Ensoniq Corporation Transoniq Hacker Archive Issue #156 Th 156

r

-

The

Esoteric,

Astounding,

Omnipotent

ASR-l

0

or

"I've

got

your Virtual Studio Right Here, Bucko"

The issue of digital recording on the computer

is

getting

to

be way too big an issue to be ig-

nored anymore. Ensoniq's doing PARIS.

Digidesign's doing ProTools. Cakewalk's

gone "Pro" Audio, Performer has gone "Digi-

tal," and all refuse to go away.

We've

got

Pentium II technology,

we've

got 300 MHz

G6

PowerPC Macs, and

if

you stop and

scratch your head for a minute ...

You begin to realize

here's

all this technology

in an already oversaturated market. That's

why such hoopla -technology serves to

propagate itself, pure and simple (or, if you're

a hardware/software engineer, complicated),

but serves NOT to drive the market. Everyone

assumes, "Geez, Martha,

I've

already got this

PC, lemme go buy a SoundBlaster and make a

recording studio out

of

it." Hey, Homer. ..

Gang, I

don't

care (A)

if

technically it can be

done, (B) requires Windows NT 4.0, (C)

is

audibly superior

to

a real performance, (D)

can become a viable product, or (E)

is

eco-

ISSUE

NUMBER

156,

$2.50

Pat Finnigan

nomically feasible. It' s the same old cart

before the horse parable again. I

don't

wanna

wear three hats (artist, engineer, and pro-

ducer).

I'd

be the stereotypical plaintiff who

represents himself without counsel if I did -

I'd

have a fool for a client. So stop the mad-

ness, let me up, cease and desist, whoa, quit!

I've

got all the tools I need

to

do all this stuff

without reconfiguring my computer to a new

infant technology. Go ahead and flame me if

you want, but let's defuse this myth

of

the

"virtual" recording studio .

..

(A) Every major label/session

I've

been in-

volved

in

has a multimillion dollar investment

in

what is known as a recording studio. You

know, a place where people record stuff. Not

in

their basement, not in their garage, not even

in

their vaulted grand room.

(B) This "recording studio" has mysterious

little black boxes that have knobs and dials

and faders on them so you can work on them

in

real time.

They've

even got this big huge

conglomeration

of

knobs and faders on a desk

they call a mixer. And there's a guy there who

isn't

in

the band who moves bunches

of

these

knobs and faders

in

real time. Why, he even

grabbed eight faders with two hands and

moved them SIMULTANEOUSLY! I saw

it!

Really!

(C) And, ya know what? After the sessions,

we got this little tiny cassette called a DAT. It

was mailed to Sony

in

Terre Haute,

IN

, where

they turned that little tape into thousands

of

CDs! It's alchemy. How can they make all

those little jewel boxes

by

melting one little

itty-bitty

DAT

tape?

The

Independent

Newsletter for Ensoniq

Users

In

This

Issue

...

Articles:

The Omnipotent ASR-IO Virtual Studio

Pat Finnigan ....................................... cov.er

Make the Ultimate Fat Camp Sound on the

TS-lOIl2

Tom Tracy ..............

..

................................. 4

WTHM and Dr. Love

Part II

Eric Montgomery .................

..

..........

..

....

..

.. 6

Reviews:

L.A. Riot Vol. I

Britton Beisenherz .................................... . 5

Basement Tapes: Trackilla

Steve Vincent

....

......................................... 7

Regular

Stuff:

Transoniq-Net ............

..

.........

..

................... 2

Random Notes ...............................

..

.......... 3

The Interface

....

......................................... 9

Classifieds ...............................................

13

Hacker Booteeq .......................................

15

Sorry for acting like a buttmunch, but do you

see how obtuse this is? Everybody wants the

sonic perfection

of

hard disk recording, yet

they wanna record grungy analog sounds. The

technology

is

switching roles? I smell

methane -lemme put this cigarette out...

And let me put this argument to rest. Yes,

digital tapeless hard disk recording

is

coming,

and we'll embrace it soon enough. I'm simply

not going to drop $7500 for a ProTools setup

JUNE,

1998

)

ri_

_"'_"_"'_.—"'-'

The

Esoteric

Astounclin

Omnipotent

ASR-l

0

'

g

it

I‘

1

'

II

}

or

I

ve

got

your

Virtual

Studio

Right

Here,

Bucko

The

issue

of

digital

recording

on

the

computer

is

getting

to

be

way

too

big

an

issue

to

be

ig-

nored

anymore.

Ensoniq’s

doing

PARIS.

Digidesign’s

doing

ProTools.

Cakewalk’s

gone

“Pro”

Audio,

Performer

has

gone

“Digi-

tal,”

and

all

refuse

to

go

away.

We’ve

got

Pentium

II

technology,

we’ve

got

300

MHz

G6

PowerPC

Macs,

and

if

you

stop

and

scratch

your

head

for

a

minute...

You

begin

to

realize

here’s

all

this

technology

in

an

already

oversaturated

market.

That’s

why

such

hoopla

—

technology

serves

to

propagate

itself,

pure

and

simple

(or,

if

you’re

a

hardwarel

software

engineer,

complicated),

but

serves

NOT

to

drive

the

market.

Everyone

assumes,

“Geez,

Martha,

I’ve

already

got

this

PC,

lemme

go

buy

a

SoundBlaster

and

make

a

recording

studio

out

of

it.”

Hey,

Homer...

Gang,

I

don’t

care

(A)

if

technically

it

can

be

done,

(B)

requires

Windows

NT

4.0,

(C)

is

audibly

superior

to

a

real

performance,

(D)

can

become

a

viable

product,

or

(E)

is

eco-

Pat

F

innigan

nomically

feasible.

It’s

the

same

old

cart

before

the

horse

parable

again.

I

don’t

wanna

wear

three

hats

(artist,

engineer,

and

pro-

ducer).

I’d

be

the

stereotypical

plaintiff

who

represents

himself

without

counsel

if

I

did

—

I’d

have

a

fool

for

a

client.

So

stop

the

mad-

ness,

let

me

up,

cease

and

desist,

whoa,

quit!

I’ve

got

all

the

tools

I

need

to

do

all

this

stuff

without

reconfiguring

my

computer

to

a

new

infant

technology.

Go

ahead

and

ﬂame

me

if

you

want,

but

let’s

defuse

this

myth

of

the

“virtual”

recording

studio...

(A)

Every

major

label/session

I’ve

been

in-

volved

in

has

a

multimillion

dollar

investment

in

what

is

known

as

a

recording

studio.

You

know,

a

place

where

people

record

stuff.

Not

in

their

basement,

not

in

their

garage,

not

even

in

their

vaulted

grand

room.

(B)

This

“recording

studio”

has

mysterious

little

black

boxes

that

have

knobs

and

dials

and

faders

on

them

so

you

can

work

on

them

in

real

time.

They’ve

even

got

this

big

huge

conglomeration

of

knobs

and

faders

on

a

desk

they

call

a

mixer.

And

there’s

a

guy

there

who

isn’t

in

the

band

who

moves

bunches

of

these

knobs

and

faders

in

real

time.

Why,

he

even

grabbed

eight

faders

with

two

hands

and

moved

them

SIMULTANEOUSLY!

I

saw

it!

Really!

(C)

And,

ya

know

what?

After

the

sessions,

we

got

this

little

tiny

cassette

called

a

DAT.

It

was

mailed

to

Sony

in

Terre

Haute,

IN,

where

they

turned

that

little

tape

into

thousands

of

CDs!

lt’s

alchemy.

How

can

they

make

all

those

little

jewel

boxes

by

melting

one

little

itty-bitty

DAT

tape?

The

Independent

Newsletter

for

Ensoniq

Users

Arii<:ie$:-

I

t

The

Orninipetentil.0.Virt1ialiStudio-

.-

Pat

Finnigaa

ciover

Make

the

Ultimate

Fat

Comp

Sound

on

the

TS-10212

Tom

Tracy

........

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

..

4

WTHM

and

Dr.

Love

Part

II

I

Eric

Montgemery

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

6

Reviews:

L.A.

Riotlvol.

1

Britten

Beisenherz

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

5

Basement

'I‘apes:-

Trackilia

i

Steve

Vincent

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

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

....

7

Regutor

Stuff:

Tranisoniq-Net

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

.....

..

Random

Notes

....

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

..

The

Interface

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

..

Cl-assifieds

.......

....

..

Hacker

Booteeq

._

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

..

as

I

F

0n

‘

JP

00

Q

I

0

I

a

I

n

5

Q

9

an

Q

-I

us

I

¢

I

Q

u

Q

Ii

0

Q

I

1»

1

O

q-

ti

q

:

1-

.0

i

0

--

1

'

49

q.

‘-

I

G

I‘

0

‘

i

‘

_

P

i

-R

|-uni

:l1.l-

__

Sorry

for

acting

like

a

buttmunch,

but

do

you

see

how

obtuse

this

is‘?

Everybody

wants

the

sonic

perfection

of

hard

disk

recording,

yet

they

wanna

record

grungy

analog

sounds.

The

technology

is

switching

roles?

I

smell

methane

—

lemme

put

this

cigarette

out...

And

let

me

put

this

argument

to

rest.

Yes,

digital

tapeless

hard

disk

recording

is

coming,

and

we’ll

embrace

it

soon

enough.

I’m

simply

not

going

to

drop

$7500

for

a

ProTools

setup

[

ISSUE

NUMBER

I56,

$2.50

JUNE,

ma

I]

i

1

l

1.

i

i‘;

it

i

It

Q,

I

l

i

in-n¢‘:e_;

-1

Transoniq-Net

HELP WITH QUESTIONS

All

of

the

individuals listed

below

are

volun-

teers! Please

take

that

into

consideration

when

calling.

If

ygu

get

a

recording

and

leave

a

mes-

sage,

let

'em

know

if it's

okay

to

call

back

col-

lect

(this

will

greatly

increase

your

chances

of

getting

a

return

call).

All

Ensoniq Gear -Ensoniq Customer Serv-

ice.

9:30

am

to

noon,

I:

15

pm

to

6:00

pm

EST

Monday

to

Friday. 610-647-3930.

En-

soniq's

Fax

On

Demand

line, (1-800-257-

1439)

can

also

be

used

to

retrieve specs,

OS

info, hard-drive info,

and

the

like.

All Ensoniq Gear -Electric Factory (En-

soniq's Australia distributor). E-mail

ad-

dress:

elfa@

ozemail.com.au; their

web

site

at

http://www.ozemail.com.au/-elfa; or

e-mail their resident

~

c1inician,

Michael

Allen,

at

mallen@geko.com.au. Phone

calIS,

Business

hours

-Victoria. (03) 480-5988.

All Ensoniq Gear -The Electric Factory

in

New

Zealand,

phone

(64)

9-443-5916,

fax

(64)

9-443-5893, or e-mail geoffm@

elfa.co.nz (Geoff Mason).

TS

Questions -Pat Esslinger, Internet: pate

@execpc.com, Compuserve: 74240,1562, or

AOL:

ESSLIP.

TS, VFX, and SD-l Questions -Stuart

Hosking, stuh@ozemail.com.au.

SD-l Questions Philip Magnotta,

401-467-4357,4

pm

-

12:30

EST.

VFX,

SD32,

and

EPS-16+ Questions -Dara

Jones, Internet: darajones@juno.com or call

214-361-0829.

SD·l, DP/4, ASR·I0 Questions -John Cox,

609-888-5519, (N])

5pm

- 8

pm

EST

week-

days.

Any

time

weekends.

SQ-80, VFX Questions -Robert Romano,

607-898-4868.

Any

01'

time

(within reason)

EST.

Hard Drives & Drive Systems, Studios, &

Computers -

Rob

Feiner, Cinetunes.

914-963-5818. Ilam-3pm EST.

Com-

puserve:

71024,1255.

EPS, EPS-16 PLUS, &

A.sR-IO

Questions

-Garth Hjelte. Rubber Chicken Software.

Call

anytime. If message, 24-hour callback.

(320)

235-9798. Email: chickenEPS@wiIl-

mar.com.

EPSIMIRAGElESQ/SQ-SO M.U.G.

24-

Hour Hotline -212-465-3430.

Leave

name,

number, address. 24-hr Callback. Email:

G4Prod@aol.com.

SQ-l, KS-32, SD-l,

SCSI,MR

& hard

drive Questions -

Pat

Finnigan, 317-

462-8446.

8:00

am

to

10:00

pm

EST.

ESQ-l, MIDI & Computers -loe Slater,

(404) 925-8881.

EST.

(or any more computer hardware, for that

matter), $2500 for a multi-disk RAID array

to keep up with it,

or

another $3000 for a

"control" surface.

I've

already got the con-

trol surface, I already know how to torque it,

and so do you.

There's

only a few things re-

quired here, and

you've

already got the CPU.

It's

called an ASR-JO. And

here's

the serious

setup for all you power users explained ...

Three Items

There are three objects to making the ASR

the complete home studio. And, for con-

venience sake

we'll

assume you have an

ASR-l0

(this is the Hacker).

We'll

further

assume

you've

got the SCSI expander and a

hard disk

(you're

a subscriber) and are

having a ball with the

power

of

this box. We

could further assume you have

in

your pos-

session a

DAT

recorder to backup your hard

drives through the Digital 110 option (you

subscribe to eTH).

Let's

take the issue

of

the

Malvern box and direct its power to its logi-

cal conclusion while we send you

off

to pur-

vey the following ...

Item

1:

The

OEX-6

Output

Expander.

Initially, we saw this box and said "What?

$350 bucks for 6 phone jacks?" when the

friendly Ensoniq salesperson offered it to us.

Gang, this

ain't

just

6 phone jacks. This,

in

conjunction with

our

satin black pet, gives us

TEN discrete outputs. And that's ASSIG-

NABLE outputs -complete instruments can

be sent out these jacks, separate layers can

be sent out these jacks, separate W A

YES can

be sent out these. Given, you have to edit

each instrument to do this (instead

of

just as-

signing the TRACK to a given output

jack)(Ensoniq!), but now you have 8 discrete

dry outputs and two AUDIO TRACK outputs

(with the attendant FX processing

of

the

stereo pair). Get the picture? Good. Get the

OEX-6 -you NEED separate outs in the

studio.

Item

2:

An

AD

AT.

Yes, an ADAT.

Don't

flame me here;

I'll

explain. How many

of

these new hard disk recorders can record on

all their tracks simultaneously (e.g.,

in

real

time)? Answer? None. The VS-880 will do

four at a whack, the new Fostex only does

two at a whack, the new Yamaha and other

MiniDisc recorders, well, their compression

scheme excludes them from professional

consideration. So, basically, the standalones

are smoke and mirrors anyway. ADATs are

the "cassettes"

of

the

21

st century. Every

commercial

or

professional studio has a

couple in its possession, or rents them

as

needed (when a client requests it) for a yard

a day.

They're

just too convenient. You need

2

64

digital tracks? Daisy-chain 8

of

them

together, stripe 8 VHS tapes, arm your tracks

and hit it. When done, copy the masters for

working tapes -

it's

still 1st generation,

remember? Given, hard disk recording

eliminates a stage or two

of

ADC-DAC.

The

ADAT's

a standard, and

it'll

take more than

Digidesign, PARIS,

or

other wannabe's to

knock them

out

of

first place. And it certain-

ly

isn't

going to happen overnight

...

Yeah,

I've

had ADATs lunch a tape before,

too.

That's

why you arc the masters and

work on copies. And yeah, they're SO

con-

venient, some people skip this step.

They

pay for it dearly. The issue here

is

medium

of

exchange.

You're

gonna take these

ADAT

tapes and do a final mix on them

in

a master-

ing room when you

layoff

to DA T with

leader tones for the CD facility.

THAT's

when you take the masters ...

Item

3:

A

high-quality

studio

mixer.

Not a

5-year old Mackie 1604, nor a 10-year old

Peavey MK IV. You want a mixer with

patchable channel outs -something like a

Yamaha

02D,

or

if

you can afford it, an

03D. These are digital mixers that store

mixes, fader movements, effect settings, pan

changes, and play them back in real time as

well. Ensoniq was gonna do one (remember

the "picture"

of

their 16-channel prototype at

www.ensoniq.com last year?), but they went

straight to PARIS.

But

since the key word here is budget, any

high-quality studio mixer with separate/

patchable channel 110 will work fine. People

are raving about the new Behringers -

I'll

have to audition one ...

The Reel

Deal

I'd

like to be as excited about direct-to-disk

recording as everyone else.

Myoid

homies at

Truevision do this very thing with both audio

(l96k/sec

@ 48k DAT sample rates)

and

video (2: 1

M-lPEG

compression for

14

Mb/sec) simultaneously. And it's the ab-

solute best, but

it'll

set you back $12k for the

hardware, $8k for the software, and you still

need a $5k box and $75k

of

110 devices.

The

question is WHY? These factors at work

here are double-edged, They must be

markedly superior -their price certainly

reflects that. Are they user-effective? More

productive? Cost-effective? I

don't

think so.

Successfully marketable?

Who's

"demand-

ing" this stuff? Just because the technology

exists

doesn't

warrant blindly pursuing it for

its own sake. Many companies remember

this behavior as their final product. Remem-

ber Sequential? Synclavier? Fairlight?

'

Transoniq-Net

it

pq7*-$1

F

l

t

I

l

i

l

ll

l

I

H

ELP

WITH

QUESTIONS

All

of

the

individuals

listed

below

are

volun-

teers!

Piease_

take

that

into

consideration

when

-calling.

If

you

get

a

recording

and

leave

a

mes-

sage,

tet

‘em

know

if

it"s

okay

to

call

back

col-

lect

(this

will

greatly

increase

your

chances

of

getting

a

return

call).

All

Ensoniq

Gear

-

Ensoniq

Customer

Sew-

ice.

9:30

am

to

noon,

1:15

pm

to

6:00

pm

EST

Monday

to

Friday.

6I0-647-3930.

En-

soniq’s

Fax

On

Demand

line,

(l-8-00~257-

l439')

can

also

be

used

to

retrieve

specs, OS

info,

hard-drive

info,

and

the

like.

All

Ensoniq

Gear

-

Electric

Factory

ﬂin-

son-iq’s

Australia

distribute-r).

E-mail

ad-

dress:

elfa@

ozemail.c'om.au;

their

web

site

at

http:I/www.ozemail.-com.au/-eifa;

or

e-mail

their

resident

clinician,

Michael

Alien,

at

ma.ilen@geko.con1.au.

Phone

calls,

Business

hours

-

Victoria.

(03)

480-5988.

All

Ensoniq

Gear

-

The

Electric

Factory

in

New

Zeaiand,

phone

(64)

9-443-5916,

fax

(-64)

9-443-5893,

or

e-rnail

g.eoffm@

€1f3..CO.I'-lZ

(Geoff

Mason).

TS

Questions

-

Pat

Esslinger,

Internet:

pate

@execpc.com,

Cornpnserve:

'?4240_,l562,

or

AOL:

ESSLIP.

TS,

VFX,

and

SD-1

Questions

-e

Stuart

I-Iosking,

stuh@ozemail.com.au.

SD-I

Questions

-

Philip

Magnotta,

401-467-4357,

4

pm

-

12:30

EST.

Q

VFX,

SD32,

and

EPS--16+

Questions

-

Dara

Jones,

Internet:

darajones@juno.com

or

call

214-361-0829.

SB-1,

BPI4,

ASR-ll)

Questions

--

John

Cox,

609-888-5519.

(ND

Spin

-

8

pm

EST

week-

days.

Any

time

weekends.

SQ-8'0,

VFX.

"Questions

-

Robert

Romano,

607-898-4868.

Any

at’

time

(within

reason)

EST.

Hard

Drives

&

Drive

Systems,

Studios,

&

Computers

-

Rob

Feiner,

Cinetnnes.

914-963-5818.

il-am-3pm

EST.

Corn-

puserve:

7.102-4,1255.

—

I

~

EPS,

EPS--16

PLUS,

8:

ASR-10

Questions

-

Garth

Hjelte.

Rubber

Chicken

Software.

Cali.

anytime.

If

mes-sage,

2-4-hour

callback.

(320).

235-979-.8.

Email:

chicke_n.EPS@wiIl-

ma-r.co-rn.

‘

EPSlMI.RAG.ElESQlSQ1--80

M.U.=G.

24-

Ho-ur

Hotline

—

2-I2-465-3430.

Leave

name,

number,

address.

24-hr

Callback.

Email:

G4Prod@ao'l.cern.

SQ~1-,

KS-32,

SD-1.,

SCSI,

---MR

&

hard

drive

=Q-uestions-

-

Pat

Finnigan,

317-

1t62--8

446.

8-2100

-am

te

t-0:0-0

pm"

EST.

ESQ-1,

&

Computers.

~

Joe

Slater,

(494)

925-3331.

E-ST...

..

. .

I

mm-L“

__

I

1

'

II

i

1

I

(or

any

more

computer

hardware,

for

that

matter),

$2500

for

a

multi-disk

RAID

array

to

keep

up

with

it,

or

another

$3000

for

a

“control”

surface.

I’ve

already

got

the

con-

trol

surface,

I

already

know

how

to

torque

it,

and

so

do

you.

There’s

only

a

few

things

re-

quired

here,

and

you’ve

already

got

the

CPU.

It’s

called

an

ASR-l0.

And

here’s

the

serious

setup

for

all

you

power

users

explained...

Three

Items

There

are

three

objects

to

making

the

ASR

the

complete

home

studio.

And,

for

con-

venience

sake

we’ll

assume

you

have

an

ASR-10

(this

is

the

Hacker).

We’ll

further

assume

you’ve

got

the

SCSI

expander

and

a

hard

disk

(you’re

a

subscriber)

and

are

having

a

ball

with

the

power

of

this

box.

We

could

further

assume

you

have

in

your

pos-

session

a

DAT

recorder

to

backup

your

hard

drives

through

the

Digital

I/O

option

(you

subscribe

to

eTH).

Let’s

take

the

issue

of

the

Malvern

box

and

direct

its

power

to

its

logi-

cal

conclusion

while

we

send

you

off

to

pur-

vey

the

following...

Item

1:

The

OEX-6

Output

Expander.

Initially,

we

saw

this

box

and

said

“What?

$350

bucks

for

6

phone

jacks?”

when

the

friendly

Ensoniq

salesperson

offered

it

to

us.

Gang,

this

ain’t

just

6

phone

jacks.

This,

in

conjunction

with

our

satin

black

pet,

gives

us

TEN

discrete

outputs.

And

that’s

ASSIG-

NABLE

outputs

—

complete

instruments

can

be

sent

out

these

jacks,

separate

layers

can

be

sent

out

these

jacks,

separate

WAVES

can

be

sent

out

these.

Given,

you

have

to

edit

each

instrument

to

do

this

(instead

of

just

as-

signing

the

TRACK

to

a

given

output

jack)(Ensoniq!),

but

now

you

have

8

discrete

dry

outputs

and

two

AUDIO

TRACK

outputs

(with

the

attendant

FX

processing

of

the

stereo

pair).

Get

the

picture?

Good.

Get

the

OEX-6

—

you

NEED

separate

outs

in

the

studio.

Item

2:

An

ADAT.

Yes,

an

ADAT.

Don't

ﬂame

me

here;

I’ll

explain.

How

many

of

these

new

hard

disk

recorders

can

record

on

all

their

tracks

simultaneously

(e.g.,

in

real

time)?

Answer?

None.

The

VS-880

will

do

four

at

a

whack,

the

new

Fostex

only

does

two

at

a

whack,

the

new

Yamaha

and

other

MiniDisc

recorders,

well,

their

compression

scheme

excludes

them

from

professional

consideration.

So,

basically,

the

standalones

are

smoke

and

mirrors

anyway.

ADATs

are

the

“cassettes”

of

the

2lst

century.

Every

commercial

or

professional

studio

has

a

couple

in

its

possession,

or

rents them

as

needed

(when

a

client

requests

it)

for

a

yard

a

day.

They’re

just

too

convenient.

You

need

2

64

digital

tracks?

Daisy-chain

8

of

them

together,

stripe

8

VHS

tapes,

arm

your

tracks

and

hit

it.

When

done,

copy

the

masters

for

working

tapes

—

it’s

still

lst

generation,

remember?

Given,

hard

disk

recording

eliminates

a

stage

or

two

of

ADC-DAC.

The

ADAT’s

a

standard,

and

it’ll

take

more

than

Digidesign,

PARIS,

or

other

wannabe’s

to

knock

them

out

of

first

place.

And

it

certain-

ly

isn’t

going

to

happen

overnight...

Yeah,

I’ve

had

ADAT

s

lunch

a

tape

before,

too.

That’s

why

you

arc

the

masters

and

work

on

copies.

And

yeah,

they’re

SO

con-

venient,

some

people

skip

this

step.

They

pay

for

it

dearly.

The

issue

here

is

medium

of

exchange.

You’re

gonna

take

these

ADAT

tapes

and

do

a

final

mix

on

them

in

a

master-

ing

room

when

you

lay

off

to

DAT

with

leader

tones

for

the

CD

facility.

THAT’s

when

you

take

the

masters...

Item

3:

A

high-quality

studio

mixer.

Not

a

5-year

old

Mackie

1604,

nor

a

10-year

old

Peavey

MK

IV.

You

want

a

mixer

with

patchable

channel

outs

—

something

like

a

Yamaha

O2D,

or

if

you

can

afford

it,

an

03D.

These

are

digital

mixers

that

store

mixes,

fader

movements,

effect

settings,

pan

changes,

and

play

them

back

in

real

time

as

well.

Ensoniq

was

gonna

do

one

(remember

the

“picture”

of

their

16-channel

prototype

at

www.ensoniq.com

last

year?),

but

they

went

straight

to

PARIS.

But

since

the

key

word

here

is

budget,

any

high-quality

studio

mixer

with

separatef

patchable

channel

I/O

will

work

fine.

People

are

raving

about

the

new

Behringers

—

I’ll

have

to

audition

one...

The

Reel

Deal

I’d

like

to

be

as

excited

about

direct-to-disk

recording

as

everyone

else.

My

old

homies

at

Truevision

do

this

very

thing

with

both

audio

(196k/sec

@

48k

DAT

sample

rates)

and

video

(2:l

M-JPEG

compression

for

14

Mb/sec)

simultaneously.

And

it’s

the

ab-

solute

best,

but

it’ll

set

you

back

$12k

for

the

hardware,

$8k

for

the

software,

and

you

still

need

a

$5k

box

and

$75k

of

I/O

devices.

The

question

is

WHY‘?

These

factors

at

work

here

are

double-edged,

They

must

be

markedly

superior

—

their

price

certainly

reﬂects

that.

Are

they

user-effective?

More

productive?

Cost-effective?

I

don’t

think

so.

Successfully

marketable?

Who’s

“demand-

ing”

this

stuff?

Just

because

the

technology

exists

doesn’t

warrant

blindly

pursuing

it

for

its

own

sake.

Many

companies

remember

this

behavior

as

their

final

product.

Remem-

ber

Sequential?

Synclavier?

Fairlight?

..-_.....__

_

————

7

_

-

—-a--—----

-

77

‘-

Front

Panel

RN

D (

iJ'i

)

Third

Party News

We'd like to welcome a new sound vendor

to these pages -Happy Salmon Music.

Samples from Norway. Check out their ad

and their web site for more info.

Speaking

of

web sites ... Long-time sup-

porter

of

Ensoniq samplers, WaveBoy, has

their new web site up and running. Give

'em a visit

at:

www.waveboy.com.

Hacker

News

We're changing our policy on the On-Line

Interface a little: From now on, first

priority will be given to questions and let-

Not to say it isn't the wave (no pun intended)

of

the future. Software architecture to sup-

port "plug-in" modules for FX, EQ, etc. are

powerful and fascinating tools. They already

exist

in

the DSP

of

all keyboard products

as

code. Adobe Premiere has been using this ar-

chitecture for three years -it's finally

"trickling down"

to

the audio world. The

editing power

of

digital audio

is

unbeliev-

able. Hey, this

is

a disk-based system here -

read NLE (non-linear editing). When I buy

an

8-track hard-disk recorder that doesn't

record all 8 tracks

in

one pass I take it back.

And did. Until this technology performs

as

advertised and

is

an

economical alternative

to displace the current environment,

it

remains a high-tech curio that, albeit,

is

a

constant conversation piece, becomes the

butt

of

some very cruel jokes referenci

ng

a

boat anchor while remaining

on

the dealer's

shelves.

In

other countries · educators are

asked "How can we broaden

and

enrich the

learning experience?"

In

the U.S., educators

are asked "How can

we

speed up the learning

process?" And that's a blanket indictment of

our society'S "me-now" fixation. This will

not simply change overnight any faster than

recording studios will toss their tape

machines

in

the dumpster and buy 9 Gb

RAID arrays

...

Because

as

we all sit

in

judgement, it's up

to

our ears

to

hear the difference. Did anybody

notice that Madonna's "True Blue" album of

10

years ago was the first DDD album?

Anyone notice that Rod Stewart's last album

ters from paying subscribers. Questions

from non-subscribers may be included if

they are likely to be

of

interest to our

readers.

There's

currently too much effort

going into dealing with issues that are real-

ly old news to those who have been read-

ing the Hacker for any length

of

time. Plus

we're

getting a little tired

of

"giving

away

the store" and feel that folks who help sup-

port the Hacker certainly deserve some at-

tention that your average web surfer dude

doesn't. This should also allow us to cut

down on the noise a little and maybe even

boost the point size in the printed version

to something a little more eye-friendly.

Along similar lines, we're also going to

was done entirely on ProTools? Could you

hear the difference?

In

a

$3

million dollar

mastering room like Glen Meadows

in

Nash-

ville where

you

can hear every tick/edit

point/level shift

in

Yes' "Owner

of

a Lonely

Heart" (there are a lot!), absolutely.

In

your

home on your reference system? Maybe, at

best, if you've got Krell Class A's and

Martin-Logan electrostats.

On

the radio or in

your car? Hey, Homer.. .

I feel

as

if I should apologize for seemingly

burying my head

in

the sand on this issue,

but I just won't go quietly (or ravingly) into

that good night. But the current technology

isn't performing up

to

the standards it's been

lauded

to

offer. When it does, I'll write the

sequel

to

this article.

So currently, one of your best bets

is

an ASR

with all the above trimmings. It defines the

most cost-effective, easy

to

use, powerful,

flexible and affordable 2-track real-time

digital recorder under the guise

of

a sampler.

The above configuration defines a pre-pro-

duction room. With

an

idyllic mixer like the

02D

or

03D,

it defines a post-production

room, replete with stereo direct-to-disc

recording, and that's while the sequencer

is

playing back

in

real time. And the ASR-IO's

built-in sequencing environment, FX

processing, Audio Tracks and user interface

push

it

right

up

to

the top of the heap. Korg

just added hard disk recording (Hi Jerry!)

this year as an option to the Trinity? Mal-

vern's been there, done that, three years ago.

3

have to raise the rates. for the printed ver-

sion

of

the Hacker. This

is

something that

we

haven't

done since Issue #35, May,

1988 -

10

years ago!

We're

going to adjust things so

they're

a

little closer to actual costs: the printed ver-

sion will be going from $23/year to

$25/year ($34 non-U.S.), and the e-mail

version will actually be dropping from

$20/year to $19/year.

The renewal notices going out about the

same time

as

this issue (folks whose last

issue

is

# 157) will still have the old rates.

These notices will have a closing date

of

July I st. Anyone else can also renew by

this date and still get the old rates.

Of

course, the new lower rate for the e-mail

version

is

effective immediately.

Given, Ensoniq doesn't have their keyboard

cases made

by

White Castle, but it's the form

and the function of the box that keeps their

technology performing.

It

keeps

me

performing very well

...

_

Bio: Pat just finished a 12-hour ProTools

session. He said

he'd

better write this article

while the experience was still fresh in his

head.

Call For Writers!

In spite

of

their current god-like status,

writers for the Hacker were once mere·

mortals -just like you!

If

you're

noodling around with Ensoniq gear,

you too can

join

their elite ranks.

We're

always looking for new writers,

and yes, there

is

actual payment

involved.

If

you're

toying with an idea

for an article, how about giving

Editrix Jane a call

at

1-503-227-6848

and listening to her soothing words

of

encouragement?

l

Fl!

r

l

|_—

-

7

>

l

F

K

r

ll

I

l

L..

RND

(ls)

Third

Porty

News

We’d

like

to

welcome

a

new

sound

vendor

to

these

pages

—

Happy

Salmon

Music.

Samples

from

Norway.

Check

out

their

ad

and

their

web

site

for

more

info.

Speaking

of

web

sites...

Long-time

sup-

porter

of

Ensoniq

samplers,

WaveBoy,

has

their

new

web

site

up

and

running.

Give

’em

a

visit

at:

www.waveboy.com.

Hacker

News

We’re

changing

our

policy

on

the

On-Line

Interface

a

little:

From

now

on,

first

priority

will

be

given

to

questions

and

let-

ters

from

paying

subscribers.

Questions

from

non-subscribers

may

be

included

if

they

are

likely

to

be

of

interest

to

our

readers.

There’s

currently

too

much

effort

going

into

dealing

with

issues

that

are

real-

ly

old

news

to

those

who

have

been

read-

ing

the

Hacker

for

any

length

of

time.

Plus

we’re

getting

a

little

tired

of

“giving

away

the

store”

and

feel

that

folks

who

help

sup-

port

the

Hacker

certainly

deserve

some

at-

tention

that

your

average

web

surfer

dude

doesn’t.

This

should

also

allow

us

to

cut

down

on

the

noise

a

little

and

maybe

even

boost

the

point

size

in

the

printed

version

to

something

a

little

more

eye-friendly.

Along

similar

lines,

we’re

also

going

to

have

to

raise

the

rates

for

the

printed

ver-

sion

of

the

Hacker.

This

is

something

that

we

haven’t

done

since

Issue

#35,

May,

1988

—

IO

years

ago!

We’re

going

to

adjust

things

so

they’re

a

little

closer

to

actual

costs:

the

printed

ver-

sion

will

be

going

from

$23/year

to

$25/year

($34

non-U.S.),

and

the

e-mail

version

will

actually

be

dropping

from

$20/

year

to

$

19/

year.

The

renewal

notices

going

out

about

the

same

time

as

this

issue

(folks

whose

last

issue

is

#157)

will

still

have

the

old

rates.

These

notices

will

have

a

closing

date

of

July

lst.

Anyone

else

can

also

renew

by

this

date

and

still

get

the

old

rates.

Of

course,

the

new

lower

rate

for

the

e-mail

version

is

effective

immediately.

Not

to

say

it

isn’t

the

wave

(no

pun

intended)

of

the

future.

Software

architecture

to

sup-

port

“plug-in”

modules

for

FX,

EQ,

etc.

are

powerful

and

fascinating

tools.

They

already

exist

in

the

DSP

of

all

keyboard

products

as

code.

Adobe

Premiere

has

been

using

this

ar-

chitecture

for

three

years

--

it’s

finally

“trickling

down”

to

the

audio

world.

The

editing

power

of

digital

audio

is

unbeliev-

able.

Hey,

this

is

a

disk-based

system

here

-—

read

NLE

(non-linear

editing).

When

I

buy

an

8-track

hard-disk

recorder

that

doesn’t

record

all

8

tracks

in

one

pass

I

take

it

back.

And

did.

Until

this

technology

performs

as

advertised

and

is

an

economical

alternative

to

displace

the

current

environment,

it

remains

a

high-tech

curio

that,

albeit,

is

a

constant

conversation

piece,

becomes

the

butt

of

some

very

cruel

jokes

referencing

a

boat

anchor

while

remaining

on

the

dealer’s

shelves.

In

other

countries

educators

are

asked

“How

can

we

broaden

and

enrich

the

learning

experience?”

In

the

U.S.,

educators

are

asked

“How

can

we

speed

up

the

learning

process?”

And

that’s

a

blanket

indictment

of

our

society’s

“me-now”

fixation.

This

will

not

simply

change

overnight

any

faster

than

recording

studios

will

toss

their

tape

machines

in

the

dumpster

and

buy

9

Gb

RAID

arrays...

Because

as

we

all

sit

in

judgement,

it’s

up

to

our

ears

to

hear

the

difference.

Did

anybody

notice

that

Madonna’s

“True

Blue”

album

of

10

years

ago

was

the

first

DDD

album?

Anyone

notice

that

Rod

Stewart’s

last

album

_

I7

was

done

entirely

on

ProTools?

Could

you

hear

the

difference?

In

a

$3

million

dollar

mastering

room

like

Glen

Meadows

in

Nash-

ville

where

you

can

hear

every

tick/edit

pointl

level

shift

in

Yes’

“Owner

of

a

Lonely

Heart"

(there

are

a

loti),

absolutely.

In

your

home

on

your

reference

system?

Maybe,

at

best,

if

you’ve

got

Krell

Class

A’s

and

Martin-Logan

electrostats.

On

the

radio

or

in

your

car?

Hey,

Homer...

I

feel

as

if

I

should

apologize

for

seemingly

burying

my

head

in

the

sand

on

this

issue,

but

I

just

won’t

go

quietly

(or

ravingly)

into

that

good

night.

But

the

current

technology

isn’t

performing

up

to

the

standards

it’s

been

lauded

to

offer.

When

it

does,

I’ll

write

the

sequel

to

this

article.

So

currently,

one

of

your

best

bets

is

an

ASR

with

all

the

above

trimmings.

It

defines

the

most

cost-effective,

easy

to

use,

powerful,

ﬂexible

and

affordable

2-track

real-time

digital

recorder

under

the

guise

of

a

sampler.

The

above

configuration

defines

a

pre-pro-

duction

room.

With

an

idyllic

mixer

like

the

02D

or

03D,

it

defines

a

post-production

room,

replete

with

stereo

direct-to-disc

recording,

and

that’s

while

the

sequencer

is

playing

back

in

real

time.

And

the

ASR-l0’s

built-in

sequencing

environment,

FX

processing,

Audio

Tracks

and

user

interface

push

it

right

up

to

the

top

of

the

heap.

Korg

just

added

hard

disk

recording

(Hi

Jerry!)

this

year

as

an

option

to

the

Trinity?

Mal-

vern’s

been

there,

done

that,

three

years

ago.

3

Given,

Ensoniq

doesn’t

have

their

keyboard

cases

made

by

White

Castle,

but

it’s

the

form

and

the

function

of

the

box

that

keeps

their

technology

performing.

It

keeps

me

performing

very

well...

—

Bio:

Pat

just

ﬁnished

a

I2-hour

ProTools

session.

He

said

he’d

better

write

this

article

while

the

experience

was

still

fresh

in

his

head.

Call

For

Writers!

In

spite

of

their

current

god-like

status,

writers

for

the

Hacker

were

once

mere-

mortals

--

just

like

you!

If

you’re

noodling

around

with

Ensoniq

gear,

I

you

too

can

join

their

elite

ranks.

Q

We’re

always

looking

for

new

writers,

and

yes,

there

is

actual

payment

=

involved.

If

you’re

toying

with

an

idea

I

for

an

article,

how

about

giving

1

Editrix

Jane

a

call

at

1-503-227-6848

and

listening

to

her

soothing

words

of

encouragement?

Make

the

Ultimate

Fat

Camp

Sound

on

the

TS-10/12

Introduction

It's been a while since

I've

written anything

for the Hacker. In fact,

it's

been a while

since

I've

sat behind my trusty Ensoniq

products. And now sitting here staring at

them,

it's

like seeing old friends, but not

knowing what to say. So the following ar-

ticles over the next few months (yes, I

promise) will be kind

of

like a refresher

course for me, if you will, as I try to remem-

ber what I once knew.

I'm

sure these articles

will be coming from a different perspective

than how I once documented features

in

the

Musician's Manuals, since I am now viewing

the products from a completely different

angle.

Did you ever do something, forget about it,

and then come back (sometimes) years later

stumbling upon what

you've

done, thinking

"Hey this

is

really cool! What did I do?" or

"How did I do that?"

Well, that's how I felt when I loaded an old

file from a floppy into the TS-IO and nearly

jumped out of my seat when I found this fat,

layered "comp" sound. Not much to it, but it

sure can

be

sweet, soulful and satisfying

(these are words that begin with

"s"

-for

all you elephant talk fans).

Like a passionate archeologist on a mission,

it was my duty to solve the "mystery

of

the

sound," and share it with you, oh faithful

readers. After some electronic excavating, I

discovered how it had been created.

The

Short

Form

This

is

the quickest way to recreate this

sound. It was made with two sounds layered

together,

so

you

can't

save it as a single pro-

gram.

If

you really want to save this version,

it's best to do it as a preset.

It's

still quickest

this way,

so

I'll call this version the "short

form." If you want to create and save this

sound as a single program, use the Long

Form.

The

Process

This expressive sound is simply a tweaked

layering

of

two ROM programs. Let' s begin

Tom Tracy

the process:

1.

Press SOUNDS

(I'm

assuming you've al-

ready plugged in and turned on the

TS-I0I12).

2. While holding down BANKSET, press the

bank 2 button. This selects the first ROM

bankset

of

sounds (R2 is

in

the upper left

corner

of

the display).

3.

Press the bank 2 button.

4. Press the lower right button

in

the displa

y.

This selects the PNO-N-ELEC sound.

5. Hold down BANKSET, and press the bank

4 button (R4

is

in the upper left corner

of

the display).

6.

Press the bank 0 button.

7. Press the lower right button in the display.

This selects the HARP sound.

8.

Press the MIX/PAN button (HARP

is

still

selected), and with the data entry controls,

change "MIX=091."

9. Press the PERFORMANCE OPTIONS

button, select PNO-N-ELEC

by

pressing

its soft button, and change the patch select

setting

to"

-0*-" (signifying that the right

button is pressed down).

10. Press the TRACK EFFECTS button three

times, and change to "EFFECT=06

PARAM EQ+CHORUS+REV."

II.

Press any lower soft button, and use the

data entry controls to select

"V

ARIA-

TION=14 BRASS + DRUMS."

12. Press the TRACK EFFECTS button

twice, press the lower middle soft button,

and change "FX2--REVRB=49."

13. Press the MIX/PAN button again, and

double-click the soft button above HARP.

If

both sounds are layered, one will be

fully underlined, and the other will be

flashing underlined. Make sure

it's

this

way (this is a good way to test

if

you're

double-clicking too slow). I hope you find

it

as

pleasing

as

I have.

To

Save

it

as

a

Preset

I. Press the PRESETS button twice to get to

the WRITE screen (which

is

the right

screen).

2. Press the lower right soft button.

3.

Name the new preset using the data entry

tools, and when ready,

4.

Press and hold down the PRESETS but-

ton, then press the BANKSET, bank

4

(0-9), and a soft button to place the preset

into the RAM location

of

your choosing.

That's all for the short form. Now spend

some time enjoying it!

The

Long

Form

If

you like this sound, but want to save it as a

single program, it requires a little more

work. What you will do

in

this version is

copy the two voices used by PNO-N-ELEC,

and paste them into the HARP program (with

some additional tweaking). There are ob-

viously some benefits to this extra work,

though -specifically for sequencing (you

only use one track). Because it takes a little

more programming, I call this version the

"l

ong form."

The

Process

I. Press SOUNDS.

2. While holding down BANKSET, press the

bank 2 button, then release both buttons.

3. Press the bank 2 button again.

4. Press the lower right button in the display

to select the PNO-N-ELEC sound.

5.

Press the SELECT VOICE button, and

press the lower

lef

t soft button in the dis-

play.

6.

Press the

COpy

button.

7.

Press the lower right soft button to

"MAKE COPY."

8.

Press SOUNDS.

9.

Hold down BANKSET, and press the bank

4 button (then release them).

10. Press the bank 0 button.

II.

Press the lower right button in the dis-

play. This selects the HARP sound.

12. Press the SELECT VOICE button, and

press the lower left

soft

button.

13. Press the COPY button.

14. Press the lower middle soft button to

select "RECALL."

15

. Follow steps 1-4 to select PNO-N-ELEC

again.

16. Press SELECT VOICE, and press the

lower middle'soft button.

17. Press the COPY button.

18. Press the lower right soft button

to

"MAKE

COPY."

19.

Press COMPARE (green light goes on).

20. Press SELECT VOICE, then press the

lower right soft button to select

"(SAW-WAVE2)."

21. Press the COPY button, then press the

lower middle button

to

select "RECALL."

22. Press SELECT VOICE.

23. Press the lower left and right soft buttons

until there

is

no parentheses are them.

24. Press the patch select buttons, and for

each combination, make sure these two

voices are not

in

parentheses.

25. Press the PROGRAM EFFECTS button

n

P

l

l\/lorke

the

Ultimate

Fort

Comp

Sound

on

the

TS—lO/I2

Introduction

It’s

been

a

while

since

I’ve

written

anything

for

the

Hacker.

In

fact,

it’s

been

a

while

since

I’ve

sat

behind

my

trusty

Ensoniq

products.

And

now

sitting

here

staring

at

them,

it’s

like

seeing

old

friends,

but not

knowing

what

to

say.

So

the

following

ar-

ticles

over

the

months

(yes,

I

promise)

will

be

kind

of

like

a

refresher

course

for

me,

if

you

will,

as

I

try

to

remem-

ber

what

I

once

knew.

I’m

sure

these

articles

will

be

coming

from

a

different

perspective

than

how

I

once

documented

features

in

the

Musician’s

Manuals,

since

I

am

now

viewing

the

products

from

a

completely

different

angle.

'

Did

you

ever

do

something,

forget

about

it,

and

then

come

back

(sometimes)

years

later

stumbling

upon

what

you’ve

done,

thinking

“Hey

this

is

really

cool!

What

did

I

do?”

or

“How

did

I

do

that?”

Well,

that’s

how

I

felt

when

I

loaded

an

old

file

from

a

ﬂoppy

into

the

TS-10

and

nearly

jumped

out

of

my

seat

when

I

found

this

fat,

layered

“comp”

sound.

Not

much

to

it,

but

it

sure

can

be

sweet,

soulful

and

satisfying

(these

are

words

that

begin

with

“s”

—

for

all

you

elephant

talk

fans).

Like

a

passionate

archeologist

on

a

mission,

it

was

my

duty

to

solve

the

“mystery

of

the

sound,”

and

share

it

with

you,

oh

faithful

readers.

After

some

electronic

excavating,

I

discovered

how

it

had

been

created.

The

Short

Form

This

is

the

quickest

way

to

recreate

this

sound.

It

was

made

with

two

sounds

layered

together,

so

you

can’t

save

it

as

a

single

pro-

gram.

If

you

really

want

to

save

this

version,

it’s

best

to

do

it

as

a

preset.

It’s

still

quickest

this

way,

so

I’ll

call

this

version

the

“short

form.”

If

you

want

to

create

and

save

this

sound

as

a

single

program,

use

the

Long

Form.

The

Process

This

expressive

sound

is

simply

a

tweaked

layering

of

two

ROM

programs.

Let’s

begin

Tom

Tracy

the

process:

l.

Press

SOUNDS

(I’m

assuming

you’ve

al-

ready

plugged

in

and

turned

on

the

TS-I0/12).

2.

While

holding

down

BANKSET,

press

the

bank

2

button.

This

selects

the

first

ROM

bankset

of

sounds

(R2

is

in

the

upper

left

comer

of

the

display).

3.

Press

the

bank

2

button.

4.

Press

the

lower

right

button

in

the

display.

This

selects

the

PNO-N-ELEC

sound.

5.

Hold

down

BANKSET,

and

press

the

bank

4

button

(R4

is

in

the

upper

left

corner

of

the

display).

6.

Press

the

bank

0

button.

7.

Press

the

lower

right

button

in

the

display.

This

selects

the

HARP

sound.

8.

Press

the

MIX/PAN

button

(HARP

is

still

selected),

and

with

the

data

entry

controls,

change

“MIX=091

.”

9.

Press

the

PERFORMANCE

OPTIONS

button,

select

PNO-N-ELEC

by

pressing

its

soft

button,

and

change

the

patch

select

setting

to

“-0*-”

(signifying

that

the

right

button

is

pressed

down).

10.

Press

the

TRACK

EFFECTS

button

three

times,

and

change

to

“EFFECT=O6

PARAM

EQ+CHORUS+REV.”

11.

Press

any

lower

soft

button,

and

use

the

data

entry

controls

to

select

“VARIA-

TION=l

4

BRASS

+

DRUMS.”

12.

Press

the

TRACK

EFFECTS

button

twice,

press

the

lower

middle

soft

button,

and

change

“FX2--REVRB=49.”

13.

Press

the

MIX/PAN

button

again,

and

double-click

the

soft

button

above

HARP.

If

both

sounds

are

layered,

one

will

be

fully

underlined,

and

the

other

will

be

ﬂashing

underlined.

Make

sure

it’s

this

way

(this

is

a

good

way

to

test

if

you’re

double-clicking

too

slow).

I

hope

you

find

it

as

pleasing

as

I

have.

To

Sove

it

as

o

Preset

1.

Press

the

PRESETS

button

twice

to

get

to

the

WRITE

screen

(which

is

the

right

screen).

2.

Press

the

lower

right

soft

button.

3.

Name

the

new

preset

using

the

data

entry

tools,

and

when

ready,

4.

Press

and

hold

down

the

PRESETS

but-

ton,

then

press

the

BANKSET,

bank

4

(0-9),

and

a

soft

button

to

place

the

preset

into

the

RAM

location

of

your

choosing.

That’s

all

for

the

short

form.

Now

spend

some

time

enjoying

it!

The

Long

Form

If

you

like

this

sound,

but

want

to

save

it

as

a

single

program,

it

requires

a

little

more

work.

What

you

will

do

in

this

version

is

copy

the

two

voices

used

by

PNO-N-ELEC,

and

paste

them

into

the

HARP

program

(with

some

additional

tweaking).

There

are

ob-

viously

some

benefits

to

this

extra

work,

though

—

specifically

for

sequencing

(you

only

use

one

track).

Because

it

takes

a

little

more

programming,

I

call

this

version

the

“long

form.”

Th8

PTOCGSS

l.

Press

SOUNDS.

2.

While

holding

down

BANKSET,

press

the

bank

2

button,

then

release

both

buttons.

3.

Press

the

bank

2

button

again.

4.

Press

the

lower

right

button

in

the

display

to

select

the

PNO-N-ELEC

sound.

5.

Press

the

SELECT

VOICE

button,

and

press

the

lower

left

soft

button

in

the

dis-

play.

6.

Press

the

COPY

button.

7.

Press

the

lower

right

soft

button

to

“MAKE

COPY.”

~

8.

Press

SOUNDS.

9.

Hold

down

BANKSET,

and

press

the

bank

4

button

(then

release

them).

l0.

Press

the

bank

0

button.

1

l.

Press

the

lower

right

button

in

the

dis-

play.

This

selects

the

HARP

sound.

12.

Press

the

SELECT

VOICE

button,

and

press

the

lower

left

soft

button.

13.

Press

the

COPY

button.

14.

Press

the

lower

middle

soft

button

to

select

“RECALL.”

15.

Follow

steps

1-4

to

select

PNO-N-ELEC

again.

.

l6.

Press

SELECT

VOICE,

and

press

the

lower

middle’

soft

button.

17.

Press

the

COPY

button.

18.

Press

the

lower

right

soft

button

to

“MAKE

COPY.”

19.

Press

COMPARE

(green

light

goes

on).

20.

Press

SELECT

VOICE,

then

press

the

lower

right

soft

button

to

select

“(SAW-WAVE2).”

21.

Press

the

COPY

button,

then

press

the

lower

middle

button

to

select

“RECALL.”

22.

Press

SELECT

VOICE.

23.

Press

the

lower

left

and

right

soft

buttons

until

there

is

no

parentheses

are

them.

24.

Press

the

patch

select

buttons,

and

for

each

combination,

make

sure

these

two

voices

are

not

in

parentheses.

25.

Press

the

PROGRAM

EFFECTS

button

(the effects button

on

the far right side of

the keyboard),

and

select and modify the

algorithm

as

explained

in

the "Short

Form."

To

Save

It

as a Program

I.

Press the WRITE PROGRAM button

(next

to

the COMPARE button).

2.

Name your sound using the data entry

tools, and when ready,

3.

Press and hold down the SOUNDS button

("SA VE" flashes

in

the display), then

press the BANKSET, bank

(0

-9), and a

soft button to place the program into the

selected RAM location.

That's all for the long form. I hope this

process hasn't been too taxing. _

Bio:

Tom

Tracy, once a full-time technical

writer for ENSONIQ, has returned

to

the

pages

of

the Transoniq Hacker. With his vast

experience and corporate insight, it should

be

a pleasant addition.

To Fehrion, wherever

you

are.

L.A.

Riot

Vol.

1

Product:

CD-ROM Sound Library, L.A.

Riot Vol.

I.

From:

Ensoniq Corporation,

155

Great

Valley Parkway, Malvern PA 19055,

phone: 610-647-3930 (voice)

610-647-8909 (fax).

For:

Any

Ensoniq sample player.

Price: $199.95.

Having already reviewed Ensoniq's L.A.

Riot Vol. 2 (Issue #149), I was both inter-

ested and a bit skeptical about the L.A.

Riot Vol. I CD-ROM. Those

of

you who

read my review

of

Vol. 2 know I was not

exactly sold on that particular CD-ROM

(though, I admit it

is

the first Ensoniq CD

which I wasn't crazy about). Prior to my

review

of

L.A.

Riot

Vol. 2, I had heard that

Vol. 1 was a much more useful CD-ROM,

so I took on the assignment

to

review it

with high hopes in spite

of

its predecessor.

Thankfully, my impression, after careful

examination

of

L.A.

Riot

Vol.

I,

was con-

siderably more favorable.

Now, for those

of

you who

don't

know (or

couldn't guess), the L.A. Riot CD-ROMs

(Volumes I and 2) are geared toward the

Rap, Hip-Hop and Acid Jazz creators and

producers

of

da'

world. Both CD-ROMs

are 250 megabytes in size (Vol. 2 is not

Britton Beisenherz

597 megs like I said in its review. I dunno

where I got that...) and both boast 1000

FAT samples. Similarly, both CDs contain

six root level directories for organization.

That is about where the similarities end.

Instead

of

1000 FAT samples

of

material

including "deepest rare grooves, dopest

phunky grooves, sax squeals, sex squeals,

bass wipes, slam hooks, and lowrider sen-

saround (what

is

'dat?!?!)"

as

offered in

Vol. 2, L.A.

Riot

Vol. 1 offers 1000 FAT

"loops, scratches, breaks, and transforms."

Sample material which I think is not only a

lot more useful, but also sounds better in a

sentence?

..

ehh?

L.A. Riot Vol. 1 was compiled and laid out

in a juicy kinda way.

It

is the first collec-

tion

of

DJ skills and moves on CD-ROM,

including drum loops, backspin loops, live

drum and DJ mixes, construction sets for

all dope styles, and DJ effects like

scratches, vinyl squeals, chirps, and more.

These are useful sounds for their genre -

especially when compared to the material

on Vol. 2. Another interesting aspect

of

the

L.A. Riot Vol. 1 CD-ROM is its directory

layout. The directories in Vol. 1 are laid

out by DJ (from Longbeach to Lynwood,

Compton to Venice) and include (in

order): DJ DRE, DJ ALL YW AD, DJ

MANN-E, LIS-IO, AL FRESH, and SKIL.

5

Each main directory includes between nine

and nineteen subdirectories, which basical-

ly amounts

to

seventy-six loadable ASR-

10,

EPS,

or

TS

Series multi-sample Instru-

ments. Within those seventy-six load able

multi-sample Instruments are contained

one thousand samples. That

is

roughly

thirteen samples per Instrument.

The Instrument layout

is

contiguous

throughout the CD-ROM. The majority

of

the Instruments per DJ are all basically

drum, percussion, and DJ effects "con-

struction kits" in order by BPM. The latter

Instruments are devoted to DJ effects and

are called "DJ name SCRATCH." For

instance, the directory DJ DRE contains

sixteen Instruments. The first fourteen In-

struments are construction kits named

DRE _ bpm.

DRE's

sets range from 90

to

115

beats per minute. The last two Instru-

ments are called DRE SCRATCH I and

DRE SCRATCH2, and are devoted solely

to DJ

DRE's

favorite dope fresh turntable

scratches, squeals, and effects. The con-

struction Instruments for L.A. Riot

V~l.

1

offer a nice range

of

meters. Depending

on the DJ in question, tempos range from

as

slow

as

76 bpm to the kickin' speed

of

148

bpm.

The bulk

of

the CD-ROM consists

of

these

"construction kits" with varying tempos in

the form of multi-sample Instruments

within each

Drs

directory. I consider

these Instruments construction kits, be-

cause that

is

what they are most reminis-

cent

of

... Multiple samples laid out in one

eTH - A Faster,

Cheaper Hacker

If

you can receive e-mail via the Inter-

net, you can take advantage

of

avoid-

ing the post office and get a faster,

cheaper, e-mail version

of

the Hacker.

The e-mail Transoniq Hacker contains

all

of

the same information and

advertising

as

the printed version, but

it's

only $20/year -anywhere on the

planet. Plus,

if

you convert over from

the printed version you'll get extra

issues added to your sub. Interested?

Just send a message to

us

at

eTH@transoniq.com and

we'll

e-mail

back complete subscription informa-

tion. Let

us

know

if

you'd

like a free

copy

of

the current issue and

we'll

send one along.

(the

effects

button

on

the

far

right

side

of

the

keyboard),

and

select

and

modify

the

algorithm

as

explained

in

the

“Short

Form.”

To

Scrve

It

crs

cr

Program

1.

Press

the

WRITE

PROGRAM

button

(next

to

the

COMPARE

button).

2.

Name

your

sound

using

the

data

entry

tools,

and

when

ready,

3.

Press

and

hold

down

the

SOUNDS

button

(“SAVE”

ﬂashes

in

the

display),

then

,

press

the

BAN

KSET,

bank

(0-9),

and

a

soft

button

to

place

the

program

into

the

selected

RAM

location.

That’s

all

for

the

long

form.

I

hope

this

process

hasn’t

been

too

taxing.

—

Bio:

Tom

Tracy,

once

a

full-time

technical

writer

for

ENSONIQ,

has

returned

to

the

pages

of

the

Transoniq

Hacker.

With

his

vast

experience

and

corporate insight,

it

should

be a

pleasant addition.

To

Fehrion,

wherever

you

are.

L.A.

Riot

\/OI.

I

Product:

CD-ROM

Sound

Library,

L./1.

Riot

Vol.

1.

From:

Ensoniq

Corporation,

155

Great

Valley

Parkway,

Malvem

PA

19055,

phone:

610-647-3930

(voice)

610-647-8909

(fax).

For:

Any

Ensoniq

sample

player.

Price:

$199.95.

Having

already

reviewed

Ensoniq’s

L.A.

Riot

Vol.

2

(Issue

#149),

I

was

both

inter-

ested

and

a

bit

skeptical

about

the

L.A.

Riot

Vol.

I

CD-ROM.

Those

of

you

who

read

my

review

of

Vol.

2

know

I

was

not

exactly

sold

on that

particular

CD-ROM

(though,

I

admit

it

is

the

first

Ensoniq

CD

which

I

wasn’t

crazy

about).

Prior

to

my

review

of

L.A.

Riot

Vol.

2,

I

had

heard

that

Vol.

1

was

a

much

more

useful

CD-ROM,

so

I

took

on

the

assignment

to

review

it

with

high

hopes

in

spite

of

its

predecessor.

Thankfully,

my

impression,

after

careful

examination

of

L./l.

Riot

Vol.

I,

was

con-

siderably

more

favorable.

Now,

for

those

of

you

who

don’t

know

(or

couldn’t

guess),

the

L.A.

Riot

CD-ROMs

(Volumes

l

and

2)

are

geared

toward

the

Rap,

Hip-Hop

and

Acid

Jazz

creators

and

producers

of

da’

world.

Both

CD-ROMS

are

250

megabytes

in

size

(Vol.

2

is

not

Britton

Beisenherz

597

megs

like

I

said

in

its

review.

I

dunno

where

I

got

that...)

and

both

boast

1000

FAT

samples.

Similarly,

both

CDs

contain

six

root

level

directories

for

organization.

That

is

about

where

the

similarities

end.

Instead

of

1000

FAT

samples

of

material

including

“deepest

rare

grooves,

dopest

phunky

grooves,

sax

squeals,

sex

squeals,

bass

wipes,

slam

hooks,

and

lowrider

sen-

saround

(what

is

’dat?!?!)”

as

offered

in

Vol.

2,

L.A.

Riot

Vol.

I

offers

1000

FAT

“loops,

scratches,

breaks,

and

transforms.”

Sample

material

which

I

think

is

not

only

a

lot

more

useful,

but

also

sounds

better

in

a

sentence?

..ehh?

L.A.

Riot

Vol.

I

was

compiled

and

laid

out

in

a

juicy

kinda

way.

It

is

the

first

collec-

tion

of

DJ

skills

and

moves

on

CD-ROM,

including

drum

loops,

backspin

loops,

live

drum

and

DJ

mixes,

construction

sets

for

all

dope

styles,

and

DJ

effects

like

scratches,

vinyl

squeals,

chirps,

and

more.

These

are

useful

sounds

for

their

genre

—

especially

when

compared

to

the

material

on

Vol.

2.

Another

interesting

aspect

of

the

L.A.

Riot

Vol.

I

CD-ROM

is

its

related problem.

Have the tech ensure proper voltages from the power

supply -these things want a rock-solid

+5

and + l2V,

not 4.95V or

Ii

.58V. Check the 7805' s and other

regulators on the PS PCB. Good luck ... }

TH,

I

am

a novice music "technician" who has

had

an

En-

soniq SQ·t for several years and it's still not easy for

me

to operate. I will admit to

be

ing initially impressed with

what I saw and convinced myself that I could "grow

into" it. Sadly I have not reached the potential with this

machine that I had hoped. Even soon after its purchase I

was

hearing about patch keys and other innovations that

could expand sound effects that the SQ-I does not have.

Have there been technical improvements

in

this field

since the SQ came out that would let the fledgling

musician enjoy music creativity without falling into the

techno jungle

of

confusion about how to use the machine

or should I look at another option

in

a keyboard? Have I

just banished myself to the simplicity

of

a magnus chord

organ again? I HOPE

NOT.

I want to look and learn before I leap this time!!

Thank you,

Joe Young

jnnyoung@dcache.net

[PF -loe: By our very nature,

we

as

mustClans want

more power in keyboards which

is

supposed

to

translate

into more sounds, beller quality, more polyphony, ete.

Problem is all this power comes at the cost

of

pUlling it

all

in

one box with a lillie display

10

edit all this power.

ALL "professional" -level keyboards can be a terror

to

lIavigate

if

you don't know the basics

of

synthesis. Ac-

tually Ensoniq is, IMHO, the easiest illterface

of

all

keyboards. That's why I've been using them for the past

14

years ...

Ensoniq invented the MR-series keyboards just for

musicians like you. Sadly, they discontinued them -

BUT

the new

ZR

-76 uses an almost identical user interface to

the MRs. Take a peek at aile at your local Ensoniq

dealer

-it's the easiest

keyboard

to navigate

around

you've

ever

seen

... }

TH-

[n

an effort to promote clarity and thoroughness I wish

to add a footnote to

my

review

in

Issue #154 "Psychic

Horns," wherein I expressed

my

thanks to Rubber Chick-

en's

Disk Tools. Subsequently, I noted posts that

described difficulty

in

making two and three disk

16-Plus files. Please note that I have

not

been successful

in

getting either Disk Tools or Disk Manager to write a

three-disk set. [ have been successful

in

writing two-disk

sets.

As

a matter

of

curiosity, I would like to know if this

is

my

unique experience or if the conversion software

generally fails at this task.

J.D. Ryan

brosryan@dmv.com

[Garth (chickenEPS@Willmar.com) -ID: It's you.

Gosh, didn't you have this problem a few months ago?

It's still not resolved? I can't speak for Gary, but I tested

about 10 File Images with 2-disk and 3-disk lengths, and

all

of

them copied fine using both Disk Tools and the

EDM. Feelfree to e-mail me the .efejile in question, and

I can test it. Also, how did you acquire the large File

Image

in

the first place? Did you download it?

If

so,

where?}

TH-

Top resource, this. Well done.

I have a problem with using

an

Alesis MMT8 to do se-

quencing. I've hooked the MMT8

to

my

EPS and noth-

ing else

in

the M[DI chain and I'

ve

recorded sequences

and played them back all fine. What [ want

to

do

is

modulate LIVE the sounds the MMT8

is

triggering with

the mod wheel and the bend wheel, say filter on a drum

loop or cross fade layers on a bass sample.

It

won't do it.

I can record the modulations into the MMT8 and play

them back, but not do them on the fly, unless I do

it

with

the data slider, which means flicking through pages to

get to the parameter I want to mod. Can

it

be

done?

Thank you Ensoniq users everywhere.

Jonathan

globe@thepla.net

[PF -lonathan: All you have

to

do

is

select the track

you want to

do

this to

by

pressing its corresponding

track bullon (to light the red LED and make it active),

then whale away with the pitch and mod wheels. That's

all there

is

to it. Remember, the sound must have pitch

and modulation functions programmed into it

in

order

12

jor

the wheels to have any effect.

And

here's another EPS secret: pitch bend range can be

different for EVERY instrument/track ..

.]

DearTH

I need good string sounds for

my

ASR but the only

CD-ROM recommended

is

Spectrasonics Strings. This

is

a native Akai disk. Would the sounds I import differ

from the originals if they were 8 wavesamples per key or

under? Wouldn't

it

be

good to just buy a cheap CD ver-

sion? If I did, what limitations would I have

in

sound

quality OR anything else?

Do

you have any CD-ROM

recommendations?

Thanks,

Dan

japandan@iea.att.ne.jp

[PF -Answers,

in

order:

(A) The sounds

you

import will not differ from the

original; the only caveat

is

that they cannot total more

than the memory capacity

of

your ASR. This could be a

limitation

if

the string samples you're importing are

larger than 16

Mb

(the limit

of

afully-expallded ASR) ...

(B)

Buy what cheap

CD

version? I don't understand

your question here:

do

you mean a cheap

CD

of

slrillg

samples?

My

apologies for not gelling the gist

of

your

question

..

.

(C)

See

(B)

above

...

(D) Ensoniq's CDR-8

(a

collaboration with inVision)

has some spectacular orchestral samples, inclusive

of

strings, viola, celli, etc. Check it oul.}

[syntaur@juno.com -

You

might also consider the string

sections that Phil Ramone produced for Ensoniq. They

are available in the

SL

series offloppy disks, and sell for

$39.95 per 5-disk set. They are:

SL-1O

Violin Section,

SL-ll

Viola Section, SL-l2 Cello Section, and SL-/3

Bass Section. These are wonderfully expressive,

.md

contain numerous articulations (spiccato, tremolo,

etc

.

).

The

SL

sets are available from Syntaur Productions,

409-234-2700 or fax

to

409-234-2900.

Sam

Mims, syn-

taur@juno.com.}

Ladies and Gentlemen,

One

of

the drumkits

in

the SD·}

is

titled "Compressed

Kit." I need to separate the kick from the snare to send to

their own tracks on an ADAT for process and mix pur-

poses. I love and I need the sounds

of

that particular kit.

Can this

be

done?? And if so, how???

With respect,

Jake

bluezguy@worldnet.att.net

[PF -

lake:

Assign those particular samples to the

auxiliary outputs. Only problem here

is

that the aux outs

are dry (no FX), so the kick and snare will have no

processing. This

mayor

may no/ be a problem, depend-

ing on just how heavily processed those particular

samples are. Give it a whirl -you may need to add

ej~

fects to them from

an

outboard FX processor, but you

can adjust to taste.}

TH-

Has anyone with

an

MR·61 experienced a HOT or high

velocity key.

My

2nd F natural from bottom generates a

velocity

of

120 when played with same pressure that

elicits a

ve

locity

of

36 -

41

from its neighbors. This isn't

bad for organ sounds but its a real thrill on pianos, wind

of

US

Authorized

Service

Centers

can

be

found

at

the

following

URL

on

our

Web

Site:

http://www.ensoniq.

com/html/servlist.htm.]

Greetings,

I

am

looking

for

any

MAC

software

that

is

comparable

to

Giebler

Enterprises

PC

software

to

edit

EPS

sound

data

from

the

MAC,

transfer

or

convert

audio

files

to

EPS

samples

and/or

transfer

MIDI

sequences

to

the

EPS

form

the

MAC.

Any

or

all

of

these

functions

will

do.

Thanks,

Kevin

Whittenburg

kwhitten@dave-world.net

[PF

-

Kevin:

Your

best

source

for

ALL

Ensoniq

sam-

pling

wares

is

good

’ol

Garth

Hjelte

at

Rubber

Chicken

Soﬁware.

Check

out

Ensoniq

Disk

Tools

and

ping

RCS

at

www.soundcentral.com/~chickeneps.

And

check

out

our

at

the

top

of

the

page...

]

[Peter

C

Heim

(pch7@interport.net)

-

Hi.

I

use

Passport’s

Alchemy

for

serious

sound

editing,

I’ve

recently

started

using

Garth’s

EAVES

software

for

parameter

editing,

and

for

sequencing,

ya

can’!

beat

M

OTU

's

Performer.

]

Hi,

I

have

an

old

SDP-1.

When

it

gets

tumed

off

it

won’t

start

up.

If

you

leave

it

for

a

few

months

you

usually

can

turn

it

on

and

it

will

start

up

properly.

When

it

doesn’t

start

up

properly

the

LEDs

go

into

a

chasing

pattern

clockwise.

Each

LED

lights

up

three

or

four

times

and

move

on to

the

and

so

on.

I do

not

need

to

sub-

scribe

to the

Transoniq

Hacker

because

this

is

the

only

Ensoniq

product

I

have

and

once

it

hopefully

gets

fixed

I

don’t

need

a

whole

lot

of

information

there

after.

If

you

can

help

me

out

and

there’s

an

inexpensive

way

to

fix

this

I’ll

gladly

pay

you

for

your

time.

Thanks,

Alex

Macfarlane

am

acfarl@direct.ca

[PF

-

Alex:

There

are

no

replacement

logic

boards

available

for

the

SDP-I,

so

here's

hoping

you

have

a

power

supply

problem

or

a

regulator

problem.

Take

the

instrument

to

an

Authorized

Ensoniq

Service

Center

in

your

area,

as

they

have

the

schematics

to

the

SDP-1.

Have

a

tech

look

at

it

to

determine

if

the

problem

is

a

power

supply-related

or

logic

board-based

failure.

And

keep

your

ﬁngers

crossed

that

it’s

a

power

supply-

Have

the

tech

ensure

proper

voltages

ﬁ'om

the

power

supply

—

these

things

want

a

rock-solid

+5

and

+12V,

not

4.95V

or

I1.58V.

Check

the

7805’s

and

other

regulators

on

the

PS

PCB.

Good

luck...

]

TH,

I

am

a

novice

music

“technician”

who

has

had

an

En-

soniq

SQ-1

for

several

years

and

it’s

still

not

easy

for

me

to

operate.

I

will

admit

to

being

initially

impressed

with

what

I

saw

and

convinced

myself

that

I

could

“grow

into"

it.

Sadly

I

have

not

reached

the

potential

with

this

machine

that

I

had

hoped.

Even

soon

after

its

purchase

I

was

hearing

about

patch

keys

and

other

innovations

that

could

expand

sound

effects

that

the

SQ-1

does

not

have.

Have

there

been

technical

improvements

in

this

field

since

the

SQ

came

out

that

would

let

the

ﬂedgling

musician

enjoy

music

creativity

without

falling

into

the

techno

jungle

of

confusion

about

how

to

use

the

machine

or

should

I

look

at

another

option

in

a

keyboard?

Have

I

just

banished

myself

to

the

simplicity

of

a

magnus

chord

organ

again?

I

HOPE

NOT.

I

want

to

look

and

learn

before

I

leap

this

time!!

Thank

you,

Joe

Young

jnnyoung@dcache.net

[PF

—

Joe:

By

our

very

nature,

we

as

musicians

want

more

power

in

keyboards

which

is

supposed

to

translate

into

more

sounds,

better

quality,

more

polyphony,

etc.

Problem

is

all

this

power

comes

at

the

cost

of

putting

it

all

in

one

box

with

a

little

display

to

edit

all

this

power.

ALL

“professional

”

-level

keyboards

can

be

a

terror

to

navigate

if

you

don't

know

the

basics

of

synthesis.

Ac-

tually

Ensoniq

is,

IMHO,

the

easiest

interface

of

all

keyboards.

That’s

why

I

’ve

been

using

them

for

the

past

14

years...

Ensoniq

invented

the

MR-series

keyboards

just

for

musicians

like

you.

Sadly,

they

discontinued

them

—

BUT

the

new

ZR-76

uses

an

almost

identical

user

interface

to

the

MRs.

Take

a

peek

at

one

at

your

local

Ensoniq

dealer

—

it’s

the

easiest

keyboard

to

navigate

around

you’ve

ever

seen...

]

TH—

In

an

effort

to

promote

clarity

and

thoroughness

I

wish

to

add

a

footnote

to

my

review

in

Issue

#154

“Psychic

Horns,”

wherein

I

expressed

my

thanks

to

Rubber

Chick-

en’s

Disk

Tools.

Subsequently,

I

noted

posts

that

described

difficulty

in

making

two

and

three

disk

16-Plus

files.

Please

note

that

I

have

not

been

successful

in

getting

either

Disk

Tools

or

Disk

Manager

to

write

a

three-disk

set.

I

have

been

successful

in

writing

two—disk

sets.

As

a

matter

of

curiosity,

I

would

like

to

know

if

this

is

my

unique

experience

or

if

the

conversion

software

generally

fails

at

this

task.

J

.D.

Ryan

brosryan@dmv.c0m

[Garth

(chickenEPS@willmar.com)

—

JD:

It’s

you.

Gosh,

didn’t

you

have

this

problem

a

few

months

ago?

It’s

still

not

resolved?

I

can’t

speak

for

Gary,

but

I

tested

about

I

0

File

Images

with

2-disk

and

3

-disk

lengths,

and

all

of

them

copied

ﬁne

using

both

Disk

Tools

and

the

EDM.

F

eel

free

to

e-mail

me

the

.efe

ﬁle

in

question,

and

I

can

test

it.

Also,

how

did

you

acquire

the

large

File

Image

in

the

ﬁrst

place?

Did

you

download

it?

If

so,

where?]

TI-I

—

Top

resource,

this.

Well

done.

I

have

a

problem

with

using

an

Alesis

MMT8

to

do

se-

quencing.

I’ve

hooked

the

MMT8

to

my

EPS

and

noth-

ing

else

in

the

MIDI

chain

and

I’ve

recorded

sequences

and

played

them

back

all

fine.

What

I

want

to

do

is

modulate

LIVE

the

sounds

the

MMT8

is

triggering

with

the

mod

wheel

and

the

bend

wheel,

say

filter

on

a

drum

loop

or

crossfade

layers

on

a

bass

sample.

It

won’t

do

it.

I

can

record

the

modulations

into

the

MMT8

and

play

them

back,

but

not

do

them

on

the

fly,

unless

I

do

it

with

the

data

slider,

which

means

flicking

through

pages

to

get

to

the

parameter

I

want

to

mod.

Can

it

be

done?

Thank

you

Ensoniq

users

everywhere.

Jonathan

globe@thepla.net

[PF

-

Jonathan:

All

you

have

to do

is

select

the

track

you

want

to

do

this

to

by

pressing

its

corresponding

track

button

(to

light

the

red

LED

and

make

it

active),

then

whale

away

with

the

pitch

and

mod

wheels.

That’s

all

there

is

to

it.

Remember,

the

sound

must

have

pitch

and

modulation

ﬁmctions

programmed

into

it

in

order

1_2

for

the

wheels

to

have

any

effect.

And

here's

another

EPS

secret:

pitch

bend

range

can

be

different

for

EVERY

instrument/track...]

Dear

TH

I

need

good

string

sounds

for

my

ASR

but

the

only

CD-ROM

recommended

is

Spectrasonics

Strings.

This

is

a

native

Akai

disk.

Would

the

sounds

I

import

differ

from

the

originals

if

they

were

8

wavesamples

per

key

or

under?

Wouldn’t

it

be

good

to

just

buy

a

cheap

CD

ver-

sion?

If

I

did,

what

limitations

would

I

have

in

sound

quality

OR

anything

else?

Do

you

have

any

CD-ROM

recommendations?

Thanks,

Dan

japandan@iea.att.ne.jp

[PF

—

Answers,

in

order:

(A)

The

sounds you

import

will

not

differ

ﬁom

the

original;

the

only

caveat

is

that

they

cannot

total

more

than

the

memory

capacity

of

your

ASR.

This

could

be a

limitation

if

the

string

samples

you’re

importing

are

larger

than

I6

Mb

(the

limit

of

a

fully-expanded

ASR)...

(B)

Buy

what

cheap

CD

version?

I

don't

understand

your

question

here:

do

you

mean

a

cheap

CD

of

string

samples?

My

apologies

for

not

getting

the

gist

of

your

question...

(C)

See

(B)

above...

(D)

Ens0niq’s

CDR-8

(a

collaboration

with

InVt'sion)

has

some

spectacular

orchestral

samples,

inclusive

of

strings,

viola,

celli,

etc.

Check

it

out.

]

[syntaur@juno.com

—

You

might

also

consider

the

string

sections

that

Phil

Ramone

produced

for

Ensoniq.

They

are

available

in

the

SL

series

of

ﬂoppy

disks,

and

sell

for

$39.95

per

5-disk

set.

They

are:

SL-10

Violin

Section.

SL-11

Viola

Section,

SL-12

Cello

Section,

and

SL-13

Bass

Section.

These

are

wonderfully

expressive,

and

contain

numerous

articulations

(spiccato,

tremolo,

etc.

).

The

SL

sets

are

available

from

Syntaur

Productions,

409-234-2700

or

fax

to

409-234-2900.

Sam

Mims,

syn-

taur@juno.com.]

Ladies

and

Gentlemen,

One

of

the

drumkits

in

the

SD-1

is

titled

“Compressed

Kit.”

I

need

to

separate

the

kick

from

the

snare

to

send

to

their

own

tracks

on

an

ADAT

for

process

and

mix

pur-

poses.

I

love

and

I

need

the

sounds

of

that

particular

kit.

Can

this

be

done??

And

if

so,

how???

With

respect,

Jake

bluezguy@worldnet.att.net

[PF

-

Jake:

Assign

those

particular

samples

to

the

auxiliary

outputs.

Only

problem

here

is

that

the

aux

outs

are

dry

(no

FX),

so

the

kick

and

snare

will

have

no

processing.

This

may

or

may

not

be a

problem,

depend-

ing

on

just

how

heavily

processed

those

particular

samples

are.

Give

it

a

whirl

—

you

may

need

to

add

ef-

fects

to

them

from

an

outboard

FX

processor,

but

you

can

adjust

to

taste.]

TH—-

Has

anyone

with

an

MR-61

experienced

a

HOT

or

high

velocity

key.

My

2nd

F

natural

from

bottom

generates

a

velocity

of

I20

when

played

with

same

pressure

that

elicits

a

velocity

of

36

—

41

from

its

neighbors.

This

isn’t

bad

for

organ

sounds

but

its

a

real

thrill

on

pianos,

wind

\

I

'f

I

-'"

I

and perc. I've just upgraded to 2.11 Any similar ex-

periences? I don't recall seeing any

in

the Hacker! I'll

just

be

using

my

TS-12 while I wait for response.

E.

Becks

erb@freeway.net

[PF -E Becks: Funny you mention that -a week after I

got an

MR-61

my lowest G sent a 127 velocity. Turns alit

the key contact

was

dirty. Have your local tech clean

thaI one colllacl and you'll be fine. No, upgrading

Ihe

ROM didn't cause it, sunspots and the relative position

of

the moons over Mepzor didn'l cause this anomaly -

just some old-fashioned dusl got in Ihere ... ]

Me

again!

I wrote a while back concerning controlling program and

chord changes via MIDI from

my

SD-J to

my

studio

vocalist. I have learned more about MIDI setup and have

all the parameters set up, but still don't know how

to

record or send the changes to the vocalist. Digitech has

been a lot

of

help but I need info from the Ensoniq point

of view. Please help ...

Thanks

..

.love the hacker!

JRSoulF8@aol.com

[PF

-

JR:

Just send the program change corresponding

to

the Vocalist patch you want to selecl, and presto,

you're Ihere. Select a track

in

each sequence

of

a song,

assign it MIDI output (rather Ihan LOCAL or BOTH),

select the MIDI channel the Vocalist

is

listening

to,

and

select a program change # 1·128 that corresponds

to

the

desired program on the Vocalist .

..

]

TH -

I've had

an

MR-61 for the last 6 months. I installed the

Flash board about two months ago and was able

to

load

.wav files with

no

problems. However recently, while

trying do load . wav files onto the Flash I have en-

countered the following problem. The

di

spl

ay

asks

which.

wav

I wish to load

as

usual and then says "load-

ing files ... please wait." I hear the usual cranking of the

floppy drive however

it

stops midway through the load

and although the drive still seems to

be

spinning

it

will

pretty much stay that way -with the green floppy light

on and the display saying please wait.

My

only option

is

to eject the floppy and shut

off

the keyboard because

it

is

basically locked

up.

Needless

to

say,

my

.wav file does not get transferred

to

the Flash board -although I have been able to do so

in

the past. I'm puzzled because the floppy

is

still able to

load songs into the sequencer without problems.

I haven 't heard

of

the Flash board advertised with the

new Ensoniq keyboard similar to the

MR

series so I

don't

know what type of support I can get regarding the

Flash board. Anyone have any ideas, suggestions,

similar experiences with the Flash board? And if

it

does

turn out to

be

a problem with the Flash board, does

anyone know

if

it's covered by a warranty? Or if

it

is

a

floppy drive disc problem, has anyone had floppy drive

problems and are they easily resolved?

Sorry so long, but thanks for the forum!

JP3T3MAX@aol.com

[Andres (amell@ibm.nel) -I have also experienced a

similar problem with loading .wav files onto the

MR-61's Flash board

(by

the way, it probably isn't a

very good idea

to

eject the floppy while

Ihe

drive lighl

is

slill on -turn

Ihe

power

off

first,

Ihen

eject). I don't

Ihink iI's a problem wilh

Ihe

floppy drive or wilh

Ihe

Flash board,

bUI

it

does seem to be

an

issue

of

how large

the .wav file

is

that you're trying to load and

holY

much

space

is

left on

Ihe

Flash board.

Try

erasing some

samples

off

of

the Flash board

to

make space for the

.wav file before you

Iry

loading

it.

Go

to

Librarian,

Erase samples, Erase single sample

to

individually

delete. wav files you don' I need. Another alternalive may

be

to

make your .wav file smaller (i.e .. change the

sample from stereo to mono, or

CUi

down on the length

of

the sample) and

Ihen

see

if

it loads properly. Hope

Ihis

bit

of

information

is

helpful 10 you.}

[PF -JP3T: Sounds like your Flash board

is

full. Try

deleling a coupla waves to make a lillie more room and

see

if

that doesn't cure

Ihe

problem check the

'.wav

file.

It

's

possible it's (a) /00 big, (b) corrupl, (c) incomplele,

or (d) an unrecognized file type. Chances are it's being

recognized since it tries to load, so

I'd

collective point at

(A) thru

(C)

..

.]

TH-

A

few

days ago after saving a bank to

my

320 meg hard

drive I suddenly was unable to access the hard drive. I

saved the song/seq I was working on to floppy and then

shut off the EPS. I tried rebooting from the hard drive

and all I saw was some default MACROS when I pressed

load and numbers (I,2,3,4,etc). [ was able to boot

off

of

the floppy fine. When I changed storage device-to the

hard drive once again, all I saw was the same default ·

Macros. No sign of

my

sounds, banks, hard work, etc.

I took the hard-drive and connected

it

to

my

Mac and ran

EPSm2 software (you know this software?) and was able

to view the top level directories. When I clicked down

into any

of

the directories all I saw

was

weird file names

with odd characters and weird numbers, which' look like

they should

be

file sizes. Grrrrrr ...

Well, like a fool, I formatted one

of

my

Syquest 44 Meg

cartridges and got back to work starting

from

scratcp. I

worked all day yesterday creating sounds and sequences. -

And around midnight the sa

me

thing happened. I con-

nected the Syquest to

my

MAC

and noticed the sa

me

thing again ... double shit!

WeiLl

really need these disks fixed. Especially the one

I worked on yesterda

y.

I called Ensoniq and they told

me

about some Ensoniq disk software from "Giebler Enter-

prises"

in

Pa. I gave them a call and

it

looks like Gary

actually fixes drive problems like this and might

be

able

to retrieve

my

data (finger doubly crossed!). I have

it

packaged up and will se

nd

it

off today.

Wheww (okay I will breath now!)

..

. Has anyone ever

had SCSI problems on their EPS-16+ that caused hard

disk corruption? Looks like this

is

some sort

of

FAT cor-

ruption. Any success

in

retrieving your data?

I have this super important school project due

in

2 weeks

and really need the data.

Oh ya ... I also need to figure out what

is

happening with

my

EPS corrupting

my

hard drive. Anyone have a spare

SCSI adaptor hanging around?

Any input would

be

appreciated.

Take care,

Kennedy

cosker@cruzio.com

[PF -Kennedy:

When

Murphy lands on your porch,

chances are it's

/00

late

to

do

anything but restore your

disk. I know EPSm VERY well as a Mac user: the first

thing I did was take a "snapshot"

of

my drive using

scEPSi (an old shareware app from the Oakland Ar-

chives) so

if

I really munged it

I'd

be able to restore the

hardest work on building an Ensoniq Disk drive (the

directories, subdirectories. macros,

etc.}

...

But it sounds like one

of

the following scellarios popped

up

on you ...

(A) Your 16+ had a brain fart. Withoul gelling too tech-

nical, il simply pulled ils own finger and farted around

with the FAT.

(8) Your disk drive was gelling very full and trying to

save the file put

il

over the top before it could prompl

you with a "diskfull"· message.

(C)

You

were approaching the limit

of

the

16+

sequence

memory (which il shares with sample memory) and there

was a "stack collision" where the sequence edit buffer

(remember

Ihe

16+

keeps your old track

in

memory for

"YES---NO" audition purposes) overflowed

inlO

sample

memory. I've done this ALL

100

many times and hosed

my SCSI drive. Nonrecoverable, I might add. THAT's

why the "snapshot" file on my Mac proves invaluable ...

(D)

You

started

up

and did all

YOllr

work from floppies,

Ihen plugged

in

a SCSI drive and went to the "Change

SlOrage

De

vice" screen, whereupon the 16+ didn' I

delect a SCSI device at startup but the drive answered

back when polled, crashing your

16+

...

(E) The combination

of

sunspots, cosmic rays, and El

Nino was jusl too much for your 16+, and it weill

1I0n-

linear ...

Sorry

Mr

. Murphy landed on your

16+

, but

he

does

come unannounced and at the most inopportune limes.

I'll

say il again, gang: save early, save often, but save,

save, save. Buy

tWO

identical drives ,

do

your work on

Classifieds

HARDWARE/SOFTWARE

EPS-Classic keyboard, 4x memory expander,

SCSI,

8xOut

expander,

SyQuest

44 MB drive with 10

carts (with a few sounds/tunings). European

220

volts version!!!

8.500

Danish

Kroner

(appr. 1.250

USD), e-mail: delete@compuserve.com.

Jorgen

Teller,

Copenhagen,

Denmark.

FS:

Oberheim

OBMx

Analog Synth. 2 vox. Mint

Condition.

$700

obo.

Contact:

Sean

at

sodonne@vm.temple.edu.

MR Rack.

Home

use only, $600.

Contact

Jonathan.

Daytime: 208-962-3271 , Eve:

208-

983-2876.

For

Sale:

EPS-16+

Turbo,

gig

bag, cover,

13

hard-drive, lots

of

sounds $850. Korg

M3r

w/sound

card

$250.

Matt

Savard,

msavard@mwbi.org

.

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

ac-

cepted. Sorry -we

can't

(we

won't!)

take ad dicta-

tion

over

the phone!

--

-

~

‘P

J.

I

l

I

J'-

and

perc.

I’ve

just

upgraded

to

2.ll

Any

similar

ex-

periences?

I

don’t

recall

seeing

any

in

the

Hacker!

I’ll

just

be

using

my

TS-l2

while

I

wait

for

response.

E.

Becks

erb@freeway.net

[PF

-

E

Becks:

Funny

you

mention

that

-

a

week

after

I

got

an

MR-61

my

lowest

G

sent

a

127

velocity.

Turns

out

the

key

contact

was

dirty.

Have

your

local

tech

clean

that

one

contact

and

you’ll

be

ﬁne.

No,

upgrading

the

ROM

didn't

cause

it,

sunspots

and

the

relative

position

of

the

moons

over

Mepzor

didn't

cause

this

anomaly

-

just

some

old-fashioned

dust

got

in

there...]

Me

again!

I

wrote

a

while

back

concerning

controlling

program

and

chord

changes

via

MIDI

from

my

SD-1

to

my

studio

vocalist.

I

have

learned

more

about

MIDI

setup

and

have

all

the

parameters

set

up,

but

still

don’t

know

how

to

record

or

send

the

changes

to

the

vocalist.

Digitech

has

been

a

lot

of

help

but

I

need

info

from

the

Ensoniq

point

of

view.

Please

help...

Thanks...love

the

hacker!

JRSoulF8@aol.com

[PF

—

JR:

Just

send

the

program

change

corresponding

to the

Vocalist

patch

you

want

to

select,

and

presto,

you’re

there.

Select

a

track

in

each

sequence

ofa

song,

assign

it

MIDI

output

(rather

than

LOCAL

or

BOTH),

select

the

MIDI

channel

the

Vocalist

is

listening

to,

and

select

a

program

change

#

I

-I28

that

corresponds

to

the

desired

program

on

the

Vocalist...

]

TH-

l’ve

had

an

MR-61

for

the

last

6

months.

I

installed

the

Flash

board

about

two

months

ago

and

was

able

to

load

.wav

files

with

no

problems.

However

recently,

while

trying

do

load

.wav

files

onto

the

Flash

I

have

en-

countered

the

following

problem.

The

display

asks

which

.wav

I

wish

to

load

as

usual

and

then

says

“load-

ing

files...

please

wait.”

I

hear

the

usual

cranking

of

the

floppy

drive

however

it

stops

midway

through

the

load

and

although

the

drive

still

seems

to

be

spinning

it

will

pretty

much

stay

that

way

—

with

the

green

floppy

light

on

and

the

display

saying

please

wait.

My

only

option

is

to

eject

the

ﬂoppy

and

shut

off

the

keyboard

because

it

is

basically

locked

up.

Needless

to

say,

my

.wav

file

does

not

get

transferred

to

the

Flash

board

—

although

I

have

been

able

to

do

so

in

the

past.

I’m

puzzled

because

the

ﬂoppy

is

still

able

to

load

songs

into

the

sequencer

without

problems.

I

haven’t

heard

of

the

Flash

board

advertised

with

the

new

Ensoniq

keyboard

similar

to

the

MR

series

so

I

don’t

know

what

type

of

support

I

can

get

regarding

the

Flash

board.

Anyone

have

any

ideas,

suggestions,

similar

experiences

with

the

Flash

board?

And

if

it

does

tum

out

to

be a

problem

with

the

Flash

board,

does

anyone

know

if

it’s

covered

by

a

warranty?

Or

if

it

is

a

ﬂoppy

drive

disc

problem,

has

anyone

had

ﬂoppy

drive

problems

and

are

they

easily

resolved?

Sorry

so

long,

but

thanks

for

the

forum!

J

P3T3MAX@aol.com

[Andres

(amell@ibm.net)

—

I

have

also

experienced

a

similar

problem

with

loading

.wav

ﬁles

onto

the

MR-61’s

Flash

board

(by

the

way,

it

probably

isn’t

a

very

good

idea

to

eject

the

ﬂoppy

while

the

drive

light

is

still

on

—

turn

the

power

ojfﬁrst,

then

eject).

I

don’t

think

it’s

a

problem

with

the

ﬂoppy

drive

or

with

the

Flash

board,

but

it

does

seem

to

be

an

issue

ofhow

large

the

.wav

ﬁle

is

that

you're

trying

to

load

and

how

much

space

is

leﬁ

on

the

Flash

board.

Try

erasing

some

samples

off

of

the

Flash

board

to

make

space

for

the

.wav

ﬁle

before

you

try

loading

it.

Go

to

Librarian,

Erase

samples,

Erase

single

sample

to

individually

delete

.wav

ﬁles

you

don’t

need.

Another

alternative

may

be

to

make

your

.wav

ﬁle

smaller

(i.e.,

change

the

sample

ﬁom

stereo

to

mono,

or

cut

down

on

the

length

of

the

sample)

and

then

see

if

it

loads

properly.

Hope

this

bit

of

information

is

helpﬁtl

to

you.

]

[PF

—

JP3T:

Sounds

like

your

Flash

board

is

ﬁtll.

Try

deleting

a

coupla

waves

to

make

a

little

more

room

and

see

if

that

doesn’t

cure

the

problem

check

the

*.wav

ﬁle.

It’s

possible

it’s

(a)

too

big,

(b)

corrupt,

(c)

incomplete,

or

(d)

an

unrecognized

ﬁle

type.

Chances

are

it’s

being

recognized

since

it

tries

to

load,

so

I'd

collective

point

at

(A)

thru

(C)...]

TI-I_

A

few

days

ago

after

saving

a

bank

to

my

320

meg

hard

drive

I

suddenly

was

unable

to

access

the

hard

drive.

I

saved

the

song/seq

I

was

working

on

to

floppy

and

then

shut

off

the

EPS.

I

tried

rebooting

from

the

hard

drive

and

all

I

saw

was

some

default

MACROS

when

I

pressed

load

and

numbers

(l,2,3,4,etc).

I

was

able

to

boot

off

of

the

ﬂoppy

fine.

When

I

changed

storage

device--to

the

hard

drive

once

again,

all

I

saw was

the

same

default

Macros.

No

sign

of

my

sounds,

banks,

hard

work,

etc.

I

took

the

hard-drive

and

connected

it

to

my

Mac

and

ran

EPSm2

software

(you

know

this

software?)

and

was

able

to

view

the

top

level

directories.

When

I

clicked

down

into

any

of

the

directories

all

I

saw

was

weird

file

names

with

odd

characters

and

weird

numbers,

which‘

look

like

they

should

be

file

sizes.

Grrrrrr...

V

Well,

like

a

fool,

I

formatted

one

of

my

Syquest

44

Meg

cartridges

and

got

back

to

work

starting

from

scratch.

I

worked

all

day

yesterday

creating

sounds

and

sequences.

And

around

midnight

the

same

thing

happened.

I

con-

nected

the

Syquest

to

my

MAC

and

noticed

the

same

thing

again...double

shit!

Well...I

really

need

these

disks

fixed.

Especially

the

one

I

worked

on

yesterday.

I

called

Ensoniq

and

they

told

me

about

some

Ensoniq

disk

software

from

“Giebler

Enter-

prises”

in

Pa.

I

gave

them

a

call

and

it

looks

like

Gary

actually

fixes

drive

problems

like

this

and

might

be

able

to

retrieve

my

data

(finger

doubly

crossedl).

I

have

it

packaged

up

and

will

send

it

off

today.

Wheww

(okay

I

will

breath

nowl)...

Has

anyone

ever

had

SCSI

problems

on

their

EPS-16+

that

caused

hard

disk

corruption?

Looks

like

this

is

some

sort

of

FAT

cor-

ruption.

Any

success

in

retrieving

your

data?

HAR

DWARE/SO

FTWARE

EPS-Classic

keyboard,

4x

memory

expander,

SCSI,

8xOut

expander,

SyQuest

44

MB

drive

with

10

carts

(with

a

few

sounds/tunings).

European

220

volts

version!!!

8.500

Danish

Kroner

(appr.

1.250

USD).

e-mail:

delete@compuserve.com,

Jorgen

Teller,

Copenhagen,

Denmark.

FS:

Oberheim

OBMx

Analog

Synth.

2

vox.

Mint

Condition.

$700

obo.

Contact:

Sean

at

sodonne@vm.temp1e.edu.

MR

Rack.

Home

use

only,

$600.

Contact

Jonathan.

Daytime:

208-962-3271,

Eve:

208-

983-2876.

For

Sale:

EPS-l6+

Turbo,

gig

bag,

cover,

13

I

have

this

super

important

school

project

due

in

2

weeks

and

really

need

the

data.

Oh

ya...

I

also

need

to

figure

out

what

is

happening

with

my

EPS

corrupting

my

hard

drive.

Anyone

have

a

spare

SCSI

adaptor

hanging

around?

Any

input

would

be

appreciated.

Take

care,

Kennedy

cosker@cruzio.com

[PF

-

Kennedy:

When

Murphy

lands

on

your

porch,

chances

are

it’s

too

late

to

do

anything

but

restore

your

disk.

I

know

EPSm

VERY

well

as

a

Mac

user:

the

ﬁrst

thing

I

did

was

take

a

“snapshot”

of

my

drive

using

scEPSi

(an

old

shareware

app

from

the

Oakland

Ar-

chives)

so

if

I

really

munged

it

I’d

be

able

to

restore

the

hardest

work

on

building

an

Ensoniq

Disk

drive

(the

directories,

subdirectories,

macros,

etc.

)...

But

it

sounds

like

one

of

the

following

scenarios

popped

up

on

you...

(A)

Your

16+

had

a

brain

fart.

Without

getting

too

tech-

nical,

it

simply

pulled

its

own

ﬁnger

and

farted

around

with

the

FAT.

(B)

Your

disk

drive

was

getting

very

ﬁtll

and

trying

to

save

the

ﬁle

put

it

over

the

top

before

it

could

prompt

you

with

a

“disk

ﬁdl"'message.

(C)

You

were

approaching

the

limit

of

the

16+

sequence

memory

(which

it

shares

with

sample

memory)

and

there

was

a

“stack

collision”

where

the

sequence

edit

buﬂer

(remember

the

16+

keeps

your

old

track

in

memory

for

"YES---NO”

audition

purposes)

overﬂowed

into

sample

memory.

I’ve

done

this

ALL

too

many

times

and

hosed

my

SCSI

drive.

Nonrecoverable,

I

might

add.

THAT’s

why

the

“snapshot”

ﬁle

on

my

Mac

proves

invaluable...

(D

)

You

started

up

and

did

all

your

work

from

ﬂoppies,

then

plugged

in

a

SCSI

drive

and

went

to

the

“Change

Storage

Device"

screen,

whereupon

the

16+

didn’t

detect

a

SCSI

device

at

startup

but

the

drive

answered

back

when

polled,

crashing

your

16+...

(E)

The

combination

of

sunspots,

cosmic

rays,

and

El

Nino

was

just

too

much

for

your

16+,

and

it

went

non-

linear...

Sorry

Mr.

Murphy

landed

on

your

16+,

but

he

does

come

unannounced

and

at

the

most

inopportune

times.

I

‘ll

say

it

again,

gang:

save

early,

save

often,

but

save,

save.

Buy

two

identical

drives,

do

your

work

on

hard-drive,

lots

of

sounds

$850.

Korg

M3r

w/

sound

card

$250.

Matt

Savard,

msavard@mwbi.org.

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

ac-

cepted.

Sorry

-

we

can’t

(we

won’t!)

take

ad

dicta-

tion

over

the

phone!

one. take them both to your buddy's ASR-IO

and

have it

copy the drive ("mirroring"

is

the on-the-fly term). Or

use a computer app

to

Illke

a picture ("snapshot")

of

your

drive/or

archival purposes ...

Because

Mr.

Murphy

lVili

return.

And

unannounced ... J

Help!

My VFXlsd

is

sick. II

won't

boot up anymore. All I get

is

an error message "system error 144, reinitialize, press

any key to continue" when I power up. Anyone familiar

with this problem? Anyone with inexpensive solutions? I

have no idea where to start looking for the problem. Any

suggestions

or

support would

be

greatly appreciated.

Duane Hamilton

hamild@hotmail.com

[PF -Duane: Sounds like your VFXsd is telling you

IVhat's wrong with itself. Error 144 is a MIDI buffer

overflolV

:...

are you connecting the VFXsd

to

something

els{! via MIDI?

Th

ere

's

no mention

of

other

equipment in

your posting, so I would assume (here I go assuming

again) that something is sending MIDI data

10

your

VFXsdfasrer than

it

can process ir (at least on bool) ...

If

there's nothing else your setup but the lone VFXsd,

reinitialize the unit as follows:

I. Press and hold (PRESETS)

bUllon.

2.

Press Soft bullon

(1)

(upper left corner

of

screen),

retease both bullons.

3. Display ; Erase All Memory

And

Re-Initialize.

4. Select * Y ES*.

5. Display returns to silln on message. All RAM is erased

and all internal programs reset with ROM sounds.

6.

Reload Sequencer Operating System and internal

sounds from your Operating System Disk.

(Cut & Pasted from Ensoniq's web page at wlVw.en-

soniq.com)

There's another initialization procedure that involves

turning the unit on and

off

seven times in rapid succes-

sion, but I've forgollen the details.

I'd

call Ensoniq at

610.647.3930 for the skinny on that procedure

if

the

above doesn't clear

it

out.

And

it's possible there's a hardlVare problem here

if

your VFXsd

1V0n'

t initialize. Are any

of

the bullons stuck

down? Mine is so old the metal escutcheon has shifted

and some bullons will stick occasionally.

If

all else fails,

take your pet

10

an Authorized Ensoniq Service Station,

as they have the schematics to it

...

J

Call For Writers!

In spite

of

their current god-like status,

writers for the Hacker were once mere

mortals -just like you!

If

you're

noodling around with Ensoniq gear,

you too can join their elite ranks.

We're

always looking for new writers,

and yes, there

is

actual payment

involved.

If

you're toying with an idea

for an article, how about glvmg

Editrix Jane a call at 1-503-227-6848

and listening to her soothing words

of

encouragement?

TH-

My trusty

TS-12

has started acting temperamental. I am

using the latest OS. My problem

is

this: At irregular in-

tervals I will get a System Error 130 or Error 129 when I

am trying to load a sequence file from the floppy.

It

hap-

pens with different disks, and different sequences. I can

get it to repeat the phenomenon

if

I try to reload the

same file again which gave me the error.

It

then takes me

a little while (hitting several different button combina-

tions, including the suggested reboot keys from the

manual) to reinitialize. Does my floppy have a bad

"read" spot

on

it

somewhere? Is there a remedy for this?

I have learned to make back-ups continuously, but

it

really gets annoying.

R.Friedman

Docrogerf@aol.com

[PF -

R.

Friedman: You, sir, have answered your own

question. Error 129 is a bad dora error, either caused by

a defective disk sector, an OS anomaly, defective

sound/sequence information, even a bad disk drive can

cause this. Most problems

of

this nature are indeed

defective disk media, although the disk drive can some-

times cause this

if

the heads are dirty ...

You're doing the absolllle right thing by repeatedly

trying

10

load the file until

it

does load, then saving it

to

a fresh floppy.

I'd

recommend a disk cleaning kit from a

nearby computer store,

as

this sounds way too intermit-

tent to be a genuine and provable disk drive failure.

Purchase the best floppies you can find:

1.4

Mb

floppies

are SOOOO cheap now (most stores sell them

in

100-count boxes for $19,95 and then give you a rebate

coupon for $19.95, so they're essentially free). Spend a

co

upla bucks and buy Maxell: the black

1.4

Mb floppies

are very sexy

as

they have a black shuller as well.

Floppies are a strange media in this day and age,

as

they

've

become

100

small for holding the vast amounts

of

data computers require (count the 39 floppies in the

Microsoft Office Package

if

you think I'm kidding), very

few will format out with no bad sectors (an Ensoniq RE-

QUIREMENT as well

as

an older Apple requirement),

yet they're

100

convenient and implant

ed

in

our

society

10

make any other alternative feasible. Contrary to

popular belief, they have a

shelf

live

of

maybe a year

(retentivity)

if

you're lucky and box them away from ex-

terior

influences. Yet something

as

important

as

our

own

personal (and unrepeatable) work deserves the most

reliable medium you can give it, so feed your TS the

Beluga caviar. It's worth every penny ... ]

Hi,

I was trying to set up a Fujitsu M2513 MO drive

(640MB) with my ASR-IO. During formatting I always

get a file operation error. Does anybody know

if

there

is

a working setup or

is

this drive

just

not compatible?

Thanks a lot!

Uli

ulit@eikon.e-technik.tu-muenchen.de

[PF -

UIi:

MO

drives haven't been tested with the ASR,

and it's been my experience that they aren't compatible

with any

of

the Ensoniq loopboxes. All

th

e latest remov-

able media devices return that "File Operation Error,"

at least with the drives and gear I've been using.

You

might ping RCS at hllp://wlVwsoundcentral.com/-chick-

enepsl: they're pretty up-to-date on this stu!f.

..

J

[Ulrich Tuerk (ulit@eikon.e-technik.tu·muenchen.de) -

Hi. I found out that the 128 and 230

MB

media work

perfectly with the Fuji/su drive.

At

first, I tried to use a

640MB media which caused the file operation errors.

14

Maybe it is the different block size (the smaller ones use

512 bytes/sector, the big ones 2048 bytes/sector).J

[PF -

UIi:

Thanx for the heads up on thi

s.

Glad you got

it squared away

..

. ]

TH-

Can someone tell me the wiring for the sustain pedal on

my

ESQ-l?

Is

it

simply an

open

circuit, that when

closed with a momentary switch, causes sustain? I need

to make a pedal, but don't know the wiring.

Thanks,

Tim

kg8rj@ramlink.net

[PF -

Tim:

It's a normally open momentary switch ... J

TH-

Peter Heim had trouble (last

month's

Interface) getting

an ASR-IO to pan a sound from full left to full right

using a sine-wave LFO as a modulator. It sounds to me

that

he

simply selected POS/SIN as the LFO wave in-

stead

of

SINW

AVE.

POS/SIN

is

a sinewave that

is

positive-going only, while

SINWAVE

goes equally posi-

tive and negative.

If

you

used POSISIN as a pan mod-

ulator, you will get exactly what Peter describes -the

panning only goes from

center

to full

ri

ght

(or

full left).

Sam Mims, Syntaur Productions

syntaur@juno.com

[Peter C Heim (pch7@interport.net) -Nope.

It

was full

sine

wave

. Some

samples

seem

to pan

better

starting

ji-om hard left or right, others don't. Go figure.]

Gang: This just

in

on the SCSI bus ...

Iomega stumbles on ZipP!us compatibility

By

David

Morgenstern (david_morgenstern@macweek.com)

Iomega Corp.

of

Roy, Utah, today warned users

of

com-

patibility problems with its ZipPlus drives that can lead

to data corruption when the drive

is

used with other

SCSI devices

or

third-party cables.

The company said the problem

is

due to the $199

drive's

proprietary AutoDetect circuitry, which supports parallel

or

SCSI connections from a single 25-pin connector.

Iomega said the drive should be used only with the

AutoDetect cable that ships with

it

and not with other

cables

or

adapters.

The

drive should be the sole external

device on a SCSI chain and not connected with other

SCSI drives.

Users can request a new manual at (888) 446-6342

or

the

company's

Web site at http:

//www.io

mega.com.

Pat Finnigan

I

one,

take

them

both

to

your

buddy’s

ASR-10

and

have

it

copy

the

drive

(

"mirroring"

is

the

on-the-ﬂy

term).

Or

use

a

computer

app

to

take

a

picture

(“snapshot”)

of

your

drive

for

archival

purposes...

Because

Mr.

Murphy

will

return.

And

unannounced...

]

Help!

My

VFXlsd

is

sick.

It

won’t

boot

up

anymore.

All

I

get

is

an

error

message

“system

error

I44,

reinitialize,

press

any

key

to

continue"

when

I

power

up.

Anyone

familiar

with

this

problem?

Anyone

with

inexpensive

solutions?

I

have

no

idea

where

to

start

looking

for

the

problem.

Any

suggestions

or

support

would

be

greatly

appreciated.

Duane

Hamilton

hamild@hotmail.com

[PF

—

Duane:

Sounds

like

your

VFXsd

is

telling

you

what's

wrong

with

itselfI

Error

144

is

a

MIDI

buﬂer

overflow

'—

are

you

connecting

the

VFXsd

to

something

else

via

MIDI?

There's

no

mention

of

other

equipment

in

your

posting,

so

I

would

assume

(here

I

go

assuming

again)

that

something

is

sending

MIDI

data to

your

VF

Xsd

faster

than

it

can

process

it

(at

least

on

boot)...

If

there’s

nothing

else

your

setup

but

the

lone

VFXsd,

reinitialize

the

unit

as

follows:

I.

Press

and

hold

(PRESETS)

button.

2.

Press

Soﬁ

button

(1)

(upper

left

corner

of

screen),

release

both

buttons.

3.

Display

=

Erase

All

Memory

And

Re-Initialize.

4.

Select

*YES*.

5.

Display

returns

to

sign

on

message.

All

RAM

is

erased

and

all

internal

programs

reset

with

ROM

sounds.

6.

Reload

Sequencer

Operating

System

and

internal

sounds

from

your

Operating

System

Disk.

(Cut

&

Posted

from

Ensoniq’s

web

page

at

www.en-

soniq.com)

There’s

another

initialization

procedure

that

involves

turning

the

unit

on

and

off

seven

times

in

rapid

succes-

sion.

but

I’ve

forgotten

the

details.

I'd

call

Ensoniq

at

610.647.3930

for

the

skinny

on

that

procedure

if

the

above

doesn’t

clear

it

out.

And

it’s

possible

there's

a

hardware

problem

here

if

your

VF

Xsd

won’t

initialize.

Are

any

of

the

buttons

stuck

down?

Mine

is

so

old

the

metal

escutcheon

has

shiﬁed

and

some

buttons

will

stick

occasionally.

If

all

else

fails,

take

your

pet

to

an

Authorized

Ensoniq

Service

Station,

as

they

have

the

schematics

to

it...]

Call

For

Writers!

In

spite

of

their

current

god-like

status,

l

writers

for

the

Hacker

were

once

mere

4

I

mortals

--

just

like

you!

If

you’re

noodling

around

with

Ensoniq

gear,

you

too

can

join

their

elite

ranks.

We’re

always

looking

for

new

writers,

and

yes,

there

is

actual

payment

I

involived.

If

you’re

toying

with

an

idea

i

for

an

article,

how

about

giving

Editrix

Jane

a

call

at

I-503-227-6848

and

listening

to

her

soothing

words

of

A

5

encouragement?

TH—

My

trusty

TS-12

has

started

acting

temperamental.

I

am

using

the

latest

OS.

My

problem

is

this:

At

irregular

in-

tetvals

I

will

get

a

System

Error

I30

or

Error

129

when

I

am

trying

to

load

a

sequence

file

from

the

ﬂoppy.

It

hap-

pens

with

different

disks,

and

different

sequences.

I

can

get

it

to

repeat

the

phenomenon

if

I

try

to

reload

the

same

file

again

which

gave

me

the

error.

It

then

takes

me

a

little

while

(hitting

several

different

button

combina-

tions,

including

the

suggested

reboot

keys

from

the

manual)

to

reinitialize.

Does

my

ﬂoppy

have

a

bad

“read”

spot

on

it

somewhere?

Is

there

a

remedy

for

this?

I

have

learned

to

make

back-ups

continuously,

but

it

really

gets

annoying.

R.Friedman

Docrogerf@aol.com

[PF

—

R.

Friedman:

You,

sir,

have

answered

your

own

question.

Error

129

is

a

bad

data

error,

either

caused

by

a

defective

disk

sector,

an

OS

anomaly,

defective

sound/sequence

information,

even

a

bad

disk

drive

can

cause

this.

Most

problems

of

this

nature

are

indeed

defective

disk

media,

although

the

disk

drive

can

some-

times

cause

this

if

the

heads

are

dirty...

You're

doing

the

absolute

right

thing

by

repeatedly

trying

to

load

the

ﬁle

until

it

does

load,

then

saving

it

to

a

fresh

ﬂoppy.

I'd

recommend

a

disk

cleaning

kit

from

a

nearby

computer

store,

as

this

sounds

way

too

intermit-

tent

to

be

a

genuine

and

provable

disk

drive

failure.

Purchase

the

best

ﬂoppies

you can

ﬁnd:

1.4

Mb

ﬂoppies

are

SOOOO

cheap

now

(most

stores

sell

them

in

I00-count

boxes

for

$19.95

and

then

give

you

a

rebate

coupon

for

$19.95,

so

they’re

essentially

free).

Spend

a

coupla

bucks

and

buy

Maxell:

the

black

1.4

Mb

ﬂoppies

are

very

sexy

as

they

have

a

black

shutter

as

well.

F

loppies

are

a

strange

media

in

this

day

and

age,

as

they've

become

too

small

for

holding

the

vast

amounts

of

data

computers

require

(count

the

39

ﬂoppies

in

the

Microsoft

Office

Package

if

you

think

I’m

kidding),

very

few

will

format

out

with

no

bad

sectors

(an

Ensoniq

RE-

QUIREMENT

as

well

as

an

older

Apple

requirement),

yet

they’re

too

convenient

and

implanted

in

our

society

to

make

any

other

alternative

feasible.

Contrary

to

popular

belief,

they

have

a

shelf

live

of

maybe

a

year

(retentivity)

if

you’re

lucky

and

box

them

away

from

ex-

terior

inﬂuences.

Yet

something

as

important

as

our

own

personal

(and

unrepeatable)

work

deserves

the

most

reliable

medium

you

can

give

it,

so

feed

your

TS

the

Beluga

caviar.

It's

worth

every

penny...]

Hi,

I

was

trying

to

set

up

a

Fujitsu

M2513

MO

drive

(640MB)

with

my

ASR-I0.

During

formatting

I

always

get

a

file

operation

error.

Does

anybody

know

if

there

is

a

working

setup

or

is

this

drive

just

not

compatible?

Thanks

a

lot!

Uli

ulit@eikon.e-technik.tu-muenchen.de

[PF

-

Uli:

MO

drives

haven’t

been

tested

with

the

ASR,

and

it’s

been

my

experience

that

they

aren't

compatible

with

any

of

the

Ensoniq

loopboxes.

All

the

latest

remov-

able

media

devices

return

that

“File

Operation

Error,"

at

least

with

the

drives

and

gear

I’ve

been

using.

You

might

ping

RCS

at

http://www.soundcentral.com/~chick-

eneps/:

they’re

pretty

up-to-date

on

this

stuj§‘...]

[Ulrich

Tuerk

(ulit@eikon.e-technik.tu-muenchen.de)

—

Hi.

I

found

out

that

the

I28

and 230

MB

media

work

perfectly

with

the

Fujitsu

drive.

At

ﬁrst,

I

tried

to

use

a

640MB

media

which

caused

the

file

operation

errors.

14

Maybe

it

is

the

diﬂerent

block

size

(the

smaller

ones

use

512

bytes/sector,

the

big

ones

2048

bytes/sector).]

[PF

—

Uli:

Thanx

for

the

heads

up

on

this.

Glad

you

got

it

squared

away...]

TH—

Can

someone

tell

me

the

wiring

for

the

sustain

pedal

on

my

ESQ-1?

Is

it

simply

an

open

circuit,

that

when

closed

with

a

momentary

switch,

causes

sustain?

I

need

to

make

a

pedal,

but

don’t

know

the

wiring.

Thanks,

Tim

kg8rj@ram

link.net

[PF

—

Tim:

It’s

a

normally

open

momentary

switch...]

TI-I-

Peter

Heim

had

trouble

(last

month’s

Interface)

getting

an

ASR-10

to

pan

a

sound

from

full

left

to

full

right

using

a

sine-wave

LFO

as

a

modulator.

It

sounds

to

me

that

he

simply

selected

POS/SIN

as

the

LFO

wave

in-

stead

of

SINWAVE.

POS/SIN

is

a

sinewave

that

is

positive-going

only,

while

SINWAVE

goes

equally

posi-

tive

and

negative.

If

you

used

POS/SIN

as

a

pan

mod-

ulator,

you

will

get

exactly

what

Peter

describes

-

the

panning

only

goes

from

center

to

full

right

(or

full

left).

Sam

Mims,

Syntaur

Productions

syntaur@juno.com

[Peter

C

Heim

(pch7@interport.net)

-

Nope.

It

was

full

sine

wave.

Some

samples

seem

to

pan

better

starting

from

hard

left

or

right,

others

don’t.

Go

ﬁgure.

]

Gang:

This

just in

on

the

SCSI

bus...

Iomega

stumbles

on

ZipPlus

compatibility

By

David

Morgenstem

(david_morgenstem@macweek.com)

Iomega

Corp.

of

Roy,

Utah,

today

warned

users

of

com-

patibility

problems

with

its

ZipPlus

drives

that

can

lead

to

data

corruption

when

the

drive

is

used

with

other

SCSI

devices

or

third-party

cables.

The

company

said

the

problem

is

due

to

the

$199

drive’s

proprietary

AutoDetect

circuitry,

which

supports

parallel

or

SCSI

connections

from

a

single

25-pin

connector.

Iomega

said

the

drive

should

be

used

only

with

the

AutoDetect

cable

that

ships

with

it

and

not

with

other

cables

or

adapters.

The

drive

should

be

the

sole

external

device

on

a

SCSI

chain

and

not

connected

with

other

SCSI

drives.

Users

can

request

a

new

manual

at

(888)

446-6342

or

the

company’s

Web

site

at

http://www.iomega.com.

Pat

Finnigan

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wwmsoundcentral-oom

L.

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Music

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Ensoniq

-

Roland

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-

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-

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GM

Formats

Why

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L.

B.

Music

a

try

and

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Toll

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Orderline:

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LB

Music

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51

Charter

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Drive

Newtown

Square,

PA

19073-3044

610-356-7255

/

Fax:

610-356-6737

CompuServe:

76255,3713

Internet:

http://www.1bmusictech.com

15

7 7

7

_

2.8

http:IImembers.aol.comIsonicwaves

ASR-'1"

S-EPS

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Big

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hop,

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of

the

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the

knobs

siighly

tumed

to

give

you

a

different

texture

of

the

sound.

With

the

32

bass

sounds

on

these

disks

you’re

actually

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96.

What

a

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3

HD

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DD

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international:

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catalog!

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7'0

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VISA/MC

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WAVEBOY

PO

Box

233,

Paoli,

PA

19301

Tel:

610-251-9562,

Fax:

610-408-8078

www.Waveboy.c01n

7‘/‘Ti

www.midimark.com

MIDI

MARK

=

U

=.Cl.\:

111

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{.1

=-n

iwil

Since

I’

TRANSONIQ

HACKER

1402

SW

UPLAND

DR., PORTLAND,

OR

97221

RETURN SERVICE REQUESTED

Publisher: Eric Geislinger

Editrix: Jane Talisman

Our

(somewhat regular) illustrious

bevy

of

writers includes: Craig Anderton,

Robby

Berman, Britton Beisenherz, Mark Clifton, Steve Curtin, Anthony Ferrara, Pat

Finnigan, Jeffrey Fisher, Frank Fortunato, Duane Frybarger, Garth Hjelte, Jeff

Jetton, Dara Jones, Johnny Klonaris,

Ray

Legnini, Bob Lang,

Sam

Mims, Eric

Montgomery,

Dan

Rohde,

J.

D.

Ryan,

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Tracy,

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97221. Phone: (503) 227-6848 (8 am to 9 pm Pacific West Coast Time).

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Site

at:

http://www.soundcentral.com/-chickeneps

•

Computer

Tools

lor

Windows

•

Management

Programs

for

your

PC

and

Ensoniq

®!

Turn

your

computer

i

nto

a sampling/editing/utility

powerhouse!

•

Control

and

edit

all

parameters

remotely

through

MIDI

•

Convert

.WAV,

AfFF,

and

Audio-Tracks

to/from

Ensonit!'

format

•

Use

the

Sample

Vue

to

view

and

edit

waveforms

•

Full

Floppy/SCSI

file

management!

•

Special

Unformattel"

recovers

formatted-over

files

•

Use

your

favorite

Sample

Editor

to

work

on

Ensoniq

wavesamples

•

Special

Unformattel"

recovers

formatted-over

files

•

Works

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enviroment

-

no

DOS

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®

....

isIl

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Floppy/SCSI

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UVES

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MaCOS™L

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CE WHERE CAN

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..

by phone

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1·320-235-9798

by mail:

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56201-4543

by Internet: chickenEPS@willmar.com

P9

‘

I

the

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X

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oife§%i,t_'_vi'a"i\/llDl,

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1

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Transoniq

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Ensoniq

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Opinions

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the

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publisher

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Ensoniq

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Printed

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ASR-X

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Management

Programs

for

your

PC

and

Ensoniq®!

Turn

your

computer

into

a

sampling/editing/utility

powerhouse!

0

Control

and

edit

all

parameters

remotely

through

MIDI

v

Convert

.WAl4

AIFF,

and

Audio

Tracks

to/from

£nsonio@

format

0

Use

the

Sample!/ue

to

view

and

edit

waveforms

v

Full

Floppy/SCSI

ﬁle

management!

0

Special

Unformaltef"

recovers

formattedover

ﬁles

0

Use

your

favorite

Sample

Editor

to

work

on

Ensoniq

wavesamples

v

Special

Unformattef"

recovers

formatted-over

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o

Works

in

native

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envlroment

-

no

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E|lslI|I'||®

lisll

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F/oppy/SCSI

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H TM

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IIIII

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II

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MIDI

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editing

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viewing

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WHERE

cm

You

GET

ALL

THIS?

@

by

phone

or

fax: 1-800-8-PRO-EPS,

1-320-235-9799

by

mail:

714

5th

Street

SE,

Willmar,

MN

55201-4543

by

Internet:

chickenEPS@willmar.cum

J

Ensoniq Corporation Transoniq Hacker Archive Issue #156 Th 156

Ensoniq Corporation Transoniq Hacker Archive Issue #156 th_156 Ensoniq Corporation - Transoniq Hacker Archive - Issue #156

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