to Todd Aiken of the cal-:.oakland.edu list,

Don't let all this text-to-binary-to-text scare you. If you have
to encounter it, you'll soon get used to it. And soon, there
will be better ways of doing all this.

“I tried using MIDIex at home with my EPS Classic and
SoundBlaster, and it would not recognize my MPU-401 in-

terface at all, but MDF works beautifully. You can fmd it at

lzzit Disk or MIDI?

ftp.cdrom.com in the directory fpubfgarbo,t'garbo_pc! sound
with the ﬁlenarne mdf31.zip. It's only 28k zipped {I think)

Once you've got the file, it can be transported from the
'puter to the 'board by one of two ways -- either by MIDI
communication or by physical media (ﬂoppy disks, remov-

There's also a no-frills MS-DOS MPU-401 MIDI Sysex
Dump and Receive utility called SYSXUTILZIP on Com-

and it's absolutely free!"

able hard disks, etc.). Generally, patches for synthesizers
{ESQ-1, VFXISD, SQ, TS, KT Series) are communicated
through MIDI, and samples are communicated through

puserve in the ENSUNIQ forum. It has been tested successfully with ALL sysex messages of any type on ALL Ensoniq

media. That's changing on both sides lately, but that's
another story.

other free, generic sysex utilities.

One If By MIDI...
Patches for synthesizers are kept in lotsa format Dataliiislt, Galaxy, XOR, MIDIex, Sys-Ex, and many more.

It's important that you know what ﬁle format the patch file
is in so you'll know how to transmit this to your keyboard.

keyboards and modules — which may not be the case with
Wltile cruising the Net, you probably will fmd ".syx" ﬁles,
which stands for Cakewalk system-exclusive ﬁle format.
Cakewalk has become very popular for sendinglreceiving
system exclusive dumps. It's really quite easy with its
smooth Windows interface. You can combine this with se-

Once you have the ﬁle in your computer, you'll need a pro-

quencing for a great setup. Cubase, Performer, Master'I'ra.cks
Pro also provide this function. It's usually good to hook up
both of your MIDI cables (“Out" of your keyboard into the
"In" of the computer, and vice-versa). That way the hand-

gram to extract the relevant data from the ﬁle and send it out

shakes can make good. If you find things not working, try

the MIDI port, SCSI port, or onto the ﬂoppy disk. It extracts

unhooking the Keyboard OUT with the Computer IN. Some-

what's in the file, and then sends it in what's called

times it's the computer's fault, sometimes it's yours.

system-exclusive data. That means it's a specialized MIDI
message just for your instrument and it contains all the data
needed to add new patches or, most of the time, to replace
all the sounds with new ones. Remember, with synthesizers,
it doesn't replace the actual waveforms that make up the

As a sidenote, MIDI system-exclusive patch dumps have
come a long way since the beginning. Remember, PCs
weren't popular items back a couple of ywrs ago. Ensoniq
equipped the Mirage to handle patch dumps from the ESQ-I

by a real "cheat." I have a KCIRG EX-S000 that required an
insane handshaking scheme to get it to dump its data, and
even then it was only one patch at a time.

Nowadays, it's much easier. If you're daring and want to become a (oh, here it comes) POWER USER, you might want

to invest in a synth editorfhbrariatr. Sound Quest makes a

and Flypaper. According to Steve ‘ifincent, "...of the first
two, MidiEx Mac seems to work better (on my system at
least)." Steve bundled MidiEx Mac into the HackerPatch file

"HackerPatch ESQ.MidiExMac.sit" at the Transoniq ftp site
for the ESQ I-IackerPatches. So, Mac users don't have to
shell out big bucks for Galaxy or some other librarian to
send and receive patches. Hopefully, MidiEx Mac will be

great line of Windows edllibs called MIDI Quest. Not only
can you edit any piece of data from the computer, you can
also set up multiple SysEx dumps, to load all your sounds to

the standard, at least in Hacker circles, for Mac transfers.

multiple synths before each song. Wow! And in the Transoniq site, there is a superb shareware editor for the KS-32.
Plus there are many of the editorjlibrarians dtat were first
class for the ESQ-1 in its heyday that are offered for free

lows you to save MIDI dumps into an application that you
can give to your friends, download, etc. to load into their
synths. For example, you can record a SysEx dump of MIDI
from your DPI4 into Flypaper, save it into a "Transportable"

now on the NET (ESQLIB comes to mind — it's available

application (overhead about 48k), and download it to

on CompuServe now).

wherever. Steve Berkley says it's available at most major

Flypaper for the Mac, by Steve Berkley of epSCSi fame, al-

online services and ftp sites.
Other SysEx programs are Software Forge SysEx Manager

(sysexmauzip) and WinSysEx (winsysex.zip). (This one

Next month —- samples and sites. -

does only dumps T0 the MIDI gear. It does NOT record

sysex FROM synths etc.)
And not to forget the Mac, there are several shareware sysex
programs for the Mac — Bulk Sysex Utility, MidiEx Mac,

Bio: Garth Hjelte owns Rubber Chicken Software Company,
a sound and who-knows-what-else company that devotes irseif to Ensonia products. He'd like to thank you for reading
this article, and hopes that he can read one ofycnrs as weir‘.

Blown Away By Mantra

-'3

% _ sag-

Vi__t_ieo Help for Computer Music!
MIISIO $_l_I__,IF,[§fIiIIliI,E VIDEOS
Band-in-A-Box
Cubase
Cakewalk
(5 videos)

,I_(_E__\_'_BOiIliO IIIOEOS OTHER PIIOOIIOTS

Casio CTK 650/750
Korg M‘!
KPIQ X3

Emagio

(Coming Soon!) E079 E2306

Encore
Finale

(2 videos) Org
(8 videos) Fioland E-86_

Master Tracks Pro (2 videos
MusicTime
(2 videos

Hoiand TDE-TK
GR 1
Roland

Fioland JV-90
Fioland DH-5
Performer
(2 videos) Yamaha QY2(}
Sequencing Drums
Yamaha QYSUU
Yamaha PSF-16000
Nightingale
MIDI Monster

" lI -Il" "lI$Il"'

CAL Tutor Diskette
Finale 81 Jazz Arr.
(book with diskette)

Golden Age Font

(Mac or Win sk for Finals}

Crescendo Font

(Mac or Win disk for Finals}

Finale CD-ROM

(Quick ref.-Mac Basics}
Fityle dig-kg-Eigtllte Elsks)

Killer Drum Lbt Vol 1-3

Double Bass Lessons
(15 hot ||x - 5 per video}

Home Recording
(volumes 1-3)

IOALL 1-SOO-B50-2427 FOR FREE CATALOG!

Eﬁggiiug Hiﬂgg Sgluligng

"E'i.i'S video tutorials are the best in the business..."
-Tom Johnson, Notation Product Manager, Coda Music Technology
"The hints 31. tips alone are the worth the price of admission..."
-Denis Labrecque, ‘v'P Channel Marketing, Passport Designs Inc.
“The videos really do accelerate the learning curve."
-Chris Filce, Marketing Director, Twelve Tone Systems

Bcrss-ic Principles
Garry Wasyliw

We synthesists live in a time when advancements in sound

generation technologies continue at a rapid pace. Each step
provides more ever more amazing possibilities to the
musician but it seems that we are now reaching a sort of
equilibrium where past developments are being revisited
and recognized for their unique strengths. All through this
evolution however, one thing that has always remained

popular in modem music has been the sound of analog bass.
This article and the accompanying patch analyze some of
the principles involved in creating these bass sounds. The
patch is for a TS-10;’12 but the combination of voices 4, 5
and 6 can easily be adapted to other synths. The sound is
very fat with a bit of a "bump" to it and should fit in well
with dance, pop or any technoid-beat oriented music.

ternally using a big ream of numbers manipulated by a computer program. It is somewhat difficult to use a numerical
model to analyze and describe all of the various subtle distortions of timbre that each analog stage adds to the signal

path, Many digital synths do not have a resonant ﬁlter and
those that do don't seem to sound as alive as the real thing.
Another issue is that digital envelopes generally cannot ac-

tivate as fast as voltage conuollcd envelopes and thus do
not produce as crisp an attack. These issues can be compromised however, by all but the vintage purists in consideration of the advantages of stable tuning, patch storage,
polyphony, MIDI, etc.
If you are not experienced with synth programming, it is
sometimes easier to ignore the huge array of options avail-

Earlier analog synths used voltages in circuits to generate
and shape electronic timbres. The oscillators could only
produce simple waveforms whose shape and harmonic

able in an Ensoniq instrument and concentrate on a more
limited palate. The attached patch sheet outlines two
separate sounds, the first of which is a simple monophonic,

spectrum could be described by simple mathematical principles. A sawtooth wave for example has all harmonics
present in a decreasing level of intensity and produces a
bright, buzzy sound. A square wave produces only the odd

dual oscillator into resonant filter set-up. In this case the
regular low pass filters of the TS are wide open and filtering is being handled through the effects section. You can
create variations of the tone by adjusting the settings of the

numbered harmonics and has a characteristic "hollow"
sound. As a square wave is altered to various rectangular
shapes, other patterns of harmonics are eliminated producing differing tonalities. These raw waves have a very static

filter on the fourth click of the Program Effects pages. FC
and BW adjust the cutoff frequency and the strength of the
resonant peak respectively. The ENV AMT setting adjusts
the contribution of the filter envelope and will affect the attack. Lower the LEVEL amount if distortion becomes evi-

sound and must be run through various modulators to improve their musical interest. Modern instruments can easily
generate these shapes from digital data and the TS-10 con-

tains a number of these in the Wave Class of "Waveforms."
The next main stage in the synthesis signal path tends to be

dent. The filter envelope controls are found on the ﬁfth
click of the Effects pages and are much simpler to manage

than the main envelopes. All of these controls are interactive and with a little experimentation, you will quickly be
able to derive a number of your own versions of this sound.
The OX Voice Select brings in a marimba wave which adds

a ﬁlter of some sort. Most digital filters limit the harmonic
content of the waveform at a speciﬁed cutoff point, however analog filters also provide control of resonance which

a more distinct attack.

causes frequencies to be boosted in a narrow peak just
before the cutoff point. This makes a sound more distinct or
imparts a plucked sounding attack and generally adds harmonic interest. The above elements combine to make a bass
sotmd that is a solid burst of low frequencies with a har-

X0 Voice Select and provides a different sound by using
plucked waves transposed down to emulate the resonance

The second part of the patch uses waves 4,5 and 6 from the
effect. This sound would also be useful if yotu effects are
busy elsewhere. The patch can be adapted to other synths by

substituting other suitable plucked waveforms. Raising the

monic spectrum that cuts off where the frequencies of most
other instruments in a mix begin.

Cutoff amount or the Envl amount on the filter page of one
or more of these waves will give different characters to the
mix. Wave 5 has a low setting for both Sample Start and

When we attempt to produce this type of bass sound on a
digital synthesizer there are a few problems with getting it

ENV2 Attack to eliminate the initial click but these values
can be zeroed for another variation. Try this patch in the

exactly the same. A digital processor creates the sound in-

higher registers for various techno type "bleeping" sounds.

TS“-1 DI1 2 PTOQI TECKBDSS
WA)!‘ ES

1
2
3
4
5
E
Sawwavai Sawwavai Marimba Sc|uarawv Sharnisan Tachstring
iﬂavafonn Waveform Tuneciiilarcliiiaveionn SiringSnti Stri ngSnd
D
D
D
D
D
D
o
D
D
D
D
D
Forward Forward Fonlvard Forward Forward Forward

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Wave

Wava Olaaa
Delay
Shlit
Direction

Iiiiodsmt
Sampia Start
Start Motiaro
iiiiodamt

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1

II

1

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DD

DD

HOD IIIIIEFI
Src-1
Src-2
Src-2 Sonia
Shape
PITCH
Octave
Samitono
Fina
Oiidamotia
Glidatlma

By: Gerry Wasyfiw

H

DD

2

1

H

DD

4

D2

5

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Trigger
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DD
Off
DD
DD

LPID
12?
DD
Off
DD
DD

FILTER 2

1

Mode

HPI1

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The ﬁnal sauce that always goes good on a bass sound is a
little equalization. If you can dedicate one output to the
sound and send it to a miner channel with EQ, you can
create far more clarity and punch. A low conuol which acts
around 50 to 100 Ha will bring out the bottom and if you
have a sweep mid, cutting a bit at 200 to 250 Hz will reduce
the muddiness that sometimes blurs the mid range. Boosting
around B00 to 1000 Hz or with a high control will bring out

the attack and add defmition. It's best to listen to the sound
in the contest of the mitt and judge the effect of each EQ

range until the bass sits well with the other sounds. Delay or

reverb are not usually used on bass as this tends to cloud the
mis. If the bass sound needs to be pushed hack in the mitt,
you may want to try boosting the mids and lowering the
volume. in
Bio: Garry Wasyiiw works as a structurai engineer who
spends his spare time pushing the buttons on his Ensoniq
synth in search of the iost chord. He found it once hut the
sequencer was not in record tnotie — so it's iost again.

Tune Your Bass Wi‘l'h Cl DP/4!
Tom Tracy
Imagine what it would be like if you could create a preset in
your DP!-4 that could be used to tune your four-string bass. I
know what you’re thinking — how can this he done? The

5. Press the Right Arrow button again, and set this to "AB
Unit Routing=[A+B] parallel."

DP,t4+ has a 2-Unit Guitar Tuner algorithm, hut not the

DP,t4l Let's be a little creative here.

6. Press the Right Arrow button again, and set this to “CD
Unit Routing=[C+D] parallel." We've just made parallel
connections between all units.

Although the DP/4 does not have a tuning algorithm, it does
have a Sinet'Noise Generator, and that’s the key. Think
about it. Your bass has four strings. The DPI4 has 4 Units

7. Press the Right Arrow button three times. and set this to

(A, B, C, and D). If each string were "connected" to a unit,
you could use a Sine,t'Noise Generator in each unit, and set

the appropriate frequency as a tone for tuning each string.
Unit A will be used to tune the E string on the bass, Unit B
would be used for the A string, Unit C for the D string, and
Unit D for the G string.

Set the Oentlg
We will make the Bass Tuner a Config Preset. Sure this

could be saved as a 4 Unit Preset, hut the beneﬁt of saving
this as a Config Preset is that a Config preset will remember
the bypasaiunbypass status of each unit. If all four sine!
noise generator frequencies are ringing out iunbypassed), it
would sound worse than a Spinal Tap concert. To Set the
Config:
_
1. Press Edit, then Config.
2. Press the Left Arrow button until the red LED display

shows "DU."

“AB Input Seleet=(I) Mono." If you have a cool expensive
stereo bass, set this to “AB Input Select={1,2) Stereo."
B. Press the Right Arrow button once, and set the rentaining
four parameters to (b)ypass (k)i1l A=k B=k C=1r D=k."
9. If all four red unit LEDs are not lit, press the Conﬁg button
until they are.

Set the Algorithm Parameters
1. While in Edit mode (the Edit LED should still be lit), Press
the Unit A button.
2. Press the Left Arrow button until the red LED display
shows "00."
3. Move the Data Entry Slider to select preset #90 “Signal
Generator.“
4. Using the Data Entry Controls set the remaining parameters to:

3. Move the Data Entry Slider until the LCD displays “l
Source Config."

IvIis.=30
SinefNoise Gen
Sine,t'Noise Gen

4. Press the Right Arrow button once, and set this to “AB —
CD Routing=AB + CD parallel."

Noise Filter LowPass Fe=16 K
Bass Fc= 200 Hz
EQ Gain=+0{l dB

Volume=99
Sine Freq=l65 Ha
Ea1at1ce=[l'[}

Treble Fc= DSKHZ
EQ Gain=+i]0 dB
EQ Input Level Trim=+U0

3. Press Write. The top line of the LCD display shows
“Write to Config.“ This is what we want.

All Modulation pararneters=Off
Waive just set the parameters in Unit A to tune the E string
on the bass.

Use the Copy Feature

4. Use the Data Entry Knob to find a Config location to copy
you Bass Tttner into.
5. Press Write again. Now using the Arrow buttons and the
Data Entry Knob, name your preset something like “Bass
Tone Tuner."

This feature (explained so elegantly in the Storage Section
of the Musician's Manual) will save time in copying the al1

6. Press Write one more time to complete the process.

gorithm and parameter settings in Unit A to the other tmits.

How to Use the Bass Tone Tuner

1. While in Edit mode (the Edit LED should still be lit). press
the Write button.

Now that you"'ve finished making it, let's use it.

2. Press the Unit A button. The top line shows “Write to 1U

1. Connect the DP,i4 to an audio source, and your bass to

Pset."

Input 1 (or l and 2, see earlier comment).

3. While holding the Unit A button, press the Unit B button.

2. Press Select, then Config, and locate your Bass Tone Tuner
preset.

4. Turn the Data Entry Knob clockwise until the display
shows “Hit  To Copy Unit A to B.“

3. Press Select again to select it. (Makes sense, huh?)

5. Press Write.

4. Press the Unit A button twice. This is the E tone. Match it
with your bass.

Repeat the above steps, copying Unit A to Unit C and D.

I.
I

Now the Sinethioise Gen algorithm is in all four units.

5. Press the Unit A button again to bypass it (red LED lit).

Setting the Frequencies

6. Press the Unit B button twice. This is the A tone. Match it

We‘ve just copied the algorithm and parameter settings in
Unit A to Units B, C, and D. Now all of the units are set to

T. Press the Unit B button again to bypass it (red LED lit).

tune the E string. That’s not what we want. The frequency
needs to be set for each unit to match the appropriate string.
Based on a tuning reference of A=44(l I-Ia using an equal-

S. Press the Unit C button twice. This is the D tone. Match it
with your bass.

temperament pitch table, set the Sine Frequency parameter
(parameter 03) for each tutit as follows:

9. Press the Unit C button again to bypass it (red LED lit).

Unit A (the E suing) - SinetNoise Gen Sine Freq=165 Hz
Unit B (the A suing) - SinetNoise Gen Sine Freq=220 Ha
Unit C (the D suing} - Sine;'Noise Gen Sine Freq=294 Hz
Unit D (the G string) - Sinet'Noise Gen Sine Freq=392 Hz

Note: Sine values are rounded off to the closest number.
Absolute values are E=l6-4.81; A=220.U(}; D=293.6?;

G=392.[l-U. Sine values are also one octave higher than true
pitch, making it easier to hear the tone.

Save Your Contig Preset

with your bass.

Ii]. Press the Unit D button twice. This is the G tone. Match
it with your bass.

ll. Press the Unit D button again to bypass it (red LED lit).

You have just successfully used the DPI4 as a bass tuner!
Variations of this can be used for different pitches and different instruments. You might want to anbypass any two
consecutive units as a “tone drone" for your nest musical
composition. The possibilities are endless. Much thanks
goes to Dave Cook, a fine bass player in the Reading PA

area, for coming up with the “Bass Tuner" idea. -r

1. While in Edit mode (the Edit LED should still be lit). press
the Config button.

Bio .' Torn Tracy is an Ensonio corporate citizen and writes
2. If all four red unit LEDs are not lit. press the Config button
until they are. You shouldn’t hear any tones.

documents like Sound Manuals. Musician's Manuals, and
an iiiustrious bevy of things that nobody reads.

Tec h n iccll Su pport Q&A:
Synchronizing Your Ensoniq Keyboard to External Clocks

Anthony Ferraro
There seems to be plenty of confusion when synchronizing
the sequencer found on board an Ensoniq synth or satnpler
to an external MIDI clock source. These clocks can be

the sequencer on your particular Ensoniq workstation to follow an external MIDI clock source, check below.

generated by devices such as computer-based" sequencers,
analog or digital multi-track tape recorders, and various interface models designed specifically to generate MIDI
clocks or various timecodes for purposes of synchronisa-

Setting the Ensoniq Sequencer to Extemal

tion.
I‘ve written this guide to define the most misunderstood
terms that you’re likely to come across in various product

manuals. I also want to provide a clear understanding of the
capabilities and requirements in performing such a task.
The relationship between the external clock and the Ensoniq
sequencer is active to passive, respectively. It is much

easier to sync the sequencer onboard your Ensoniq workstation to a multi-track deck titan vice-versa, due to the
relatively slow and inaccurate response of the average tape
uansport mechanism. On the other hand, a computer-based
sequencer should be able to sync up to the Ensoniq MIDI

MIDI Clocks

Mirage DSK-SIDMSIDSK-1: Parameter S5 must be set to
ON to sync the Mirage intemal sequencer to an extemal
MIDI clock source. The Mirage is not able to chase-lock to
random points in the song, since it does not respond to Song

Position Pointer. This means that you cannot start the
Mirage’s sequencer from a random point in the sequence
and expect it to be in sync with an external clock source. It
will start from the beginning, rather than chase-locking to a
selected location.
-

clocks without any problem at all.

ESQ-USQ-S0: On the Control Page, set SYNC=hﬂDI
CLOCK. The other option is to choose TAPE SYNC as the
clock source, which is received via the rear panel Tape In
jack. Both models contain their own tape sync generator,
which can drive another device by connecting the TAPE
OUT and TAPE IN jacks to the respective jacks on a tape

The issue is actually very simple from our end: The sequen-

recorder. For more step by step details on this operation,
consult the ESQ-I and SQ-BU manuals.

cers built into Ensoniq samplers and synths (and almost all
keyboard-based sequencers on the market) are designed to
send and receive MIDI clocks with Song Position Pointer.
They do not respond directly to other codes such as Frequency Shift Keying (FSK), MIDI Tape Sync, MIDI Time
Code, or SMIPTE.
"
The MIDI clock sent over MIDI cables to the passive se-

quencer tells the receiving unit specific information about
measures, beats, and clocks per beat - also known as pulses
per quarter note (PPQ). The lone exception to this is the se-

quencer found in I.i'lB Mirage keyboard and rack-mount,
which sends and responds to MIDI clocks only, without
Song Position Pointer.

Some multi-track decks have tape sync capabilities built in,
while others require the use of an optional proprietary or
third-party synchronisation unit; a variety of models are
currently available on the market. To find out about the settings and requirements for those units during specific
synchronisation contexts, refer to the technical manual in-

cluded with the deck or sync box. To find out about setting

VFX-SDISD-1 32 VOICE: The internal clock source must
be set to MIDI on the Sequencer Control page; changing
this parameter from INTERNAL to MIDI will also cause
the TEMPO setting to switch to EXT.
SQIKS-32 Series: Once a particular sequence or song is
selected, hit the Edit Seqt'P1'eset button, followed by the

Bank One control button, then the Screen Two button. From
there, the screen will say CLOCK=INTERNAL. Now use
your Up Arrow button to change this setting to MIDI.

TS Series: In the first page under the Sequencer Control
button, set CLOCK= MIDI. As with the MFX-SDISD-l 32

VOICE series, this change will also make the TEMPO setting to switch to EXT.
EPS, EPS-16 PLUS and ASR Series: Scroll to the CLOCK
SOURCE parameter on the Edit)‘Seq page and change
CLOCK SOURCE= to MIDI. Special ASR-10 Note: when

using DiskTraclts with the ASR-10, the ASR must without

exception be the master clock to allow the tracks to spool

off the hard drive accurately. If you attempt to change this
setting to MIDI, you will get a message saying NO SCSI

?-.-.-.--—-.p------

-—-|---"

get your on-board sequencer to play
follow-the-leader with an external
MJDI clock source minus the usual
trial and error. See you next time
with yet more problems and lighten-

ATRK NHDI SYNC.

KT-’i'6t'38: Press the Edit SeqtPreset button; then hit the

ing-quick solutions. -

Upper 1 followed by the Lower 2 button to get to the page
that says: CLOCK = INTERNAL. Change the sequencer
clock source to MIDI.

Bio: Anthony Ferrara has written

for Electronic Musician, Recording,
anti Keyboard magazines.

With this information in mind, you should now be able to

It Pctys to P(l)c|n Ahead

Or — Programming Sounds tor Sequence Interaction

Dan Rohde

Those of you who use your onboard sequencers for public
(or basement) performances may have acquired the habit of
using all your Sounds “as is" from the factory. Even though
stock sounds are great, you may be surprised what a big difference personal programming can make to your accompaniment sequences.

These instructions refer to the KS-32, but many other
Ensoniq sequencers offer similar capabilities.
Let's suppose you often use a piano patch as the live track
during your perfonnances. To better meet your performing
needs, we'll adjust its EQ (filters), limit its volume sensi-

tivity to velocity, and make it a stereo piano. Finally, we'll
reassign its effect busses to give the sequence you use it in

two different levels of reverb.

volume can vary. You can also make the volume taper off
toward the bottom of the keyboard by adjusting the KBD
Scale to +15. Route the Output bus to FXI, which will be
the lower of two levels. To create a stereo effect, set Pan to
-28, which moves the sound toward the left.
For the Effects bank, let's keep Hall Reverb, but reassign

the busses to FXl=lU and FX2=3ft. For Modsource select
Wheel +25 to modulate the FX2-Mix, which will give us a
couple options. When used as the effect for a sequence
routed to Voice under Track Output, our piano patch will
have its ‘Voices routed to FX1, its lower reverb value.
However, when its track is routed to FX2, the wetter value,
the wheel will increase the effect even more, giving us a
wide variety of reverb setting options.

The KS Grand Piano (ROM GU) is a good place to start.

Here we should review the versatility of the KS-32's system
of PX routing. By designating Voice under a track's Output

Push the Edit Sound button and solo Voice 1, 16 Bit Grand

bank, you choose to use the individual FX routings of each

Piano-Low (see patch 1). To lower its treble quality, you
can adjust the FCI and FC2 cutoffs under the Filters bank

to reduce its high frequency. You can choose Timbre (and
its Modsource and Modamount) to give you real-time control over its EQ. Note that Timbre is only enabled when it's
routed to a track of a preset or sequence. By the way, you
usually won't want to designate Modpedal as a real time
modulator for a sound to be used in a sequence since performing a Sound live usually requires the volume pedal to
be used as a volume controller.
Next, let's assume that the volume of this Voice is a little
too sensitive to velocity. In other words, your notes inadvertently suuck too hard may sound too loud, especially for
quiet background music. Under the Amp bank, lower the
‘Velocity Level to O6. This will limit the degree your

of the sound's three voices. That is, if one voice is set to
FX1 and the others are set to FX2 and Dry, then these
voices will use whatever FX values have been assigned to

the effect for that sequence. By designating Control, FX1,
FX2, or Dry, you override the sound's individual voice
routings.
Now let's adjust Voice 2 in our piano patch the saute ways
we adjusted voice I. Set the Filters bank Modsource to
Timbre (+10) and lower the Velocity Level to 13 under the

Amp bank. Under Output lower the KBD Scale to +10.
Finally, set the Pan to +28 to complete the stereo effect.
Voice 3, which is Off in the KS Grand Piano, should be set
to On. A little thud across the entire key range improves the
simulation of authentic piano. However, a little goes a long

way so you may want to lower its volume under Output.
- 11"-I I*- 1- Ii 1 1-K I 11 ii ii 11-1-12 iii ii iii ii 1 ii ii ii ii iii iii ii ii 1.21-2-11 -

-23

-14

Pan U

ill

So far we've tweaked one program, the piano patch, whose
two FX levels (10 and 30) will be available for all the other
tracks in its sequence.

+2H

I I111 ‘YT FF It I 12- -*- 2'— -I In 2- I -*- -1 ll 1 -*- -'-*--I -- 1- -'-"- -'-*- B ii Ki I 11 ii

Hall ! Tenor
Heverb Sax
Fll2=3!l

Lcv

Guitar

Trombone

Strings

French

tlrgan

licice

Before we design another program, let's consider how many
different instruments (Voices) we cart put on the remaining
seven tracks of this sequence. If we use the piano patch on

liibes

Horn

one track, and put a drum kit on a second track, we have six
tracks left. Six tracks times three voices each equals 18
instruments, which might be more than you need for back-

Harp
Alto Sax

FHl=lH

Clarinet

Fretless
Hass

Hut ed

High

Trumpet

Strings

ground accompaniment. l've found three-instrument programs very useful and only wish I'd started using them

Trumpet

Flute

Oboe

earlier. Wherever you're playing, it's very convenient to
have so many instruments accessible in one sequence —
without the hassle of loading numerous sequences that require a Song to string them together.

Sop. Sax
High
Piano

Lou

Piano

You may even want to p(l)an ahead for all your bistro-

ments' Pan values and FX routings. Go for a balance of low
and high on each side of the stereo field. (See chart, left.)

1 ii I111 I111 ll-1'11-I--I-I-I MK I111‘-I"—'— -'— 2- -Z11-‘--I 11 I-*-P3‘ Kkijj II II 111

Audience
I II -"II I 'I'— '—- II --- iiiji ii ii I it I It Z1 IX iii-11111 II III“-m 11 11 1.1 - -|r-

So, next let's create a Sound that uses each of its three
Voices for a different instrument. I've chosen fretless bass,

-1t‘:-t2-t-lix1+25

Of course, ether instruments can also be simulated by using
only one (or two) of a program's three Voices. Before fiddling with all the numbers, you may want to copy the para-

each with its own volume (filter cutoff), pan, and FX settings. Remember that a wetter reverb value tends to spread

meters from the existing Sounds if you don't trust yourself
creating them from scratch.

an instrument out across the stereo ﬁeld; conversely, a
lower setting tends to position the instrument more precisely left or right. (See Drum Kit below.)

Start by selecting Fretless Bass (RAM 15} and changing the

As you can see, by p(l)anning ahead when you design your

Octave value in the Pitch bank to -l (Patch 2). Under Output bank lower the Volume to your usual performance level.
This will save you the trouble of setting the Track Volume

Sounds, you can increase the variety of different instruments in a sequence and accomplish some significant FX
and Panning results. -|

later. Adjusting volume at the ‘voice level will enable you
to use Record=Add later without needing to use the volume
pedal as you overdub the other two instruments onto this
uack. You then need to set the keyboard scale to Zone and

Wave Elec. Brush Thump Clad open Ride Crash Crash soon
Kick Snare Snare Hiﬂat HiHat Eymbl Cymhl Cynbl Tonic

Keyboard range to El-E3. You could further customise this
instrument by disabling the modwheel from the LFO to

Range a1G#2 h2ai2 B2Di3 E3Fi3 slats stole EiFl4 Giﬁlﬁ B5Di5

eliminate the vibrato. Set its Output Bus to FX1, which will
later route fretless bass to the piano patch’s FXI value of

Pan

ii

E1

ll

+56

+55

+54

+42

-55

-42

off center.

Pk

FRZ

Fsl

F32

FI2

FX2

F31

F31

F31

F11

Next we can adjust voice two in this multi-instrument

have Conga Bongo Class open Hscns Shir Tamb Sdﬁtk
Slap
Hiﬂet Tape
Snare

Hall Reverb 10. Finally, set the Pan to -14 to move it a little

Sound. Select the Vibes wave and change the pitch to
Oct+1. You might disable the modwheel in this voice and

adjust the LFO bank to provide a constant vibrato. Under
the Output bank adjust the Volume to the approximate level
you expect to use in your future sequences. Set Keyboard
Scale to Zone and Key Range to F2-F4. Route the Output
bus to FX2 since a little more reverb might sound good with
vibes. Finally, let's Pan this voice +28, or however far right
you want it in the stereo field.

Range E5Fi5 Gﬁhlﬁ Bﬁﬁlﬁ DEEE

Fﬁﬁlﬁ ATE?

UTE?

EiTGi

Pan

+'lﬁ

-ill

+28

+55

+55

+42

-42

-28

FE

FIE

FH1

F11

FEE

F31

FH1

FK1

FEE

(Complete parameters upon request.)

For Voice three let's choose the Saxophone wave under the
Brass class. Set the appropriate lvlodsources and Volume
value. Set the FX1 to the lesser reverb value. Finally, let‘s
Pan this voice -28, where it will locate automatically unless
rerouted with a different Track bus setting.

Bio: Dan Rahtie is a part time ntnsician anti high school

teacher who lives in Masculine, Iowa. He hopes someday to
balance his classic-motorcycle-repair-person self with his
rornantie ride-the-wind self. He also hopes to win the Powerhail and to see the end to all conﬂicts in the world.
14'

The EPS-l6 PLUS and
Background Vocals
Port 2 -- Memory reduction

Roboy Berrnan
Hello again. Last time we began our discussion of how to

use your EPS-16 PLUS for creating full, professionalsounding background vocals (BGs) in your home recording
studio. When we left off, you'd sampled a small slew of
harmonies to accompany the lead vocal you'll record on

poses, we need to group them at just two or three spots in
the lefthight field, as opposed to fanning them out like a
handful of playing cards might be held. The reason for this

is that we're going to ping-pong together whichever samples will go in the same place in the lefthight picture.

tape a bit further on in the recording process.
If, at this point, you've sung and sampled all the back-

Beyond this consideration, as far as panning goes, we're
very much in the realm of personal taste. Unless you've al-

ground vocals you need for your song, and you've got all
the instruments you need loaded into your 16 PLUS, you're
home free already. Pan 'em any way and where you want

ready got a particular sound in mind, you'll have to experiment. I personally like the sound of two BG pairs, each
containing one low and one high harmony, panned hard left

(see below), put some reverb or some other effect on them
(or not) and move on to life's next little task.

and right. I'll eventually put just a touch of reverb on them;
you can decide about the effects later.

If you've got more harmony sections to sample, go ahead

Using my hard-panned pairs as an example, let's proceed.

and start sampling them. You'll often find you've got more
than will simultaneously fit in the 16 PLUS. For now, sampie each section and save it to disk. When you've got a section safely filed away on a disk, delete it from the 16

First, make sure you've only got one section of BGs on-

PLUS's memory (while holding down the Instrument;'Track
button with its yellow LED lit, press NOICANCEL).

You've got two ways to go. If the time between one vocal
section and another is long enough, you can send program
changes from your external sequencer to call up and load
BG ﬁles from disk as you need them.
Realistically though, loading BG ﬁles as the song is playing is only a practical option if you have a hard disk drive,

as loading from the built-in ﬂoppy drive will usually take
too long to be of any use. Floppy drive users (like me) will
have to take option number two: radically reducing the
amount of memory the BGs use in order to have them all
available onboard when they're needed. Let's discuss how

board (say, a chorus worth) -— what we're gonna do needs
some elbow room in RAM to work in. The goal will be to
ultimately convert four samples to two, freeing up half the
memory used. Let's say I've sampled a low harmony in
layer 2 (refer to this as "2") a high one in 3 (“3"), double
the low in 4 ("+1") artd the high in 5 ("S"). Why don't you

create a clump of harmonies in this configuration and follow along? We'll want 2 and 3 (one low and one high)
panned hard left and 4 and 5 (one low, one high) panned

hard right. This'll let us combine 3 into 2, and 5 into 4.
Eventually we'll be able to delete 3 and 5 to get back some
memory.

Time to do the deed. Press Edit and set LYR to 2. Press
Edit, Amp and, quickly, 2 on the numeric keypad. Set PAN
to -99. This will put 2 hard left in the stereo field. Repeat
the process for 3, and then 4 and 5, panning the last two to

the right (+99).

to cut those memory block counts way down. The follow-

ing process applies to any non-looped BG samples you've

Press Edit and Instrument. Press the left Patch Select button

recorded; looped "oohs," "aahs" and "ohs" are as mem-

and, while holding it, turn on layer 2 and shut all the others

ory-efficient as they're gonna get.

off. Do the same with the right Patch Select and layer 4.

Now hold down both Patch Select buttons and turn only

Planning, Panning and Prepping

layers 2 and 4 on. Later you'll see that these steps will

First, we have to decide how we want our background vocals to be panned in the ﬁnal stereo mix. Although the

doubt valiant, efforts.

EPS-16 PLUS allows us to play them across the stereo
spectrum any way we'd like, for memory reduction pur-

Press Edit again, set the layer field to read "LYR=2, under-

allow you to easily audition the results of your next, no

line the WS field and press the key -containing your har-

monies down. Get out a piece of paper and write down the

pair of samples. If you want to use the above as a step-

LYR and WS numbers. Change the display to read "LYR=
3," underline the WS field and press yotu key down again.
Write down those numbers. Repeat the procedure for the

by-step guide, just substitute "4" for "2" and "5" for "3."

other two samples.

don't know. When you're ready to audition your mix, you
can hear your new supersample 4 by pressing the right
Patch Select button. Toggle back and forth between right
and left Patch Select buttons to make sure the two supersarnples have the satne low harmonyfhigh harmony mix.

Over the Top
Press Command, Amp and 2 to get to the MIX WAVESAMPLES page, and press YESIENTER. The first question
you'll be asked is "ARE SAMPLES LAYERED'I"' to which
you'll answer, of course, "YESIENTER." On the next
screen, see to it that you're in the right instrument, that the
FR ("From") layer is 3 and the WS number is correct ac-

On the MIX WAVESAMPLES FR and TO pages, you may

have to scroll downward to mach the desired layers; why, I

Hold down both Patch Select buttons to hear your whole set
of BGs (supersamples 2 and 4) together.
Once you've got your samples combined, you may want to

re-normalise and re-truncate supersamples 2 and 4. Nor-

cording to the notes you made. If not, set the screen so that

malizing can't hurt; listen to them to see if there's any extra

is the case. Scroll right and set TO to the same instrument,
LYR= to 2 and WS= to the number you wrote down earlier
for your layer 2 WS. You can zip right past the next screen;
its setting doesn't matter here since both samples have the
same root key on the keyboard. Scroll right again. Positive

schmutz on the ends that needs to be truncated.

values on this page will make your "to" sample (2) louder

than your "from" sample (3), negative values the opposite.
A setting, of 0 leaves your samples evenly balanced.
Generally, you'll want your lower-pitched harmonies
mixed a little louder, as high ones always seem to make
themselves heard in a final mix, In this case, let's set it to a
+15 value, making 2, the lower harmony, a tad louder than
3. Press YESIENTER.

Save what you've done to disk, but don't use the disks you
saved your raw samples to. Getting the right mix of your
harmonies can be a little tricky. Sometimes when you hear
your BG mix in context with all your other instruments,
you'll decide it could be better. You may well need to redo

the MDQDELETE WAVESAMPLES procedure. Leave
yourself the opportunity. Only when your song is history

(recorded and mixed) should you consider losing your
original samples, and not even then if you have the storage
capacity to spare. It's not uncommon to change one's mind
later on.

Should you press down your key on the keyboard, don't
trust your ears yet! What you're hearing is all four samples
plus an extra copy of 3. This is why we set up our Patch
Selects the way we did. To hear the real results of the MIX
WAYES AMPLES process, hold down the left Patch Select

Up to now, we've been discussing what to do with a single
section of background vocals. Now that it's been safely
stowed on a disk, repeat this procedure for each section of

button; now you're listening only to your new supersample
2, a combination of itself and sample 3. Either press YES!
ENTER or try again.

and then save them as one big clump. I also recommend
keeping, these single-segment disks intact until you're sure
you're happy with all the results.

If there's a new click or thump at the end of the sample,
that only means that 3 is a slightly longer sample than 2.
Just start the MIX WAVESAMPLES procedure over,

You've now reduced however many background vocal
samples you've recorded for each section into merely as
many positions in the stereo field as you need. You could

making 2 the "from" wave and 3 the "to." Set up the Patch
Select buttons so that holding down the left one will leave
layer 3 turned on, and holding both buttons down, 3 and 4,

reduce a dozen samples down to only two, left and right.
This way you can fit a whole song's worth of samples on
board at once. And the beauty of it is that you're doing all
this submixing completely in the digital domain with no

so that you can audition your work.

your song's BGs. After all your segments have been mixed

and cut down to sire, load 'em all back in to the '16 PLUS,

discernible fidelity loss!
When you've successfully balanced and combined samples
3 and 2, it's time to delete your "from" sample. Press Edit
to make sure that the correct sample is selected (in our example, that's 3). Press Command, Wave, 2 and press YES)’
ENTER. If you're sure you've got the right wavesample,

Contingencies

press YESIENTER and wave bye-bye.

If you find that all your sections won't fit in the 16 PLUS
after all, there are two things to do. You can cut your
memory use in half by mixing everything down to mono

Now go back and repeat this whole process for yotu other

(one supersample) instead of stereo (two). We'll discuss
how to simulate stereo with mono samples next time.

1

its NOTHING NEW

Your other option is to lower the
sample rates of your wavesarnples,
which will cause them to use less
memory. Since the lower the sampling
rate, the lower the ﬁdelity. you'll
have to do a little research to find the
lowest bearable rate.

Press Edit an select a sample. Turn off
all the other layers (press Edit and Instrument) so you can hear clearly
what you‘re doing to your poor BGs.
Then press Command, Wave and
scroll to CONVERT SAMPLE RATE.
Press YESIENTER. The display will

default to the sample rate you last
sampled at. Lower the rate (by pressing the up arrow button, ironically) by
one step, press YESIENTER and use
the KEEP NEWIOLD audition function to see if the audio quality has

deteriorated beyond acceptability.
Press NOICANCEL to keep the old
sampling rate. Repeat this process
until the ﬁdelity of your sample is no
longer tolerable; then back the sampling rate up one degree and press
YESIENTER. A too-low sampling
rate will put your stunning vocals

right into the toilet. Samples have to
be converted one by one, by the way.
Nest: tips on manipulating and sequencing your background vocals. :Bio: Robby Berntnn is or rnusicirtn
living with his wife and ﬁve cots in
the inexplicably fussy Hudson Vniiey
of New York. His intest nibant is
"Rings and Rings."

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The Adventures of Kapfain KS
{Captain KS

In today's thrilling episode, Kaptain KS takes tirne out
from fighting his arch-enemy, I-IerniaMan, to answer a few

set up a seqlpreset with two tracks in it, both set to the
patch you're using. Now limit the key range of track 1 to

questions from the kids at home...

“F1 — C8" and limit the range of track 2 to "AD -- El,"
Transpose track 2 down by 2 half steps (the last setting
should read -02). Now layer them on top of each other by
double- clicking.

Q: Dear Kaptain KS, I have a spare footswitch that l'd lilze
to use with my KS-32 to start and stop the sequencer. The
trouble is, there's only one footswitch jack on the baclc
panel. What do l do?
A: Having two footswitches can be very convenient. If you

Now yotu' keyboard is in "drop D" tuning. It will play normally, except for the very lowest note, which will be D,
not E. A quicker, but more dexterous approach would be to

press the Systemll!-*IIDI button, then press screen 2, you'll
see that the left footswitch can be assigned to act as a sestenuto pedal, or either side can act as a startlstop pedal for

simply pull down on the pitch wheel for that last note, and
play everything in E minor, provided, of course, that your
pitch wheel amount is set to +02 or +U2H.

the sequencer.
What Ensoniq might prefer for you to do is buy their optional SW-SISW-10 footswitch, which has two pedals and

Q: Dear Mr. KS, isn't is amazing the lengths some writers
will go to, to matte a short article somewhat more interesting?

only one cord. But since you already have an extra pedal,
I'd advise you to march on down to your nearest Radio

Shack and ask for catalog item number 274-302. That's a
standard 2-into-1, quarter-inch stereo headphone adapter.
Plug this giamo into your footswitch input, and plug your
two footswitches into the giamo. Now pull whichever plug
goes to your "left" footswitch slightly out of the giamo,

but not so far that it falls out. It should "catch" halfway
out. It's not very elegant, but it works, and it only costs
around five bucks.
Keep in mind that your spare footswitch must be the kind
that is “normally open," that is, the circuit is completed
when you step on it. Also, if you're handy with a soldering

A: It certainly is.
Thus concludes the thrilling adventures of Kaptain KS! For
rnore thrills and chills, tune in tomorrow: same SMPTE
time, sarne MIDI channel! Bio: Kaptain KS disguises himself as mild-mannered Nashville musician, Jeﬂ’ Jetton. lf you have a question or comment for either of them, send e-mail to je_ﬁ§etton@aol.com.
For the kids out there who sent in for their secret decoder
ring, today's secret message is: "Cf tvsf up esjol spvs
Pwbmu_t'o_ﬂ"'

iron, you can make your own custom cable by splitting a
stereo plug into two mono jacks.
I

Q: Oh Kaptain, my Kaptainl My band does a new age version of "All Along the Watchtower" in the hey ofD minor
1'the saddest of all keys). I'm using the factory "Lush
Grand" patch for this. In the middle of the song l play
some upper octave noodles, and at the end of the song, I'm
supposed to hit a low D note. Unfortunately I've run out of

lzeysl Do I have to use two diﬁerent patches, such as one
normal patch and one set up to play an octave lower?
A: What Ensoniq rnight prefer for you to do is buy their
optional "KT-B3," which has the extra keys you need. But
we don't need to get that drastic if you don't normally use

the lowest note on the keyboard (E) during the song. Just

I

BHOK ISSUES
Back issues are $2.tl=lI.'l each. (Overseas: $3 each.) Issues l- 41}, 61, 61' ‘T4, T1, ‘I9 and B2 - E5 are no longer available. Subscriptions
be extended an equal number of issues for any issues paid for that are not
available at the time we receive your order. ESQ-I coverage started with
Issue #13. SQ-Bl] coverage started with #29, {although most ESQ-I
coverage also applies to the SQ-EU). EPS coverage got going with #35
{and also applies to the ASH-10]. VFK coverage {which also applies to
the Ellis) got started in #43. The sot got going in #63. {SQ articles also
apply to the KS-32 dz KT-THEE.) DPH coverage started in #38 {ranch of
which also applies to the ASH-ID). T5-Iﬂlli coverage got going with
#513 but owners should also check out aampl e reviewa (EPSlhSR} tlttd
SD tic "JFK programrning tips. Permission has been given tophotooapy
issues that we no longer have available — check the classiﬁeds for
people offering them. A free back issue index is available which contains
the tables of content for all issues since Ntnnber 43.
l

l

|—|II-t

I

|I|I|I|IlI|Il

I've Got Thai Old Syncing
Feeling
Kirk Slinhard
One thing that sets the ESQs mid SQ-S0 apart from many
other polyphonic programmable synths (even other Ensoniq
synths) is their ability to do some nifty tricks to the waveforms even before they hit the ﬁlters and amplifiers, like with
SYNC for example. Whereas some of the better analog
synths of the past and present have this feature, the ESQs and
SQ-BU have it available not only on the traditional SAWTOOTH, SQUARE, SINE, and on the SQ-80, TRIANGLE
waveforms, but also on multifarious (I should get more than 4
cents for that word] other digital waveforms and samples.
This article takes up where an article I wrote in Issue S5
leaves off. It was about using the SYNC feature to get pulse
waves with variable duty-cycles. This one takes a look at
some different applications of SYNC. In other issues of the
Hacker, the basics of the SYNC feature have been talked
about enough that I won't rehash here.

sound can be compared to the TRANSWA"lt'Es of more recent
Ensoniq synths. The specific sound you get from this depends
on what waveform you use in OSCILLATOR 2. As a general
rule, the waveform of master OSCILLATOR I doesn't matter
in either category as long as it is turned off at AMPLIFIER l.
Of course, you can turn on OSCILLATOR 1's amplifier to
add it to the sound if you want to, but I didn't in any of these
demonstration patches so that I could show off the SYNC effect by itself. When SYNC is activated, OSCILLATORs 1
and 2 are always going to be at exactly the seine pitch — you
can't get any intervals or detuning between them.
The first patch, "LETSGO," was a popular sound in the

seventies, and here it is copied from a lead synth patch used
in The Cars' hit “Let's Go." This sound was mentioned briefly in the pulse-width modulation article, but here it is shown

as a ﬁnished patch -that's ready to play. It's a classic Category
Personally, I like to think of each SYNC application as being
one of these two different types:
Category l: Where the slave oscillator (#2 for us) is tuned
higher in frequency than its master oscillator [#1 for us).
And... Category 2: Where the slave oscillator (#2) is tuned
lower than its master (#1).

1 type sound. Here, the ESQ is set up to make its sound in the
same way that the original monophonic analog unit did (an
Arp, I believe) using a SQUARE wave in slave OSCILLATOR 2 which is swept downward in frequency by ENVELOPE l while master OSCILLATOR 1 has stationary
pitch settings. As with all Category 1 and Category 2 patches,
the timing of the slave oscillator (#2) relative to its master is
what determines the tone or timber, and the master oscillator
(#1) deterinines the actual pitch of both OSCILLATORS 1

The timing would include any modulator actioq from envelopes, LFOs, etc. For those scientific types among you who
like mathematical completeness, strictly speaking there is a
third category where both oscillators are tuned exactly the
same. But this has exactly the same soimd whether the SYNC
is turned on or off, so I didn't bother with it here.
In the ﬁrst category, OSCILLATOR 2 might be thought of as
imposing a frequency-modulatable waveform onto a square
wave from OSCILLATOR 1, sort of like the way a wah-wah
can be thought of as imposing a frequency- motlulatable sine
wave onto whatever instrument is plugged into it. The hard
resetting of slave OSCILLATOR 2 at master OSCILLATOR
1's frequency creates some of the characteristics of a square
wave, no matter what waveform OSCILLATOR 1 is set to.
In the second category, you end up reducing how much of
OSCILLATOR 2's waveform is looped during the wave

cycle, anywhere from 100% {when both oscillators are timed
exactly the same) to something approaching 0% (when OSCILLATOR 2 is tuned way lower than OSCILLATOR 1). If
you use a moving modulation, like an envelope or LFO, its

and 2. The MOD WHEEL adds a little vibrato. Note that it
has to be applied the same to both OSCILLATORs l and 2,
otherwise it would affect the tone as well as the pitch.
The second patch, "SYNBAS," is another Category 1 type of
SYNC effect. Willi this one, I tried to give OSCILLATOR
2's SAWTOOTI-I wave a sound comparable to the pulsewidth modulation effect used in pulse waves. The MOD
WI-IEEL adds a static SAWTOOTH wave from OSCILLATOR 3 for some more bass and chorusing. This patch is

layered to itself for some interesting stereo effects and a
larger soiuid. Watch out for LFO 2, it is set up just for
SQ-Sifts. For ESQs you could change its MOD source to pedal
if you have one, or just leave it out if you don't. It's just used
for vibrato.
The third patch, "CYGNUS," demonstrates an interesting
Category 2 function. This is the category where regular static
waveforms become virtual TRANSWAVES, and any pitch
modulators applied to OSCILLATOR 2 actually turn into
waveshape modulators. This patch uses one of the FORMANT waveforms, which have some unique properties when

ESD-1 PFIDG: LETSGD

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SYNCed. Rather than getting really cemplicated and techni-

each ef the mere recent Enseniqis TRANS WAVES as a cel-

cal, I“ll just say that within a certain tuning range, these
waveferrns give a ‘!!E.I'l-Wi:l.h type effect. Each ef the FORM-

lectien cf static waves. The main difference is that the ESQs
and SO-30 give veu a much larger and harmenically varied

ANT waves has a different tenal range. Be sure te try eut
each ef them in OSCILLATOR 2. LFO 1 medulates the
FORMANT wave’s shape in OSCILLATOR 2 fer the
wah-tremele effect. The MOD WHEEL brings a slightly
detunetl elecuic piane seund te beef up the seund a bit.

palette te cheese frern. Be sure te try eut serne different pitch
settings in OSCILLATOR 2 and see hew it changes the tene.
In this patch, the MOD WHEEL brings in OSCILLATOR 3
te add a 4-feet rank te the basic 3-feet harpsicherd seund
(back in the ancient past, befere recl-t and rell, harpsicherds
berrewed pipe ergan terminelegy te describe the different

Fer the feurth patch “HARPCD," I created a patch that is
very clese te the harpsicherd patch frem the pulse-width
rneduiatien article. But here, it is based en ene ef the NOISE
waveferms. If yeu play this patch with the SYNC turned eff,
yeu will get the usual grungy electrenic seunds that yeu are
suppesed te get frem these waves, but when SYNC is used in
either categery, each ef these waves give a whele series ef
bright, harmenically-rich new waveferrns that are perfect fer
harpsicherds and ether cernples. setmds. This particular ene
happens te fall inte CATEGORY 1. In this patch, SYNCed
OSCILLATOR 2 has ne meving medulatien — it just stays at
ene pitch per key. This is really impertant when using any cf
the NOISE waveferrns. If yeu denit believe me, try using the
PITCH BEND WI-IEEL and bend a few netes en this patch.
Setmds pretty grieeiy, deesn‘t it‘? This patch shews that the
SYNC effect can give many different static waveferms frem

pitches en instruments that had mere than ene set ef strings

te werl-: with).
Well, I hepe this gives yeu seme new things te censider when

yeu de patches. There is se much pregranuning petential hidden away in just the SYNC feature that ene er twe articles
can enly take a Ieek at a small part ef it. Fer esample, a few
cf the SQ-SI] waves give seme really strange reactiens te

SYNC. And we didn't even teuch en the AM. functien in
this article — that's a whele nether stery...

Med yeu later. Bic: Kiri: synthesizes arcunti near Denver and cciiects and
restcres vintage heyhcartis and amps sc he wcn't have any
need far Emu's Vintage Keys synth. He's aisc scmehcw
under the impressicn that Enscnic named the KS after him.

each regular ESQ er SQ-30 waveferm, like hew yeu can use

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—iI

HACKER BASEMENT TAPES

Dctniel Mandel

Reality Bytes
CD: Dream Sc Real.
Artist: PassienFix.
Centact infe.: 900 Princeton Terrace, Olen Eumie, MD 21-Utiil, phene:
410-T61-T253.
Equipment: [I hepe yeu’re sitting dewn fer this ene.)
RI:-cen:Iers: Tascarn DASH Digital S Track, Tascarn MSR IE Analog 16
Track, Tascarn DA-SD DAT.

Digital Reverb: Dyiraeerd DRP 20, Lexieen FCM ﬁll, Ensoniq DP!-4
Parallel Effects Precesser, Ibanea SDR-1000, {2} Roland SR‘!-ZDIIII.
Ccrnpresscr,lLi1t1iters: Anthcny Delvlaria Labs ADL IDUD Tube, LAEA
Clone, Aphex Ccmpellcr Model 32D, Valley 44D Cemptesscr, Altec

4300 Tube Cernpresser, DEX I66 Dual Channel Gated Compressor,
DEX lI50XT Cempresser, Aphex I-'20 Deminater H lvIultiEand Peak
Limiter, DEX 2631*; De-Esser.
Keyboard: Reland Super JX-l U
lviixing Censeles: Hill Remix 24xl6x3x2
Synth Modules: Kerg lvI3R, EMU Prefermanee Piane lvledule
Noise Reductien: DEX Type I, 16 Channels
Digital Delays: (2) Lexiccn PCIHI-41
Computers: Atari ID-0D ST, IBM PCFID Meg I-ID
Seftware: Hybrid Arts SMPTH Track Geld ED Track Sequencer

Believe it or net this is a partial list of what lives in Dave
Kelly's basement.

department and packs a punch creatively, with a real singseng 4!-4 structure and net even a hint of a chems er a
bridge. Verses are broken up by some very evocative guitar
work.

City Lights has a great cherus and bridge coming eff a light
reek ballad. I weuld have leved a chance to hear everyene
cut leese, get wild and really take the seng te anether level.
Bleed Me begins with the energy I was locking for in City

Lights, and ﬁnally seme mere effects for Angela to work
with. Once again this song ceuld remp. There is real potential fer this song te ge semewhere. The guitar work reflects
this off to the side, on the comer of the stage semewhere.

These melodies also tend toward the singseng almestspolten style.
Feel has a nice acoustic guitar and peppy percussion. Once
again there is not necessarily any cherus to match these verses, but there is a bridge and the leads and music that
weaves in and out is quite nicely done.

This was a very well done project, and this band would
probably do well live. I weuld hepe that their next projects
take mere chances and really challenge the listener. They
have ehvieusly long age passed the test cf making quality

This tape is an excellent example of the maxim recording
cnginccrs are taught early en — get a good clean, ebvieus

IIIIJSIG.

seund fer each track. All of the instruments and especially
the vecals are Defined and Clear. In many of the tracks en

If yca want your tape run through the ringer, err, Hacker,
just mail it eff te: Easement Tapes, Transcniq Hacker, 1402

—

this CD the vecal almest seems toe up frent, tee in-yeur-

SW Upland Dr., Portland

face, tee dry, which would be more of a preblem than it is if
it were net fer the fact that Angela Lazaaroni is a credible

W221.

OR

vecalist. Still, I can't quite get my head areund this cheice
fer the vecals when the rest of the instruments are so well

Bic: Daniel Mandel is a scngwriter,

mixed and matched and effected. The percussien was good,
though rather static, more programmed than played. The
guitar work balances these sengs against Angela"s vecals.
The guitar work is quite expressive.

seund designer, anti has sciti prc
can-‘ic anti iceyhcarti equipment and
prctiucetl riemc tapes far lccal
hands.

New on te the sengs:
Anciher Wcrlti stands out as the best of the bunch with a

cleverly placed Angela-en-Angela vecal heck in the cherus.
This uptempo ballad is really a gecd listen, but deesn‘t give
much te think about.
Thread The Needle is more meaty and biting in the thought

Missing or Damaged Issues?
Every menth we mail eut theusands ei issues and every menth

abeut a decen get ‘misplaced’ by the Pest Office. It yeutre ever

ene ei the winners et this Iettery. ius-t page us a cult {sea-00?-sets.
0 am — B pm Pacific Time} and vve‘li happy te mail .0 replacement eepy —- ne preb. {Her-raver, if yeu accuse us ei nefarieus
schemes te “ripﬂyeu eff,“ yeu will he eﬂetecl a refund and elven
helpful subscrip en inte Ier ether musician magazines.)

Five Moneymoking Promotional
ldeos for Musicians
Jejjirey Fisher
Spending money to promote your music business is easy.
But right now you may be overlooking a few low cost or no
cost promotional ideas that can help you put more cash in

There are seven major parts to every sales letter: headline,

problem statement, solution, benefits of solution, offer, time
limit, and postscript (P. S.). Use the headline to grab the at-

your pocket. No matter what music business you are in composer, band, recording studio, etc. — here are a few
moneymaking strategies for you to use.

plain all benefits and make an offer. Put time limits on all

Advertising

came before in a concise summary.

Ads are expensive and it’s easy to waste your precious capital resources on them. Here’s a secret: many smaller ads are
better than one big ad. Repeating your message to the same
audience is crucial. And don‘t use a classified ad to sell

Make sure your marketing materials are neat, organised,
and well written. Keep your presentations simple, uncluttered, and use clean, readable typefaces. Print all your
marketing materials on your letterhead or make sure you in-

directly because it‘s hard to sell most products and services
from a few lines of copy. People want complete information

clude your complete address and telephone number on
every piece {don‘t forget your area code).

before putting down bucks. Let your ads generate leads and
then do the selling with subsequent marketing pieces. I’m
fond of classified and smaller ads. They're inexpensive and
can generate tons of leads for you. Just make sure your ad
includes an indication of one or more beneﬁts, an offer to

induce response, and the necessary details:
4.

MAKE MONEY scoring soundtracks and jinglesl Turn

your music into cash! FREE report: Jeffrey P. Fisher
lvlusic, 3341 Ripple Ridge, Darien, IL 60561.

tention. State the problem and propose your solution. Exoffers and encourage prospects to respond quickly. Use the
postscript (the most read part of the page) to restate all that

Attitude

_

I firmly believe that your enthusiasm, both for you own
work and for client projects, is the easiest (and cheapest)
promotional tool you can use. I confess that my attitude has
won me more gigs than any single credential. A warm

smile, a willingness to work hard, and an eager attitude will
serve you well. When you are passionate about your work,
it excites clients and prospects, too. Your enthusiasm gives
clients confidence and reassures them that you can and will

A tantalising benefit (make money) along with a strong
offer (free report) creates an ideal small ad. Here are a few

do the job right.

more tips. Don‘t use abbreviations. Whittle the words to a
minimum but don’t sacrifice the clarity. Keep track of all
your advertising. When people call, take a second to ask

Demo "Hot Line"

where they heard of you so you know where your money,
time, and energy are best spent.

Sales Letter
While every business is different, the basic promotional
package is something shared by all. Your typical package

consists of a brochure, cover letter, and business card.
Sometimes more; rarely less. Don‘t worry about having
some fancy four-color brochure. If your materials focus on
your clients, their needs and their benefits, you can get by
with much less. Using a sales letter is the best way to introduce yourself. Get as detailed or brief as you want. Use

simple language and fill every line with compelling benefits
and a strong offer. Your best weapon is a personal letter
from you to your prospect printed on your letterhead.

Add a music demo hot line to your promotional arsenal.

You need to get a second business telephone line and hook
it to an answering machine. Ask people to call for a short
excerpt of your latest music tracks. Make sure to include
your sales message on the tape. Here‘s a sample I would
use:
“Welcome to the Jeffrey P. Fisher lvlusic Hot Line. Do you
need music that works, sound great, and is very affordable‘?
Stay on the line and listen to this musical montage of my
latest work. I'll he back in two minutes with a special offer
just for you." [Now run your short, two minute musical
montage.) “Thartlts for listening. Here‘s that special offer I
promised. Leave your name, address, and telephone num-

ber after the beep and l‘ll send you a free booklet that
shows you exactly how to get the original music you need
at a price that makes sense."

Promote your demo line in letters (makes for an ideal
postscript), in publicity releases, on postcards and ﬂyers,
and add a line at the end of your regular demo that invites

offer discounts or give away door prizes. Make sure your
prises will result in more business, such as buy four hours
of studio time and get four hours free. Don't forget mer-

clients and prospects to call and hear your latest music.

chandising. Popular acts can make heaps of cash selling
T-shirts, caps, jackets, and other doo-dads.

Open House

When you use these and other promotional tools regularly,
you keep your name alive, build credibility, and ultimately
put money in your pocket. Try many different tactics. Get
crazy and be different. I-lave some fun. And sell your music

Bands and recording studios can really benefit from this

promotional tool. Throw a party, invite clients, prospects,
fans, family, club owners, and other influential people from
your local music market (don't forget the media!) and you

products and services by spending the least amount of

be the entertainment.

money.

Make sure you have plenty of promotional material to give
away. Make up a gift bag containing your latest music,

And here's the P.S. — Get more moneymaking promotional
ideas direct from Jeffrey. Mention the Hacker and he'll
send you details on how to turn your musical talents into
cash. Write Jeffrey P. Fisher Music, B341 Ripple Ridge,
Darien, IL 60561 or call (T03) 931-1641.-

printed promotional material, discount coupon or other appropriate offers, and more. Be sure to serve some munchies
and libatious. And show off what you can do. You could

body, Intemational neck, Fender tuners, Gibson electronics, unknown microphonic pickups. 23 3,14" scale. Best offer. Tom Tracy,
Ensoniq Corp., 155 Great ‘Valley Parkway,
Malvem, PA 19344.

HAFIDWAH EISOFTWAHE
TS-I2, new in box, great condition. $11-'99.
Phone: 312-902-355?.
TS-I0. Studio use only. Samples, sounds included. $1699 obo or trade for ASR (keyboard). Call Chad, 209-353-1343.
VFX-sd2, $350.
60?-393-4368.

Tons

o'

voices.

TS-I2. E;\tpanded sample memory, SQX-T0 in-_
stalled. 50+ disks. $2500. 610-942-4492.

Bob,

EPS-16 PLUS with full memory expansion,
hundreds of sounds, and hard case. Brand new
condition. $1000. 60'?-TF6-986? or 601-962S033.
EPS-16+ wt 4X, Flash, SCSI, disks st docs,
$1200. SQ-R, 21-voice, $300. SDP-1,
weighted keys, $400. Best offers. Making
room for ASR-SS. Pat Finnigan at 313-5942919 days or 31'?-462-34-46.
VFX-sd 21 voice, with entire Ensoniq and
Syntaur libraries, perfect condition. 2.10 software fJ.S. $150. Phone: I-T14-5?’?-4293.
Quakecaster! A unique guitar appearing in
several Ensoniq manuals, used in designing
DP!-4 presets and testing Beta units. Silvertone

If you're crazy
enough to be
selling your gear...
Please be sure to pass along how absolutely vital it is to have a subscription to the
Transoniq Hacker. And how wonderful we
are. And how you couldn't have survived
without us. And how they should quick

1

send us a check before they do anything

else. And...

Wanted: RX-5, EPS-M. Bob, 60'?-S98-4368.

I

Ensoniq ASR-I0, Emb ram, keyboard cover,
exstended sound library, 1 year subscription to
Transaniq Hacker. Studio condition, less than
l year old. $1599.00. T04-542-1513, Chris.
vex-ta w,-ihard case + large library. $395.
Tel,FFax: 212-T2?-033?. Mint!

FINALLY! A new set of 16-bit samples from
Tom Shear. This time he tackles the Waldorl'
Microwave! For only $15 + $3 SIH, you can
have 3 disks packed with the fattest digilog
synth sounds you've ever heard! Send an
SASE or e-mail {tomshear@AOL.com) for
free catalog. Tom Shear, T26 Fourth Avenue,
Williarnsport, PA, 1??-'01.

MISC
Altai CD-RUMs: Hyperspace, Hyperdance,
CD-ROM Showcase all for $100. (2) 1 Meg

Simms $35. Syncman SMPTE to MIDI
converter $40. Call Brian ‘T13-436-942? after
lpm CST.

OUT-OF-PHINT BACK ISSUES
IFFX-sd, 21-‘Voice, all updates. $1100. Todd,
402-553-3’}'50.

SAMPLESIFATCHESISOUNDS
Original AER, 'I6+, EPS, Mirage Samples!
‘Will trade for 1960's and 1970's vintage
combo organs, electric pianos, electric guitars
and amps. Call Barry, 315-3'1-'9-9363.
Still available — Jim's Toybox: 60 original
sounds for the MFX-sd. Unusual, avant-garde.
(See review in lune, '93 Hacker.) Trade for
bank of original sounds or nncopied copyright
sounds. Dr send $20 check. Send SASE for
documentation. Jim Samp, 90 Bell St., Fond
du Lac, WI 54935. Phone: 414-922-433'.-'.
“Resonant Dwarf’ forges original electrol
acoustic ti electronic samples for EPS-16+.
ARP, Korg, Moog, Hohner, Paiste, Roland,
Sequential and assorted sonic surprises.
Catalogue = $1 or free with SASE. $4 per
disc. Andrew Faltonson, “Resonant Dwarf,"
903 HE 50th St., Seattle, WA 93105.
24

M.U.G. will provide Gut-of-Print issues for
cost of materials and postage. lvl.U.t1!. Hotline:
212-465-3430 or write: G-4 Productions, PG
Box 615TH, Yonkers, NY 10303. Attn: TH
Back Issues. Phone: {Z12} 465-3430. * * *
Folks in the New York City area can get
copies of unavailable back issues of the Hacker - call Jordan Scott, T13-93'}-2400.

FREE CLASSIFIEDS!
Well -- within limits. We're offering free
classiﬁed advertising (up to 40 words) for
your sampled sounds or patches. Additional
words, or ads for other products or services,
are $0.25,! word per issue {BOLD type:
$0.45,r'word}. Unless renewed, freebie ads are
removed after 2 issues. While you're welcome
to resell copyrighted sounds and programs that
you no longer have any use for, ads for copies
of copyrighted material will not be accepted.
Sony — we can't take ad dictation over the
phone!

Letters for The Interface may be sent to any of the following addresses:
LLS. Mail - The Interface, Transoniq Hacker, 1402 SW Upland Dr., Portland, DR 9722.1
Eectronic mail - l3Enie Network: '1'RAI\lSCtI'~lIQ, Intemet; it-rterface@transoniq.com.
Tiris is probably one of the most open forums in the music industry._ Letter writers are asked to please keep the vitriol to a minimum. Readers are
rminded totake everything with a grain of salt. Resident answer-man is Clark Salisbury (CS). Letter publication is subject to space considerations.

TH,

raeli Hacker who asks questions!!!

in RUM.

I'm purchasing an Ensoniq Soundscape

So, my question is:

3J I might take a stab at this question if
you provide a bit more info; primarily,
what kind of media are you interested in
(cassette, reel-to-reel, DAT, eic.j, are
you looking for 2-track stereo or
muiti-track, is portability a factor, and
what's your price range ?]

Elite, and have found a cool DOS program called CTI-IUGHA which takes

the input source of the internal audio
CD-RUM or line-in, and draws psychedelic and colorful pattems on the
screen, changes at random (with the

l. Is there any possible way to utilize
my 436 as a sorurd hank with or without
SCSI‘!
2. Is it possible to add or to change my

music} or by user kcypresses - all

RAM with ROM bank sounds? (What I

arormd just a NEAT program. Check it
out at:

mean in simple words is can I have
some preloaded sounds, without using
the H.D. or diskettes (Like the TS-10).

ftp :iiwuarchive.wustl.edu,isystems,!
ibmpcisimtelimsdosisound,1'cthug5 1.zip

3. Can you reconunend a good home
tape recorder to comrect to the ASR-10?

Other files there of note are
CTI-IUG51P.zip, a patch for a bug, and
CTI-lUG5lS,zip, the complete source
code.
HOWEVER,

this

program

works

ONLY with Soundhlaster and Gravis

UltraSound. Bummer. I thought I'd
write the Hacker and see if any of you
readers out there are Soundscapc
programming wizards and might be interested in writing drivers for this progra.tn'i'i Any takers?

(P.S. I have no connection to the
authors of Cthugha. I'm just a user.)
Dan Wellmau
Via Intemet
{CS — Thanks for the info, Dan. And
good luck in your ouest...j'

Dear TI-I:
First of all, I like your magazine very
much...:)
I have had an ASH-10 for more than
two years. I own also a 436-IJX2.
Before asking my question I just want
to comment that I think I'm the first ls-

P.S. - I have my own professional BBS
for music. Telephone Number: 9'i2-4769406.
Thank you,
Ariel Dvorjetski
Bialik, Israel

{CS - I) There are a couple of things
you might find helpful. One is a program called "Ensoniq Disk Manager,"
available for $54.95 from Giebier
Enterprises, 26 Crestview Drive,
Phoenixviiie, PA, i94|5t9. it's a {and I'm
quoting Garth Hjeite from the October
I994 TH} "DOS BPS FiieiPC File Converter - (it) takes entire disks or single
files from EPSIASR disks and converts
them to PC files, (and provides)
automated copying." You might also
watch for

{Ensoniq - 2J What you're describing is
similar to the Fiashbanh option that was
available for the EPS-i|5+. Unfortunately, this option was not very popular and
was therefore not carried over as an
AER-I 0feature.J
P

To: interface@u'ansoniq.com
Subject: Ensoniq Service Excellence
I have a KS-32 and had some unusual
problems with a major component manufactured by a third party for Ensoniq.
Unlike some of the comments regarding
Ensoniq's service I found it to be excellent. The problem with my KS-32 stufaced three weeks out of warranty and
rendered the keyboard far less than acceptable. However, Ensoniq immediately responded to my call by authorizing a
warranted repair. While I'm sure Ensoniq will not grant three week warranty
extensions to everyone, this problem appeared to turquestionably eartt their attention.

"EPSii'EAD, EPSWHiTE"

(shareware, available via online FTP oai:.oal:iand.edu.'pubiepsiutiisimsdos),
“EP.SPC" (freeware, available in the
Miﬂiiinusic area of Compuserve), and
EPSiDisit (freeware, also available via
online FTP from oait.oaltiand.edu:
pubiepsiutiisimsdos).
2,1 No. However, ifyou utilise banhs to

load groups of sounds from your hard
dish, i think you’ ii find it almost as convenient as having the sounds available
25

Prim this good report and thanks to
Ensoniq service for not following the
Intel Example.
Sound Questions: If the battery in my
KS-32 goes, can I get a service dealer to
re-install the RAM sounds‘! Do the
memory cards become blank when their
banery goes? Is it possible to replace
either the KS-32 or the memory cards
batteries without loss of sounds‘? What a
waste if not. Five years later the $90

sound card becomes blank RAM?
Can someone make an interface card
that would turn the memory slot into a
computer port for PC based sotmds?
755412134
Via CompuServe
{CS - l’m afraid it's afact ofltffe that if
you remove the batteryfrom either your
KS-32 or your RAM card, any data contained in RAM will be lost. Theoretical-

ly, if you have your battery replaced by
an authorised service center, they
should bach-up your sounds before
removing your battery, and then restore
them once the new battery is installed.
Still, {heaping in mind the capricious
nature of Mr. Murphy), l'd recommend
creating your own baclc-ups for any
data you wouldn't want to lose. Data
can easily be bashed up to a computer,
of course, and nowadays most instru-

ments that feat-ure a dish drive provide

on. The battery inside the KS-32, on the

some way to store SysE.:r from external
devices, so if you don’t have a computer, perhaps you have another heyboard that will do the job. If none of
these situations worlt for you, you might
thinh about contacting the dealer where
you purchased your KS-32,‘ perhaps
he’d be willing to help you create some

main board, must be replaced by an
authorised technician. When the KS-32
is powered on, the main board and the

sort of bach-up for your data.

sees: card batteries are bypassed. So
an authorised technician could replace
the main board battery without losing

data and you can replace the SRAM
card battery without losing data. These
batteries should be goodfor many years

Even if it were possible to interface
aspects of your instrument with a computer via the card slot, l thinlt it's unlihely that anyone will go to the expense
of designing and manufacturing such a
mstem. Still, you never hnow...]
[Ensoniq - The batteries inside the
KS-32 and on the SRAM card may be
replaced. While Clarlc is correct about
SRAM cards in general, you can replace the SRAM card battery by leaving
the card in the slot and the KS powered

(sometimes as long as I0 years under
the right conditions} and when the

"L011? BATTERY” message appears,
you should have a few months to
change it before any loss of data occurs.]

To: interface@transoniq.com
Subject: J Tranunell letter
If you want to compute compressionlenpansion percentage for converting BPM "A" to BPM “B,” simply

divide one into the other.

Transonicl-Net

1

HELP WITH QUE TIONS

All of the
listed below are volunteers! Please take that into consideration when calling. If
you get a recording and leave a message, let ‘mn know if it's oltay to call back collect (this will greatly
increase your chances of getting a return call}.
All Ensoniq Gear - Ensoniq Customer Service. 9:3=[l am to noon, 1:15 pm to 6:36 pm EST Monday to
Friday. 510-Ed?-3930. Ensoniq's Fan On Demand line, (1-S00-25'?-1439) can also be used to retrieve

specs, US -info, turd-drive info, and the like.
All Ensoniq Gear-Electric Factory [Ensoniq's Australia disnibutor}. Business hours - ‘Victoria. {D3}
435-5988.
TE Qttosllﬂns-PatEsalirtgrr, Itllitllirtl; Pﬁl=@@'BItecpc.ccm, Compuaerve: 'l4JZ¢ll,15li2, orl'tUL: ESSLIP.
TS, VFI, and SD-1 Questions —- Stuart Hocking, stul:t@ozerr|aii.r:t:un.au.
ED-1 Quosﬂm -Philip Magnotta, 401-461'-435?, 4 pm — 12:30 EST.

YFH Sound Programmng Questions -Dara Jones, Compuserve: ’l1DS5,l113- or Internet: tIdjones@netconncrun or call 21¢-361-U329.
SI}-1, EiI"l-1, AER-Ill Questions- Iohn Cor, E09-BEE-5519, (NJ) Spm - 8 pro EST weekdays. Any time
weekends.

120 BPM to 1U-U BPM would be:
120,l1UU = 1.2 = 120% compression,lenpansion (the sample will be 1.2 times
longer (slower) than the original.
Keep in mind that equations whose
answer is greater than l will be expansions, less than 1 will compression. So
if you want your sample longer
(slower), the answer should always be
greater than 1. If not, then you’re dividing backwards.
Steve Covello
Via Intemet

SQ-51], ‘FFII -Qneltlom -Robert Romano, hill-B93-4363. Any ol‘ time {writltin reason] EST.

Harri Drives K: Drive Systems, Studios, It Computers - Rob Feiner, Cineturtes. 91¢-9&3-5318.

{CS - Thanhs for the info, Steve. And
those laclting a calculator might waru

E?5, EPS-16 PLUS, lit ASH-1B Questions — Garth I-Ijelte. Rubber Chicken Software. Call anytime. If
message, Eli-hour csllbaﬁ. {3tl5} T52-923 1. Ccmpuserve: ?22ﬂ3,23ﬂ3.

to check out Martin Zimmermann's let-

1larn—3pm EST. Ccanpusertre: 'l'ID2=i,1255.

E511-1 AND SQ-I'D Questions - Tom Mcﬂafftey. ESQUPA. 215-83!} U241, before I1 pm Eastern Time.

EPSlMIllhGElES-QlSQ-Ell lItLU.G. 24-Hour Hotline - Z12-465-34-30. Leave name, number, address.
24-hr Callback.
liillllf Users - Eric Haragar, Canadian LHIIIIII Users Group, (613) 392- 6296 during business hours, Eastern
Time (Toronto, DNT} or call ll-'IIDH..l'NE BBS at {E13} 96-£5-6323 Ed hours.

EQ-I, K5-32-, El]-1, SCSI It hard drive Questions - PatFinnigan, 3 1':-sea-as-ts. stoo ate to rotoo pro
EST.
ESQ-1, hm}! sh Cowuters - Joe Slater, trot) sas-asst. HST.
I

i
' |

in-|

I-1}

26

ter below.,l

Dear Hacker,
I refer to the letter of James Tramnitell
in Issue #120. He was looking for some
1-rind of equation for using the ASE-

10’s time compresslexpand ftmction.
l‘ve created a table that helps changing
sample-speeds-BPM to BPlvl. It also
contains some values that are needed to
change the pitch of a sample without
changing its speed.

If any ASR-10 user is interested in this
table, they're invited to send me their

name and address as well as about $5

I have given up on the idea of using my
Roland MCSUU with the TS. One of the
features I like about Ensoniq synths is
the big display. its brighmess is good in
broad daylight, but in low light conditions it is enough to light up the whole

room. Unforttmately, despite its new
brain, the TS continues to exhibit
frustrating and time wasting little quirks
of dysfunction.

(or equivalent) for my expenses.
Sincerely,
Martin Zimmermann
Rainsumse 3?
CH-SD38 Zurich
Switzerland
{CS - Boy, it seems like everyone’s calculatin' that compressionlexpansion
thang this month. Now if l could just
ﬁgure out how to compress my girth
and expand my height fa ratio of, say,
4?:l ought to do it} l‘d be setlj

Dear Hackers and Ensoniq,

Wlty Ensoniq, so much right and so

much wrongl? Wily are the patch buttons grey and not black like all the
other buttons? So they can be seen?

track in EDIT EVENT, often the exist-

Questions —

ing data is shifted, sometimes bars
away. This appears to happen if GO-TO
is used in the process. I had the same
problem with the SD-1. They tell me
that Ensoniq is working on it. Is there
any progress and will there be an

upgrade in the operating system?
(2) It takes objection to disks sometimes; FILE OPERATION ERROR 3.
Disk has to be reformatted and files
copied from back-up. I have to have
two back-up disks!
(3) DISK ERROR; -----rebuildll
(4) Often, after choosing a different sequence, the data entry buttons or the
slider will not change and keep the
value of a selected parameter until it is
newly reselected.

Since that letter, I am pleased to say
that I am feeling much better, mainly
because my TS-12 has been back to the
Ensoniq Hospital in lvlelbotu-ne, had a
brain transplant, (complete motherboard
replaced), and is now acting in a much
more civilized manner. However, it still
has a long way to go to reach true
Homo-Sapiens-Sapiens standard.

(3) After creating a song, when I try
GO TO a particular step, TS says
SONG IS EMPTY! After much frustration, reinitialize and start again!

(1) At last, the Electric Factory (Ensoniq Australia) people have agreed
there is a major hug in the operating
system. When data is entered into a

It feels great to be a part of the world
synth community. Thank you for printing my mammoth expose of self confessed madness, and for your kind
suggestions of solutions to my problems. I hope one of those operating system Hackers will contact mel

track, one bar cannot be deleted from
bar 1. Data buttons don’t work, slider
does — but I could not delete that first
bar.

(1) How can a user effect setup be
copied to another sequence‘?
(2.) How can tracks 1-6 be silenced,
leaving tracks ?-12 sounding, in one
procedure? This would allow each sequence location to hold more than one
sequence. I realize this can be done by
creating a song, but that uses up another
location. I've tried setting VOL to +ve
and -ve, selecting the required tracks,
and then adjusting the CV control to
either extreme, but that only affects live
played tracks, not sequence data.
(3) How can a sotmd be programmed so
that in different patch selects, some
have SUS- ON and others SUS- OFF?

Similarly for a layered prog?
Discoveries -

_

(5) If the Tempo track is present, data

or none. then the SONG TEMPO will
not adjust the overall tempo.
(6) ERROR 129 occasionally. TS usually reestablishes contact with no loss of
data.
(T) When deleting bars from a song

Change of Address
Please let us ltnow at least four weeks in advance to avoid missing
any issues». The Peat Office really will NUT reliably forward this
tzypeof mail. (Believe us, not theml) We need to know both your

T ' susscntnrlou INFORMATION 1
12 MONTHLY ISSUES

’

L US: $23tyear. All others: $32lyear {please use international Money
Order, payable in US tends}. Please make payable and mail to:
I

old and your new address. (Issues missed due to lateor no change

notification are your own dumb fault - we mailed tberni)

To get a track to send a PROG, change
number greater than 60 to EXT, without
it changing the FX of the sequence.
Select the sound you want for the track
to play locally, set the track to
SEND-----, enter the PG in EDIT
EVENT, (may be -1), and set the bank
to 12?. This way I send any PG to my

_

TFIANBUMD HACKER
14-D2 Slfl UPLQHD DFL, PORTLAND, OH 972221
—i||n—

2?

I

_...

J-

ii-|

FX tmit on the same track which I play
live.

COME UN PEOPLE! Get writing...
Share your frustrations, your loves and
hates. Tell us your tricks and dis-

Save memory, by erasing any track

coveries and enpose your opinions and

recorded, but empty, in MLILTI mode.
Mark centre' of MOD wheel with
white-out, to show position. TEMPO
track only needs to be recorded at point
where tempo change occurs.

passions! How about a regular feature
in which musos show or explain their

set-up, their combination of gear, how
it’s held together. and perhaps how they
actually work on the gig?

To save sequence locations, copy those
seq that are only used once in a song, to
the song tracks. Most information about
the TS applies to SD-1. TS-ROM string

Yours sincerely,

sample is ﬂat as a tack! De-Tune (Re-

{TH — Well, the lnterjface is a good
place for that, and - it already is a
regularfeature.I

tune] by approx +10.
A sliding potentiometer (available
cheaply at electronics shop, or out of
old TV), can easily be wired to make a
CV controller, and put on top of synth.
A cheap momentary switch can similarly be used on board instead of a foot
pedal.

South Australia

{CS - lJ Select the effect you want to

copy, and press the "Copy" button.
Select “MAKE COPY." Select the sequence into which you want the copy
placed. Hit the "Copy" button again,
and select “RECALL.”
complish this without the use of esternal MIDI devices of some sort. Perhaps
some reader brighter than l can come
up with a solution {and that would be
most ofyou, you hnow).

_- -

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.

-.-\.-..-

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Eli? l=G=Gi5$— FIST Lﬂlllillﬂ
1UU% SITISFICTIUII
3|]-UIN HUIIET

BACK BURRIHTEE

3J I'm afraid a sound can't have different sustain pedal settings accessed
via patch selects. However, a sound
that‘s part of a preset or sequence can
have its sustain pedal setting predetermined. Try selecting a preset, for
example, and then pressing the “Controllers OtdO_tjf” button. From this
page, you can set whether each of the
sounds in the preset will respond to sus-

+ $3 ElH

Press TRACK EFFECT. Press the
COPY button. Press RECALL.

2J Mute TRACK VOLUME on tracks i‘
through ti, one at a time. There isn‘t an
easier short cut. Each tracl: must be
muted separately.
3) SUSTAIN ON and SUSTAIN OFF
are traclt parameters only.I

lvlel Laraway

2} I can’t think of any way to ac-

'
_
:-

EFFECT. Press the COPY button. Press
MAKE A COPY. Select new sequence.

tain pedal presses.
And by the way, thanks for the tips,

To: interface@transoniq.eom
I am trying to automate my sotmd
design on the ASR-10 using a sequencer to send SysEs data to change parameters, make loops, copy waves, etc. I
want to eventually program a list of
transformations and parameter settings
on a sound and then apply that list to
other waves without having to sit there
and do it manually. The problem is that
there is no SysEn for sampling. I can
loop, normalise, and everything else,
but I can’t resample with effect. Wlten I
virtually press sample, it works, but
then if I virtually press enter or left or
right, it ﬁrst takes me out of sampling
mode. Is there a way to do this?
Thanks

Jordan Roseman
Jordanl]@aol.com
{CS - As far as l can determine, the
ASE ceases to respond in any predictable way to virtual button presses once
sampling has been initiated, so I guess
you're out of lucl: on this one.J
Dear Hacker,

tool}

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FilFl CATALOGS BAH:

{Ensoniq - lt’s good to hear that you
are feeling better about your TS-l2.
Several of the items in your letter have
been sent to our software department.
Keep postedfor more details.
Here are answers to your three ques-

‘ ' Ml DI
Al? tions:
310399 -U095
wrrwwqnnmr
Fax‘

'

l'-'i'-i'

.

.__..

1-Iilri ‘HI - 'ﬁIH|! ||I.+:

till. 't-no-:'|n

I) Select the sequence. Press TRACK
28

1. Cm my SD-1 Ihave a harp patch in a
sequence that requires a special effect. I
have been trying to find a way to spread
the notes from D3 to G4 across the
stereo field, with D3 located at the pan
position ill} and G4 at 99. How can I do
that using only one track‘?
2. Occasionally I rim into a problern
when using pitch bend on patches with
over a certain amount of sustain. ‘When

bending a note, any prior sustaining
notes will also bend. Any way to set
things up so that only the last note on
will be affected?
Thanks,
B. N.
Dallas, TX
{CS - l) Normally, one would use the
keyboard as a modulator, routed to the
PAN MOD parameter, but this won't
provide you with as dramatic an effect
as you're looking for. However, you

mode. Press the Pitch Mods button, and
set the BEND parameter to the pitch
bend range you want to use followed by
the letter "H." ln other words, if you
want the bend range set to two
half-steps, set the BEND parameter to
"2H." Now, only notes that you are
physically holding on the keyboard will
bend when you move the pitch wheel;
notes that are sustaining because they
have a long release time, or because
you're holding the sustain pedal down,
won'tbend.]

can make the eﬁect more pronounced
by using the MOD MIXER to multiply
the eﬁect of the keyboard as a
modulator; just use KEYBOARD as the
SRC 2 input to the MOD MIXER (you
can leave SRC I set to OFF), and use
the SCALE control to multiply the eﬁect
of the keyboard modulator by a factor
ofup to 8.0.

2] There's no way to set up the pitch
bend to apply only to the last note
played, but there are a couple of
work-arounds you may find helpful.
One is to edit the sound in question to
use Poly-Key pressure to control pitch.

The Interface,
I just bought the TS-10 a month ago,
I've finished my first issue of the Hacker and now you're reading my first of
many letters to you and Ensoniq.

#1 - Great toy, and I mean that with all
due respect. Everything to me is a toy.
Some are bigger than others, some are
better, and the TS-10 is both.

ing now't?! l) I wanted to get an SD-1 so

to utilise pitch-bend in the "held"

my partner and I could swap ideas, but
they are hard to find! And when you do
find one, they don't want to sell itl

ntEnemmq(LS.
umtnmemou}
EP5
EPS-H
EPS-1B PLUS
HASDS
HIHHGE
ESQ
ESQ-M
SE}-BU
VF!
VFI-SD
SQ-1
SCI-‘E 32
SI}? PLUS
SCPH
SQ-H 32
SCI‘-H PHJS
SID-2
SD-2 B2
ED-1

ED-1 as
DPt4

2.49.-'2.4=ﬂ
2.49t'2.41
1 .31’1 .£lﬂF
2.0
3.2
3.5
1.2
1.5
2.30
2.1l2.ﬂﬂ
1.11
EH3
1.15
LED
2113
1.15
1 .2
2.03

DP!-I-+

HS-32
ASH-1e
Asa-as
KM}!-B
t-that-1e
TS-1 l1t1 2
ttT-rates
aoundeeepe

#2 - I want to stay as up-to-date with
this system as possible. How can I tell
what RUM version I have‘? And how
cart I know when there is an update’?
Where do I go? What does it cost?
What's with this ROM version stuff‘?
Well, that's it for now. I have so much
to ask, so much to learn, so much to
say. But I also want to play my baby. I
call her Tess. No, it's not my wife - although my wife does call it "the other

gs esg s s

many cases, free.I
Hacker:
Keep up the excellent work! Your mag
is eagerly awaited each month.

llﬂl
@h®bU@l‘l®lll$
H.e:ot_E.e.1.ea..s_e
___

_

-..

"'53;t'h'ti;:!"aa't

—-.--

I

"I:n:'--on -r""““"'
-

'- - ..--:.,_--___-..,
'
‘"57!’ ___ _ '-"FP2-21-;-..-rs

I

I‘
' It

"' -

‘.C

"'

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oi

Phat Loops ll’: Samples

Haw York 5t_y1ln' — ﬁver TDICI phat
hip hit]: lu-r.:I]:I:t. I-11-II: drurnl. freaky hllt. hilt!
riffs, melndlc lnctps, and drum samples?

smpunuatoco $69.95 +5.05 5&1-I

i

‘Th-ere 1 nu enying I: III I: I: Ill: 1: I
grunt |:|I.'rgIlr|" - J'l|:rt .|\.!.lr.'lr|., lll'.:;|rl:|tlI.r\d I-‘eh-. 95

R-nprns!nt1|:|.'
Hip l-In-p
Eve:-g,rb-tad}.-I‘! gI,l\.rl:|1'
up the preps on thls
julntl It’: Ill. butter...

sample Audie fill!

Hey, thanks for listening (reading)!
Gerald Davenport
Nevada City, Ca

qillll

1-1-

stcratchen, frailty bits,
and drum 1.-ans P Ines-

grin

."‘t'!i*‘."!-"I*!“"'i* ‘i*".“

TS-I0, press and hold the Presets button, then hit the System button. The
T5‘-lb will briefly display both ROM
and KPC version numbers. And you
should be notified of updates if you've
returned your warranty card. Also,
we'll keep you posted in these pages.
Updates should be handled through
your local authorised Ensoniq Service
Center. The charge may vary, but
should be quite reasonable, and in

D‘!-I'¢1' T-DD lﬂﬂ pa.

woman!"

Il.‘l=ﬂ'l4.‘llI
4.'lC|I."4.'lﬂ'

To flnd the software versions for your

Well, for ten years I have had a DX7
and a TRTDI drun1 machine, lvIlDI'ed
via an SQ-1 sequencer. (Are you laugh-

The other would be to set up the sound

C=

structions are generally stored in what
are called ROM (Read Only Memory)
chips. A manta'acturer can then change
these instructions for whatever reason,
store the new instructions in new ROM
chips, and distribute the new chips to
customers who want the new version.

$49.95
+s.os seem

‘
_ *

1.

t

in #1}:lit'-=.
liraﬁgfiE

Drder by phone or mall. Prices good worldvrlde.

Dvemlte delivery lSlD.DDl available on prepaid orders.

VISAIMC, EDD. CHECK. GR lr!Ul'~lEl" ORDER

{CS — The TS-ll] [as with any computerised device) has a set of instructions which tell it how to behave, and
how to respond to user input. These in29

Toll Free Info ll: Dreler: 1-B-[Hit-331-EH41
1-5 15-33 1-BB-D4 {In ternationall

On Point Productions
61 Superior St.
Port jeffersnn Station, l*~I“r" 11775

To Jeffrey Rhoads: As you no doubt
know, there's one curious omission
among the RUM waves in the TSSeries - swept brush! There are several
brush hits, which are very usable, but
why go halfway when you can go all
the way‘?! Iused to own a VFX-sd and
there was a third-party sound for this
particular need. When I traded in my

eludes some Jase Trio instruments. it

iously reappeared. But don't panic -

includes a swept brush sound. You may

shit happens. Just try again, perseverance should win out. I'm surprised

order this library at you local
authorised Ensoniq dealer or directly
from Ensoniq at I-800-553-Slﬁl .,l

I have noticed that when sequencing,
say, a drum track, and when reviewing
with the event editor function, the TS

Hacker In response to Yiasomnis Anastasious's
comment in .lune's Interface regarding
"unassigning" selected sequence tracks,
I have a solution!

misty old axe to upgrade to the TS-ll] I
was surprised to leam I had lost a vital
patch. lvly limited talents as programmer prevent me from creating a convincing program so I'm relying on your

Erasing the track twice on my TS usually results with the track reverting to
"unassigned." Then, before playing the
sequence, save it to disk, erase the sequence from memory, reload it and,
voila (or violalviolin - you decide}.

expertise on this one. If you published a
swept brush patch for the TS-1[l,l12, I'm
sine you'd make many owners happy!
May the sun follow your path where
ever you go and may your dream keyboard be announced in an affordable
price bracket!

that Ensoniq didn't include this tip in
their manual or in their reply.

sometimes "refuses" to go to the last
few events at the end of a particular
track, making editing difficult. The only
way to view these events is to either
scroll through the smallest time parameters or to copy something previous
into a further part of the sequence. It's
almost as if the TS is "afraid" of looking over a cliff edge, you have to nudge
it, or extend the cliff face! Why is this‘?

If you have several tracks to "smassign," you may find that for some
strange reason after you have done this
to, say, tracks 2 and 4, then changed to
the ‘l-12 screen in order to do, say,
track 6, then go back to the first screen
to check, that the tracks have myster-

Ivlarkku Perala
Finland
{Ensoniq — Try AER-ill Library AS-T.
the Baldwin Piano library, which in-

Also Ensoniq - I'm still waiting for my
"I (heart) my TS-12" bumper sticker
(and roadcase sticker)!
Jeff Weir
New Zealand
ICS - Thanksfor the input, ..l'e_,ﬁ'.",l

‘I

-I

1 L.-"-J
MIRAGE

Synlaur Mirage Library [13 disks}
Ensoniq libraries {SID-A, SID-B, or5LD-C, llldisks each}
K-Muse libraries lTechno, London, LA, New York, or

Classical, Ill disks each}
lvlirage Formatting Disk
Advanced 5arnpler's Guide with MASOS disk
Soundprocess library with OS I? disks}
Soundprocess Manual and Tutorial

$s9.9s

it-9.95
$t.9.9s

$12.95
$19.95
$99.95
No.95

EPS, EPS- 1 6,. ASR- 10 (TS-1 0,. TS- 12)

Synlaur Sample Sets I through 13 I4 rlisks eachl
$29.95
Set l:5oviel Synlhs Set 5: Synlhia 1
Set El: Tuned Perc.
Set 2: Live Drums
Set bi Percussion
Set ll]: Sound Fill 1
Set 3: Kickin Drums Set Tl: Guitars
Se! ll: Sound FX 2
Sets}: Synth Pads
Set ll: Basses
Set 12: llocoder
New - Set I3: Techno

Ensoniq sample |ibrariesl5lT-1 thru 5LT-13, llltiisltseachl

$?4.95

ESQ-1,. SQ-80
Syntaur Soundsels 1, 2, 3, or 4 [rill patches, disk or cassette}
Ensoniq ESQ libraries, ‘v'PC 1 thru 11 lﬂll patches on rliskl
Ensoniq 1r'PC Master Disk {BBO patches on disk}

Ensoniq so-so libraries, VSD 1 lhru ‘v'SD-4 no tcheson disk}
Ensoniq 'v'5D lvlasler Disk use patches on digit}

$1s.95

$29.95
$9195
$19.95
$49.95

SQ-1, SQ-2, SQ-R, KS-32'
Syntaur SQ Sel 1 iilll patches on sysex disk}
Syntaur SQ Set 1 till} patches on loll-voice Rhlvl card}

$39.95

$9.-r.9s

VFX, VFX-5d,. SD-I
Elyntaur "v'Fli Sets I or 2 H5-ll patches on disk}
Synlaur 'v'Fll Sets 1 or 2 [bl] patches on EEPROM cartridge}

$39.95

$9r.95

T$- 1' 0,. T$- 12
Synlaur TS Sets 1 or 2 so patches on disk}

$39.95

KT-76,. KT-35'.‘ KT Set‘ L 80 new patches on disk, $39.95. On PCMCIA, call for pricing.

\Ne have sounds for all Ensoniq keyboards.

Call novv for our free catalog!

All orders must add $4.00 ior shipping l$Er.llil for orders outside the U5}. Shipment is normally made within 24 hours. Texas residents must
add ?.25‘l"a sales tax lll.25"ii: willtin Houston}. Payment can be made by check or money order, ‘visa, MasterCard, and Anterican Express.

Orders:

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2 Sequences

Sequences tor the giﬂrrtg musician...
For the Ensoniq

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All tntas also -i"l|"illHl.'.ll'E' in . .

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60 sounds, 20 presets. Disks: $12.50.

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ASR + 16-PLUS
EFFECTS
The 'lr"oder synthesizes vocals out of any sampled sound. It can sound like a vocoder, but
there's never been an effect like this for any
other keyboard. The lowest lo keys of the keyboard coch trigger a different vowel or conso-nant. Your left hand actually forms words by

"spelling" them. IDK, it takes some practice to
sing a whole sentence.) Your right hand controls the notes and chords of your robot choir.
And bow long have you been waiting to make a
big fat brealby choir sing "Louie, Louie?" Dr
maybe it was a oar crash snare that you needed
to say "morn!" Heed details? The ‘v'oder is a
3-band parametric HQ effect for the Ensoniq
ASH-10 and EPS-lb PLUS. This EQ can rapidly "morph" between many different settings.
These different settings impose vocal characteristics onto any sound that is run through the
EQ. It's much cooler than a Morpheus.
Audio-in is supported.
The "v'oder disk is $49.95 and comes with
sounds: a choir, a solo voice, a robot voice, a
talking rhythm loop. Drder by MCPHISA. by
calling {E10} 251-9562 or send check or money
order l.o W'P.."'v'eBUY Industries, PU EUR 233,

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but add $15 outside USICANADA. PA. residents
add 6% tax.)

VFX, "t"Fl'{sd, SD-1 PD ‘Volumes l do 2
I5-0+ sounds, 20 presets. Disks: $12.50.
ESQ-1 PD "v"olume 1. 273 sounds.
SQ-39 PD Volume 1. 115 sounds.
Disks: $15.59

SQ-1 PD Volume 1. E0 sounds. Disks: $19.50

EN$Dl~llGl DlSl(E'l'I'E MANAGER
Use Ensoniq Disks on your IBM-PC
Flead/WritetFormatlCopy and more.
Supports all Ensoniq Disk Formats.
EHSONIO MIDI MANAGER
Send or Fleceive Data through lvllDl
to your PC for those keyboards:

KS-32 VFK SQ-t SQ-2 ESQ-1
SEQUENCE CDNUEHTEHS

Convert Standard MIDI Files tetfrom
Sequences lor these keyboards:
TS-1 Ur’12
SCH
SQ-B0
EPS-16
KS-32
KT-Tblhb

SD-1
EPS
SC}-2

'v'F)(-sci
ASH-10
ESQ-1

SD-1 TD TS-10l12 CONVERTER
for l.lFl-I-sd er SD-1 sequences h songs.
Gall new to order or for more information
on these and other software packages.

Giebler Enterprises
20 Crestview Drive
Phoenixville, PA 10460

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Tallahassee, FL 32310-B620
{Q-04} 5?5-5551

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FREE booklet reveals dozens of
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8341 Ripple Ridge
Darien, ll. B0561

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We Support Ensoniq - Roland
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BULK FIATE
U5. POSTAGE
PAID
PCIFITLAHD, OH
PEFIMIT ND. 11

TRANSONIQ HACKER
14es sw UPLAHD en, Peatume, en etrssi

ADDRESS CORRECTION REQUESTED

BLICFIIPTIDH MATEHIAL
DATED MATERIAL - TIM E VALUE

Pestmaster: Please return Ferm S54? as seen as pessihle se
we ean ehange eur reeerds. This is e menthiyr puhlieatien.

Publisher: Erie Gelsllneer
Editriit: Jane Talisman

Adirenhlng rates: Please send fer rate eard.
Rates fer euthers: Please send Ier writer-inie card.

Our isemewhat regular] lliustrieus new et writers Includes: Graig nnderten, Reeinr
Barman, Paul Bissell, Steve Birhurst, Eiarry Carsen, iutarit Dliiten, nntheny Ferrara,
Pat Finnigan, C-haries R. Fisehar, Jeffrey Fisher, Gary Gieeler, Jim Greta, Garth
Hjelte, Brree inman, Jeii Jetten, Dara Jenes, Brad iiauintan,Jehnn1r Kienaris,
Jehn Lei init. Daniel Mendel. Sam iuilms, Jeiigag Rheads, Brien Rest, Cleric

Sueseriptiens: 12 rnenthiy issues. US: $23»'\,rear, All elhers: $3.'E.f3rear. Payable
in U5 funds.

Saiishunr, Tern Shear, Jee Slater, Kirk Siinitard, J

I

Teiln, and Steve irineent.

Gepyright 1995, Transeniq Haeiter, 14-32 SW Upland Drive, Pertland, DR
9?22‘i + Phene 1 {EH3} 22? ' EB-'-IE [B em te 9 pm Paeiiie West Beast Time] -

Transeniq Haeirer is the independent user's news magazine Ier Enseniq
eredueis. Tranaeniq Hacker is net affiiiated in any way with Enseniq Gerp.
Enseniq and the names ef their varieus preduets are registered trademarks ei
the Enseniq Carp. Uplniens expressed are these ei‘ the authers and de net
necessarily refieei: these ei the publisher er Enseniq Cerp. Printed in the
United States.
3

3

E

E

i

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Ensoniq Corporation Transoniq Hacker Archive Issue #122 Th 122

Ensoniq Corporation Transoniq Hacker Archive Issue #122 th_122 Ensoniq Corporation - Transoniq Hacker Archive - Issue #122

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