Ensoniq Corporation Transoniq Hacker Archive Issue #126 Th 126

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The Independent News
Magazine for Ensonlq Users

.----

TS Sequencing Q & A

In Thlfi Issue
ll

Tony Ferrara

I n I

Articles:
TS Sequencing Q St A

Tony Ferrara ...................................... cover

I have tried the Edit Track. Scale. Key
Velocity. menu and it doesn't seem to
do the trick. Unlike other controllers

where there is a plus or minus. on
mine. the range is simply from 0 to 9.
Selecting different values doesn't seem
to change things at all. Am I in the
right menu to do what I wish to do?
Answer: Good news! I‘ve got some
general suggestions that can help you
in regard to quick editing when se-

I've been doing lots of interactive sequencing lately between Vision on my
Macintosh and my TS sequencer.
which I then sync together with MIDI
clocks to a modular digital multi-track
recorder. Coincidentally. we've been

getting plenty of technical questions
about a number of similar topics. With
that in mind. this month"s column is
going to take the form of a Question 8:.
Answer forum. where I try to come up
with the best solution for the particular
user’s needs. Here goes:
Question #1: On my TS: sometimes
I'll sequence a drum track and find that
the bass drum is too loud. How do I
edit the sequence so that just that G2
key (bass drum). for example. is
quieter throughout the sequence?
|

ISSUE .'"~il.lhllli'=-El-if ‘I26. $1»? Elli

Stupid Sequencer Tricks

Jack Schiejjfer ............................................ 5
The DPI4 and MIDI - Part ll
Steve Bynarst ........................................... .. T

LFO Fundamentals 101
Dan Ronda ................................................. 9
Vocoded Vocals
Tom Shear .............................................. .. 13
Samplin' From Your ‘VCR

quencing drum tracks.

JED. Ryan ................................................. 14

First of all. it‘s easiest to work with
drums by keeping them on separate sequencer tracks. For instance. bass drum
on track one. snare on track two. etc. If
you designate necks 1-6 to drums.
T-12 can then be used for your other
instruments. That way. you can quickly
edit the individual track volume by
changing the Min setting under the
Track Parameters sections on your TS
front panel. You can also change track
programs and transpositions quickly;
using this method. you could actually
use drums from different kits to create
your own unique "virtual" drum kit.
Different sequencer tracks (with their

Selling Your Services
Jefirey Fisher ........................................... 15

own MIDI channel number) will allow
you to interface with an ertternal sequencer much more easily. and will
enable you to solo tracks for isolation

Sampling. Sequencing and Live Performance
Torn Shear .............................................. .. 21

F<‘ogulor Stuff:
Hypersoniq ................................................ 2
Random Notes ........................................... 3
Hackerpatches - Mints & Rhoads
‘v'FX.iSIIl: Large-Sound. Slinkard
SQIKSIKT: Tubular Choir. I-Iaymond

12
20

Hacker Reinitialization — SQIKSIKT Series
Modulation
Clark Salisbury ................................. 1?
Classifieds ............................................. .. 22

The Interface ............................................ 23
Hacker Booteeq
30

DECENIBER. i995

I

when auditioning instruments or recording to tape.

range that you'd like to copy.

Question #2: What is the SCALE: KEY VELOCITY menu
for? Shouldrft that allow me to control the volume of a

Question #4: I-low come on my TS the KEY VELOCITY
scale menu goes from 0-99. not +99 to -99 like some other
menus? What does 0 on this menu mean and what does 99

single key number in a sequence (for example. the bass
drum at G2). I basically want to know if I understood the
purpose of this function.

mean‘?
Answer: in this contest. 0-99 are relative; they don’t

Answer: The Scale command lets you increase or decrease
the level of any specific controller information in the
selected track by a specified amount. The MIDI controller
KEY-VELOCITY pertains to Note-On Velocity. This is a

represent dB ranges. nor do they relate in any specific way
to dynamic markings found in traditional music notation.
They represent a minimum to maximum abstract value. as
opposed to system-common information like pan or MIDI

different parameter than track min (volume). The bottom
line is that it's very easy to confuse different types of MIDI

controller number values 0-12?. Parameters like track pan
are generally indicated by a range from +63 to -64 to sym-

controllers.

boliae hard right to left. Key none velocity controller values
range from 0 through 12?; therefore. this particular
parameter can be modulated via MIDI.

Question #3: Can you provide any tips on taking an existing TS sequencer track and breaking it into separate tracks?

I assume one would do that by simply copying a range of
notes to separate tracks. Can one easily “re-combine"
tracks back together? In other words. once I have my drum
kit on sis separate tracks. can I re-combine them into a

I hope that these suggestions are helpful to you: they've
worked very well for me. and have proven to be the quickest and most accurate way to work with drum track editing
on the TS-Series. If I haven't covered a point that relates to

single track at some point‘?

your specific interests this month. don’t worryl I'll have
more along this line nest time. -

Answer: Your assumption is correct -— you can take an es-

isting track and break it into separate necks by copying a
specific range of notes to a separate track. You can then
easily re-combine multiple tracks by using the merge track
function found on the second page under the “edit track"
button. You‘ll also find the copy track command in the
same place. at which time you can set the specific key

MIDI Mark Productions announces over 50 brand
spanking new disks for the EPS. ASR. and TS-Series
samplerslkeyboards. Sample disks include drums. synths.
effects. rap series and house kits. Nine disks on sale now
until December I2. 1995 for $52.00. For a free catalog.
contact: MIDI Mark Productions. P.O. 217. Whittier. CA

90608. Phone: (300) 301-MIDI (6434). Fan: (310)
699-U864. Email: MIDlMARK?@aol.com
‘k

it

Bio and self-serving plug: Anthony Ferraro has written for

Electronic Musician. Recording. and Keyboard magazines.
He is still hard at work on some new “snappy tlitties." and
is playing concerts in the Philadelphia area. Call 2l'5-?'42U733 for concert info.

forms of equal siae. A Transwave oscillator can switch
between different waveforms smoothly. while it is sound.ing. Wlien the waveforms are properly chosen. the result-

ing tone is heard as a smooth. continuously changing
timbre. To date. Transwaves must be created or at least
phase-adjusted on a computer. Transwave Synthesis is
unique to Ensoniq. and only the samplers and sample
players (TS-l[l.t'l2. EPS-16 PLUS. and ASR-10) can load
new Transwaves.

1'

Waveboy has generated a set of incredibly potent. espres-

Wavehoy Industries announces the release of the Transwave Sound Library. Only Ensoniq instrtunents can play
Transwaves. The five-disk collection showcases this unique feattne for the first time.

sive sounds based on Transwaves. The raw material is
drawn from different analog and digital synthesis techniques. including:
- pulse-width modulation.

‘What are Transwaves? A Transwave is a set of 128 wave-

I resonant filters.

I frequency modulation.

work with the Kurzwcil K2000 or other “Ensoniq compat-

I hard-sync.
I formant extraction.
I and additive synthesis.

ibles.") It is a five-disk set. includes 30 sounds. and comes
with a user’s manual for creating new sounds using
Transwaves. It is available directly from Waveboy for
$69.00 and at selected dealers across the world.

But these are not just samples. The Transwave gives the
player the ability to modulate the filter frequency. the

Bill Manchly is both “‘Waveboy” and the creator of Trans-

pulse-width. the FM index. and the harmonic content in
response to velocity. the wheel. or any modulation source.
So these sounds feel alive: they respond to your playing
and to parameter tweaks. Transwaves make the sampler
into a virtual {if you can stand to hear that word again)

waves in the Ensoniq product line. Bill played guitar. Mellotron. and guitar synthesizer in art rock bands during the

synthesizer. where each different Transwave can be a diffcrcnt synthesis technique.

in 1934 he joined to help design the Mirage. As a software
engineer for Ensoniq. he created the voice and effects ar-

The Waveboy disk set is both a source of raw Transwaves
for programmers. and a collection of finished sounds as
well. The 30 sounds in the Transwave Sound Library run

the gamut from aggressive (RUDE REZ) to atmospheric
(LIGHTYEARS); from bread-and-butter (BELL BIP FM)

to sound-track (HARMONICON); from plain and skimiy
(303 SAW) to luscious and fat (PWM SYNTH.) There are

’?0s. By 1980 he owned a recording studio. was doing

sound programming for the Fairlight. and was getting a
degree in Computer Science. When Ensoniq was founded

chitectures for the ASR-10 and EPS-I6 PLUS samplers
[as well as for the Mirage. ESQ-1. BPS. VFX. SD-1.
DPI4. and TS-10). He is currently heading the Advanced
Product Development Group at Ensoniq. Waveboy Industries was started as an outlet for effects algorithtns that
did not fit into Ensoniq's product plans. As the sole
proprietor of Waveboy Industries. Bill gets to develop any
hair-brained idea he likes.

no pianos.
The Transwave Sound Library works with the Ensoniq
ASR-10. the EPS-16 PLUS. and the TS-l0;'l2. (It will not

RND(hw)
Ensoniq Announcements
It's time to introduce you to MR Rack. the latest addition to
the Ensoniq family. The MR-Ra-clt is an all-new 64 voice.
expandable synth rack. It is based on a new voice engine. new
effects chip with new architecntre. and new circuitry giving
you 44.1 kl-Ix output. and a signal-to-noise spec of 103 dB.

Specifications

For further information. contact: Waveboy Industries. P.O.
BOX 233. Paoli. PA 19301. Phone: (610) 251-9562.

Dlsplayilnterface
I 40 (2 x 20} character LCD display
I 2 Data Entry knobs. I0 buttons {ti with LEDs). fi'ont panel

effects bypass. MIDI indicator LED. Volume knob
I SomdFinderTM interface - one knob selects sound type.
another knob selects specific sound. Sounds can be searched

for alphabetically within musical instr'urnent categories. or
numerically within Bank locations (ROM. RAM. card,

-

expansion board. GM. User. Demo}
I Audition button plays musical examples to preview sounds from
front panel (your choice of either a musical phrase appropriate
to the SoundFinder category. arpeggiated octaves. or a major
chord}.

Output
I
I
I
I

44.1 kHz sample playback rate
IS-bit DIA conversion with 103 dB dynamic range
103 dB signal-to-noise ratio
Ground-compensated output circuitry

Inputslfilutputs
I LcftfMono and Right Main outputs (balanced TRS)
I Leftflvlono and Right Aux outputs (balanced TRS)
I Stereo headphone output
I MIDI In.-’Dutt'ThI1.1

I PCMCIA ROMIRAM card slot for Sounds.t'Pcrformances
Internal Soundt'Perforn1ance Memory
I 393 RUM sounds ('2 Banks of 123. 12S GM sounds. 9 GMIGS
drum kits). hundreds of ROM drum elements

I Up to 128 RAM sounds possible {due to the dynamic voice sine
the final number is still to be determined}
I 65 ROM Performances (16 parts each)
I 32 RAM Performances (16 parts each}
Card SoundiPerforn1ance Memory
I ROM cards offer 2 Banks of Sounds (up to 123 per Bank) plus

2 Banks of Performances (32 per Bank)
I RAM cards (PCMCIA format} can be from 512k up to 2 MB.
They can hold the following data:

512k - 4 Banks of Sounds (up to 128 per Bank}
4 Banks of Performances (32 per Bartlt)

l MB - S Banks of Sotmds (up to 12S per Bank)
S Banks of Performances (32 per Bank}
2 MB - 16 Banks of Sounds (up to 128 per Bank)

16 Banks of Performances (32 per Bank}
‘Wave Memory
I 96 Megabits (12 MB} of 15-bit wave ROM
I Over 500-ll variations possible from the over 300 waveform
selections. which include:
- 2S Megabits (3.5 MB) of acoustic piano

- Multi-sampled acoustic instruments in Keyboard. Synth.

-_ Semi-tone and fine timing
- Pitch tracking (33 settings. including many fractional
scaling options}
- Key and velocity ranges
- Voice trigger options (key-up. key-down. MIDI controller
enable)
- Glide mode. glide time
- Monolpo ly playback

- Pitch Bend onloff. Held Pitch Bend mode
- Pitch Bend range is promammable for both positive and
negative wheel directions

- Sustain onloff
- Key group assigrunent

I Drum Kit architecture offers 64 keys (B1 - Dir‘): each key points
to a fully-developed Sound (up to 16 Layers per key). plus
effects bus. volume. pan. and tuning overrides.

String. Brass St Horn. Wind St Reed. Vocal. Bass. Drum.

Percussion. and Sound Effect groups
- 2nd-generation TranswavesTM created through sampling.
digital synthesis. and digital rcsynthesis technologies
- Sustained synth waveforms with harmonic and inharmonic

Performances
I A Performance is a 1h-part combination of Sounds. Parts can

be assigned their own MIDI channel for multi-timbral reception.
be set to the same MIDI channel for layer and split options. and

structures
I Modulatablc start point, forward or backward playback. and
multi-sample key shift (4 modes} available on most waves
I Pitchedlnon-pitched playback of all waves possible

be individually muted.
I Parts can be set to a global "Stack" channel. which can then be
defmed as any channel (1-16}. In this way layered or split
setups can be quickly matched to a given input channel by
simply changing the Stack channel setting.

Expansion Memory

I Each Performance contains a custom Drum Kit
I Extensive sound "tweaking" (global editing) for each Part in a
Performance. including:

I 3 wave expansion board slots. for a total of up to 672
Megabits (S4 IVIB) of ROM wave data
I A board holds up to 192 Megabits (24 MB) wave data. multiple

Banks of Sounds,lPerformances (up to 128 Sounds and 32
Performmtces per Bank). demos
I Expansion boards are user-installable
Voice. Architecture (accessible via computer)
I S4 dynamically assigned voices
I Dynamically sized voice architecture (up to 16 Layers). with
the following parameters:
- Independent waveform selection

- Programmable layer delay up to 10 secs or by key-up trigger
- 2 independent multi-mode dynamic digital filters (low-pass.
high-pass. variable bandwidth band-pass} with key tracking
(33 settings. including manyfractional scaling options)
- 3 five-stage envelope generators (time and level} with
level and auack time modulatablc by velocity (S possible
curves). key scaling. and response to release velocity
- 35 RUM Pitch Tables with a resolution of 256 steps per

semitone
- 1 RAM location for receiving a Pitch Table sent from any
device that supports the MIDI Tuning Dump Standard (Bulk
Tuning Dump and Single Note Tuning Change}
- 22 modulation sotuces
- S modulation destinations
- 1 LFU with T waveform choices. sync-able to System clock
(definable in HPM) or external MIDI clock. with 12

rhythmic subdivisions
- Variable rate Noise generator. sync-able to System clock
(definable in BPM} or external MIDI clock. with 12
rhythmic subdivisions
- Volume and Pan

- Volume

- LFO Depth. Delay

- Volume Polarity
- Expression
- Pan

- Amp Envelope
Attack. Decay. Release
- Filter Cutoff

- Effects Bus
- Pitch Bend Up
- Pitch Bend Down
- Tuning (Octave.
Coarse. Fine}

- Filter Envelope
Attack. Decay. Release
- Amp St. Filter
Envelope Velocity
- Key Range Lo,t'Hi

- Pitch Table
- Glide Mode

- Velocity Range Loil-li
- Velocity Mode

- Glide Time

- Pressure Mode

- LFO.r'Noise Tempo Sync

- Controller Reception

_- LFU Rate Filters

Effects
I New VLSI 24-bit digital signal processor (ESP-2) with

25 MIPS of DSP power. 52-bit accumulation
I New UMTE (Universal Multi-Timbral Effects} architecture
with h stereo busses:
— 3 stereo busses with independent send amounts into global
reyerb
- I stereo bus with a wetldry mix into global chorus and a
send amount into global reverb
_
- I stereo bus with a wetldry mix into an irtsert effect. a

weiidry mix into global chorus. and a send amotmt into
global reverb
- 1 dedicated stereo dry bus

- Insert effect choices include:
Hall Reverb
Small Room

Large RoomSmall Plate
Large Plate
Gated Reverb
NonLin Reverbl
NonLin Reverb2

Reverb-:=-Chonts
Reverb->Flanger
Reverb-:-Phaser
Rich Chorus
S-‘Poice Chorus
Chorus-:>Reverb
EQ->-Reverb
Flanger->Reverb

Phaser-:=-Reverb
Spinner-:>Reverb
Multi-Tap Delay

Optional Accessories
- MRC Series RUM Sound cards

uuL-seq

- EXP Series Wave Eapaiision boards

DBL->Flanger
DDb>Phaser
Pmametric EQ
Rotor Speaker

- MC-512 SRAM card [P€MCIA format) - larger card sizes are
available through most computer memory retailers

Guitar Amp
VCF Distort

Physical

Distortion-:=-Chorus

El 3J4" (23.6 cm) deep
- 19" tacit mount standard, 1U high
- Weight: 9.’? pounds (4.4 kilograms} ttnbo:-ted, 11-'.'6 pounds

Distortion-I:-Flanger
Distortion-:=-Phaser
VCF Envelope

Loudspeaker
Guitar Chainl
Guitar Chaini
Guitar Chain3

- Dimensions: 19" (43.26 cm) wide by 1 3K4" (4.29 cm) high I.

(Bil kilograms} ho:-ted

The MR-Rack will ship in late Novemberfearly December and
costs $1695 suggested retail price.

EQ-1:-Comp,-‘Gate

Pitch Shift
Chatter EDI.
Pitch Morph

DDL->Chorus
It Insert effect dynamically modulated by MIDI controllers
* Effects can be routed to Ivlain or Ans outputs

MIDI
I Always able to respond irt Multi Mode on up to 16 polyphonic

Hacker News
It’s always hard to remember in the middle of November that
this is the issue to convey our holiday greetings. (Well, we’ve
only been doing this for ten years or so...) Anyway, season's
greetings to all, thanks to everyone who has anything to do
with this, be careful, and enjoy the holidays! — Eric 8:; Jane

Third-Party News

channels

- A single MIDI channel can trigger multiple sounds
- Responds to Poly-Key Tlvi polyphonic pressure
- 4 System controllers {any of 12D MIDI controllers} can be used
for voice or effects modulation
- General MIDI compatible

Standard Accessories
- Musician‘s Manual
* Mark Of The Unicorn UNISYN TM MR-editorflibrariatt

software
(redeemed by returning completed warranty card}

Rubber Chicken has new links — phone: 612-235-W98, and
e-mail: chickenEPS@willmar.com.
XLS Food, that oddly-named vendor of samples (reviewed in
#124), has a new street address: Total Recording Studio, Paritst
T6, CHZDUU Neuchatel, Switzerland.
As far as we can tell, Ramtel-t is still in business. However, we
do feel obligated to warn readers that they may want to exercise
e:-ttra caution...

Stupid Sequencer Tricks
Jock Schiefier
Many people think of onbuard sequencers as nothing more
than fancy tape recorders. However, there is much more to
Ensoniq sequencers than merely recording and playing. By
use of clever editing and “template” sequences, you can
maximize the power of your sequencer as a creative tool.

In this article, we are going to focus on the some of the
ways to use sequencer templates on the EPS and ASR
samplers. However, these same techniques should work on
any keyboard with a sequencer and an event edit function-.
You'll just have to adapt the specific directions to fit the

architecture of your machine.

changes in the filter cutoff. That’s where the sequencer
template comes in.

Modulation Templates
One of the primary functions of a sequencer is to record a

Use the sequencer to hold down a single note for one bar.
Now, go to the Edit Sequencer page and set RECORD

series of notes and then play them back. However, most

MODE = ADD. Next record an overdub and move the

modem sequencers record much more than just notes.

mod wheel once during the bar.

They record all kinds of events: mod wheel movements,
velocity levels, aftertouch amount, and so forth. These
events are usually used to modulate or alter the sound

Next, we have to tackle the nuts-and-bolts of the event
editor. This can get a little complicated, so you may want

produced by the oscillator.

to have your manual handy. Go to the Comtnand Track
page and use the EVENT EDIT TRACKS cotnrnand.

You can use these types of sequenced modulation to
produce a variety of effects. By sequencing abmpt
changes in volume, you can reproduce the "transforming"
effect heard on many techno and dance tracks. By
sequencing filter movements, you can create a sampleand-hold type of sound. Pitch modulation can be used to

Scroll left to the Event Type and change it to MW so we
can edit the mod wheel movements. Using the imert and
delete functions, add a mod wheel event to each sixteenth
note (Clocks 1, 25, 49, and T3 of each beat). Now, you
want to edit the event value of each sixteenth note. Try to
mix high and low values and don't repeat any values. The

create arpeggiator-like effects.

whole-idea is to simulate a wild, pseudo-random jump-

use in many different situations. Simply use the sequencer

ing-around effect. I used the following values {in order):
30, T0, 110, 55, 125, 90, 45, 70, 25, 95, 65, 35, 80, 50,
120, T5. When you are done, exit the event editor by
pressing No!Cancel.

commands to merge this “template” with the particular sequence you are working on.
Since the modulation is sequencer-based, it will fit per-

Press Play and let your sequencer run. The filter should be
jumping around in response to the sequenced mod wheel

fectly with the rhythm of your song. And you can change
the speed of the effect simply by changing the tempo of
the sequence. That‘s much easier than monlteying around
with a bunch of LFO and envelope parameters for each insnument.

movements, creating sudden, rhythmic changes in the
sound. After you‘ve admired your handiwork for a while,
save this sequence to disk, giving it an appropriate name
like SH MODWHL. One of the best things about this
template is that it is sequencer-based. You can use it with

One of the best things about using the sequencer for these

tricks is that you can save your sequence and adapt it for

any instrument that responds to the mod wheel.

Using Filter Modulation
Choose a sustaining sound, preferably one with only one
sample in it (to make editing easier). If you want, you can
use the Create Wavesample conunand to give you a simple

square wave. Go to the Edit Filter page and set the filters
to 2 LP and 2 HP. Set both F1 and F2 CUTOFF FREQ to
U. Make sure there is no envelope modulation by setting
ENE? 2 AMT to U on both filters. So far, we've set up a
voice with a totally closed band-pass filter which will
sound somewhat like a resonant filter.

Variations On A Theme
This technique works well in the example we just did, but
don‘t limit yourself to just the mod wheel and the filter.

You can sequence any of the different modulators: mod
wheel, volume pedal, key pressure, pitch wheel, and so on.
You can use these modulators to control a variety of
parameters: filter cutoff, volume, panning, pitch, effects
parameters, loop position, transwaves, or whatever. One of

the best features of Ensoniq keyboards is their flexible
Next, we want to set the modulation parameters so that we
can simulate a sample-and-hold sound. Set the Fl MOD

modulation routings, and with this techniques you can
create some wild sounds. Your imagination is the limit.

and F2 MOD parameters to WHEEL. Set the MOD AMT
parameters to +99 for both filters. Before we forget, let‘s
disable the vibrato effect brought in by the mod wheel. Go

Save your sequences and try them out with different
sounds and different modulation routings. You are sure to
stumble across some pretty cool combinations.

to the Edit Pitch page and set LFO AMOUNT to ll. Try
playing a few notes while moving the mod wheel back and
forth. The timbre of the sound changes pretty dramatically. However, the movement of the filter is continuous. To
simulate a sample-and-hold, we need to introduce sudden

Test Patterns

'

When editing patches or tweaking samples, you probably
find yourself switching back and forth quite often between

the programming buttons and the keyboard to test the new
sound. Make things easier on yourself by letting the se-

Conclusions

quencer handle the keyboard.

As you can see, your sequencer can be a valuable tool in

developing your sounds, not just in recording the notes of
Create a simple test pattem; it doesn't need to be a masterpiece, just noodle around a little. Try varying tltq velocity
and duration of the notes. Then let the sequencer loop on

a song. As always, experimentation is the key. Try out lots

of different ideas and see what works. Ensoniq sequencers
are so easy to use that you‘re crazy not to use them for as

this pattem while you adjust parameters. You should find
that editing goes much more quickly. You might want to

many tasks as possible. -

create a separate test pattem for each different type of
sound: pianos, strings, drums, etc., so that the pattem can
repeat typical performance techniques and phrasings.

Bio: Jack Schiefier lives in Dallas, TX which is okay. He
plays Ensoniq samplers which is better. He reads the
Hacker which is the best ofoit.

The DP 4 and MIDI
Steve Byhttrst
As promised last time, we are now going even further into
best to make this stuff more exciting than it really is you
know).

tmits, or completely separate. How it is used depends on
your nomial working method. If you are driving the DPI4
from a sequencer you may wish to have a separate controller track with associated unique channel number, keep-

Global Parameters

ing it apart from other data. However, in most cases there
are advantages in using the same channel you have allocated for the config Illlli. ‘With this method, as long as you

the depths of System.Midi Land. Hold on tight! (I do my

Right, we've seen what can be done to program the four
effect units and the config unit for MIDI, what about
parameters that affect the DPI4 as a whole, irrespective of
individual settings? Well, these can be found from

parameter number 35 onwards. Pressing the System.Midi
button repeatedly will get you there quickly and then cycle
through groups of related cormnands. Let’s start at the
beginning -- numbers 35136.

Control ChannelrEnabie
This page allows you to choose which channel number
from 1-16 you want to function as a controller channel and
whether it is enabled or not. As I said in part one, all
modulation sources are received on this channel as well as
bypass controllers. How the modulation sources change
effects in individual units is part of the preset programming. Here we just select which channel the modulation is
received on.
The chosen channel cart be the same as any or all of the

don't wish to control units A-D separately, all your MIDI
data can be sent down one channel.
The Enable paratneter can be used to filter out all modulation to the DPI4 by simply setting it to "Disabled." Thus

you can eliminate the effect of the modulation without
changing the modulation parameters of the preset or the
parameters set within your MIDI controller.
DPI4 CtJt1il'flllBl'S 1-3
These parameters are used to select a list of eight DP!-4
system controller sources. Any two of these may then be
chosen to modulate any two parameters of an algorithm.
There are non-MIDI as well as MIDI sources. The MIDI

ones are the same as those on offer as bypass controllers
(listed in part one).

If you are really into MIDI programming you will probably find a total of only eight system controllers quite
restrictive, but the rest of us will probably be happy
enough with a few old favorites like pitch bend and mod

wheel. In fact continuous controllers like these are the
most useful modulators, but also try to include a switch

Modulation Response Hate

(like the patch buttons on some Ensoniq keyboards)

When using controllers to modulate parameters it is poss-

because these can be very useful for certain effects. For
instance, if you have programmed a restricted modulator

ible that a parameter will be changed either too quickly or

range for an algorithm paratneter you can instantly switch
from off to a preset depth of modulation.

too slowly when modulation is applied. This control supplies some help by changing how quickly modulation des-

tination values are altered by incoming data. The slowest
response of I has the highest resolution with the fastest
response of 30 giving a rougher modulation.

Program Change Master Switch
This on or off parameter governs whether any program

change messages will be recognized irrespective of individual unit setups. It must be set to "On" if you wish any
of the units to receive program changes.

This is very much a try-it-and-see parameter. If the sound

of your modulation is not what you want, try using this
control to see if it can make an itnprovement. Each effect)‘
modulator combination can require a different rate but
generally a fine resolution is more useful, especially when
controlling volume.

One use of this function is to act as a temporary override,

stopping the DPJ4 from receiving program change commands without having to change the individual tmit parameters.

System Exclusive Dumps
Outgoing system exclusive dumps are controlled by a

Control 7 Reception
MIDI controller ‘I messages are used to send volume data.
If this parameter is set to "Yes" the DP,r'4 will receive this

data and direct it to a unit with a matching channel number, otherwise it will be ignored.
If any of the units share a channel number all of those
units will be affected by volume changes from a matching
channel. For complete MIDI controlled effects mixing
give each unit a different channel number and- each one
can then receive different volume changes on matching
chamtels.

facility which is accessed by pressing the Write.Copy button whilst System.Midi mode is selected. A screen with
two parameters lets us send system dumps from the DPI4

to an extemal storage device. Combinations of the two
parameters allow individual preset or bank dumps of any
1, 2, 4, or config units, as well as all preset banks, all systemfmidi parameters, or a complete dump of all data in the
DP!-4 (except ROM presets). Once a type of dmnp has
been selected another press of the Write.Copy button actually sends the data. The screen indicates that a transfer is
being made and then tells you if it was okay or not.

The DPI4, as a multi-effects generator, is geared toward
being a MIDI reception unit. By using a computer soft-

lncorning dumps are automatic with the screen displaying
a message to say what kind of dtnnp has been received or
if there was an error. However, there are two System.Midi
parameters which let us set a system exclusive ID and
allow or disallow reception of system exclusive messages.
The first only needs changing if you are using multiple

ware program or a workstation-type keyboard, it can be
easily incorporated into a complete system and controlled

DP,t4s with something like a computer librarian program,
and the second only needs to be set to "Disabled" if you

remotely andior automatically. If this is how it is normally
used in your setup it is unlikely that you will want anything coming out of the Midi Out socket, so most of the
time this parameter will be set to "No."

have the unlikely problem of stray MIDI dumps affecting
the DPI4.

Send Program ChangerControllers

Having said this, there may well be MIDI setups where
you do want to send out data from the DPJ4 and this

Maybe these parameters cannot be described as particularly exciting, but given a bit of imagination they can be utilized to give some exciting results. Ta-ta for now. -

parameter caters for that possibility. Program changes will

be sent out on the presct's primary unit channel and also
any controller data generated by a cotmected foot switch

or pedal.

Bio: Steve Byhnrst is rt British composer of electronic
music. He is still trying to convince people that his work is
serious encttgh to be prtitifor.

LFO Fundamentals l0l (No
Prerequisite)

(or) Hello, |’m Joe's LFO

One of the mysteries to unravel when learning to program
your own sounds is how to use an LFO to your best ad-

Dan Ronda
but they are like eating pizza from the crust side -—- just too

weird for this article.

vantage. Everyone who has acquired a synthesizer has
experienced the initial bewilderment of wondering what the

Now let‘s look at how an LFO is programmed in a Voice so

heck all those buttons anti sliders do. In my case, that oc-

that we can then reprogram it to better meet our particular
needs. Here‘s how to do it:

curred when I bought a KS-32. It played great at the store,
and I figured any questions I’d have when I took it home
would be answered by a perfunctory perusal of the
M'asician’s Manuel. (Yeah, right.) Actually, learning to

program the LFO is not that difficult if you approach it in a
step by step manner.
But first of all, what is an LFO? A Low Frequency Oscillator generates frequencies too slow to hear but very useful
in making other sounds more human-like or interesting. As
an analogy, imagine a bobber floating in a lake. As the

waves move faster or with greater depth, so does the bobber. An LFO also creates waves, but they are waves of
sound energy that are much more precisely generated and

1. Choose any Sound, then press the Edit Sound button.
2. Select Wave (U0) and pick one of the three Voices to

view. If more than one Voice is on, solo one of them to
hear your changes more easily.
3. Change the Effect (S0) to any of the first four reverbs
since the others, such as Chorus or Rotary Speaker, also
make changes harder to hear because of their tremolo ef-

fects.
4. Select LFO (30) to adjust its parameters.

controllable than water in a lake. In the LFO’s case, the
bobber is also where we attach the wave’s energy to the
signal of yet another oscillator.

5. Select Pitch {I1}, Filters (42) andfor Output (TU) to
determine whether andfor to what depth LFO is used as a
Modsource.

In the old days, which in synthesizer time means less than
20 years ago, connecting oscillators was done with electric

6. Unsolo the Voice if necessary to hear how it sounds with

cords on what looked like old telephone switchboards. The
word "patch," in fact, comes from the way these cords
seemed to sew the control panels together. Today's buttons
and sliders are wonderfully convenient, but ironically they
can make the connections harder to visualize.

the other voices.

The KS-32 uses a separate LFO for each of its three Voices

No sweat, eh‘?

within a Sound. Its 32 Voice polyphony means that as
many as 32 Voices can be used at once. and therefore so
can 32 LFOs. That‘s a lot of bobbers in the lake —— and
other Ensoniq keyboards have even higher numbers. Each
‘Voice can use its LFO in up to three different ways at the

Let‘s move from theory to practice now by working with a
Sound in the KS-32, (your friend and mine, ladies and
gentlemen, let's give it up for...) Multi Saitl Following our
procedure above, we select ROM U5 and then press Edit

same time: to modulate Pitch, Filters, andror Output. Using
the LFO as a Modsource for Pitch produces a vibrato effect
by varying the Voice's frequency. Using the LFO as a

Sound. Under Wave (U0) we find that only Voice 2 is on.
Let’s change the Effect (80) to a reverb, such as Warm
Chamber, to eliminate the Chorus.

Modsource for Filters produces fluctuations in the “v’oice’s
treble and bass qualifies. Used as a Modsource for Output,
the LFO varies the Voice’s volume. Other uses may eitist,

Ne:-tt we select LFO (30) to find the parameters Speed and
Noise. Speed refers to how many waves the LFO generates

"I. Choose the effect you want.
3. Save the reprogrammed Sound.

Preg: MULTI SAX (ROM U7)

By: Darn Roitdc

Notes: Only the LFO-related parameters are shown.

PITCH

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similar in that they all undulate both above and below a
starting point set by Pitch, Filters, and Output parameters.
The other three waveshapes, Pos,!Sine, Posr'Tri, and Square,

frequency for each value, though it's easier to adjust Speed
by ear. Multi Sait is set at 36, which the chart shows to be
5.25 waves per second. The Noise parameter on this screen
refers to how fast this wave‘s upward and down directions
change. Noise is actually a Modsource but works like a ran-

can only move in one direction away from their starting
point, but this direction can be programmed by giving the
Modsource a positive or negative value. Triangle, Saw-

domised LFO, making it especially handy for producing
subtle, irregular shifts in a Voice.

tooth, and Square have the shmpest angles so they produce
the most abrupt modulations. Only experimentation will

help you choose the best waveshape to use in your Voice.
The neat LFO screen shows the Level parameter, which

lvlulti Sa:-t uses the Sineffri waveshape. That is, only

works like a master volume control. You must have some

SinerTri’s pattern will be used whenever LFO is chosen as
Modsource throughout this Voice. Restart On means that

value here higher than 0 to enable the LFO to work as a

Modsource on the other screens elsewhere in this Voice.
Ivlulti Sa:-t‘s Level is 2. Its Delay is set at 40, which means
the LFO kicks in about a half second after each key is depressed. This Delay can be set for up to about two seconds.

At the bottom of this screen is lvlodsource. Though each of
the I(S's 16 Modsources has its own unique abilities,
Modwheel, Pressure, Modpedal, and Timbre are the most
commonly used as real time controllers for the LFO. Multi
Sa:-t’s LFO lvlodsource is Wheel,r'Pressure, so either can initiate the LFO IF it is chosen elsewhere in this ‘Voice as
Iviodsource. Moving the Wlieel lets you vary the depth of

the LFO‘s effect, whereas Pressure works as an on-off toggle switch. You can adjust the keyhoard’s sensitivity to
Pressure, by the way, under the System-MIDI button. (I

the LFO begins from its starting point with each key down.
Ivlulti Satt Restart is On, so we always get a slight Delay
before the LFO‘s effect can be heard.

The nest place we‘ll look for LFO programming is under
Pitch (11), which shows four parameters. Envl is always
routed (hardwired) to Pitch. Clearing this value to U helps
us hear the LFO’s effect more easily. lvlulti Sa.tt‘s Envl is
already U.
_
To the right of Envl is... LFO againill? The LFO is hardwired to Pitch because it's used so often here as a Mod-

source to create a vibrato effect. This also allows us to
choose another lvlodsource below on the same screen to

LFO can produce seven different waveshapes, shown in the

modulate Pitch. Another advantage of this permanent LFO
parameter is that we can give it a plus or minus value not
possible on the first LFO screens. A positive value begins
the waveshape in an upward direction; a negative value,
downward. Multi Satt is set at LFO=+U3 so its vibrato will

manual on page 6-24. Like waves on a lake, these
waveshapes can be either smooth or choppy, each causing

move upward first — but only when we use its lvlodsources, Wheel.'Pressure.

our hobber to bounce in a different vertical pattern. Four
waveshapes, Triangle, Sine, Sine.r'Tri, and Sawtooth, are

The Modsource below shows Noise 2=+U3. On page 6-23

like mine al dente.)

The last LFO screen shows Wave and Restart. The KS‘s

the manual shows us an illustration of Noise 2, which has
smoother variations than Noise 1. We've already set its
Rate at 40. This screen, however, is where we set to what
depth Noise 2 affects Multi Sax‘s Pitch. Noise 2 is not af-

fected by the LFO’s Modsource, by the way, but always
creates a constant, random fluctuation. If you want to hear
Noise 2’s effect more clearly, raise its value to +25. (Just
for fun, set Pitch LFO=U and Noise 2=+25 at Output Modsource to hear the Annoying Horsefly patch.)

then Wlieel{Pressure would both produce a tremolo. Since
we already have plenty of LFO modulation at Pitch and Filter, more at Output might he overkill.
Now that welre all LFO experts, let's reprogram Multi Sax

to better suit our needs. Personally, I like a little slower
LFO Rate of 31, which the table in the manual shows is
four cycles per second. Let's also lessen the severity of this
up-down effect. To do this, lower the Pitch LFO to +01,
then reduce the Filter"s LFO depth to -03.

The last place lvlulti Sax uses its LFO is for the Filters
lvlodsource (42). LFO:-{J9 here means the Siner'Tri wave-

Suppose that, since we rarely use Multi Sax as a live lead

shape modulates this Voice‘s treble-bass quality at the
same rate of 36. The minus value means the waveshape‘s
first moves downward toward a bassier sound. This LFO =

sound, we'd prefer a controller for the LFO that will let us
adjust its depth to a fixed rate in a sequence or Preset. Timbre does just that. For the same reason, we could substitute

-09 at Filters is happening at the same time that the LFO =
+03 at Pitch. Therefore, and e plarihns ttnnm, as you ac-

Timbre for Wheel at Output Modsouree. As Timbre raises
the LFO’s depth, it would also raise the 'v‘oice‘s volume.

tivate LFO's lvlodsource Wheelr‘Pressure, the higher pitches
will sound bassier and the lower pitches will sound treblier.
To hear this effect more clearly, slow the LFO"s Rate down
to 20, then set Pitch LFO=+il8 and Filter LFO = -25, which
keeps their same ratio. (See Figure 1.)

This ends our surgery on Multi Sax. The last two things to
do are to choose the Effect (we began with Chorus +
Reverb) and to save our altered Sound to a RAM location
or MIDI storage device.

You may also have noticed during your wanderings through
Ivlulti Sax that the lvlodsource parameter for Output (T0) is

‘t‘v'heel=+IIl5. That is, as you boost the LFO‘s modulation of
Pitch and Filters with Wheel, you also increase the overall
volume a little. However, though Pressure activates the
LFO, only Wheel, not Pressure, will also increase volume.
If you were to choose the LFO as the Output lvlodsource,

I've found that as I’ve learrted more about LFO programming, I've gotten pickier about the Sounds I use. For instance, though Fretless Bass (RAM 10) is an excellent

patch, it bugs me that Wheel is used as the LFO's Modsource. This routing causes the bass guitar to sound wacky
when I use it with other sounds that also need Wheel in a
Preset. I-low would you eliminate the Wheel‘s effect on

Figure 1: Sine/Tri Waveshape for Multi Sax. LFO Modsource = Wheel!Pressure

+9

Pitch LFO = +03
+tn
mount

.

Mod
A

-3

/’

A
r
V
‘K Filters LFO = -I19

-9

LFO speed = 36 = 5.25 cycles per second (Hz)

Fretless Bass. You make the call, then check the answer at

Bio: Dan Rohrfe is a part time

the end of this article.

musician and high school teacher
who fives in Mascatine, Iowa. He
hopes someday to balance his
classic-motorcycle-repairperson
self with his romantic ririe-rhewind sefi He also hopes to win
the Powerhaii and to see the end
to ail conflicts in the world.

I hope this step-by-step procedure has helped demystify
the LFO for you. Once you get the hang of it, you‘ll be

programming those multi-Voice patches in no time.
(Answer: Change Pitch LFO to 00. Another way, assum-

ing you aren't planning to use an extemal MIDI controller,
is to change the LFO’s Modsource to XCTRL.) -

VFX Hcrckerpcrtch
Sam Mirns
Kirk‘s patch is the runner-up in our fattest-sound-usingone-voice patch contest. His sound, admittedly quite portly

for one solitary voice, owes its obesity to two main factors.
First of all, Kirk employed a pulse-width-modulation
transwave, and swept through the wavetable using an LFO.
In other words, the waveform is constantly changing as a
note is held, adding a nice animation to the sound.
Secondly, it’s all pumped thr_ough Ensoniq‘s wonderful

FITCH MODS
MODSHO
MODAMT
Glide

Er-N1
LFD1
FILTER 1
Mode
Cutoff
HBD
MODSHG

S-voice chorus effect for extra largeness and motion.

The only tweak I added to Kirk’s handiwork was to speed
up the attack scoop created by Envelope 1 — it was a little
sluggish for my tastes. I simply changed the attack from 08
to 04, and that did it.

so s. v|=x Frog: LARGE-SOUND

By: Kirk Siinfcard

it-1CiDAiii'l'I'
EH‘-'2

Fl LTEH 2
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NOTES: This is a Pulse-wave pad sound that I tried to make compatihle with the SQ types. (Or at least i:ranslatahle.).

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Fxa lihotie Norm Stereo Sertril

Vocoded Vocals
Torn Shear
Say what you will about your Ensoniq sampler. It only lets
me have eight instruments at once. It doesn't have enough
polyphony. It doesn't let me have all the memory I need.
Yes, say what you will, but there is no denying that the

EPS-16+ and ASR-10 have the industry's best on-board
effects of any synth or sampler. Hands down. This will
probably change, but then again, we are due for a new Ensoniq sampler any time now, aren't we?

The effects go a long way toward making samples sound
really professional, but not many people consider using
them for vocals. Still fewer consider the vocal processing
possibilities other than some reverb and a little chorltsing.
-However, if you have the inclination, you can twist your
voice around in some pretty wild ways on your trusty ol'

onboard sound, you'd send your onboard sound to BUS 2

and set your reverb mix on bus 2 to taste. Next, give your
reverb a relatively short decay by setting REVERE DE-

CAY TIME to 15. Next, set your LOW FREQ DECAY to
+15. This parameter lets you make low frequencies decay
faster or slower than high frequencies. In terms of vocal
processing, it can help to eliminate “boorniness" in effected vocals, a common problem in home recording situations. After this, set your DIFFUSION to 50. Diffusion is
basically a “smoothness” control. Lower values give a

very rough reverb in which individual echoes are often
discernible, and higher values give smoother results, although on these samplers, there is often a little graininess
associated with very high values, so a value of 50 is a
good compromise.

16+fASR.
But just how do you get your voice to go through the effects in your sampler? Well, there are two ways. If you
happen to get your hands on Waveboy's Audio-In disk {all
of Waveboy's products are highly recommended for Hacker types...), you can simply plug a mic into the input jack

on the back of yotu sampler and go crazy. If you don't
have the Waveboy disk, you can get the same results by
sampling your vocals and feeding them through the

Next, we'll want to set HIGH FREQ DAMPING to 0, or
no damping of high frequencies, and set the HIGH FREQ
BANDWIDTH to 99. The effect we're after is a high frequency effect, so we want all those frequencies to cut
through. Continue to scroll right and set your REVERE
DETUNE RATE to any number and your REVERE DETUNE AMOUNT to 0. With all of the reverb parameters

set, keep scrolling right so you can set the flanging
parameters.

on-board effects.

First, set your FLANGE CENTER to 20. This is one of the
With that out of the way, let's decide how we're going to
mangle our voice this month, shall we? With the recent
popularity of retro sotmds, I thought this month I'd show
you how to produce a fairly decent vocoder emulation.

most crucial parameters — as I will explain later. Set
FLANGE RATE to 20 and FLANGE ‘WIDTH to 0. With

no flange width, you get a "static" flange, or one that

doesn't sweep back and forth as we are generally accus-

Keep in mind this is a very basic imitation with static
pitch... this'll basically give you robotic, Kraftwerk-like
vocals, and not the eerie "sung" vocals also made popular

tomed to. Set your FLANGE FEEDBACK to +93. This

by vocoders.

DEPTH to 99 and FEACK. MODWHEEL to D. If you're
using a Waveboy effect, also make sure to set it up for external input.

Fire up your sampler and either call up the Flanger+Rev

algorithm {available on both the EPS-16+ or the ASR-10)
or load the corresponding Waveboy effect. Hit EDIT-

will give your "vocoder" some tone without totally feeding back and getting nasty. Finally, set your FLANGE

EFFECT and prepare to dig in.

Now that your effect is keyed in, make stu'e to save it. As
with many instruments and effects, this one requires special performance techniques to be most effective. Basical-

First, set your BUS I REVERE MIX to 99. This is a 100%
wet effect, so that the result will be totally effected with
none of your voice's "natural" sound coming through.
Next, set your BUS2 REVERE MIX to whatever number

ly, you will want to whisper your vocals through it. This
will eliminate any identifiable "human" vocal timbres. So
sample yourself whispering a vocal, or whisper into your
mic if you're using the Waveboy. This is a relatively

you want. If you wanted to process your voice AND an

high-pitched effect and I like to layer it under a track of

vocals processed in a different way. So what if you don't
like the pitch of the effect and want a still more robotic
sound? This is where the FLANGE CENTER parameter

parameters to get variations on this effect, and try sending

comes into play. This parameter will basically adjust the
pitch of your "vocoded" vocals. A higher value will give
you a lower pitch, and vice versa. With some fancy fingerwork, you can adjust this parameter in real-time using the

by industrialites like Skinny Puppy and Front Line Assembly in their early days. So enjoy your new robotic
friend, and by all means pass on any further tips you dis-

instruments through the effect as well as vocals. Drums
sound particularly cool and give effects that were utilised

cover along the way. -

data slider to open up a variety of pitches in performance.
Bio: Toni Shear is a fictional character and any
resernhiance to persons living or dead is purely coin-

So there you have it. No, it's not a real vocoder, and accordingly isn't nearly as flexible, but it's a pretty cool ef-

cidence.

fect, and it's free, so whadayawar1t?!? Experiment with the
fl

i

I

i

Samplin’ From Your VCR
.f.D.Ryan
My ears are burnirr'. I can hear the readership now: "...boy
this is a no-brainer...find the audio out from your VCR

Have the appropriate operations disk booted when you hit
"sample" (should your machine require it) and run through
the default screens: sample rate = 44.6, filter cutoff =

and run it into your sampler input, duh..." Well, okay. But

20.0, pre-trigger: I usually use ‘i’ MSEC, input level =
LINE, sample time = 22.9‘? sec. (Remember, we decided
long ago that it's much better to convert down from the
highest possible sample rate than to initially sample at a

you may find though that this little treatise may save you

some time and perhaps diminish the hassle factor somewhat. Wlry would anyone want to sample audio off a
VCR? I-low can I sample a tape legally?

lower rate, hence the short sample time on my expanded
EPS-16 Plus. You will find that you'll make very short
takes when extracting from video anyway.) Click on the
right arrow button one more time and you are at your digital VU meter — STOP!

To the first question I'll ask you to just think about it...
And here I'll ask the legal beagles to please remain calm
and shut upi In the interest of liability correctness, we will

explore this exercise only in terms of you digital devotees
extracting audio elements from your home videos. Truth
is, video tape is a rather pristine medium for analog audio.
It's often used for mixdown mastering, so why not freese

New we're ready to que up the VCR. But first, our sound
check. Tum on the tv and rewind your selected tape to at
least two minutes before the sound byte you wish to cap-

that special giggle or your child's first "Ma Ma...Da Da"?

ture. Put on the earphones and turn down the tv's volume

No problem.

completely. Put the VCR in "PLAY" and watch the tv for
the video. Now turn or slide up your master on your mixer

The only technical obstacle is the lack of a volume control
between the source (VCR) and the sampler. Often, you
may be able to sample without introducing a choke of any

to whatever level you normally use (usually about 50%).
Maire snre everything else is turned off or down —- espe-

kind. Eut if that "AMP" lamp should flicker even the eonsicst, you'll need to rrur through your mixer. With all the
volume pots in the fully closed position, simply run the

cially the channel that receives your samplers regular outs.
Now open the channel receiving the VCR audio to about
50%... Now slowly open the headphone volume control on

VCR audio out (which is a line level signal) to an empty
channel on your mixer. Now run your sampler cable to the
mixer headphone output. Yowi Am I trying to fry your

the nrixer, which is supplying the audio to the meter and
AID converter on your sampler. That headphone output is
pre-arnped which means it's hot! Standby at about 20%

ears in a feedback loop? Trust me, there is no danger until
you push the "yes" button after you set up your sample
screens, ready to go into record.

while you watch the meter on your sampler and listen to
the soundtrack off your video cassette. Now turn down the
channel receiving the VCR on your mixer and listen...

Plug a set of earphones into the sampler earphone jack.

You shouldn't hear much of anything. If you hear a hum
14

or base it‘s because tvs ar1d samplers sometimes donit get
along so well. Also it could be 60-cycle hmn so see to it
that the cables from the VCR don't reside near any power
cords. Stop the VCR. Any change? Probably not, so any

ton. As the VCR completes its preroll and approaches the
audio segment you want, press the button a second before
the segment you wish to capture. As soon as you hear the
audio portion you wanted. push the “NO” button and you
have your sample. Stop the ‘VCR.

noise will be IF‘ interference set up between the tv and the
sampler. You can rectify this by moving the tv away from
the sampler. Also, tum off any amplifiers, all other instru-

Assign the root key to your sample. To listen to your

ments and equipment. All you need is the tv, the sampler,
the mi:-ter, and the VCR. The sound should he better than
from your tv speaker. Now you have acceptable quality

sample and truncate, edit, whatever, just remove the
sample cord from the miner and carry on. Now you can
get those phones off and go back to your speakers. You

sound in your phones and you see a healthy signal on your
meter. If it’s clipping, attenuate it at the headphone control.

have also discovered how to enjoy home theater audio
without buying the home theater. Some camcorders do a
pretty basic job of recording audio, and you will be
amazed at how much you can clean it up. That, however,
is another story. "

Don’t be afraid to dress up the sotmd with the EQ on your
mi:-ter channel. You are hearing eitactly what your sampler
will digitize so get it the way you want it. Rolling up to
the point you want to sample, bring the level up to the
point where the AMP lamp blinks on just a bit, then hack
off until it remains unlit. Let the ‘VCR roll past the point
you wish to sample just to make stue there is no clip. Now
you’re ready to take your sample. Just rewind tl1e VCR to

about 30 sec or so before the point you will sample (it‘s
easiest to gauge the upcoming audio by watching the
video) As you put the VCR into play (use your remote
control) your finger should just hover atop the “YES” butl

l

!

Bio: ID. Ryan is a com-

posertwritertdreamer
somebody living back
among the chicicens and

corn plants of his sammer residence near the
Atlantic ocean resort
town of Ocean City.

i

Selling Your Services on $4 0 Day
Jefirey Fisher
There are two crucial keys to building and sustaining your
successful music business. They are:

dollars-a-day marketing. The basic strategy is to contact
ten clients or prospects each day, five days each week.
You contact five by mail and five by phone. This is very

- Generating and contacting new business leads.
- Bringing your specific benefits to current and past
customers.

easy to manage, especially for the one-person shop, and
with a targeted list of prospects, this method is both inertpensive and potentially lucrative.

You should always work hard to keep your name alive and

Each day, send out five sales messages to five prospects or

deliver your message to those who need what you offer.
Unfortunately, most of us have precious little time and

customers on your list. Using a series of sales letters,

often even smaller checkbooks. Here are two tips I use to
promote my music products and services.

and postcards, try to hit the same list 3-4 times each year.
Neat, follow up each mailing ten days later with a
telephone call checking on the receipt of the package and
to answer any questions.

lltloneyrnalring Promotional Tip Nurne re One
Rather than concentrate on sending out huge bulk mailings
all the time, it's easier to spend a little time each day marketing. One way to do this is to use what I call four-

brochures, newsletters, thank you notes, special offers,

So, on any given day you} will mail five promotions and
make five telephone follow up calls. That’s it. Use these

opportrmities to keep-in-touch with past clients and to

hunt down new prospects. With this plan, you‘ll put your
name i11 front of those who buy many times in a short
period. Your marketing will be better — and more
profitable — if you keep plugging away, bit by bit, day in,
and day out. You'll begin to be recognized and the work

should start rolling in.
Your cost is about 52 cents each to print and mail five letters for a total of $2.’l'0. The telephone calls cost about a
quarter each for a total of $1.25. This is how you can
promote your products and services for $3.95 each day.
That‘s only $1000 a year that you pay one tiny morsel at a
time. Every single business — including yours — will

benefit from this simple, effective strategy. It's easily
managed, lets you build your prospect and client database
steadily, keeps expenses low, and brings your benefits to
the attention of your target market several times in a carefully controlled, methodical way. Try it!

Moneymaking Promotional Tip Numeuo Two
Running a business requires you to handle many diverse
functions. Unless you integrate a computer i11to your business, you'll face a tough battle handling all these details.
Being prepared means having what you need before you
need it. That‘s why I‘ve relied on my computer to pioneer

Next, put everything on your computer — especially
general correspondence, promotional materials, proposals,
contracts, budgets, invoices, thank you notes, and more. Ii

takes time to gather this material, but in the long rim you
save time. Once you develop boilerplate copy, you can use

it repeatedly. You can personalise each piece through mail
merge or by simply slipping in a custom paragraph or two.
That‘s certainly less time consuming than typing something from scratch every time you get an inquiry.
Finally, let your computer be an integral part of your
everyday business. Computers excel at routine tasks and

most of your work is repetitive. Delegate some of your
workload to that box on your desk. All you should do is
select a file, update it quickly, customize it to your target,
and print. Your computer frees you from those everyday
tasks giving you more time to be creative, productive, and
successful.

Here‘s an example: When someone inquires about my
Mnsician’s Business Bniiding Booizsneif, I add their name
to my mailing list in my word processor and then use mail
merge to print a cover letter and envelope. I open another

file to print the latest issue and add it to the package. I
fold the pieces, stuff them in the envelope, grab a stamp,
and the inquiry is filled. What could be easier? You get

three advantages to this strategy:

what I call “Just In Time Marketing." I borrowed the
phrase from industry where it means to manufacture
products as needed. Rather than stock huge inventories of
raw materials, you order d1em when you need them, use
them, and then ship the finished products out the door.

It helps your cash flow. You don't spend money to preprint garden variety brochures or other promotional

material. Your materials are always up-to-date. They
aren‘t written in stone; you can change them, customise,
and print on demand. Instead of drafting from scratch, you
spend your energies on more important duties. You can

I've modified the principle and applied it to routine business tasks. You keep all your basic business information
'—everything you use to run your daily business — on
your computer so that you can deliver what your clients

put together the material you need quickly and easily.
Grab an old proposal, update the budget, slip in the

and prospects need just in time. While your computer
can‘t meet clients, it can help you manage other tasks.
Automating parts of your business with your computer
helps you save time and money, two important considerations for every burgeoning music business.

So get started right now and soon you‘ll have everything
you need at your fingertips. And start using your time,
resources, and money more effectively so that you are

prospect‘s name, and print.

ready for any thing that comes your way. -

First, choose software that complements your method of
working. The key is to get your work done efficiently.
Today’s sophisticated word processors are all many businesses need. You can do mail merge, rudimentary spread-

Biotplng.' Get a free one-year
subscription to .i'efi'rey's
Ivlusicianis Business Building

sheets, and keep your files together in one place. Using
macros,-you can automate many tasks such as standard
salutations, closings, and more. Other than a financial and
desktop publishing program, my word processor has

Bookshelf, fail ofpraoticai advice
for turning your mnsic into cash.
To get a year fuii of tips write:

everything I need to rum my music, business consulting,
and publishing businesses.

Jeffrey P. Fisher Music, 834i
Ripple Ridge, Darien, IL 60561

or caii (roe) art-test.

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One of our most common requests from new subscribers {new owners} is for more basic tutorial information. We've all been there. Unfortunately, the
Hacker is usually "there" when a new instrument first makes its appearance -—- and then we move on. While back issues can answer many questions, not
all are still available and they do represent an additional expense for the new reader. Hence, "Hacker Reinitiaiisation" — yup, old goods in a new
wrapper. We feel a little funny about the whole reprint thing — so we're going to keep it small. Clark's series on the SOs is the most requested, least
available, and the most generally applicable {KSs & KTs in particular — and he's checking ‘em for freshness), so here we go...

SQ Modulation -— The Story

Unfolds

ulators can be applied to the digital effects to allow for real-time
effeets control, as well as to allow for some sophisticated types of
control not always found in outboard effects devices.

All in all, the SQ-1 provides a total of 15 modulation sources,

Clark Salisbury

along with a few special purpose modulators (such as the ramps,
which are applicable only in certain areas such as the digital ef-

Welcome back to "SQ-l Programrning Made Painfully Obvious,"

fects). These modulators include a Low Frequency Oscillator, or

our continuing series on programming the SQ family of syn-

LFO {we've talked about LFO's a bit already); three envelope
generators (which we will begin focusing on in this installment);
two kinds of noise; velocity and keyboard position; timbre control, pedal controller, and pitchwheel; external controllers; pressure; rnodwheel; and the "MAX ON" modulator.

thesizers. Last month we began an in-depth look at modulation.
As promised, we'll continue with modulation this time out.
Each SQ-l sound has up to three voices. The most elemental part
of each voice is the wave, which is routed through a filter, an
amplifier {also called the "output" section), and the digital effects.

Any of these modulators can be connected to the wave, filter,

lvlodulators can be applied at many points along this route. They

amplifier or output section, and many of them can be used to con-

can be applied to various facets of the wave, such as pitch and
start index. They ca11 be applied to the filter, to shape the barmonic contcnt of a voice. They can be applied to the amplifier, to
shape the way a voice's volume changes over time. And mod-

trol a parameter of your choice in the digital effects section. As a
matter of fact, it's possible to me two or more modulators simultaneously on a single destination, such as the filter. Because of the
complex possibilities presented, we'll want to take our time mid

-I‘

be certain that we have a solid handle on modulation before
moving on. We begin with envelopes.

An envelope is a generic control signal used to modulate some
component within a synthesizer. In the SQ-1, an envelope can run
in any of three modes: normal, finish or repeat. In normal mode,
an envelope is a one—shot controller, activated by a key depression. This means that once a key is played, the envelope runs once
through its predetermined cycle and stops, waiting to be activated
again. ‘What the envelope does once it has been activated depends

key for quite a while before the note completely decays. It's now
taking the maximum time (99) to go from the maximum level (99)
to the minimum (till).
Set time 2 back to its original value of fill. Now set level one to
DU. The display should be showing:

LEVL =tltl 99 lltl tl-ll
TIME =11 SD 2’? 50

on the settings its settings and what it's routed to control. This
will be easier to understand if we approach it through example.

Now when you play a note you'll notice that the note fades in,
rather than attacking percussively. This is because the SQ-1 envelope is now set to go from level one (fill) to level two (99) with

Select RUM program 7?, "l'vlALLETS." Press the "EDIT" button,
then the "WAVE" button, and then "U." This takes you to the
select voice page. it-From here, we can see that there are two
voices active in this program, (voices one and two). For now, turn

a time of ll. Now try setting time one to a value of DU —

off voice two by scrolling to select it, then hitting the down arrow
button. This leaves us the basic mallet sound, but with only one
voice active. Scroll to select voice one for editing — the word
"ON" should start flashing.
Now press "AMP," then "U" to access the amplifier envelope; this
is the envelope that generally controls overall dynamic contour.
You should find yourself at the first page of the amplifier en-

velope menu. The display should look something like this:

surprise! The percussive attack is back! You see, even though the
envelope is set to start at a level of DD, it takes ll-ll time to get to

the second level, which is 99 (full on). So you cart control how
long a sound takes to attack by using level one to set the initial
level, level two to set the target level, and time one to control how
long it takes to get there; it's almost like a game of "connect-the-dots." Level three and time three function in precisely the
same way, allowing you to create envelopes that have more complex attackldecay characteristics. Level four and time four,
however, function somewhat differently.

Level four is what is known as the sustain level of the envelope.
What happens is that the level set at level four will remain constant for as long as a key on the keyboard is held down — that is,
once it's been arrived at after the first stages of the envelope have

LEVL =99 99 ill} fill
TIME =11 SD 2? 50
The upper row of numbers is showing envelope levels and the
bottom row is showing envelope times. In this case, the envelope

levels are controlling volume. The times determine how long it
will take to go from one level to the next. In this example, the envelope begins at a level of 99, (the maximum level available),
then takes a time of ll to move to the next level, also 99. From
there, it takes a time of 50 to move to the next level, which is ll-ll,
(the minimum available}, and so on. Let's experiment.

run their course. For example, set level four of the envelope we've
been working with to a level of 99, and hold down a single note on

the keyboard. Notice that the note attacks percussively, gradually
decays to silence, but then swells back to full volume a moment
later. If you continue to hold a key down the note will continue to
sustain. The envelope we've created should look like this:
LEVL =U[l 99 U0 99
'I'1lvlE=115tl 2'? Si]

Play a note, and listen to how the sound decays as you hold down
the key. Now select time 2, the second parameter in the "TIME"
row — it's currently set to a value of 50. Change this to ltl and

As you can see, this envelope is set to begin at a level of DU, then

play a note. Notice that the sound decays much more abruptly.
That's because it is only taking a time of ill to get from the
second level, 99, to the third level, DU. Try setting the second time
to a value of 99 and play a note. Notice that you need to hold the

four —-— the sustain level ——— set to 99. See? This is easyl “But what

_

T

LT

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get extra issues added to your sub. Interested‘? Just send a message to us at eTH@transoniq.com and we'll e-mail back complete subscription infonuation. Let us know if you'd like a free
copy of the current issue and we'll send one along.

take a time of 11 to reach a level of 99, then take a time of fill to
reach a level of llll, and then to take a time of 2'? to reach level
is time four for?" you may well ask ask. Well, well, it's called the
"release time," because it sets the amount of time it takes for the
envelope to get from whatever level it's currently at back to tltl
after the key has been released. To hear this effect in action, set

time one to a value of U-ll, level three to 99, and set time four, (the
release time), to a value of llll. The display should look like this:
LEVL =00 99 99 99
TIME =illl Sll 2? llll
This envelope goes immediately to a level of 99 (time one is set to
DU} and stays there for as long as the key is held down (sustain

level — level four — is set to 99}. Notice that when the keys are
released, the sound decays to zero rather abruptly — that's because time four (release time) is set to llil. Try setting time four to
fill or so; notice how the sound now takes a while to decay after

the keys are released. The higher you set the release time (time
four) the longer it takes for the sound to decay once the keys are
released.

Let's apply what we've talked about so far to see if we can't make
a basic piano sound. First we'll need to select an appropriate wave
to use, so press the "WA"v'E" button, and then "1" to move to the

times on the lower notes. Fortunately, just such a parameter exists

in the SQ-1, but there's a trick — it only works with time two and
time three. This means that if we use time one to set the decay for
our piano envelope, the "keyboard tracking" parameter (as it is
called} will have no effect. So what we'll need to do is use either
time two or time three for our decay parameter. Fortunately, this
is easily accomplished.

wave page (remember that we still have voice one selected for

editing). As you can see, the "MARIMBA" wave from the "Tuned

First, set level two to a value of 99 and time one to a value of ill].

Percussion" group is currently selected. Let's change this to one

This way, the envelope still starts out at full on, but it immediate-

ly moves to the second level (since time one is set to DU, the mini-

of the piano wave.

mum time possible), and from there it can move on to its decay

Scroll to select the words "TUNED PERCS" (they should begin
flashing). Now use the data slider or the down arrow button to

stage. Now let's set _the value for time two to the value we
originally roughed in for time one: 70. Our envelope:

cursor down to the "STRING WAVE" group (the piano waves are
found, for the most part, in the "String Wave" group), and cursor
over to select the "STRING ENSEMBLE" wave. You can now
scroll up to find the piano wave you'd like to use. I'm going to

LEEFL =99 99 DU ill}
TIME ={l[l Tl] {ltl 40

use the "DIGITAL PLANO," but the choice of waves is up to you.

Now let's check out the "keyboard tracking" parameter. Press the

"2" button, and you'll find yourself at the following display:
Once the wave has been selected, we'll need to retum to the Amp
envelope page. Press "AMP," and you should be there. If not,
press the "ll" button as well.

-.,_

Now let's think for a moment about what the dynamic contour of
a piano sound is like. We know that it's percussive, so we'll

probably want to start out at a high level with a short attack time.
Setting level one of our amp envelope to a value of 99 should accomplish just this.
We also know that a piano decays as the note is held, so we'll
need to set our sustain level (level four) to DU -- we wouldn't
want the piano sound to continue to sustain while we hold the
keys or sustain pedal down — it might start to sound a bit like an
organ. We also know that the piano sound decays fairly rapidly

Mode=NURlv1AL
l(eyboardTrk=+2S
We'll talk about the mode parameter in our next installment.
Right now we're interested primarily in the keyboard tracking
parameter. As you can see, it's set to a value of +13; this is the

value originally prograrmned for the marirnba sound that we
started with. Try setting this parameter to a value of +93, and play
the highest and lowest notes on the keyboard and hold them. The
effect obtained is a bit radical for our purposes, but it serves well
to illustrate what keyboard tracking does. Try setting the tracking
parameter to -93, and play the high and low notes again — the effect is now reversed, with the lower notes decaying quite rapidly,

once the keys are released. The sound doesn't die away instantly,
though; the notes ring on for a brief moment after the keys are

while the high ones hang on forever. With keyboard tracking set
to +00, envelope times are equal for all areas of the keyboard; you
may want to check this out as well.

released. This means that we'll need to set our release time (time
four} to something appropriate. Let's try a value of 49 for now.
Now all that's left is to set how long it will take for the piano
sound to decay while a key or the sustain pedal is being held.

+23 works pretty well, but you'll may want to play with this one
to find out what sounds best to your ear.

The envelope we've designed, so far, should look like this:
LEVL =99 Ull ill} llll
TIME =XX llll fill 4{l

At any rate, my tastes tell me that a keyboard tracking value of

That about wraps it up for this installment, but it hardly wraps up
the subject of envelopes. We'll be back next time, and by then, we
should be fairly well on our way to creating some pretty serious
sounds — pushing back the envelope envelope as it were. —

Bio: In addition to

The wild card here is time one, which controls how long it will
take for the piano sound to go from its initial level of 99 to its

composing, technical writing anti run-

subsequent level of GU. You can figure out the setting for time one
simply by listening to its effect on the sound —-- select it and ad-

just it while playing a few notes on the keyboard. I find that a
value of Til or so seems to work UK for the middle notes on the
keyboard, but the low notes and high notes are suffering. The high
ones sustain too long, giving the upper end of the piano an
orgmt-like quality, while the lowest notes don't seem to sustain

quite long enough. What we need is a way to use the keyboard itself to control the envelope times. This would allow us to have
shorter envelope times for the high notes and longer envelope

1--fl|.|

lll

I

ning Virtual Music
(a project studio},
Clark Salisbury
works with iltfttsic dc
Sound Associates, a
company that spe-

cialises in sound
design, sequencing,
and consultation.

SQ, KS, KT Fctmiiy Hockerpciich

Jeffrey Rhoocis

PTDQI

By; Mark Hgymgnd

Notes: This is a light mix of vibes ii: choir pads. ‘Voice l,
the vibe sound, cuts tluough with the attack, and ‘Voice 2,

choir filter cutoff and raise the pitch one octave. You may
want to move this pitch mod to the modpedal.

the choir, holds on the sustain. The modwheel will increase
WAKE . .
SelectVoice
Wave Glass

1

2

3

Dn

DH

Elli

Exp

Exp

iwave

vibes

Delay Time
Wave Direction
Start index
MDDSDH
MDDAMT
Flestrk Decay

occ
Fwd
oo
cc
so

FITCH

t'.‘-heir

Level

co
Fwd
oo
-

.
i

Delay
MODS FIG
Wave
Ftostart

99

I

39

L FILTER
Fiher 1
Filter 2

Dctavo "

1

+o

2

Bemitone

99

-1
99

Fine

99
99

EN'v'1

LFD
MDDSGH
NlDDniv1T
KBD Ptch Traci-t Dn
|GIide
Dff
;GjI_de Time
-

EH91

1

5 Initial
1 Peak
Break

-

' Sustain

-

Attack
Decay 1
Decay 2
Helease
‘vial-Level
ital-Attack
'v'e| Curve

-

Mode
HBD Track _ -

LFO
LFD Speed
Noise Hate

3

On
Elli

2
-.

1.

-

-.

-I

-

-

-

-

.-

-

as

.-

3

E_l'~ll{2

initial

Peak
Break
Sustain
Attack
Decay 1
Decay 2
Ftelease
Vol-Level
ilol-Attack
‘v'e| Curve
Mode
ifiIBD Traci-t

2

-1-

-

-

.-

1-

-

-

-

I‘

-

-

1-

1.

2
2Lo
2Hl
can
+94
+1=i~

3

_

'

2Lo

FG1 outolt
EH9‘ 2
FC1 HBD
MDD BC-Fi
MGDAMT
FC-2 C-utoii
ENV2
FC-2 HBD
FC-1 MOD-FOE

+94
+oo
+oo
Wheel
+62

‘I.

'

2Lo
D65
+?B

+oo
Kybd

3

.

AMP
initial
Peak
Break
Sustain
Attack
Decay 1
Decay 2
Fieiease
Vol-Level
Val-Attack
‘lie! Curve
Mode
HBD Track

+9?

DEE

999
+99
+99

+99

+99
Dn

UDL
Boost
MDDSHC
NIODAMT
KBD Scale
Key Hangs
Dutput Bus

Dn

1

2
39

99

as

no

co

so

ca
co
co
co

cc
99
co

C-onv

Norm
+99

as

_____ Z _ ______ 3

H9
on
ac
1E
59
so
as
as
DD

Lin
Norm
+29

as

"

i

95
so
so
ca
co
at
so
oo
as
Lin
Norm
+oo
it _‘l--

whBElPlE5

+99

1

fl
so
on
9'9

2
re
Dn
Wheel
-1o

+oo
E1-G?
FIE

+99

Priority
Pan

Mod
+99

Med
+99

'

'-.-‘ei window

coo

_t_ioti

I

E 1 -G?
FJE1

so

EFFECTS - CHORUS AND HEVEFIB

cs
24
as
as
53
cc
Lin
Norm
loo

Flt-1
Decay time
Chorus Ftate
Chorus C-enter
Feedback
Chorus Level
NIDD {Desi}
BY (MDDSHCJ
NIDDAMT

I
_
'
_

i

15
Fit-2
42
HF Damping
so
Chorus Depth
so
+oo
to
Fltl-Mix
Modwheel
-so

15
33
so

The HHGKI With "Tubular Choir" lvlark Hayman's heart
is in the right place... but his envelope values... let's just say

(Though please note you must change Voice 1's Output Bus
to FXT.) at the effect, change FX1 to T5, Chorus Depth to

they're a shade too articulate for my taste. I think both

49, and Feedback to -44.

voices fare better with a slower, softer attack and a slightly
extended release. The changes in Env 2 values for ‘iloice 1
are as follows: Initial = 99, Attack = 99, and Decay 1 = 99.
The changes in Amp values for Voice l are: Initial = S4,
Peak = 95, Sustain = 16, Attack = 5?, Decay l = 99, and
Release = 65. For ‘Voice 2 the changes in Amp values are:
Initial = 99, Peak = 99, Attack = 69, and Vel-Attack = 19.
At the Output, Voice 1's Vol balances to T4. Add a little
stereo; let the Pan for Voicel = +42 and for Voice 2. = -42.
Both voices benefit from more chorus within the effect. For
simp1icity's sake, keep the effect Chorus St Reverb.
I-it

Q

Jejjfrey Rlioads
Bio.‘ .l'e_fi'rey Rlioads has been a key-

boartiistlcooiposer on the Philadelpliia Jase and R + B scene for a

period of time resembling forever.
He has an interest in cinerna and
has developed sorne fllrn courses.
Jeff still believes in rnagic and
longs for city lights. _
.__

,

|_'___-I

i-

Haolcerpalcli is intended to be a place where patch vendors can show their wares and musicians can share their goodies and impress their

friends. Dnce something's published here, it's free for all. Please don't submit patches diat you know to be minor tweaks of copyrighted
commercial patches unlesls you have permission from the copynght owner. All submitted patches are subject to consideration for mutilation
and comments by Sam Mims and Jeffrey Rhoads — our resident patch analysts. If you send in a patch, please include your phone number.
Requests for particular patches are also very welcome.

29

Sampling, Sequencing and
Live Performance

Torn Shear

We are living in the digital age. It seem that nowadays
there's a computer chip in just about everything. While it
has undoubtedly made our lives easier, on another level, it
complicates them as well. Especially for us, as musicians.

Think about it. We can store note-perfect performances of
out playing on a floppy disk, correct any timing mistakes,
even go in note by note and adjust the velocity iuitil it's
perfect.
But with this goes the standard barrage of insults and
put-downs from guitarists and other non-electronic musicians who are amused with these machines that "play

themselves," never considering that a human being had to
put the notes in there in the first place. This is worsened
still when another Milli Vaiiilli comes along and makes
fools out of not only themselves, but the record buyers as
well. And yet again, electronic music gets a bad name.
(Never mind that there are plenty of guitar-based artists

from the '60s who never played or sang on their own albums...). So this obviously presents a sticky problem. If
you're an electronically-based performer, how can you
pull off live performances that all the nay-sayers will be
astounded by? Below are a few suggestions to get you

started...

1) Drum Pads

2) Sequencing "On the Fly"
Having all your sequenced parts playing back on tape
might be convenient, but it is also extremely restrictive.
You're stuck with the same arrangement, same song

length, and song order night after night. If it is feasible for
you to use a sequencer live instead of tape, some new possibilities open up. I, for one, almost never use the SONG
function on my EPS-16+. Instead, I just keep the individual sequences by themselves, and switch them as
needed as l'm recording. If you've got a free hand dtuing
performance, this is a good way to give a more exciting
show. As anyone who has played live knows, audience
reaction can really affect where the songs goes. If they're
going crazy, it'd be nice to be able to extend that song a
little bit, and conversely, if they're throwing bottles at
you, you'd probably like to cut it short. Leaving your sequences unlinked allows you to put the song together live
however you feel like it, adjusting for audience mood.

Not having your sequences on tape also lets you perform
different arrangements of yoin songs if you get the urge.
Maybe one night you decide that you're going to change
that Hammond organ part to a string section and slow it
down by about 29 BPM. lf you're on tape, this isn't gonna
happen, but with everything in your sequencer, you could

practically play different arrangements every time you

If you're a predominantly or totally electronic group, the
easiest way to bring the excitement level of your live performance up is to purchase some MIDI drum pads to play
live rhythm parts. Whether you just use them for percus-

played, if you so desired.

sive accents, or for playing the entire drum parts of your

Another more risky altemative would be to sample the in-

songs, this is guaranteed to be more interesting to the

dividual parts of your song and trigger them as "loops" in
performance, much as you might use a rap drum loop.
While one band member triggers these loops, the others

audience than a bunch of people hunched over their
keyboards. There's something very exciting about the
physicality of watching a drummer, especially an enthusiastic one, play. and don't assume this is for drum
parts only... if you have a product like the Roland Cictapad
or the DrumKat, why not use them to play melodic parts

3) Sampling as an Alternative

can fill out and add the other parts that dhange throughout
the song, This gives you the same flexibility as #2 above,
but allows you to go a little further. You can trigger the
loops in a syncopated marmer, creating another variation

as well‘? Those heavily sequenced parts that are difficult to

on your riffs. You could even set up patch selects allowing

play live on the keyboard might be easier to play with

yourself to go into an extended 8 minute backwards jam
on the song if you wanted to really freak the audience out.

drumsticks, with a little practice.

The point is that there are at least 37 ways to make performances more exciting, and the more of these you explore,
the more your audience will thank you for it. Of course,
with this new-found flexibility comes risks. You‘ll
probably screw up every now and then. But maybe that's
what missing from a lot of electronic performances.
There’s little room for error. There's none of that adrenaline rush that comes with going on stage wondering how

nificantly better than all the rest
because you're out to prove your-

your performance is going to turn out. And consequently,

Bio: Torn Shear has been replaced

little chance that any given performance is going to be sig-

by a computer.

HAHDWAFI EISOFIWAHE
BPS-lb PLUS Rack with full RAM and Flash
RUM expansion plus SCSI, disks, docs &

original packaging. $1200 or best offer. John
Loffink at 505-450-6193.

Pampered EPS with EX memory, manuals,
and 20 disks. Home use only — mint. $6’!-'5.
Glenn Bering, Box ‘I053, Ann Arbor, Ivil
4310?. Phone: (313) 995-5445.
Ensoniq SD-1 32 Voice, Rack EPS Turbo
w,t40M.BHD, Quadraverb, ‘Vocalist II, Alesis
M-EQ 230, Fostex PB 3012, lvlakic 1202 dz

Numark Dlvl-1550 lvlixers. Tascam Port.astudio 424, 2 Peavey HKS-15 10009:’ Studio
Monitors, PVM 5SOTN Mic, Sony Pro Head
Ph., Beyond Sequencer (Mac), 2 Upcode
MIDI interface 16 ch, Pedals dz: Footswitches,
Studio Wall System — Rack & lights, Q-Loc
stand, Mac computer, lots of cables and converters, many patches, samples, cartridge,

self to a skeptical audience. in

some extra disks. All back issues of Tl-1.
$ 1500. (513) 293-303?.
ASR-10 Keyboard Version w,|'SCSI option
added. Rom version 1.5 (latest version). All
systems disks (Sounds and OS) Ensoniq -—Mcsrerleg the AER-I 0 (‘Jideo Tape}. Original
Boxes for ASR and SCSI in like-new shape.
Receipts for everything. I hope I didn't forget
anything. Please make offer! Also for sale:
X-Static Goldlvline 2 CD set -—- Really
Awesome Dance Samples! See Transoniq
Hacker review. Mackie 1202 mixer — Like
new. Original Box. jimc@vivanet.com.
Sound Tools system. Includes Sound Accelerator, Dat U0, current software, including
Sound Designer 2.5. CD quality audio on any
Nuflus equipped Mac. $525.00. 503-2450461.

SAM PLESIPATCH ESISO UN DS

manuals, instruction videos. Great condition,
never used on stage or moved! Must sell —
holding two jobs and never use. $6500. Call
(206) 933-3924.

ASR-10 samples of the TS-l0. Hi fidelity,
fully programmed. $5 per 1-ID disk, $30 for
all six (35 sounds}. Check or MD. Ur send
SASE for complete docuntentation. Iarnes

Peavey Midi Bass wfcase. Like new. Excellent tracking. New $1299, sell $1200. Also,
1963 Fender Mustang $400. Must sell due to
disability. Might consider trade for studio
equipment. Benny at (405) 343-3523.

Sarrrp, 90 N. Bell St, Fond du Lac, WI

TS-12, new in box, home use only. Stand and

If you’re crazy

enough to be
selling your gear...
Please be sure to pass along how absolutely vital it is to have a subscription to the
Transaaiq Hacker. And — we‘re always
happy to do a sub transfer. No charge, and

it's a nice extra to help close the deal.
I

I

I

digilog synth sounds you've ever heard!
Send
an
SASE
or e-mail
(tomshear@AUI...com} for free catalog. Tom
Shear, B05 5th Avenue, Williarnsport, PA,
17201.

MISC
Mint hack issues of Trarrsoaiq Hacker. #31
— #34, 39, 43 -- 67, T1 — T9. $25 for the
lot, plus $4 UPS. Glen Bering, Box ‘I053,
Ann Arbor, Ml 4310?. Phone: (313)
995-5445.

OUT-OF-PRINT BACK ISSUES
M.U.G. will provide Out-of-Print issues for
cost of materials and postage. M.U.G. Hotline: 212-465-3430 or write: G-4 Produc-

tions, PD Box 6l5TH, Yonkers, l‘~l"‘r' 10203.
Attn: TH Back Issues. Phone: (212)
465-3430. * * * Folks in the New York City
area can get copies of unavailable back issues
of the Hacker - call Jordan Scott, T13933-2400.

FREE CLASSIFIEDS!

54935. Phone: (414) 922-4337.
‘Well — within limits. We're offering free
TH‘s Jack Tolin presents SYNTH-BITS!
Classic HR-16 drums (2 disks; 49 sounds),
Ml synth-textures (5 disks; 50 sounds) come
in easy to manage samples that turn your
EPS-16+ or ASR-10 into a synthesizer!
Star-Tree SF hlurhs (2 disks; 20 sounds).
Unly $4 a disk sfh. Get all for $30! SF blurbs
for your PC, add $2 with your order. Jack
Tolin, 9314 Myrtle Ave., it 136, Kansas City,
MO E4132.
FINALLY! A new set of 16-bit samples
from Tom Shear. This time he tackles the
Waldorf Microwave! For only $15 + $3 SIH,
you can have 3 disks packed with the fattest

22

classified advertising (up to 40 words} for
your sampled sounds or patches. Additional
words, or ads for other products or services,
are $0.25! word per issue (BUILD type:
$0.45,r‘word}. Unless renewed, freebie ads are
removed after 2 issues. ‘While you're welcome to resell copyrighted sounds and
programs that you no longer have any use

for. ads for copies of copyrighted material
will not be accepted. Sorry - we can't (we
won't!) take ad dictation over the phone!

Letters for The Interface may be rent to my of the following addresses:
U.S. Mail - The Interface, Trans-oniq Hacker, 1402 SW Upland De, Portland, UR 92221
Electronic mail - Gfinie Network: TRANSONIQ, Internet: interface@trsnsoniq.com.
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 so take everything with a grain of salt. Resident answer-man is Clark Salisbury (CS). Letter publication is subject to space considerations.

Transoniq,

Ya know. I think it's time to incorporate
a multi-channel mode on one INSTRU-

I still don‘t know how to use all lb MIDI
channels with my SQ-1 and MasterTra:-t
Pro 5.0.1 sequencer software (Mac). All I

Do you know of any sites on the intemet

MENT of the future Ensoniq machines.

or www that has a list of downloadable
ASR samples? If so, could you email me
with a response‘? Any help would be appreciated.

We have very modest computer systems
transmitting more than I 6 MIDI channels. It seems reasonable to be able to import a malti-track recording into one
INSTRUMENT for transmission to external modules and still be able to add other

have is eight channels. ls it possible to

on-board music.

Regards,
Timo Neronen
Finland
‘ilia Intemet

Also, what type of converter would I
need to convert the files over to my
ASR2
Jason Huffman
via Internet
{TH - Probably the easiest way to get
this info is for you to checlc out our web
page at http:llwtvw.teleport.corrtI~trnsoniq. From there you can go to our ftp
site and get Gorth’s article covering internet samples and conversion sofnvare
and stujff. You can also check out our
"Gther Links" page. It has a link to the

Sound Management BBS page and the
Oakland EPS Archive - both of which
have samples.I

To: interface@transoniq.com
Subject: Encoded Files.
Just a note regarding the articles on
retrieving files from the Internet and
decoding them into a usable form. The
writer suggest a few programs for this
purpose. I have, however. had much better success with a program (Mac) called

It‘s really frustrating to limit the onboard musical contribution because you
want to include some discreet MIDI
channels. Using just four MIDI channels
on an EPS or ASR means there are only
four instruments left for samples.

{TH - Thanltsfor the t‘ipI_,l

Compared to sound and effect generation,
MIDI is really a "low function" job. It
shouldn‘t take that much more cpu power
to do what I've described. I'm still using
my "more portable" ‘1d+s but I don't
recall this feature being available on any
of the newer machines.
Tom Jordan
Wired for Sound! — comptiter music for
kids
{CS -- As for as the Ensoniq stuff goes,
you get one and only one MIDI channel

per traclc with any of their built-in sequencers, but I guess you knew that. I
the hind of track-merging-with-retentiom
of-MIDI-channels feature that you’ re
talking about, but my guess is it’s only it
matter of time before this hind of thing

try it out, though, and see if it does you

Move to the MIDI Status page {press Edit
.S'equenceslParam (Bani: 6)!’ Screen 4],
and set up the MIDI channel for a track as
you normally would. Now, rapidly doublecliclt the track button for the current
track, and you will find yourself looking at
the song track (you can use this double-

clicl: shortcut to toggle between song and
sequence troclcs). Set a different MIDI
channel for the Song trctciz, then doubleclicl: again to go bccl: to the Sequence
trnclz. If the Sequence track retains its
original MIDI channel and the Song track

retains its new channel, you're living right
{sorry I couldn’t try this myself; I no
longer own an SQ-Series instrumentl]
{Ensoniq — No, you are using your SQ-I
correctly. It can only receive on S MIDI

becomes de-rigeur for any self-respecting
audio worI;rtotion.j'
_

channels. This is the some for the KS-32,
and all of our samplers. The KT Series
receive on S MIDI channels, expect when
in GM mode, when they will receive on all

Dear Hacker

I6. The TS series receive on I2 MIDI
channels, except when they are in GM
mode. Uur newest instrument, the MR-

To: interface@transoniq.com
Subject: Number of sequencer tracks on
Ensoniq

eight channels by assigning one MIDI
channel to a sequence track, and another
to the related song track. My experience
with this, though, was that it was a bit
flaky, and I’m not sure that Ensoniq continued to implement this function. You can
any good.

don’t thinl: many built-in sequencers ofier
Tom Shear
llia Internet

[CS - I’m pretty sure that eight MIDI
channels is the max you can get in your
setup. Bach when I had one of the original

SQ raclts, you could get it to do more than
It should be possible to record MIDI
tracks on the available "hardware" positions, then "bounce" the whole wad down
to a single INSTRUMENT. I can even
imagine routines for step editing that
would be tedious, but do-able in this
scenario.

Mpack, available on ACIL. It seems much

more reliable and flexible than the programs mentioned in the article, and is as
easy as dragging the encoded file onto
the Mpack icon.

have more than eight channels? I have

read the manual but there is very little
about using SQ-1 with external sequencers.

2S

Rack wiii aiways receive on id channeis,
whether it (he?) is in GM mode or not.)

based his suggestions in his review, and
invite all previous owners to call us
(1-Bflfl-377-53W, or I512-235-9'i93) for a
free upgrade.

changed — it is now chicltenEPS@will-

mar.com. Look for our new Web page
soon!

Any ideas short of a service call?

Cine more thing! Cur e-mail address has

We want to wish all at the Transoniq
Hacker and its faithful, friendly reader-

Just because Ensoniq doesn't approve
something doesn’t mean you can't make

ship a Happy Christmas season.

it work by using some assistance.

Garth Hjelte
Rubber Chicken Software Co.

Speaking of both the ZipDrive anti the
Jar, Ensoniq does not approve the Zip,
mainly because it doesn't supply termination power to the SCSI bus. If you hook a

Zip to a Id-Plus directly by itself, it has
problems working. Ensoniq has told me
that in their approval list they want it to

be “Plug and Piay" — meaning that they
only approve devices that don’t need
something else to work.

[CS — Thanks for taking the time to write,
Garth. I'm sure many wiii be interested
to find out
there’s a work-around
making it possibie to use the Ias drive.j‘
,t'Ertsonio — We weren’t trying to misiead
anybody by our "impiied agreement"

that the Jae Drive didn't work with the
EPS-16 PLUS. We simpiy don't have the
resources to try ati new SCSI devices
with our cider products that are out of
production and which are known to have

an APS SCSI Sentry (an ettternally-powcred termination power device), the Zip

devices. if someone teiis us it doesn’t

drive definitely works. We have done a
significant amount of testing.

work, we assume it to be true, and if it
truiy doesn’t work, we reaiiy aren’t in a

it, but I am sure the same solutions will
probably apply.

Actually, at Rubber Chicken we recommend the EZ-135 Syquest for the 16-Plus
at the moment. It is inexpensive, the
media is cheap, and it hooks right into the
lti-Plus without a problem. It really is the
best buy. Hope this helps!
Also, we appreciate all reviews of our
products, and the latest one by Steve ‘Vincent ("Morpheus Chicken“ j is no enception. We have revised our lvlorpheus set

Colin Lapsley,
Hamilton, Eintario
{CS — Nope. Either you have your TS-IU
piugged into the wrong input on your
mixer, or it’s indeed time for a service
caiij

However, we have found by adding either
a) another drive to the chain, or b) adding

The Jas might be the same way - it is not
“out” yet, so we haven‘t had time to test

of a wet-only mitt of an unknown delay
effect algorithm. Changing effects algoritluns has no effect. Ubviously, the synth
is useless in this state. Re-initialisation
has had no effect.

Dear People:

I wanted to respond to Ensonitfs reply to
Ivlark Snyder in the November Hacker.
They made an implied agreement with
Mark‘s statement that “the new Jas... will
not work with my EPS-16+!"

My TS-lll, whether in sound, preset, or
sequencer play mode, is giving an output

incompatibilities

with

newer

SCSI

position to determine why. We appreciate
peopie tike you who try things, make

them work if they can and tett‘ us their

Hi TH.

I have decided to get a new computer instead of my old dear Amiga. Which
would you consider the best for using
with my TS-12? A PC compatible (my
guess} or a MAC? I'd like to be able to
control ALL {if it's possible) the functions of the keyboard directly from the
screen. Am I dreaming or does this software ettist for any of the two kinds of
computers’? Hopefully it does. Anyway,
I‘d like your opinion on the best software
solution for the TS-I2 around right now.
Ensoniq and TH fan,
Frederik Brons

findings.
We have worked with both the Zip and
Jas drives with our current products and
they work fine. Uur tests with an EPS-1'6
PLUS using the APE SCSI Sentry and

other devices toid us that they may work,
but it is not guaranteed. It is tikety that
you can get them to work, but we cannot
guarantee that, so our position remains

{CS - Weii, I'm partiai to the Mac,
primariiy because it’s generaiiy easier to

use {particuiariy in terms of its piug-andpiayfuiness), and because there’s better
support for music. This is changing,
though, with more professionai musicoriented apps appearing for the "Wintei”
(Windows running on an intei-based
machine} computers. Aiso, the music area

the same.,1’

where the Mac has had its ntost
entrenched stronghoid has been in the

Dear TI-I:

you may not care much about.

reaim of digitai audio recording, an area

Missing or Damaged Issues?

Change of Address
Ii
ii._'L_

Please let us know at least four weeks in advance to avoid missing
any issues. The Post Dfficc really will NUT reiiably forward this
type of mail. {Believe us, not them!) We need as know bot-it your "
old and your new address. {issues missed due to late or no change _
notification are your own dumb fault - we mailed them!)
~
H

—

l

t
_

Every month we rn-ail out thousands of issues and every month
about a doaen get "misplaced" by the Post Clfficc. If youire ever
one of the winners of this lottery, just give us s call {SQ3-217-6343,
3 am — 3 prn Pacific Time) and we‘1lbe happy to mail a replacernent copy — no prob. (However, if you accuse us of nefarious
schemes to “rip you off," you will he offered a refund and given
helpful subscription info for other musician magazines.)

i

24

small [and not so small_} utility programs
designed to help you manage data for

with mine. If you have comments on the
sound matchup or suggested improvements, please let me know via email.

your Ensoniq synths. On the Mac side,
though, is a longer history with, and
more seamless integration ofl SCSI

Bob Lang
rlang@netdoor.com.

On the Wintel side, there seem to be more

peripherals than you'll find in the Wintel
wonderland. This may prove significant,

since none of the Ertsonio products do

{CS — Way to go, Bob. lguess all us Mac
guys will just have to eat our hearts out

IDE {the more common mass storage
technology in the WintellPC worldj.

for now._l

As far as a software package that will
remotely control every aspect of your
TS-l2, l don‘t think it exists [although I
can't swear to this}. However, it is poss-

To: Hacker

ible to design and create your own

front-panel emulations in a couple of the
more sophisticated sequencing packages.

Logic [ti-om Emagic, available on both
platforms) springs immediately to mind,
and Petjfornter (from Mark of the Unicorn, available on the Mac now and soon
on the PC) may allow you to do some of

these kinds of things as well.

I'd like any information and tips available on the EPS-16 Plus. I am in the
process of putting together a home studio
and I need to know as much as I can
about my unit. I have been using my EPS
for about a year and have made decent
progress, but there are a lot of things that
I don't know — like how to have each instrument under a different effect yet still
under the same bank effect [ie: dist+wah
(inst) and dual delays {bsnk}].

sonal favorites? For sequencing, Vision
[from Opcode Systems) or Logic (Vision
should be available on the PC pretty
soon); for patch editing, Unisyn {from
Mark of the Unicorn, available for both
platforms} is pretty much the only game

,-‘CS — I hate to be the bearer of bad
tidings, but you can't use more than one
e_fi'ect algorithm at a time. The EPS-I6
Plus uses a single signal processing chip,

in town. And for straight ahead library
functions, Galaxy from Opcode {Mac

only, l believe) would be my choice.)

Subject: Re: MIDI mapper

* * * * * Announcement * * * * *
For anyone who is interested in using the
General MIDI instrument layout with the
Ensoniq SQ-1l2 synthesizers, so you can
play Internet MIDI files without changes,
a solution is available. There were
several problems, and compromises had
to be made, but a working system is
functioning. If you are interested in the
details or want a copy of the ‘WlNDDWs
MIDI mapper file that made it all possible, then visit my intemet homepage
http:,ttwww2.netdoor.con1,l-rlang for your
free copy.
Remember to make a backup of your
MIDlI\tlAP.CFCr file before replacing it

Also, Ensoniq has some additional in-

structional stufi’ notfound in the manuals.
Contact Ensoniq Customer Service at
(till?) 64?-3930 for more info. Or, you
can virtually drop in at their web site:
http.'lltttww.ensonio.cotnt.]
To: Transoniq

Thank you for your assistance,
Darnley Hodge
Via Internet

As far as the "best software solution," it
depends on what you want to do. My per-

which should work almost as well.

called the ESP chip. This chip is sophisticated enough to for multiple e_fi'ects types
within a single algorithm (such as the
chorus and reverb algorithms}, and the
signal routing capabilities found within
the programming of the EPS gives you a
variety of ways to route sounds - some

could go to one of the efiect basses, while
others are routed through another of the
busses, allowing for things like having
reverb on a guitar patch, and chorusing
and reverb on an electric piano patch,
simultaneously. But you can't use two
ditfiierent ejflect algorithms at the same
time. Sorry.

I just bought a used EPS. It has the 4:t
expander and a 40-meg Orchard drive.
The first day I used it, it loaded samples
with no problems, and played them back
with no problems. However, yesterday it
started going "%*'ib#@ when I played
them back instead of the sampled sound.
The pitch control of the samples still
works and although it makes a good industtial sound, this is not why I bought it.
Seth lvlorth
Elia Intemet
{CS - Well, you don't ask for any advice,
but l’ ll give you some anyway. Talk to

an
Weapons
I:-l.e_ut__Re_1e_a.s_e

-:..;..?..-....::r- :..:....!--t,.E£‘55!!Z'l. IE1“s- -LII-L . .l_
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e

iii‘

as

'-

|||':J':
©

1‘E
til:

. ‘

Q

'
0

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a.

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Phat Loops dz Samples
Haw York St}-til In ' - fiver TD-Cl phat
hlp hop loops. lh-H: dr1..|.|::ne, freal-tyr bite, base
riffs, tneio-dl-I: lo-ops, and drum samples!

53Il1Plcl|.udia'ED $E|9.‘_'-i|'5 +s.os sea-1
“T1'l+:tl'tl"l nu denying l:E:.l: IEII -|:ll.:|: ls .1

II"l!ll blrstlln“ - Jim All-tin. Keyboard Feb. I35
Fl-E1!i1'¢l¢il1't1.'II'l"

Dn the other hand, l can bear some

reasonably good tidings, to wit,‘ there's

$49.95
+5.os seer-t

25

:":

pet
Q

H 1 I1 I-I *3 F
Ever;-rho-cl}-r‘: i,l\rh1.‘
up the props. on T.|.'l|I|
jclinl! II-'1 all ‘butter...
-fiver TDD loops,
scratchuo. [realty bits,
and clrurn samples.
Sample Autlla CD

been a lot written about the EPS,
EPS-.lb+ and AER-Series {most of the
info is interchangeable, you know), and
it’s easily obtained. Une good source is
these very pages, but at an earlier point
in time. If time travel isn't your thing,
you can probably just get back issues,

d
5'

i_I1_T

|--..5_¥.-H Illsjailsili IIII

___

this 0 ase719‘:-_l{GIt

Urdcr by phone or mail. Prices good worldwide.
Ctvemite tielivery |I51i].[ll];| available on prep-a,i|;l orders,

'i"lS.A.t'lvlC. EDD, CHECK DR lvlDl*~lE‘t' DRDER
Toll Free In ft: dir Clrcler: 1 —EElI|I'|-3 3 1-E B41

1 -5 1+5-33 1 -B BB4 t In terna tlooal}

C111 Pr::|-1111: Productions

61 Superior St.

_

Port Jefferson Station, l‘-l"!t" 1l??fi

Ensoniq Customer Service. To the best of
my knowledge, the EPS should not go
""“ib*Sb#@.j

As far as getting everything physically
hooked up, I would think that any supplier of computer accessories and

nounce yet.

peripherals should have some sort of
device that you could use to provide an

ing sounds conceived by others. The
problem is that here in France the adop-

Hi,

additional SCSI out. However, your
"strange" SCSI cable may be just the

tion procedure is long and expensive...

I want to connect a Syquest drive, PC,
K2000, and ASR-1!] with SCSI with each
other.

ticket for this, but I'm not quite understanding what it is you are saying about
having a "star" network. I don't think
there'd be any problem using the configuration I think you're describing, but

‘When you go to a reseller (as shocking as
it may seem, IT IS LEGAL to sell sounds
in this countryl), they often don't have

I'm not completely sure I get it. As for

so they have to get them from the importer (I don't know exactly, but I understand it is a kind of sound-nursery). But
how can you choose a sotmd when you
have never heard the sound? Most of the
time all the reseller can tell you is the
name of the sound... But how do you

Problem: neither the K2000 nor the ASR
have SCSI-thru. How can I connect them
so that the K2000 can read from PC and
Syquest and the ASR can read from PC
and Syquest?
I have a “strange” SCSI-cable which allows me to put another cable on the back,
but I then have three terminators in the
SCSI chain - so I will blow up my whole
setup. (Hint: I will not connect them in
this way.) And when I disable a terminator {don't know how the K.2k or the

ASR can do this), I have a Star network which I think SCSI is not made for.
‘Who knows what to do?
End of transmission.
<.click>
Angelo van der Weerden
Via Internet

{CS - In my experience, the ASR does not
like to share SCSI peripherals {such as
Syquest drives} with other devices, so
your lack of SCSI-thrus may be the least
of your worries {although this probably
wouldn't affect the peaceful co-existence
of your instruments and the PCJ.

In actuality, the thru on most SCSI
devices is simply a parallel bus - in effect, a SCSI "Y" cord - so there's no real
voodoo involved in the mechanical hookup. As far as termination, you're not likely to do any damage by having three
SCSI devices with termination all on the

same buss, but operation may not be as
reliable as one might hope. One solution
(and a good one, in my opinion} is to invest in an active SCSI terminator, such as
the "SCSI Sentry” from APS (you can
reach them toll-free at I -S00-6??-3204).
For around -S0 bucks or so, numerous

termination headaches can be nipped in
the bud, bud.

termination, you should be able to
remove termination from any of the
devices you wish. If you want help with

the termination in your ASH-I0, I'd suggest contacting Ensoniq Customer Service at (dill) dd?-3930.}

Therefore, we are now considering adopt-

sounds in stock (would it be human to
keep them in a back room all the ti1ne'?),

make a choice between “I-larnmond" and
,-‘Ensoniq - Actually, SCSI is a daisy
chain network so there is no need for a
"SCSI Thru.” Typically a SCSI storage
device will have two connectors on the
back to allow daisy chaining. Neither the

PC, the ASH or the K2000 offer the
second connector, so daisy chaining must
be accomplished with a cable like you
have described, or preferably by using a
SCSI switcher box. Without knowing
whether your PC supplies termination or
whether the K2000 supplies termination,
it is ditficult to tell where each device

should go in the chain. The basic idea is
to set up multiple “hosts” to the inputs of
the switcher (most likely your K2000 and
ASH) and then have the output of the
switcher going to the Syquest and finally
into the PC. You can try the various combinations and see
any work. You are

unlikely to “blow up” your rig. The most
likely problem is that it simply won't
work. It will require some experimentation, but this is the right path to go down.
Good luckl]

"Rhodes"? One would like to see how
they behave when they play! Good
sounds are alive, you know.
One thing that a reseller with few
morals proposed to me was to "try"
another keyboard which already had
sounds. (From a former programmer, I
guess!) As tempting as it was, I declined
the offer because I wish to be faithful to
my KS. (Ur is it because I cannot afford a
mistress keyboard?)
So far, I think the best solution would be

to meet a sister KS which already has
bought some sounds in order to hear them
play. It could even be possible to do so
with a cousin SQ! But when my KS left
lvialvern a few years ago, she lost contact
with her family members, and although
we are convinced that some of them also

made the trip to France, we don't ltnow
where they settled. We keep looking for
them... So, please, Transoniq, could you
publish our address so that they can join
us‘?

Bonjour!

So, we are waiting.

I am in love with my KS-32 for more
than two years {luckily enough I bought a
female one), so we decided to marry and
have sounds. Although we have consulted
several sound-programming doctors, read
books, and even watched videos (with
suggestive titles like, "Physical Dscillations and Acoustic Results,” or "blew Key
Positions to Achieve Harmony”), we
have not had arty happy event to an-

But I am also thinking to myself: Why

26

don't sound programmers - and Ensoniq
— record demo cassettes of their sounds‘?
With banks of sounds on cassettes, anyone could make an advised choice when
ordering sounds. And I think it would be
easier for resellers to let their clients
hear, discover their music-mate {or
should I say play-mate?) has much more

physical and sonic possibilities than they

had imagined, and therefore order new
sounds! When today, not having the opportunity to hear the sounds, people like
me just don’t buy - when they are faithful! The worst would be turning to a
mistress-keyboard with fresh young
sounds. The most perverse could even
consider touching keyboards from
another brand!

containing I tit? sounds. So we wouid have
to create over Hill? demos. (Okay, we
realise we can gang some together, hut
you have to agree it is a huge task.) But

we have aii of our sound names {and
Categories) avaiiahie on our Fa.1t-[I'n-

Demand system. Cali S00-25?-I439 to
receive a compiete directory, or asi: for

documents 0346' through 0850. Since this
number won’t work overseas, you’ ii have

Isn't it a pity that all these sotmds which
exist should stay in their bank all their
life not being played just because no one

to cat‘! us and we can fax you copies.
Hope this hei,os.,?

has had the opportunity to hear them

before buying?

Dear Hacker of Great Renown:

Two remarks to conclude: A rich KS
owner could of course order all the
sounds available, but this would be a sign
of mad love because it would cost more
than another keyboard and since he
would not use them all some would have
to be tossed aside.

Just finished my latest Tl-I — thanks for
all your efforts. l‘m thoroughly enamored
of my ASR-Ill, 16-meg RAM, Bernoulli
150 setup. Sometimes I just shake my
head and marvel at the incredible technical wonder sitting in front of me.

sounds on cassette could be stolen by the

My advice to sound vendors: let us hear
them - we will buy them!
Friendly yours,
Greg St KS

ID rue lean Bleuren
92l'l‘[l, Vanves
France
{TH - You might also want to check out
the French Ensoniq fansine mentioned in
iast month’s Front Panei. 1’Philippe
LeFevre, 25 rue des Chenes, 82340
Dunes, France.) And watch how you use

that word "haciter.“j'
{CS — A number of vendors do ofier cassette recordings featuring their offerings,
in order to help you make an informed,
er, adoption (Unfortunately, Ensoniq
isn’t one of them. Oh weiij. Check the
ads in the Hacker, as weii as some of the

other puitiicatiortsj

(a supreme test) and immediately got
Error 130 Reboot‘? (Insert foghom
sound.) So I mrned it off, waited, then on
again, and then reloaded US 3.53 and
another sequence. In the middle of playing the song, Error 215, Reboot? (Insert
raspberry sound.) This has happened each
time I tried it. What gives? Admittedly,
some of the songs were created using OS
1.61 two years ago. But aren't they compatible‘? I have no problems on 2.51. So
for now I'm sticking with 2.51, since I

Transonicg-Net

Maybe sound conceivers are afraid that
big bad sampling guys. The risk exists.
But, in my opinion, professional sample-hackers who resell their spoils
probably use the RUM sounds as the
source.

I have two questions. I've been using
0.5. 2.51 for the past year, with no complaints {thank God!). It's a trouble-free
US for the most part; I can even delete a
wavesample and not have the whole instrument disappear (provided Stereo Link
is UFF). But lately, I was in the music
store and picked up US 3.53, brought it
home and tried it out. (luch! First l
loaded in a song, then went to Event Edit

HELP WITH QUE TIONS

All of the individuals listed below are volunteers! Please -take that into consideration when calling. If
you get a recording and leave a message, let ‘am know if it's okay to call back collect {this will greatly
increase your chances of getting a retum esll}.
All Ensoniq Gear - Ensoniq Customer Service. 9:31} am to no-on, 1:15 pm to 6:3!) pm EST Monday to
Friday. 616-54?-393fi. Bnsonitfs Fan Unllletnand line, {1-Bill}-257-1435*} can also be used to retrieve
specs, US info, hard-drive info, and thelilte.
All Ensoniq Gear -Iflecuic Factory {E.nscmiq’s Australia distributor}. E-mail addrms: elfa.@o:.email.oom.su: their
web site at http:Hwww.oaernail.com.au,"—eifa; or e-mail their resident clinician, Michael Allen, at mallen@gelto.cun.au. Phone ealls, Business hours - ‘lfictoria. {D3} £33-5933.
hll Ensoniq Gear - The Electric Factory in New Iceland, phone (~54) 9-443-5915, fart {fill} it-ll-43-5 393, or e-snail
sanm |;Geofl" Maser-t].
- TS Questions -Pat Esftrtg, Internet: ps£'eaecpc.cont, Cornpuserve: ‘H-24tl,l5t52, or AOL: ‘E-SSLIP.
TS, ‘FFJK, and SD-1 Quutions - Stuart I-locking, stul:s@oaernsil.cos:n.ao.
MIDI users and asters Questions - Ariel and Ideiri Dvorjetski, Internet: s3T6l921@tecltst{l2.technion.sc.i1,
ordvofiet@techuni.a.technion.ae.i1. You can also esll Si.ncopatod BBS at [Israel country code: F72) d~'l"'.~'t‘ifl3$, Ed
hours, EBJEK Modem. Please Login as: ENSDHIQ, Password: It-!III.'tI.

so-t Questions - Philip lrlagoutte. act-est--test, 4 pm - taaossr.
VFX. Sound Programming Questions - Dara Jones, Cotnpnserve: "FlIZ+55,l11_‘.l or Internet: ddjones@netcotn.eor.'n or call 214-361-D329.
|§ SD-1, DP.-'4, AER-lil Questions -— John Cos, 6&9-EBB-5519, [NJ] Sprn - B pm EST weekdays. Any time
weekends.
SQ-3l|', ‘IFFX Questions - Robert Romano, tifl?-E93-4363. Any ol’ time (within reason} EST.

Hard Drives 8: Drive Systems, Studies, dz Computers - Rob Feiner, Cinetanes. 914-EH53-SE13.
lien!-3pm EST. Cotnpuserve: Tlt'.'il#,l255.
EPS, EP5-id PLUS, dc AER-Ill Questions - Garth Hjeite. Rubber Chicken Software. Call mtyfime. If
message, 24-hour callback. (5121 Z35-BT93. Email: ehickenEPS@willmar.eom.
ESQ-1 AND SQ-Bil Questions --Torn Ivlcfiaffrey. ESQIIPA. Eli-33!} D241, before ll prn Eastern Time.
EPSIMTRAGEIESQIEQ-EH i's'!.U.G. 34-Hottr I-Iotline - 212-4 I55-343i}. Leave name, number, address.
‘ Ill-hr Cmlbaclt.

'

MIIII Users - E.ri.c Baragar, Qsnadian lvflllll Users Group, (6131 391- 62’.-EH5 during business hours, Eastern
Tittle {Torunto, DNT} or call MHJILJNE BB5 at {EH} iififi-5323 24 hours.

{Ensoniq - Clark is right, we don't have
audio demos of our sounds. it is a huge
task, as we have ii cards of sounds each

SQ-1, KS-32, SD-1, SCSI & hard drive Questions -- Patliienigart, 3175462-E446. 3:00 am to llltlitl pm
EST

i ESQ-1, It-tint a came-ems —loe Slater, {toners-sss1.nsr.
2?

don't have a CD-RUM or digital interface yet.

you do have some bod data in your sequences. But we can't be sure.

Clkay, next I went back east for a two
week vacation and, of course, since I'm

It also sounds like some of the solder
joints may have fractured on either the

hopelessly addicted, shipped my AER
with me. Road ca.se, hi-density foam
packed, the works. It arrived just fine, but
ever since some of the characters on the

display tube or the driver. lt is possible
that the display tube is damaged internally, but this is far less likely. You should

display do not come on initially. After an

hour of warming up, they flicker back in
and all is fine. Is this a cold solder joint
loosened by the shipping? I'm used to
soldering delicate electronic equipment
for a living, illltl since I'm past warranty I
could check for this. Gr is this an LED
breakdown? Have you at Ensoniq had
any experience with this? What's more

likely?
Thanks again for everything.

definitely call Customer Service at dilldd?-3930.
Note to all: it continually perplexes us
why you would write a letter to the Hach-

er, waitfor it to be sent to us, replied to,
printed, and finally shipped baclc to you
to get service questions answered. lt is so
much quiclter to call us, fax us, e-mail us
on CompuServe or the Web to get faster
help. It's nothing against the Hacher, but
we feel bad that you have to wait so long

to get a reply. Especially one that says,
"call us."

Sincerely,
Los Angeles, Calif.

This interface is a great placefor sharing
ideas, asking questions, praising, and

j'Ensonio - Regarding the use of the different Uperating Systems, it sounds like

yes, griping. But it is for from the most
eyffective way to get repair issues dealt
with efiectively. There, we just had to get

Stephen David Hewitt

that ofi’ of our chest{'s).,l
[TH - Of course we always appreciate

portant question. I wanted a processor
that will get my voice from a microphone
and change it to a clean electronic robot
talking voice — like in groups such as
Kraftwerk. I talked with a Hob Brady (‘I’)
at Ensoniq. He said the DPl4 would do

the electronic voice. After many conversations with him I went ahead and bought
the DPI4. But after experimenting with
the DP!-=t vocoder and other presets to get
a robot voice, it did not sound right — not
electronic, very noisy, weak.
If I can ever find the company that makes

a device that does this that will be my
wish come true. Everyone tells me that
Roland use to put one out in the late "Jlls.
I was also told that Korg had one at one
time. I've had the worst luck searching
for this processor.
I've written letters to Ensoniq and
haven't gotten any explanation. I've tried
everything with my IJPI4. lvlaybe you can
help. I've run out of formulas. I've been
very frustrated at Ensoniq after their
word meant nothing. In the past I've had
an SQ-EU, an EPS, a lvlirage, a TS, and
the DPl4. HELP!
Johnny Guillen
Gallup, NM

the letters and we're sure that readers
who have similar problems {and even
those who don't) learn a lot from seeing
the answers. Any letter that makes it here
by the first Wednesday of the month will
make it through the cycle and have

{CS - In my experience, the success (or
lack thereof) of most vocoder efiects

answers going out the door two and a

vocoder itself. The two main factors are

half weelcs later {e-mail subs will get it

carrier signal and modulator signal.

depends greatly on several factors, none
of which are under direct control of the

that day). And when we see a "rush" type
EASY lCGESS — FAST Lfllfllllli

11m sn|suct|nn
sci-an manor
stat GUARANTEE

situation, we usually try to provide a

+ $3 Sm

as interpreted through your microphone.

on Ensoni.-;t's ['or someone else who may

Different combinations of mic and voice

be able to help) number or e-mail address.I

will produce dififerent results. If you're
using an el-cheapo mic, you may not get
as crisp an efiect as you would using the
same megubuchr units used by recording
stars. Also, output level for the mic

'
-

isms--.+ sass-I-=s_tam

.-msesasr-s -may .

1

-t
- .i is =ntrs

TD DHDEH:

E Qg 1-800-301-‘HIGH!

i

FUR BhTh1.1'.lES, BALL:

s1otaaa-case
not; stunts-asst

Dear Transoniq Hacker,

you're using can be fairly critical. if

Before I even think of continuing my
subscription I'd like some very important
questions answered.
In the past, I've always bought Ensoniq
equipment. I bought a brand new DP.-"4
when it first came out. I made long distance calls at my expense before buying

t
=

The modulator is, of course, your voice

quickie answer - even tfit's__iust to pass

you're not getting enough signal out of
your mic to drive the vocoder easily, you

may need to boost your mic's output by
running it through a spare mixer channel, or using a dedicated mic preamp.
Perhaps even more important is the carrier signal you choose. if your carrier is

it. Wanting a processor that has a good,

inching in harmonics (sine waves, flutes,

awesome vocoder, I asked that most im-

mellow organ sounds, and the like come

28

to rnindj the vocoder won't have enough
sonic material to shape into a speech-like
sound. It would sort of be like asking a
painter to do u photo-realistic painting
using only one or two colors -- difficult at
best.
I

Finally, it is my experience that all
vocoders have their own unique sound. It
may be that the D_Pltl just won't do exactly the sound you want. Still, I think it's
much more likely that you_,iust haven't yet
hit on the right combination offactors to
produce the sound you wont, but even-

tually you will. In the meantime, you
might want to contact Ensoniq Customer
Service {did-64?-3930) and have them
provide you with some more detailed
guidance than I can give you here. I'm
sure they'd be more than happy to...j'

"MIDI Dutput Device" to "Spectrum
MIDI Out" and plug into the old Yamaha
it also runs fine - using the Yamaha's
cheesy sounds. BUT when I plug into the
VFX-sdII the computer locks up and has
to be rebooted. So I play around with a
few things on the computer and on the
IIFX, and BDDM - same thing. So I plug
into the TS-ll], enter General MIDI Mode
and once again I lose.
Now I've tried everything, changing

wires, changing the MIDI Mapper,
changing the setups on the individual
software programs, and still nothing.
Now to confuse me even more, going
MIDI in to the computer with the TS-ll]
works beautifully, same with the VFX.
But as soon as I try the MIDI controller
keyboard I get stuck notes or the computer locks up.

{Ensoniq - Our word meant nothing?

Them's fighting words...
Seriously, it is entirely possible to get the
type of efiect you are talking about with
the DPt'd. Whether in the final judgment
it is one that you will like is not the type
of question that anyone but you can

answer. Over the phone, how can we
guarantee that your taste and ours
1'meaning the person on the other end of
the phone} match up?

So before I break out the old sledgehammer and do some damage, do you have
any suggestions?
P.S. My TS-lll seems not to recognise
the disk name given to Gieb1er‘s EDM
formatted ASR-10 disks - like when it
asks for "Disk 605" I put in "Disk d[l5"
and, SHAZAAM, it asks for it again.
Figure that one out please.

Eric Beaudry

and a very slow sweep. Try experimenting with that as well. And call us - we're

with _iust a word processor. I'd recom-

{CS - That's a lot of stufl’ to troubleshoot
mend you try contacting Ensoniq Customer Service, or perhaps one of our
illustrious Transoniq-Net afiicianodos,
and seeing if you can't narrow it down a

bit]
{Ensoniq - It is ditficult to imagine how

Now I've got “The Jammer" fired up and

the VFX-SD or TS—Ill, when being used
as it target for MIDI sequences, could
cause your computer to crash unless
there is a MIDI loop. You don't mention
whether the MIDI Gut of the VFX or TS
is connected to the computer. If that is
the case, than the VFXITS must be transmitting something that your computer

software is unable to handle. Try unplugging MIDI In to the computer and see
what happens.

everything works fine through the Maui

board, and when I change the setup

in the chain that it may be causing the
problem. But your letter doesn't give

enough detail to really tell. This is the
type of problem that has to be detailed in
full — what's connected to what, what do
you press, what happens when you press
it, etc. etc. etc. I don't think you'll get it
solved in a quick letter response. Call
us._l

Hi, Transoniq Hacker,
Concerning "From Cyberspace to Your
Ear, Part II." In this article written by
Garth Hjelte there was some new information which helped me a little. Not only
the EDM program is mentioned, also a
new thing for the Mac - the EPSm written by Terje Finstad of Norway in a format called a B-ll] and a program called
scEPSi.
I bought the EDM program from Rubber
Chicken

and

tried

to run it

on a

DDS-compatible MacPerfonna S200 with
a Soft Windows program. It wouldn't run
- "Diskette Controller Error."

Holyoke, Mass.

Hello,
Problem: MIDI. Situation: I own a
TS-Ill, VFK-sd II, Boss DR-5, a MIDI
controller keyboard, and an old Yamaha
keyboard. I also own a 436-SX33 PC
with a Pro Audio Spectrum sotmd card,
with a Turtle Beach "Maui" daughter
board. I also have several pieces of software for music production. For this letter,
I'll use "The Jammer" as my reference.

We are also suspicious that since the Fro
Audio Spectrum card is on integral link

So where can I getlfindfbuy these two
programs for the Mac?

Thanks,
Clark ofifers some good insight. Here's
another tip - many people get a robotic
voice sound by running a microphone
into o Flonger with high regeneration

glad to continue to work with you. Yes,
even Bob]

troller you are using. It is possible that it
is sending bad data into the computer.

You also don't mention what MIDI con25

Finally, two nice gimmicks I found on
my TS-12 (OS 3.05). Ensoniq secrets
maybe. '
1) When you change the click volume to
the maximum of 14 dB, the click behaves
very individualistically - it counts only
the last beats in measure, never the first.
In a 414 the metronome counts only the
last 3;’-4, in a 3,l4 only the two last 3,14 will
be audible. It's nice and brings some inspiration while practicing.
2} In the manual all kinds of voice classes are listed and you have a perfect
survey. Until now. Because I fotmd a new
category of sound - an tmderground
voice which survived all the changes of
the operating system. On the Ensoniq
TSD 3i]-ll diskette you can fmd a lot of organs. Dne of which contains the miracle.
It's 'Jlls Drgan. When you push Select
‘Voice, the fifth voice is called "*un-

known *." When you press the wave button, there is the information: ""“|.u1knowntwunclassified," and it is not

that one can get the necessary information by sending email to noice@
_,r§rs.uio.no.

possible to copy that voice. What a pity.

Good lucklj

Now I can sleep better - even for such a
great instrtunent there still remains unknown sounds.

I don't know gfthis helps, butI hope so.,I

,-‘Steve Berkley, Berkley Integrated Audio
Systems -

Hacker:

Dear Transoniq Hacker and Mr. Lacina:

I own a TS-12. We just had an Ensoniq
Clinic here at West Music. The rep (forgot his name) said I could add a pedal
board to play pipe organ music by setting
up MIDI port to accept a sequence. Have
not tried it yet.

Thank you very much.
Greetings from "iIienna, the city of music.
scEFSi, a utility for Macintosh users with
EFS, EFS-Id+, or ASH-IUISS samplers is
shareware. You can download scEPSi
from the following ftp site using an

Sincerely,

Herbert Lacina.
Austria

you will find scEPSi a useful utility for
your Ensoniq sampler!’

anonymous connection:
ITH - We forwarded your questions
regarding the EFSm program to Garth
with the following results.j

Also, I am looking for pipe organ sounds
- different registers rather than whole
organ -lk ambience.

ftp.crl.com
using the directory path.‘

{Garth - I e-mailed Steve Berkley, the
author of scli-'FSi, and Terje Finstad, the
author of EPSm, to give you details on

Thanks,
Timothy J. Fees
Via Internet

lftpl use rsl rolsb erkleyl [ItiIiti est’scEFSIVI-'ld.sea.hqx

how to obtainlpurchase the program. The
shareware thing is a little tricky, and I'd
rather they handle it.

scEPSi allows Ensoniq sampler owners
to view the contents of the SCSI storage
device they use for storing Ensoniq format files. scEFSi also allows users to
rename files, effortlessly move files to
other directories, scan drives for

I also e-mailed Giebler to respond to the
EDM-Mac compatibility question.

Thanks for the opportunity - hope I could
help.I

_

problems, delete files, savelload files to
the Macintosh, update the OS on their

{CS - You can, indeed, use a
MIDI-pedalboard with your TS-I2. rissign the sound you want your pedalboard
to play to a track in the TS sequencer,

and then make sure to set that track to
respond to whatever MIDI channel your
pedalboard is transmitting on, and away
you go.,I

drive, save ASR-I U Audio Tracks to your
{Terje - EPSm is a Mac programfor use
with EPSIASRITS samplers. I am the
author of that program. The program is
US$20 shareware.

Macintosh for editing, exchange sequences and instruments via modem, search
for files, backup and restore Ensoniq formatted volumes, and many other features.
scEPSi also works with -CDMPUTER for-

I don't know what details you would

rnottedfloppy diskettes (available only on

want. For a short reply one might say

the ASH-I-fl) and CD -ROM drtves
" . I h ope

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Disks: $15.50
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tflasraadyhslteplaysdlii-sly fromlltsttfllil
. us Hflulitas a no
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dwhi'lefl~in.on.e|

VISA.

Accepts-dt

ENSONIO DESKETFE MANAGER
Use Ensoniq Disks on your IBM-PC
Readl"llVritelFormatlGopy and more.
Supports all Ensoniq Disk Formats.
ENSONIO IVIIDI MANAGER

Send or Receive Data through MIDI
to your PG for these keyboards:
KS-32 VFX SO-1 SO-2 ESQ-1

wiry so runny people love our seqitences
— ond keep coming fiocicfor moreif

Music And Lyrics Now Availahleii
Toll Free Orderline: I -Still!-31.5‘-ll-i’ USIC
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for VFX-sd or SD-1 sequences & songs.
Gall now to order or tor more information
on these and other software packages.

Giebler Enterprises
26 Crestview Drive
Phcenisvtlle, PA 19460
em 933-c332
{FflJtI}933-D395

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.a-in-mun-wiser.

Transoniq Hacker says,

metres-earn

Newton Square, PA 190'i3-3044
610-356-T255 l Fan: sic-ass-srsr

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In a top-secret underground

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isanraietosrnrertsaiusnrlursserst

EFFECTS9

The Voder synthesizes vocals out of any sampled sound. It can sound like a vocoder, but
therc’s never been an effect like this for any
other keyboard. The lowest lti keys of the keyboard each trigger a different vowel or consonant. Your left hand actually forms words by
"spelling" them. (OK, it takes some practice to
sing a whole sentence.) Your right hand eon-

trols the notes and chords of your robot choir.
And how long have you been waiting to make a
big fat breatity choir sing "Louie, Louie?" Or
maybe it was a car crash snare that you needed
to say "momi" Need details? The Vcder is a
3-band parametric HQ effect for the Ensoniq
AER-ii} and EPS-16 PLUS. This EQ cart rapidly "morph" between many different settings.
These different seuings impose vccai characteristics onto any sound that is run through the
HQ. lt’s much cooler than a Morpheus.
Audio-in is supported.

T5-l2, SD-l, V if-sd.
._|

-

HE1-.1Ila.
I.

"...well conceived and executed... programming
thet’s thoughtful and accomplished... excellent 5
looping, careful matching of rnutil-sarnpies and r
a full‘ use of the reel time modulators.“
Robby Barman, TH Review, Nov. ‘Q5
gl
,_ ti-‘el"ll rir__u--riie_i"or FREEi:;:.i|kl!:l_‘€1-;-fl-t}‘f!ft%!rtir'Litr}

51 Charter Oak Drive

SEQUENCE CONVERTERS
Convert Standard MIDI Files toltrom
Sequences for these keyboards:
T8-1Ul'12
SQ-1
SO-BU
EPS-16
KS-32
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'-‘I
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We Support Ensoniq - Roland
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I-Imptor I-lnk: 500+ moo o of samples for ASFUTSI

' ills iilili Irflsil on cc-ltcu. its

'

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_ _

Urders must include $4 sltippifllit 'l$E for
foreign orders]. MasterCard, Visa, and Arnie:
accepted. Write or call for free catalog of

sounds for all Ensoniq keyboards!

The Vcdcr disk is $49.95 and comes with
sounds: a choir, a solo voice, a robot voice, a
talking rhythm loop. Drdcr by MCIVISA by
calling (stop 251-95152 or send check or money
order to VVAVeHClY Industries, PD BOX 233,
Paoli, PA 19301 USA {Price includes shipping
but add $5 outside USICANADA. PA residents
add 5% tart.)

I

BULK RATE
L.l.S. POSTAGE
PAID
PORTLAND, OH
PERMIT NO. 11

TRANSONIQ HACKER
race aw UPLAND on, PDRTLAHD, on arse:

SUBSCRIPTION MATERIAL
DATED MATERIAL - Till E VALUE

ADDRESS CDRRECTIDN REQUESTED
Postmaster: Please return Form 354? as soon as possible so
we can change our records. This is a monthly publication.

Publisher: Eric Gelsllnger
Editrlx:.isr1e Talisman

ttdvenlslng rates: Please sand for rate card.
Rates for authors: Please send for writer-info card.

Dur {somewhat regular] illustrious bevy of writers includes: Craig ltnoenon, Robby

Subscriptions 12 monthly issues. US: $23lyear, All others: $32iyear. Payable
in US iu nds.

Barman, Paul Eisseli, Steve Byhurst, Barry Carson, Mark Clifton, Anthony Ferrara,

Pat Flnnlgan, Charles Ft. Fischer, Jeffrey Fisher, Gary Giehler, Jim Grote, Garth
Hjelte, Bryce Inman, Jett Jetton, Dara Jones, Brad itauiman, Johnny ltionarls,

-John Lolllnk, Daniel Mandel, Sam lvlims, Jeffrey Rhoads, Brian Fiosl, Diark
Salisbury, Tom Shear, Joe Slater, Kirk Slinkard, Jack Tolin, and Steve Vincent.

Transoniq Hacker is the independent user's news magazine for Ensoniq
products. Transoniq Hacker is not affiliated in any way with Ensoniq Corp.
Ensoniq and the names of their various products are registered trademarks of

the Ensoniq Corp. Opinions expressed are those of the authors and do not
necessarily reflect those of the publisher or Ensoniq Corp. Printed in the
United States.

Copyright 1995, Transoniq Hacker, tans SW Upland Drive, Portland, DR
steer. Phone: [5031 22?-E343 {El am to 9 pm Pacific West Coast Time}.
i

i

i

l

i-iii

1

1

i

Rubber Chr'ckerSoftwa.ce Bo. ~ Your Eosonrlqr Saorpfle 6? Accessorves Science.’
..r--as

_,.-"*3

I"

.j!;5j‘T-...

| '-_ _

,

N

._

H

- -=1-'1 ;

H

.-

rfé-Iizilrz

Analog syntl-rs have resonant filters. The EPS andASR do not - until you get
these samples! iliiavefloy makes a great resonant filter. but its monophonic.
These sounds offer polyphonic sampled filtering to achieve the linear resonant effect you are after. Great for retro-soundo, and just good stuff.

iiii';ii
aids H Hi Isis-Ir. and ills KP-50

is -- liifji

e

so r. '5
hav e

' - hgs'ais_gu n
e
~ _ ._ .=

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The Sampleflank is from Gyhereounds. B50 megs of great Ensoniq sounds -

1

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These helpful videos cover basic fu nctio ns as well as advanced techniques. Dali for availability at the and of Dcto oer!

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---

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