Ensoniq Corporation Transoniq Hacker Archive Issue #159 Th 159

-

X

Notes

Garth Hjelte & the

ASR-X

Internet

List

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

seem like it.

Let's

get up to date ...

OS

2.62

Ships

Not everyone has

it

at the time

of

this writing,

but yes, it

is

shipping. There are no new fea-

tures, just fixes.

I) Addresses internal sequencer timing glit-

ches and MIDI response

2) Improved loading time from floppy,

including speeding up EPS/ ASR conversions.

3) MIDI sync fixes, MIDI bank & program

select fixes with a setting to support the back-

ward standards

of

Roland and Alesis gear

with MSB or LSB formats.

4)

Disk access problems loading and getting

the

"no

loadable files" errors have been ad-

dressed.

There may

be

more, but Emu-Ensoniq

doesn't

send any documentation on what has been

ISSUE

NUMBER

159,

$2.50

fixed and what

hasn't

with the update. So,

break out the checkbook and the hex wrench

again. See below for details on getting your

new OS.

Timing

Errors

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?

You're

not alone -the

ASR-X's

response to MIDI and its internal se-

quencer

hasn't

been the best -especially

prior to 2.62 OS.

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 in-

formation, 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.

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 simul-

taneously to separate tracks on our hard disk

recorder. We then figured out the starting

sample for each beat

by

using a graphic sound

editor.

We tested the timing delay between the same

beat on track I and track

16

as

the number

of

tracks (with

th

e same pattern

as

the first) used

was increased. In this case I was looking for

the delay value to be as small

as

possible.

The

Independent

Resource

for

Emu-Ensoniq

Users

In

This

Issue ...

Articles:

X Notes

Garth Hjelte & the ASR-X

Internet List ........................................ cover

The Keyboard Foley Artist

J.D. Ryan ................................................... 4

EPS-16+ and ASR Editing Made Easy

Eric Montgomery ....................................... 5

How Sounds Work

Part IV -Groovy Guitars Galore!

Mark (The Kid) Clifton

..

............................ 6

Reviews:

Basement Tapes: Michael Paradise Band

Steve V incenf ............................................. 7

Regular

Stuff:

Random Notes ........................................... 3

Hypersoniq ................................................ 3

The Interface ...........

..

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

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

13

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

15

#

of

tracks used: milliseconds between two

tracks (averaged over 4 beats)

2 2.9

3 5.8

4 8.7

5 11.6

6 14.2

7 16.3

16

42.1

SEPTEMBER,

1998

)

HI

__

X

Notes

Garth

H

jelte

&

the

ASR-X

Internet

List

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

seem

like

it.

Let’s

get

up

to

date...

OS

2.62

Ships

Not

everyone

has

it

at

the

time

of

this

writing,

but

yes,

it

is

shipping.

There

are

no

new

fea-

tures,

just

fixes.

l)

Addresses

internal

sequencer

timing

glit-

ches

and

MIDI

response

2)

Improved

loading

time

from

ﬂoppy,

including

speeding

up

EPS/ASR

conversions.

3)

MIDI

sync

fixes,

MIDI

bank

&

program

select

fixes

with

a

setting

to

support

the

back-

ward

standards

of

Roland

and

Alesis

gear

with

MSB

or

LSB

formats.

_

4)

Disk

access

problems

loading

and

getting

the

“no

loadable

files”

errors

have

been

ad-

dressed.

There

may

be

more,

but

Emu-Ensoniq

doesn’t

send

any

documentation

on

what

has

been

fixed

and

what

hasn’t

with

the

update.

So,

break

out

the

checkbook

and

the

hex

wrench

again.

See

below

for

details

on

getting

your

new

OS.

Timing

Errors

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‘?

You’re

not

alone

—

the

ASR-X’s

response

to

MIDI

and

its

internal

se-

quencer

hasn’t

been

the

best

—

especially

prior

to

2.62

OS.

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

in-

formation,

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.

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

simul-

taneously

to

separate

tracks

on

our

hard

disk

recorder.

We

then

figured

out

the

starting

sample

for

each

beat

by

using

a

graphic

sound

editor.

We

tested

the

timing

delay

between

the

same

beat

on

track

l

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.

The

Independent

Resource

for

Emu-Ensoniq

Users

-

,,_

___

W‘

In

This

issue

ATTICIQSZ

X

Notes

Garth

H

jelte

&

the

ASR-X

Internet

List

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

..

cover

The

Keyboard

Foley

Artist

J

.D.

Ryan

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

..

4

EPS-16+

and

ASR

Editing

Made

Easy

Eric

Montgomery

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

..

5

How

Sounds

Work

_

Part

IV

—

Groovy

Guitars

Galore!

Mark

(The

Kid)

Cliﬁon

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

..

6

Reviews:

.

Basement

Tapes:

Michael

Paradise

Band

Steve

Vincent

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

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

.. 7

Regular

Stuff:

W1:

:

wwww

Random

Notes

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

..

Hypersoniq

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

..

The

Interface

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

..

Classifieds

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

..

Hacker

Booteeq

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

I5

L

J

#

of

tracks

used:

milliseconds

between

two

tracks

(averaged

over

4

beats)

\lO\U1.|>~L»Jl\J

2.9

5.8

8.7

ll.6

14.2

16.3

i

l6

42.1

-----

—

--'

'

-

_

’

_

I

r

In

__i

ii

nun-1|:

in

I

-

—

W

[

ISSUE

NUMBER

I59,

$2.50

SEPTEMBER,

I998

e

u

—

~

. .

.

—

7--_,_

,_,

-

_

I

4--I

-

--

i

-f

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--

-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 be-

tween beats was about 160th note at 120

bpm. These numbers are reasonable. In real

life situations these numbers can be im-

proved

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

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 respec-

tively.

In subjective analysis by listening to the

beats, we heard 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

test, and which could be very impor-

tant,

is

to

see how these numbers change

when some realtime controller messages are

added to the tracks. Since the ASR-X has

been "pitched" to the "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 se-

quencer 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 expan-

sion card sounds, there was a certain amount

of

distortion that has been fixed. On the not-

so-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 had that

problem for a year -until OS

1.3

fixed it.)

1 have mentioned a sys-ex bug whereas sys-

ex dumps

of

ASR

I Akai/Roland translated

sounds do not dump properly. This has been

temporarily dealt with - now you cannot

send/receive sys-ex dumps

of

ASR

I Akail

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

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

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

ASR-X

Too/sjor

Windows.

It

now has

the capability to create/delete/edit Insert Ef-

fects into

I-S0UND's,

and fully edit ASR-X

AIFF files using your favorite sound editor

(Sound Forge, Coo/Edit, others). A Mac ver-

sion

is

under development.

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

see, how much have I forked

over for new 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

BPM, and if

you have 8MB or more installed, the sequen-

cer has 140,000 event capacity. Also new

is

Stomper, a software synthesis feature that

can make synth drum (and other) sounds

from scratch. (See

Zap's

site below - a

Windows version has been available for

some time.) And can we spell "ph at" right?

(It's FAT.) See http://www.ensoniq.com/

htmllmainasrxpro.htm for more WAY COOL

details, including the TIPS page (submit

your own tips!) and the PARTNERS section.

Oh, and

it's

RED!!!!!

Speaking

of

seeing RED, that seems to be

Emu-Ensoniq's company color -their web

site has been improved again -and

it's

RED too. Either RED means ALERT, or

DANGER ... we'll see. Interestingly, there

's

no mention

of

the ASR-X "Amateur" (the

original) at the site -looks like Emu-

Ensoniq phased that out.

Editing Ensoniq-type

AIFF

Files

A common problem

I've

been hearing is that

2

someone will edit an ASR-X generated AIFF

file using Sound Forge or Coo/Edit, only to

find that it

won't

load back into the X as part

of

a I-SOUND file.

Emu-Ensoniq advertises the reading

of

"in-

dustry standard AIFF files," which

is

true,

but the X-generated AIFF's have some addi-

tional chunks

in

their header. The AIFF file

format allows for that; that's the beauty

of

AIFF. Problem is, all

PC

sound editors that

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

'v

e written a free Windows utility called

E-AIFF Loader. It allows you to select the

AIFF to edit, finds your related I-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 restor-

ing/updating the E-specific chunks and up-

dating the .SOU file. It

is

available at

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

asrx.html. (We'll try to get it into Mac soon.)

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 cool. Or you can send a check for

$9.95

to:

Emu-Ensoniq

ATTN: ASR-X Upgrade

155 Great Valley Parkway

Malvern, P A 19355

Rad

Web

Sites

If

you

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

by

going

to

http://www.onelist.com/isregis-

tered.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

mainasrxpro.html

http://www.emu-ensoniq.com

>From the Creators themselves. Keep look-

ing at the www.emu-ensoniq.com site -

it's

being developed.

Warren

Bones Novakill Site

http://www.ar.com.

au

/-novakili/synth.htmi

A general overview

of

synthesis with the

ASR-X

in

mind -entertaining site as well

Dgoa's ASR-X Site

_-|_.

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

be-

tween

beats

was

about

160th

note

at

I20

bpm.

These

numbers

are

reasonable.

In

real

life

situations

these

numbers

can

be

im-

proved

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

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

respec-

tively.

In

subjective

analysis

by

listening

to

the

beats,

we

heard

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

test,

and

which

could

be

very

impor-

tant,

is

to

see

how

these

numbers

change

when

some

realtime

controller

messages

are

added

to

the

tracks.

Since

the

ASR-X

has

been

“pitched”

to

the

“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

se-

quencer

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

expan-

sion

card

sounds,

there

was

a

certain

amount

of

distortion

that

has

been

fixed.

On

the

not-

so-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

l6-Plus

had

that

problem

for

a

year

—

until

OS

1.3

fixed

it.)

I

have

mentioned

a

sys-ex

bug

whereas

sys-

ex

dumps

of

ASR/Akai/Roland

translated

sounds

do

not

dump

properly.

This

has

been

temporarily

dealt

with

—

now

you

cannot

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.)

ASR/Akai/Roland

translated

sounds

are

the

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

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

ASR-X

Tools

for

Windows.

It

now

has

the

capability

to

create/delete/edit

Insert

Ef-

fects

into

l-SOUND’s,

and

fully

edit

ASR-X

AIFF

files

using

your

favorite

sound

editor

(Sound

Forge,

CoolEdit,

others).

A

Mac

ver-

sion

is

under

development.

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

see,

how

much

have

I

forked

over

for

new

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

l/100

BPM,

and

if

you

have

8MB

or

more

installed,

the

sequen-

cer

has

140,000

event

capacity.

Also

new

is

Stomper,

a

software

synthesis

feature

that

can

make

synth

drum

(and

other)

sounds

from

scratch.

(See

Zap’s

site

below

—

a

Windows

version

has

been

available

for

some

time.)

And

can

we

spell

“phat”

right‘?

(It’s

FAT.)

See

http://www.ensoniq.com/

html/mainasrxpro.htm

for

more

WAY

COOL

details,

including

the

TIPS

page

(submit

your

own

tips!)

and

the

PARTNERS

section.

Oh,

and

it’s

RED!!!!!

Speaking

of

seeing

RED,

that

seems

to

be

Emu-Ensoniq’s

company

color

—

their

web

site

has

been

improved

again

—-

and

it’s

RED

too.

Either

RED

means

ALERT,

or

DANGER...

we’ll

see.

Interestingly,

there’s

no

mention

of

the

ASR-X

“Amateur”

(the

original)

at

the

site

—

looks

like

Emu-

Ensoniq

phased

that

out.

Editing

Ensoniq-type

AIFF

Files

A

common

problem

I’ve

been

hearing

is

that

2

someone

will

edit

an

ASR-X

generated

AIFF

file

using

Sound

Forge

or

CoolEdit,

only

to

find

that

it

won’t

load

back

into

the

X

as

part

of

a

l-SOUND

file.

Emu-Ensoniq

advertises

the

reading

of

“in-

dustry

standard

AIFF

files,”

which

is

true,

but

the

X-generated

AIFF’s

have

some

addi-

tional

chunks

in

their

header.

The

AIFF

file

format

allows

for

that;

that’s

the

beauty

of

AIFF.

Problem

is,

all

PC

sound

editors

that

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

written

a

free

Windows

utility

called

E-AIFF

Loader.

It

allows

you

to

select

the

AIFF

to

edit,

finds

your

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

restor-

ing/updating

the

E-specific

chunks

and

up-

dating

the

.SOU

file.

It

is

available

at

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

asrx.html.

(We’ll

try

to

get

it

into

Mac

soon.)

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

cool.

Or

you

can

send

a

check

for

$9.95

to:

Emu-Ensoniq

ATTN:

ASR-X

Upgrade

I55

Great

Valley

Parkway

Malvern,

PA

19355

Rod

Web

Sites

If

you

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

by

going

to

http://www.onelist.com/isregis-

tered.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/html/

mainasrxpro.html

http://www.emu-ensoniq.com

>From

the

Creators

themselves.

Keep

look-

ing

at

the

www.emu-ensoniq.com

site

—

it’s

being

developed.

Warren

Bones

Novakill

Site

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

1

http://www.globaldrum.com/interface/ asrx

ASRX Cakewalk Instrument Definitions,

SOU sound files, .WAV's, ASR-X songs

(.MP3) by Dgoa, and links

Rubber

Chicken Software

http://www.soundcentral.com/-ch ickeneps/

asrx.html

Lot's

of

ASR-X stuff

Zap's

Site

http://www.master-zap.com

"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,

RND

(iIi)

Transoniq News

We certainly hoped to have more news

regarding the Emu-Ensoniq merger and what

it means to our humble little publication, but

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

ENSONIQ Announces

ASR-X

Pro Resam-

pling

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, expan-

dable synthesizer, sequencer, and effect unit

as standard features

in

a single tabletop unit

with drum pads.

New features

of

the ASR-X Pro include a

distinctive new look, and RAM expandable

to 66mb for over

12

minutes

of

44.1 khz

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 phat-

ter sounds'

10

"Essentials" buttons have

been added for instant access to

15

sounds

of

your choice. These buttons may also be used

for numerical data entry or direct access

of

along with Little Drummer Boy (also called

LOB) -http://stomper.base.org -be

prepared; this

is

quite a site!

SoundEngine

http://www.soundengine.com

ASR-X sounds

SoundCentral

http://www.soundcentral.com/keyboard/ en-

soniq/asrx.html

Free ASR-X sounds and information

About this article: Shehryar Lasi provided

most

of

the information on the tests,

"Zap"

Front

Panel

patterns. In addition, tempo resolution can

now

be

set to within

11100

BPM for more ac-

curate matching

of

audio loops to MIDI se-

quences.

The ASR-X Pro provides a unique

combination of tools for sampling-intensive

productions such as Hip-hop, Techno, In-

dustrial, and dance oriented music. The ex-

panded features

of

the ASR-X Pro also make

it suitable for a much wider variety

of

ap-

plications. 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 publish-

ing 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 ROM memory. Install-

ing the X-8 output expander allows sounds to

be routed to

anyone

of

10

outputs. The in-

cluded 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

SIMMS chips.

Computer users, internet developers, and

multimedia professionals will appreciate the

ASR-X

Pro's

use

of

standard file formats.

Disks are DOS formatted, sounds are saved

as AIFF files, and EPS, ASR-IO, Roland,

AKAI, and WAVE files are easily imported.

ENSONIQ has many 3rd party partners who

3

Andersson gave

us

the first-hand

in

formation

on the ASR-X Pro, and Chris Nefarium

helped with additional 2.62 update informa-

tion. Special thanks to Chris for running the

ASR-X

list._

Bio: Garth Hjelte runs Rubber Chicken Soft-

ware Co., a multi-national organization

which exclusively supports Ensoniq sam-

plers. It is in no way affiliated with the

UN.

offer a wide range

of

compatible products.

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

For 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 Soundsets I and 2 are available

on

ROM cartridge, for $59.95. (You cannot

write your own sounds to this cartridge.)

Sound set I contains a variety

of

Top

40

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

keyboard. Here, you'll

find

an

assortment

of

lush pads, ethereal tex-

tures, 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 why they are more ex-

pensive) -great for organizing and saving

your sounds!

Coming soon will be a second ROM car-

tridge, containing Syntaur's Soundset 5 and

the upcoming Soundset

6.

Soundset 5

is

geared especially to hip-hOp and R&B pro-

ductions, 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.

I

http://www.

globaldrum.com/

interface/asrx

ASRX

Cakewalk

Instrument

Definitions,

SOU

sound

files,

.WAV’s,

ASR-X

songs

(.MP3)

by

Dgoa,

and

links

Rubber

Chicken

Software

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

asrx.html

Lot’s

of

ASR-X

stuff

Zap’s

Site

http://www.master-zap.com

.

“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,

RND

(ill)

Tronsoniq

News

We

certainly

hoped

to

have

more

news

regarding

the

Emu-Ensoniq

merger

and

what

it

means

to

our

humble

little

publication,

but

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

ENSONIQ

Announces

ASR-X

Pro

Resum-

pling

Production

Studio

Malvern,

Pa,

1998

—

ENSONIQ

is

excited

to

announce

the

of

the

remarkably

successful

ASR-X,

the

ASR-X

Pro!

The

original

ASR-X

was

the

first

to

offer

a

professional

quality

sampler,

expan-

dable

synthesizer,

sequencer,

and

effect

unit

as

standard

features

in

a

single

tabletop

unit

with

drumpads.

New

features

of

the

ASR-X

Pro

include

a

distinctive

new

look,

and

RAM

expandable

to

66mb

for

over

12

minutes

of

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

phat-

ter

sounds!

l0

“Essentials”

buttons

have

been

added

for

instant

access

to

I5

sounds

of

your

choice.

These

buttons

may

also

be

used

for

numerical

data

entry

or

direct

access

of

along

with

Little

Drummer

Boy

(also

called

LDB)

—

http://stomper.base.org

—

be

prepared;

this

is

quite

a

site!

S0undEngine

http://www.soundengine.com

ASR-X

sounds

SoundCentral

http://www.soundcentral.com/keyboard/en-

soniq/asrx.html

Free

ASR-X

sounds

and

information

About

this

article:

Shehryar

Lasi

provided

most

of

the

information

on

the

tests,

“Zap”

patterns.

In

addition,

tempo

resolution

can

now

be

set

to

within

1/

100

BPM

for

more

ac-

curate

matching

of

audio

loops

to

MIDI

se-

quences.

The

ASR-X

Pro

provides

a

unique

combination

of

tools

for

sampling-intensive

productions

such

as

Hip-hop,

Techno,

In-

dustrial,

and

dance

oriented

music.

The

ex-

panded

features

of

the

ASR-X

Pro

also

make

it

suitable

for

a

much

wider

variety

of

ap-

plications.

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

publish-

ing

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

ROM

memory.

Install-

ing

the

X-8

output

expander

allows

sounds

to

be

routed

to

any

one

of

10

outputs.

The

in-

cluded

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

72-pin

SIMMS

chips.

Computer

users,

internet

developers,

and

multimedia

professionals

will

appreciate

the

ASR-X

Pro’s

use

of

standard

file

formats.

Disks

are

DOS

formatted,

sounds

are

saved

as

AIFF

files,

and

EPS,

ASR-I0,

Roland,

AKAI,

and

WAVE

files

are

easily

imported.

ENSONIQ

has

many

3rd

party

partners

who

3

Andersson

gave

us

the

first-hand

information

on the

ASR-X

Pro,

and

Chris

Nefarium

helped

with

additional

2.62

update

informa-

tion.

Special

thanks

to

Chris

for

running

the

ASR-X

list.

_

Bio:

Garth

H

jelte

runs

Rubber

Chicken

Soft-

ware

Co.,

a

multi-national

organization

which

exclusively

supports

Ensoniq

sam-

plers.

It

is

in

no

way

affiliated

with

the

UN.

offer

a

wide

range

of

compatible

products.

These

include

editors,

sample

libraries,

MIDI

programs,

etc.

A

complete

list

can

be

found

at

www.ensoniq.com.

SYNTAUR

Announces

ESQ

Cartridges

Available

Once

Again

For

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

Soundsets

1

and

2

are

available

on

ROM

cartridge,

for

$59.95.

(You

cannot

write

your

own

sounds

to

this

cartridge.)

Soundset

1

contains

a

variety

of

Top

40

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

D-50

keyboard.

Here,

you’ll

find

an

assortment

of

lush

pads,

ethereal

tex-

tures,

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

why

they

are

more

ex-

pensive)

—

great

for

organizing

and

saving

your

sounds!

Coming

soon

will

be

a

second

ROM

car-

tridge,

containing

Syntaur’s

Soundset

5

and

the

upcoming

Soundset

6.

Soundset

5

is

geared

especially

to

hip-hop

and

R&B

pro-

ductions,

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

Twack! Zzzzzsss ... Plop! That plop could

be yours ...

Er

, I mean you could have

created that sound yourself and/or have ex-

tracted it from your library for synching to

a video or film track. In the movie in-

dustry, certain techniques are referred to

as

Foley recordings, named after Jack

(George) Foley, a sound effects editor and

innovator, and are still

in

use

in

motion

picture studio productions today. The ath-

letic folk who create these sound effects

are known as Foley Artists. They use ar-

tifacts to perform these sounds synch-

ronously to picture on a "Foley stage."

This high art is quite labor and equipment

intensive however, and

is

therefore quite

expensive.

Today's digital samplers are eminently

capable

of

composing "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

"a

udio perspec-

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. Some-

times

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" 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 narra-

tion, there

is

no dialog

to

speak

of

-per-

haps a little incidental music -but the

dominant part

of

the soundtrack

is

often

sound effects. For a production

of

"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 ac-

tually think that they got those little

sounds -the paws

of

a

wo

lf padding

across prairie grass, a pollywog squishing

its way through puddle mud, and the like,

J.D.

Ryan

with a shotgun mike. Not so.

They're

so

perfect the viewer never even notices

them.

When you are working up sound-for-

picture you are bound by a whole set

of

restrictions imposed

by

the video. The ac-

tual 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

• Volume -Loudness

of

the individual

event

• Continuity -How the sound "

pl

ays"

relati ve to the others

Unique to keyboard Foleying

is

the play-

able control

we

can coax out

of

our ASR

and EPS keyboards (or their MIDI cou

n-

terparts). This

is

where the argument that

keyboard Foley doesn't deliver audio

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

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

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 fi-

nesse 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 record-

ing/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 extin-

guisher rotating from an "

in

your face"

blast,

to

a flame choking discharge across

the room. A 360-degree Doppler effect!

The sound

of

that huge rolling boulder

in

"Raiders

of

the Lost

Ark"

was keyboarded

4

from

an

effects library lion's roar. Alter-

nating pitches · (keys)

of

a swishing

scimitar resulted in a comedy effect

of

a

swirling lasso - a multiple keyed, time-

stretched diving "Stuka" aircraft sound

ef

fect became part

of

a harrowing elevator

crash mix. On and on, without limit.

So, while some mere technician types may

sy

nc

sound effects to picture

by

punching

an in/out console key locked to time code

wi

th

a detached interest, oblivious as to

how those effects arrived

in

the real world,

keyboard Foley and effects artists may

have actually cre

ated

many

of

the sonic

elements

th

at are applied to the mix. The

keyboard

is

the controller

of

choice for

those who are interested

in

the artistry

of

sou

nd

design, and its imaginative use

in

the creation and customizing

of

sound ele-

ments for effects tracks is no less the

product

of

a composer playing an instru-

ment than

is

the musical chord elaborated

by

the keyboard

musician._

Bibliography:

"Creating the 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 J.D. Ryan earned certifica-

tion in "Sound

for

Motion Picture and

Television" through the Full Sail Center

for

the Recording Arts in central Florida.

Some

of

his

"Sound

Spinner" effects are

found in post-production suites around the

world

and

a

few

are published

in

Rubber

Chicken's CD-ROM II under "The

Brothers Ryan sounds." E-mail: bros-

ryan@dmv.com.

The

Keyboard

Foley

Artist

Twack!

Zzzzzsss...

Plop!

That

plop

could

be

yours...

Er,

I

mean

you

could

have

created

that

sound

yourself

and/or

have

ex-

tracted

it

from

your

library

for

synching

to

a

video

or

film

track.

In

the

movie

in-

dustry,

certain

techniques

are

referred

to

as

Foley

recordings,

named

after

Jack

(George)

Foley,

a

sound

effects

editor

and

innovator,

and

are

still

in

use

in

motion

picture

studio

productions

today.

The

ath-

letic

folk

who

create

these

sound

effects

are

known

as

Foley

Artists.

They

use

ar-

tifacts

to

perform

these

sounds

synch-

ronously

to

picture

on

a

“Foley

stage.”

This

high

art

is

quite

labor

and

equipment

intensive

however,

and

is

therefore

quite

expensive.

Today’s

digital

samplers

are

eminently

capable

of

composing

“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

perspec-

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.

Some-

times

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”

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

narra-

tion,

there

is

no

dialog

to

speak

of

—

per-

haps

a

little

incidental

music

—

but

the

dominant

part

of

the

soundtrack

is

often

sound

effects.

For

a

production

of

“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

ac-

tually

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,

J.D.

Ryan

with

a

shotgun

mike.

Not

so.

They’re

so

perfect

the

viewer

never

even

notices

them.

When

you

are

working

up

sound-for-

picture

you

are

bound

by

a

whole

set

of

restrictions

imposed

by

the

video.

The

ac-

tual

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

-

Volume

—

Loudness

of

the

individual

event

~

Continuity

—

How

the

sound

“plays”

relative

to

the

others

Unique

to

keyboard

Foleying

is

the

play-

able

control

we

can

coax

out

of

our

ASR

and

EPS

keyboards

(or

their

MIDI

coun-

terparts).

This

is

where

the

argument

that

keyboard

Foley

doesn’t

deliver

audio

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

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

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

fi-

nesse

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

record-

ing/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

extin-

guisher

rotating

from

an

“in

your

face”

blast,

to

a

ﬂame

choking

discharge

across

the

room.

A

360-degree

Doppler

effect!

The

sound

of

that

huge

rolling

boulder

in

“Raiders

of

the

Lost

Ark”

was

keyboarded

4

from

an

effects

library

lion’s

roar.

Alter-

nating

pitches

(keys)

of

a

swishing

scimitar

resulted

in

a

comedy

effect

of

a

swirling

lasso

—

a

multiple

keyed,

time-

stretched

diving

“Stuka”

aircraft

sound

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

a

detached

interest,

oblivious

as

to

how

those

effects

arrived

in

the

real

world,

keyboard

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

ele-

ments

for

effects

tracks

is

no

less

the

product

of

a

composer

playing

an

instru-

ment

than

is

the

musical

chord

elaborated

by

the

keyboard

musician.

—

Bibliography:

“Creating

the

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

I994

J.D.

Ryan

earned

certiﬁca-

tion

in

“Sound

for

Motion

Picture

and

Television”

through

the

Full

Sail

Center

for

the

Recording

Arts

in

central

Florida.

Some

of

his

“Sound

Spinner”

effects

are

found

in

post-production

suites

around

the

world

and

a

few

are

published

in

Rubber

Chicken’s

CD-ROM

II

under

“The

Brothers

Ryan

sounds.”

E-mail:

bros-

ryan@dmv.com.

EPS-

16+

and

ASR

Editing

Made

Easy

This

is

intended for those who

just

want

some simple tips and information on making

basic patches and edits on the

EPS-I6+

/

ASR-JO. I have always been one to experi-

ment 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.

Before you start editing you need to decide

what you want to edit

~

the whole patch,

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. Lastly, put the cursor

under WS and

playa

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

under-

lined. Press the Instrument button. Continue

to

press the Instrument button until you see

"XPOSE

= +0 SEMI=

+0."

Put

the cursor on

"semi"

to change the key in half steps and

"oct"

to change the octave. Press the up

arrow button to lower the key and press the

down arrow button to raise the key.

Call For Writers!

In

spite

of

their

current

god-like

status,

writers

for

the

Hacker

were

once

mere

mortals

~

just

like

you! If

you're

noodling

around

with

Ensoniq

gear,

you

too

can

join

their

elite

ranks.

We're

always

looking

for

new

writers,

and

yes,

there

is

actual

payment

involved.

If

you

're

toying

with an idea

for

an article,

how

about

giving

Editrix

Jane

a call

at

1-503-227-6848

and

listening

to

her

soothing

words

of

encouragement?

Eric Montgomery

Let's

go through setting key ranges. Press

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

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.

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

press ENV3, scroll to Envelope Mode and

change the setting from

"no

rmal" to "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/sustain determines the

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

. Lastly, sustain determines

how long a sound will continue to play after

a key has been 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

tQ

get to

"HARD

VEL = XX

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 = XX XX XX XX

XX." Change the leftmost double-digit num-

5

ber. 00 would be the shortest attack time.

To change decay, select Envelope 3 on the

keypad (#3). Using the left or right arrow

buttons, go to "HARD VEL = XX XX XX

XX XX." Edit the leftmost double-digit

number arid change it to 00. Also edit the

rightmost double-digit number and change

it

to 00. Us ing the left or right arrow button, go

to

"TIMES

= XX XX XX XX

XX."

Edit the

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

FI = XX

F2

=

XX." They are already totally open or at the

maximum. Making these numbers smaller

will make the sound darker or roll

off

the

high end. Scroll back to Mode and change

FI

= 3/LP F2 = l/LP to

FI

= 2/LP F2 = 2/

HP

Increasing the value

of

"CUTOFF FI = XX

F2

= 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 = XX XX

XX XX XX ." Edit the rightmost double-digit

number.

The

higher the number the longer

the 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.

Good luck and happy programming! _

Bio: Eric Montgomery's work has appeared

with Salt Records, Integrity Music, several

local compilation CD's

in

Gary Indiana,

CAMS

of

Chicago Ill. and Ensoniq product

demos.

I

II

r

l

I»

EPS-lé+

oncl

ASR

Editing

l\/Icicle

Ecrsy

This

is

intended

for

those

who

just

want

some

simple

tips

and

information

on

making

basic

patches

and

edits

on

the

EPS-l6+/

ASR-l0.

I

have

always

been one

to

experi-

ment

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

Before

you

start

editing

you

need

to

decide

what

you

want

to

edit

—

the

whole

patch,

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.

Lastly,

put

the

cursor

under

WS

and

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

under-

lined.

Press

the

Instrument

button.

Continue

to

press

the

Instrument

button

until

you

see

“XPOSE=

+0

SEMI=

+0.”

Put

the

cursor

on

“semi”

to

change

the

key

in

half

steps

and

“oct”

to

change

the

octave.

Press

the

up

arrow

button

to

lower

the

key

and

press

the

down

arrow

button

to

raise

the

key.

Call

For

Writers!

In

spite

of

their

current

god-like

status,

5

j

writers

for

the

Hacker

were

once

mere

.

mortals

—

just

like

you!

If

you’re

‘

noodling

around

with

Ensoniq

gear,

I

you

too

can

join

their

elite

ranks.

5

We’re

always

looking

for

new

writers,

and

yes,

there

is

actual

payment

involved.

If

you’re

toying

with

an

idea

for

an

article,

how

about

giving

Editrix

Jane

a

call

at

I-503-227-6848

and

listening

to

her

soothing

words

of

I

encouragement?

Eric

Montgomery

Let’s

go

through

setting

key

ranges.

Press

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

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.

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

press

ENV3,

scroll

to

Envelope

Mode

and

change

the

setting

from

“normal”

to

“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/sustain

determines

the

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.

Lastly,

sustain

determines

how

long

a

sound

will

continue

to

play

after

a

key

has

been

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

get

to

“HARDVEL

=

XX

XX.”

Edit

the

leftmost

double-digit

number

and

change

it

to

00.

Using

the

left

or

right

arrow

buttons

go

to

“TIMES

=

XX XX

XX

XX.”

Change

the

leftmost

double-digit

num-

5

ber.

00

would

be

the

shortest

attack

time.

To

change

decay,

select

Envelope

3

on

the

keypad

(#3).

Using

the

left

or

right

arrow

buttons,

go

to

“HARDVEL

=

XX

XX.”

Edit

the

leftmost

double-digit

number

and

change

it

to

00.

Also

edit

the

rightmost

double-digit

number

and

change

it

to

00.

Using

the

left

or

right

arrow

button,

go

to

“TIMES

=

XX

XX XX

XX

XX.”

Edit

the

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

Fl

=

XX

F2

=

XX.”

They

are

already

totally

open

or

at

the

maximum.

Making

these

numbers

smaller

will

make

the

sound

darker

or

roll

off

the

high

end.

Scroll

back

to

Mode

and

change

Fl

=

3/LP

F2

=

l/LP

to

Fl

=

2/LP

F2

=

2/HP

Increasing

the

valueof

“CUTOFF

Fl

=

XX

F2

=

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

=

XX

XX XX

XX.”

Edit

the

rightmost

double-digit

number.

The

higher

the

number

the

longer

the

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.

Good

luck

and

happy

programming!

—

Bio:

Eric

Montgomery’s

work

has

appeared

with

Salt

Records,

Integrity

Music,

several

local

compilation

CD’s

in

Gary

Indiana,

CAMS

of

Chicago

Ill.

and

Ensoniq

product

demos.

I,

HO\N

Sounds

Work

Part IV -

Groovy

Guitars

Galore!

What?? Another installment

of

that wacky

SQ

programming series with the cheesey

title? You betcha! And this time around, as

promised,

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

than a few fistfights with the editor. [Ed. -

Mark, dear, 1

don't

make fists. [ use

my

little

red

pen.}

So

I,

being the peaceful guy that I am, will

merely suggest that you do your own re-

search on the subject. With a little digging,

you're

bound to find some useful books and

articles (you know, from those other mag-

azines) or maybe even a guitar player who

will cooperate with a nerdy keyboardist like

Mark (The Kid) Clifton

yourself and help you out.

The first thing to do

is

look at the envelopes

of

the accompanying patch, ACOUSTIC

GUIT

AR.

You'll

notice that

I've

set Key-

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

the fact that the higher strings on a guitar are

stretched tighter than the lower ones so they

vibrate

fof

a shorter amount

of

time. This

characteristic

is

inherent in almost all pluck-

ed string instruments. You'll also notice that

I've

applied some Env 2 modulation to the

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

programmed a slight amount

of

modula-

tion from Env I, which 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 By: Mark Clifton AMP 1

Initial

99

Peal<

99

WAVE 1 2 3 LFO 1 2 3

Break

88

Select Voice

On On

Off

LFO

Speed

Sustain

00

Wave Class String String Noise Rate

Attack

00

Wave

AcousGtr

Level Oecay 1

36

Delay Time

000

Delay Decay 2

67

Wave

Direction

Forward

MODSRC

Release

29

Start Index

00 00

Wave Vel-Level

90

MODSeR

Off

Restart Vel-Attack

00

MODAMT

Vel Curve Convex

Restrk Decay

39 39

FILTER 1 2 3

Mode

Normal

._-

Filter 1

2Lo 2Lo

KBDTrack

+28

PITCH 1 2 3 Filter 2 2Hi 2Hi

Octave

+0

+1

FCl

Cutoff

000

OUTPUT 1

$emilone

+00 +00

ENV2

+70 +70

VOL

82

Fine

+00 +04

FC1

KBD

+00 +00

Boost

On

ENV1 +01 +01

MODSCR

Veloc Veloc

MODSRe

Wheel

LFO

+00

MODAMT

+11 +

14

MODAMT

-06

MODSeR

Off Off

FC2 Cutoff

000 000

KBD Scale

+00

MODAMT

-

ENV2

+70

+14

Key Range

KBD Ptch Track

On

FC2

KBD

+00 +00

Output

Bus

FX1

Glide

Off

FC1MO[)'Fe2

On On

Priority

Med

Glide Time

00 00

Pan

+00

Vel window

>000

ENV1 1 2 3 ENV2 1 2 3

quickly evens it out to the correct pitch. This

characteristic on a guitar

is

caused by the in-

creased 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 ac-

curate recreation

of

that instrument's sound

and

is

overlooked too often

by

many pro-

grammers.

Vibrato

is

another often abused aspect

of

an

instrument's character that I chose not to in-

clude 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 bend-

ing

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,

have this greater freedom

of

movement and

are therefore capable

of

producing a pure

up-down pitch vibrato.

The mod wheel on this patch brings

in

another guitar wave tuned an octave higher

to

simulate a twelve-string guitar. The mod

2

99

88

00

36

67

29

40

00

Convex

Normal

+28

2

88

On

Wheel

+99

+00

FX1

Med

+00

>000

3

pedal increases chorus-

ing, an effect that really

complements the sound

of

an acoustic guitar.

For

a dreamy new age- type

sound, turn up the mod

wheel all the way and

bliss out until next time

when I'll blow some hot

air about woodwinds. _

--

Initial

00 00

Inilial

99 99

EFFECTS -CHORUS AND REVERB

Bio: Mark Clifton is a

player and composer

of

Jazz, New Age, Orches-

tral

and

Rap (yes, Rap!)

music

and

an aspiring

Cyberpunk writer who

also wouldn't

mind

going

into sound design or film

. Peak

40

Peak

99

Break

00

Break

65

Sustain

00 00

Sustain

00

Attack

00 00

Attack

00

Decay 1

19

Decay

1

38

Decay 2

00 00

Decay 2

71

Release

00

Release

66

Vel-level

00 00

Vel-Level

66

Vel-Attack

00 00

Vel-Attack

00

Vel Curve Quikrise Quikrise Vel Curve Convex

Mode Finish Finish Mode

Norma

l

KBDTrack

+28

KBDTrack

+28

99

FX-1

65

FX

·2

00

Decay time

00

HF

Damping

38

Chorus Rate

71 Chorus Depth

71

Chorus Center

66

Feedback

00

Chorus Level

Convex

MOD

(Dest)

Normal

BY

(MODSRC)

+28

MODAMT

6

22

15

35

59

20

16

50

+00

00

LeIJel

ModPed

+50

scoring. His

color is the

star-speckled

of

space.

This article

appeared

in

(June, 1993).

favorite

infinite,

blackness

originally

TH

#96

l—low

Sounds

Work

Part

IV

—

Groovy

Guitars

Galore!

What??

Another

installment

of

that

wacky

SQ

programming

series

with

the

cheesey

title?

You

betcha!

And

this

time

around,

as

promised,

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

would

surely

provoke

more

than

a

few

fistfights

with

the

editor.

[Ed.

—

Mark,

dear,

I

don’t

make

fists.

I

use

my

little

red

pen.

]

So

I,

being

the

peaceful

guy

that

I

am,

will

merely

suggest

that

you

do

your

own

re-

search

on the

subject.

With

a

little

digging,

you’re

bound

to

find

some

useful

books

and

articles

(you

know,

from

those

other

mag-

azines)

or

maybe

even

a

guitar

player

who

will

cooperate

with

a

nerdy

keyboardist

like

Mark

(The

Kid)

Clifton

yourself

and

help

you

out.

The

first

thing

to

do

is

look

at

the

envelopes

of

the

accompanying

patch,

ACOUSTIC

GUITAR.

You’ll

notice

that

I’ve

set

Key-

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

the

fact

that

the

higher

strings

on

a

guitar

are

stretched

tighter

than

the

lower

ones

so

they

vibrate

for‘

a

shorter

amount

of

time.

This

characteristic

is

inherent

in

almost

all

pluck-

ed

string

instruments.

You’ll

also

notice

that

I’ve

applied

some

Env

2

modulation

to

the

filters,

making

the

sound

mellow

out

as

it

fades,

just

like

on

a

real

guitar.

The

feature

of

this

patch

is

the

pitch

modulation

on

the

Pitch

Mods

page.

I’ve

programmed

a

slight

amount

of

modula-

tion

from

Env

l,

which

I’ve

shaped

into

a

sharp

downward

slope.

This

makes

the

initial

attack

of

the

sound

slightly

sharp,

then

quickly

evens

it

out

to

the

correct

pitch.

This

characteristic

on

a

guitar

is

caused

by

the

in-

creased

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

ac-

curate

recreation

of

that

instrument’s

sound

and

is

overlooked

too

often

by

many

pro-

grammers.

Vibrato

is

another

often

abused

aspect

of

an

instrument’s

character

that

I

chose

not

to

in-

clude

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

bend-

ing

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,

have

this

greater

freedom

of

movement

and

are

therefore

capable

of

producing

a

pure

up-down

pitch

vibrato.

The

mod

wheel

on

this

patch

brings

in

another

guitar

wave

tuned

an

octave

higher

to

simulate

a

twelve-string

guitar.

The

mod

,

WAVE

SQ,

KS,

KT,

E-Prime

Prog:

Acoustic

Guitar

By:

Mark

cliﬁim

A

P

Select

Voice

Wave

Class

Wave

Delay

Time

(Start

Index

IMQDSCR

MQDAMT

Wave

Direction

Ftestrk

Decay

String

AcousGtr

000

Forward

00

Off

39

String

AcousGtr

O00

Forward

00

Oil

39

LFO

Speed

Noise

Rate

Level

Delay

MODSRC

Wave

Restart

1

W2

3

LFO

1

2 3

On On

Oil

ll

Vel-Attack

I

FILTER

1

___

23

.

l

PITCH

1...

2

4

l

Octave

Semilone

‘Fine

‘ENV1

lLFO

MODSCR

MODAMT

Glide

,

E

Glide

Time

KBD

Ptch

Track

+0

+00

+01

+00

Off

On

Off

00

+

1

+00

+04

+01

+00

Off

On

Off

00

Fitter

1

Filter

2

FCt

Cutoff

ENV

2

FC1

KBD

MODSCFI

MODAMT

FC2

Cutolt

ENV2

FC2

KBD

FC1

MOD-FC2

2L0

2

Hi

000

+70

+00

Veioc

+1

1

000

+70

+00

On

2L0

2Hi

000

+70

+00

Veloc

+14

000

+14

+00

On

-

y

3

M

Initial

T

0'

lPeak

Break

Sustain

Attack

Decay

1

Decay

2

Release

Vel-Level

Vet

Curve

Mode

K80

Track

1

Q9

99

K

so

as

no

00

pedal

increases

chorus-

ing,

an

effect

that

really

complements

the

sound

of

an

acoustic

guitar.

For

a

dreamy

new

age-

type

OD

36

67

29

90

D0

Convex

Normal

+28

gg

I

sound,

turn

up

the

mod

2;

.

wheel

all

the

way

and

to

bliss

out

until

0°

when

I’ll

blow

some

hot

Convex

Emma‘

air

about

woodwinds.

—

.

OUTPUT

‘I

2

3

NV1

1

2

____,

g

E

uvz

2

VOL

Boost

MODSRC

MODAMT

KBD

Scale

Key

Range

Output

Bus

Priority

i

Pan

Vel

window

82

On

Wheel

-06

+00

FX

1

Med

+00

>000

88

y

Bio:

Mark

Clifton

is

a

0"

i

la

er

and

com

oser

o

Wheel

A

p

y

p

f

+99

Jazz,

New

Age,

Orches-

foo

tral

and

Rap

(yes,

Rap!)

FX1

. . .

Med

music

and

an

aspiring

"°°

Cyberpunk

writer

who

3

.

initial

Peak

Break

Sustain

Attack

Decay

I

,Decay

2

Release

Vel-Level

Vel-Attack

Vel

Curve

Mode

I_;

KBD

Track

00

40

00

‘I

9

00

Quikrise

Finish

+28

00

40

00

O0

1

9

00

O0

Ouikrise

Finish

+28

initial

.

Peak

Break

Sustain

Attack

Decay

1

Decay

2

Release

Vel-Level

Vet-Attack

Vel

Curve

Mode

KBD

Track

1

.

99

65

00

38

71

66

00

Convex

Normal

+2

B

99

65

00

38

71

7'1

66

00

Convex

Normal

+28

>000

‘

also

wouldn’t

mind

going

EFFECTS

—

CHORUS

AND

REVERB

FX-1

FX-2

Decay

time

HF

Damping

Chorus

Ftate

Chorus

Depth

Chorus

Center

Feedback

Chorus

Level

MOD

{Dest)

BY

(MODSRC)

MODAMT

22

1

5

35

59

20

16

50

+00

00

Level

MOCIPGG

+50

into

sound

design

or

ﬁlm

scoring.

His

favorite

color

is

the

inﬁnite,

star-speckled

blackness

of

space.

This

article

originally

appeared

in

TH

#96

(June,

I993).

‘I

»|

!

.-—_-Q,‘-.____

I

|

I

|

HACKER

BASEMENT

TAPES

Steve Vincent

F.I.

Originals

Michael Paradise Band

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

guitars, Fender bass, live drums.

Michael Paradise gives us yearly install-

ments

of

his latest demos.

We

have reviewed

his tapes

in

August 1996 (3 songs; a "Short

Takes" review) and February 1997 (a

five-song demo). His latest tape to go

through the wringer

is

a five-song

demo

of

songs recorded by

Michael's

band, "F.I." He

never mentions what "F.I." stands for. As in

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

per-

formance. The reason I make this

judgment

is

because these sound like true

"bas

ement

tapes." The songs sound like they were

recorded live without much

(if

any)

overdub-

bing

or

re-takes.

Michael

's

songwriting style seems to have

stayed consistently

in

the same ballpark over

the past few years. These five

songs

still

keep

Michael's

"British invasion" feel,

making me wonder if he was a

stowaway

in

the cryonic time capsule that transported

Austin Powers and Dr. Evil from the '

60s

to

the

'90s.

Michael's

lyrics still remind

me

of

Paul

McCartney's

focus on the lighter side

of

relationships and love, with occasional

eTH - A Faster,

Cheaper Hacker

If

you

can

receive e-mail via the Intemet,

you can take advantage of avoiding the post

office and get a faster, cheaper, e-mail ver-

sion of

the

Hacker. The e-mail Transoniq

Hacker contains

all

of the same information

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$201

year. Interested? Just send a message to

us

at eTH@transoniq.com and we'll e-mail

back complete information.

forays into the dark side (i.e., breaking up).

That's

about as heavy as it gets.

Let's

lis-

ten ...

Love Is Here

to

Stay (and

That's

OK) -

This song is performed with the exuberance

of

a junior-high garage band

in

the

'6

0s (that

would be the 1960s, not their age ...

).

Of

course,

Michael's

voice sounds very

"Beat-

les," so that helps the British vibe to shine

through. Bubble-gum lyrics are front-and-

center over a '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 .

..

I

Don't

Want to Lose You -

More

vintage

Beatles sounds, reminiscent

of

"Hey,

you've

got

to

hide your love away." This song, how-

ever, introduces elements from the Electric

Prunes and Iron Butterfly, uncharacteristical-

ly

"heavy"

for Michael Paradise. Thorns: this

time the tambourine is totally

out

of

control

tempo-wise! And the digitally-delayed synth

parts are jarringly anachronistic. Rather than

blend the

decade's

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,

however, by a

slammin',

jammin

' guitar solo

section. This band obviously loves to jam!

Let's

Hit the

Road

-The manic tambourine

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 provid-

ing movement and interest.

Every Time I Try -This song sounds as

if

it

's

having an identity crisis: it

can't

decide

what

it's

going to be, as

if

the intro, verses,

and choruses were cut-n-pasted from dif-

ferent tunes. Even the introductory tempol

meter changes three times before

"se

ttling"

(I

use the term loosely) into its groove. I am

7

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 in-

genious concept! It would be more convinc-

ing, however,

if

each

new

"phase"

of

the

song were executed with commitment, in-

stead

of

halting quasi-transitions marching

halfheartedly into the next segment like the

befuddled leader

of

a lost platoon.

As

if

this

weren't

all confusing enough, the band

jumps into a shuffle-beat bluesy jam before

the final chord even stops ringing, ostensibly

a continuation

of

"Every Time I Try." Every

Time I

Try

"what"? is my question. The

answer? "Every

Time

I Try to Finish This

Song ... " Actually, the blues-rock

jam

is

pret-

ty

catchy, with a good hook. The guitar solo-

ing 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

...

but on

a demo tape?

I'm

In

Lust -

''I'm

in

lust with a friend

of

mine 1

She

makes me feel good a

ll

the time 1

Got one thing on my mind

..

. "

You've

gotta

hand it to good 01' 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-in-

cheek parody.

One

thing about boorish

stereotypical

macho

self-centeredness: it sure

makes an easy target! So

let's

pick a more

challenging one: lyrical flow. Set aside for

the moment the poetic quality

of

these lyrics;

the problem here is, they simply don 't fit the

melody line.

They

flow like cotton balls

down a velcro slide (point: they

don't).

Actually, the lyrics flow more like finely-

ground dark espresso roast Seattle

's

Best

Coffee from the grinder into the thingy that

holds the coffee: it

doesn't

pour out, so you

keep tipping it, it still lingers stubbornly

in

the grinder, so you tip it more steeply, give it

a tiny

"tap,"

then all

of

a sudden the whole

batch avalanches all

over

the thingy, your

hand, the kitchen counter, and the floor.

Difficult-to-say lyrics are forced into the

Michael

Paradise

Band

Tape:

F.I.

Originals

(c)

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

guitars,

Fender

bass,

live

drums.

Michael

Paradise

gives

us

yearly

install-

ments

of

his

latest

demos.

We

have

reviewed

his

tapes

in

August

1996

(3

songs;

a

“Short

Takes”

review)

and

February

I997

(a

five-song

demo).

His

latest

tape

to

go

through

the

wringer

is

a

five-song

demo

of

songs

recorded

by

Michael’s

band,

“F.I.”

He

never

mentions

what

“F.I.”

stands

for.

As

in

Michael’s

the

purpose

of

these

demos

seems

to

be

to

showcase

the

compositions

themselves

as

opposed

to

programming

skills,

production,

or

even

per-

formance.

The

reason

I

make

this

judgment

is

because

these

sound

like

true

“basement

tapes.”

The

songs

sound

like

they

were

recorded

live

without

much

(if

any)

overdub-

bing

or

re-takes.

Michael’s

songwriting

style

seems

to

have

stayed

consistently

in

the

same

ballpark

over

the

past

few

years.

These

five

songs

still

keep

Michael’s

“British

invasion”

feel,

making

me

wonder

if

he

was

a

stowaway

in

the

cryonic

time

capsule

that

transported

Austin

Powers

and

Dr.

Evil

from

the

’60s

to

the

’90s.

Michael’s

lyrics

still

remind

me

of

Paul

McCartney’s

focus

on

the

lighter

side

of

relationships

and

love,

with

occasional

eTH

—

A

Faster,

Cheaper

Hacker

If

you

can

receive

e-mail

via

the

Internet,

y

you

can

take

advantage

of

avoiding

the

post

‘

office

and

get

a

faster,

cheaper,

e-mail

ver-

sion

of

the

Hacker.

The

e-mail

Transoniq

Hacker

contains

all

of

the

same

information

as

the

printed

version,

but

it’s

only

$20!

year.

Interested?

Just

send

a

message

to

us

at

eTH@transoniq.corn

and

we’ll

e-mail

back

complete

information.

forays

into

the

dark

side

(i.e.,

breaking

up).

That’s

about

as

heavy

as

it

gets.

Let’s

lis-

ten...

Love

Is

Here

to

Stay

(and

That’s

OK)

—

This

song

is

performed

with

the

exuberance

of

a

junior-high

garage

band

in

the

’60s

(that

would

be

the

1960s,

not

their

age...).

Of

course,

Michael’s

voice

sounds

very

“Beat-

les,”

so

that

helps

the

British

vibe

to

shine

through.

Bubble-gum

lyrics

are

front-and-

center

over

a

’60s-love-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...

I

Don’t

Want

to

Lose

You

—

More

vintage

Beatles

sounds,

reminiscent

of

“Hey,

you’ve

got

to

hide

your

love

away.”

This

song,

how-

ever,

introduces

elements

from

the

Electric

Prunes

and

Iron

Butterﬂy,

uncharacteristical-

ly

“heavy”

for

Michael

Paradise.

Thorns:

this

time

the

tambourine

is

totally

out

of

control

tempo-wise!

And

the

digitally-delayed

synth

parts

are

jarringly

anachronistic.

Rather

than

blend

the

decade’s

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,

however,

by

a

slammin’,

jammin’

guitar

solo

section.

This

band

obviously

loves

to

jam!

Let’s

Hit

the

Road

—

The

manic

tambourine

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

provid-

ing

movement

and

interest.

Every

Time

I

Try

—

This

song

sounds

as

if

it’s

having

an

identity

crisis:

it

can‘t

decide

what

it’s

going

to

be,

as

if

the

intro,

verses,

and

choruses

were

cut-n-pasted

from

dif-

ferent

tunes.

Even

the

introductory

tempol

meter

changes

three

times

before

“settling”

(I

use

the

term

loosely)

into

its

groove.

I

am

7

F.

I.

Origin

O/S

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

in-

genious

concept!

It

would

be

more

convinc-

ing,

however,

if

each

new

“phase”

of

the

song

were

executed

with

commitment,

in-

stead

of

halting

quasi-transitions

marching

halﬂmeartedly

into

the

like

the

befuddled

leader

of

a

lost

platoon.

As

if

this

weren’t

all

confusing

enough,

the

band

jumps

into

a

shufﬂe-beat

bluesy

jam

before

the

final

chord

even

stops

ringing,

ostensibly

a

continuation

of

“Every

Time

I

Try.”

Every

Time

I

Try

“what”?

is

my

question.

The

answer‘?

“Every

Time

I

Try

to

Finish

This

Song...”

Actually,

the

blues-rock

jam

is

pret-

ty

catchy,

with

a

good

hook.

The

guitar

solo-

ing

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...

but

on

a

demo

tape‘?

1’m

In

Lust

-—

“I’m

in

lust

with

a

friend

of

mine

/

She

makes

me

feel

good

all

the

timel

Got

one

thing

on

my

mind...”

You’ve

gotta

hand

it

to

good

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-in-

cheek

parody.

One

thing

about

boorish

stereotypical

macho

self-centeredness:

it

sure

makes

an

easy

target!

So

let’s

pick

a

more

challenging

one:

lyrical

ﬂow.

Set

aside

for

the

moment

the

poetic

quality

of

these

lyrics;

the

problem

here

is,

they

simply

don’t

fit

the

melody

line.

They

ﬂow

like

cotton

balls

down

a

velcro

slide

(point:

they

don’t).

Actually,

the

lyrics

ﬂow

more

like

finely-

ground

dark

espresso

roast

Seattle’s

Best

Coffee

from

the

grinder

into

the

thingy

that

holds

the

coffee:

it

doesn’t

pour

out,

so

you

keep

tipping

it,

it

still

lingers

stubbornly

in

the

grinder,

so

you

tip

it

more

steeply,

give

it

a

tiny

“tap,”

then

all

of

a

sudden

the

whole

batch

avalanches

all

over

the

thingy,

your

hand,

the

kitchen

counter,

and

the

ﬂoor.

Difficult-to-say

lyrics

are

forced

into

the

-a

beat, placing the em-PHA-sis

on

the wrong

syl-LA-bles. This detracts from the, uh, mes-

sage

of

the words. This is a good thing. Per-

haps the band recognized all this and became

fed up and frustrated, because this song

just

all of a sudden ... ends! No build-up, no out-

tro, no fore-, urn, warning, just... that's

it!

And it's obviously not a tape machine glitch,

because there's a reverb tail clearly marking

the engineer's territory like a "Kilroy was

here" sign. You have to wonder what the

band talked about when coming

to

this

production decision. Perhaps they just

couldn't come up with a decent ending, so,

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 thi

rd

con-

tribution to the grueling Basement Tapes or-

deal. He

is

a Veteran

of

the Wringer! But so

he doesn't feel like wringer fodder, let's take

the historical perspective.

In

earlier demos,

Michael apparently performed more

of

the

parts himself. In contrast, these songs sound

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 take a dualistic approach here (with

apologies to Pat F.) .

..

The nettles... Perhaps this

is

an artifact

of

playing "live," but this project

is

replete with

tempo and rhythm inconsistencies. The beat

wanders all over kingdom come at times,

often thrown off-kilter

by

a ' drum fill.

Another inconsistency

is

what I would call

"stylistic" inconsistency, that is, different

musical styles are butted

up

against each

other

in

some

of

the

~ompositions

(notice I

didn't say "mixed" or "blended," because ac-

tually the effect

is

fairly jarring).

My

sugges-

tion

is

to stick with one major stylistic thread

in

a particular song, keeping

it

more "pure."

This will keep the lyrics and vocals center-

stage, where I believe Michael wants them.

The daisies ... Michael's voice

is

very plea-

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 Butterf-

ly, hello). Many of the vocal parts are

doubled (i would like to know how he does

this, recording an entire band

on

a 4-track

machine; do you use some kind

of

doubling

FX, like a Digitech Vocalist, Michael?). The

end result

is

richly textured vocal tunes.

Another plus

in

Michael's arrangements

is

the interesting endings he writes for his

songs. With the exception

of

"I'm

In

Lust,"

it

is

clear the Michael and his band put some

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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. I think 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

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8

beat,

placing

the

em-PHA-sis

on

the

wrong

syl-LA-bles.

This

detracts

from

the,

uh,

mes-

sage

of

the

words.

This

is

a

good

thing.

Per-

haps

the

band

recognized

all

this

and

became

fed

up

and

frustrated,

because

this

song

just

all

of

a

sudden...

ends!

No

build-up,

no

out-

tro,

no

fore-,_

um,

warning,

just...

that’s

it!

And

it’s

obviously

not

a

tape

machine

glitch,

because

there’s

a

reverb

tail

clearly

marking

the

engineer’s

territory

like

a

“Kilroy

was

here”

sign.

You

have

to

wonder

what

the

band

talked

about

when

coming

to

this

production

decision.

Perhaps

they

just

couldn’t

come

up

with

a

decent

ending,

so,

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

third

con-

tribution

to

the

grueling

Basement

Tapes

or-

deal.

He

is

a

Veteran

of

the

Wringer!

But

so

he

doesn’t

feel

like

wringer

fodder,

let’s

take

the

historical

perspective.

In

earlier

demos,

Michael

apparently

performed

more

of

the

parts

himself.

In

contrast,

these

songs

sound

like

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

take

a

dualistic

approach

here

(with

apologies

to

Pat

F.)...

The

nettles...

Perhaps

this

is

an

artifact

of

playing

“live,”

but

this

project

is

replete

with

tempo

and

rhythm

inconsistencies.

The

beat

wanders

all

over

kingdom

come

at

times,

often

thrown

off—kilt-er

by

a‘

drum

fill.

Another

inconsistency

is

what

I

would

call

“stylistic”

inconsistency,

that

is,

different

musical

styles

are

butted

up

against

each

other

in

some

of

the

‘compositions

(notice

I

didn’t

say

“mixed”

or

“blended,”

because

ac-

tually

the

effect

is

fairly

jarring).

My

sugges-

tion

is

to

stick

with

one

major

stylistic

thread

in

a

particular

song,

keeping

it

more

“pure.”

This

will

keep

the

lyrics

and

vocals

center-

stage,

where

I

believe

Michael

wants

them.

The

daisies...

Michael’s

voice

is

very

plea-

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

Butterf-

ly,

hello)-.

Many

of

the

vocal

parts

are

doubled

(i

would

like

to

know

how

he

does

this,

recording

an

entire

band on

a

4-track

machine;

do

you

use

some

kind

of

doubling

PX,

l'k

D'

itech

V

1'

t

M'

h

1?

.

Th

en

resut

is

ric

y

texture

vocal

tunes.

Another

plus

in

Michael’s

arrangements

is

th

'

t

st'

d'

h

't

f

hi

e

in

ere

mg

en

ings

e

wri

es

or

s

songs.

With

the

exception

of

“I’rn

In

Lust,”

it

is

clear

the

Michael

and

his

band

put

some

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.

I

think

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:

Base-

ment

Tapes,

Transoniq

Hacker,

1402

SW

Upland

Dr.,

Portland

OR

97221.

Please

in-

clude

your

e-mail

address!

£0:

teve

Vincent

produces

demos

and

CDs

at

his

h0rne-

based

Portent

Music,

and

can

be

reached

via

email

at

vincents@harb0r-

net

com

or

at

his

website

at

http

//www

ks-

pace

com/vincent

DIIIFCBSB

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8

The

Interface

'

Letters for The Interface may

be

sent to any

of

the following addresses:

U.S.

Mail-

The Interface, Transoniq Hacker, 1402 SW Upland Dr., Portland,

OR

97221

Electronic mail -Internet: interface@transoniq.com.

In

many cases a quick answer can

be

obtained by posting to our interactive, on-line Interface at our Web site

(htlp:

//

www.transoniq.comlinterface.html)

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

everything with a grain

of

salt. Resident answer

-m

an

is

Pat Finnigan (PF). Letter publication in the printed version

of

TH

is

subject

to

space considerations.

Hi

there, everyone'

I am still here. Just had to graduate from seminary,

that's all.

Anyway, digging right in (bypassing the vitriol

controversy), I have a question for which I hope to

find rest.

When I sold my EPS-16 PLUS in order to upgrade

to

the ASR-IO, I "threw in" quite a few sound

disks, also including the W A

VeBOY Audio-

In

Ef-

fects Disk. Well, I

just

figured that the ASR-l 0 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 Ve-

BOY disk, would

it

work in an ASR-IO?

Anyway, nice to see you all again' My,

you're

really looking thin!

Ta

lk with you again soon.

Jack Stephen Tolin, M.Div.

Yahkohv@Juno.

com

[PF -Jack: You'll need the Waveboy disk to

do

this, as the ASR has no harmonizing algorithms

built in.

And

as Waveboy is the only game in town,

/,11

bet it works just

jine

on

the ASR.]

Hi

,

I recently bought

an

EPS

and have a problem with

the sequencer. When I try

to

use the command

"copy track" to copy a track from, for example, se-

quence 2 to another sequence, say 3, this works as

long as I remain on the page with the option

"keep

old

or

new." When I get into the edit/sequence

page, however, the only thing that's heard

is

noise.

My

question

is

, if

it's

supposed to be possible to

copy tracks between sequences and, if yes, what

mi

ght be the error? Unfortunately, I only own

"Musician

's

Manual" so I

haven't

been able to

check thi s up. The OS

I've

used

is

V 2.49.

Roland

Mega779@hotmail.com

[PF -Roland: Interesting name ji)r an Ensoniq

user (nyuk-nyuk). Seriously, though, check the

jirmware (ROM) version

of

your EPS by pressing

the "Command" then the numeric

"I

" key. Yeah,

the display reads "No commands on page" but

don' t even believe that. Press

th

e Right cursor

arrow until the display reads "Sojiware Inj;)rma-

tion. " Press the

up

cursor arrow to get 10 the

"ROM Version = " page.

If

that doesn' t say 2.41 ,

order the 2.41 ROMS from your Authorized En-

soniq dealer.

I've never really copied track data from one se-

quence 10 another, so I can't say

if

what's

happening is a glitch, bug

or

pilot error. I do know

that

it's

just about impossible

to

get

out

of

the

"Keep Old -New" page without pressing yes

or

no, however. The EPS wants to

fl

ush that buffer

and return that memory back to the

pooL.]

[Eric Montgomery (Emu-Ensoniq) -I

just

ha

p-

pened

to have an EPS classic near

me

and

tried

what you mentioned.

It

worked just as you 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. J have

OS

2.49

and

ROM

2.40. Accord-

ing to

my

notes, the most current

ROM

for

the

EPS

is 2.40

and

2.41 for the EPS-M.]

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

work.

We

have Windows NT. Keyboard works great when it

is

not hooked 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 com-

puter dummies but are eager to learn. Hope you

can help us.

Thanks muchly:

(DRUMMER) & BRIAN (guitar and keyboard)

corrin@caribsurf.com

[PF -Drummer & Brian:

What music application are you using? There

aren't

a lotta soundcards or drivers that are

NT-savvy, and you simply can't

just

buy a cable,

hook it up and expect Grammys to come running

down your MIDI pipe. Questions you need to

answer are:

(A) What kind

of

cable?

(B) What version

of

NT?

(C) What soundcard?

(D) What soundcard driver version?

(E) What music program (application)

Given the minutiae you've posted, I

can't

ojfer a

solution without the above

inj;)

to

get a handle on

your conjiguration

...

j

Hi

folks ...

Long time subscriber and have not written in

awhile -that

is

not to imply that everything

is

just

dandy!

Anyway, after owning

my

MR

for a year and a

half

and using

it

just for performance,

I've

retired it to

the studio for some serious work ,

I' m not sure if I have a problem with the MR

or

if I

am

just

doing something awfully stupid but

here's

9

the problem:

If I save a song from the 16-track recorder as a

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

(default) yet it

"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

mayor

may not have

originated from the idea pad

and

subsequently was

sent to the rhythm track

of

the sequencer. Data

is

definitely there ... I can hear it but Cakewalk will

not see it

or

play it.

Thanks for any advice.

John

jmiriello@enter.net

[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. The

MR

(and ZR) rhythm data

does not originate from the sequencer,

but

origin-

ates from the Drum machine, which is entirely

separate

of

the >equencer. Y

<fu

have

to

copy the

drum machine data into a sequence track by as-

signing it track status and then dropping it into

Track #10

..

This issue was addressed by Tony

Ferra~a

many is-

sues ago in the Hacker

..

.]

Hi

Transoniq Hacker,

I'm

the proud owner

of

an

Ensoniq

EPS

Classic.

Here's

my

problem. When I

tum

on the EPS it

reads the OS and then tries to calibrate the key-

board. Then

it

fails. I' m left with

an

EPS with no

keyboard to play on,

I'm

using OS version 2.49

and 2.40, I also

don't

do silly things like play the

keyboard while it's calibrating. Got any trouble-

shooting ideas?

Yours truly,

Pau I Carpenter

paulc@netstra.com.au

[PF -Paul: The connection between the two key-

board PCBs is broken. Common EPS problem.

Take your pet

to

the nearest Authorized Ensoniq

dealer

and

have him install the keyboard connector

ECO (Engineering Change Order). This ECO

removes the connector blw the key contact PCB

halves

and

hardwires across them. Not a major

problem, but frustrating, nonetheless. Expect

to

pay about an hour

of

bench time to have this per-

ji)rmed

..

. j

.

The

Interface

i

Letters

for

The

Interface

may

be

sent

to

any

of

the

following

addresses:

U.S.

Mail

-

The

Interface,

Transoniq

Hacker,

I402

SW

Upland

Dr.,

Portland,

OR

97221

Electronic

mail

-

Intemet:

intcrface@transoniq.com.

In

many

cases

a

quick

answer

can

be

obtained

by

posting

to

our

interactive,

on-line

interface

at

our

Web

site

(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

everything

with

a

grain

of

salt.

Resident

answer-man

is

Pat

Pinnigan

(PF).

Letter

publication

in

the

printed

version

of

TI-I

is

subject

to

space

considerations.

Hi

there,

everyone!

I

am

still

here.

Just

had

to

graduate

from

seminary,

that’s

all.

Anyway,

digging

right

in

(bypassing

the

vitriol

controversy),

I

have

a

question

for

which

I

hope

to

find

rest.

When

I

sold

my

EPS-I6

PLUS

in

order

to

upgrade

to

the

ASR-10,

I

“threw

in”

quite

a

few

sound

disks,

also

including

the

WAVeBOY

Audio-In

Ef-

fects

Disk.

Well,

I

just

figured

that

the

ASR-I0

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

WAVe-

BOY

disk,

would

it

work

in

an

ASR-I0?

Anyway,

nice

to

see

you

all

again!

My,

you’re

really

looking

thin!

Talk

with

you

again

soon.

Jack

Stephen

Tolin,

M.Div.

Yahkohv@Juno.com

[PF

—

Jack:

You’ll

need

the

Waveboy

disk

to

do

this,

as

the

ASR

has

no

harmonizing

algorithms

built

in.

And

as

Waveboy

is

the

only

game

in

town,

I'll

bet

it

works

just

ﬁne

on

the

ASR.]

Hi,

I

recently

bought

an

EPS

and

have

a

problem

with

the

sequencer.

When

I

try

to

use

the

command

“copy

track”

to

copy

a

track

from,

for

example,

se-

quence

2

to

another

sequence,

say

3,

this

works

as

long

as

I

remain

on

the

page

with

the

option

“keep

old

or

new.”

When

I

get

into

the

edit/sequence

page,

however,

the

only

thing

that’s

heard

is

noise.

My

question

is,

if

it’s

supposed

to

be

possible

to

copy

tracks

between

sequences

and,

if

yes,

what

might

he

the

error?

Unfortunately,

I

only

own

“Musician’s

Manual”

so

I

haven’t

been

able

to

check

this

up.

The

OS

I’ve

used

is

V

2.49.

Roland

Mega779@hotmail.com

[PF

—

Roland:

Interesting

name

for

an

Ensoniq

user

(nyuk-nyuk).

Seriously,

though,

check

the

firmware

(ROM)

version

of

your

EPS

by

pressing

the

“Command”

then

the

numeric

“1”

key.

Yeah,

the

display

reads

“No

commands

on

page”

but

don’t

even

believe

that.

Press

the

Right

cursor

arrow

until

the

display

reads

“Software

Informa-

tion.”

Press

the

up

cursor

arrow

to

get

to

the

“ROM

Version

=”

page.

If

that

doesn't

say

2.41,

order

the

2.41

ROMS

from

your

Authorized

En-

soniq

dealer.

I’ve

never

really

copied

track

data

ﬁ~om

one

se-

quence

to

another,

so

I

can't

say

if

what's

happening

is

a

glitch,

bug

or

pilot

error.

I

do

know

that

it’s

just

about

impossible

to

get

out

of

the

“Keep

Old

—

New”

page

without

pressing

yes

or

no,

however.

The

EPS

wants

to

ﬂush

that

buﬂer

and

return

that

memory

back

to the

pool...

]

[Eric

Montgomery

(Emu-Ensoniq)

—

I

just

hap-

pened

to

have

an

EPS

classic

near

me

and

tried

what

you

mentioned.

It

worked

just

as

you

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.

I

have

OS

2.49

and

ROM

2.40.

Accord-

ing

to

my

notes,

the

most

current

ROM

for

the

EPS

is

2.40

and

2.41

for

the

EPS-M.]

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

work.

We

have

Windows

NT.

Keyboard

works

great

when

it

is

not

hooked

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

com-

puter

dummies

but

are

eager

to

leam.

Hope

you

can

help

us.

Thanks

muchly:

(DRUMMER)

&

BRIAN

(guitar

and

keyboard)

corrin@caribsurf.com

[PF

—

Drummer

&

Brian:

What

music

application

are

you

using?

There

aren’t

a

lotta

soundcards

or

drivers

that

are

NT-savvy,

and

you

simply

can’!

just

buy

a

cable,

hook

it

up

and

expect

Grammys

to

come

running

down

your

MIDI

pipe.

Questions

you

need

to

answer

are:

(A)

What

kind

of

cable?

(B)

What

version

ofNT?

(C)

What

soundcard?

(D

)

What

soundcard

driver

version?

(E

)

What

music

program

(application)

Given

the

minutiae

you’ve

posted,

I

can’t

ojffer

a

solution

without

the

above

info

to

get

a

handle

on

your

configuration.

.

.]

I-Ii

folks...

Long

time

subscriber

and

have

not

written

in

awhile

—

that

is

not

to

imply

that

everything

is

just

dandy!

Anyway,

after

owning

my

MR

for

a

year

and

a

half

and

using

it

just

for

performance,

I’ve

retired

it

to

the

studio

for

some

serious

work.

I’m

not

sure

if

I

have

a

problem

with

the

MR

or

if

I

am

just

doing

something

awfully

stupid

but

here’s

9

I

the

problem:

If

I

save

a

song

from

the

I6-track

recorder

as

a

SMF

on

to

disk

and

then

read

it

into

Cakewalk,

Cakewalk

sees

every

track

EXCEPT

the

drum

track.

There

is

no

data

on

track

I0

(default)

yet

it

“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

or

may

not

have

originated

from

the

idea

pad

and

subsequently

was

sent

to

the

rhythm

track

of

the

sequencer.

Data

is

definitely

there...

I

can

hear

it

but

Cakewalk

will

not

see

it

or

play

it.

Thanks

for

any

advice.

John

jmiriello@enter.net

[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.

The

MR

(and

ZR)

rhythm

data

does

not

originate

from

the

sequencer,

but

origin-

ates

jrom

the

Drum

machine,

which

is

entirely

separate

of

the

sequencer.

You

have

to

copy

the

drum

machine

data

into

a

sequence

track

by

as-

signing

it

track

status

and

then

dropping

it

into

Track

#10...

This

issue

was

addressed

by

Tony

F

errara

many

is-

sues

ago

in

the

Hacker...

]

Hi

Transoniq

Hacker,

I’m

the

proud

owner

of

an

Ensoniq

EPS

Classic.

Here’s

my

problem.

When

I

turn

on

the

EPS

it

reads

the

OS

and

then

tries

to

calibrate

the

key-

board.

Then

it

fails.

I’m

left

with

an

EPS

with

no

keyboard

to

play

on.

I’m

using

OS

version

2.49

and

2.40.

I

also

don’t

do

silly

things

like

play

the

keyboard

while

it’s

calibrating.

Got

any

trouble-

shooting

ideas?

Yours

truly,

Paul

Carpenter

paulc@netstra.com.au

[PF

—

Paul:

The

connection

between

the

two

key-

board

PCBs

is

broken.

Common

EPS

problem.

Take

your

pet

to

the

nearest

Authorized

Ensoniq

dealer

and

have

him

install

the

keyboard

connector

ECO

(Engineering

Change

Order).

This

ECO

removes

the

connector

b/w

the

key

contact

PCB

halves

and

hardwires

across

them.

Not

a

major

problem,

but

frustrating,

nonetheless.

Expect

to

pay

about

an

hour

of

bench

time

to

have

this

per-

formed...]

Transoniq.

I have a

TS-12,

and

in

playing the

TS-I

0 and the

TS-12 side by side, I

notice

that the

lOis

more

responsive than the 12. Also,

if

I trigger the

12

's

sounds from my

ESQ-I,

they are more punchy and

bright. Changing sensitivity and velocity curve set-

tings doesn

't

seem to

help

.

It

seems as though

something was not taken into account when the

patches or the system software was transplanted

from the

10

to the 12. Has anyone figured out how

to compensate for this?

I have one

other

question. I have a TS-12, a Macin-

tosh, and Logic Audio.

I'm

considering getting

RAM and a

SCSI

interface for the TS-12

in

order

to effectively interface between

sample

recording

and editing on the Mac

and

sample playback/trig-

gering on the TS-12.

I'm

wondering

if

anyone

out

there' who has put together a professional, smooth,

and fast system for dealing with Hard Disk based

file conversion and

management

might be willing

to tell me what they are using

in

terms

of

hardware

and software.

Many thanks,

Hans.

oroboros@ncal.verio.com

[PF -Hans: Check your keyhoard's glohal

"Touch" settings. J'll het they're all dijferent from

one another

...

The only Mac-hased editor worth a salt is Al-

chemy. Prohlem is Passport Systems is out

ofhusi

-

ness.

If

you can hag a copy from a friend or ohtain

a copy from one

of

the newsgroups, you'll he good

to go. Terje Norstad (http://fysmac-elgOI.uio.

no/eps.html) has some excellent utilities jiJr the

Mac-

>A

SR

/EPS/TS series jiJr moving/archiving

jiles hack

andjimh,

as well as changing jimizats.

Readers?]

TH-

Just bought an early model

ESQ-M

to load my

ESQ

- I programs onto.

Trouble

is I

can't

figure out

how to load from my cartridge onto the module. I

get

as far as

"Cart

A to

INT"

but

can't

find an

enter

button to execute the

command.

SOMEBODY

HELP!!!!!!!!!!"

DAVID

B.

MC

DONALD

dbmcd@charlotte.infi.net

[PF -Dave: I owned an ESQ-M jiJr ahout 2 weeks

in

1989, so

I'm

pretty fuzzy on how to

do

it

myself

I'd

contact Ensoniq's weh page at www.en-

soniq.com and email Eric Montgomery or one

of

the TSE's

up

there

to

see

if

anyone else rememhers

the ESQ-M. I've slept since then: readers?]

[Eric Montgomery (Emu-Ensoniq) -Once you

have gotten to the CART A

TO

INT screen, press

the STORAGE hutton while holding the SCROLL

hutton. While the

tram/er

is working the screen

will read COPYING PROGRAMS. When it is com-

plete it will return

to

the storage page.]

TH-

Thank

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

in

User

bank. My desire

is to link them together and during live

gigs,

be

ahle 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,

but

here's

the deal.... I am manually

changing

the

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 I and

tum

the right "value" knob it asks to change sound,

or

when in track I, I tum the

FX

mix knob a

nd

the

expression value

comes

up,

or

when in track I do

you mean to

tum

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

prg. is ... then the program will change but the MR

local

sound

is

off

and

all that plays

is

the Roland.

One

other

thing, .since I like such a large array

of

sounds available, would the flash sample board as-

sist me in my library

of

sounds I am looking for? I

really

don't

want to keep buying sound moduals.

By the way readers,

Syntaur

Productions says they

will

hav

e their

own

programed sounds very soon

for the MR.

I'll

be

looking forward for that.

I have a

PC

,

Pentium

2-400, Soundblaster A

WE

64

Gold

so

undcard. I installed the Unisyn software

in

my

PC,

plugged

in

the cable -

in

and out MIDI to

the MR and the

15

pin plug to the

sound

card.

There

is a

"Y"

female split

off

the male I left hang

freel y. I called

up

the Unisyn software on the PC

and after the program

is

initializing it says

"no

response from

device."

I know it

's

a lot to ask and

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

[PF -WarnerPrd: Answers, in order:

( I )

Y(;U'

re trying to get the

MR

to (a) send one pro-

gram change

to

your XP-50 for a sound, and (h )

.~end

another proRram change internally to the

MR

to

get

it

to

play a different sound. No can

do.

Whatever program # is assigned to an

MR

sound is

the same program # heing sent out MIDI. And

since you have

to

assign a "sound" to a "track"

and spin the wheel to select MIDI out (in the

Se-

quencer) you

can't

playa

local sound once a track

has heen assigned in this manner. Check out the

August Keyboard report on the ZR-76 -says it a

lot more eloquently than

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 repeating all

th

e hutton

presses

of

step I. Seems you've escalated this step

into a button-pressing frenzy Keith Emerson

wo

uld've heen proud

of

in the Tarkus era. But

that's good, as you've

nOw

discovered once a track

has heen assigned MIDI OUT Status the pan knoh

generate.l· outbound CC#10 messages to pan a

selected Roland sound right and leji, the Mix Knoh

10

generates

CC#7

to

raise and lower volume

of

the

selected track, etc. Way cool given the MR's

limitations and caveats

in

(1)

ahove

...

(3) The FLASH hoard seems to he not more than,

IMHO (again), a cursory tip

of

the hat to the

TS-series with no sojiware update to load that 4Mh

with ASR samples.

So

you've Rolla make *'wav

jiles out

of

ANY

samples, line them up to play only

in their specific keyzone and range, interpolate the

jilter settings, more than a LOT

of

programming

yada-yada-yada, only

to

discover once loaded into

the Flashhoard, waves MUST he looped hefore

they get in there. It's

SO

much work En.wmiq dis-

covered the ASR-X was hurting hecause

it

shared

the same limitation and spun the OS to let it read

ASR disks. The

MR

didn't get the same main-

tenance revision, so it's *.wav jiles

or

nothing jiJr

an

MR

Flashhoard.

I'd

go with the ROM expansion

cards -there's a lot more data

in

them, and some-

hody's already done the programminR work on

them. This isn't

to

say you can't tweak them -it

's

just you won't he spending all your time doing

housekeeping chores assigning/looping/program-

ming waves to zones to layers to FX to sounds,

etc

..

.

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

people, hooking

up

a computer to an

MR

is like

trying to put out a jire with gasoline: unless you're

VERY computer literate, VERY Ensoniq literate,

and VERY MIDI literate this is lillie more than an

exercise

in

futility (as you're discovering).

And

pouring a gallon

of

Cakewalk on this inferno, well,

you get the picture. I've tried Unisyn on the

MR

on

hoth Mac and PC plaljiJrms. On the PC

it

simply

wouldn't work unless the planets were aligned, I

bowed three times and faced the East, hung a Cres-

cent over my

MR

and chanted the Microsoji

mantra. When I got

it

going on my G3, every time

I'd

change a parameter in Unisyn and send it to

the

MR

jiJr audition, the

MR

went into its "Save

Everything" mode for

jive

minutes at a time. By the

time I jigured it out I had to

go

play the gig ...

(4h) The other part

of

the MIDI dongle

Oil

your

gameport "hanging ji"eely" is a joystick port. You

can leave it open or plug a joystick into

it.

The

dongle doesn't care and it will have no impact on

your conjiguration. Try reversing the MIDI IN and

OUT

to

the

MR

-a lot

of

these ojfshore MIDI

adapters don

't

specify whether they're laheled jiJr

function or connection.

(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 would let you

do

certain things.

This made the user interface less confusing and

more musically productive. It's terrihly unfriendly

if

you view it as its component pieces. Then again,

it was always the gestalt

of

the collective pieces

that made Ensoniq such ajiJrce in the market.

[WARNERPRD@aol.com -Thank you very much

jiJr your help and direction. I'll continue to crank

out tunes

ji"om

the

MR

for the hand. Such a great

creative tool

it

is.

Must he a 455-Hemi under the

hood

of

the

MR.

And

ifan

y

of

you readers just hap-

pen

to

he

in

the Seaule area, stop hy the OASIS,

in

southwest Seattle, you'll see us, the house hand,

and me, doin' the Keith Emerson routine, spinnin'

the knobs and pushin' those huttolls

to

make all

of

this work

...

What a deal. Later, Kyle]

[PF -Kyle: The

MR

keyhoards are just about the

Transoniq,

I

have

a

TS-12,

and

in

playing

the

TS—lO

and

the

TS-I2

side

by

side,

I

notice

that

the

l0

is

more

responsive

than

the

I2.

Also,

if

I

trigger

the

l2’s

sounds

from

my

ESQ-l,

they

are

more

punchy

and

bright.

Changing

sensitivity

and

velocity

cuwe

set-

tings

doesn’t

seem

to

help.

It

seems

as

though

something

was

not

taken

into

account

when

the

patches

or

the

system

software

was

transplanted

from

the

I0

to

the

12.

I-Ias

anyone

figured

out

how

to

compensate

for

this?

I

have

one

other

question.

I

have

a

TS-I2,

a

Macin-

tosh,

and

Logic

Audio.

I’m

considering

getting

RAM

and

a

SCSI

interface

for

the

TS-I2

in

order

to

effectively

interface

between

sample

recording

and

editing

on

the

Mac

and

sample

playback/trig-

gering

on

the

TS-12.

I’m

wondering

if

anyone

out

there

who

has

put

together

a

professional,

smooth,

and

fast

system

for

dealing

with

Hard

Disk

based

file

conversion

and

management

might

be

willing

to

tell

me

what

they

are

using

in

terms

of

hardware

and

software.

Many

thanks,

Hans.

oroboros@ncal.verio.com

[PF

—

Hans:

Check

your

keyboard’s

global

“Touch”

settings.

I’

ll

bet

they’re

all

different

from

one

another...

The

only

Mac-based

editor

worth

a

salt

is

Al-

chemy.

Problem

is

Passport

Systems

is

out

0fbusi-

ness.

If

you

can

bag

a

copy

from

a

friend

or

obtain

a

copy

from

one

of

the

newsgroups,

you’ll

be

good

to

go.

Terje

Norstad

(http://fysmac-elg0I.uio.

no/eps.html)

has

some

excellent

utilities

for

the

Mac->ASR/EPS/TS

series

for

moving/archiving

files

back

and

forth,

as

well

as

changing

formats.

Readers

?]

TH-

Just

bought

an

early

model

ESQ-M

to

load

my

ESQ-I

programs

onto.

Trouble

is

I

can’t

figure

out

how

to

load

from

my

cartridge

onto

the

module.

I

get

as

far

as

“Cart

A

to

INT”

but

can’t

find

an

enter

button

to

execute

the

command.

SOMEBODY

I-IELP!!!!!!!!!!!!

DAVID

B.

MC

DONALD

dbmcd@charlotte.infi.net

[PF

—

Dave:

I

owned

an

ESQ-M

for

about

2

weeks

in

I

989,

so

I

’m

pretty

fuzzy

on

how

to

do

it

myselfl

I

‘d

contact

Ensoniq’s

web

page

at

www.en-

soniq.com

and

email

Eric

Montgomery

or

one

of

the

TSE’s

up

there

to

see

if

anyone

else

remembers

the

ESQ-M.

I

’ve

slept

since

then:

readers

?]

[Eric

Montgomery

(Emu-Ensoniq)

—

Once

you

have

gotten

to the

CART

A

TO

INT

screen,

press

the

STORAGE

button

while

holding

the

SCROLL

button.

While

the

transfer

is

working

the

screen

will

read

COPYING

PROGRAMS.

When

it

is

com-

plete

it

will

return

to

the

storage

page.

]

TH-

Thank

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

XPSO

in

User

bank.

My

desire

is

to

link

them

together

and

during

live

gigs,

be

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,

but

here’s

the

deal....

I

am

manually

changing

the

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

I

and

turn

the

right

“value”

knob

it

asks

to

change

sound,

or

when

in

track

l,

I

tum

the

FX

mix

knob

and

the

expression

value

comes

up,

or

when

in

track

I

do

you

mean

to

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

prg.

is...

then

the

program

will

change

but

the

MR

local

sound

is

off

and

all

that

plays

is

the

Roland.

One

other

thing,

since

I

like

such

a

large

array

of

sounds

available,

would

the

flash

sample

board

as-

sist

me

in

my

library

of

sounds

I

am

looking

for‘?

I

really

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

be

looking

forward

for

that.

I

have

a

PC,

Pentium

2-400,

Soundblaster

AWE

64

Gold

soundcard.

I

installed

the

Unisyn

software

in

my

PC,

plugged

in

the

cable

—

in

and

out

MIDI

to

the

MR

and

the

I5

plug

to

the

sound

card.

There

is

a

“Y”

female

split

off

the

male

I

left

hang

freely.

I

called

up

the

Unisyn

software

on

the

PC

and

after

the

program

is

initializing

it

says

“no

response

from

device.”

I

know

it’s

a

lot

to

ask

and

a

lot

of

new

equipment

on

my

part.

Could

you

help?

Should

I be

looking

at

getting

a

Cakewalk

program

also?

Thank

you

again.

WARNERPRD@

aol.com

[PF

—

WarnerPrd:

Answers,

in

order:

(1)

You’re

trying

to

get

the

MR

to

(a)

send

one

pro-

gram

change

to

your

XP-50

for

a

sound,

and

(b)

send

another

program

change

internally

to the

MR

to

get

it

to

play

a

different

sound.

No

can

do.

Whatever

program

#

is

assigned

to

an

MR

sound

is

the

same

program

#

being

sent

out

MIDI.

And

since

you

have

to

assign

a

“sound”

to

a

“track”

and

spin

the

wheel

to

select

MIDI

out

(in

the

Se-

quencer)

you

can’!

play

a

local

sound

once

a

track

has

been

assigned

in

this

manner.

Check

out

the

August

Keyboard

report

on

the

ZR-76

—

says

it

a

lot

more

eloquently

than

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

repeating

all

the

button

presses

of

step

I.

Seems

you’ve

escalated

this

step

into

a

button-pressing

frenzy

Keith

Emerson

would've

been

proud

of

in

the

Tarkus

era.

But

that's

good,

as

you've

now

discovered

once

a

track

has

been

assigned

MIDI

OUT

Status

the

pan

knob

generates

outbound

CC#10

messages

to

pan

a

selected

Roland

sound

right

and

left,

the

Mix

Knob

1O

generates

CC#7

to

raise

and

lower

volume

of

the

selected

track,

etc.

Way

cool

given

the

MR’s

limitations

and

caveats

in

(

I

)

above...

(3)

The

FLASH

board

seems

to

be

not

more

than,

IMHO

(again),

a

cursory

tip

of

the

hat

to the

TS-series

with

no

software

update

to

load

that

4Mb

with

ASR

samples.

So

you’ve

gotta

make

*.wav

files

out

of'ANY

samples,

line

them

up

to

play

only

in

their

specific

keyzone

and

range,

interpolate

the

filter

settings,

more

than

a

LOT

of

programming

yada-yada-yada,

only

to

discover

once

loaded

into

the

Flashboard,

waves

MUST

be

looped

before

they

get

in

there.

It's

SO

much

work

Ensoniq

dis-

covered

the

ASR-X

was

hurting

because

it

shared

the

same

limitation

and

spun

the

OS

to

let

it

read

ASR

disks.

The

MR

didn’t

get

the

same

main-

tenance

revision,

so

it’s

*.wav

files or

nothing

for

an

MR

F

lashboard.

I

’d

go

with

the

ROM

expansion

cards

—

there's

a

lot

more

data

in

them,

and

some-

body’s

already

done

the

programming

work

on

them.

This

isn't

to

say

you

can’t

tweak

them

-

it"s

just

you

won’t

be

spending

all

your

time

doing

housekeeping

chores

assigning/looping/program-

ming

waves

to

zones

to

layers

to

FX

to

sounds,

etc...

(4)

Which

is

why

the

computer

might

help.

To

most

people,

hooking

up

a

computer

to an

MR

is

like

trying

to

put

out

a

fire

with

gasoline:

unless

you’re

VERY

computer

literate,

VERY

Ensoniq

literate,

and

VERY

MIDI

literate

this

is

little

more

than

an

exercise

in

futility

(as

you’re

discovering).

And

pouring

a

gallon

of

Cakewalk

on

this

inferno,

well,

you

get

the

picture.

I’ve

tried

Unisyn

on

the

MR

on

both

Mac

and

PC

platforms.

On

the

PC

it

simply

wouldn’t

work

unless

the

planets

were

aligned,

I

bowed

three

times

and

faced

the

East,

hung

a

Cres-

cent

over

my

MR

and

chanted

the

Microsoft

mantra.

When

I

got

it

going

on

my

G3,

every

time

I’d

change

a

parameter

in

Unisyn

and

send

it

to

the

MR

for

audition,

the

MR

went

into

its

“Save

Everything”

mode

for

five

minutes

at

a

time.

By

the

time

I

figured

it

out

I

had

to

go

play

the

gig...

(4b)

The

other

part

of

the

MIDI

dongle

on

your

gameport

“hanging

freely”

is

a

joystick

port.

You

can

leave

it

open

or

plug

a

joystick

into

it.

The

dongle

doesn't

care

and

it

will

have

no

impact

on

your

configuration.

Try

reversing

the

MIDI

IN

and

OUT

to

the

MR

—

a

lot

of

these

offshore

MIDI

adapters

don’t

specify

whether

they’re

labeled

for

function

or

connection.

(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

cable

would

let

you

do

certain

things.

This

made

the

user

interface

less

confusing

and

more

musically

productive.

It's

terribly

unfriendly

if

you

view

it

as

its

component

pieces.

Then

again,

it

was

always

the

gestalt

of

the

collective

pieces

that

made

Ensoniq

such

a

force

in

the

market.

[WARNERPRD@aol.com

-

Thank

you

very

much

for

your

help

and

direction.

I

’ll

continue

to

crank

out

tunes

from

the

MR

for

the

band.

Such

a

great

creative

tool

it

is.

Must

be

a

455-Hemi

under

the

hood

of

the

MR.

And

ifany

ofyou

readers

just

hap-

pen

to

be

in

the

Seattle

area,

stop

by

the

OASIS,

in

southwest

Seattle,

you’ll

see

us,

the

house

band,

and

me,

doin'

the

Keith

Emerson

routine,

spinnin’

the

knobs

and

pushin’

those

buttons

to

make

all

of

this

work...

What

a

deal.

Later,

Kyle]

[PF

-

Kyle:

The

MR

keyboards

are

just

about

the

-ii,

I

P

r

most powerfuL wavetable synths out there, yet they

remain the easiest-to-sequence-on workstations yet

realized. I wouldn't suggest poking

it

into a com-

puter until you're ready to run 500 miles in that

hemi ... ]

[WARNERPRD@aol.com -Very good ... It is a

pleasure to use this forum and your help has been

a blessing.

Anyon-liners

should definitely sub-

scribe to the Hacker and support it that way. After

reading each issue, it's a "long" wait

to

see what

the next one has to offer. Kyle.]

TH-

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.

Does

anyone

know

of

one

of

these

for

sale

anywhere?

2.

Does

the KT -88

have

the

same

internal

sounds,

especially

the B3 sounds

and

the Wurlie

sounds?

3.

Is

the

re

another

instrument that might

work

in-

stead

of

this one? My MR-76

does

not

sound

as

good

for

these particular sounds.

I know that how

good

the sounds

sound

is

subjec-

tive, 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

...

Doug

Leins

dleins@nsh

I mis.stthomas.org

[PF -Doug: Answers, in order:

(1)

As

of

12:45

AM

July 18, 1998, the Ensoniq

webpages notes, and 1 quote: "We offer a range

of

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 as musical and

creative as you are."

And

the EPrime is the third

instrument from the top,

so

it's ohviously

NOT

an

orphan like the earlier brethren.

So

T'd presume

their sound libraries are still available

j(Jr

it. ALL

the SQ,

KS,

and KT-variant sounds should work

fine in it: J'm just assuming it has a larger wave-

table with more waves internally that the earlier

libraries

don't

address. But that's a good thing ...

(2) I would think so: aforementioned SQ/KT/KS

variants are all capable

of

83

emulation.\' that are

downright scary. 1 wrote an article years back

in

the Hacker on using the mod wheel as a vari-speed

leslie. The factory Wurlie emulations need tweak-

ing to get them to sustain longer, and didn

't

seem

to have as much "bite" as the ASR-based Wurlie

samples, IMHO. Tweaking gives VERY credible

results here ...

(3) Check out Pelle Piano's Demo Disk from the

Ensoniq website. I bagged it about 4 months ago,

so I only hope it's still

up

there. There are some

righteous

B3

sounds with all the obscure drawbar

settings AND cabinet noise/driver sizzle that are

more dead on the money fl)r an

MR

than any other

3rd party

stuff

I've ever heard. You can smell the

nicotine in those drawbars

..

.

(4) Yeah, the X8-2 wasn't even close

to

what I

heard out

of

my

83

and leslies. The new Roland is

awfully damned close to the real thing, but the

ASR!16+ Joey DeFrancesco library is the only one

I've

ever heard that has the 60 Hz induction noise

aliasing the first three draw bars just like the

tonewheeler. And other samples from this set sport

all three Chorus Vibrato settings. Trust me: your

B3 solos don't scream until you hit those vibrato

tabs with the knob set to C3.

If

someone pro-

grammed 888000000 with C3 for an MR,

I'd

LOVE

to hear it, because that'

.I'

the only sonicstate tell-

tale

of

the Ensoniq library: the Chorus vibrato

speeds up with higher notes in certain sample

registers

('

cause sampling every note would yield a

16

Mb

83

stop) .

..

]

[Steve Vincent -Pat, are you saying the ASR!16+

using Joey deF'

.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 gig-

ging the past 2 years,

I've

been using an Alesis

QS-7 (which i bought solely for its piano and B-3

sounds) through a Motion Sound Pro 3 rotary

speaker, sending the low end emulator to a Barbet-

ta Sona

41

Pro Combo keyboard amp. I thought

this sounded sublime, but the Roland

VK.

..

I think I

need one.]

[PF -Steve: The Joey deFrancesco samples sound

more AUTHENTIC than the VK-7. The VK doesn't

have the 60 Hz running through the samples like

the real thing.

In

live performance, the VK-7 is a

pretty close approximation, especially with the

C

1-e3

chorus vibrato stops.

And

yes, the COSM

rotary simulator is very good; I think it'

.I'

the best

leslie simulator out there. But

it's

not good enough

j(Jr

me to sell my

83

& leslies yet

..

.]

TH-

I

just

want

to say, "

thank

you

very

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

[Steve Vincent -Eric: You're welcome! The listen-

ing pleasure was all mine.]

TH-

I'd

like to give a few

more

hints to

Dave

Faunce

(and

other

TS

users),

who

wrote

in issue # 157

about

corrupted factory

TS

sample

disks. I had the

same problem with my factory

sample

disks.

My

personal theory

is

that

Ensoniq'

s

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

there

some

other

type

of

computer,

long ago ... some kind

of

fruit?)

The

medium

on

the

3 1

/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 that he

went

and

bought

one

a

few weeks after me, so I used his disks

to

make

11

copies

when

mine

went

bad.

The

simplest

way

to

protect

yourself

from cor-

rupted

sample

disks

is to make

backup

copies

on

your

TS.

A local

dealer

told us that it

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

already

done

so,

get

Ensoniq

Disk Tools for Windows from

Rubber

Chicken

Software

Co. (see the

back

cover

of

TH). 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

files

onto

floppies in

Ensoniq

format.

Dave

Simenson

fivetone@elite.net

[PF -Dave: Yes. Ensoniq read/write verify is a

CRe

redundancy check -not a Norton Disk Doctor

sformat utility writing running

1'.1'

and

0'.1'

thru the

disk (time-consuming read/write verify).

If

the

checksum matches, an Ensoniq disk is pro-

nounced/blessed as "good" and calls the "Format

Completed"

ROM

bACK (exactly like that piece

of

fruit company that

just

blew away Wall Street this

week) ...

What'

.I'

happening here is that Ensoniq formats a

disk and looks at it as a container. The flle system

doesn't look at/compensate for

bad

sectors after a

successful format (the checksum matched, right?),

so after sitting on top

of

the power supply, floppy

drive, or other magnetic influence, upon load, the #

of

bytes written doesn't equal the checksum any-

more.

As

there aren't any high-level read/verify

ROM routines for an already overtaxed CPU, the

poor TS can only ack back "Disk Data Corrup-

ted."

So

if

you

don't

get a "Track 0 unreadable:

Disk Unusable" or "Unable to save UnflJrmat

info" prompt, remember this

ain't

no Pee-Cee ...

F ortunarely, that fruit company hired Peter Norton

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

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 blanks for $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

formattable. Even these disks will occasionally

return a "Track 0 error: Disk Unusable" error,

but Maxell WILL replace them free

of

charge.

Again, it's your blood, sweat and tears on these

floppies, and the racing analogy

of

a $10 helmet

for a $10 head most certainly holds true here

..

.]

Just

a

quickie

...

I

hav~

an

old

EPS

(keyboard

form factor, not

EPS-16+

etc). A very

old

EPS. In fact,

it's

com-

pletely

unexpanded.

I'd

like to snag a

RAM

upgrade

and

maybe

even

a

SCSI

kit

for

it.

I

am

aware that they

haven't

been made for a bit,

and

are thus

somewhat

rare. The crux

of

the

problem is that I

am

based

in London,

and

most

EPSs

are in the US. In fact, both my EPS and

mixer

run from a

US->UK

power

converter.

Anyway,

if

anyone

knows

of

any

little specialists

makinglrefurbing

RAM

boards,

or

even has

one

for

sale for a small

amount,

I'd

appreciate a yell..

'

|.\-

I

Q4

most

powerful

wavetable

synths

out

there,

yet

they

remain

the

easiest-to-sequence-on

workstations

yet

realized.

I

wouldn’t

suggest

poking

it

into

a

com-

puter

until

you’re

ready

to

run

500

miles

in

that

hemi...]

[WARNERPRD@aol.com

—

Very

good...

It

is

a

pleasure

to

use

this

forum

and

your

help

has

been

a

blessing.

Any

on-liners

should

definitely

sub-

scribe

to

the

Hacker

and

support

it

that

way.

After

reading

each

issue,

it’s

a

“long”

wait

to

see

what

the

has

to

offer.

Kyle.

]

TH-

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:

I.

Does

anyone

know

of

one

of

these

for

sale

anywhere?

2.

Does

the

KT-88

have

the

same

internal

sounds,

especially

the

B3

sounds

and

the

Wurlie

sounds?

3.

Is

there

another

instrument

that

might

work

in-

stead

of

this

one?

My

MR-76

does

not

sound

as

good

for

these

particular

sounds.

I

know

that

how

good

the

sounds

sound

is

subjec-

tive,

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...

Doug

Leins

clleins@nsh

I

mis.stthomas.org

[PF

—

Doug:

Answers,

in

order:

(I)

As

of

I2."-45

AM

July

I8,

I998,

the

Ensoniq

webpages

notes,

and

I

quote:

“We

offer

a

range

of

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

as

musical

and

creative

as

you

are.”

And

the

EPrime

is

the

third

instrument

from

the

top,

so

it’s

obviously

NOT

an

orphan

like

the

earlier

brethren.

So

I’d

presume

their

sound

libraries

are

still

available

for

it.

ALL

the

SQ,

KS,

and

KT-variant

sounds

should

work

fine

in

it:

I

’m

just

assuming

it

has

a

larger

wave-

table

with

more

waves

internally

that

the

earlier

libraries

don’t

address.

But

that’s

a

good

thing...

(2)

I

would

think

so:

aforementioned

SQ/KT/KS

variants

are

all

capable

of

B3

emulations

that

are

downright

scary.

I

wrote

an

article

years

back

in

the

Hacker

on

using

the

mod

wheel

as

a

vari-speed

leslie.

The

factory

Wurlie

emulations

need

tweak-

ing

to

get

them

to

sustain

longer,

and

didn’t

seem

to

have

as

much

“bite”

as

the

ASR-based

Wurlie

samples,

IMHO.

Tweaking

gives

VERY

credible

results

here...

(3)

Check

out

Pelle

Piano’s

Demo

Disk

from

the

Ensoniq

website.

I

bagged

it

about

4

months

ago,

so

I

only

hope

it’s

still

up

there.

There

are

some

righteous

B3

sounds

with

all

the

obscure

drawbar

settings

AND

cabinet

noiseldriver

sizzle

that

are

more

dead

on

the

money

for

an

MR

than

any

other

3rd

party

stuff

I

’ve

ever

heard.

You

can

smell

the

nicotine

in

those

drawbars...

(4)

Yeah,

the

XB-2

wasn’t

even

close

to

what

I

heard

out

of

my

B3

and

leslies.

The

new

Roland

is

awfully

damned

close

to

the

real

thing,

but

the

ASR!

I

6+

Joey

DeFrancesco

library

is

the

only

one

I

’ve

ever

heard

that

has

the 60

Hz

induction

noise

aliasing

the

first

three

drawbars

just

like

the

tonewheeler.

And

other

samples

from

this

set

sport

all

three

Chorus

Vibrato

settings.

Trust

me:

your

B3

solos

don’!

scream

until

you

hit

those

vibrato

tabs

with

the

knob

set

to

C3.

If

someone

pro-

grammed

888000000

with

C3

for

an

MR,

I

‘d

LOVE

to

hear

it,

because

that’s

the

only

sonicstate

tell-

tale

of

the

Ensoniq

library:

the

Chorus

vibrato

speeds

up

with

higher

notes

in

certain

sample

registers

(’cause

sampling

every

note

would

yield

a

I6

Mb

B3

stop)...]

[Steve

Vincent

-

Pat,

are

you

saying

the

ASR/16+

using

Joey

deF’s

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

gig-

ging

the

past

2

years,

I’ve

been

using

an

Alesis

QS-7

(which

i

bought

solely

for

its

piano

and

B-3

sounds)

through

a

Motion

Sound

Pro

3

rotary

speaker,

sending

the

low

end

emulator

to

a

Barber-

ta

Sorta

41

Pro

Combo

keyboard

amp.

I

thought

this

sounded

sublime,

but

the

Roland

VK

I

think

I

need

one.

]

[PF

—

Steve:

The

Joey

deFrancesco

samples

sound

more

AUTHENTIC

than

the

VK-7.

The

I/K

doesn't

have

the 60

Hz

running

through

the

samples

like

the

real

thing.

In

live

performance,

the

I/K-7

is

a

pretty

close

approximation,

especially

with

the

C

I

-C3

chorus

vibrato

stops.

And

yes,

the

COSM

rotary

simulator

is

very

good;

I

think

it’s

the

best

leslie

simulator

out

there.

But

it’s

not

good

enough

for

me

to

sell

my

B3

&

leslies

yet...]

TH-

Ijust

want

to

say,

“thank

you

very

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

[Steve

Vincent

—-

Eric:

You’re

welcome!

The

listen-

ing

pleasure

was

all

mine.

]

TH-

I’d

like

to

give

a

few

more

hints

to

Dave

Faunce

(and

other

TS

users),

who

wrote

in

issue

#157

about

corrupted

factory

TS

sample

disks.

I

had

the

same

problem

with

my

factory

sample

disks.

My

personal

theory

is

that

Ensoniq’s

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

there

some

other

type

of

computer,

long

ago...

some

kind

of

fruit?)

The

medium

on

the

3

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-I2

that

he

went

and

bought

one

a

few

weeks

after

me,

so

I

used

his

disks

to

make

11

copies

when

mine

went

bad.

The

simplest

way

to

protect

yourself

from

cor-

rupted

sample

disks

is

to

make

backup

copies

on

your

TS.

A

local

dealer

told

us

that

it

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

already

done

so,

get

Ensoniq

Disk

Tools

for

Windows

from

Rubber

Chicken

Software

Co.

(see

the

back

cover

of

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

files

onto

ﬂoppies

in

Ensoniq

format.

Dave

Simenson

fivetone@elite.net

[PF

—

Dave:

Yes.

Ensoniq

read/write

verify

is

a

CRC

redundancy

check

—

not

a

Norton

Disk

Doctor

sformat

utility

writing

running

I

’s

and

0’s

thru

the

disk

(time-consuming

read/write

verify).

If

the

checksum

matches,

an

Ensoniq

disk

is

pro-

nounced/blessed

as

“good”

and

calls

the

“Format

Completed”

ROM

bACK

(exactly

like

that

piece

of

fruit

company

that

just

blew

away

Wall

Street

this

week)...

What’s

happening

here

is

that

Ensoniq

formats

a

disk

and

looks

at

it

as

a

container.

The

file

system

doesn’t

look

atlcompensate

for

bad

sectors

after

a

successful

format

(the

checksum

matched,

right?

),

so

after

sitting

on

top

of

the

power

supply,

floppy

drive,

or

other

magnetic

influence,

upon

load,

the

#

of

bytes

written

doesn’t

equal

the

checksum

any-

more.

As

there

aren’t

any

high-level

read/verify

ROM

routines

for

an

already

overtaxed

CPU,

the

poor

TS

can

only

ack

back

“Disk

Data

Corrup-

ted.”

So

if

you

don’t

get

a

“Track

0

unreadable:

Disk

Unusable”

or

“Unable

to

save

Unformat

info”

prompt,

remember

this

ain’t

no

Pee-Cee...

Fortunately,

that

fruit

company

hired

Peter

Norton

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

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

I00

blanks

for

$

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

formattable.

Even

these

disks

will

occasionally

return

a

“Track

0

error:

Disk

Unusable”

error,

but

Maxell

WILL

replace

them

free

of

charge.

Again,

it’s

your

blood,

sweat

and

tears

on

these

floppies,

and

the

racing

analogy

ofa

$10

helmet

for

a

$10

head

most

certainly

holds

true

here...]

Just

a

quickie...

-

I

have

an

old

EPS

(keyboard

form

factor,

not

EPS-16+

etc).

A

very

old

EPS.

In

fact,

it’s

com-

pletely

unexpanded.

I’d

like

to

snag

a

RAM

upgrade

and

maybe

even

a

SCSI

kit

for

it.

I

am

aware

that

they

haven’t

been

made

for

a

bit,

and

are

thus

somewhat

rare.

The

crux

of

the

problem

is

that

I

am

based

in

London,

and

most

EPSs

are

in

the

US.

In

fact,

both

my

EPS

and

mixer

tun

from

a

US->UK

power

converter.

Anyway,

if

anyone

knows

of

any

little

specialists

making/refurbing

RAM

boards,

or

even

has

one

for

sale

for

a

small

amount,

I’d

appreciate

a

yelI..

Thanks in advance ...

My addr

is

peter.mills@hydramedia.com.

[PF -Peter: Syntaur Productions (wwwfatsnake.

comlsyntaur) has the

2X

and

4X

original Ensoniq

Memory Expanders. For all practical purposes, go

with the 4x. Rubber Chicken Software (www.

soundcentral.coml-chickeneps) has a cool SCSI

expander for the

EP

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, once installed, bask in own-

ership

of

the fastest-loading sampler ever created.}

TH -

I am running a

TS-lO

into an A WE

-64

Gold card

to Cakewalk. I

can't

'get communication into the

program. It just doesn't want to record any MIDI.

Do I need

to

switch something

in

the sound card?

RockerBill@aol.com

[PF -RockerBill: Reverse your MIDI cables.

These things are labeled "IN" and "OUT" but

does that mean connect to the MIDI IN

of

your

soundcard or connect to the MIDI IN

of

your

TS-10?}

TH -

My

son has a KS-32 with expanded sequence

memory. He wanted to use some General MIDI se-

quences, 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 Tran-

soniq ad that (I think) did some conversion be-

tween Gen MIDI and SQ

-I

(KS-32). We

can't

find

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 Cake-

walk -OK, but his funds are at low ebb right now.

Thanks!

Rob Davis

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

your purchase

(if

that was, in fact, the utility you

speak oj)

...

The other option, if you already have Cakewalk in-

stalled, is

to

bag the KS-32 IDF (Instrument

Dejinition File) for the KS-32. Also available from

the Twelve-Tone web site

..

.}

[Bob Lang (rlang@netdoor.com) -The midi map-

per jiJr WIN3,1 is available free

Of

http://www2.

netdoor.coml

-rlan

glmidimap.htm

.}

Hi

again

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 been able to get Alchemy and

my

EPS-16+ to talk to each other. Apparently, Pass-

port

is

no more, so you 're my only hope.

I've

tried

everything I can think of, but

it

always says, "16+

not responding -check 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.

If

this is an older version

of

Alchemy that

doesn't have the 16+ setup optionldriver you may

be out

of

luck unless someone can eMail or other-

wise send it to you. I couldn

't

get

myoid

version to

run on my ASR, BTW, so you're not alone ... }

[Peter C Heim -Thought

you'd

like

to

know -

ajier days

of

unsuccessful attempts, I woke this

AM

with a picture

in

my mind

of

some little thing

tucked away in an unused extension 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-10 on the same midi channel. Today's

bummer: the sound I was trying

to

edit keeps

giving me FILE OPERATION ERROR from my sy-

quest, even though I had it loaded two days ago.

(Whimper.)}

[PF -Peter: 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"

box). I had some troubles getting a

CSIX

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

Ba

y

DA

and draw

lines

to

and from

my

Interface Icon to and from the

CS1X -only THEN would it work correctly.

Jt

's a

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

Musicalln-

struments, PowerPlug, etc)

..

.}

TH -

As always, a great mag. I have one suggestion, and

a question.

Suggestion: Your most recent issue had a "classic"

article reprint with the "Something Grand" patch

for the

KS

/SQ

line.

I've

still got most

of

those old

classic issues going back a few years, and the

Something Grand patch has been

in

my

KS

-32

since you originally printed the article. But WHEN

did you print it originally? Maybe I' m the o

nl

y

one

who cares about this nostalgia, but I think it would

be interesting for you to print the original publica-

tion dates

of

future reprints (if you did print this

somewhere and I missed it,

my

apologies ...

).

Question:

I've

got an ASR-IO

Rack

which

is

cur-

rently hooked up to a ZIP drive. I just purchased a

Korg

08

hard disk recorder (great little machine

for those

of

us who can

't

afford PARIS) which has

a 1.4 gig drive built in, and a SCSI port for more

external drives. I would like to use a Syquest Sparq

with the

08

and/or the ASR-IO. 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-to-

SCSI converter which might solve the problem.

Does anyone out there know if this can

be

done?

Thanks, and keep up the good work.

Bernie Fabricant

BERFAB@AOL.COM

[TH -Good point. ThaI palch originally showed

up

in Issue #94 -April, 1993.}

[PF -Bernie: I don't own a Sparq drive, but

I'm

VERY leery

of

devices (hat au({)sellse blw parallel

and SCSI connection. For instance, the Zip PLUS

drive is (he same type

of

interface, doesn

't

work

12

with any

of

the Malvern loopboxes, and can be the

ONLY device

in

any SCSI chain ...

I'm

not trying to scare you

o}f

-just be sure you

can return the Sparq drive

if

it isn't compatible.

Most reputable vendors have a return policy

similar to this, but be sure

to

purchase it with that

return caveat.

And,

of

course, eMail us back and tell us

ifit

works

or not

..

.}

DearTH,

I came to your site looking firstly for a list

of

En-

son

iq

service representative but I was pleasantly

surprised because the questions that I had about

my

battery problems and concerns ahout taking 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.

When I went to turn

it

on again, the battef"

me~

sage started and I was unsuccessful locating

as

:, -

tance. Not only did your site provide insig

ht

into

the problem but also provided Ensoniq Customer

Service number so I could find a local representa-

tive although

I'm

not sure how close one will be. I

used my Ensoniq

ESQ-l

for preliminary program-

ming my ideas for a CD-single

I'm

about to release

on the Internet Underground Music Archive web-

site for independent musicians. I want to begin

creation mode again so thanks ... Your assistance

has been invaluable.

Claire Machado, CAM ENGINE

camengine@cruzers.com

[TH -You're

ve

ry welcome

.}

[PF -Claire:

All

Ensoniq service tech (who shall

remain nameless) volunteered this info

to

me while

I was trying to resurrect a dying

F:SQ-1.

My thanks

(()

him

for

providing this level

of

tech support (that

Ensoniq doesn't on the discontinued keyboards)

and

FJr

allowing me

to

Archive

web-

site

for

independent

musicians.

I

want

to

begin

creation

mode

again

so

thanks...

Your

assistance

has

been

invaluable.

Claire

Machado,

CAM

ENGINE

camengine@cruzers.com

[TH

—

You’re

very

welcome.

]

[PF

—

Claire:

An

Ensoniq

service

tech

(who

shall

remain

nameless)

volunteered

this

info

to

me

while

I

was

trying

to

resurrect

a

dying

ESQ-I

.

My

thanks

to

him

for

providing

this

level

of

tech

support

(that

Ensoniq

doesn’t

on

the

discontinued

keyboards)

and

for

allowing

me

to

share

this

info

with

our

es-

teemed

reader

base.

He

asked

me

to

add

this

quip

to

my

response:

“I

am

the

Pentium

Borg.

You

will

all

be

ap-

proximated.

..

”

]

Gang:

Check

out

the

ASR-X-Pro

in

the

September

issue

of

Keyboard

or

www.ensoniq.com.

And

yes,

it

is

CERTAINLY

red...

Pat

F.

Transoniq

[Dvkrogh@aol.com

—

I

can’t

find

any

info

about

the

ASR-X

Pro

you

mentioned

—

could

you

give

me

an

exact

address?

As

I

live

in

Germany,

the

“Key-

board”

September

issue

is

not

an

option

for

me...

Thanks.

Derek]

[PF

~

Derek:

I

quoted

the

ad

from

Keyboard

magazine.

I

went

up

to

www.ensoniq.com

and

found

absolutely

NO

mention

of

it

either.

Basically,

it’s

a

hopped-up

ASR-X

that

holds

up to

66

Mb

RAM

(counting

the

2

Mb

soldered

in,

1

guess)

with

the

SCSI

interface

built

in.

No

mention

of

the

out-

put

expander

built

in,

but

we’ll

see.

Sorry

for

the

misinformation,

but

that’s

how

the

ad

read:

maybe

Ensoniq will get this info on their website soon

(since they're advertising info on it is there) ... }

[TH -We should have inf() elsewhere

in

this issue.}

TH-

I have an

EPS

Classic.

Today

it

suddenly will not

read its drive. It gives the message

"Ba

d

de

vice

ID" and goes to

"Insert

disk

hit

Enter"

when I try

to save the sample.

The

disk gets reinserted and

enter

is hit. This brings

up

"Bad

device ID." Any

ideas on how to correct this?

Thank you

in

advance.

Tim

light I

II@earthlink.net

[PF -Tim:

If

your EPS won't read from its floppy

drive, you can't load the OS and get "Bad Device

ID" messages. I think you've got a bad

or

cor-

rupted disk. Reformat the defective/bad floppy, and

ensure it's an 800K DSDD, and

NOT

a 1.4 Mb

DDHD floppy. DDHD's have two shutter holes,

DSDD's have one ... }

Hi there,

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 ex-

clusively

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" patch chan-

ges at

gig's.

I am now trying to record these live performances

on tape+external

computer

sequencer

and have en-

countered a major problem. I

do

not seem to be

able to capture my sound

changes

correctly!!

What I want to do is have the external

sequencer

record my performance plus preset changes cor-

rectly.

In

order

that Preset

programme

numbers are trans-

mitted 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,

a

programme change

command

with a value

of

61

is

recorded by my external sequencer, this

bit

is fine.

The MIDI receive mode is set to

MODE=POL

Y.

This has the disadvantage

of

not selecting the cor-

rect Korg patch -

but

I

can

live with this for

now

.

I can then record, notes,

volume

pedal, modulation,

pitch-bend

AND

PRESET

PROGRAMME

CHAN-

GES 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 hap-

pens ......

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 its patch accordingly but the Korg

doesn't

change at all. It looks as though the

programme changes to the Korg are not being

transmitted"

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.

To

get back to normality I have put the TS-12 into

its "Sounds" Mode and select any sound. The Korg

then changes its patch.

Now

when I return to

TS-12

"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

[PF -Dan: Not a software feature -pilot error.

First, set the TS's MIDI Mode to "Multi. " Poly

won't go there as you want multichannel opera-

tion. Second

of

all, Presets and Sequences are ac-

tually different for the TS-series. In the

"Preset"

mode you get the option

of

selecting 3 different

layers, which is fine for mixing/layering INTER-

NAL TS sounds. But as you've discovered, it sends

no MIDI data. Which is why you have to go to

"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). And, unless the Korg is set

to

receive

in

"Comb!" or "Multi" mode, it'll probab-

ly ignore base channel external commands. Turn

Sysex ON on the TS, open a MIDI Monitor window

on your computer, and

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.}

[Dan Sullivan -Despite your suggestion I am still

not having much success.

I followed your instructions and copied one

of

my

presets into a new sequence, (I also copied the ef:

feet setting as well). I then created another se-

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 in-

cluding my external Korg

03

module, (By the way

this is just the same state

of

affairs as when switch-

ing between presets in my gig situation!)

I then

fed

the MIDI output

of

the TS-12 into my ex-

ternal sequencer, put it into record mode and

switched between the two sequences. Once this was

done I played it back into the TS-12 MIDI input.

I was expecting the TS-12 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/recep-

tion

of

MIDI song changes so that external sequen-

cers could select TS-12 sequences remotely -

unfortunately when I checked this option it was al-

ready enabled.

Instead

of

creating sequence.l· with my preset set-

tings I tried created songs, once again patch

changes all worked correctly during recording but

on replay

no

change in song selection was ob-

served -only the track sounds within the song

were changing.

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

settings thar were present when I was doing the

recording.

If

I could get the transmission and reception

of

song changes to work

l'm

sure that this method

would prove succes"j'ul! How can

I1}

[PF -Dan: Then it's time

ff"

you

to

contact En-

soniq Tech Support and speak with one

of

their

tech support engineers jiJr a resolution.

If

it's this

sticky a problem the pros

in

Malvern are your best

bet. They'll askffJr the ROM rev

of

your TS and OS

rev, the ROM rev

of

your external sequencer, and

Classifieds

-~

HARDWARE/SOFTWARE

Like

new

SD-I/32V, exIra discs, manuals,

dust

cover.

Never left home. $885 . Email: BigChord@aol.com or

phone:

209-439-7420.

Ensaniq CDR-l & CDR-3 for ASR-IO.

Best

offer.

Rubber Chicken Piano

Pak

(5

disks) &

Bass

Pak

(10

disks)

far

ASR

-IO

.

Best

offer. 248-693-9497.

EPS

Classic for sale!

Very

Heavy-Duty

ATA

flight

case.

PS

Systems

4X

expander. 250+ floppies , with

printed lisling, of sounds.

Home

seldom

used

only -

Never

used

live or

in

studio. Excellent condition!

$1000

firm

-Will separate w/case. Finale 3 - Notation

Software.

In

box.

Full

documentation.

$75

abo.

Keith

Mullin, 217-221-7267 days, 217-224-4036 nights,

kmullin@harris.com.

W ANTED!

New

or good

used

EPS

-

mine

died.

Merle Hilbrich, Trinity Baptist Church, 319

E.

Mulber-

ry,

San

Antonio, Texas 78212.

Fax:

210-738-7797 or

phone:

210-733-620

I.

ASR-IOR,

16

Meg/SCSI/8-0ut: $2100. ESQ-I,

new

battery: $450. TX8IZ: $150.

Phone:

248-693-9497.

13

ASR-X for sale, with SCSI, 34

meg

Ram

, barely

used

,

$1700 ar best offer. E-mail

kthomas@

cyg.net or call

(519) 271-7964.

EPS-Classic keyboard,

4x

memory exp+SCSI, 8xOut

expander -very good shape, 900

USD

+ shipping.

Sy-

Quest 44

MB

drive with 5 carts (with a

few

sounds/tunings)

and

cables. 200

USD

+ shipping.

European 220 volts versions!!! Jorgen Teller, Copen-

hagen, Denmark. e-mail: delete@compuserve.com.

phonelfax:

45-

33263614.

FREE CLASSIFIEDS!

Well -within limits. We're offering

free

classified

ad-

vertising

(up

to

40

words) for your sampled sounds or

patches. Additional words, or

ads

for other products ar

services,

are

$0.251

ward per

issue

(BOLD type:

$0.45/word). Unless renewed, freebie

ads

are

removed

after 2 issues. While you're welcome

to

resell copy-

righted sounds

and

programs

that

you no longer have

any

use

for,

ads for

copies

of copyrighted material

will

not

be

accepted. Sorry -

we

can't

(we

won't!) take

ad

dictation over the phone!

1

-4

P

.

I

Ensoniq

will

get

this

info

on

their

website

soon

(since

they’re

advertising

info

on

it

is

there)...

]

[TH

—

We

should

have

info

elsewhere

in

this

issue.]

TH-

I

have

an

EPS

Classic.

Today

it

suddenly

will

not

read

its

drive.

It

gives

the

message

“Bad

device

ID”

and

goes

to

“Insert

disk

hit

Enter”

when

I

try

to

save

the

sample.

The

disk

gets

reinserted

and

enter

is

hit.

This

brings

up

“Bad

device

ID.”

Any

ideas

on

how

to

correct

this?

Thank

you

in

advance.

Tim

light]

1

l@earthlink.net

[PF

—

Tim:

If

your

EPS

won’!

read

from

its

floppy

drive,

you

can’t

load

the

OS

and

get

“Bad

Device

ID”

messages.

I

think

you’ve

got

a

bad

or

cor-

rupted

disk.

Reformat

the

defectivel

bad

floppy,

and

ensure

it’s

an

800K

DSDD,

and

NOT

a

I.4

Mb

DDHD

floppy.

DDHD’s

have

two

shutter

holes,

DSDD’s

have

one...]

Hi

there,

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

ex-

clusively

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-fly”

patch

chan-

ges

at

gig’s.

I

am

now

trying

to

record

these

live

performances

on

taper-extemal

computer

sequencer

and

have

en-

countered

a

major

problem.

I

do

not

seem

to

be

able

to

capture

my

sound

changes

correctlyll

What

I

want

to

do

is

have

the

external

sequencer

record

my

performance

plus

preset

changes

cor-

rectly.

In

order

that

Preset

programme

numbers

are

trans-

mitted

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

U0-0,

a

programme

change

command

with

a

value

of

6l

is

recorded

by

my

extemal

sequencer,

this

bit

is

fine.

The

MIDI

receive

mode

is

set

to

MODE=POLY.

This

has

the

disadvantage

of

not

selecting

the

cor-

rect

Korg

patch

—

but

I

can

live

with

this

for

now.

I

can

then

record,

notes,

volume

pedal,

modulation,

pitch-bend

AND

PRESET

PROGRAMME

CHAN-

GES

into

my

external

sequencer.

The

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

hap-

pens

....

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

alte.rs

its

patch

accordingly

but the

Korg

doesn’t

change

at

all.

It

looks

as

though

the

programme

changes

to

the

Korg

are

not

being

transmitted!

I

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.

To

get

back

to

normality

I

have

put

the

TS-I2

into

its

“Sounds”

Mode

and

select

any

sound.

The

Korg

then

changes

its

patch.

Now

when

I

return

to

TS-12

“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.

l264@compuserve.com

[PF

—

Dan:

Not

a

soﬁware

feature

—

pilot

error.

First,

set

the

TS’s

MIDI

Mode

to

“Multi.”

Poly

won’t

go

there

as

you

want

multichannel

opera-

tion.

Second

of

all,

Presets

and

Sequences

are

ac-

tually

different

for

the

TS-series.

In

the

“Preset

“

mode

you

get

the

option

of

selecting

3

different

layers,

which

is

fine

for

mixing/layering

INTER-

NAL

TS

sounds.

But

as

you’ve

discovered,

it

sends

no

MIDI

data.

Which

is

why

you

have

to go to

“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

).

And,

unless

the

Korg

is

set

to

receive

in

“Combi”

or

“Multi”

mode,

it'll

probab-

ly

ignore

base

channel

external

commands.

Turn

Sysex

ON

on the

TS,

open

a

MIDI

Monitor

window

on

your

computer,

and

you’ll

see

the

TS

is

most

definitely

sending

out

MIDI

data:

question

is

the

K

org

set

properly

to

receive

and

make

sense

of

it.

]

[Dan

Sullivan

—

Despite

your

suggestion

I

am

still

not

having

much

success.

I

followed

your

instructions

and

copied

one

of

my

presets

into

a

new

sequence,

(I

also

copied

the

ef-

fect

setting

as

well).

I

then

created

another

se-

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

in-

cluding

my

external

Korg

O3

module,

(By

the

way

this

is

just

the

same

state

of'affoirs

as

when

switch-

ing

between

presets

in

my

gig

situation!)

I

then

fed

the

MIDI

output

of

the

TS-I2

into

my

ex-

ternal

sequencer,

put

it

into

record

mode

and

switched

between

the

two

sequences.

Once

this

was

done

Iplayed

it

back

into

the

TS-I2

MIDI

input.

I

was

expecting

the

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/recep-

tion

ofll/IIDI

song

changes

so

that

external

sequen-

cers

could

select

TS-l2

sequences

remotely

—

unfortunately

when

I

checked

this

option

it

was

al-

ready

enabled.

Instead

of

creating

sequences

with

my

preset

set-

tings

I

tried

created

songs,

once

again

patch

changes

all

worked

correctly

during

recording

but

on

replay

no

change

in

song

selection

was

ob-

served

—

only

the

track

sounds

within

the

song

were

changing.

I

f

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

settings

that

were

present

when

I

was

doing

the

recording.

If I

could

get

the

transmission

and

reception

of

song

changes

to

work

I’m

sure

that

this

method

would

prove

successful!

How

can

1?]

[PF

—

Dan:

Then

it’s

time

for

you

to

contact

En-

soniq

Tech

Support

and

speak

with

one

of

their

tech

support

engineers

for

a

resolution.

If

it’s

this

sticky

a

problem

the

pros in

Malvern

are

your

best

bet.

They’ll

ask

for

the

ROM

rev

of

your

TS

and

OS

rev,

the

ROM

rev

of

your

external

sequencer,

and

HAR

DWAREISO

FTWARE

Like

new

SD-1/32V,

extra

discs,

manuals,

dust

cover.

Never

left

home.

$885.

Email:

BigChord@aol.com

or

phone:

209-439-7420.

Ensoniq

CDR-1

&

CDR-3

for

ASR-I0.

Best

offer.

Rubber

Chicken

Piano

Pak

(5

disks)

&

Bass

Pak

(10

disks)

for

ASR-10.

Best

offer.

248-693-9497.

EPS

Classic

for

sale!

Very

l-Ieavy-Duty

ATA

ﬂight

case.

PS

Systems

4X

expander.

250+

ﬂoppies,

with

printed

listing,

of

sounds.

Home

seldom

used

only

—

Never

used

live

or

in

studio.

Excellent

condition!

$1000

firm

~

Will

separate

w/case.

Finale

3

—

Notation

Software.

In

box.

Full

documentation.

$75

obo.

Keith

Mullin,

217-22I-7267

days,

2l7-224-4036

nights,

kmullin@harris.com.

WANTED!

New

or

good

used

EPS

—

mine

died.

Merle

Hilbrich,

Trinity

Baptist

Church,

319

E.

Mulber-

ry,

San

Antonio,

Texas

78212.

Fax:

210-738-7797

or

phone:

210-733-6201.

ASR-10R,

16

Meg/SCSI/8-Out:

$2100.

ESQ-1,

new

battery:

$450.

TX81Z:

$150.

Phone:

248-693-9497.

13

ASR-X

for

sale,

with

SCSI,

34

meg

Ram,

barely

used,

$1700

or

best

offer.

E-mail

kthomas@

cyg.net

or

call

(519)271-7964.

EPS—Cla.ssic

keyboard,

4x

memory

cxp+SCSI,

8xOut

ex

pander

-

very

good

shape,

900

USD

+

shipping.

Sy-

Quest

44

MB

drive

with

5

carts

(with

a

few

sounds/tunings)

and

cables.

200

USD

+

shipping.

European

220

volts

versions!!!

Jorgen

Teller,

Copen-

hagen,

Denmark.

e-mail:

delete@compuserve.com,

phone/fax:

45-

33263614.

FREE

CLASSIFIEDS!

Well

—

within

limits.

We're

offering

free

classified

ad-

vertising

(up

to 40

words)

for

your

sampled

sounds

or

patches.

Additional

words,

or

ads

for

other

products

or

services,

are

$0.25/

word

per

issue

(BOLD

type:

$0.45/word).

Unless

renewed,

freebie

ads

are

removed

after

2

issues.

While

you’re

welcome

to

resell

copy-

righted

sounds

and

programs

that

you

no

longer

have

any

use

for,

ads

for

copies

of

copyrighted

material

will

not

be

accepted.

Sorry

—

we

can’t

(we

won’t!)

take

ad

dictation

over

the

phone!

-

other details above the scope

of

this forum. Let us

know what they recommend should the same issue

return in another letter.

And

good luck!}

[TH -

And

if

that

do

esn't

work, this'll be among

the letters that

go

for the "official word" before

go

ing to print -so

th

ere'

.I'

still one more chance.}

[Eric Montgomery (Emu-Ensoniq) -I know that

this may sound silly hut,

if

it all worked hefore ex-

cept

for

the Korg, then the way you were doing it

at

jirst

prohahly worked except

for

one thing. After

the computer recorded everything, and it is time

for

pLayhack, he sure that the Korg

is

pLugged into

the MIDI thru port

of

the TS instead

of

the MIDI

out port. You did not mention that you had a multi

port interface so I assumed you did

nOI.

If

you do have a multi port interface, just insert the

program changes where needed j;)r the Korg

separately.

You

already

ha

ve the note dala in the

computer. It is just a matter

of

setting the Korg on

its own track and inserting program changes where

they are needed.}

Hi,

The

ASR-lO

keyboard we work with has

developed

strange behaviours,

sort

of

like

a mind

of

its own.

When

the OS diskette is inserted the

"Cal

ibration failed" message

shows

up.

After

several attempts to reboot the ASR may finally

work only to start randomly playing

numerous

notes

and

keys. A strange

message

on

the display

keeps popping up:

ERROR

144 -

REBOOT.

Have

any

of

you

enco

untered any such difficulties with

this particular model

or

make?

Daniel & Bill

dopn@goteborg.mail.telia.com

[PF -Dan & Bill: Sounds like a defective or inter-

mittent keyhoard assemhly, as this is what's ac-

tually being

caL

ihrated when you get that message.

Error 144 is a MIDI huffer overjlow, which the

keyhoard CAN cause

if

defective, hut usually 144

means 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 ... }

Hi,

I

am

trying to use my

ASR

-X to

sysex

some

synth

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?

(It has the latest O.S.)

Thank

you very much,

Robert

rcmidi@yahoo.com

[PF -Rohert: The issue here is what

jimnat

these

patches were saved in. Are they Cakewalk Sysex

dumps, Unisyn dumps, Galaxy patch j;)rmat, IBM

or PC jl)rmat? This will determine

if

you can

do

this. As I don 't own an ASR-X I

can't

step-hy-step

you thru this. But I can expLain the procedure.

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

j(lrmat, set the ASR-X to transmit Sysex inji)rma-

tion. Ensure yo u have the MIDI out

of

the

ASR-X

connected to the MIDI IN

of

the

ANlx,

and the

MIDI

OUT

of

the

ANlx

connected to the MIDI IN

of

the ASR-X (in case they need to handshake).

Load the sysex file into the ASR and transmit it.

The

AN

I x should respond with a "Receiving MIDI

Data" prompt if it

is

receiving the data.

As this is a current Ensoniq product,

l'd

call Tech

support at Malvern

if

you have any trouble doing

this. That'

.I'

a relatively new product that any

of

their tech support engilJ-eers should be able to steer

you thru

..

. }

DearTH

,

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

unit,

every

time it has to

engage

the floppy drive

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. I

have

tried using

different

O.S.

disks/versions,

I

even

downloaded

a new one.

I

even

tried

cleaning

the drive, to no avail.

Some-

one

told

me

I

needed

to

have

the

drive rebuilt?

But

I

don't

think that makes

any

sense.

If

there was

something

wrong

with the

drive

wouldn't

it

not be

able to

load

the O.S. disk,

and

therefore boot?

Please help!

Anthony

san_agustin_l@hotmaiLcom

[PF -Tony: Just because a drive can read the OS

sectors doesn't mean it can read the entire disk.

You problem could he as simple as a

dej

ective OS

diskette, a failing disk drive, a failing power supp-

L

y,

intermittent connectors, mayhe even the logic

hoard. On a prohlem

of

this nature it' .I' ahsolutely

hest to take your EPS to an Authorized Service

Center ji)r the following reasons:

(A) He can run proprietary diagnostics that can

pinpoint the prohlem. Guys like us can only "shot-

gun" parts (replace parts we THINK are bad).

And

if

we're wrong we've spent money to replace the

wrong part.

(8) He can warrant his work. All Ensoniq repairs

are guaranteed

for

the remainder .of the warranty

or 90 days, whichever applies to a particular

repair.

You

won't

get this guarantee anywhere

BUT

Ensoniq.

(C)

Your EPS is no longer manufactured. This

means

if

you hlow it

up

or otherwise nuke it, you're

hosed.

If

an UN-authorized tech hlows it

up

or

otherwise nukes it,

you're

hosed.

An

Authorized

Service Tech knows how 10

jix

these things, so

you'll avoid hoth scenarios ... }

TH-

I

would

like to know

who

has the best patches for

the

ESQ-l.

I've

been looking into Patch man

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.

S.

Somsoda

14

suk@ix.netcom.com

[PF -

S.

Somsoda: 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"

patches -sounds are way too suhjective j()r anyone

to say who

is

"best," as what is "best" for you may

he the "worst" for someone else. ft's prohahly bet-

ter to contact the patch vendor and ask what type

of

sounds are availahle. Usually hy their response

you can tell

if

they've done serious work on their

stuff

or

not. I can speak from personal experience

that Sam Mims

of

Syntaur Productions does

wonderful sound development for the SQIKSI

VFXI SD series, so

I'd

look at his wareS jirst

..

.}

[Steve Vincent -Having purchased a

zi

llion ESQ-I

patches over the years representing just about

every vendor, my vote dejinitely goes with Syntaur.

Sam Mims has created gorgeous patches that fully

explore

and

utilize the ESQ-I 's sonic abilities. I

have used mostly Syntaur patches on my record-

ings.}

TH-

What are my

options

for

adding

new sounds

to

my

ESQ-l?

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-!

can interface with a com-

puter via MIDI j()r downloading and uploading

sounds. You'll need a Sysex utility

o~

editor pro-

gram to do this,

bUI

it'

.I'

pretty straightjimvard. You

can also Sysex via MIDI to a Mirage, an

EPSIl6+IASR or other Sysex device such as a

MIDIDisk or other MIDI

Datajiler

...

The EEPROM carts are the coolest, though, as

they're immediately recognized. Sounds can be

played from them as soon as it

's

inserted, where,

with Sysex storage, it takes some time

to

load the

memory

of

the instrumen!...}

TH-

Can

I

transfer

my

VFX

seqs to a

newer

machine,

if

I were to

purchase

one?

SEA94@aol.

com

[PF -SEA94: Sure. Depends what j(Jrmat

of

se-

quences your new machine can read. Gary Giehler

has the most extensive collection

of

sequence con-

verters

on

this hlue hall. URL is www.giehler.com.

Check there to make sure your new keyhoard is

supported. Chances are

it'll

read Standard MIDI

Files (SMF) and

you'll

just need the VFXsd->SMF

utiliIY

..

·}

other

details

above

the

scope

of

this

forum.

Let

us

know

what

they

recommend

should

the

same

issue

return

in

another

letter.

And

good

luck!

]

[TH

—

And

if

that

doesn’t

work,

this’ll

be

among

the

letters

that

go

for

the

“official

word”

before

going

to

print

—

so

there’s

still

one

more

chance.

]

[Eric

Montgomery

(Emu-Ensoniq)

—

I

know

that

this

may

sound

silly

but,

if

it

all

worked

before

ex-

cept

for

the

Korg,

then

the

way

you

were

doing

it

at

first

probably

worked

except

for

one

thing.

Aﬁer

the

computer

recorded

everything,

and

it

is

time

for

playback,

be

sure

that

the

Korg

is

plugged

into

the

MIDI

thru

port

of

the

TS

instead

of

the

MIDI

out

port.

You

did

not

mention

that

you

had

a

multi

port

interface

so

I

assumed

you

did

not.

If

you

do

have

a

multi

port

interface,

just

insert

the

program

changes

where

needed

for

the

Korg

separately.

You

already

have

the

note

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.

]

Hi,

The

ASR-10

keyboard

we

work

with

has

developed

strange

behaviours,

sort

of

like

a

mind

of

its

own.

When

the

OS

diskette

is

inserted

the

“Calibration

failed”

message

shows

up.

After

several

attempts

to

reboot

the

ASR

may

finally

work

only

to

start

randomly

playing

numerous

notes

and

keys.

A

strange

message

on

the

display

keeps

popping

up:

ERROR

I44

-

REBOOT.

Have

any

of

you

encountered

any

such

difficulties

with

this

particular

model

or

make?

Daniel

&

Bill

dopn@goteborg.mail.telia.com

[PF

-

Dan

&

Bill:

Sounds

like

a

defective

or

inter-

mittent

keyboard

assembly,

as

this

is

what’s

ac-

tually

being

calibrated

when

you

get

that

message.

Error

144

is

a

MIDI

buffer

overﬂow,

which

the

keyboard

CAN

cause

if

defective,

but

usually

144

means

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...]

Hi,

I

am

trying

to

use

my

ASR-X

to

sysex

some

synth

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?

(It

has

the

latest

O.S.)

Thank

you

very

much,

Robert

rcmidi@yahoo.com

[PF

-

Robert:

The

issue

here

is

what

format

these

patches

were

saved

in.

Are

they

Cakewalk

Sysex

dumps,

Unisyn

dumps,

Galaxy

patch

format,

IBM

or

PC

format?

This

will

determine

if

you

can

do

this.

As

I

don’!

own

an

ASR-X

I

can’t

step-by-step

you

thru

this.

But

I

can

explain

the

procedure.

Once

you

get

these

patches

in

an

ASR-X-readable

format,

set

the

ASR-X

to

transmit

Sysex

informa-

tion.

Ensure

you

have

the

MIDI

out

of

the

ASR-X

—**

fn"

’

*

ii j

-

a

connected

to

the

MIDI

IN

of

the

AN1x,

and

the

MIDI

OUT

of

the

AN1x

connected

to

the

MIDI

IN

of

the

ASR-X

(in

case

they

need

to

handshake).

Load

the

sysex

ﬁle

into

the

ASR

and

transmit

it.

The

AN1x

should

respond

with

a

“Receiving

MIDI

Data”

prompt

if

it

is

receiving

the

data.

As

this

is

a

current

Ensoniq

product,

I

’d

call

Tech

support

at

Malvern

if

you

have

any

trouble

doing

this.

That’s

a

relatively

new

product

that

any

of

their

tech

support

engipeers

should

be

able

to

steer

you

thru...]

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

unit,

every

time

it

has

to

engage

the

ﬂoppy

drive

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.

I

have

tried

using

different

O.S.

disks/versions,

I

even

downloaded

a

new

one.

I

even

tried

cleaning

the

drive,

to no

avail.

Some-

one

told

me

I

needed

to

have

the

drive

rebuilt?

But

I

don’t

think

that

makes

any

sense.

If

there

was

something

wrong

with

the

drive

wouldn’t

it

not

be

able

to

load

the

O.S.

disk,

and

therefore

boot?

Please

help!

Anthony

san_agustin_

l

@hotmail.com

[PF

-

Tony:

Just

because

a

drive

can

read

the

OS

sectors

doesn’t

mean

it

can

read

the

entire

disk.

You

problem

could

be

as

simple

as

a

defective

OS

diskette,

a

failing

disk

drive,

a

failing

power

supp-

ly,

intermittent

connectors,

maybe

even

the

logic

board.

On

a

problem

of

this

nature

it’s

absolutely

best

to

take

your

EPS

to

an

Authorized

Service

Center

for

the

following

reasons:

(A)

He

can

run

proprietary

diagnostics

that

can

pinpoint

the

problem.

Guys

like

us

can

only

“shot-

gun”

parts

(replace

parts

we

THINK

are

bad).

And

if

we’re

wrong

we’ve

spent

money

to

replace

the

wrong

part.

(B)

He

can

warrant

his

work.

All

Ensoniq

repairs

are

guaranteed

for

the

remainder

_of

the

warranty

or

90

days,

whichever

applies

to

a

particular

repair.

You

won’t

get

this

guarantee

anywhere

BUT

E

nsoniq.

(C)

Your

EPS

is

no

longer

manufactured.

This

means

ifyou

blow

it

up

or

otherwise

nuke

it,

you’re

hosed.

If

an

UN-authorized

tech

blows

it

up

or

otherwise

nukes

it,

you’re

hosed.

An

Authorized

Service

Tech

knows

how

to

fix

these

things,

so

you’ll

avoid

both

scenarios...

]

TH—

I

would

like

to

know

who

has

the

best

patches

for

the

ESQ-1.

I’ve

been

looking

into

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.

S.

Somsoda

1

4

u

suk@ix.netc0m.com

[PF

-

S.

Somsoda:

You’re

looking

in

all

the

right

places,

as

you

reference

the

three

top

choices

for

these

patches.

As

far

as

who

has

the

“best”

patches

-

sounds

are

way

too

subjective

for

anyone

to

say

who

is

“best,”

as

what

is

“best”

for

you

may

be

the

“worst”

for

someone

else.

It’s

probably

bet-

ter

to

contact

the

patch

vendor

and

ask

what

type

of

sounds

are

available.

Usually

by

their

response

you

can

tell

if

they’ve

done

serious

work

on

their

stuff‘

or

not.

I

can

speak

from

personal

experience

that

Sam

Mims

of

Syntaur

Productions

does

wonderful

sound

development

for

the

SQ/KS/

VFX/SD

series,

so

I

’d

look

at

his

wareS

first...

]

[Steve

Vincent

—

Having

purchased

a

zillion

ESQ-I

patches

over

the

years

representing

just

about

every

vendor,

my

vote

definitely

goes

with

Syntaur.

Sam

Mims

has

created

gorgeous

patches

that

fully

explore

and

utilize

the

ESQ-1's

sonic

abilities.

I

have

used

mostly

Syntaur

patches

on

my

record-

ings.]

TH-

What

are

my

options

for

adding

new

sounds

to

my

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

can

interface

with

a

com-

puter

via

MIDI

for

downloading

and

uploading

sounds.

You’ll

need

a

Sysex

utility

or

editor

pro-

gram

to

do

this,

but

it’s

pretty

straightforward.

You

can

also

Sysex

via

MIDI

to

a

Mirage,

an

EPS/16+/ASR

or

other

Sysex

device

such

as

a

M1D1Disk

or

other

MIDI

Data

filer...

The

EEPROM carts

are

the

coolest,

though,

as

they’re

immediately

recognized.

Sounds

can

be

played

from

them

as

soon

as

it’s

inserted,

where,

with

Sysex

storage,

it

takes

some

time

to

load

the

memory

of

the

instrument...]

TH-

Can

I

transfer

my

VFX

seqs

to

a

newer

machine,

if

I

were

to

purchase

one?

SEA94@aol.com

[PF

—

SEA94:

Sure.

Depends

what

format

of

se-

quences

your

new

machine

can

read.

Gary

Giebler

has

the

most

extensive

collection

of

sequence

con-

verters

on

this

blue

ball.

URL

is

www.giebler.com.

Check

there

to

make

sure

your

new

keyboard

is

supported.

Chances

are

it’ll

read

Standard

MIDI

Files

(SMF)

and

you’ll

just

need

the

VFXsd->SMF

utility...

]

\

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RETURN SERVICE REQUESTED

Publisher: Eric Geislinger

Editrix: Jane Talisman

Our

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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

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