Ensoniq Corporation Transoniq Hacker Archive Issue #159 Th 159

Ensoniq Corporation Transoniq Hacker Archive Issue #159 th_159 Ensoniq Corporation - Transoniq Hacker Archive - Issue #159

User Manual: Ensoniq Corporation Transoniq Hacker Archive Issue #159 Ensoniq Corporation - Transoniq Hacker Archive - Issue #159

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HI __

The Independent
Resource for Emu-Ensoniq Users
-

X Notes

X Notes
Garth Hjelte & the ASR-X
Internet List ........................................ cover
The Keyboard Foley Artist
J.D. Ryan ...................................................
................................................. .. 4

Timing Errors

As time goes on, we are seeing more support
for the ASR-X. It has been out for more than a
year --— boy, sure doesn't
doesn’t seem like it. Let's
Let’s
get up to date
...
date...

OS 2.62 Ships
Not everyone has it at the time of this writing,
but yes, it is shipping. There are no new features, just fixes.
I)
l) Addresses internal sequencer timing glitches and MIDI response
2) Improved loading time from floppy,
ﬂoppy,
ASR conversions.
including speeding up EPS/
EPS/ASR

4) Disk access problems loading and getting
the "no
files" errors have been ad“no loadable files”
dressed.

’

EPS-16+ and ASR Editing Made Easy
Eric Montgomery .......................................
..................................... .. 5

For example, if you play 4 notes via MIDI or
program 4 notes into the ASR-X sequencer,
timed to play at exactly the same time, not all
the notes will sound exactly at the same time;
rather, they will come one after the other very
quickly. Add more data, such as controller information, polyphonic aftertouch, etc. and the
possibility for sound delay becomes greater.
Reasons for the delay are MIDI transmission
into the ASR-X, the efficiency of the ASR-X
OS, the way the CPU processing is allocated,
and other factors. This is the way of life for
all electronic music instruments.

Reviews:

How Sounds Work
_
Part IV -— Groovy Guitars Galore!
Mark (The Kid) Clifton
............................ 6
Cliﬁon ................................

I r

In __i ii

Basement Tapes:
Tapes: Michael Paradise Band
incenf .............................................
Steve V
Vincent
..................... ...................... 7

Regular Stuff:
Random Notes ...........................................
3
................................... ..
Hypersoniq ................................................
.......................................... .. 3
9
The Interface ..........
... .............. ..................
......................................
..
Classifieds ...........................
...................... : 13
.............................................
W1:wwww
Hacker Booteeq ...............................
........ 15
....................................
I5
L

# of tracks used: milliseconds between two
tracks (averaged over 4 beats)

7\lO\U1.|>~L»Jl\J

2.9
5.8
8.7
11.6
ll.6
14.2
16.3

16
l6

42.1

2
3
4
5
6

We tested the timing delay between the same
beat on track lI and track 16 as the number of
tracks (with the same pattern as the first) used
was increased. In this case I was looking for
the delay value to be as small as possible.
possible.

There may be more, but Emu-Ensoniq doesn't
doesn’t
send any documentation on what has been
--' '

Does the ASR-X seem sluggish to you —
when you are using the internal sequencer, or
when you are playing or sequencing from an
external source?
source‘? You're
You’re not alone -— the
ASR-X's
ASR-X’s response to MIDI and its internal sequencer hasn't
hasn’t been the best -— especially
prior to 2.62 OS.

We did a timing test with OS 2.62. We used
an external sequencer to drive the X and
recorded the output from each track simultaneously to separate tracks on our hard disk
recorder. We then figured out the starting
sample for each beat by using a graphic sound
editor.

3) MIDI sync fixes, MIDI bank &
& program
select fixes with a setting to support the backward standards of Roland and Alesis gear
with MSB or LSB formats.
_

—

nun-1|:

[ ISSUE NUMBER 159,
I59, $2.50
e u

— ~

—

7--_,_

W‘

Articles:
ATTICIQSZ

fixed and what hasn't
hasn’t with the update. So,
break out the checkbook and the hex wrench
again. See below for details on getting your
new OS.

-----

___

In This Issue
issue ...
Garth Hjelte & the ASR-X Internet List

,,_

—

SEPTEMBER, 1998
I998 )
,_,

4--I - -- --

-f

j --

-W-7

_ _

A timing reference to compare against are
64th notes at 180 bpm, which are 20.8 ms
apart. 64th notes at 120 bpm are spaced
31.25 ms apart.
So with these numbers in mind, the worst
delay was equivalent to about a 32nd note at
180 bpm. The most inconsistent timing between beats was about 160th note at 120
I20
bpm. These numbers are reasonable. In real
life situations these numbers can be improved by moving a track slightly forward or
behind a few ticks so that not all note-on
events are occurring at the same time. In our
subjective opinion the X's
X’s timing is better
than the Emu Morpheus, but worse than the
Waldorf Microwave and my Clavia Nord
Lead 2. Of course the Nord and the MW are
different sorts of instruments and only have
8 and 4 part multitimbral capabilities respectively.
In subjective analysis by listening to the
beats, we heard flanging
ﬂanging with 2 tracks, which
is good. By the time we were up to 5 tracks
the flanging was gone, and we could start to
hear the attacks of the kick drums separately.
At seven tracks we could very distinctly hear
the two attacks of the drums. One thing we
didn't
didn’t test, and which could be very important, is to see how these numbers change
when some realtime controller messages are
added to the tracks. Since the ASR-X has
been "pitched"
“pitched” to the "dance"
“dance” crowd, timing
is critical issue.
If anyone is interested on the details of these
tests, let us know, and I will write it up.

Lastly, it was true that in OS versions before
2.62 you could easily make the internal sequencer be inconsistent in its timing by
changing tracks or changing anything while
the sequencer was playing. Most of this has
been rectified in 2.62.

Other Fun 2.62 Things
On the good side, with some of the expansion card sounds, there was a certain amount
of distortion that has been fixed. On the notso-good, it would be nice to be able to save
the Loop Playback parameter within a Song
or Sequence; as it is now, it always defeats
to ON. (BTW, the EPS 16-Plus
l6-Plus had that
problem for a year -— until OS 1.3 fixed it.)
1I have mentioned a sys-ex bug whereas sysex dumps of ASR/Akai/Roland
ASRI Akai/Roland translated
sounds do not dump properly. This has been
temporarily dealt with -— now you cannot
ASRI Akail
send/receive sys-ex dumps of ASR/Akai/
Roland sounds. This is a significant issue,

since it inhibits certain aspects of editing
these sounds via computer. (Specifically,
soloing a wave is difficult, you cannot edit
effects in realtime, and editing multiple
waves in a keymap is made more difficult.)
ASRI Akai/Roland translated sounds are the
ASR/Akai/Roland
most powerful types of sounds in the
ASR-X, since they allow multiple voices to
play on one MIDI-note.
Also, the present sys-ex dumping does not
reveal the loop information -— thus you can-

not edit loops in realtime from most sampled
sounds. Since Emu-Ensoniq didn't
didn’t put a full
featured editing interface on the ASR-X, I
would hope that they would implement
enough sys-ex stuff to enable these things.
Presently the only ASR-X computer editor is
RCS's
RCS’s ASR-X Too/sjor
Tools for Windows. It now has
the capability to create/delete/edit Insert Effects into I-S0UND's,
l-SOUND’s, and fully edit ASR-X
AIFF files using your favorite sound editor
(Sound Forge, Coo/Edit,
CoolEdit, others). A Mac version is under development.

Emu-Ensoniq advertises the reading of "in“industry standard AIFF files,”
files," which is true,
but the X-generated AIFF’s
AIFF's have some additional chunks in their header. The AIFF file
format allows for that; that's
that’s the beauty of
AIFF. Problem is, all PC sound editors that
we've
we’ve seen do not preserve any extra chunks
when they rewrite a file. So when the ASR-X
tries to load them -— BURP.
I've
I’ve written a free Windows utility called

E-AIFF Loader. It allows you to select the
AIFF to edit, finds your related I-SOUND
l-SOUND
file, starts up your choice of sound editor,
and allows you to edit. After you are done,
you save the AIFF file and close the editor.
E-AIFF Loader cleans up the job by restoring/updating the E-specific chunks and updating the .SOU file. It is available at
http://www.soundcentral.com/~chickeneps/
http://www.soundcentral.com/-chickeneps/
asrx.html. (We'll
(We’ll try to get it into Mac soon.)

ASR-X Pro
Yes, there is a new ASR-X model coming
out -— see the announcement in this issue.
Hey, 66MB --- with 2 SIMMs slots able to
hold up to 32MB each. I like the Flash ROM
option -— let's
let’s see, how much have I forked
over for new chips?
chips‘? ASR-X Pro owners will
probably have the option of downloading the
latest OS from the Emu-Ensoniq web site,
instead of paying for it. Tempo resolution
can now be set to within 11100
l/100 BPM, and if
you have 8MB or more installed, the sequencer has 140,000 event capacity. Also new is
Stomper, a software synthesis feature that
can make synth drum (and other) sounds
from scratch
scratch.. (See Zap's
Zap’s site below -— a
Windows version has been available for
some time.) And can we spell "ph
at" right?
“phat”
right‘?
(It's
http: // www.ensoniq.com/
(It’s FAT.) See http://www.ensoniq.com/
htmllmainasrxpro.htm
html/mainasrxpro.htm for more WAY COOL
details, including the TIPS page (submit
your own tips!) and the PARTNERS section.
Oh, and it’s
it's RED!!!!!
Speaking of seeing RED, that seems to be
Emu-Ensoniq's
Emu-Ensoniq’s company color -— their web
site has been improved again -—- and it's
it’s
RED too. Either RED means ALERT, or
DANGER ... we'll
's
DANGER...
we’ll see. Interestingly, there
there’s
no mention of the ASR-X "Amateur"
“Amateur” (the
original) at the site —
- looks like EmuEnsoniq phased that out.

Editing Ensoniq-type AIFF Files
A common problem I've
I’ve been hearing is that

_-|_.

someone will edit an ASR-X generated AIFF
CoolEdit, only to
file using Sound Forge or Coo/Edit,
won't load back into the X as part
find that it won’t
of a I-SOUND
l-SOUND file.

OS by Credit
Yes, you can call in your order for the latest
ASR-X OS and put it on your credit card.
Boy, that’s
that's cool. Or you can send a check for
$9.95 to:
Emu-Ensoniq
ATTN: ASR-X Upgrade
155
I55 Great Valley Parkway
Malvern, P
A 19355
PA

Rad
Rod Web Sites
If you didn't
didn’t know, there is a mailing list
that focuses on the ASR-X. The list address
is asrx@onelist.com, and you can subscribe
isregisby going to http://www.onelist.com/
http://www.onelist.com/isregistered.cgi?listname=asrx. In addition here is a
list of web sites that at least have something
to do with the X:

Emu-Ensoniq
http://www.ensoniq.com/htmll
http://www.ensoniq.com/html/
mainasrxpro.html
http:
// www.emu-ensoniq.com
http://www.emu-ensoniq.com
>From the Creators themselves. Keep looking at the www.emu-ensoniq.com site —
- it's
it’s
being developed.

Warren Bones Novakill Site
http://www.ar.com .au/-novakili/s ynth.htmi
http://www.ar.com.au/~novakill/synth.html
A general overview of synthesis with the
ASR-X in mind -—- entertaining site as well
Dgoa's ASR-X Site
Dgoa’s

http://www.globaldrum.com/interface/
asrx
http://www.globaldrum.com/ interface/asrx
ASRX Cakewalk Instrument Definitions,
SOU sound files, .WAV's,
.WAV’s, ASR-X songs
(.MP3) by Dgoa, and links

Rubber Chicken Software
http://www.soundcentral.com/-ch
ickeneps/
http://www.soundcentral.com/~chickeneps/
asrx.html
Lot's
Lot’s of ASR-X stuff
Zap's Site
Zap’s
http://www.master-zap.com

"Zap"
“Zap” Anderson is the author of Stomper and
a genial ASR-X owner to boot. The software
version of Stomper is available at his site,

along with Little Drummer Boy (also called
LOB)
LDB) -— http://stomper.base.org -— be
prepared; this is quite a site!

SoundEngine
S0undEngine
http:
// www.soundengine.com
http://www.soundengine.com
ASR-X sounds
SoundCentral
http://
www.soundcentral.com/keyboard/ enhttp://www.soundcentral.com/keyboard/ensoniq/asrx.html
Free ASR-X sounds and information

Andersson gave us the first-hand information
on the ASR-X Pro, and Chris Nefarium
helped with additional 2.62 update information. Special thanks to Chris for running the
ASR-X list._
list. _

Bio: Garth Hjelte runs Rubber Chicken Software Co., a multi-national organization
which exclusively supports Ensoniq samplers. It is in no way affiliated with the UN.

About this article: Shehryar Lasi provided
most of the information on the tests, "Zap"
“Zap”

Front Panel

RND (iIi)
(ill)

patterns. In addition, tempo resolution can
now be set to within 11100
1/ 100 BPM for more accurate matching of audio loops to MIDI sequences.

Transoniq
Tronsoniq News
We certainly hoped to have more news
regarding the Emu-Ensoniq merger and what
it means to our humble little publication, but
it's
the folks involved have been so busy that it’s
been a little tricky getting things going.
Latest word -— just as we go to press -— is that
our subscription flyer has been okayed to be
included in the Emu boxes. Once this starts
happening you can expect to see changes
begin to work their way into the newsletter.

Hypersoniq -— New Products
ResamENSONIQ Announces ASR-X Pro Resumpling Production Studio
Malvern, Pa, 1998 -— ENSONIQ is excited
to announce the next generation of the
remarkably successful ASR-X, the ASR-X
Pro! The original ASR-X was the first to
offer a professional quality sampler, expandable synthesizer, sequencer, and effect unit
as standard features in a single tabletop unit
with drum
pads.
drumpads.

New features of the ASR-X Pro include a
distinctive new look, and RAM expandable
khz
to 66mb for over 12 minutes of 44.1
44.lkhz
mono or over 6 minutes of stereo sampling.
The operating system is now stored in Flash
memory for convenient software upgrades.
Also new to the ASR-X Pro is Stomper, a
built in software synthesis program that
creates faithful reproductions of classic
electronic drum machines -— and even phatter sounds'
sounds! 10
l0 "Essentials"
“Essentials” buttons have
been added for instant access to 15
I5 sounds of
your choice. These buttons may also be used
for numerical data entry or direct access of

The ASR-X Pro provides a unique
combination of tools for sampling-intensive
productions such as Hip-hop, Techno, Industrial, and dance oriented music. The expanded features of the ASR-X Pro also make
it suitable for a much wider variety of applications. When the RAM is expanded, the
longer sampling times allow the ASR-X Pro
to be used for flying in background vocals or
other material to supplement a live or
recorded performance. Using the advanced
capabilities of the ASR-X Pro, grooves may
be mixed, resampled with effects, and saved
as an industry standard AIFF files for instant
compatibility with leading internet publishing and CD creation software.
Expandability is a key feature of the ASR-X
Pro. An optional EXP series sound and wave
expansion board may be added to increase
the on-board synth's
synth’s ROM memory. Installing the X-8 output expander allows sounds to
be routed to anyone
any one of 10 outputs. The included SCSI interface opens the door for a
wide variety of storage options, as well as
access to a huge library of samples on
CD-ROM. Most hard drives, removable
media, and CD-ROM drives are compatible
with. Two RAM expansion slots are
provided. Sample memory can be increased
to 66mb using industry standard n-pin
72-pin
SIMMS chips.
Computer users, internet developers, and
multimedia professionals will appreciate the
ASR-X Pro's
Pro’s use of standard file formats.
Disks are DOS formatted, sounds are saved
as AIFF files, and EPS, ASR-IO,
ASR-I0, Roland,
AKAI, and WAVE files are easily imported.
ENSONIQ has many 3rd party partners who

offer a wide range of compatible products.
These
These include editors, sample libraries, MIDI
programs, etc. A complete list can be found
at www.ensoniq.com.

SYNTAUR Announces ESQ Cartridges
A
vailable Once Again
Available
For years,
years , the storage cartridges for the ESQ
and SQ-80 keyboards have been unavailable.
Now, Syntaur Productions has a limited
supply of these. Each cartridge holds two
banks of sounds (80 patches altogether).
Syntaur's
Syntaur’s Soundsets I1 and 2 are available on
ROM cartridge, for $59.95. (You cannot
write your own sounds to this cartridge.)
Sound
set 1I contains a variety of Top 40
Soundset
sounds, such as electric pianos, organ,
strings, brass, bass sounds, etc. Soundset 2 is
a unique collection of sounds that are
reminiscent of the breathy, ambient sounds
of the Roland 0-50
D-50 keyboard. Here, you'll
you’ll
find an assortment of lush pads, ethereal textures, bells, and more.
Also in stock are a limited number of
EEPROM cartridges, for $74.95 each. These
are the cartridges that you can store your
own sounds to (that's
(that’s why they are more expensive) -— great for organizing and saving
your sounds!
Coming soon will be a second ROM cartridge, containing Syntaur's
Syntaur’s Soundset 5 and
the upcoming Soundset 6. Soundset 5 is
geared especially to hip-hop
hip-hOp and R&B productions, and Soundset 6 focuses on vintage
analog synth sounds.
Available from Syntaur Productions, 500 W.
Prairie Ave., Eagle Lake, TX 77434. (800)
334-1288 or (409) 234-2700, Fax: (409)
234-2900. Please add $4.00 for shipping and
handling.

The Keyboard Foley
Artist
J.D. Ryan

Twack! Zzzzzsss
... Plop! That plop could
Zzzzzsss...
be yours
... Er, I mean you could have
yours...
created that sound yourself and/or have extracted it from your library for synching to
a video or film track. In the movie industry, certain techniques are referred to as
Foley recordings
recordings,, named after Jack
(George) Foley, a sound effects editor and
innovator, and are still in use in motion
picture studio productions today
today.. The athletic folk who create these sound effects
are known as Foley Artists. They use artifacts to perform these sounds synchronously to picture on a "Foley
“Foley stage."
stage.”
This high art is quite labor and equipment
intensive however, and is therefore quite
expensive.
Today ' s digital samplers are eminently
Today’s
capable of composing "“keyboard”
keyboard" Foley
effects. Industry experts tend to minimize
keyboard Foleying in favor of traditional
stage-created sounds, saying that those are
superior in the delivery of "audio
“audio perspective"
tive” and realism. Truth be known, it is a
combination of keyboard and stage Foley
that has become the standard approach in
professional post-production today. Sometimes we forget that power audio tools
such as Sound Forge are really digital
samplers too. In practice, you will find that
you cannot avoid recording some of your
own base (before editing) effects. There
are simply so many real-world sonic
events occurring within even a few
minutes of visual "take"
“take” that you could
spend hours just trying to cull the unedited
base effects out of your library.

Nature films, for example, are very
demanding Foley-wise. Except for narration, there is no dialog to speak of -— perhaps a little incidental music -— but the
dominant part of the soundtrack is often
sound effects. For a production of "Lives
“Lives
of the Northern Snow Wolves" the Foley
work alone took two people six to eight
hours to finish just 15 minutes of Foley
sound. This is quite typical. I used to actually think that they got those little
sounds -—- the paws of a wolf padding
across prairie grass, a pollywog squishing
its way through puddle mud, and the like,

with a shotgun mike. Not so. They're
They’re so
perfect the viewer never even notices
them.
When you are working up sound-forpicture you are bound by a whole set of
restrictions imposed by the video. The actual synching-to-picture will be done in a
separate process, guided by the following
considerations:
•- Duration -— The length of time the sound
event is audible

individual
•- Volume -— Loudness of the individual
event

from an effects library lion
lion’s
' s roar. Alternating pitches · (keys) of a swishing
scimitar resulted in a comedy effect of a
swirling lasso -— a multiple keyed,
keyed , time“Stuka” aircraft sound
stretched diving "Stuka"
effect became part of a harrowing elevator
crash mix. On and on, without limit.
So, while some mere technician types may
sync sound effects to picture by punching
an in/out console key locked to time code
with
wi
th a detached interest, oblivious as to
how those effects arrived in the real world,
keyboard
key
board Foley and effects artists may
have actually created many of the sonic
elements that are applied to the mix. The
keyboard is the controller of choice for
those who are interested in the artistry of
sound design, and its imaginative use in
the creation and customizing of sound elements for effects tracks is no less the
product of a composer playing an instrument than is the musical chord elaborated
musician. —
by the keyboard musician._
Bibliography:

•~ Continuity -— How the sound "“plays”
plays"
relati
ve to the others
relative
Unique to keyboard Foleying is the playable control we can coax out of our ASR
and EPS keyboards (or their MIDI counterparts). This is where the argument that
keyboard Foley doesn
' t deliver audio
doesn’t
perspective breaks down. Perhaps the
reason that this is believed is because the
personnel that assign the final Foley track
often aren
' t keyboardists. Often they’re
they're
aren’t
not sound designers either. For instance,
once I had to create a Foley sound of a fire
extinguisher being discharged over the
sound of the fire. I couldn't
couldn’t find anything
like an extinguisher in my library so I built
a monster extinguisher sound out of a 3
second rattlesnake from a SFX CD. A little
filtering and looping and it was BETTER
than the real thing, only because of the finesse available through the keys. Your
keyboard is just a whole bunch of on-off
switches and because the pitch is shifted
by a semitone at each key you can fire all
those variations to create the life-like
realism often missed in real-time recording/reproduction. When I slapped down a
bunch of lower keys and then added a
bunch of upper keys I got a perfect sonic
picture of the nozzle of that spewing extinguisher rotating from an "“in
in your face”
face"
blast, to a flame
ﬂame choking discharge across
room . A 360-degree Doppler effect!
the room.
The sound of that huge rolling boulder in
"Raiders
Ark" was keyboarded
“Raiders of the Lost Ark”

"Creating
“Creating the Sounds"
Sounds”
KVED Productions
Salt Lake City, Utah.

The Mining Co.
General Internet Co.
Happy Media
Burbank, Ca.
Digital Movie News

El Dorado, Ca.

Bio: In 1994
I994 J.D. Ryan earned certificacertiﬁcation in "Sound
“Sound for Motion Picture and
Television"
Television” through the Full Sail Center
for the Recording Arts in central Florida.
Some of his "Sound
“Sound Spinner"
Spinner” effects are
found in post-production suites around the
world and a few are published in Rubber
Chicken's
Chicken’s CD-ROM II under
“The
"The
Brothers Ryan sounds.”
sounds." E-mail: brosryan@dmv.com.

EPS16+ and
EPS-lé+
oncl ASR
Editing Made
l\/Icicle Easy
Ecrsy
Eric Montgomery
This is intended for those who just want
some simple tips and information on making
basic patches and edits on the EPS-I6+/
EPS-l6+/
ASR-JO.
ASR-l0. I have always been one to experiment and this is a good way to get started.
You will probably find that some of the
sounds you always wanted are hiding right
under your fingertips, just waiting to explode
into your next song.

I
I
r

Before you start editing you need to decide
~ the whole patch,
what you want to edit —
one of the layers, or a wavesample. To select
which, press the edit button. Put your cursor
under the name of the sound to edit all layers
and wavesamples. Put your cursor under
layer and then you can edit just the selected
layer and its waves
waves.. Lastly, put the cursor
under WS and playa
play a key. Once you get a
sample number, you will be editing the patch
data of the wavesample.
Some users have asked how to transpose on
an ASR/EPS-16+. That can be a nightmare
because all of the samples have their own
key ranges and transposition. There is a
simple way to do it though. Press edit and be
sure that the name of the sound is underlined. Press the Instrument button. Continue
to press the Instrument button until you see
"XPOSE=
“XPOSE= +0 SEMI= +0."
+0.” Put the cursor on
"semi"
“semi” to change the key in half steps and
"oct"
“oct” to change the octave. Press the up
arrow button to lower the key and press the
down arrow button to raise the key
key..

Call For Writers!

l
I»

j
.
‘
I

In spite of their current god-like status, 5
writers for the Hacker were once mere
mortals ~
— just like you! If you're
you’re
noodling around with Ensoniq gear,
you too can join their elite ranks. 5
We're always
We’re
always looking for
for new
new writers,
writers,
and yes, there is actual payment
involved. If you’re
you ' re toying with an idea
for an article, how about giving
Editrix Jane a call at 1-503-227-6848
I-503-227-6848
and listening to her soothing words of
I encouragement?

Let's go through setting key ranges. Press
Let’s
Edit, then press Instrument. Continue to
press Instrument until you see RANGE on
the screen. Play the lowest key to set the
lowest key you want the selected instrument
or wavesample to play. Play the highest you
want it to play. That's
That’s it! This is important
since you may want to layer sounds, do splits
and (or) set your own key ranges for those
splits and drum kits. To layer a sound just
select the first sound, then double click the
second one while the LOAD light is flashing.
ﬂashing.

Another common edit is setting a sample to
play its entirety, no matter how short the
note is that is played. The common use is if a
drum was sampled, and you want it to play
until the sample is over, no matter the length
of time the note is being played. Press the
edit button and be sure that the cursor is
under WS. Play the key that the sample is
on. You will get a sample #. Now you can
roll to Envelope Mode and
press ENV3, sc
scroll
ish."
change the setting from "normal"
“normal” to "fin
“finish.”
That was simple! If you want to make this
setting for several samples, be sure that WS
=
= ALL. Then make the same edits we just
discussed.
If you want to make patch edits, a few items
to consider changing are Attack, Decay,
Brightness and Sustain. Attack is how fast
the sound begins to play after the key is
depressed. A string sound has a slower attack
than a piano. Decay/s
ustain determines the
Decay/sustain
fade of a sound while a key is being held
down. You might decide that you want a
sound to be more staccato, like a synth bass
or muted guitar. Brightness is pretty obvious
-— high end EQ.
EQ. Lastly, sustain determines
how long a sound will continue to play after
a key has been released
released.. A string sound has a
longer decay time than a trumpet or piano
sound. (Also remember that there are levels
and times for each of these settings. We can
cover these in depth in another article.)
To change attack on a sound, select ENV 3
and use your left or right arrow buttons to
tQ
get to "HARD
VEL == XX xx
xx XX.”
XX."
“HARDVEL
XX xx
XX XX
Edit the leftmost double-digit number and
change it to 00. Using the left or right arrow
buttons go to "TIMES
“TIMES = XX XX XX XX
XX."
XX.” Change the leftmost double-digit num-

ber. 00 would be the shortest attack time.

To change decay, select Envelope 3 on the
keypad (#3). Using the left or right arrow
HARD VEL = XX XX XX
buttons , go to "“HARDVEL
buttons,
XX." Edit the leftmost double-digit
XX XX.”
number arid
and change it to 00. Also edit the
rightmost double-digit number and change it
to 00. Using
Us ing the left or right arrow button, go
XX." Edit the
to "TIMES
“TIMES = XX XX XX XX XX.”
second and fourth double-digit numbers. The
second number adjusts how long the sound
will hold before it begins to decay. The
fourth double-digit number changes the
length of the fade out (the larger the number,
the longer the decay). Remember to hold
down the key while you are making these
edits so you can hear the changes.
To edit brightness, select Filters on the
keypad (# 5). Using the left or right arrow
buttons, go to "CUTOFF
“CUTOFF FI
Fl == XX F2 =
XX." They are already totally open or at the
XX.”
maximum . Making these numbers smaller
maximum.
will make the sound darker or roll off the
high end
end.. Scroll back to Mode and change FI
Fl
/ LP to FI
HP
= 3/LP F2 = ll/LP
Fl = 2/LP F2 = 2/
2/HP
Increasing the value
of "CUTOFF
valueof
“CUTOFF FI
Fl = XX
F2 == XX”
XX" will roll off bottom end or bass.
LP means Low Pass, HP means High Pass.
To change release, select ENV 3 on the
keypad (#3) and go to "TIMES
“TIMES = XX XX
XX XX XX.”
XX ." Edit the rightmost double-digit
number. The higher the number the longer
the release.
release.
I hope that the info in this article will be able
to help you make common tweaks to many
of your existing sounds to make brand new
ones. Just give it a try, relax and use your
imagination. Always remember to save your
new edits to disk. Do not save over your
original sounds. Do not overwrite your
original sounds. If you overwrite your files
you will not be able to get the old ones back.
back .
Good luck and happy programming! —
_

Bio: Eric Montgomery’s
Montgomery's work has appeared
with Salt Records, Integrity Music, several
Indiana ,
local compilation CD's
CD’s in Gary Indiana,
Ill. and Ensoniq product
CAMS of Chicago Ill.
demos
demos..

HO\N
l—low

quickly evens it out to the correct pitch. This
characteristic on a guitar is caused by the increased tension of the string when it is first
plucked. This light pitch bend on the attack
of many instruments (not just the guitar) is a
very subtle but important aspect in the accurate recreation of that instrument’s
instrument's sound
and is overlooked too often by many programmers
grammers..

Sounds Work

Part IV -— Groovy Guitars Galore!
Mark (The Kid) Clifton

What?? Another installment of that wacky
SQ programming series with the cheesey
title? You betcha! And this time around, as
promised, I'll
I’ll tape on my trusty Geraldo
mustache and present a shocking, in-depth
expose into the dark murky world of acoustic
guitars. Of course, this article focuses only
on the way guitars generate sound and how
to imitate them and not on the actual playing
of the patches themselves. To go into detail
about all the little tricks that make up a good
fake guitar performance would take hundreds
of pages, which wou
ld surely provoke more
would
than a few fistfights
fistfights with the editor. [Ed. -—
Mark, dear
fists. I[ use my little
dear,, 1I don't
don’t make fists.
red pen.]
pen.}
So I, being the peaceful guy that I am
am,, will
merely suggest that you do your own research on the subject. With a little digging,
you're
you’re bound to find some useful books and
articles (you know, from those other magazines) or maybe even a guitar player who
will cooperate with a nerdy keyboardist like

yourself and help you out.
The first thing to do is look at the envelopes
of the accompanying patch, ACOUSTIC
GUIT
AR. You'll
I've set KeyGUITAR.
You’ll notice that I’ve
board Tracking to 28 on all of them, making
them sustain for a shorter amount of time in
the upper range of the keyboard and longer
on the bottom. This is to accurately reﬂect
reflect
the fact that the higher strings on a guitar are
stretched tighter than the lower ones so they
vibrate fof
for‘ a shorter amount of time. This
characteristic is inherent in almost all plucked string instruments. You'll
You’ll also notice that
I've
I’ve applied some Env 2 modulation to the
filters
filters,, making the sound mellow out as it
fades, just like on a real guitar.
The next major feature of this patch is the
pitch modulation on the Pitch Mods page.
I've
I’ve programmed a slight amount of modulation from Env I,
l, which I've
I’ve shaped into a
sharp downward slope. This makes the initial
attack of the sound slightly sharp, then

SQ, KS, KT, E-Prime Prog: Acoustic Guitar
WAVE

Select Voice
Voice
Wave Class
Wave
Delay Time
Delay
Wave Direction
Wave
Start Index
(Start
MODSeR
IMQDSCR
MODAMT
MQDAMT
Restrk
Ftestrk Decay

PITCH
Octave
$emilone
Semilone
Fine
‘Fine
ENV1
‘ENV1

lLFO
LFO

MODSeR
MODSCR
MODAMT
4
l

1
1
On
String
AcousGtr
000
Forward
00
Off

2
3
W2
On
Off
Oil
String
AcousGtr
000
O00
Forward
00
Off
Oil

1
1...

+00
+00
+01
+00
Off

KBD Ptch Track On
Glide
Off
Glide Time
00
Glide

ENV1
E NV1
Initial
initial
. Peak
Break
Sustain
Attack
Attack
Decay 1
Decay
I
Decay 2
,Decay
Release
Release
Vel-level
Vel-Level
Vel-Attack
Vel Curve
Mode

I_; KBDTrack
KBD Track

00
40
00
00
00
O0
19
19
00
00
00
00
O0

Quikrise
Finish

Quikrise
Ouikrise
Finish
+28

FILTER
._- I FILTER

Filter
Fitter 11
Filter 2
FCl
FCt Cutoff
Cutoff
ENV2
ENV 2
FC1 KBD

MODSCR
MODSCFI
MODAMT

FC2 Cutoff
Cutolt
ENV2
FC2 KBD
FC1MO[)'Fe2
FC1 MOD-FC2

3 ____,

- -g

ENV2
E uvz
Inilial
initial

. Peak
Break
Sustain
Attack
Decay 1
1

Decay
Decay 22
Release
Release
Vel-Level
Vel-Attack
Vet-Attack
Vel Curve
Mode
KBDTrack
KBD Track

l Vel-Attack
Vel-Attack
1

___

2Lo
2L0
2Hi
000
+70
+00
Veloc
Veioc
+11
+1 1
000
+70
+00
On

1
1.

99
99
65
00
00
38
71
66
66
00
Convex
Normal
+28
+2B

2Lo
2L0
2Hi
000
+70
+00
Veloc
+
14
+14
000
+14
+00
On

Vel
Vet Curve
Mode
Mode
KBDTrack
K80
Track

. OUTPUT
VOL
Boost
MODSRe
MODSRC
MODAMT
KBD Scale
Key Range
Output Bus
Output
Priority
i Pan
Vel window

99
65
00
00
38
71
71
7'1
66
00
Convex
Normal
+28

1
1

99
Q9
99
88
00
00
OD
36
67
29
90
00
D0

so
as
no

Convex
Convex
Normal
+28

1
‘I

The mod wheel on this patch brings in
another guitar wave tuned an octave higher
to simulate a twelve-string guitar. The mod
pedal increases chorusing, an effect that really
complements the sound
2 y 33
99 K
of an acoustic guitar. For
99
so
88
as
a dreamy new age- type
00
00
00
sound, turn up the mod
gg
I
36
67
2;
. wheel all the way and
29
40
to
bliss out until next time
00
0°
when I'll
I’ll blow some hot
Convex
Normal
air about woodwinds. —
_
Emma‘
+28
2
88

82
On
Wheel
-06
+00

88
On

FX1
FX 1
Med
+00
>000

FX1
Med
+00
>000

0"
Wheel

Wheel

+99

LeIJel
Level
ModPed
MOCIPGG
+50

i
A

+99
+00

foo
Med

"°°

EFFECTS —
- CHORUS AND REVERB
FX-1
22
FX·2
115
5
FX-2
Decay time
35
HF Damping
59
Chorus Rate
20
Ftate
Chorus Depth
16
Chorus Center
50
Feedback
+00
00
Chorus Level
MOD {Dest)
(Dest)
BY (MODSRC)
MODAMT

Peal<
lPeak
Break
Sustain
Attack
Oecay
Decay 11
Decay 2
Release
Vel-Level

MODSRC

Off
00

Wave
Restart

1
1

Level
Delay

+1
+1
+00
+04
+01
+00
Off

00
40
00
00
00
00
19
‘I 9
00
00
00
00

+28

LFO
LFO Speed
Noise Rate

MP
By: Mark Clifton
cliﬁim AAMP
Initial T

Vibrato is another often abused aspect of an
instrument's
instrument’s character that I chose not to include in this patch since it is used sparingly,
if at all, in most styles of guitar playing. The
only exceptions that come immediately to
mind are slide playing and certain blues, jazz
and Latin styles. If you do use vibrato,
remember that a guitar, like all other fretted
instruments, can produce only a slight bending of the pitch and that it always bends
sharp. The positive LFO shapes are used to
accomplish this. Only slide playing and
electric guitar whammy-barring, to be
covered in some future article, break this
rule, since the slide allows greater freedom
of movement up and down the string.
Non
-fretted instruments, such as the violin,
Non-fretted
have this greater freedom of movement and
are therefore capable of producing a pure
up-down pitch vibrato.

‘

Bio: Mark Clifton is a
player
la er and composer
com oser of
o
p y
p
f
Jazz, New Age, Orchestral and Rap (yes, Rap!)
.
. .
music and an aspiring
Cyberpunk writer who
also wouldn’t
wouldn't mind going
into sound design or ﬁlm
film
scoring.
His favorite
color is the infinite,
inﬁnite,
star-speckled blackness
of space.

This article
appeared in
(June, 1993).
I993).

originally
TH #96

‘I

»|

.-—_-Q,‘-._ _

|
I
|

HACKER BASEMENT TAPES

Steve Vincent

F.I.
F. I. Originals
Origin O/S
Michael Paradise Band

Tape: F.I. Originals (c) 1998
I998 Mutt
Music
Artist: Michael Paradise Band
Contact Info: Michael Paradise, 17
Mayfair Rd, Cranston, RI 02905.
Equipment: Ensoniq EPS 16+, Yamaha
MT- 120 4-track recorder, Les Paul
MT-120
guitars, Fender bass, live drums.
Michael Paradise gives us yearly installments of his latest demos. We have reviewed
“Short
his tapes in August 1996 (3 songs; a "Short
Takes"
Takes” review) and February 1997
I997 (a
five-song demo)
demo).. His latest tape to go
through the wringer is a five-song demo of
songs recorded by Michael's
F.I." He
Michael’s band, "“F.I.”
never mentions what "F.I."
“F.I.” stands for. As in
Michael's
Michael’s previous tapes, the purpose of
these demos seems to be to showcase the
compositions themselves as opposed to
programming skills, production, or even performance. The reason I make this judgment
is because these sound like true "basement
“basement
tapes."
tapes.” The songs sound like they were
recorded live without much (if any) overdubbing or re-takes.

Michael 's songwriting style seems to have
Michael’s
stayed consistently in the same ballpark over
the past few years. These five songs still
keep Michael’s
Michael's "“British
British invasion”
invasion" feel,
making me wonder if he was a stowaway in
the cryonic time capsule that transported
60s to
Austin Powers and Dr. Evil from the '’60s
the '90s.
’90s. Michael's
Michael’s lyrics still remind me of
Paul McCartney's
McCartney’s focus on the lighter side
of relationships and love, with occasional

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Cheaper Hacker
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Internet,
y you can take advantage of avoiding the post
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it's only $20!
year. Interested? Just send a message to us
eTH@transoniq.com and we'll
at eTH@transoniq.corn
we’ll e-mail
back complete information.

forays into the dark side (i.e
(i.e.,., breaking up).
That's
Let's lisThat’s about as heavy as it gets. Let’s
ten
...
ten...

Love Is Here to Stay (and That's
That’s OK) -—
This song is performed with the exuberance
of a junior-high garage band in the '60s
’60s (that
would be the 1960s, not their age
... ). Of
age...).
course, Michael’s
Michael's voice sounds very "Beat“Beatles,"
les,” so that helps the British vibe to shine
through. Bubble-gum lyrics are front-andcenter over a '’60s-love-song
60s-lave-song rhythm section,
thickened with chorused electric piano and
slightly crunchier guitars than we heard way
back then. Some very nice guitar soloing,
complete with high-speed fingertappings.
Thick background vocals lend a wonderful
fullness to the song, but the hokey synth
horn parts toward the end bring in the
cheese, and whoever was playing the
16th-note tambourine part was getting tired
...
tired...
Don't Want to Lose You -— More vintage
I Don’t
Beatles sounds, reminiscent of "Hey,
you've
“Hey, you’ve
got to hide your love away."
away.” This song, however, introduces elements from the Electric
Prunes and Iron Butterfly,
teristicalButterﬂy, uncharac
uncharacteristically "heavy"
“heavy” for Michael Paradise. Thorns: this
time the tambourine is totally out of control
tempo-wise
ayed synth
tempo-wise!! And the digitally-del
digitally-delayed
parts are jarringly anachronistic. Rather than
blend the decade's
decade’s influences,
inﬂuences, it might be
better to stick with a consistent formula.
These elements tend to detract from what are
fine compositions. This song is redeemed,
jammin ' guitar solo
however, by a slammin',
slammin’, jammin’
section
section.. This band obviously loves to jam!
Let's Hit the Road -— The manic tambourine
Let’s
is replaced by maracas in this White Album
era tune. Still hyper-caffeinated though.
More bubble-gum lyrics, but imaginative
guitar parts keep the rhythm section providing movement and interest.
Every Time I Try -— This song sounds as if
it's
it’s having an identity crisis: it can't
can‘t decide
what it's
verses ,
it’s going to be, as if the intro, verses,
and choruses were cut-n-pasted from different tunes. Even the introductory tempol
meter changes three times before "settling"
“settling”
(I use the term loosely) into its groove. I am

tempted to give Michael credit for crafting a
song that musically emulates what its lyrics
state: he tries different things, but none of
them work. If this stylistic schizophrenia is
deliberate, then kudos to the band for an ingenious concept! It would be more convincing, however, if each new "phase"
“phase” of the
song were executed with commitment, instead of halting quasi-transitions marching
halﬂmeartedly into the next segment like the
halfheartedly
befuddled leader of a lost platoon. As if this
weren't
weren’t all confusing enough, the band
jumps into a shuffle-beat
shufﬂe-beat bluesy jam before
the final chord even stops ringing, ostensibly
a continuation of "Every
“Every Time I Try."
Try.” Every
what"? is my question. The
Time I Try "“what”?
Every Time I Try to Finish This
answer?
answer‘? "“Every
Song
... " Actually, the blues-rock jam is pretSong...”
ty catchy, with a good hook. The guitar soloing is a bit weak on this one, however, and
the bass goes to the final bridge section two
measures ahead of the guitars. This is the
kind of thing that would normally happen in
a jam session down in the basement...
basement ... but on
a demo tape?
tape‘?
1’m
“I’m in lust with a friend of
I'm In Lust -—
- ''I'm
mine 1/ She makes me feel good all the time
timel1
Got one thing on my mind...”
mind .. ." You've
You’ve gotta
hand it to good 01'
ol’ Michael: this song is
about as honest as a guy wants to get. Too
bad it seems to be naively and happily
celebrating the fact, rather than spotlighting
the narcissistic shadow with a tongue-incheek parody. One thing about boorish
stereotypical macho self-centeredness: it sure
let’s pick a more
makes an easy target! So let's
challenging one: lyrical flow.
ﬂow. Set aside for
the moment the poetic quality of these lyrics;
don’t' t fit the
the problem here is, they simply don
melody line. They flow
ﬂow like cotton balls
don’t).
down a velcro slide (point: they don't).
Actually, the lyrics flow
ﬂow more like finelyground dark espresso roast Seattle
Seattle’s
's Best
Coffee from the grinder into the thingy that
holds the coffee: it doesn't
doesn’t pour out, so you
keep tipping it, it still lingers stubbornly in
the grinder, so you tip it more steeply, give it
“tap,” then all of a sudden the whole
a tiny "tap,"
batch avalanches all over the thingy, your
hand, the kitchen counter, and the ﬂoor.
floor.
Difficult-to-say lyrics are forced into the

-a

beat, placing the em
em-PHA-sis
-PHA-sis on the wrong
syl-LA-bles. This detracts from the, uh, mesthing. Persage of the words. This is a good thing.
haps the band recognized all this and became
frustrated,, because this song just
fed up and frustrated
sudden...
all of a sudden
... ends! No build-up, no outfore-,_
that’s it!
tro, no fore
-, um,
urn, warning, just... that's
And it’s
it's obviously not a tape machine glitch,
because there’s
there's a reverb tail clearly marking
engineer’s territory like a "Ki
“Kilroy
lroy was
the engineer's
here” sign. You have to wonder what the
here"
band talked about when coming to this
production decision. Perhaps they just
couldn’t come up with a decent ending, so,
couldn't
what the hell! Just shut it off! Works for me.

Now, as I mentioned at the beginning of this
review, this is Michael Paradise's
Paradise’s th
third
ird contribution to the grueling Basement Tapes or-

deal. He is a Veteran of the Wringer! But so
doesn’t feel like wringer fodder, let's
let’s take
he doesn't
the historical perspective. In earlier demos,
Michael apparently performed more of the
parts himself. In contrast, these songs sound
like
li ke they have been performed live to tape by
his band. There is a much more organic feel
to the performances; less synth, more
emphasis on guitars and acoustic drums.
Let’s
Let's take a dualistic approach here (with
...
apologies to Pat F.)
F.)...

The nettles... Perhaps this is an artifact of
playing "“live,”
live," but this project is replete with
tempo and rhythm inconsistencies. The beat
wanders all over kingdom come at times,
often thrown off-kilter
off—kilt-er by aa‘' drum fill.
Another inconsistency is what I would call
"“stylistic”
stylistic" inconsistency, that is, different
musical styles are butted up against each
~ompositions (notice II
other in some of the ‘compositions
didn’t
“mixed” or "blended,"
“blended,” because acdidn
' t say "mixed"
tually the effect is fairly jarring). My suggestion is to stick with one major stylistic thread
“pure.”
in a particular song, keeping it more "pure."
This will keep the lyrics and vocals centerstage, where I believe Michael wants them.

daisies...
Michael’s voice is very pleaThe daisies
... Michael's
sant to listen to. He has an earnestness in his
voice, and a bell-like, throaty clarity that
rivets your attention on the vocals like Doug
Ingle (WHO is Doug Ingle? Try Iron Butterfly, hello)-.
hello). Many of the vocal parts are
doubled (i would
would like
like to
to know
know how
how he
he does
does
doubled
this, recording an entire band on a 4-track
machine; do you use some kind of doubling
PX, like
l'k
V ocars,
1' t Michael?).
M'icae)
h 1? . The
Th e
teaa D'
1g itech Vocalist,
FX,
Digitech
en d result
resut
texture d vocal tunes.
l is ric
hl y textured
richly
end
Another plus in Michael's
Michael’s arrangements is
th e interesting
' t ere st'mg endings
hi s
in
en d'ings hhee writes
wri'tes ffor
or his
the
songs. With the exception of "I'm
Lust,"
“I’rn In Lust,”
it is clear the Michael and his band put some

1;J'tl"case

real thought and inventiveness into their
song endings. More composers should give
attention to how their songs end; I am often
guilty of simply giving in to the ubiquitous
fade-out.
fade
-out. I think I’ll
I'll turn over a new leaf,
and learn a lesson from Michael Paradise,
and just end the article right —
_
If you want your tape run through the
wringer, err, Hacker, just mail it off to: Basement Tapes, Transoniq Hacker, 1402 SW
Upland Dr., Portland OR 97221. Please include your e-mail address!

B
S teve Vincent produces demos and CDs
£0: Steve
Bio:
h0rne- based Portent Music, and can
at his homebe reached via email at vincents@harb0rvincents@harbornet com,
com or at his website at http://www.kshttp //www ksnet.
pace.com/vincent.
pace
com/vincent

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The Interface

Letters for The Interface may be sent to any of the following addresses:
U.S
Mail-- The Interface, Transoniq Hacker, 1402
U.S.. Mail
I402 SW Upland Dr., Portland, OR 97221
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interface@transoniq.com. In many cases a quick answer can be obtained by posting to our interactive, on-line interface
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(http://wwwlransoniq.com/interfacehtml) or calling Ensoniq CS at 610-647-3930.
This is probably one of the most open forums in the music industry. Letter writers are asked to please keep the vitriol to a minimum. Readers are reminded to take
Finnigan (PF). Letter publication in the printed version of TH
everything with a grain of salt. Resident answer-man is Pat Pinnigan
TI-I is subject to space considerations.
Hi there
there,, everyone'
everyone!
I am still here. Just had to graduate from seminary
seminary,,
that's all.
that’s
Anyway, digging right in (bypassing the vitriol
controversy), I have a question for which I hope to
find rest.
-16 PLUS in order to upgrade
When I sold my EPS
EPS-I6
to the ASR-IO,
ASR-10, I "threw
“threw in"
in” quite a few sound
disks, also including the WAVeBOY
W A VeBOY Audio-In Effects Disk. Well, I just figured that the ASR-l
ASR-I00 has
the capability to process inbound audio signals
anyway, so why keep the disk? The problem is, I
have not yet found out how to do that neat little
thing where you hold down certain keys -— like the
third and fifth, etc. -— in order to produce harmony
with the incoming audio signal. Does the ASR-IO
not do this on its own? If I did have the W
A VeWAVeASR-IO?
BOY disk
disk,, would it work in an ASR-I0?
Anyway, nice to see you all again'
again! My, you're
you’re
really looking thin! Talk with you again soon.
Jack Stephen Tolin, M.Div.
Yahkohv@J
uno.com
Yahkohv@Juno.com

[PF -— Jack: You'll
You’ll need the Waveboy disk to do
this, as the ASR has no harmonizing algorithms
built in.
in. And as Waveboy is the only game in town
town,,
/,11
jine on the ASR.]
I'll bet it works just ﬁne

happening is a glitch,
glitch, bug or pilot error. I do know
that it's
it’s just about impossible to get out of the
"Keep
New" page without pressing yes or
“Keep Old -— New”
fl ush that buffer
no, however. The EPS wants to ﬂush
buﬂer
and return that memory back to the pool...]
pooL.]
[Eric Montgomery (Emu-Ensoniq) -— I just happened to have an EPS classic near me and tried

what you mentioned. It worked just as you said.
said. I
would agree in trying the most current ROM,
though the service manual does not indicate that
there were issues in this area that were addressed.
The current ROM mostly seems to deal with SCSI
problems. IJ have OS 2.49 and ROM 2.40. Accordproblems.
ing to my notes, the most current ROM for the EPS
is 2.40 and 2.41 for the EPS-M.]

I6-track recorder as a
If I save a song from the 16-track
SMF on to disk and then read it into Cakewalk,
Cakewalk sees every track EXCEPT the drum
track. There is no data on track 10
I0 (default) yet it
track,
"sees"
“sees” that something should be there. Hmmmm.
very difficult to explain.
What am I doing wrong? BTW, for what it is
worth, the drum track may
mayor
or may not have
originated from the idea pad and subsequently was
sent to the rhythm track of the sequencer. Data is
definitely there...
there ... I can hear it but Cakewalk will
not see it or play it.
Thanks for any advice.
John
jmiriello@enter.net

Hi guys,
We have a very reliable SQ-80. Just purchased a
computer with a MIDI interface. We bought a
cable and hooked it up. Oops, it doesn”t
doesn"t work. We
have Windows NT. Keyboard works great when it
is not hooked up,
up. But no sound comes out when it
is connected to the computer. What are we doing
wrong? Please help. Sorry, we are MIDI and computer dummies but are eager to leam.
learn. Hope you
can help us.
Thanks muchly:
(DRUMMER) & BRIAN (guitar and keyboard)
corrin@caribsurf.com

Hi
Hi,,

[PF -— Drummer & Brian:

I recently bought an EPS and have a problem with
the sequencer. When I try to use the command
"copy
“copy track"
track” to copy a track from, for example, sequence 2 to another sequence
sequence,, say 3, this works as
long as I remain on the page with the option "keep
“keep
old or new."
new.” When I get into the edit/sequence
page, however, the only thing that’s
that's heard is noise.
My question is
it's supposed to be possible to
is,, if it’s
copy tracks between sequences and, if yes, what
mi
ght be
might
he the error? Unfortunately, I only own
"“Musician’s
Music ian's Manual”
Manual" so I haven't
haven’t been able to
check thi
thiss up. The OS I've
I’ve used is V 2.49.

What music application are you using? There
aren't
aren’t a lotta soundcards or drivers that are
NT-savvy , and you simply can't
NT-savvy,
can’! just buy a cable,
hook it up and expect Grammys to come running
down your MIDI pipe. Questions you need to
answer are:

Roland
Mega779@hotmail.com

Given the minutiae you’ve
you've posted, I can't
can’t ojfer
ojffer a
solution without the above inj;)
info to get a handle on
your conjiguration
configuration..... .]j

[PF -— John: Common misconception with the MR
(and one of its most misunderstood features). All
rhythm data, whether it originates from the idea
pad or the Drum machine, MUST be assigned track
status and dropped into the Rhythm Track (track
#10) in the sequencer. Furthermore, if you want it
to output MIDI data, it must be assigned a MIDI
track status as well.
well. The MR (and ZR) rhythm data
does not originate from the sequencer, but originates jrom
from the Drum machine, which is entirely
separate of the >equencer.
ASR/EPS/TS series for
jiJr moving/archiving
Mac->ASR/EPS/TS
jiles hack
jimizats.
files
back andjimh,
and forth, as well as changing formats.
Readers?]
Readers ?]

THJust bought an early model ESQ-M to load my
ESQESQ-II programs onto. Trouble is I can't
can’t figure out
how to load from my cartridge onto the module. I
get as far as "Cart
“Cart A to INT"
INT” but can't
can’t find an enter
button to execute the command. SOMEBODY
I-IELP!!!!!!!!!!!!
HELP!!!!!!!!!!"

DAVID B. MC DONALD
dbmcd@charlotte.infi.net

[PF -— Dave: I owned an ESQ-M for
jiJr about
ahout 2 weeks
in 1989,
I 989, so II'm
’m pretty fuzzy on how to do it myself
myselfl
I'd
I‘d contact Ensoniq's
Ensoniq’s weh
web page at www.ensoniq.com and email Eric Montgomery or one of
the TSE's
TSE’s up there to see if anyone else rememhers
remembers
the ESQ-M.
ESQ-M. I've
I ’ve slept since then: readers?]
readers ?]
[Eric Montgomery (Emu-Ensoniq) -— Once you
screen, press
have gotten to the CART A TO INT screen,
the STORAGE hutton
button while holding the SCROLL
hutton.
button. While the tram/er
transfer is working the screen
will read COPYING PROGRAMS. When it is complete it will return to the storage page.]

THThank you for the response about using my MR-76
board to control my Roland XP 50 and making

those fat layered sounds for live performance. I am
familiar with setting up my sounds on the MR for
presets, and on the XP50
XPSO in User bank. My desire
is to link them together and during live gigs, be
ahle
able to with the single turn of the knob, (in preset
mode maybe), have the assigned sound or layer of
the MR and the assigned sound of the Roland
being played. Right now I have them together via
MIDI cable and the MR plays the Roland fine, and
the sound layers of them together are seriously fat,
here's the deal.... I am manually changing the
but here’s
sounds of both boards to get the desired effect.
I just went through the steps you suggested to set
my MR up to speak to my Roland XP 50. I selected
a sound, sent it to the sequencer track I. The
second step is vague. Do I select the same sound
again in Soundfinder, or when I am on track II and
tum
value" knob it asks to change sound,
turn the right "“value”
or when in track I,
l, I tum the FX mix knob and the
expression value comes up, or when in track II do
you mean to tum
turn the left parameter knob and then I
am at syst cntrl 3 and 4, or do I go to sound MIDI
out by turning the left parameter knob from the
same sound in Soundfinder where ch., bank and
... then the program will change but the MR
prg. is
is...
local sound is off and all that plays is the Roland.

generates CC#7 to raise and lower volume of the
MR's
selected track, etc. Way cool given the MR’s
limitations and caveats in (1)
...
( I ) ahove
above...
board seems to he
be not more than,
(3) The FLASH hoard
IMHO (again), a cursory tip of the hat to the
TS-series with no software
sojiware update to load that 4Mb
4Mh
with ASR samples.
you’ve gotta
*.wav
samples. So you've
Rolla make *'wav
files
of'ANY
jiles out of
ANY samples, line them up to play only
in their specific keyzone and range
range,, interpolate the
jilter settings, more than a LOT of programming
filter
yada-yada-yada, only to discover once loaded into
be looped hefore
before
the Flashboard,
Flashhoard, waves MUST he
they get in there.
there. It's SO much work Ensoniq
En.wmiq disbecause it shared
covered the ASR-X was hurting hecause
the same limitation and spun the OS to let it read
't get the same mainASR disks. The MR didn
didn’t
tenance revision, so it's
it’s *.wav files
jiles or nothing for
jiJr
an MR Flashboard.
Flashhoard. I’d
I'd go with the ROM expansion
cards -— there's a lot more data in them, and somehody's
programminR work on
body’s already done the programming
them. This isn't to say you can't
can’t tweak them -- it's
it"s
just you won't
won’t he
be spending all your time doing
assigning/looping/prog ramhousekeeping chores assigning/looping/programming waves to zones to layers to FX to sounds,
etc
.. .
etc...

(4) Which is why the computer might help. To most

One other thing, .since
since I like such a large array of
sounds available, would the flash sample board assist me in my library of sounds I am looking for‘?
for? I
really don't
don’t want to keep buying sound moduals.
By the way readers, Syntaur Productions says they
will have their own programed sounds very soon
for the MR. I'll
I’ll be looking forward for that.
WE 64
I have a PC, Pentium 2-400, Soundblaster A
AWE
Gold soundcard. I installed the Unisyn software in
my PC, plugged in the cable -— in and out MIDI to
the MR and the 15
I5 pin plug to the sound card.
There is a "Y"
“Y” female split off the male I left hang
freel y . I called up the Unisyn software on the PC
freely.
and after the program is initializing it says "no
“no
response from device."
's a lot to ask and
device.” I know itit’s
a lot of new equipment on my part. Could you
help? Should I be looking at getting a Cakewalk
program also?

Thank you again.
W ARNERPRD@ aol.com
WARNERPRD@

[PF -— WarnerPrd: Answers, in order:
re trying to get the MR to (a) send one pro((1)
I ) Y(;U'
You’re
gram change to your XP-50 for a sound, and (h
(b))
.~end another program
proRram change internally to the MR
send
sound. No can do.
to get it to play a different sound.
Whatever program # is assigned to an MR sound is
the same program # heing
being sent out MIDI. And
since you have to assign a "sound"
“sound” to a "track"
“track”
and spin the wheel to select MIDI out (in the Sequencer) you can't
playaa local sound once a track
can’! play
been assigned in this manner. Check out the
has heen
August Keyboard report on the ZR-76 -— says it a
lot more eloquently than I.I.....
(2) Step 2 was simply to do the same thing to
another track to get you into a Track MIDI Status
=
= OUT condition withOut
without repeating all the hutton
button
you've escalated this step
presses of step I. Seems you’ve
into a button-pressing frenzy Keith Emerson
wo
uld've been
heen proud of in the Tarkus era. But
would've
that's good, as you've nOw
now discovered once a track
has heen
been assigned MIDI OUT Status the pan knoh
knob
generate.l· outbound CC#10 messages to pan a
generates
selected Roland sound right and leji,
Knoh
left, the Mix Knob

10
1O

people, hooking up a computer to an MR is like
trying to put out a fire
jire with gasoline: unless you’re
you're
VERY computer literate, VERY Ensoniq literate,

and VERY MIDI literate this is lillie
little more than an
exercise in futility (as you’re
you're discovering). And
pouring a gallon of Cakewalk on this inferno, well,
you get the picture. I’ve
I've tried Unisyn on the MR on
hoth
plaljiJrms. On the PC it simply
both Mac and PC platforms.
wouldn’t work unless the planets were aligned, I
wouldn't
bowed three times and faced the East, hung a Crescent over my MR and chanted the Microsoft
Microsoji
mantra.
mantra. When I got it going on my G3, every time
I'd change a parameter in Unisyn and send it to
I’d
the MR for
“Save
jiJr audition, the MR went into its "Save
Everything”
time. By the
Everything" mode for five
jive minutes at a time.
time I figured
jigured it out I had to go play the gig...
gig ...
(4h)
(4b) The other part of the MIDI dongle Oil
on your
“hanging freely”
ji"eely" is a joystick port.
port. You
gameport "hanging
can leave it open or plug a joystick into it. The
dongle doesn't care and it will have no impact on
your conjiguration.
configuration. Try reversing the MIDI IN and
OUT to the MR -— a lot of these ojfshore
offshore MIDI
adapters don
't specify whether they'
re laheled
jiJr
don’t
they’re
labeled for
function or connection.
songwriter's
(5) The MR was designed to be a songwriter’s
workstation. Ensoniq was crafty enough to put all
the reins to that horsepower under the hood where
only a MIDI cahle
cable would let you do certain things.
This made the user interface less confusing and
terribly unfriendly
more musically productive. It's terrihly
if you view it as its component pieces. Then again,
it was always the gestalt of the collective pieces
a force in the market.
that made Ensoniq such ajiJrce
[WARNERPRD@aol.com -- Thank you very much
jiJr your help and direction. II'll
for
’ll continue to crank
ji"om the MR for the hand.
band. Such a great
out tunes from
creative tool it is. Must he
be a 455-Hemi under the
hood of the MR. And ifany ofyou
of you readers just happen to he
be in the Seaule
Seattle area, stop hy
by the OASIS, in
southwest Seattle, you’ll
you'll see us, the house band,
hand,
spinnin'
and me, doin' the Keith Emerson routine, spinnin’
pushin' those huttolls
the knobs and pushin’
buttons to make all of
... What a deal. Later, Kyle]
this work
work...
[PF keyboards are just about the
- Kyle: The MR keyhoards

most powerful
powerfuL wavetable synths out there, yet they
remain the easiest-to-sequence-on workstations yet
realized. I wouldn't
wouldn’t suggest poking it into a comyou're ready to run 500 miles in that
puter until you’re
hemi
... ]
hemi...]
good ... It is a
[WARNERPRD@aol.com -— Very good...
pleasure to use this forum and your help has been
Anyon-liners
a blessing. Any
on-liners should definitely subway. After
scribe to the Hacker and support it that way.
reading each issue, it's
it’s a "long"
“long” wait to see what
the next one has to offer. Kyle.]

TH-

r
'

Help'
Help! I am using a borrowed E-Prime keyboard
that is perfect for the sounds my band needs. I have
heard that this keyboard was only manufactured
only for a short period of time and replaced the
KT-88. I need to find one for sale somewhere or a
close substitute. My questions are:

l.
I. Does anyone know of one of these for sale
anywhere?
2. Does the KT
-88 have the same internal sounds,
KT-88
especially the B3 sounds and the Wurlie sounds?
3. Is there another instrument that might work instead of this one? My MR-76 does not sound as
good for these particular sounds.
I know that how good the sounds sound is subjective, but I also have a Hammond XB-2 and the E
Prime has far more realistic B-3 sounds than it
does. Any help that could be provided would be
greatly appreciated
.. .
appreciated...
Doug Leins
dleins@nsh
clleins@nsh I mis.stthomas.org

drawbars .. .
nicotine in those drawbars...

copies when mine went bad.

(4) Yeah, the XB-2
X8-2 wasn't
wasn’t even close to what I
heard out of my 83
B3 and leslies. The new Roland is
awfully damned close to the real thing
thing,, but the
ASR!16+
ASR!
I 6+ Joey DeFrancesco library is the only one
II've
’ve ever heard that has the 60 Hz induction noise
aliasing the first three draw
bars just like the
drawbars
tonewheeler. And other samples from this set sport
all three Chorus Vibrato settings. Trust me: your
't scream until you hit those vibrato
B3 solos don
don’!
tabs with the knob set to C3. If someone programmed 888000000 with C3 for an MR, II'd
‘d LOVE
to hear it, because that'
that’s.I' the only sonicstate telltale of the Ensoniq library: the Chorus vibrato
speeds up with higher notes in certain sample
cause sampling every note would yield a
registers ('
(’cause
83 stop)...]
stop) ... ]
16 Mb B3
I6

The simplest way to protect yourself from corrupted sample disks is to make backup copies on
your TS. A local dealer told us that it couldn't
couldn’t be
done, but you can copy sample disks with your TS.
The other great way to back these up is with your
PC. If you haven’t
haven't already done so, get Ensoniq
for Windows from Rubber Chicken
Disk Tools for
Software Co. (see the back cover of TH).
TI-I). With
EDT, you can make backup copies of all your
samples onto your hard disk. You can also buy the
latest hot CD-ROM sound library and copy the
floppies in Ensoniq format.
files onto ﬂoppies

[Steve Vincent - Pat, are you saying the ASR/16+
ASR!16+
using Joey deF'
deF’s.I' samples sounds better than the
Roland wannabe? I also recently heard a Roland
VK-7 on stage, and even with its on-board rotary
emulation, the sound blew me away. For live gigI've been using an Alesis
ging the past 2 years, I’ve
QS-7 (which i bought solely for its piano and B-3
sounds) through a Motion Sound Pro 3 rotary
Barbetspeaker, sending the low end emulator to a Barberta Sona
Sorta 41 Pro Combo keyboard amp. I thought
this sounded sublime, but the Roland VK.
VK.. I think I
need one.]
[PF -— Steve: The Joey deFrancesco samples sound
more AUTHENTIC than the VK-7. The VK
I/K doesn't
have the 60 Hz running through the samples like
the real thing. In live performance, the VK-7
I/K-7 is a
pretty close approximation, especially with the
C 1-e3
I -C3 chorus vibrato stops. And yes, the COSM
rotary simulator is very good; I think it’s
it' .I' the best
leslie simulator out there. But it's
it’s not good enough
j(Jr me to sell my 83
yet .. .]
for
B3 &
& leslies yet...]

[PF -— Doug: Answers, in order:

instruments with the features you want. All with the
great sounds, effects, and sequencing that have
made ENSONIQ famous. Whichever you choose,
you'll get an instrument that's
you’ll
that’s as musical and
creative as you are."
are.” And the EPrime is the third
instrument from the top, so it's
it’s ohviously
obviously NOT an
orphan like the earlier brethren. So T'd
I’d presume
their sound libraries are still available for
j(Jr it. ALL
the SQ, KS, and KT-variant sounds should work
fine in it: IJ'm
’m just assuming it has a larger wavetable with more waves internally that the earlier
...
libraries don't
don’t address. But that's
that’s a good thing
thing...
|.\-

(2) I would think so: aforementioned SQ/KT/KS
83 emulation.\'
variants are all capable of B3
emulations that are
downright scary. 1I wrote an article years back in
the Hacker on using the mod wheel as a vari-speed
leslie.
leslie. The factory Wurlie emulations need tweaking to get them to sustain longer, and didn
't seem
didn’t
to have as much "bite"
“bite” as the ASR-based Wurlie
samples, IMHO. Tweaking gives VERY credible
samples,
results here
...
here...
(3) Check out Pelle Piano’s
Piano's Demo Disk from the
Ensoniq website. I bagged it about 4 months ago,
so I only hope it's
it’s still up there. There are some
righteous B3 sounds with all the obscure drawbar
settings AND cabinet noise/driver
noiseldriver sizzle that are
more dead on the money for
fl)r an MR than any other
3rd party stuff II've
’ve ever heard. You can smell the

[PF —
- Dave: Yes. Ensoniq read/write verify is a
CRe
- not a Norton Disk Doctor
CRC redundancy check —
sformat utility writing running 1'.1'
I ’s and 0'.1'
0’s thru the
disk (time-consuming
(time -consuming read/write verify). If the
checksum matches, an Ensoniq disk is pronounced/blessed as "good"
“good” and calls the "Format
“Format
Completed"
Completed” ROM bACK (exactly like that piece of
fruit company that just blew away Wall Street this
fruit
week) ...
week)...
What'
What’s.I' happening here is that Ensoniq formats a
flle system
disk and looks at it as a container. The file
doesn't
doesn’t look at/compensate
atlcompensate for bad sectors after a
format (the checksum matched, right?),
successful format
so after sitting on top of the power supply, floppy
drive, or other magnetic influence, upon load, the #
of bytes written doesn't
doesn’t equal the checksum anymore. As there aren't
aren’t any high-level read/verify
ROM routines for an already overtaxed CPU, the
poor TS can only ack back "Disk
“Disk Data Corrupted."
ted.” So if you don't
don’t get a "Track
“Track 0 unreadable:
Disk Unusable"
Unusable” or "Unable
“Unable to save UnflJrmat
Unformat
info"
Pee-Cee ...
info” prompt, remember this ain't
ain’t no Pee-Cee...

[Steve Vincent -—- Eric: You’re
You're welcome! The listening pleasure was all mine.]

Fortunarely, that fruit company hired Peter Norton
Fortunately,
to write a suite of disk utilities that LATER got
ported over to said Pee-Cee, one of which called
Norton Disk Editor can correct these flaws, but
only if y0u’ve
you've got one of those fruit computers. But
by and large, most disk errors are caused by bad
media. Make it a point to buy Maxell floppies (not
these 100
I00 blanks for $19.95
$ 19.95 with a $19.95 rebate,
cause you get what you pay for: zip), and wash
them thru your Mac or your PC to ensure they're
they’re
formattable. Even these disks will occasionally
formattable.
return a "Track
“Track 0 error: Disk Unusable"
Unusable” error,
but Maxell WILL replace them free of charge.
Again, it’s
it's your blood, sweat and tears on these
a $10 helmet
floppies, and the racing analogy of
ofa
.. .]
for a $10 head most certainly holds true here
here...]

TH-

Just a quickie
...
quickie...

I'd like to give a few more hints to Dave Faunce
I’d
(and other TS users), who wrote in issue #
157
#157
about corrupted factory TS sample disks. I had the
same problem with my factory sample disks. My

I have
hav~ an old EPS (keyboard form factor, not
EPS-16+ etc). A very old EPS. In fact, it's
it’s completely unexpanded. I'd
I’d like to snag a RAM
upgrade and maybe even a SCSI kit for it.

TH(1)
(I) As of 12:45
I2."-45 AM July 18,
I8, 1998,
I998, the Ensoniq
webpages notes, and I1 quote: "We
“We offer a range of

Dave Simenson
fivetone@elite.net
fivetone@elite.net

IIjust
just want to say, "“thank
thank you very much"
much” to Steve

Vincent. I appreciate your words of encouragement
and your comments about each song. I am not sure
of release times or dates regarding the CD, but I
feel a lot more confident than before and just
wanted to say thanks.
Thanks,
Eric Montgomery
Ensoniq Technical Support

personal theory is that Ensoniq'
Ensoniq’ss error correction
methods when writing to disk are not as rigorous as
those of MS-DOS (in the old days) and Windows.
(And, wasn't
wasn’t there some other type of computer,
long ago
... some kind of fruit?) The medium on the
ago...
3 1/2"
l/2” disks is, of course, the same, so why do my
TS disks fail so much sooner than my PC disks?
Fortunately for me, a friend of mine was so blown
away by my TS-12
TS-I2 that he went and bought one a
few weeks after me, so I used his disks to make

I am aware that they haven't
haven’t been made for a bit,
and are thus somewhat rare. The crux of the
problem is that I am based in London
London,, and most
EPSs are in the US. In fact, both my EPS and
mixer tun
run from a US->UK power converter.
Anyway, if anyone knows of any little specialists
making/refurbing RAM boards, or even has one for
makinglrefurbing
I’d appreciate a yell..
yelI..
sale for a small amount, I'd

’

...
Thanks in advance
advance...
My addr is peter.mills@hydramedia.com.

[PF —
- Peter: Syntaur Productions (wwwfatsnake.
(www.fatsnake.
comlsyntaur)
com/syntaur) has the 2X and 4X original Ensoniq
Memory Expanders. For all practical purposes, go
4x. Rubber Chicken Software (www.
with the 4X.
soundcentral.coml-chickeneps)
soundcentral.com/~chickeneps) has a cool SCSI
expander for the EPS
EP S that's
that’s actually better than
the factory one (now unavailable) in that it lets you
use Zip Drives with the EPS. Ping these URL's,
bag these items, and,
and, once installed, bask in ownership of the fastest-loading
fastest -loading sampler ever created.}
created.]

TH
TI-IA WE-64 Gold card
I am running a TS-lO
TS-10 into an AWE-64
can't 'get
to Cakewalk. I can’t
get communication into the
program. It just doesn
' t want to record any MIDI.
doesn’t
Do I need to switch something in the sound card?
RockerBill@aol.com
RockerBi1l@aol.com

[PF —
- RockerBill: Reverse your MIDI cables.
These things are labeled "IN"
“IN” and "OUT"
“OUT” but
does that mean connect to the MIDI IN of your
soundcard or connect to the MIDI IN of your
TS-10?}
TS-10?]

TH
TH—
My son has a KS-32 with expanded sequence
memory. He wanted to use some General MIDI sequences, but had to edit them manually to use them
on his KS-32 -— very time consuming.
Some years ago I got him something from a Transoniq ad that (I think) did some conversion between Gen MIDI and SQ-I
can't find
SQ-l (KS-32). We can’t
it now (we both moved from Montreal to BC).
Does this software still exist? Could you tell us
where to find it? Someone says check with Cakewalk -- OK, but his funds are at low ebb right now.
Thanks!
Rob Davis
robdavis@gec
.net
robdavis@gec.net

[PF —
- Rob: You might have had the Giebler
KS-GM conversion utility. Ping Gary Giebler at
www.giebler.com. He probably has a record of
yo ur purchase (if that was, in fact, the utility you
your
speak oj)
...
of)...
The other option, if you already have Cakewalk installed, is to bag the KS-32 IDF (Instrument
Dejinition
Definition File) for the KS-32. Also available from
the Twelve
-Tone web site---]
site .. .}
Twelve-Tone
[Bob Lang (rlang@netdoor.com)
(rlang@netdoor.com) -— The midi map-

jiJr WIN3,1
per for
WIN3.I is available free Of
at http://www2.
netdoor.coml-rlanglmidimap.htm.}
netdoor. corn/~rlang/midimap.htm.]

Hi again TH'ers
TH’ers -—
I recently had to reinstall my Mac OS, because of a
major crash (first in four years) and since that time,
I haven’t
haven' t been able to get Alchemy and my
EPS-16+ to talk to each other. Apparently, Pass' re my only hope. I’ve
I've tried
port is no more, so you
you’re
16+
everything I can think of, but it always says, "“l6+
not responding -- check connections."
connections.” Help!
Peter Heim pch7@interport.net

[PF -- Pete: Ensure Sysex is on (on the ASR), and
that Alchemy is speaking to your 16+ on the BASE
channel.
of Alchemy that
channel. If this is an older version ofAlchemy
doesn't
optionldriver you may
doesn’t have the 16+ setup option/driver
be out of luck unless someone can eMail or othercouldn’t get my
old version to
wise send it to you. I couldn't
myoid
run on my ASR, BTW, so you’re
you're not alone
... ]}
alone...
[Peter C Heim -— Thought you’d
you'd like to know -ajier
after days of unsuccessful
uns'ucc'essful attempts, I woke this AM
with a picture in my mind of some little thing
tucked away in an unused extension file.
jile. I looked,
and there was this little thing called Midi Driver. I
put it in extensions, restarted, et voila! Alchemy
rides again! By the way, it also seems to connect
with my ASR-I0
ASR-10 on the same midi channel. Today's
Today’s
bummer: the sound I was trying to edit keeps
giving me FILE OPERATION ERROR from my syquest, even though I had it loaded two days ago.
(Whimper.)}
(Whimper.)]

with any of the Malvern loopboxes, and can be the
ONLY device in any SCSI chain
...
chain...
I'm
I ’m not trying to scare you o}f
oﬂ'—- just be sure you
can return the Sparq drive if it isn'
isn’tt compatible.
Most reputable vendors have a return policy
similar to this, but be sure to purchase it with that
return caveat.
caveat.

And, of course, eMail us back and tell us ifit
if it works
or not
.. .}
not...]
DearTH,
Dear TH,

[PF -- Peter: Yeah
Yeah,, the Apple MIDI Driver. I forgot
about that. Then again, so did Apple, as it wasn't
rev'
d past V. 2.0 (check the date in the "Get
Info"
rev’d
“Get Info”
box). I had some troubles getting a CSIX
CS1 X to talk to
XGEdit until I dropped the Apple MIDI Driver
AND the MIDI Manager into the Extensions folder.
Then I had to load the old Patch
Bay DA and draw
PatchBay
lines to and from my Interface Icon to and
from the
andfrom
CS1X
Jt's a
CSIX -— only THEN would it work correctly. It’s
shame Apple quit supporting their MIDI Toolkit,
but with MOTU, Opcode, and all the other guys
doing FreeMIDI, OMS, etc., they just rolled all
their efforts into QuickTime (and QT Musical
MusicallnInstruments,
.. .}
struments. PowerPlug, etc)
etc)...]

I came to your site looking firstly for a list of Eniq service representative but I was pleasantly
son
soniq
surprised because the questions that I had about my
battery problems and concerns
concems ahout
about taking
tak ing my
board to someone who really may not know what
they are doing were answered and addressed in a
letter from Peter Eggleston. For my own reasons, I
have not been able to use my board for years.
battef" mesme~
When I went to turn it on again, the batterv
sage started and I was unsuccessful locating
loc at ing as:
as;-., tance. Not only did your site provide ins
ight into
insight
the problem but also provided Ensoniq Customer
Service number so I could find a local representative although I'm
I’m not sure how close one will be. I
ESQ-l for preliminary programused my Ensoniq ESQ-1
ming my ideas for a CD-single I'm
I’m about to release
on the Internet Underground Music Archive website for independent musicians. I want to begin
creation mode again so thanks...
thanks ... Your assistance
has been invaluable.

TH
TH-

Claire Machado, CAM ENGINE
camengine@cruzers.com

As always, a great mag. I have one suggest
ion , and
suggestion,
a question.
Suggestion: Your most recent issue had a "classic"
“classic”
article reprint with the "Something
“Something Grand"
Grand” patch
for the KS/SQ line. I've
I’ve still got most of those old
classic issues going back a few years, and the
-32
Something Grand patch has been in my KS
KS-32
since you originally printed the article.
article . But WHEN
did you print it originally? Maybe I'
m the only one
I’m
who cares about this nostalgia, but I think it would
be interesting for you to print the original publication dates of future reprints (if you did print this
somewhere and I missed it, my apologies...).
apologies ... ).
Question: I’ve
I've got an ASR-IO
ASR-10 Rack which is curI just purchased a
rently hooked up to a ZIP drive. Ijust
Korg D8
08 hard disk recorder (great little machine
't afford PARIS) which has
for those of us who can
can’t
a 1.4 gig drive built in, and a SCSI port for more
external
extemal drives. I would like to use a Syquest Sparq
with the 08
D8 and/or the ASR-IO.
ASR-I0. However, it only
comes in a parallel port model. A friend of mine
told me that there is such a thing as a p.port-toSCSI converter which might solve the problem.
Does anyone out there know if this can be done?
Thanks, and keep up the good work.
Bernie
Bemie Fabricant
BERFAB@AOL.COM

[TH -— Good point. ThaI
palch originally showed up
That patch
in Issue #94 -- April.
April, 1993.}
1993.]
[PF -— Bernie: I don't
I'm
don’! own a Sparq drive,
drive. but I’m
VERY leery of devices (hat
au({)sellse blw
that autosense
b/w parallel
and SCSI connection. For instance, the Zip PLUS
drive is (he
doesn 't work
the same type of interface,
interface. doesn't

[TH -— You're
welcome.}
You’re very welcome.]
All Ensoniq service tech (who shall
[PF -— Claire: An
remain nameless) volunteered this info to me while
F:SQ-1.. My thanks
I was trying to resurrect a dying ESQ-I
(()
to him for providing this level of tech support (that
Ensoniq doesn't
doesn’t on the discontinued keyboards)
and FJr
for allowing me to share this inF)
info with our esteemed reader base.

He asked me to add this quip to my response: "I
“I
Borg . You will all be apam the Pentium Borg.
proximated..... "” ]}
proximated.

Gang:

Check out the ASR-X-Pro in the September issue
of Keyboard or www.ensoniq.com.
www.ensoniq.com.Andyes.itis
And yes, it is
CERTAINLY red...
red ...
Pat F.
Transoniq

jind any illji)
[Dvkrogh@aol.com -— I can't
can’t find
info about
the ASR-X Pro you mentioned -— could you give me
an exact address? As I live in Germany, the "Key“Keyboard" September issue is not an option for me
...
board”
me...
Thanks,
Derek}
Thanks. Derek]
ji-om Keyboard
[PF -~ Derek: I quoted the ad from
magazine.
magazine. I went up to www.ensoniq.com and
found absolutely NO mention of it either. Basically,
it's
Mh
it’s a hopped-up ASR-X that holds up to 66 Mb
RAM (counting the 2 Mb soldered ill,
in, 1I guess) with
(he
the SCSI interface builT
built in. No mention of (he
the outsee. Sorry for the
put expander built in, but we'"
we’ll see.
misinformation, but that's
that’s how the ad read: maybe

Ensoniq will get this info on their website soon
(since they're
... ]}
they’re advertising info on it is there)
there)...

[TH -— We should have inf()
info elsewhere in this issue.}
issue.]

THI have an EPS Classic. Today it suddenly will not
read its drive. It gives the message "Bad
“Bad device
ID"
ID” and goes to "Insert
“Insert disk hit Enter"
Enter” when I try
to save the sample. The disk gets reinserted and
enter is hit. This brings up "Bad
“Bad device ID."
ID.” Any
ideas on how to correct this?
Thank you in advance.
Tim
light
light]I II@earthlink.net
1 l@earthlink.net
1

-4
P .

[PF -— Tim: If your EPS won't
won’! read from its floppy
drive
can't load the OS and get "Bad
drive,, you can’t
“Bad Device
ID" messages. I think you’ve
you've got a bad or corID”
rupted disk. Reformat the defective/bad
defectivel bad floppy, and
ensure it's
it’s an 800K DSDD, and NOT a 1.4
I.4 Mb
DDHD's have two shutter holes,
DDHD floppy. DDHD’s
DSDD's have one
... }
DSDD’s
one...]

Hi there,
Hi

TS·12
I am currently wrestling with the following TS-12
problem. My set-up is a TS-12 plus Korg 03 sound
module, which is connected to the TS-12 on MIDI
channel l. For live work I play the TS-12 exclusively in its Preset mode, where each preset will
not only set up the TS-12 sounds but also output
the required programme change to the Korg. This
works well and allows me "on-the-f1y"
“on-the-fly” patch changes at gig's.
gig’s.

I am now trying to record these live performances
on taper-extemal
tape+external computer sequencer and have encountered a major problem. I do not seem to be
able to capture my sound changes correctly!!
correctlyll

If I stop the sequencer and press the panel buttons
to manually change TS-12 presets this condition
continues and the Korg sounds still don
' t change.
don’t
To get back to normality I have put the TS-12
TS-I2 into
Sounds" Mode and select any sound. The Korg
its "“Sounds”
then changes its patch. Now when I return to TS-12
"Presets"
“Presets” Mode and select new presets the korg
obediently changes to the correct patches for each
preset.

Am I missing the point, doing something wrong
OR is this a software feature?
Regards,
Dan Sullivan (England)
100700.1264@compuserve.com
100700. l264@compuserve.com

[PF -— Dan: Not a soﬁware
software feature -— pilot error.
First, set the TS's
TS’s MIDI Mode to "Multi.
“Multi.”" Poly
won't
won’t go there as you want multichannel operation. Second of all, Presets and Sequences are actually different for the TS-series. In the "Preset"
“Preset “
mode you get the option of selecting 3 different

pedal , modulation
I can then record, notes, volume pedal,
modulation,,
pitch-bend AND PRESET PROGRAMME CHANGES into my external sequencer.

The next bit is where I am having troubles. I
change the TS-12 MIDI transmit setting to
SEND=TRACK so that the Korg will receive its
correct programme changes and this is what happens ......
.... u
When the sequencer runs my performance plays
both the TS-12 and the Korg -— fine so far.
However, when a Preset change comes along the
TS-12 alters
alte.rs its patch accordingly but the Korg
doesn't
doesn’t change at all. It looks as though the
programme changes to the Korg are not being
transmitted"
transmitted! I

TS-12 into my exI then fed the MIDI output of the TS-I2
ternal sequencer, put it into record mode and
switched between the two sequences. Once this was
done Iplayed
I played it back into the TS-12
TS-I2 MIDI input.

I was expecting the TS-12
TS-I2 to switch between the
two sequences mirroring my button pushes when
recording into the external sequencer. This was not
the case. I read the manual and found there is an
option to enable or disable the transmission/reception of
MIDI song changes so that external sequenofll/IIDI
cers could select TS-12
TS-l2 sequences remotely —
unfortunately when I checked this option it was already enabled.
sequence.l· with my preset setInstead of creating sequences

layers, which is fine for mixing/layering INTERINTER you've discovered, it sends
NAL TS sounds. But as you’ve
no MIDI data. Which is why you have to go to
"Send=Track"
“Send=Track” and define a SEQUENCE of both
internal and MIDI sounds. Set both of the above
there, and when you want multiple instruments,
just double-click the track you want to layer onto
the current track and they both become active
(from the keyboard).
keyboard ). And, unless the Korg is set to
receive in "Comb!"
“Combi” or "Multi"
“Multi” mode, it'll probably ignore base channel external commands. Turn
Sysex ON on the TS, open a MIDI Monitor window
on your computer, and you'll
you’ll see the TS is most
definitely sending out MIDI data: question is the
Korg set properly to receive and make sense of it.}
it. ]

tings I tried created songs, once again patch
changes all worked correctly during recording but
on replay no change in song selection was observed -— only the track sounds within the song
were changing.

[Dan Sullivan -— Despite your suggestion I am still
not having much success.

[PF -— Dan: Then it's
ff" you to contact Enit’s time for
soniq Tech Support and speak with one of their
tech support engineers for
jiJr a resolution. If it's
it’s this
sticky a problem the pros in Malvern are your best
bet. They'll
your TS and OS
They’ll askffJr
ask for the ROM rev of
ofyour
rev, the ROM rev of your external sequencer, and

I followed your instructions and copied one of my
presets into a new sequence, (I also copied the ef:
effeet setting as well). I then created another sefect

What I want to do is have the external sequencer
record my performance plus preset changes correctly.
In order that Preset programme numbers are transmitted from the TS-12 I have to set the MIDI
transmit setting to SEND=BASE. So for example,
when I press the button to select Preset UO-O,
U0-0, a
programme change command with a value of 61
6l is
external sequencer, this bit is fine.
recorded by my extemal
The MIDI receive mode is set to MODE=POL
Y.
MODE=POLY.
This has the disadvantage of not selecting the correct Korg patch -— but I can live with this for now.

quence and copied a different preset into that. I
was then in a position to switch between the two
sequences and have the correct sound changes including my external Korg 03
O3 module, (By the way
affairs as when switchthis is just the same state of
of'affoirs
ing between presets in my gig situation!)

If the changes to the track sounds were correct this
would be fine, however, the sounds that are
selected on each track do not reflect the original

thar were present when I was doing the
settings that
recording.
If I could get the transmission and reception of
of
l'm sure that this method
song changes to work I’m
would prove successful!
succes"j'ul! How can 1?]
I1}

Classifieds
HARDWARE/SOFTWARE
HAR DWAREISO FTWARE
Like new SD-I
/32V, exIra
SD-1/32V,
extra discs, manuals, dust cover.
Never left home. $885
$885.. Email: BigChord@aol.com or
phone: 209-439-7420.
Ensaniq CDR-l
Ensoniq
CDR-1 & CDR-3 for ASR-IO.
ASR-I0. Best offer.
Rubber Chicken Piano Pak (5 disks) & Bass Pak (10
disks) far
ASR -IO. Best offer. 248-693-9497.
for ASR-10.
EPS Classic for sale! Very Heavy-Duty
l-Ieavy-Duty ATA flight
ﬂight
case. PS Systems 4X expander. 250+ floppies
ﬂoppies,, with
printed lisling,
listing, of sounds. Home seldom used only -—
Never used live or in studio. Excellent condition!
$1000 firm -~ Will separate w/case. Finale 33 -— Notation
Software. In box. Full documentation. $75 abo.
obo. Keith
Mullin, 217-221-7267
217-22I-7267 days, 217-224-4036
2l7-224-4036 nights,
kmullin@harris.com.
W
ANTED! New or good used EPS —
- mine died.
WANTED!
Merle Hilbrich,
Hilbrich, Trinity Baptist Church, 319 E. Mulberry, San Antonio, Texas 78212. Fax: 210-738-7797 or
phone: 210-733-620
210-733-6201.I.
ASR-IOR,
ASR-10R, 16 Meg/SCSI/8-0ut:
Meg/SCSI/8-Out: $2100. ESQ-I,
ESQ-1, new
battery: $450. TX8IZ:
TX81Z: $150. Phone: 248-693-9497.

ASR-X for sale, with SCSI, 34 meg Ram,
Ram , barely used,
$1700 ar
or best offer. E-mail kthomas@ cyg.net or call
(519)
271-7964.
(519)271-7964.
EPS-Classic
EPS—Cla.ssic keyboard,
keyboard, 4x memory exp+SCSI,
cxp+SCSI, 8xOut
expander
ex pander - very good shape, 900 USD + shipping. SyQuest 44 MB drive with 5 carts (with a few
sounds/tunings) and cables. 200 USD + shipping.
European 220 volts versions!!! Jorgen Teller, Copendelete@compuserve.com.
hagen, Denmark. e-mail: delete@compuserve.com,
phonelfax: 45- 33263614.
phone/fax:

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 ar
or
services, are $0.251
$0.25/ ward
word per issue (BOLD type:
$0.45/word). Unless renewed, freebie ads are removed
after 2 issues. While you’re
you're welcome to resell copyrighted sounds and programs that you no longer have
any use for, ads for copies of copyrighted material will
not be accepted. Sorry -— we can't
can’t (we won't!)
won’t!) take ad
dictation over the phone!
-

—**

fn"

other details above the scope of this forum. Let us
know what they recommend should the same issue
return in another letter.
letter. And good luck!]
luck!}

connected to the MIDI IN of the AN1x,
ANlx, and the
ANlx connected to the MIDI IN
MIDI OUT of the AN1x
of the ASR-X (in case they need to handshake).
file into the ASR and transmit it.
Load the sysex ﬁle
it.

doesn't work, this'll
[TH -— And if that doesn’t
this’ll be among
the letters that go for the "official
“official word"
word” before
going to print -— so there'
there’s.I' still one more chance.}
chance.]

AN I x should respond with a "Receiving
The AN1x
“Receiving MIDI
Data" prompt if it is receiving the data.
Data”

[Eric Montgomery (Emu-Ensoniq) -— I know that
this may sound silly but,
hut, if it all worked hefore
before except for the Korg, then the way you were doing it
at first
jirst probably
prohahly worked except for one thing. Aﬁer
After
the computer recorded everything, and it is time
pLayhack, he
pLugged into
for playback,
be sure that the Korg is plugged
the MIDI thru port of the TS instead of the MIDI
out port. You did not mention that you had a multi
nOI.
port interface so I assumed you did not.
If you do have a multi port interface, just insert the
j;)r the Korg
program changes where needed for
separately. You already have the note dala
data in the
computer. It is just a matter of setting the Korg on
its own track and inserting program changes where
they are needed.
needed.}]

Hi,

The ASR-lO
ASR-10 keyboard we work with has
behaviours , sort of like a mind
developed strange behaviours,
of its own. When the OS diskette is inserted the
"Cal
ibration failed”
failed" message shows up. After
“Calibration
several attempts to reboot the ASR may finally
finall y
work only to start randomly playing numerous
notes and keys. A strange message on the display
keeps popping up: ERROR 144
I44 -- REBOOT. Have
any of you encountered any such difficulties with
this particular model or make?
Daniel &
& Bill
dopn@goteborg.mail.telia.com
dopn@goteborg.mail.telia.com

[PF -- Dan & Bill: Sounds like a defective or intermittent keyhoard
keyboard assemhly,
assembly, as this is what's
what’s actually being caLihrated
calibrated when you get that message.
Error 144 is a MIDI huffer
buffer overjlow,
overﬂow, which the
keyhoard
keyboard CAN cause if defective,
defective, hut
but usually 144
means you’re
you're pumping more MIDI data into the
ASR than it can deal with. Take your pet to an
Authorized Ensoniq Service Center: they can
square you away in no time
... }
time...]

Hi,

’

As this is a current Ensoniq product, I’d
l'd call Tech
support at Malvern if you have any trouble doing
u

this. That'
That’s.I' a relatively new product that any of
of
their tech support engilJ-eers
engipeers should be able to steer
thru .. .}
you thru...]

DearTH,
Dear TH,
I have a bit of a problem on my hands. I am the
proud owner of an EPS Classic with a mind of its
own. The problem I have is that after booting the
floppy drive
unit, every time it has to engage the ﬂoppy
the drive spins without reading. It does this
EVERY time, whether trying to load an instrument,
after pressing the sample button or when trying
formatting a floppy.
ﬂoppy. I have tried using different
O.S. disks/versions, I even downloaded a new one.
I even tried cleaning the drive, to no avail. Someone told me I needed to have the drive rebuilt? But
I don't
don’t think that makes any sense. If there was
something wrong with the drive wouldn't
wouldn’t it not be
able to load the O.S. disk, and therefore boot?

Please help!
Anthony
san_agustin_l@hotmaiLcom
san_agustin_ l @hotmail.com

[PF -- Tony: Just because a drive can read the OS
sectors doesn't
doesn’t mean it can read the entire disk.
disk.
You problem could he
be as simple as a dejective
defective OS
diskette, a failing disk drive, a failing power suppL
y, intermittent connectors, maybe
mayhe even the logic
ly,
hoard.
prohlem of this nature it'
board. On a problem
it’s.I' ahsolutely
absolutely
hest
best to take your EPS to an Authorized Service
Center for
ji)r the following reasons:
(A) He can run proprietary diagnostics that can
prohlem. Guys like us can only "shotpinpoint the problem.
“shotgun"
gun” parts (replace parts we THINK are bad)
bad).. And
if we’re
we're wrong we've
we’ve spent money to replace the
part.
wrong part.
(8)
(B) He can warrant his work. All Ensoniq repairs
are guaranteed for the remainder .of
_of the warranty
or 90 days, whichever applies to a particular
repair. You won’t
won't get this guarantee anywhere
BUT Ensoniq.
(C) Your EPS is no longer manufactured.
manufactured. This
you hlow
you're
means if
ifyou
blow it up or otherwise nuke it, you’re
hosed. If an UN-authorized tech hlows
blows it up or

(It has the latest O.S.)

otherwise nukes it, you’re
you're hosed. An Authorized
Service Tech knows how 10
jix these things,
to fix
things, so
you ' ll avoid hoth
... ]}
you’ll
both scenarios
scenarios...

THTH—

Once you get these patches in an ASR-X-readable
ASR-X-readahle

I would like to know who has the best patches for
the ESQ-l.
man
ESQ-1. I've
I’ve been looking into Patch
Patchman
Music, Voice Crystal, Manymidi, and Syntaur
Productions. I purchased a 3 volume set from Kid
Nepro and was very disappointed with the quality
of the programming. The sounds were useless. The
factory presets were better.

j(lrmat, set the ASR-X to transmit Sysex inji)rmaformat,
information.
yo u have the MIDI out of the ASR-X
tion. Ensure you

S. Somsoda

14
14

_.-, ._.l

patches into my Yamaha ANlx (they are in ANIX
format -— downloaded from the net). Could you tell
me how to get the ASR-X to transmit sysex data?

[PF -- Rohert:
jimnat these
Robert: The issue here is what format
patches were saved in. Are they Cakewalk Sysex
dumps, Unisyn dumps, Galaxy patch format,
j;)rmat, IBM
jl)rmat? This will determine if you can do
or PC format?
this. As I don
't own an ASR-X I can't
step-hy-step
don’!
can’t step-by-step
procedure.
you thru this. But I can expLain
explain the procedure.

suk@ix.netcom.com
suk@ix.netc0m.com

[PF -- S. Somsoda: You're
You’re looking in all the right
places, as you reference the three top choices for
these patches. As far as who has the "hest"
“best”
- sounds are way too subjective
suhjective for
j()r anyone
patches to say who is "best,
“best,”" as what is "best"
“best” for you may
fo r someone else. It’s
ft's probably
prohahly bethe
be the "worst"
“worst” for
ter to contact the patch vendor and ask what type
of sounds are availahle.
hy their response
available. Usually by
they've done serious work on their
you can tell if they’ve
stuff or not. I can speak from personal experience
stuff‘
that Sam Mims of Syntaur Productions does
wonderful sound development for the SQIKSI
SQ/KS/
VFXI
SD series, so I’d
I'd look at his wareS first...]
jirst .. .}
VFX/SD
- Having purchased a zillion ESQ-I
[Steve Vincent —

patches over the years representing just about
every vendor, my vote dejinitely
definitely goes with Syntaur.
Sam Mims has created gorgeous patches that fully
explore and utilize the ESQ-1's
ESQ-I ' s sonic abilities. I
have used mostly Syntaur patches on my recordings.}
ings.]

TH-

What are my options for adding new sounds to my
ESQ-l?
ESQ-1? I know it uses an EPROM card, but are
there additional sound cards available or can it be
interfaced into my computer for downloading???
Thank you,
First time Transoniq Hacker user,
Dan Copher

[PF -— Dan: The ESQ-I
ESQ-! can interface with a comj()r downloading and uploading
puter via MIDI for
You'll need a Sysex utility or
o~ editor prosounds. You’ll
straightjimvard. You
gram to do this
this,, bUI
but it'
it’s.I' pretty straightforward.
can also Sysex via MIDI to a Mirage, an
EPSIl6+IASR or other Sysex device such as a
EPS/16+/ASR
MIDIDisk or other MIDI Data
Datajiler
...
M1D1Disk
filer...
The EEPROM carts are the coolest, though, as
they're
they’re immediately recognized. Sounds can be
played from them as soon as it's
it’s inserted, where,
where,
with Sysex storage, it takes some time to load the
memory of the instrumen!...}
instrument...]

THCan I transfer my VFX seqs to a newer machine, if
I were to purchase one?

I am trying to use my ASR-X to sysex some synth

Thank you very much,
Robert
rcmidi@yahoo.com

SEA94@aol.com

j(Jrmat of se[PF -— SEA94: Sure. Depends what format
quences your new machine can read.
read. Gary Giehler
Giebler
has the most extensive collection of sequence converters on this hlue
blue hall.
ball. URL is www.giehler.com.
www.giebler.com.
Check there to make sure your new keyhoard
keyboard is
supported. Chances are it'll
it’ll read Standard MIDI
you'll just need the VFXsd->SMF
Files (SMF) and you’ll
utility...]
.. ·}
utiliIY

M
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Why not give L. B. Music a try and see
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VFX-sd
ASR-1 0
ASR-l0
ESQ-1

L-

I
-

-:@:--

"thlil
from do_/oBtlins!"
"tire hass/lil
hassle rlillJlov#HI
removed ti-om
downloading!"

SD-1 TO TS-l011
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50-1
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6-i O 933_0332

" -=2.-:1

Convert Standard MIDI Files to/from
Sequences for these keyboards:

26 Crestview Drive
Phoenixville,
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19460
Phoe
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SD-1
SO-1
EPS
SO-2
SQ-2

.:._

7-1 ".1

:=i12=E=E=E=i=E-. _ _, ==- .
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LB Music Technologies, Inc.
51
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N6WIOWI"l
610-356-"/255 I/ Fax:
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CompuServe:
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Internet: http://www.lbmusictech.com
15

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MIDI l\/IAIQK
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I98

BULK RATE
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PAID
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‘I1

TRANSONIQ HACKER
1402 sw UPLAND o|=r., PORTLAND, on 97221
1402 SW UPLAND DR. , PORTLAND, OR 97221

SUBSCRIPTION MATERIAL

RETURN SERVICE REQUESTED

DATED MATERIAL - TIME VALUE

Publisher: Eric Geislinger
fPublisher:
Geisiinger

‘ Our (somewhat regular) illustrious bevy 01
oi writers includes: Craig Anderton, Robby
Berman,
Barman, Britton
Britten Beisenherz, Mark Clifton, Steve Curtin, Anthony Ferrara, Pat
Finnigan, Jeffrey
Jettrey Fisher, Frank Fortunato, Duane Frybarger, Garth Hjelte, Jeff
Jett
1 Jetton, Dara Jones, Johnny Klonaris, Ray Legnini, Bob Lang, Sam Mims, Eric
; Montgomery, Dan Rohde, J. D. Ryan, Tom Shear, Kirk Slinkard, Jack Tolin,
Tolin , Tom
I Tracy, Joe Travo, Steve Vincent and Garry Wasyliw.
Wasyiiw.
Copyright 1998, Transoniq Hacker, 1402 SW Upland Drive, Portland, OR
97221. Phone: (503) 227-6848 (8 am to 9 pm Pacific West Coast Time).
K9-7221.

___

____

WW7?

I
I

‘ I

Transoniq Hacker
is the independent user's
Hackeris
user’s news magazine for Ensoniq
products. Transoniq Hacker is not affiliated in any way with Ensoniq Corp.
Ensoniq and the names of their various products are registered trademarks of
Corp . Opinions expressed are those of the authors and do not
the Ensoniq Corp.-Opinions
necessarily reflect those of the publisher or Ensoniq Corp. Printed in the
United States.
r
"
~

__}

—

hIlP:/Iwww.soundcenlral.com/-chickeneps

Check out our other accessories for the ASR-X Internal ZipDrives'",
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, Editrix: Jane Talisman

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Ensoniq Corporation Transoniq Hacker Archive Issue #159 th_159 Ensoniq Corporation - Transoniq Hacker Archive - Issue #159

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