TH 146 Ensoniq Corporation Transoniq Hacker Archive Issue #146

Ensoniq Corporation Transoniq Hacker Archive Issue #146 146 Ensoniq Corporation - Transoniq Hacker Archive - Issue #146

Ensoniq Corporation Transoniq Hacker Archive Issue #146 th_146 Ensoniq Corporation - Transoniq Hacker Archive - Issue #146

User Manual: Ensoniq Corporation Transoniq Hacker Archive Issue #146 Ensoniq Corporation - Transoniq Hacker Archive - Issue #146

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Issue #146, August, 1997
(c) Copyright 1997. Can be copied or printed for personal use - but
NOT for distribution.
Due to a 50k file size limit on some mail systems, this issue is
being sent in 5 pieces. This is File 1 of 5.
eTH Notes
PLEASE, PLEASE let us know if your email address changes.
Also, if there's a size limit on your mailbox, please be sure to
empty it out around the third Wednesday of the month - thanks!
If you're sure that your mail system can handle files around 200k,
please let us know and we'll mail you your eTH in one tremendous
lump. If you're not sure but want to try it, just let us know and
we'll zap out a test.
If getting text files around 200k is a little bit new to you... a
helpful hint: DON'T just send them off to your printer port! It's not
our intention to burn out your printer. The idea here is that you can
scroll through most of eTH on-screen, and then maybe print out an
article or two for study or a patch to enter - but NOT the whole dang
thing!
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In this issue...
FILE 1:
Contents
Front Panel
The ASR as Mallet Percussion by Pat Finnigan
Rubber Chicken ad
Sequencing for the KS & Related Synths by Dan Rohde
FILE 2:
Ensoniq's SCD-4 - Emerson Organs/Synths by Britton Beisenherz
Opticase ad
Transferring MIDI Songs to the TS Series by Dan Wellmann
Iomega Zip and the ASR by Eric Montgomery
Basement Tapes: My Scarlet Life & Lloyd Joseph Rose
Steve Vincent
FILE 3:
MR HackerPatch
Classified Ads
Waveboy ad

The Interface - Part I
FILE 4:
The Interface - Part II
FILE 5:
The Interface - Part III
Hacker Booteeq Ads
Boilerplate
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FRONT PANEL
Hacker News
As you can see, once again our dedicated bevy of writers came through
and we've managed to avoid a "Special Summer Skinny Issue." THANKS
folks!
Ensoniq Announcements
Upgrade Kit Available for KT Owners
Ensoniq now has an upgrade kit available to current KT-76 and KT-88
owners. The kit will upgrade a KT-76 into an Ensoniq E-Prime and the
KT-88 into a KT-88 Plus. New features include all new sounds with the
best sounds of the KTC series sound cards, 12 new piano wave forms
and SoundDiver software. (This is a run-time version of E Magic's
sound editing program which will be an E-Prime application only.) The
cost of the upgrade kit is $149.95 including parts and installation.
Installation must be done by an authorized Ensoniq repair station.
New OS for ASR-X
The 1.12 software version is now available for the ASR-X. This new
operating system version will enable the ASR-X to...
1. Import ASR-10 and ASR-88 sounds from HD floppy d‰isk.
2. There is a kit mapper which provides an easy way to get all the
import sounds in a drum kit onto the pads at once, allowing for
whole-kit jamming.
3. The ASR-X can now automatically optimize the volume of your waves
as they're created, with the new auto-normalization feature.
4. The ASR-X auto-zero cross finder can now automatically search your
waves for locations that are likely to produce satisfying loop
points.
5. Each track in the ASR-X now has parameter -TrackMIDIOut- that
allows you to control the transmission of data from the track to an
external MIDI device.
6. The new local-off mode turns the ASR-X pads, Patch Select buttons
and foot switch into "MIDI sounds." This can be handy when using the
ASR-X to record into an external MIDI sequencer.
7. Track Mix in the ASR-X sequencer has been expanded to include the
ability to record realtime changes for a wider selection of track
parameters.
8. A new disk file type, ALL_SEQS, has been added. The ALL_SEQS file
type Ëallows you to easily save (and later re-load) all the sequences
in RAM to floppy disk.
9. The Patch Select buttons are now full-fledged voice modulators

that can be used to make your waves more dynamic and exciting.
10. When disk files require more than one floppy, the disks are now
assigned a number to help make reloading the data even easier.
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The ASR-10 as Mallet Percussion
Pat Finnigan
Greetings and salutations from the field here in Indiana. Sorry to be
away, but every year the dreaded two-week annual training for
National Guard types is scheduled in summer. So this year the 38th
I.D. National Guard Band here in Indiana went to Elkhart to perform
for the Jazz Festival held there. Sponsors like Selmer (the sax
company), Gemeinhardt (the flute company), Crown (the amplifier
company), etc., sponsor the event, and as this was the 10th year
anniversary, some incredible (and obscure) players were on hand. As I
run ·sound, play bass and keys (stage band) and mallets (concert
band), I was the proverbial one-legged man in that famous kicking
contest, and free time simply didn't exist for me. But I did hear
some incredible performances by Diva (an all-girl stage band) who
gets fresh arrangements from Tommy Newsome (of the old Tonight show
fame) weekly, Don Fedchuck's big band (who play an arrangement of The
Flintstones that goes up a half step every two bars) (try soloing
over that!), Bill Watrous, Jack McDuff, the list is endless...
But back to the now, I discovered that our concert band was carrying
around about 700-800 pounds of mallet gear for me that took an hour
to set up. Then I had to mike it, run cables, get someone to play it
while I set levels; in short, a real PITA. So I took it upon myself
to convince the bureaucracy over me (I'm a mere sergeant, not an
officer or the commander) that we could not only save space storing
all these marimba, vibes, celeste, etc., but save setup timeˆ by...
Employing the ASR-10 as the mallet section! Using a single keyboard I
could cover all the xylophone, marimba, vibes, glock and carillon
parts without dragging around all this Deagan percussion stuff. Yes,
I'd need an amp to monitor all this stuff, but we're still talking
saving 600+ pounds of tone bars and an hour of setup time. So they
bought off on it...
And I discovered that playing four parts simultaneously requires a
bit of thoughtful programming on my part. And therein lies the
purpose of this article. This is squarely aimed at all you music
educators who are tired of all the setup time, load time, dragging a
vibraphone around on a rolling stage on the sidelines of those
football games your marching band is going to play for this fall; in
short, this might just make your season. It is certain to make your
budget...
THE SECRETS
(A) Setting up the instrument for multiple parts: for instance, most
band charts for mallets overlap. That is, an eighth-note vibe part
may be going on while ¸a carillon (chime) comes in as a whole note
every 4 or 8 bars. I discovered this on the old "Eternal Father,
Strong to Save" arrangement where vibes play an Ab 4-note major chord
while the chimes bang out a single fortissimo Ab. How could I do both
parts?
(B) Split the keyboard. I wound up assigning the carrilon (I took a
sample of an SD-1 "Tubular" patch) to middle C and down, and vibes to
the D above middle C and above. The carillon has simple parts written
for it (with the exception of Michael Kamen's "Theme from Robin Hood,
Prince of Thieves") as it's primarily used as a church bell for
effect, so mapping it to the left hand allowed melodic mallet samples

to be mapped to the right hand for all those spaghetti parts where
they follow either the flutes or clarinets (or piccolo on occasion).
(C) The infamous Ensoniq Double-Click. Okay, you say, that's fine for
chimes and vibes; what about glock and marimba? Well, gang, most of
those other really active mallet parts should be mapped to the upper
half ofı the keyboard (sounds like I'm talking about a Mirage, eh?) as
per (B) above. If you note-limit your patches/tracks via key range,
you can double click right-handed mallet samples on top of your
left-handed (non-blinking track light) samples on the fly. If you
understand these ramifications, you can set up presets and save as a
bank! And now, if one player can't play both parts, one can play one
part on the lower half of the keyboard while another plays another
part on the upper keyboard half...
THE TRICKS
(A) Don't use a SCSI drive if you don't have to. If you're
comfortable with setting the ASR up in this way, never mind, but it's
SOO much easier to have all the instruments load as a bank from a
boot floppy. It's not as convenient as a SCSI drive (nor as fast),
and it requires step (B) below to work, but it's a little easier
setup for those pesky night games as well.
(B) Edit your samples. I've got a killer vibe sample in 37 blocks,
and most of it's because of the sterling ASR FX processing. LÎook at
the sample, move the start pointer into the sample 2-5 blocks to
where you still get the attack. Now move the loop position forward to
the start point to where there's just a hint of timbral shift and
increment one back. Now truncate and save. You can do this to most
all the mallet samples and save 100-300 blocks.The exception is the
carillon, as its harmonic structure/content is so all over the place,
moving the loop point forward occasionally changes the pitch of the
instrument, so just edit the front end of the chime sample and
truncate.
(C) Use the patch select buttons. As the patch buttons invoke layer
changes, edit these layers to taste. My vibe patch uses OO as dry
vibes, OX adds a slow rotor, X0 is a fast rotor, and XX is no rotor
but small room reverb. My glock sample uses 0X to mute the sound on
key up (so when I'm running 16-notes they don't blur into an
inharmonic smear at tempo). My marimba uses the factory 0X as
restrike on key up (so I can do rolls by simple key-up/ˇkey-down
action).
(D) Normalize gain! I thought I had the perfect setup, went to
rehearsal with my ASR setup, and discovered my instrument levels were
all over the place. If I got the carillon level right for a certain
chart, my vibes peaked the mixer. So I backed up and set all my
instrument levels for full volume fader equaled 0 dB on a mixer, and
THEN connected...
(E) Use the CVP-1 foot pedal controller. If I'm playing two mallet
parts, how am I going to to do crescendes/decrescendos? If I reach
for the volume fader, one of the parts will suffer. Now I can do vibe
rolls at pp and swell them to fff with my foot! It still amazes the
conductor...
THE DEAL
If you're a music educator, I'm sure you're already feeling the
budget cuts of the sweeping legislation that're slicing liberal arts
programs across the country. I quit teaching biology at the secondary
level when my classroom budget was cut to $37 a semester for
expendables. So stretch your dollar. This above scenario will work on
any of the cheaper keÈyboards your school system/music department
already owns; instruments like Yamaha PSR-series and equivalents will
work fine as well, although you can only get two instruments across

the keyboard with that type of architecture. And you've got to
program every possible combination (vibes/chimes, chimes/glock,
marimba/xylophone, etc.) as a separate program into a user location.
It's just so much easier with the Ensoniq double-click. But I have
discovered one fatal flaw in this arrangement.
The conductor is sending me the harp glissandi parts and the mallet
drum parts now. I told him I'd cover them if they'd buy me another
ASR-10. Since we have little funding for the military (it's a Clinton
thing), let alone an army band, it seemed the politically correct way
to say no.
After all, they're your tax dollars...
Bio: Pat trusts you sleep better at night knowing he was repelling
invaders (both foreign and domestic) with his Ensoniq gear during his
annual training schedule. He vehemently deni˙es being a member of
Semper Phi.
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This is the BEST DEAL in new hard drive technology! Cartridges
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Chicken ZipDrive w/ ZipDisk full of sounds - $279.95!
Best Prices in CD-ROM Drives!!!
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Any speed - it doesn't matter to a EPS/ASR/TS. And not all CD-ROM
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Chicken CD-ROM Drive's work with all Ensoniq products - at the
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The unit comes in a sturdy desktop case (rackmount available for
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Chicken ASR CD-ROM Drive
$129.95!
Chicken 16-Plus/TS CD-ROM Drive
$99.95!
COMBO DRIVE Package! We can built to your specifications a singleunit with a hard drive and CD-ROM Drive in tandem! ZipDrive &
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Sounds added on ZipDisk
add $120!
Sounds added on Chicken CD-ROM
add $180!
We are WaveBoy dealers!!!
The Voder Disk Vocal synthesizer - better than Morpheus!
Rez Filter Disk Add Resonance filters to the EPS/ASR
Time-Dicer/Audio In (16+) Pitch-shifting and ext. input
Parallel Effects - 4 busses instead of 3!
Soniq Demolition Disk - noise in a musical way!
Temo Sync'd Delay - Delays sync'd to the int. Sequencer!
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Ensoniq Disk Tools for Windows $39.95!

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Basic Sequencing for the KS - & Related Synths
(And Other Oxymorons)
Dan Rohde
Having done sequencing with my KS-32 for a few years, I realize I do
a lot of things automatically now that tookÔ considerable trial and
error to learn. It's sort of like explaining how to ride a bicycle.
When I look down to take a close look at exactly what my feet are
doing, I tend to crash.
There is no one right way to record background sequences for songs.
(But there is MY way!!!) Yet sequencing is a process with a logical
progression, like a recipe for making brownies. The KS-32's
Musician's Manual devotes three Sections to sequencing: the Section 1
Tutorial, Section 9 - Sequencer Basics, and Section 10 - Sequencer
Programming. That's a total of almost 70 pages of heavy-content
reading, so it's not surprising that some synth owners don't make the
brain investment to figure out all that sequencing stuff and instead
settle for just playing the various Sounds live. The KS-32 is out of
production, but it does have an excellent onboard sequencer that,
though it doesn't have a large memory, can play up to 16 tracks. (!)
When I listen to my first sequences I cringe - for a lot of reasons.
Overdone drumÔs, ubiquitous strings, unnecessary memory usage,

unexplainable bird calls...how did I do that anyway? Yet I still
remember the joy at being able to arrange songs I'd played on my
plain old piano for years. Some saxophone here; some violins there;
some analog synth in measure 1,456. And I still get a huge charge out
of playing along on my KS to a sequenced arrangement I've made. No,
it won't sound JUST LIKE THE RECORD TAPE CD. But it will sound good damn good, in fact, once you learn how to wrestle that sequencer
critter.
An analogy that might help is to compare a sequence to a file created
on a word processor. When you create a new document, you make a few
format choices first, such as margins, fonts, and columns. Next you
enter your information, which is actually a "sequence" of a different
sort of data. You then edit your document for mistakes or enhance it
with special effects, such as a graphics, sound effects, or QuickTime
Videos. (I think I should have stuck with the brownie recipe
a˙nalogy.) The point is that once you learn WHAT a word processor or
sequencer can do, the HOW is just a matter of figuring out which
buttons to push and in which order.
The Preset
To record a MIDI sequence on the KS, you must begin by creating a
Preset. This Preset determines many important things: the Sounds
you'll be recording, their volume levels, the Time Signature, Effects
bus, the stereo Panning of individual Sounds, Key Ranges, Keyboard
Splits, and quite a few others. These are all choices you make BEFORE
you record your music. You can change these settings later after
you've laid down your tracks - except the Time Signature. Once you
get these Preset "basics" down, the rest is easy (if you know how).
And once you have a Preset that sounds just right, you can copy it as
a template for future sequences with but the simple push of a single
Make Preset Default button, so you don't have to start from scratch
every time.
Speaking of starting from scratch, at this point I had to go to my
keyboard to ◊remember exactly how the heck I did begin a sequence from
scratch.
Basic Sequencing
Here it is, step by step. When you turn the keyboard on, the LCD
defaults to KS Grand (ROM 00). If this is your first sequence, start
small, like with four bars of a song you know. Or maybe you're ready
for a little twelve-bar blues progression. Steps 1-9 lead you through
creating a Preset. (For a more in-depth explanation of how a Preset
integrates Sounds with Effects, Panning, etc., check out a previous
Hacker article by moi: "It Pays to P(l)an Ahead," Issue 122, August
1995.)
1. Press the Edit Seq/Preset button.
2. Press Create Seq/Preset (Bank 4).
3. Press Create Seq/Preset (Screen 0).
4. Press Enter*Save.
5. Press Enter*Save again when New Location=0? (pick a number).
6. Select the Time Signature = ?/? (pick two numbers).
7. Select a name, symbol by symbol, with the data bar. You should
then get your digital reward, a COMMAND SUCCESSFUL. Ah, the
satisfaction! The Screen deÔfaults again to Create Seq/Preset.
8. Press Select Seq/Preset (at the right of the Screen buttons).

9. Press Replace Track Sound (upper right). KS Grand is the default
sound. If you'd like to record the first track with a different
Sound, choose one now. Press the Bank button to get to the RAM
Sounds. The other tracks are as yet still Undefined, which we'll work
on later.
CAUTION: Be warned that the default Click volume is loud - close to
the eardrum piercing level on my headphones, so you might want lower
it to the 20-30 range. Or maybe you like feeling your ear drums touch
each other. (Turkish prisons use this technique on their tougher
inmate discipline problems.)
Notice that under the
Record=Replace. Leave
memory remains unused
you have only saved a

Control button (Bank 1) that the KS defaults to
it there for now. You can also check how much
by selecting Screen 6. It should read 99% if
Preset so far.

Now we're (finally) going to play some MUSIC on this fancy
contraption!
10. Press t‡he Record and Play buttons simultaneously. You hear clicks
that sound like a wood block being struck with a metal rod. Nothing
is actually recorded until you press a key. Go ahead and play some
music. If you have the optional Volume pedal you can vary the
recorded volume as you go.
11. After (for instance) 12 bars hit the Stop/Continue button or the
left pedal. By the way, the dual pedals are more than extremely
helpful since they allow you NOT to have to suddenly quit playing to
hit the Stop button. (Be sure the left foot switch is set to
Start/Stop under the System*MIDI, Screen 2 button.)
12. The LCD reads Keep First 12 bars? If you hit Yes, you have a
12-bar one-track sequence. If you hit No, you can begin again with
only a Preset. You played well, so hit Yes. Let's assume now that you
have one track that is not perfect or polished, but it is enough to
help you remember what the chords or melody are when you add a few
tracks. This first Track will also help you gauge the cËorrect volumes
on subsequent tracks. Getting these volumes just right is the
toughest part for me. Typically, my sequences sounds okay on Tuesday,
but by Friday the volumes need tweaking. Alas, the pathetic plight of
us poor, pitiful, nothing-ever-sounds-quite-good-enough audiophiles.
As we begin to record a second track, I'll remind you that there's
more than one way to do this right. Eventually, you start to realize
that the mechanics of digital recording and the elements of composing
and arranging become as inextricably intertwined as a coffee can full
of nightcrawlers.
13. Next we'll do a percussion track. I often like to keep the drums
on a different track from my cymbals, if only for simplicity's sake.
Let's arbitrarily select Track 5. It still says KS Grand, so push
Replace Track Sound with the also arbitrarily chosen Sound 83 Ballad
Kit. This drum kit's volume is a bit loud compared to the piano on
Track 1, so press Edit Track Volume and adjust it down to about 50. I
usually Ómake sure at this point that my percussion tracks are routed
to Output=FX2, so they receive Reverb but not the FX1 Effect if the
chosen Sound uses Chorus, Distortion, etc. Now Press Record and Play
simultaneously again. After one measure of clicks, start playing
snare, brushed snare, and or kick drum. Try to stay as close to beats
as possible, which takes practice. Fortunately, you can rerecord as
many times as you want. If you have recorded with a cassette tape
deck, you now start to appreciate the huge convenience of
sequencing.
14. (Optional) Especially for percussion tracks, it may be helpful to
use the Quantize function because you will be building the rest of
the sequence "on top" of these thuds, clunks, and crashes. If the

percussion is off the beat even a cat's whisker, the rest of your
tracks tend to be off a lot. Press Edit Seq/Preset (Bank 6) Quantize
Track, press Enter*Save. Track 5, eighth note3 (for that
shuffle/triple feel), Do Entire Track. You can hit Play to see if
Quantiz‚e helped or hurt, a very convenient audition feature. If you
like the Quantized track, hit Keep New Track. If not, hit No, and you
keep Track 5 unquantized.
It's easier to hear just the tracks you want to by using the Mute
Track button (Bank 7). After Edit Seq/Preset, push Yes to Solo a
track; push No to mute the track. Very handy.
15. (Also optional) If you want to add bongos, wood block, or
whatever to the same track (5) without losing existing MIDI
information, you can select the Control button (Bank 1), then forward
through the screens to Record=Replace. By pushing the right arrow,
you change Replace to Add. Now push the Record and Play buttons, and
be ready to execute your riffs. You can even record a new variable
volume level. After striking one note, the Volume Pedal will Add
(override existing) new Volume data. Look out for its hair trigger
though.
16. (Everything's optional beyond this point) To add cymbals on
another track, say Track 6, select the Track 6 button, andÓ repeat the
process explained in step 13. You can use cymbals from a different
drum kit, or adjust the volume, or select a different Output Bus, or
Panning, etc., as desired.
Usually I try to get the percussion track(s) finished before I go on
to other Sounds, That's just me. I next do other rhythm-related
Sounds, such as Bass Guitar and Vibes, which I've programmed onto one
Sound. Next, the brass, woodwinds, strings, or non-band/orchestra
instruments.
Helpful hint: To accomplish a background organ sound with a Rotary
Speaker Effect that starts and stops throughout the sequence, it is
necessary not only to select the Rotary Speaker Effect for the entire
sequence, but also to make sure the Track you on which record the
organ is the "controlling" track. On my KS I first have to go to the
Sound button to select, say, Be Three, which uses Rotary Speaker
Effect. Next, I select Be Three as the new Sound on Track 1
(originally KS Grand) by pushing the Track 1 and Replace Track Sound
buttons simulÚtaneously. Then, I choose, say, Track 3 for the new Be
Three data. Simultaneously (again) press Replace Track Sound and the
Track 3 button. This second operation changes the track on which the
Effects data is recorded. In other words, when you record a Be Three
track, you can also record the changes in the Rotary Speaker (Leslie
Effect) by starting and stopping it with the ModWheel as you play.
You will also probably want to change Output on all your other
tracks' Output to FX2 so they don't also receive this Leslie effect.
It sounds kinda funny on a piano patch.
1?. One of the last steps for me is to erase the original lead track,
after which you must select the same or different lead instrument
Sound. This saves memory. Oh yeah, if you want the sequence to keep
repeating over and over, Select Loop=On under the Control Bank.
Another one of the last steps is to save the sequence to a MIDI
storage device, if you have one.
Agreed, this ain't exactly easy, but it's as simple as I can put it,
so it seems that "basic sequencing" is an oxymoron. Heck, even
oxymoron is a euphemism! There's tons of other stuff to do with
keyboard splits, individual tracks, sequence lengths, connecting them
together in various ways, but this article's gotten too long
already.
Generally speaking, the more you can leave to perform live when you
replay your sequences, the more fun it is for both you and your

audience. I've seen a big name synth guy on TV backed up by
orchestras or sequences and a psychedelic light show while the aMrtist
did a one hand solo (?!?), and I'm thinking, "Give me a freaking
break!!" But then, he's on stage and I'm watching him...go figure.
If you are truly new to sequencing (no one I know of was born with
this knowledge), it may be a while before you arrive at your own
style. Eventually, though, you will become fluent in digital
arranging and composing, and you will find your musical "voice." It's
worth the struggle!
Bio: Dan Rohde is looking for a good bass pond and a baby blue '55
Chevy Nomad to get there in.
FILE 2:
Ensoniq's SCD-4 - Emerson Organs/Synths by Britton Beisenherz
Opticase ad
Transferring MIDI Songs to the TS Series by Dan Wellmann
Iomega Zip and the ASR by Eric Montgomery
Basement Tapes: My Scarlet Life & Lloyd Joseph Rose
Steve Vincent
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Ensoniq's SCD-4
Emerson Signature Series
Britton Beisenherz
Product: SCD-4: Emerson Signature Series
For: ASRs, EPSs, TSs, MRs (with conversion).
Price: $249.95.
From: Ensoniq Corp., 155 Great Valley Parkway, Malvern, PA 19355
Phone: 610-647-3930 (voice), 610-647-8908 (fax).
There are a lot of variables to keep in m‚ind when sampling sounds to
CD for use in sample based synthesizers and sound modules. Perhaps
the most important aspect of a sound for is its usability. We buy
sample CDs full of synth sounds, knowing that we do not have control
over many of the key parameters that made that synth worthy of
sampling in the first place. There will be no way to go back and
change the resonance on a filter sweep after a sample is captured. Or
the waveform type. Nor will there be a way to go and clean up a
sample that might have been better captured with a different
microphone or with a higher sample rate. Another almost equal concern
would be the size of a sound. Many of us rely on one machine to
supply a full orchestration's worth of instruments... or more. In
this case, you can't afford huge sounds filling your SIMMs. After
all, unless you already own an ASR-X, you only get 16 megabytes of
RAM to work with on an ASR/EPS, and only 8 megabytes RAM on a TS
synth. You need options. Multiple variationˇs on the same sound
perhaps? Different versions of a each sound tailored for a specific
set of needs? This is what Ensoniq was presumably after when they
created SCD-4: Keith Emerson Signature Series - organs and synths. Or
shall I say... Organ and Synth?
SCD-4 is as simple to define as it was to evaluate. This CD-ROM
contains two root level directories... Actually, three if you count
the demo directory that is supposed to contain two demo banks and
sequences (for use only with the ASR/EPS modules). I have a
fully-loaded ASR-10 rack module and still could not get the banks to
load properly. I admit it could be related to troubles I have had
with my Apple 2x CD drive reading various sound disks, but it seems
to read everything else off from this disk fine, so I don't know what
exactly the trouble is... oh well. The two main root level
directories of concern are Synth and Organ... and that is exactly
what you get.

Before I go into the two sections independently, I would like to
point out the interesting apprÙoach that Ensoniq took when developing
this disk. As I mentioned before, there are a lot of concerns when
sampling sounds for use on a CD - size constraints per module,
quality issues per project, the need for variations of the same
sound, and more. With this in mind, Ensoniq has gone out of their way
to make this CD-ROM fit every type situation, user, and module.
Almost every sound on this disk, both organ and synth, has at least
four different versions, that is, four different variations of the
same sound. Each variation is valuable to different users in
different types of situations. For example, every instrument has at
least a 44kHz multisampled version, a 30kHz multisampled version, a
30kHz version with fewer samples, and an extra small version
(sometimes lacking layers that were available on the larger
versions).
Now this may seem a bit redundant - or at least that is the way I
felt until I did a little looking at the size of some of these
instruments. The first sound on the disk "Lucky ManÛ" is nine
megabytes! Nine megs! That is a big sound, and for some that is
okay... But if you are planning to use the machine for much more,
nine meg sounds aren't going to allow for room to breath. So there
are six, four, and three megabyte versions of the exact same sound,
to help those of us that can not afford to use our modules as one
instrument. Waste of CD space you say? Overkill? Well, I might be
inclined to think that way as well. However, as I look at the
different sizes of the various sample CDs that surround me, I notice
that not many of them span the full 650 megabytes available. Many of
the disks I have seen are less than half full of sounds, and still
they cost $200. I find it somewhat satisfying that the Emerson CD-ROM
weighs in at 649.8 megs, even if the data is a bit redundant for
some. At least the space was used in a smart and constructive
manner.
The synth portion of SCD-4 contains about eighty "instruments"
sampled from the Moog Modulator - Mr. Emerson's synth of choice from‰
the late 1960s to the present. Most of the instruments in the Synth
portion of SCD-4 are derived from Keith Emerson's own past arsenal of
analog synth sounds, and are named according to the classic ELP song
that they appear in. For instance, the first instrument in the synth
directory is "Lucky Man." This sound, and all its variations are
almost exact duplications of the moog patch used in the world's first
known synth solo. Almost the entire synth section of the disk was
developed in this manner... taken from memorable moments, and
designed from memorable patches in the Keith Emerson arsenal. The
instruments that make up the Synth portion of the disk are quality.
The samples are great! The sounds are usable. And if you really like
Emerson's taste in moog patches this section will not disappoint.
The organ section of the disk contains roughly ninety instruments
sampled from Emerson's organ of choice, the C3. The organ portion of
the disk is set up in a similar manner as the synth˝ section, only
instead of each patch being identified by the song that made it
famous, each organ instrument is identified by the drawbar settings
on the organ itself. All the bases are covered... stereo, mono,
percussive, soft, warm, bright... just about any attack, tone, or
timbre you could hope to get from the C3 is available. As in the
synth section, the samples are superb and the sounds very usable.
This section is by far my favorite of the two. If you are looking to
emulate the C3 in almost any form, this is perhaps your best shot.
This CD lists at $249.95 and comes with a sixty page booklet that is
informative on all counts. It provides a brief overview of Mr.
Emerson and all his accomplishments as well as the normal load of
useful information such as quick locate macro numbers, a brief
description of each sound, what the patch selects do, and what
controllers are available for various modulation possibilities.

Supposedly SCD-4 is available through Ensoniq, however when I
recently visited the Ensonˇiq web page I had no luck finding any CDs
from the Signature CD series, and likewise, no luck finding the CD
anywhere else on the web.... I do not know why. But, I am sure if you
are interested in this, or any of the CDs in the Signature CD series
Ensoniq will be more than happy to point you in the right direction.
I have few complaints about this CD-ROM. It is well organized, and
contains quality sounds that are sure to please anyone looking to
expand their collection of analog synth and organ sounds. If you have
been on the market for a vintage moog modulator, or a C3 organ, you
would do well to save yourself a couple thousand dollars by giving
the Emerson Signature Series CD a try.
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Transferring MIDI Songs to the TS Series
Dan Wellman
If you like to sequence your music and use your TS for gigging, then
you've probably had the desire to have all your sequence tracks
stored in your TS's internal sequencer memory. I'm a big fan of using
computer sequencers sˇuch as Cakewalk and Performa to do all my
composing; a computer monitor has always seemed more friendly than a
two line display. However, when I go to a gig I don't want to lug my
computer and all its assorted baggage - I just want to bring my TS,
put it on a stand and go. Luckily the TS has a default internal
sequencer memory big enough to hold several songs at a time, so all
you need to do is transfer your song from the PC to the keyboard. One
problem though - how? Giebler Enterprises offers an excellent program
which will convert your MIDI file on your PC to a TS sequence which
you can then load by disk. Another method is to simply send the data
over in real-time to the synth and "re-record" your song, which is
what I'll describe here.

What we want to is to have our computer sequencer play the song,
sending the MIDI data to the TS, and have the TS record all 12
channels of data at once into separate tracks of a sequence. You want
the TS sequence to be an exact duplicate of your computer sequence,
thus yo„u want to preserve the timing of the song from start to
finish. Both your computer and the TS have an internal clock which
keeps the beat for every song your record, a heartbeat if you will.
What you want to do is make sure the heartbeats are exactly in synch,
and doing this by hand is VERY difficult (humans aren't accurate on
the millisecond time scale!). The solution then is to make one device
listen to the other's heartbeat and use it as its own, then record
the sequence so you get perfect synchronization. Once the sequence is
properly recorded, you can let each device use its own internal clock
and things will be on the money.
Step By Step
1. Create the TS Sequence
Our first step in the process is to create our Sequence in the TS and
specify all the instruments for the appropriate channels, making sure
each channel's MIDI Status is set to receive data. If you've been
using your computer sequencer to control the TS, you've probably done
this already. In that case, you might ˝want to make a copy of the
sequence and rename into to include "LIVE" or something in the title,
so you can distinguish between the empty instrument configuration and
the full instrument plus sequence data.
2. Synch up one device's internal MIDI clock to the other
Here's where you make one device listen to the other's heartbeat and
use it as its own. What I've traditionally done is make my TS synch
to my computer's clock, thus making the computer the master generator
and the TS the slave or listener. To do this, on the TS press the
"Sequencer Control" button and the CONTROL screen will appear. Select
the "Clock" item which currently reads "INT" and press the up arrow
so it is set to "MIDI". You'll also notice that TEMPO below will now
change to read "EXT". This means that the TS will listen for a MIDI
clock to be sent via the MIDI connection to your computer, and will
synch to that tempo, whatever it might be.
On your computer's end you want to make sure that your sequencer is
generating the MIDI clock ˆinternally (the default on most
sequencers). Another thing you want to do is make sure that your
sequencer transmits Start/Continue/Stop/Clock messages over the MIDI
connection so your TS has a clock to synch to. This information is
most likely located in your sequencer's "MIDI Out" configuration
window or other device related windows.
3. Make the TS ready to record data simultaneously on all 12
channels
On the TS, press the Sequencer Control button again so you see the
second page of the Control screen. Select the REC-SOURCE option and
set it to "MULTI", which means that the TS will ONLY record data that
comes in on any of multiple channels of MIDI data simultaneously. The
incoming data will be separated and each channel will be stored in
its corresponding sequencer track. (Note: When you're done with this
record make sure you set this option BACK to something like "BOTH" or
"KEYBD" so any doodles you record while playing on the TS are
actually heard by the internal sequencer!)
4. Record the seq¯uence
On the TS end, press the Record button and the letters "MREC" will
flash in the lower left corner of the display, meaning the TS is
waiting for a MIDI Song Start message so it can start recording. No

data will be recorded on the TS until that message is received, so be
sure your computer sequencer knows to send it out! Now, on the
computer end, simply start playback of the sequence. You should see
the blinking letters on the TS stop flashing and remain lit while the
sequence records. When your computer is done playing the sequence,
and end of song message will be sent to the TS and you should see the
TS automatically stop recording and go into audition mode. Keep the
recorded sequence.
5. Set the TS clock back to internal
Press the Sequencer Control button until you reach the first page
where you see the CLOCK and TEMPO option. Change the CLOCK option to
read INT for internal clock. Now set the TEMPO parameter to whatever
tempo your computer sequencer was set to. Now that you've done this
you˚ should be able to properly audition your track and see if things
transferred properly.
Sequences With Tempo Changes
The above process works great for sequences which stay at a constant
tempo for the entire duration of the piece. However, if you have
tempo changes at any point in the song, you need to do a bit of
screwdriver work to make things work smoothly. The easiest way I've
found to handle this case is to divide the full song into distinct
"chunks". What you do is record each different tempo section of the
song as its own unique sequence and set each tempo appropriately.
Then, after all the distinct parts are recorded in the TS, make a new
TS-format SONG and string each sequence together appropriately. Then
make any tempo adjustments as needed, and save. Voila! Now when you
want to play your sequence you just select the Song and play it.
Volume Matchings
Another thing to be careful of is to make sure you match each track's
volume (using the MIX/PAN feature for each track in the TS internal
sequÔencer) to the same value as set on your computer's sequencer.
Doing so will avoid complications of multiple volume settings there's nothing more annoying than playing a sequence and selecting a
new instrument to jam on in the middle of the performance and having
that instrument's volume be loud and shocking enough to drive the
crowd out of the venue. By matching the Track's volume to that
specified in the sequencer, you ensure that the instrument plays the
right volume when sequenced and selected to be played live.
Final Musings
You also may want to experiment with how you play things live over
your sequenced stuff. One option is to mute a track entirely on the
TS (from the Mix/Pan button) and then play it all yourself, unmuting
the track when you want the sequencer to take over again. Another
option is to make a modified version of the sequence on your computer
and delete the parts of the sequence that you want to play yourself.
This is especially convenient as you don't have to worry ab˙out muting
and unmuting tracks in time - you just switch instruments and play as
necessary.
Like all hunks of silicon-using devices out there, memory is finite
and will only hold so much data. Your sequences will take up lots of
room on your TS so be prepared to only store a few songs on the synth
at a time. You'll probably even have to pause during the middle of
the performance to load a new set of sequences from disk, so practice
that Elvis impersonation to fill up down time. Viva Las Vegas!
Bio: Dan Wellman wants to be the next Alan Wilder (please?).
#%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#% #%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#%

Iomega Zip and the ASR
Eric Montgomery
If you have an ASR-unit that has SCSI or the ASR-88 and you want to
start using hard drives, the one looked at first and probably
purchased most is the Iomega Zip. Why? Because it is inexpensive. If
you have ever set up your own home studio or worked with any of your
friends on the like you will find that budget is one of the most
important isˇsues. The great thing is that the zip is cheap. The bad
thing is that there are some issues to getting that drive to work
properly.
The Iomega Zip drive was at one time on Ensoniq's list of approved
drives. Due to software or hardware changes made on the Zip after
July of 1995, the Zip drive has been taken off Ensoniq's
compatibility list. The new versions of that drive will not respond
to the standard SCSI Format command, which is the command used by
Ensoniq samplers.
The first thing I always recommend is if you plan to try using a Zip
drive, be sure to have a return policy on the drive (or any drive you
purchase) so that you can get your money back if you are dissatisfied
with the performance of the drive. When purchasing this drive, also
purchase a blank cartridge. If you try and format the cartridge that
comes with the Zip drive you will always get an error (Device not
responding or some similar message). You have to get the blank
cartridge. It doesn't matter if the blank cartridge says something
like "Formatted for MAC," as long as it does not say "Tools."
There is one reason for this step. As a comparison, a 3.5 Floppy disk
has two windows at the bottom of the disk. One of those windows has a
door that slides up and down to allow it to be protected from writing
or be able to have the information on it over-written. Unlike a
3.5floppy disk, the zip cartridge does not have a physical
"protect/write" window that can be moved up and down. The software
that is either on the cartridge or on the included floppy disk
contains this "protect/write" window in software to un-protect the
cartridge. If you have a PC with a SCSI interface or a MAC, then you
can connect the Zip to your computer and un-protect that tools
cartridge. There is an option you can take advantage of and save some
money. If you don't have a computer with that option, you will have
to get that extra cartridge.
If you have taken the proper steps to get it to format, like using
the proper cartridge and using a SCSI terminator (unlÊess the drive
has a terminator built in) and things still don't work out, you will
have to take the drive back to the store where you purchased it and
ask for a SCSI Zip drive that is A/V compatible.
Wow, that was a lot of stuff to go through. Now, after all of the
proper connections are made you can begin formatting (Command,
System/Midi). If that is not familiar, go to Format SCSI Drive on the
ASR. Press Enter. Make sure you choose the correct SCSI ID number. If
there are other hard drives connected you may end up formatting the
wrong drive. The SCSI ID # on back of the drive and the SCSI # on the
ASR should be the same. Also, no two devices can use the same ID#.
Press Enter. If you wish you can write your own disk label. Name it
"your name" and #1 for example. Press Enter. Now the screen says
Interleave. Interwhat? The only way to keep this explanation simple
is to say how it can help. If you format a hard drive and save a
sound that is, say 1000 blocks, it should take about 2 se¸conds to
load. If it takes longer than 2 sec. you may want to reformat and use
a higher Interleave #. It is a hit or miss situation but the default
should do fine. Press Enter. You are formatting!
It will take about 15 to 20 minutes to format this size drive. After
formatting, the ASR will ask you if you want to copy the OS to the

drive. Answer Yes! Why? You can boot up off the hard drive if the OS
is on the drive. Boot up will only take seconds in comparison to the
disk drive! The ASR will also ask if you want to set up a default
directory structure. Again answer Yes! If you are not familiar with
creating your own directory structure you will want to use the
default. I think it is a good idea to go with the Default. You get
little perks like using Macro #s to switch back and forth between the
Hard drive and the disk drive (Macro #1 and Macro #5). The directory
structure is just like what is on a computer. You have main
directories and sub directories. An example of a main or root
directory would be "Soufinds." An example of a sub directory would be
"Keyboards" or "Basses" under "Sounds." Then inside one of these sub
directories is a sound. The diagram below should help. It is only an
example.
Main or Root Directory
|
________________________|______________________________
|
|
|
|
Sounds
Sequences
Banks
Sysex
|
|
|
|
_____|_________
Funk Seq 1
Funk Bank
Funk Sysex
|
|
Funk Seq 2
to KT-76
Factory
My Sounds
Sounds
|
|
Eric's Funky Bass
|
Eric's Funky Brass
Grand Piano
Rez Bass
Stereo Drums
Flute
To move around in the directory structure you will:
Press LOAD
Press SYSTEM/MIDI
Use your arrow buttons until you see Sounds
Press Enter
Display = File 1 Factory SNDS
Press En·ter
Display = Exit to sounds
Press Enter
Display = Exit to Root
Press the Instrument button
You are now in the Factory Sounds directory. The screen will probably
say "No inst. or bank files" because there are no sounds or files
there. You can now begin saving files to your hard drive! Keep in
mind that you can only save 38 files to each directory. Once that
directory is full you will have to use the Create Directory command
(Command System/Midi) to make new directories.
If you wish to try out the new set up and see how it will boot from
the Zip drive you can power down and then power up again. Make sure
that you turn on the Zip drive first. Wait about 5 to 8 seconds, then
turn the ASR on. That's it!
Just a quick note, the Zip dive is a great drive for sequence and
sound
storage, but it will not work so well for Hard Disk Tracks. The Zip
does not have intelligent caching so it is too slow. You can try it
and possibly will get one track to work but definitely not a track at
44Khz or a stereo track. There may be a lot of errors or you can risk
the chance of loosing data if you use it for hard disk recording.
And always back up your files on floppy or on another cartridge.
Bio: Eric Montgomery is a up-'n-coming song writer/producer who has

worked on several Christian music projects on Integrity Music and
Salt Records labels.
#%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#% #%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#%
HACKER BASEMENT TAPES - REVIEWED BY STEVE VINCENT
Lloyd Joseph Rose
My Scarlet Life
CD: Bells and Whispers - Songs for Instruments (c) 1997
Artist: Lloyd Joseph Rose
Contact Info: L.J. Rose, 211 Washington Ave., Providence, RI 02905;
Phone: 401-781-6598; Email: devoid2@ix.netcom.com.
Equipment: Ensoniq EPS-16+, Korg M1R, Kurzweil Micro Piano, Lexicon
LXP-1 reverb, Alesis 3630 compressor, AT4033 microphone, Panasonic
SV3800 DAT, Cakewalk and Sound Forge on Pentium 100 clone with Zefire
ZA2 card.
Lloyd Joseph Rose continues his tradition of beautiful, soothing
instrumental music in this firs˘t CD, "Bells and Whispers." His first
tape, "Quiet Places - Songs for Instruments," was reviewed in the
October '96 Hacker and contained some of the most artistic and
emotional use of sampled acoustic guitar and piano that I have heard.
Lloyd stays with the same formula on his CD and it is a completely
satisfying sequel; more of what I loved about his first work, but
more refined, and showing signs of growth and progression both
musically and behind the mixing console.
I am both a guitarist and a keyboardist, and so I listen very closely
and critically to artists' attempts to emulate the acoustic guitar or
piano. Lloyd has done a masterful job of bringing these instruments
to us by way of his EPS-16+ (guitars) and Kurzweil Micro piano. His
sampled/sequenced acoustic guitar tracks sound so utterly convincing
to my ears that I felt myself wondering how the guitarist was able to
continue the same picking pattern so consistently for over nine
minutes at a time (as on track 2, "Tears of Joy," at 9:35). Thi˝s was
sequenced to sound like a real guitarist would play it. Lloyd somehow
managed to take a repeating, rhythmic pattern and make it sound
utterly human, with no telltale signs of sequencing. Ditto for his
piano tracks: that Kurzweil piano module is sweet and round, and the
sound is no doubt enhanced greatly by his Lexicon LXP-1 (I had
mentioned in my previous review that Lloyd's piano tracks sounded
overly bright to my ears, not to mention too dry; he has now
perfected his piano sound on "Bells and Whispers"). The lush reverb
with which Lloyd washes his tracks is anything but overdone; there is
a time and a place for dripping wet ambience, and this music is it.
Lloyd's signature sound, piano melody backed by simple yet tasteful
percussion and mellow synth string pads, is enhanced significantly by
the appearance of a real tenor sax on track 4 ("On Christmas Eve")
played beautifully by Paul Jackson. Lloyd also stated in his letter
that he made a "slight foray into ambient/electronic music," no doubt
referÁring to track 6, "Olney Pond." This is a very ethereal,
freefloating ambient track. From his CD liner notes: "One morning I
watched sunlight refract through the waves onto the bottom of the
pond. I've tried to put some of that morning into this
soundpainting." One often hears such explanations of the idea behind
a composition, but in many of Lloyd's songs you can actually "hear"
the connection between his idea and the tune itself.
I could rave on about Lloyd's superb use of electronic music
technology and his matured production and engineering chops, but
front-and-center is the "soul" of this CD project: the compositions
themselves. These are instrumental songs that will sound beautiful
played on any instrument. Melodies and supporting harmonic content
create peaceful yet emotionally passionate soundscapes. One is left
with the melody and the feeling at the end of each song - not

thinking, "Wow, how did he get that sound out of his EPS?"
"Bells & Whispers" contains eight tracks, man¯y of them over eight
minutes in length. Because the compositions are so strong, this kind
of track length is a big plus: the songs have a chance to fully
develop and work their way into your environment and massage the
soul. My only criticism is the inclusion of one track ("Somewhere in
the Caribbean") that doesn't fit the mellow piano-based genre as much
as the others, and so stands out. It is a good composition,
excellently performed and recorded - it's just that it doesn't sit as
comfortably inside this project as the other tracks.
Lloyd has joined the ranks of us indie artists who have had 500 CDs
delivered to his bedroom/studio, just waiting for homes. I suggest
that if you enjoy superbly done new-age piano music, you contact him
at his address printed above, and find out how to get a hold of one.
CD: Trypnotica (c) 1997
Artist: My Scarlet Life
Contact Info: c/o Preston Klik, 5602 N. Ridge, Chicago, IL 60660,
Phone: 773-728-2787, Email: msl@mcs.net, Website: www.mcs.net/~msl.
Equipment: Ensoniqˆ EPS Classic, guitar, fuzz bass, brushed cymbal,
vocals.
Add My Scarlet Life to the bevy of shiny new CD-wielding
self-produced indie artists. I reviewed this unique group's
fascinating two-song demo back in the January 1997 Hacker, and was
left begging for more. Well, here is "more," and it was well worth
the wait! I fairly raved about the two songs I heard a year ago, and
these two tracks ("Myst" and "Inanna") are joined by eight more, all
dripping in creativity and passion.
Allow me to cut and paste a section from last January's review, where
I quote keyboardist and organizing principal Preston Klik's
description of My Scarlet Life's music: "My Scarlet Life is kinda
trippy, with a little hip hop, sometimes hypnotic, with a dose of
sensuality/erotica: TRYPNOTICA. It rolls pleasantly off the tongue,
much like our music caresses the ear, the heart." Preston claims that
the band's recording sessions were all attended by his parakeet
twittering at full tilt, but I have yet to hear the little budgie'Ès
warblings, and I've been listening pretty carefully. But what I do
hear is a full dose of what I loved about MSL's demo tunes: unique
expression of a range of human emotions, majoring on angst, but laced
with enough hope to keep you moving forward. At times the music
contains elements of "world music" using ethnic percussion and
eastern musical motifs, always containing a kind of "lilt" whether in
the rhythm tracks or in the attitude of the singers.
Let's listen to a few cuts:
"Mourning Dove" - My Scarlet Life is full of surprises. The CD opens
with a slowly arpeggiating chord using a wine glass bell-like patch,
but then jumps right into a trancey percussion track/loop. The title
is apropos: the song is kind of a downer, but then life can certainly
be a downer. The emotions are communicated superbly.
"Turning the Table" - The tabla and shaker give this track an ethnic
feel and the vocals sound mournful in what I assume to be a
purposefully slightly off-pitch, ingenious turn. NothinÔg about the
composition reminds me of "California Dreamin'," but something about
the performance does. Unique sound effects sprinkled throughout wake
the listener periodically from his or her bittersweet reverie.
"Myst" - (from the January '97 review) Having never played the
computer game of the same name, I have no idea if there is any
connection intended. Airy siren-like vocals (that's Homer's Sirens,
and I don't mean Simpson) weave a hypnotic spell in this dreamy
trance track, dancing around the melody over a gentle hip-hop beat.

Fuzz-bass dominates and moves the locus of the music much lower in
the body than the heart - down to the *tan-tien*, or seat of the
*chi* (about two fingers below the navel). The song fades into what
sounds like a vacuum cleaner or a blender on hyper-drive, which
itself fizzles into a reverb wash. I would love to know why these
artists chose such an ending, but whatever the reason, it *works*.
Haven't you ever fallen into a trance while vacuuming? This is
musical˜ genius.
"Inanna" - (from the January '97 review) Inanna is a goddess of
transformation, as Preston notes in his letter. This song morphs
between an almost Enya-esque vocal on the verses (but with a beat),
and a pulse-pounding, adrenalin-pumping guitar tsunami on the chorus
reminiscent of the best of Roxette. The percussion reminds me very
much of the late genius Ideola (aka Mark Heard; you've probably never
heard of him) on his "Tribal Opera" album. Unique samples are used in
place of traditional drum sounds (with the exception of the kick
drum), with an interesting effect: replacing the usual snares, toms
and hi-hat with some slightly less familiar sounds presents the
actual *rhythm* itself in a more "naked" space; you don't hear drums,
you hear the beat. Correction: you *feel* the beat. But separating
out the elements of the song may mislead: it is the song in its
entirety, the way it moves in and out of the verse/chorus dance,
building and releasing tension, that gives one the visceral
experienc˘e.
"This Fine Line" - This track reminds me of Ram-era McCartney meets
Lawrence of Arabia. These melody-dominated songs might float away if
they weren't grounded rock-solid by the percussion and bass that come
in and root the whole thing down. An ingenious marriage of melodic
and rhythmic elements.
"Crybaby" - It is impossible to describe the mixture of unique
keyboard, guitar, percussion and vocal sounds that make My Scarlet
Life so anti-cliche and in a class of their own. The vocals on this
track sound as if they were sung through an electric megaphone (with
Mackie preamps). I really hate to compare MSL with other artists, but
this song sounds as if it might have been produced by J.D. Ryan of
the Bros. Ryan, reviewed at least twice in this column. The word
"twisted" is too strong, but MSL definitely takes their music down a
different path than the mainstream.
My Scarlet Life certainly fulfilled the promise of their demo tape,
and has produced a full-blown offering of their best on "Trypnotica."
Th is is a completely satisfying collection of unique, artistic,
passionate, and sensual songs, sometimes haunting and mellow, but
always cutting through the haze with musical axes swinging. The
compositions, their unique vocalizations, melodies and
instrumentation, rivet your attention so completely that you are
unaware of engineering and production realities. In fact, MSL shines
in these more mundane areas. The mix is transparent except when it is
purposefully muddy. Different sonic elements appear then recede as
needed to paint the colorfíul and trippy mindscapes that make up this
project. And speaking of painting, "Trypnotica" gets the prize for
the coolest looking CD cover yet. If I had to, I could sum up My
Scarlet Life with one word: Amazing.
If you want your tape run through the wringer, err, Hacker, just mail
it off to: Basement Tapes, Transoniq Hacker, 1402 SW Upland Dr.,
Portland OR 97221. Please include your e-mail address!
Bio: Steve Vincent produces demos and CDs at his home-based Portent
Music, and can be reached via email at vincents@harbornet.com, or at
his website at http://www.kspace.com/vincent.
FILE 3:
MR HackerPatch
Classified Ads

Waveboy ad
The Interface - Part I
#%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#% #%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#%
MR HackerPatch
In following a centuries-old tradition we're including a blank patch
sheet for the new MR Series in this issue of the Hacker. HOWEVER,
there're a few changes in how this thing is probably going to be
useful. With over 130 parameters and 16 voices, we foresee very few
cases where someone's going to send us a completely filled-in patch
sheet and readers are going to happily buckle down and go about
entering over 2000 variables into their synths to get some new sound.
These sheets are more iˇntended to be handy worksheets for jotting
down changes and communicating techniques useful in certain areas of
patch development. (Robby Berman promises an article next month that
should serve as an example). If you've developed a new patch and
would like to share it with the Hacker crowd, please consider
e-mailing us the patch (in Unisyn format), and we'll post it at the
Hacker ftp site. If you've used some particularly unique or
interesting technique in, for instance, Envelope 3's parameters, or
if you're only using a few of the voices, then that's the portion
that we'd like to have in hard copy and that's the portion that would
be printed to accompany your discussion.
To actually use this puppy, it's probably best to take it down to
your local quick copy shop and blow it up about 2X to fit on an 11 x
17 sheet. The skinny little horizontal lines going across the page
are just there to aid in tracking across the 16 columns. The effects
processing parameters are so open-ended that it would be simplest to
j˘ust add your Reverb/Chorus/Insert Effects settings on the back of
the sheet.
Have fun with this and PLEASE share your ideas with the rest of us.
No matter what you come up with with this critter, chances are
excellent that you're the only one who's ever done it - it's very
powerful.
***
E-mail suscribers can get a hardcopy of the patch sheet just by
asking.
***
Special thanks to Robby Berman for developing this HackerPatch
Sheet.
MR Standard Sound Patch Sheet
Sound Parameters
Layers in Sound
Bend Down
Bend Up
Restrike Limit
Pitch Table
Held PBend
Sound Category
Demo Sound?
User Sound?
Sound Bank #
Sound Patch #
Use MIDI Chan
Use Handshake?
Edit Context Parameters
Edit Layer
Enable
Use Lyr

Select Parameters
Volume (dB)
Pan
Semi Tune
Fine Tune
Trigger On
Low Key
High Key
Vel lo
Vel hi
Trigger Ctrl
Ctrl Low
Ctrl High
Glide
Glide Time
Voice
PBend
Sustain
KeyGrp
Layer Delay
Pitch Parameters
KeyTrack
Pitch Mod
Mod Amt
Mod RÈange
Env1 Amt
LFO Amt
Wave Parameters
Wave Class
Wave Name
Direction
Start Index
Wave Mod
Wave Mod Amt
Shift Mode
Shift Amount
Envelope 1 Parameters
Time 1
Time 2
Time 3
Time 4
Time 5
Level 1
Level 2
Level 3
Level 4
Level Vel
Attack Vel
Key Scale
Release Mod Amt
Env Mode
Vel Curve
Filter Parameters
Mode
Flt 1+2 Link
Filter 1 Parameters
FC1 Mod
FC1 Mod Amt
KeyTrack
KeyT Breakpoint
FC1
Env2 Amt

Filter 2 Parameters
FC2 Mod
FC2 Mod Amt
KeyTrack
KeyT Breakpoint
FC2
Env2 Amt
Envelope 2 Parameters
Time 1
Time 2
Time 3
Time 4
Time 5
Level 1
Level 2
Level 3
Level 4
Level Vel
Attack Vel
Key Scale
Release Mod Amt
Env Mode
Vel Curve
Amp Parameters
Amp Mod
Amp Mod Amt
Pan Mod
Pan Mod Amt
Rolloff Mode
Slope (dB/oct)
Key
Noise Rate
Noise Sync
Envelope 3 Parameters
Time 1
Time 2
Time 3
Time 4
Time 5
Level 1
Level 2
Level 3
Level 4
Level Vel
Attack Vel
Key Scale
Release Mod Amt
Env Mode
Vel Curve
LFO Parameters
LFO Shape
Retrigger
Timebase
Rate
Depth
Delay
Phase
Depth Mod
Depth Mod Amt
Rate Mod
Rate Mod Amt
Effect Parameters
Alt FX Bus

Send Insert FX?
Input Mix
Insert Cho Mix
Insert Rvb Amount
Insert FX Name
#%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#% #%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#%
CLASSIFIED ADS
HARDWARE/SOFTWARE
Ensoniq MR-76, w/ EXP-1 Wave Expansion Board, MRD-1 Sound Disk, Soft
Cover, Mark of the Unicorn MR-Editor/Librarian Software (Macintosh).
AKG headphones. New 1/97. Excellent condition, originally $3,100 priced to sell at $2,500. Call Bill at (515) 253-0140 (Iowa).
Ensoniq KT-88 for sale. Never used. Includes: LeCover dust cover,
MS-1 sheet music stand, generic keyboard stand, CV-1 pedal, shipping.
$2,100 or best offer. Call Greg at 860-242-5251.
TS-12 with 8 meg update, library, and case. $2500.00. Wayne Thompson,
(503) 286-6389, synsin@spiritone.com
OUT-OF-PRINT BACK ISSUES
M.U.G.Ô will provide Out-of-Print issues for cost of materials and
postage. Write: G-4 Productions, PO Box 615TH, Yonkers, NY 10703.
Attn: TH Back Issues. * * * Folks in the New York City area can get
copies of unavailable back issues of the Hacker - call Jordan Scott,
718- 983-2400.
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/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. Sorry - we can't (we
won't!) take ad dictation over the phone.
#%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#% #%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#%
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#
#Ó
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For ENSONIQ Samplers
#
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# Mutiply the power of your ASR-10 or EPS-16 PLUS by adding
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# new features! Each WAVEBOY effect disk comes with sound demos #
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# 44kHz COMPRESSOR
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Your ASR-10 becomes a high-end digital compressor, with
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this new Waveboy plug-in effect. This stereo compressor
#
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limiter has adjustable attack, decay, threshold, and ratio, #
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plus a noise-gate function to control digital noise in
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more extreme squashing situations. Only in digital can you
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get true "instant" attack times, which can control the
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Get with the beat! Delay times locked to the sequencer
#
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tempo! The SYNCD DELAY effect lets you specify delay times
#
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in CLOCKS instead of milliseconds. When you change the
#
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tempo, all the delays stay syncronized. Simple, but
#
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terribly effective for all kinds of music. Four taps with
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level, pan, feedback, and delay up to 480 clocks (5 quarter #
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paint. FREQ-WARP is a fun-house mirror for frequencies. It
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bends pitches unevenly and creates dense inharmonic
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clusters. Based on the classical analog frequency shifter.
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Works great for transposing percussion without time#
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compression or time-smear. LO-FIDELITY makes things worse.
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It can simulate the poor reception of radio, telephone,
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low-bit sampling (down to one bit!), the Mirage, and more.
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#%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#% #%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#%
THE INTERFACE - PART I
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
%
Ò
%
% Letters for The Interface may be sent to any of the
%
% following addresses: U.S. Mail - The Interface,
%
% Transoniq Hacker, 1402 SW Upland Dr., Portland, OR
%
% 97221. Electronic mail - GEnie Network: TRANSONIQ,
%
% Internet: interface@transoniq.com.
%
%
%
% For a quicker response from a variety of readers,
%
% post your letter to our interactive, on-line
%
% Interface located at our web site:
%
%
%
% http://www.transoniq.com/~trnsoniq
%
%
%
% This is probably one of the most open forums in the
%
% music industry. Letter writers are asked to please keep %
% the vitriol to a minimum. Readers are reminded to take %
% everything with a grain of salt. Resident answer-man is %
% Pat Finnigan˘ (PF). Letter publication is subject to
%
% space considerations.
%
%
%
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
--TH I am using Cakewalk Pro for Windows 95 with a TS-10. I need to take a

Tandy 286/4 laptop out with me on a live performance and it can't
handle Windows. I bought a copy of Cakewalk for DOS, but it does not
have all the numbers (Pan, Vol, Bank, Patch, etc.) that are in the
Windows version Track View. Anyone know how to convert from Windows
to DOS, or do you have a CAL that can read the numbers in the Windows
View and add them in at the beginning of each track?
If not, any URLs to Cakewalk Interest Groups?
Thank you,
Dennis W. Dickerscheid
DDickerscheid@kih.net
[PF - Dennis: You know, I used to run Cakewalk 2.0 and later, 3.0
under DOS 3.1 on my first PC (a 286 with a "whopping" 4 Mb) and it
worked flawlessly. Have you tried a minimal install of Cakewalk Pro
Audio (j‰ust the Cakewalk "Pro" without the "Audio" portion)? I'm sure
you could enter sysex stuff (pan, vol, patch change, etc.) in a blank
first measure of your sequence in Cakewalk for DOS, but that seems
like an awful lotta work when 3.1 and Cakewalk 3.0 or Cakewalk Pro
should fit the bill just fine. I'm not aware of any contraindications
or "trick" proprietary stuff that the Tandy laptops incorporate that
wouldn't allow this configuration - the commissioned bandmaster for
the National Guard band I'm a part of has been using this exact
configuration with a printer port MIDI interface for the past three
years.
I'm not trying to sidestep your question: I just don't think you need
to go THAT far back to get your 286 to do what your asking of it.
Just because it won't run in enhanced mode shouldn't affect its
behavior running Cakewalk. You may have to autoexec 3.1 with the /s
or /r switch (standard or real modes), but this configuration is a
bona fide and eminently operable (not to mention light and portable)
sequencer configuration.
Readers, any DOS sites for Dennis?]
[Dennis Dickerscheid (ddickerscheid@kih.net) - PF: Thank you for the
prompt response to my question. The main reason I am trying to get
Cakewalk for DOS working - DOS loads a lot faster than Windows and
I'm running off of battery power (VERY limited) and I need to
conserve as much as possible. *IF* I can get Cakewalk for DOS working
I can do away with Windows entirely!!!]
[Adam & Kiona Hill (akhill@netdoor.com) - Normally, I'm just an
info-vulture and glean what I need from these listings, but in this
case, "BEEN THERE, DONE THAT." I was running win3.1 on a Zenith 286
laptop with 3meg memory (I know, 3meg doesn't sound right, but
laptops in that era were VEERY proprietary). The best solution I came
up with is downloading the demo of Cakewalk Home Studio. You can't
save on it, but if your laptop is not your main editing station, it
won't matter in a performance situation. It'll call up your files,
and because it runs on 2 megsÿ or less, it takes a little less battery
power.]
--TH I wonder whether Giebler's EDM is able to convert Roland and Akai
samples from CD-Roms to Ensoniq instruments and write them to a
floppy, preferably over multiple floppies if need be.
Sincerely,
Markku Perala
markkupe@hauki.haukipudas.fi
[PF - Markku: The Ensoniq Disk Manager (EDM) is a floppy disk
manager, not a CD-ROM manager, so I doubt it's capable of taking

CD-based media and writing it to floppy disk. The ASR-10 is capable
of doing this directly over SCSI, but is germane ONLY to the
ASR-series instruments (ASR-10 & ASR-X) with the SCSI expander. The
issue here is how to get the Roland/Akai format samples into Ensoniq
format without using an ASR to do the conversion ("Import Sample"
menu prompt).
But maybe there's a software package/shareware utility that could get
you from here to there; readers?]
--TH I am looking to download the software called SSIWZ95.EXE. This is the
software for my sound carÏd. I can not find this on the net. Can
someone e-mail this to me?
Darrell Brown
dbrown1@graceba.net
[PF - Darrell: URL is
ftp://ensoniq.inter.net/pub/ensoniq/ssiwiz95.exe.]
--TH Hello, I would like to know where can I find the operating disk for
the Mirage? I just got one from a friend, but I have no OS disk. I
surely hope you can help me out with this problem.
Thank You
Victor Knight Jr.
vknight@softcom.net
[PF - Victor: Ensoniq has entrusted Syntaur Productions with support
of the Mirage. They have the O.S., Manuals, MASOS, all the whistles
and bells. URL is http://www.fatsnake.com/syntaur. I'd also check out
MUG at http://www.nowopen.com/mug/miragcat.htm#sound. They have the
alternate OS's, including SoundProcess, as well as the Triton Disk
Formatter for the Mirage. There's some newer stuff for old venerable
that I didn't know existed...
And, of course, since the OS was written by those fine folks at
Malvern, you may want to give Ensoniq a call concerning
availability.]
--ÓTH You may have already discovered that you can create your own EPS
sample files without owning an EPS or ASR sampler.
If you create WAV files on your computer using CoolEdit96 and then
convert the WAV files to EFE files using AWAVE, you can basically
create EPS sample sounds.
At first I was really pumped about this, but I am experiencing
problems creating quality samples. When I play my EFE files on the
TS-12, they are noisy and tinny, while their WAV counterparts sound
clean and clear. I really have to tweak with the filter properties of
the samples to clean them up.
I record my WAV files at 44 Hz, 16 bit in mono. They sound great
through my computer soundcard, but basically suck when converted. The
creator of AWAVE tells me that his friends have no complaints about
their converted WAV's to EFE's. I have tried numerous iterations of
recording methods with the same results.

Any ideas?
Ted Bicknell
Bicknell@sprynet.com
[PF - Ted: I wouldn't trust making quality wavesamples from a
sou˙ndcard - typical signal-to-noise ratio is 87-89 dB (and that's on
a high-quality soundcard like the SoundScape Elite). And I'm not
knocking anyone's soundcard, but there are SO many cards and
manufacturers out there no two audio cards will sample alike. (We're
not talking the PARIS, Digidesign, or dedicated multitrack audio
cards here.) The solution here is to dig out an old Mirage trick...
Grab an equalizer (10-15 band, but yeah, a 31-band will work great
too), and hook it up to one of your TS's outputs. Load one of your
"non-adjusted" raw soundcard samples and adjust the EQ until the
sound meets your standards. Now, unplug the EQ and connect it between
your sample source and soundcard. You've just created the pre-EQ
curve for perfect samples every time without adjusting ANY parameters
on your TS!
A bit out of the ordinary, but the results are amazing!]
[PF - addendum... Ted: The other issue I completely spaced is the
consumer/pro audio issue. Consumer audio is referenced -10dB as O VU
(on the meter˙). Pro audio, on the other hand, is referenced +4 dB = O
Vu. That's 14 dB of gain differential: remember, a mere 3dB is TWICE
the volume/level. This might explain the reason your conversions
sound "tinny" since the soundcard sees -10 dB as O VU. The Ensoniq,
being a pro audio instrument, sees this -10 dB not as 0 VU, but -14
dB, or almost FIVE times quieter than the signal your computer
perceives as 0 VU. Consequently, level differential between soundcard
playback and TS playback could be as much as this 14 dB. I'll bet
that's the issue with your particular configuration.
It's not a big deal for ASR/EPS/16+ users, since they can invoke the
"Normalize Gain" wave edit screen and torque the sample to full code.
The TS, as a sample player, doesn't offer this luxury, since it
cannot directly edit the sample.
Just an aside, but I neglected to explain this in my previous post.
It might explain the difference you're experiencing. Nonetheless, the
EQ trick remains one of the staples in any sampler's arsenal.]
ˆ
--Hi guys,
I am a long-time user of Ensoniq products but a novice on the new
computer I bought. I was thinking of attempting digital recording and
sequencing, so I downloaded Cakewalk Pro Audio 5.0... No matter what
I did, I couldn't get it to work so I deleted it using Win95
add/delete program. Now, none of my standard MIDI files will play keep getting an error message "Cannot Find Cake.exe." I tried
contacting Cakewalk but all they have is a newsreader page which I
cannot access with my older version of Internet Explorer.
Don't know where to turn for help!!!!
Can anyone offer some solutions to this problem? It would really be
appreciated !!!
Thanks,
Joseph Castiglia
JoeCass@msn.com
[PF - Joe: You've uninstalled Cakewalk, but all your SMF's are still
looking for Cakewalk to launch them. What's happened is when Cakewalk
was installed, you got a screen that said "Switch association to
Cakewalk Pro Audio?" to which you dutifully pressed the "Yes" button.

Now all your SMF's have a Cakewalk IcÈon.
You need to edit your win.ini and/or system.ini files. Any references
to *.mid files will point to Cakewalk as the parent application. This
needs to be changed to point to the Media Player app. You may also
need to open the Win95 registry to change this, but I'm not one to go
poking around at that system level without some documentation, 'cause
it's VERY easy to make a mistake and bring your computer tumbling
down.
I'd call Twelve Tone Systems and get some sort of documentation on
how to precisely edit those *.ini files so as to change the
association of your *.mid files to Media Player. I apologize for not
being able to directly tell you how this is done, but I'd hate myself
for telling you, "Do this, delete that." only to have your machine
lock on boot or continually bootlog.txt in Safe Mode. Twelve Tone
Systems may have this type of doc available on faxback, so give 'em a
holler - they're professional help of VERY high caliber.]
[Mark Volpe (mvolpe@netmgt.nccr.epa.gov) - To reÚset the file
association in Windows 95 for MIDI files, bring up any Explorer
window and go to View|Options and click on the File Types tab. Select
MIDI Sequence from the list and press "Edit..." Press "Remove" until
all of the "Actions" are gone, then press "New..."
In the next dialog type Play
"Application used to perform
click OK an all the dialogs.
back to what is was when you

in the Action box, and where it says
action" type mplayer /play /close and
This will set the MIDI file association
installed Windows.]

[Pete Sherman (S.pasherm@cyber-west.com) - There is a much easier way
to bring back your file type associations, without messing with *.ini
files or going into the view/options area. The way I correct this is
to bring up any *.mid file via My Computer or Explorer, then SHIFT
and right click on it, then choose "Open With" from the menu. Choose
the program from the list, (in this case, media player), and make
sure the box that says "always use this program to open files of this
type" is ˜checked, then simply click on OK. Bingo, associations are
back again. This works on any file type. The SHIFT and right click
will bring up that Open With option, it will not if you do not hold
the shift key down. Piece of cake, right?]
[GNormand@aol.com - I did the same exact thing. Not once, twice, but
three times. I guess I really wanted to download Cakewalk and have it
work. Each time, I successfully got it in, but heard no sounds even
though the sequence showed it was playing. One night, I found the
switch that turned on the audio and now it's (pardon) a piece of
cake. Great program, will buy the real version soon. I also had the
smf's converted and couldn't work with them until I got everything
cool. Be patient, re-download it and then look for the magic button
to turn on the player.]
--Hi I have three specific problems that I can't resolve myself:
1) I have a DP/4+ that keeps frustrating me quite a lot since some of
the very intriguing guitar-oriented algorithms made for the DP/2
aren'tÔ available for my multiprocessor. I also own an ASR-10 for
which I bought some very interesting FX algorithms made by Waveboy
sound designers. How could I import any of those algorithms into my
DP/4+? Is there some sort of PC-oriented editor made for the DP/4+?
2) I also have a Soundscape Elite card for which I use the Toolkit
Controller (v 1.03.01). It is impossible for me to load the effect
software with all algorithms already available in its bank. I had in
the past owned an different version of the same software that could

load all its algorithms at once but wasn't capable of importing any
*.esp files. In both cases the Elite controller wasn't able to
recognize its own saved files *.syx. It seems that there has been few
versions of that software and Ensoniq home page doesn't provide
access to that utility software anymore. Can anyone tell me something
about that?
3) I like my ASR-10 a lot but I badly miss a good visual editor to
manipulate the waveforms. I have a good knowledge of Sound˛ Forge,
Triple Dat and Sawplus software and none are compatible with the
ASR-10 file format. I saw some shareware software available on
internet but the demo aversion seemed to be amateurish and low
performing. What should I do?
Thanks for your attention, and sorry for my French accent...
Pierre Sainte-Marie
dhyssith@hotmail.com
[PF - Pierre: (1) The FX algorithms for the DP/2 and DP/4 are
firmware-based: they reside in ROM and can't be accessed be mere
mortals like us. Only Ensoniq can crunch code to make new algorithms
and install in the ROM chips that run these processors. Given, the
code is software, but it's not like the ASR which loads new code (ala
Waveboy as part of the ASR OS) into RAM to be read. Consequently,
there's no way to access those specific parameters. Therefore, no
PC-based software editors exist for the DP-4 other than typical
parameter editors.
(2) I defer to the Malvern Oracles on this one: I use the Elite
myself in my PC, but I simply torque on its effects through
Cakewalk's MixerÎ Controls. Apologies for not getting into the FX
Toolkit any further than downloading it...
(3) Visit http://www.soundcentral.com/chickeneps: this'll take you to
Rubber Chicken's home page and check out The Ensoniq MIDI-Disk Tools
app. It converts *.wav files to Ensoniq format, sports a VERY fresh
waveform editing screen (Windows-native), and costs a whopping $60.
Nothing like torquing a *.wav file in Forge 4.0 and pinging it into
your ASR-10 - marriage made in heaven (not that other utils and
editors won't work as well, just that Forge 4.0 and the 3rd party
plug-ins are mondo). We'll be reviewing it here in the Hacker
shortly, but it appears to be a winner on first impressions. Be sure
to download the Ensoniq FAQ from his URL as well.
Gary Giebler has x-platform utilities as well. He, too, is one of the
file format oracles that advertise their wareS in between Hacker
articles. But, as a subscriber, you knew that...
No apologies necessary for your accent. But I will apologize for MY
HoÛosier dialect...]
[Ensoniq - The current version of the Soundscape Elite's effects
toolkit will not load its own sysex files. The way that the toolkit
can be used is through MIDI sequencing software that supports system
exclusive commands. Examples of software that support the use of
sysex files would be Cakewalk Pro Audio and Cubase. These programs
have commands built into the software to load sysex files.]
--Hi,
I've been trying to set up a SCSI system with my ASR-10, a Macintosh
Classic II and an Apple CD-150 connected between both of them. But
always when I insert an Ensoniq CD-ROM the Mac shows the dialog
saying that it can't read it and offering to initialize or eject it.
The only way to continue then, especially with the Mac, is to have
the Mac eject the CD-ROM which of course means that the ASR-10 cannot
access it either. Also the Mac won't boot from its hard disk as long

as the three devices are connected.
Who knows of a solution or maybe a system extension that allows the
ASR and ıthe Mac to use the same CD-ROM drive connected to both of
them via SCSI?
Thank you very much for your help,
Klaus Rueter
waldbuehne@aol.com
[PF - Klaus: The Hacker just published an article in last month's
issue (#143) that details how to build a SCSI switchbox that switches
all lines BUT termination power. This seems to be the culprit in many
ASR->SCSI HD-->CDROM drive-->Macintosh configurations. Contact the
Hacker for last month's issue with the article by John May - while,
of course, you're initiating/renewing your subscription to the most
helpful publication on this planet for Ensoniq gear (short of the
Malvern Musician's Manuals)...]
[TH - And, of course, the e-mail version of any back issue is single
$1.]
[midimark (mark@midimark.com) - As far as I know, the CD150 is not
compatible with the Ensoniq samplers. You may need a newer drive like
a CD300. (You can purchase one from MidiMark Productions if you
like.)
--TH For starters, a tip of the proverbial hat to the Hacker staff and
wri‰ters for a job well done. Now, I have a couple of brief questions,
and a comment:
1. My roommate uses an EPS-16+, and I use an EPS "Classic." Now, is
the original EPS supposed to be able to load 16+ sounds/sequences? I
haven't been able to get it to work. Is it possible? Whenever I try,
the EPS just says the disk is damaged. The 16+ can read my EPS disks
just fine, so I know it's not a disk drive alignment problem.
2. Does Ensoniq still make (have?) the KMX-8/KMX-16 MIDI patch bays?
I've got a KMX-16 and love it, and my roommate would like one too,
but can't seem to find them anywhere. Any ideas?
Now, on to my comment:
A tape of my band's music was reviewed in Basement Tapes (June 1997).
The tape was called: NURVIS "Trapped By Emotion."
First, I'd like to thank Steve Vincent for his kind words, and
secondly, I'd like to mention that I am NOT asking for $10 for a
tape. I tried to let Steve know this via e-mail before the review
came out, but I guess he didn't get the info in time (my fault not
his). So, if anyone would like a tape, e-mail or write to me and I'll
send one out. (of course a buck or two to cover costs wouldn't hurt,
but it's not REQUIRED if you can't afford it...) 
P.S. There will be a couple more songs on the tape as well - since
we've been busy writing new stuff since sending the tape to Steve...
Paul Nurminen (NURVIS)
Internet E-Mail: Nurmix@socal.com
[PF - Paul: Kudos to readers like you who make us dig deeper into the
Malvern boxes to answer your questions, and, at the same time, learn
more about the power of the Ensoniq box.
(1) You've got the cart before the horse. The EPS-16+ will read EPS

disks, but not vice-versa. Almost tripped me on this one - I almost
thought my old 16+ had a high-D floppy on it (but of course it
didn't). Sound file (as well as sequencer and effect file) format is
different b/w the 16+ and the Classic (the EPS sampled 13-bit words,
the 16+ sampled 16-bit words), so the Classic doesn't know what to do
with the extÒra bits, so it returns the "Damaged Disk" prompt. This
may not be exactly the reason (and I don't want to get flamed by
Ensoniq for not being technically correct), but it's something very
akin to this effect (no pun intended)...
(2) The KMX-8 & 16 MIDI patch bays were on the current product list
my dealer here in Indianapolis showed me last month, but I don't know
how "current" that listing was. If it is in fact out of production,
contact the used gear channel (Rogue, Big Daddy's, Discount Music
Supply, yada-yada-yad) to bag one...
(3) I trust our illustrious editor/editrix have already cc:'d Steve
on this, as he's the Basement Tapes Clinician.]
[TH - We have indeed.]
[Midimark (mark@midimark.com) - Midimark Productions has been selling
sounds for *EPS* users for many years and we sell them in EPS-16+
format exclusively. So it may be that one of your disk drives is not
properly aligned or the drive is beginning to fail.]
FILE 4:
The Interface - Part II
#%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#% #%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#%
INTERFACE - PART II
--Hi,
I'm using EPSDisk130b - it works fine writing *.gkh files, but not
writing *.efe nor copying *.ins files. It says "Error (-1) can't open
.efe file on PC." Or something like that. I've checked out .txt and
make my steps as it describes, but I can't get it to work.
Thanks,
Stan
verts@ibm.net
[PF - Stan: I tried EPSDisk V. 1.30 beta and couldn't get it to
restore a disk image of a Syquest Cart I tried to copy. It also
munged my macros. Then again, that's why they call it "beta"
software.
I'‡d contact the author, but the links to the Oakland archives where I
downloaded it from have changed to SoundCentral.com, and it's
currently under construction. You might URL there occasionally to
check if it's back up and on line, and then ping the author.
Terje's Node at http://fysmac04.uio.no/eps.html has some pretty cool
Mac utilities you may wanna investigate, and his aren't "beta"
wareS...]
--Hello !
I am an MR-76 owner (OS 2.00). Is it possible to load from MRD-100
all banks of rhythms except !FLSRTHM into the FLASH or RAM? When I
load a single bank, e.g. "Ballads" it works, but the next one cancels
it although there is still a lot of FLASH/RAM memory.

Regards,
Edward Spyrka
espyr@radio.opole.pl
[PF - Ed: Any "Bank" load overwrites what was previously stored in
RAM and FlashRAM (it loads into the same memory space your previous
load resided in). To avoid this, load the rhythms you wish to use one
RHYTHM at a time. Once you've loaded all the rhythm patterns you plan˜
to use THEN save the bank.
Remember, rhythms load into the drum machine, which is a completely
discreet RAM area apart from the memory of a RAM Expansion card. The
drum machine has its own dedicated memory and "mini-sequencer" all to
itself. Issue #140 has an excellent explanation of the MR's "Drum
Machine."]
--Hi,
I'm Steve Laux from Baden-Baden, Germany.
My problem: I've got an ASR-10 (Rack Version) and use a General music
keyboard as a master-keyboard that has, of course, no patch-select
buttons. I use the SW-10 footswitch connected with the ASR to select
the sample patches. Now I want to record the patch-select commands to
my Midi-Sequencer (PC with CuBase). Midi In and Out are connected
between keyboard and PC, the ASR-10 is connected to the Midi Thru of
the keyboard. How can I add or insert the patch selects into the
inner loop PC<->Masterkeyboard?
Thanks and greeting,
Steve
Stefan.Laux@swf.de
[PF - Steve: The problem you are experiencing is that the MIDI OUT of
the ASR-10 has no conneÔction to the MIDI IN of your computer. You'll
want to connect your gear as follows:
(A) MIDI OUT of the General Music keyboard into the MIDI IN of the
ASR-10 Rack.
(B) MIDI OUT of the ASR-10 Rack into the MIDI IN of the computer.
Be sure to select "Local OFF" on the General Music Keyboard and
ensure the MIDI modes of the ASR-10 are set properly as well (MIDI IN
MODE=Multi, etc.) so that you don't have a closed nested MIDI loop in
this configuration.]
--Hi,
I own an Ensoniq SQ-1 PLUS, and use Cakewalk Home Studio software. I
am trying to figure out how to get the software to send the proper
Program Changes to the keyboard.
Any help??????
Metro Kozakevich
marco@netshop.net
[PF - Metro: You might want to contact Twelve Tone Systems (authors
of Cakewalk) to see if they have an SQ-1+ Instrument Definition Table
available for your particular version of Cakewalk.
If an SQ-1+ table isn't available, you'll need to build one using the
MIDI Mapper in Windows to build one. Remember to send bank¯ change
messages to select card and RAM locations as outlined in the
Musician's Manual.]

[Adam & Kiona Hill (akhill@netdoor.com) - CONGRATS!!! You are now in
the leagues of those who have used Cakewalk, and you will NEVER use
another sequencer from another company! But seriously, I've been
using CakeHS for about two years now. You will want to upgrade one
day, but here's the answer to your question: Go to the [settings]
menu and choose [instruments]. Then click on [define Instruments].
Look at the top of this new menu for the [import] button, and click
on it. Then as your import file, choose [src.ins]. Click [OK] and
then will appear a MULTITUDE of patch files for every conceivable
MIDI instrument. Find the [Ensoniq SQ1 plus] and choose it, and then
you're home free. By the way, when you choose an instrument, make
sure to choose the proper bank (24 for internals and 25 for ROM) and
that should do it. More CakeHS questions? Feel free to email me
personally at akhill@netdoor.com]
--Hello,
This mess◊age is only loosely Ensoniq related but I need someone to
help me out.
I'm trying to get my Windows 95 PC talking to my ASR-10 to do some
basic editing in my own way. I downloaded the MIDI API from
Microsoft's web-site and started hacking with Visual Basic 5. Right
now I successfully implemented the MIDI-out part.
Unfortunately the MIDI-in part is much more complicated. Microsoft
wants me to use Call-back functions (which are supported from VB
version 5) and to implement a buffering system.
What I actually need is some more documentation or a sample of some
VB5 source code which explains me how to implement sysex MIDI-in. I
gave all internet search engines a shot, but didn't find the
necessary information.
I know about some third party controls which provide MIDI
functionality. My experience with such controls is that they can't be
used (without modification/update) in other version of Visual Basic,
get more expensive in new version or even stop to exist. I prefer not
to use such custom controls.
Can anyone help me?
Cheers,
Jan Penninkhof
penn0661@exact.nl
[Rubber Chicken Software Co. (chickenEPS@willmar.com) - Since VB5
gives you the ability to sub-class and use a "callback" mechanism, it
would be possible to write a class library or at least a module that
would implement this. Good luck!
Otherwise, the only OCX that will do the MIDI trick on the Win95
platform (16 or 32-bit) is the MIDI-Pak by Mabry Software. It is
quite good; we use it for Ensoniq MIDI-Disk Tools.]
[PF - Jan: Microsoft might have the tools you request, but unless
you're a registered Microsoft Developer, I doubt you can get access
to them. They release Service Paks (for Win95 & NT4.0) that might
have some of these Visual Basic tools in them, but from what I've
seen, you'd need the Developer's SDK or other "Back Office" resources
to get there from here. You might try comp.sys.xxx.xxx thru
Newswatcher to see if someone has these Visual Basic or Visual C++
tools for sale.]
--Hell‡o!

I'm looking for some advice on conquering my sampler - Mac SCSI
vodoo! I have an Ensoniq ASR-10 sampler which was successfully
connected to a Macintosh Quadra 700 via SCSI & MIDI and working fine.
I have recently upgraded the Quadra to a Power Computing PowerCenter
Pro machine and the SCSI communication is giving me trouble. My
computer is running system 7.6.1. All SCSI devices inside the
computer are connected to a separate Adaptec SCSI buss, leaving all
SCSI ID's on the external buss clear. Whether the sampler is
connected directly, or through another SCSI device to the mac, the
two will not communicate with each other. Please let me know if there
are any specifics with connecting the ASR to a powermac that I may
have overlooked.
Thanks in advance for your help!!!
Tom
MCushing@aol.com
[PF - Tom: You've just discovered the biggest difference between a
Macintosh CPU and a Clone CPU. Given, the Power Computing clone is a
nice machine AND is 100% MacOS compatible (as they pÛroudly proclaim
on the box). They are NOT 100% Macintosh HARDWARE compatible. While
working for Truevision we discovered none of our PCI-based DVR boards
worked in the Power Computing clones, the Motorola StarMax clones,
and had limited success with the UMAX clones for this very reason.
Something about the PCI V. 2.1 spec not being implemented in clones.
But this may or may not be the problem here. Your configuration
sounds like there's an Adaptec 2940U or 2940UW SCSI-2 bus-mastering
controller card parked in one of those PCI slots. Since yours is a
dual-channel controller, the only hope I can offer is to connect the
ASR to the internal SCSI chain. And that's not a guarantee, since
it's a bus-mastering SCSI card. Termination power is a big issue, as
well - see TH Issue #143 (May, '97) on building a SCSI switch box
that doesn't switch termination power. This appears to be the culprit
on MANY ASR-Mac problems.
I'm only theorizing here, Tom, as I don't own a Mac Clone. But it's
been my experience ‡that if doesn't have an Apple on the box, it ain't
a Macintosh. I'd contact Power Computing and ask for the specifics on
that Adaptec Card (the 2940U is an Ultra-SCSI card, the 2940UW is an
UltraWide SCSI card) - the ASR complies to the standard SCSI-1 spec,
so it may be incompatible. I certainly hope I'm wrong.
I would certainly give Ensoniq a call, as they may have configured a
system it this manner. I understand Power Computing has overhauled
their tech support group and is much more responsive to their
customer base than they were when I was trying to contact them last
October about digital video issues. So PLEASE keep us posted here in
the Hacker concerning these issues. I'd like to see all these clones
(which now have almost a 10% market share) happily waxing poetic to
their ASR's.]
[Kare Rodmalm (kare.rodmalm@mailbox.swipnet.se) - Hi, I read the mail
from Tom concerning SCSI problems with his ASR-10/Mac clone setup and
would just like to say that this sort of trouble iˇs not confined to
Mac clones.
I've had a very similar experience to Tom's. My old Centris 650 and
my ASR-10 got along famously, but when I upgraded to a 7600/120 (it's
got an Apple on front and everything) I could no longer send samples
between the Mac and the ASR-10 via SCSI. According to computer buffs
this has to do with the Mac's SCSI Manager using an asynchronous
transfer protocol which the ASR-10 can't handle.
I have no idea what this means but to my layman's ears it all
translates into: "live with it."
All is not lost, however. In Norway there's a guy by the name of

Terje Finstad who has come up with a software utility which should be
in every Mac/ASR-10 (or EPS) user's arsenal - EPSm. This program
solves the SCSI transfer problem by making it a two-step process.
Instead of sending samples directly from the Mac to the sampler, EPSm
allows the Mac to send samples to a Ensoniq-formatted drive which can
then be read by the sampler. This may seem like a rather roundabout
way of doing things, but it worÎks. EPSm is shareware and can be
obtained from Terje himself at: http://fysmac04.uio.no/eps.html.
And by the way, get stEPS too, it's a great utility for building
instruments on the Mac.
All this said, it would still be nice to be able to send samples
directly between a Power Mac (or compatible) and the ASR-10 using
SCSI, so if anyone knows a way of doing this, please let me know.]
[PF - Kare: Yes, I pinged Terje and got a copy of EPSm. However, at
the time I was new to the net and didn't know how to retrieve my mail
for three weeks, so the copy he sent me expired before I could use
it. But I trust his wareS and recommend them to ASR'ers who do sample
editing on Macs.
When I get a free minute, I'm going to build one of those switchboxes
Doug May outlined last month in the Hacker (the box doesn't switch
termination) and try it on a 7100/80AV and a Performa 6360 (neither
of which are clones but are PPC Macs) and report my findings. That's
after I get another spare minute to document xfe„rring a *.wav/*.aif
file to an MR-series keyboard.
All of which is after I invent the 28-hour day...]
--TH Please inform me on how I can receive the MidiCaster for the Ensoniq
Mirage and how much it will cost me if you send it to Greece at this
address:
Spanakakis Vangelis
15 Moshonision st.
Nikea, 18450, GREECE
spanax@netor.gr
[TH - We've passed your letter on to Syntaur - who're probably the
most likely source for this. We'll see what they say...]
--TH When I got my ASR-10R, included was a list of compatible CD-ROM
drives. Can you tell me if this list has been updated, in particular
regarding faster drives (12X etc.)? Are these faster drive mechanisms
likely to be compatible just because the 2X or 4X from the same
manufacturer were? I'm trying to avoid a string of returns to my
local purveyor.
Thanks,
Robert Claire
rclaire@sinewave.com
[PF - Robert: As far as the CD-ROM issues go, I know of a number of
people who have tried 4X, 6X, 8X mechanisms. So far, the onlÙy ones
that seem to work are the 2X mechanisms. The Apple CD300 caddy loader
works fine on my ASR-10, which is a Sony mechanism. I personally
haven't had any luck with Toshiba or NEC drives, but Ensoniq claims
certain models from these manufacturers are compatible, so I defer to
their authority on the matter. Most vendors of high repute (Club Mac,
for instance) offer a 30-day warranty on their products. However, as

you say, trying to avoid a string of returns is pretty much the
traveled path here, as most vendors of Mac peripherals certainly
haven't tested their hardware on an ASR...
I'd also like to hear from readers who have configured any drives
faster than my trusty old 2X, because it is slooowwww as 20W50 in
winter.]
--Hello I am desperately looking for high quality *real* sounding bass and
smooth string samples on CD-ROM for my ASR-10.
It seems the CD-ROM world isn't interested in the ASR-10. I've got
hundreds of cheesy samples and I've overused the few favorites I
have.
I did get t·he upgrade to accept other formats but I'm nervous about
if it will work correctly.
Thank you so much,
Julie
[PF - Julie: Geez, the Ensoniq CDR-3 and CDR-4 CDROMs have some
glorious string samples on them. CDR-8 from Ensoniq (which is a joint
collaboration of Ensoniq and Invision) is nothing BUT orchestral
instruments, to include a 6789-block "lush string" bed. Also included
are an Orchestral Sting group (4108 blocks), marcato, legato and
pizzicato strings, as well as harps, flutes, double reeds,
percussion, mallet and bell, etc.
My favorite bass sample is the original "RoundWound" bass sample from
an old EPS demo (low velocity is roundwound bass string, high
velocity is "pop" - layered with a sine wave bass sample, it's the
real deal for jazz/fusion things.
And yes, the latest O.S. will let you import Roland and Akai samples
without a hitch. Just be sure to read the caveats in the update
bulletin you received with the new OS (layer imports, instruments
greater than 16 MB, k˛ey zones, etc)...
The caveats? Try before you buy. Sound evaluation is subjective, so
listen to goods before you plunk down your bucks. And make sure
you've got 16 Mb in your ASR, because high-quality string sections
can top out your memory (there's a bowed bass section sample in the
Ensoniq library that's almost 9000 blocks!).
And I'm sure some of our advertisers here in the Hacker will cc you
on their wareS as well.]
--TH Does the ASR-X have built-in synth sounds straight out of the box?
Paul T.
quadmix@singnet.com.sg
[PF - Paul: Yes, the ASR-X has an MR-Series wavetable built in. See
Garth Hjelte's review in Issue #145 of the Transoniq Hacker.]
--TH I was wondering if you could tell me any info that you have on where
I can download and/or buy/sell song sequences for an Ensoniq
keyboard.

Thank-You,
Pat McTigue
patjan@bellsouth.net
[PF - Pat: The standard medium of xfer is the Standard Midi File
(SMF). Of course you can purchase ready-to-load sequences for a
particular Ensoniq keyboard fr˜om commercial companies that advertise
in the Hacker (like those from Music Magic, Music Labs, L.B. Music
Sequences, etc.).
The issue here (as well as selling your own sequences of someone
else's songs) are the reproduction license. Typically, a percentage
of what you charge for your sequences goes to the original artist. An
arrangement must be made between you and whoever wrote the song
you're attempting to sell as a sequence.
In light of all of the controversy, Standard MIDI Files are all over
the web. Point your browser to www.midifarm.com - they have around
200 Mb of sequenced SMF's as well as links to other MIDI sites.
Depending on which Ensoniq keyboard you have, you may (or in the case
of the MR series, may not) have to massage the SMF into a format your
particular Malvern keyboard can understand. Gary Giebler makes a
number of utilities that allow you to convert SMF's into
SQ/SD/VFX/TS/ASR format on a PC.
Check out the Hacker Booteeq for more details regarding Giebler and
the sequence vend˛ors.]
[TH - If you're not a subscriber you can still get a lot of this info
out of the sample issue at our web site - and links to the vendors.]
--Dear Hacker Family,
I have been reading your publications as I pass through McDonald's
Drive-Throughs for several months now. I am uncertain if a damaged
"Hacker" magazine is one with secret sauce on it or not. Please
clarify.
Anyway, I purchased an MR-76 in December of 96. I was won over by the
weighted keys and pleasant piano samples, and since I don't get much
time to do aerobics anymore, I stay in shape by lugging the MR-76 to
gigs... all at a reasonably affordable price. Over the past 10 years
I have used only Korg and Yamaha keyboards (am I allowed to mention
these names here?), so it has taken a little bit of time to
manipulate the MR. There are some functions that either I can't
figure out or may be impossible to do.
GENERAL MR QUESTIONS (used to be private until promoted)
Question Zebra-fish: I have read of rumors of newer versions of the
MR manu˛al and operating systems. What are the latest versions of each
of these? (5 points)
Question Orange Cola: Has anyone used the "Step Record" feature or
the "Final Mix" feature in the Record Mode? (15 points)
Question Reliant: Will there ever be a way to increase the the amount
of memory that can store sequences (song memory) in the MR? (10
points) I would be interested in ways other people using sequences
for live performance have handled this. I can get (at best) 9 MIDI
files stored in MR's memory. (Hard drive suggestions appreciated.)
Question Butter (a.k.a. Marge Jerine): Although I like many of the
sounds on the MR, I truly miss the smoothness of the electric piano
sounds from other synths. Is there a way I can hear sounds from
Ensoniq's expansion modules, or after-market factory sounds from

independents. I also heard that
chip maybe) that enabled one to
dogs barking) into an MR, but I
points)
ˇ
THIS GROUP OF QUESTIONS WILL BE

there was some device (electronic
load samples from other keyboards (or
have never seen this advertised. (10
DEALING WITH THE DRUM MACHINE

Question Toe Nail: Did I dream that there was an article published in
TH about sending MIDI information from the drum machine (including
variations and fills) to an external source (i.e. computer) so it
could be edited? (Is this issue under the seat in my car?) (10
points)
Question NoNoNa Ninny: Although it is fun to edit the pitch, volume
etc. of an existing rhythm, I have concluded that it is impossible to
erase (for example) the existing bass drum part and record a new one
while still in the drum machine (or from idea pad); then save that as
a new rhythm. Or in other words, we will never find an alternating
7/8 and 15/16 time signatures coming from the drum machine. (I was
told when I bought the MR that this could be done.) (10 points) Note:
Will there ever be a way to load other rhythms into the drum machine
(other than the ones on MR disk shipped with keyboard). I just want
to fill the air waves with Polka-like drum patterns. (Polka Time
PÙroductions Hot New MR POLKA RHYTHMS ON DISK.)
Question D234-l66: Many songs I write have a rhythm break and the
vocals go, "Ooh, Ooh, baby," then the rhythm starts up again in the
next bar. Or I may (when I'm feeling mushy) have this little
"EthnoMallet" solo before the "GreaseBrass" enter and the drum
machine starts a sweet (boom chik chik chik) straight 8th ballad
rhythm. (I cry every single time.) Anyway, in either case, all I have
been able to do is have the drums fade in or out with track Mix
record, or use the first part of the tune as a separate sequence. Am
I thinking about this correctly? I hate to lose sleep over things
like this. As a rule of life, drums machined synched to a sequence
must begin at bar 1 and once stopped, will never again play in sync.
(12.37 points).
BONUS QUESTION
Question BQ-1: How many layers does your typical flasher use? (2x-y
points)
These questions may be forwarded on to others, reproduced or cloned
for educational purposes, used for aerospace experiments (wÓith proper
folding), but may not be rebroadcast without written permission from
seven mimes and/or the NBA.
Your score here ________
Thanks,
Mr. Biff
Bill Drazga
billd@berlen.bdsnet.com
[PF - Mr. Biff: Coach Buzzcutt here. I prefer my MR-76 from Burger
World - I can have it MY way there. In order...
(A) Current O.S. for the MR-series KEYBOARDS is 2.1. New manual
available from Ensoniq at minimal (if any) cost.
(B) "Step Recording is equivalent to painting a 747 with a Q-tip."
Quote is from Quincy Jones, Recording Engineer/Producer Jan 91 Issue.
(C) Memory allocation is adjustable only from the Librarian: no
further sequencer memory expansion is available. No plans to (a)
share sequence memory with FlashRam cards or (b) SCSI implementation
for the MR. 1.4 Mb floppies only...

(D) FlashRam card expansion (4Mb) should hold very convincing piano
sample. Massaging 4Mb into multiple *.wav or *.aif files to load as
key zoned multisamples into an MR will be herculean task...
Drum Machine issuÌes...
(A) See Tony Ferrara's article in #148: Drum machine patterns must be
"copied" into a Track location to speak external MIDI and be edited.
(B) See (A) above: you polka, you brought her...
(C) See (A) above and use MIDI sync: MR's don't speak SMPTE.
(D) B squared-4AC/2A. Then again, most flashers are pretty nonlinear
also...
And the real bonus question: which engineer at Ensoniq wrote the Drum
Machine software? (Hint: he's not into warez.)]
--Hi folks!
Does anyone know if there exists a converter that would convert old
TEXTURE sequence files (*.SNG and *.PTN) to MID-format or any other
understandable format??
You see, TEXTURE is one of the oldest sequencing softwares for PC.
Made by a chap named Roger Powell by Magnetic Music. I don't know if
the company even exists anymore - does anyone know??? At least they
don't seem to have a WWW-site!
So! WANTED: such converter and if YOU have such shareware program,
please be kind and send e-mail to me attached with that program file.
Ê
Thanks!
Jorma Kinnunen, Kuopio, Finland
jkinnune@jmp.fi
[PF - Jorma: Good luck - Texture was such an early sequencing program
I doubt its file format is understood or translatable by anyone but
code warriors. Still, I would be remiss if I didn't ask our reader
base if they've heard or seen such an animal...
BTW, Roger Powell was Todd Rundgren's original keyboard player in
Utopia. Bit of trivia...]
--TH Just laid down a down payment for the TS-10... it is being updated to
OS 3.1 and filled with 8 megs of sample ram. After owning and
debugging the VFX-SD (one of the first machines out) and converting
it into an SD-1, I would like to know the following:
The store's machine had version 2.0. Before I take the machine out,
what can I press/test/experiment with to verify that it is more or
less bug free and stable? What does the 3.1 have that was broken on
the 2.0? What froze on the 2.0??? What quick things can I check while
in the store to make sure I'm taking a sane instrument oÚut of
there???
You see at present I live an hour from the store and don't want to
have to return to it yelling and screaming. Though I am very good at
it and usually get people to see my way, I'd rather not go through
that hassle.
Please let me know what the upgrade meant to the machine.

Thanks a lot,
G Losack MD - a subscriber for over 7 years
losackmd@infonline.net
[PF - Dr. Losack: I recall your earlier letters in the Hacker aren't you an audiologist (earologist, EENT?). In either case, the
most current O.S. for the TS-series is 2.0, which added General MIDI
compatibility (no remapping of sounds/patches, etc. required to talk
the GM subset). In this aspect I don't think it qualifies as a
maintenance revision, but Ensoniq might have fixed some bugs if they
were discovered.
The TS-series is one of the most desirable of the Malvern boxes in
that it offered the full functionality of the SD-1 (sysex storage of
MIDI data from other boxes) as well as the ability to import samples
from the EnsÊoniq sample library. This raised some ire when it was
discovered the SCSI adapter for the TS was a read-only interface,
but, hey, Ensoniq allowed access to the entire EPS/16+/ASR library
this way. Given, you couldn't edit your samples - Malvern had already
polished them to a fine lustre before burning them to CD, so big
deal. There's always somebody who wants one box to do everything.
Nothing does, but the TS was as close as any manufacturer EVER got to
the whole shooting match in one box...
Good to hear from you. Glad you've hung with our illustrious brethren
up in Malvern as well as here in the Hacker. The TS-10/12 O.S. V. 2.0
is the most current (as well as robust) O.S. available, and as long
as you verify that before your purchase, life will be good. I
heartily applaud your decision and foresight.]
[John Seboldt, rohrwerk@pconline.com - Whoa, now! 3.05 is the latest
TS OS according to my June '96 Hacker lying around. 2.0 - no way! I
have OS 3.0 in mine. If there is a 3.1, all t‚he better!]
[PF - Gang: I stand corrected - my May Hacker issue (#143) indeed
shows the current TS O.S. at 3.10. Just to make sure, I pinged
http://www.ensoniq.com/html/0010.htm to be sure, and yes, 3.10 it is.
My thanks to John Seyboldt to bringing the 3.05 O.S. to my attention
and apologies to all the veteran TS'ers for my error.]
[GNormand@aol.com - I now use a TS-10 and a TS-12 after owning almost
all of the previous models, and I agree they are sweet machines.
E-mail me if I can be of any assistance.]
--Hello folks!!!
Just wanted to write this letter to express my deep happiness... I
got my ASR-X this afternoon, and in one hour I discovered that the
beast is a real serious creative machine, saving your time to the
limits... The sequencer is better than the EPS-16+/ASR 10... It is
just a little bit different in concept, but I think it will do the
job. It's really versatile and easy to learn, very EASY if you
already know some Malvern boxes. The effect routing has changed a
little bit again, but again, I'm sure it will fit my needs...
The only bad thing, is that I have the old ROM, so all my ASR library
is waiting there for an upgrade. The rest is ok, and PADS.... Oh
these PADS are going to bring your music out!!! The touch is
amazing!!!
Again, Congratulations, ENSONIQ! And of course... CONGRATULATIONS,
HACKERS!!!
Alex Martin
Barcelona, Spain
higlamm@lix.intercom.es

[PF - Alex: Once again, Ensoniq raises the bar just a little
higher...]
--Dear Hackers, Hackets and Ensoniq,
What is then word on the updates of O.S. for the ASR-X? People are
calling me and asking "Will the ASR-X load EPS-16+ disks and will the
ASR-X load sounds from CD-ROM?" Thanks for your help!
Mark Schaefer
midimark
dance1@gte.net
[PF - Mark: As we speak, Ensoniq is furiously hacking code for the
new OS to allow importation of ASR/EPS/16+ sample disks. I don't know
of a projected release date, so stay tuned. Malvern's got another
winner coming down the straightaway...]
[TH - Well... by now you've probably read the announcement in this
month's Front Panel.]
THE INTERFACE - PART III
--Hello!
I own an MR-76. I purchased Performer 5.5 a month ago thinking I
needed more seq power. It came with FreeMIDI 1.3. To this day I have
not been able to get it going. I know, why didn't I contact MOTU for
this info? Well, you don't know how hard that is. In fact, I took one
day off work to contact via phone. It took 5.3 hrs to talk to a
human, then they told me to download the new version of FreeMIDI
(1.3) which would work with my Mac Powerbook 5300c. Guess wh‚at - it
still isn't working.
My question is does anybody out there have a config solution for me
that I can use, and also config for the MR-76?
P.S. Should have purchased Cakewalk.
Thanks :-)
Anthony Brave
tbrave@olc.edu
[PF - Tony: Powerbooks (especially POWER powerbooks) are a different
animal entirely. Ensure you have Appletalk switched off. I ALWAYS
leave the Control Strip "seat belt" at the bottom of my Duo 210
(don't laugh!) screen to allow disconnecting Appletalk. If your 5300
has an internal modem, go to the chooser and select the "Internal
Modem" (the middle icon) for telecommunication stuff. This should
release the "Printer/Modem" port for other applications. THIS is the
real issue, since 5300's have only one serial port, so it does double
duty as a combined printer/modem port.
I had a similar problem on a 2300C until I turned the Express Modem
off in the Express Modem Control Panel (CDEV). It wouldn't print to a
OfficeJet 500 HP printer/fax/scanner/copier thru GDT‹ software
(Mac-to-PC printer) until I switched off the Express modem.
Yeah, I know about MOTU customer support. I called three times every
day the first week in March to no avail. Finally, I emailed them and
got a response. And yeah, I couldn't use a freeware Yamaha CS1X
editor for the Mac (as well as Patchbay and Apple MIDI Manager) until
I did FreeMIDI 1.3. Seems to work OK with FreeStyle...

And even though I'm a diehard Mac evangelist, the convenience of
dropping a *.mid file onto a floppy out of a PC and plugging it
directly into the MR is pretty appealing. I tried it a coupla times
on my '586 at home, and well, you'll have to remap cooler MR sounds
to the sequence tracks than those stinky GM defaults, but it's
convenient...
To do the same thing on a Mac, save a Performer file as an SMF using
the "Save as" File menu, then insert a DOS-formatted floppy and copy
the file over to it. Give it a DOS name, e.g., "PLGNPRAY.mid," and
drop it into the MR. Voila! Hope this helÚps!]
--TH Is there a mailing list/newsgroup for the ASR-X? I got one, and I
think I'm running into a few glitches... and wanted to run them by
other users. Know of any reviews yet in any magazines?
Thanx,
-Chris
Christopher Robin
nivek@pcez.com
[PF - Chris: The ASR-X was just released late last month. The Hacker
barely got time to squeeze Garth Hjelte's impressions of it into the
July issue. Little too soon to tell what groups are out there yet
since the ASR-X isn't even 30 days old yet. As soon as we get any
input, we'll let you know. Readers?]
--Dear Transoniq Hacker,
I recently purchased an MR-76 with the intent of it being the
controller for the rest of my keyboard/module components. As is the
case with my previous purchases, I went through the rigors of
ensuring that the MR-76 would be a cost-effective tool to enhance my
creativity. With its unprecedented layout and sound quality I find
the MR-76 to be aptly billed as a "Composition Keyboard." A true work
of art!
However, I am Ósorry to say that there is trouble in paradise. All is
well as long as the MR-76 is being used as an "all in one" keyboard.
It does not communicate well with other MIDI gear. No matter what I
do, I can not record MIDI tracks in the 16-track recorder without
corrupting existing track information. I was told that the paramount
purpose of the OS Version 2.0 upgrade (which my MR has) was to
correct this problem through the "Align MIDI Track" function.
Unfortunately, that is not the case.
To work through this problem I have recorded tracks using MR-76
patches and then changed the MIDI channel to play the originally
intended patch from my outboard gear. While this alternative method
has proved effective in resolving the aforementioned problem,
creativity has ostensibly been compromised. Ironically, the purported
perfect complement is in practice an abhorred detriment.
Is Ensoniq working toward resolving this problem? What we have here
is a failure to communicate! It's hard to believe that this MˇIDI
communication problem can not be resolved. None of my other gear
(Roland, Korg, Kawai, Alesis) have this problem. Actually, prior to
my MR-76 I have had a very good system in terms of creativity, sound
quality, ease of use, etc - which should have been elevated to
"Great" had the MR-76 not had this problem.
HELP!!!!!
Jim Radich
Oxford, MI

[PF - Jim: You're not alone - I get about three of these kinds of
letters a month. Everybody seems to think you can unhook one brain
from your keyboard and make it think with another by merely
connecting a 5-pin DIN cable. And it just ain't so. The MR-series
keyboards were designed from the ground up to be the main I/O device
in a keyboard configuration. And, contrary to popular belief,
integrating one brain intro another is NOT a seamless transition.
I appreciate your predicament, and I truly wish there was an easy
solution to your configuration. The user interface and its ease of
use is a very subjective and dynamic element in composition. I can't
work in a Yamaha ˙sequencing environment with all the "Menu XX, Job
#xx, Are you Sure?" prompts. By the same token, I can't sequence with
one hand on a mouse, either. That's why I became enamored of Ensoniq
boards back in 1985 when a Mirage rocked my world. Then the EPS with
its 8-track sequencer knocked me out, and I was making all this music
without using that @#$%^& $495 Performer 3.2 I had just bought three
months earlier.
I've had no problem assigning any sequencer track to MIDI Out status,
sending the program change out, and getting great results. I've even
made a template where the first 10 tracks (1-9 and Rhythm) speak
internal MR voices only, and 11-16 are set to MIDI Out status. Every
time I begin a new piece I just load my "Template" file and begin.
I'd be interested to hear Ensoniq's explanation of the "Align MIDI
Track" function, as I've never had the need to use it. All I've ever
had to do we select a track, drop a voice into it, spin the knob hard
right to "Select MIDI" and I'm good to go. The MR is the O‚NLY
keyboard that lets you select local on and off for tracks without
doing a global local on or off - that alone is a pretty confusing
issue by itself.]
[PF - Jim: On further reflection, I'm posting my response to a
similar letter I received last month on these very same issues.
Please let me know if this helps your predicament:
I'm using the MR-76 with my computer system (Cakewalk) with no
problems. It's just that you have to think a little differently about
the MR than other synths. The synth is basically a local only synth.
In order to send out the MIDI out port, you choose a "sound" called
MIDI OUT. This allows you to specify a channel, bank and patch.
For my setup, I have a preset that uses the utility sound "Silence"
as the sound for tracks 1-9 and 11-16. I mute track 10 because I use
a DM5 for the majority of my drum sounds. Then for the soundfinder
sound I choose MIDI OUT, set at channel 1, bank 1, program 1.
Cakewalk then remaps this with its MIDI Thru setting and se‰nds it
back to the MR.
The reason for the Silence sound on the tracks is so that I can
change the FX assignments if I need to.
The drum machine is local only, but there's a work around here, too.
Let's say I've used the MR sequencer to store a basic work version of
a piece of music and I've used the drum machine for the rhythm
patterns. I would like to be able to tweak the pattern a bit with
some custom fills, or assign some of the voices to my DM5. For this
I'll need to record the notes into my sequencer. Problem is the drum
machine doesn't output actual note date through the MIDI OUT port.
Solution is to change the sound on track 10 to the MIDI OUT sound,
using channel 10. The bank and program settings aren't important. Set
the sequencer to external clock, make sure your MR is sending MIDI
stop/start messages, then record it into your sequencer. You won't
hear anything, but the note data will be recorded.
To hear the actual notes, you'll need to find what drum kit the MR is
usÁing to make the sounds, and assign the bank and program number of

that kit in your computer sequencer track. Do this by editing the
drum machine kit. The "reassign drum kit" menu will tell you which
kit is being used.]
[Ensoniq - The "Align MIDI Track" function is used only when loading
a Standard MIDI File. It is not intended to be used on every SMF, but
only those particular files that are in need of it. Most
computer-based sequencers save the information from all 16 tracks
onto track 1. This is know as a type 0 MIDI file format. When
selecting any track within the MR sequencer the "Align MIDI Track"
feature is then called upon. It basically "explodes" all 16 tracks
from track 1 and assigns them to the tracks in the MR sequencer. This
is known as a type 1 standard MIDI file. Aligning the MIDI channels
will allow for individual edits of the SMF.
MIDI-OUT on the MR is quite different from any other Ensoniq product.
To communicate with an external device when using the MR as the
mastÒer controller, select "MIDI-OUT" in the SoundFinder section and
send it to the desired track in the MR sequencer. The parameters for
MIDI channel, bank, and program changes are contained within the
MIDI-OUT sound. If the MR is being utilized as a MIDI target, simply
selecting the sound MIDI-OUT in the SoundFinder section is the only
adjustment that needs to be made. For a further and more detailed
explanation of MIDI Out on the MR, please refer to Tony Ferrara's
article in the March issue of the Transoniq Hacker.]
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ENSONIQ DISKETTE MANAGER
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Use Ensoniq Disks on your IBM-PC ˆ
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SEQUENCE CONVERTERS
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highly organised for EPS-16, ASR, and TS. The best
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drum sounds in the world! Street series drums from the
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MPC-60 also included. Classic analog synths from the
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minimoog, TB-303, MC-202, SH-101, opus 3, OB-8, Jupiter )
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8, Juno-106. Great digital synths from the wavestation, )
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ASR CD-ROM DRIVE: $199
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CD-ROM drive compatible with Mac, IBM, ASR.
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The drive may also be used as a portable CD
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player and includes headphones. Use it to
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sample CDs too. Regular price is $249. Add
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$7 shipping. Includes SCSI cable, 2X speed,
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SAMPLING CDs
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DANCE CONSTRUCTION SET CD - Over 140 drum loops and all )
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the individual samples that made the loops. Great
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classic synths like the Minimoog, TB-303, MC-202 and
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more. Great Techno hits and FX. And special hip hop
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section by producer D.J. Black. Over 1200 samples. This )˘
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8888888888888888888888888888888888888888888888
%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#% #%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#%
Hacker Boilerplate
(Unless this is your 1st issue or you're looking for something, you
can delete the rest of this file - you've seen it all before. About
the only thing that changes here is the list of O.S.s and the
people on the Transoniq-Net.)
%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#% #%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#%
eTH ftp site info
This ftp site is intended for graphics, patches, samples and other
files associated with Transoniq Hacker. Files associated with a
particular issue of the magazine will be found in a directory with
the issue number for its name. These directories will be cleared out
a couple months after the mailing of the issue. File names will be
referenced within eTH. The way to get there is as follows:
At your system prompt...
$> ftp ftp.transoniq.com
Name: anonymous
Password: use your e-mail adÒdress as password
ftp> cd vendors/trnsoniq **** yes - WITHOUT the "a" ****
ftp> dir
This should give you a list of files and subdirectories. Most of the
time the figures for a particular issue will be combined in a single
file with the issue number for a name - e.g. "eTH120.gif." If there
are a *lot* of figures, they may be in a subdirectory with the issue
number for a name. Do a "dir" to see what's listed and to note the
names. Then do a "get filename" to transfer the file. When you're
done, logout with a "bye."
%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#% #%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#%
Maybe your question has already been answered - Interface On A Disk
Ever hunt through that old stack of Hackers looking for that
reference to Bernoulli drives somewhere in the letters column? By
using the Back Issue Index you can usually find the article you're
looking for but letters are different. Well, lucky you, here's your
solution electronic files of raw text from the last four years' worth
of letters columÂns all ready to be pattern searched for whatever you
want. (DOS formatted, 720k, 3.5")
1990
1991
1992
1993
1994

(Issues
(Issues
(Issues
(Issues
(Issues

#55 ÿ #66), 518k
#67 ÿ #78), 310k
#79 ÿ #90), 356k
#91 ÿ #102), 416k
#103 ÿ #114), 547k

One disk: $8. Any 2: $14, Any 3: $18. Any 4: $20, All 5 disks: $22.
(Prices include shipping)
Send order to: Transoniq Hacker, 1402 SW Upland Drive, Portland, OR
97221 or call 1-800-548-8925 (1-503-225-9437 outside the U.S.) and be
ready with your Visa or Mastercard, name & address, and year(s)
wanted. Or, e-mail orders to: disks@transoniq.com - and nope, sorry,
no-can-do, can't send the files via e-mail - they're just too big to
be stored on our Internet server and too big to be moving around very
much.

%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#% #%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#%
Current Ensoniq O.S.
(Disk/EPROM)
EPS: 2.49/2.40
EPS-16 PLUS: 1.3/1.00
MIRAGE: 3.2
ESQ-M: 1.2
VFX: 2.30
SQ-1: 1.11
SQ-1 PLUS: 1.15
SQ-R 32: 2.03
SQ-2: 1.2
SD-1: 4.10/4.10
DP/4: 1.15
KS-32: 3.01
ASR-88 3.53/3.50
KMX-16: 1.50
KT-76/88: 1.62
MR Rack: 1.5x
MR-61/76: 2.10
ASR-X: 1.12

EPS-M: 2.49/2.41
Î MASOS: 2.0
ESQ: 3.5
SQ-80: 1.8
VFX-SD: 2.1/2.00
SQ-1 32: 2.03
SQ-R: 1.20
SQ-R PLUS: 1.15
SQ-2 32: 2.03
SD-1 32: 4.10/4.10
DP/4 PLUS 2.05
ASR-10: 3.53/1.5
KMX-8: 2.00
TS-10/12: 3.10
SDP-1: 1.70
DP/2: 1.02
E-Prime: 2.01

%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#% #%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#%
Change of Address
Please let us know at least one week in advance
issues. We need to know both your old and your
converting to snail-mail, we may have to adjust
remaining issues depending on postage costs and
subscription fee.

to avoid missing any
new address. If you're
the number of
your original

%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#% #%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#%
Printed Back Issues
Printed back issues are $2.00 each. Overseas: $3 each. Be sure to
include your mailing address. Issues 1 - 40, 61, 67 - 74, 77, 79 and
82 - 85 are no longer available. Subscriptions will be extended an
equal number of issues for any issues paid for that are not available
at the time we receive your order. ESQ-1 coverage started with Issue
#13. SQ-80 coverage started with #29, (although most ESQ-1 coverage
also applies to the SQ-80). EPS coverage got going with #35 (and also
applies to the ASR-10). VFX coverage (which also applies to the SDs)
got started in #48. The SQs got going in #63. (SQ articles also apply
to the KS-32 & KT-76.) DP/4 coverage started in #88 (much of which
also aÌpplies to the ASR-10). TS-10/12 coverage got going with #98 but
owners should also check out sample reviews (EPS/ASR) and SD & VFX
programming tips.
Electronic Back Issues
E-mailed issues are $1.00 each (anywhere). Only issues #118 through
the current issue are available via e-mail.
%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#% #%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#%
Transoniq-Net
HELP WITH QUESTIONS
All of the individuals listed below are volunteers! Please take that
into consideration when calling. If you get a recording and leave a
message, let 'em know if it's okay to call back collect (this will
greatly increase your chances of getting a return call).
All Ensoniq Gear - Ensoniq Customer Service. 9:30 am to noon, 1:15 pm
to 6:00 pm EST Monday to Friday. 610-647-3930. Ensoniq's Fax On
Demand line, 1-800-257-1439, can also be used to get specs, OS,
hard-drive info, and the like.

All Ensoniq Gear - Electric Factory (Ensoniq's Australi”a
distributor). E-mail address: elfa@ozemail.com.au; their web site at
http://www.ozemail.com.au/~elfa; or e-mail their resident clinician,
Michael Allen, at mallen@geko.com.au. Phone calls: business hours Victoria. (03) 480-5988.
All Ensoniq Gear - Electric Factory in New Zealand, phone (64)
9-443-5916, fax (64) 9-443-5893, or e-mail geoffm@elfa.co.nz (Geoff
Mason).
MIDI users and ASR-10 Questions - Ariel & Meiri Dvorjetski, Internet:
s3761921@techst02.technion.ac.il, or dvorjet@techunix.technion.ac.il.
You can also call Sincopated BBS at (Israel country code: 972)
4-8776035, 24 hours, 28.8K Modem. Please Login as: ENSONIQ, Password:
MIDI.
TS Questions - Pat Esslinger, Internet: pate@execpc.com, Compuserve:
74240,1562 or AOL: ESSLIP.
TS, VFX, and SD-1 Questions - Stuart Hosking, Internet:
stuh@ozemail.com.au
SD-1 Questions - Philip Magnotta, 401-467-4357, 4 pm - 12:30 EST.
VFX, SD32 and EPS-16+ Questions - Dara Jones, 214-361-0829 voice mail
or e-mail: 71055.1113@compuserve.com.
SD-1, DP/4, ASR-10 Questions - John Cox, 609-888-5519, (NJ) 5pm - 8
pm EST weekdays. Any time weekends.
SQ-80, VFX Questions - Robert Romano, 607-898-4868. Any ol' time.
(Within reason - EST.)
Hard Drives & Drive Systems, Studios, & Computers - Rob Feiner,
Cinetunes. 914-963-5818. 11am-3pm EST. Compuserve: 71024,1255.
EPS, EPS-16 PLUS, & ASR-10 Questions - Garth Hjelte. Rubber Chicken
Software. Call anytime. If message, 24-hour callback. (612) 235-9798.
Email: chickenEPS@willmar.com.
ESQ-1 AND SQ-80 Questions - Tom McCaffrey. ESQUPA. 215-830- 0241,
before 11 pm Eastern Time.
EPS/MIRAGE/ESQ/SQ-80 M.U.G. 24-Hour Hotline - 212-465-3430. Leave
name, number, address. 24-hr Callback. Email: G4Prod@aol.com.
Sampling & Moving Samples - Jack Loesch, (908) 264-3512. Eastern Time
(N.J.). Call after 6:00 pm.
MIDI Users - Eric Baragar, Canadian MIDI Users Group, (613) 392- 6296
during business hours, Eastern Time (Toronto, ONT) or call MIDILINE
BBS at (613) 966-6823 24 hours.
SQ-1, KS-32, ÌSD-1, SCSI & hard drive Questions - Pat Finnigan,
317-462-8446. 8:00 am to 10:00 pm EST.
ESQ-1, MIDI & Computers - Joe Slater, (404) 925-7929. EST.
%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#% #%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#%
Tested and Approved Hard Drives for the EPSs
The drives listed below are known to be compatible with the EPS and
EPS-16 PLUS at the time of testing. Changes in firmware or hardware
by drive manufacturers may make later versions incompatible (with the
exception of PS Systems, Ramtek (Eltekon), and Frontera whose drives
are configured to work specifically with Ensoniq products). Drives
not included on this list may also work just fine. For up-to-date
information about specific drives call Ensoniq Customer Service:

610-647-3930.
Dynatek: All Models
Frontera: All Models
PS Systems: All Models
Ramtek (Eltekon): All Models
Rodime: 45plus, 60plus, 100plus, 140plus
Microtech: R45, N20, N40, N80, N100, N150
PL1: 45 Meg Removable
Mass Micro: Datapack 45
Drives Reported toÓ Work by Readers:
The following drives have been reported to work satisfactorily with
reader's EPS systems. No guarantees but they'll probably work with
yours. Try to try before you buy.
Jasmine Direct Drive 100
Quantum 100M, 210M
PowerDrive44
Seagate 80M
Syquest 555 (removable)
Tech Data Model 60e
%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#% #%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#%
If You're Selling Your Gear...
Please be sure to pass along how absolutely vital it is to have a
subscription to the Transoniq Hacker. And - we'll be happy to switch
the sub over to the new owner. No charge, and a nice extra to help
close the deal.
%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#% #%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#%
SUBSCRIPTION INFORMATION
E-mail: $20/year.
Snail-mail: $23/year (U.S.), $32/year (non-U.S.)
Visa and Mastercharge accepted. (Via e-mail, snail-mail, or phone:
1-800-548-8925. Outside the U.S., phone 1-503-225-9437.) Or, pay by
check. Non-U.S. subscribers please use Postal Money Order or an
International Money Order payable in US funds. Please make payable
and mail to: Transoniq Hacker, 1402 SW Upland Drive, Portland, OR
97221.
%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#% #%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#%#%
Publisher: Eric Geislinger
Editrix: Jane Talisman
Our (somewhat regular) illustrious bevy of writers includes: Craig
Anderton, Robby Berman, Steve Byhurst, Mark Clifton, Steve Curtin,
Anthony Ferrara, Pat Finnigan, Jeffrey Fisher, Gary Giebler, Jim
Grote, Garth Hjelte, Bryce Inman, Jeff Jetton, Dara Jones, Johnny
Klonaris, Ray 8Legnini, John Loffink, Daniel Mandel, Sam Mims, Brian
Rost, Clark Salisbury, Tom Shear, Kirk Slinkard, Jack Tolin, Tom
Tracy, Steve Vincent, and Garry Wasyliw.
Copyright 1995, Transoniq Hacker, 1402 SW Upland Drive, Portland, OR
97221.
Phone: (503) 227-6848 (8 am to 9 pm Pacific West Coast Time).
Advertising rates: Please send for rate card.
Rates for authors: Please send for writer-info card.
Transoniq Hacker is the independent user's news magazine for Ensoniq
products. Transoniq Hacker is not affiliated in any way with Ensoniq
Corp. Ensoniq and the names of their various products are registered
trademarks of the Ensoniq Corp. Opinions expressed are those of the
authors and do not necessarily reflect those of the publisher or

Ensoniq Corp.



---

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