Ensoniq Corporation Transoniq Hacker Archive Issue #127 Th 127
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.ll.-
The independent News
Magazine fer Enseniq Users
All In the Fclmily
Robby Barman
.__.
¥'
'
-
-i-'-it-.-.+
:-
1
,
There‘s ne reasen, therefere, that the
ASRs ean‘t he used as synthesizers, and
pewerful enes at that. Ya just need the
basie building bleel-ts. By new yeu've
prehably netieed that the TS is full ef
great waves. It’s a terrifie, expansivesetntding instrument with a rieh senie
character all its ewn. Why net steal... er,
sample it? Fer these ef yen with TS
envy, the TS-ll] Samples fer the ASR
effered hy James M. Samp (can that
reaily be his name?) ef Fend du Lae
Wiseensin previde an exeellent library
Pro-duet: ASR Samples ef the TS.
Frem: James Sump, 90 N. Bell Street,
Fend du Lee, WI $1935. Phene: (414)
922-433?.
Fer: ASRs.
Priest $6 per disk, $30 fer all six (36
seunds).
_
Pm eften perplexed when I read letters
in the Interface requesting that Enseniq
manufacture a eemhinatien sampler and
synth -—- isn't that what the ASR family
samplers already are? (And, yes, I'm
KS Defaults
Den Rehde ................................................. I5
KT Drum Mapping
Al‘ Blake ................................................... ll}
Using the Enseniq Presets — Part I
Frank Fertnnete . ................................... .. 12
TS Relling Grand
Gerry Weryiiw ....................................... .. I4
‘EFX-SD Chttreh Bell
Jim Greta ................................................. 13
Basement Tapes: Maeeahee
Denis! Mandel ......................................... 16
Perhaps the meat ehviens attribute ef
the TS is that its setutds are se dang big.
Regular Stuff:
Samp iekay, bud, what's yer real
name?) has ehvieusly dene his time
under headphenes. sinee his samples are
very stereephenie, just like the TS. In
have a full suite ef synth-style LFOs,
filters and se en. Exeept fer the faet that
the synths eeme with samples huiit-in,
all ehepped dewn and memery-effieient
right eut ef the hex, the instruments are
fairly similar (ef eettrse, the synths ean't
sample, theugh the TS series ean play
hack samples}.
the samples take advantage ef the ASH
effeets, while ethers eapture the TS
preeesser. Samp makes use ef the standard real-time ASR eentrellers: pitch
bend, med wheel, Pateh Seleets and
ISSUE NUMBER l2?, $2.50
Replacing Yeur Drum lvlaehine
Avi Weinherger ......................................... 4
ef TS seunds. I-Ie's effering six I-ID
disks ef TS samples fer 6 heel-ts apieee,
er $30 fer the whele bttneh (36 seunds).
Given the ameunt ef eare that he elearly
lavished en his sampling, leeping and
pregrarnming, Pd say the price is unfair
—-- te him.
many eases, Satnp has brel-tea dewn
pre-existing TS seunds inte their sempenent layers, and sampled, leeped and
pregrammed eaeh separately. Seme ef
eften perplexed anyway.) The ASRs de
Arneles:
[
Reviews:
All in the Family — Samples frem Samp
[
Rehhy Barman ................................... .. eever
Randern Netes ......................................... .. 2
Hyperseniq .............................................. .. 3
Classifieds ............................................. .. 1?
Haelterpatehes - Rhearis
SQIKSIKT: Carder, Relax Pad ........... .. Ztl
Has]-ter Reinitialiaatien -- SQIKSIKT Series
Medulatien"
Ciani: Salisbury .................................... 21
The Interface .......................................... .. 23
Transeniq-Net ........................................ .. 29
Current 0.3.
31]
Haelter Beeteeq ....................................... 31
JANUARY, 1996
pressure. All ef the seunds were sampled at 29.'?l~:, a perfectly
apprepriate sampling rate fer the TS.
deseriptiens, theugh they seem silly here in this review, de
eveke the lenely emetienal subtext in this seund.
De these samples seund exactly as crispy and clear as their
ceunterparts en the TS‘? Nah -—- that's net pessible, since the
samples are a generatien remeved in fidelity. Hewever,
they're mestly pretty clese, and when they're net, Samp uses
them as grist fer his ewn werthwhile seunds that wind up
being enly leesely based en the TS eriginals. I feund myself
leeking up the TS setmds and cemparing them te Samp's,
since many ef his use TS names. This is a mistake, I think,
since Samp samples have evelved lute semething quite new,
and stand well en their ewn. Ne need, really, te A/B the ASH
and TS here. Buyers sheu1dn't necessarily expect that just because Samp has a seund called "Whales," and se dees the TS,
that the twe seunds are the same. In fact, Samp's Whales is a
speeky, pitched patch (playing a let ef netes dees serta eveke
Sarnp's descriptiens are quite helpful threugheut -— they're a
tad geefy en the surface, but have yeu ever tried te describe
the indescribable? My faverite seunds here all beleng in this
categery, with ne cetmterparts in the real werld. The netes
are, in general, pretty funny, theugh they're previded en ene
leng {about 5 feet) printeut sheet, which I've tessed acress
the reem twice new in frustratien (my cat Rery is currently
using it te sleep en dewn there en the fleer). Buy seme
samples — maybe the man will buy seme perferated paper.
a whale meeting befere it's been called te erder), while the
TS 's is mere aleng the lines ef a seund effect ef real whales.
The TS setmds that Samp has chesen te seurce are generally
these that den't emulate aceustic, real-werld instruments
(there are a few netable exceptiens te this). A smart meve, I
believe, since the TS is capable ef tee much interesting stuff
te be hebbled by cencerns cf realism. Besides, as Samp's intreductery letter suggests, yeu've prebably get these bases
eevered already.
Quite a few ef these setmds are striking — if yeu leng te tum
yeur ASR inte a synth, yeu'll likely be pleased. Censider
these saruples as a palette ef evelving textures, rather than
Back in the realm ef the familiar, BRAVO is amusing —
when yeu're dene playing this stringy seund, whack the keys:
an erchestra hit appears, fellewed by applause. TS CELESTIAL. is a big crispy string setmd, nearly berdering en a big
pipe ergan. HARPSICHORD is a bit mere electric than the
TS eriginal, while Satnp's CARILLUN is mere authenticseunding, due te its warmth, than the TS versien. There are
several synth basses that make effective use ef the ASR's
mene medes as they rip acress yeur headphenes er speakers.
Same ef the seunds empley the TS Hyper Wave rhythm
greeves, with a single bass nete superimpesed -- yeu can
play drums and bass with ene finger, if yeu make yeur meves
en quarter netes. {July a few ef the setmds fail te make the
TS-te-ASR cenversien well — SOXANO is__much better en
the TS, since the samples pitch-stretch unpleasantly en the
ASR, and Samp hasn't turned them inte semething unique
and new. Thank geedness he has captured the late, lamented
CHOU-CHOU frem the first TS rev.
basic tefu-and-petatees seunds. Since Samp has built these
cemplex timbres frem individual TS waves, they de use quite
a bit ef the ASR's pelypheny. It's net tmcemmen te find
seunds here using feur er mere ASR layers. But, hey, beauty
always has its price.
The TS-Ill Samples far the ASH-ll? are a great way te
jumpstart yeur ASR-ll] er SS inte synthdem: letsa big textures, geed leeps and expressive fun. Fer mere infe, call
James lvl. Satnp aretmd 9 am CST at 414-922-433?, Menday
threugh Friday. Seme ef my faverites?
Well, I quite like TS PERC+IvIDRE, which Samp describes
as "a starship passing threugh a radiatien belt," with the X0
Patch Select listed as "a reek pelts the ship's hull," and the
XX variatien "a milder intensity ef radiatien." Actually, these
HND(nn)
Enseniq Announcements
New seunds frem Ensettiql
Bla: Rabby lierman is a sneaker-clati musician living in
snewy Saugerties, New Park, quite literally fellawing in ether
peaples_' faatsteps until Spring. His latest album ls "Rings
and Rings."
all the legalities but it's finally here. 500 MB ef seunds frem
ene ef the tep-selling bands ef all time. Herns, vecals, guitar,
bass, ergan, leeps and mere. $249.95 suggested retail.
SCD-3 Steve Gatiri “iIlrumSceres" — a 2-CD cellectien ef
greeves and drum seunds frem this legendary drtnruner (cur-
rently en teur with Eric Claptenl). These are the mest amazing
ASRFTSIEPS-16 PLUS {CD-RDM}
SCI}-l -Citicage Signature Series —- it reek a while te clean up
leeps and samples yeu've ever heard! Den't take eur werd fer
it, see the review in the Nevember 1995 issue ef Keylreard.
$249.95 suggested retail. Alse available in audie fermat frem Q
Up Arts.
Czar Clark Salisbury vtilr pest a respense. Readers, Tran-
setriq-Nct velunlccrs, atnl rtlird--party venders are alse invited
te drep by tn l"u‘t':-v.'s=:- .nuJ u:r.-:=.vc1' tjuestiens. This will he an
epen ferum anti slnnihl a.=.n.n.': rpicstirrrts and answers frem even
nen-subscriber's. 'l"i1c lll;|t--tatttiltltl time sheuld be such that this
TS Series {fleppy dlsl-r)
TSD-i006 Wave Warts —- 120 great syuth seunds and effects
fer the TS-12 and TS-10. $19.95 suggested retail.
will be rt rnttclr rnerc ir.=.lr.,-'rt.'_'tit’r! cttlunnt. Letters and respenses
will still ge te Ettsenit; l"t=: t-urntncrrts and then be incerperated
inte eur regular .f.i'l.lt:‘.*',|"i‘lt;.'.f l:-=rlttrn'1r.
KT Series {RUM cards)
KTC-3 Cirurcitlffrespel seunds — 160 setmds perfect fer gespel
and warship music. $99.95 suggested retail.
And Hacker" writt:r Trill: i~€ln:-at appears en a new CD. The CD is
frem Arts lnttustria ll.-:t."t.;:.1:-s and is eallcrl Censlrttallen Ne.0tl9.
It features trttclts by his pr-nicer, .1‘-rssentblage 23, as well as
KTC4 Cartntry seunds — 160 seunds fer beth styles ef music
(that's Ceuntry and Wesrernl). $99.95 suggested retail.
Skeleten Key, h-iirzirigrm lxnul ‘fern dees vecals fer. Tent says
there are a 11llIl1ln.'-1' cf tutu.-r rcally talented unsigned industrial
Hacker News
bands featured ti:r'nt1.glnnn. tic-epic seeking infe en it can centact Tent directly ('l'rnn:it1=.::trt,ir"atil.ctrrrr), er the label itself at:
Arts Induslria, PO Be;-". -l-i AT:-, Su:1tltBerrd, IN, 46634-4142.
If yeu er anybedy yeu knew has the ability re put patches frem
the SQs, KTs, VFX,lSDs, er TSs inte a ferrnat that can be shuffled areund the Internet, please cenract us at 503-22?-6848.
‘t hir'tt-that ty News
We've get a new page at eur Web site {http:;'i'www.transeniq.cemr'--trnserriq) — On-Line interface. This is a spet
where yeu can drep yeur letters te the interface and Answer
|\| IQ
O
' "- -
3D Seunds has a new CD-ROM fer the ASR Series, TS
Series and EPS Series ef instruments. The Vintage Syntlt
CD-ROM has hundreds ef killer synth seunds frem all
eras including basses, synths, pads, effects, and electrenic
percussien. Perfect fer dance, rap, industrial, hip hep,
trance and ambient music styles. The price is enly $39
(U.S.) plus $2 shipping. 3D is alse set up new te accept
Visa erders and they've lewered the price cf the ASRI
TSlEPS!K-200 Sampler Bani: re $45 (U.S.) plus $2 shipping. Fer further infermarien, centact: 3D Seunds, Bex
22065, 50 Westrneunt Rd. N., Waterlee, ONT Canada,
N2L-6J7, phone: 519-74'?-0282.
‘k
‘I
'#
3]) Seunds lras gene r.~nli..-.-; ~.-iitlt a ctnnplcre cataleg. Extensive
lists ef certtents nf prtnlucts. 'l'ltcy cart be feund en the Werld
Wide Web --~- htt p :l',f~.-.
-
vs . i n .en. cal-~-tlv.=hitel'3dseunds.
---9at-;r;et-'ttr
drunr sets. The snunrls
crc then sequenced using liisien
seftware, and playrti i::u"l.'. threugh varieus audie effects
fer lIlis|.t1u‘titnt, t.'ft;ntnu‘-.-:.:.-.li.'rtt, clr. Finally, this rhytlnn was
sampled inte inc Jtitir iii and pregrarntned fer patch
select variatiaus. '1 it-.1 l'r'";=|ril
a cellectien ef greeves with
a very erganic srnnld urnl fccl --- very different frem a
sterile drrnn r1t:.tt.'-l1i11t-.= :-.~-;l.‘it-.l.
Tuny Ferrara, an Errrn. =-ni._1 staff rnernber and a frequent
visiter in the il::t"l~'.¢r, lius created different types [if
rhythm leeps i"er the ill I--l {seen available fer the TSs).
Drum Beets l is a rnll-.:.*l"iert cf S9 sequenced drum patterns, in a vtn'il..-ly cl t'+.1-|.'l~;, funk, and ballad styles,
designed re pre~.=i1.lc a basil: greevc fer cempesers whe
want re get llteir sung. i-:lr:".t-t rlewtr tvitlnntt wer'rying ttbtttll;
Syntaur Pretluctiens gets leepy. Twe new preducts,
designed re ferm the feundatien fer new tracks, are new
being effered by Syntaur Preductiens. Drrun and rhythm
leeps have been created irt twe different ferrnats fer different Enseniq keybeards. Phat Leaps is Number 14 in
Syntaur's cellectien ef 4-disk sample sets, and is geared
getting a rhylinn fnunriatirm pregrantmed. Because these
are sequences, llt-cy can he easily medified in several
ways —- rcrupu r.lt:_:t"-grit, -.lil'i'crct1t tracks muted er shifted
slightly relative In tr".u“l't t'.1lllt;I‘ -— whatever the cempeser
prefers.
reward dance and rap music. These sampled drum leeps
were created mestly by Kyle Kee, ene ef Syntaur's
pregrammers. Kee first sampled the percussive setmds,
Fer further inl'r.=r'nr-alien aliertr f'lntt Leaps ($29.95), Drum
Beats l (S3‘:»l.il.'“i,l, .'n" .n1_~,' tnltcr Syntaur seund pretluct,
certtacti Synlaur i'*n'uiut'ti~.':ns, .'i-l-Lil W 43rd St., Heusten,
beth by pregramming an Arp 2600 and by rnil-ting live
TX ??'09.?.. phenc: Ti _-1---:'iii.l--lilfttl.
How to Creole on EPS Disk to
Replace Your Drum Machine
Avi Weinbcrger
A lot of us musicians have made extensive use of dmm
3. Play the notes on the EPS keyboard until you hit the
machines before we ever purchased the EPS. And since
these of us who have used them probably have tens of se-
sound you want to transfer first. When playing the keyboard, look at the screen and see how the wavesample
quences using this drum machine, it would be a nightmare
to change all the sequences to utilize EPS drums instruments. Given that, it would be very useful to create a disk
that would be compatible with the drum machine. This
number changes to show which wavesample you are play-
disk would enable us to play all the sequences we already
have directly on the EPS, without changing them, and, further, would let us sell the drum machine. Since I spent
quite a bit of time making a drum instrument to replace a
drum machine with single EPS disk I would like to share
my experience with you.
mg.
4. Press “cormnand,” “wavesample” and press the
left-right arrows until the screen shows “copy wave-
sample.”
5. Press “enter-yes.” Screen will show “to inst=unnamcd
inst.”
6. Press “enter-yes.” Screen shows “to layer=l.”
This article goes step by step, so even if you have not
done much programming on the EPS, it will be relatively
easy to follow.
T. Press “enter-yes.” Screen shows “wavesample 1
created” then goes back to “copy wavesample.”
Tosmn
You have just copied the sound you like.
1. Find a drtun instrlnnent disk that includes sounds that
suit your taste.
Explanation of MIDI Key Numbers
2. Lead the drmn instruments to “instrument-track” #1.
After copying the wavesample, we have to adjust its range
to that of drum machine. The place of the specific drum
3. Press “command,” “instrument” and go to “create new
instrument” by pressing the left-right arrows.
sound in the drum machine is usually given by the MIDI
key number. The EPS keyboard range goes from MIDI
key number 36 (lowest point on the keyboard), to MIDI
key number 96 (highest point on the keyboard).
4. Press “instrument-track” #2 and “enter-yes.”
5. Create a new layer in the new instrument you just
created by pressing “command,” “layer” while you are in
“instrument-track” #2. Then press “enter-yes.”
Copying a Wavesampie to the New Instrument
I. Press “instrument-track” #1 again.
2. Press “edit” and move the cursor from “lyr=1” to
“ws=all.”
In the MIDI definition, MIDI key number 0 starts the
range. This means that MIDI keys number 0 to 11 (the
first I2 semitones) is octave number 0. MIDI keys number
12 to 23 are octave number 1. MIDI keys number 24 to 35
are octave number 2 and so on.
Now, here is the catch. For some reason, Enseniq defined
MIDI keys number 3'5 to 4'? as octave number 2 and not
octave number 3. So when you calculate the octaves, be
sure to reduce one octave when doing it on the EPS.
Adjusting the Range of the wavesample
Created to Be Compatible With Your Drum
Machine
Next Wavesampies
Follow the preceding steps to create all the other drums
sounds wavesamples.
I. Press “edit.” Screen shows “urmamed I lyr=l ws=l.”
Save the Instrument to disk
2. Press “set keyboard range.” Screen shows “ws rug
lo=xx hi=xx” where xx is the existing range of this wave-
sample.
3. Here is the most important portion. You have to calculate what note you should put at the limits, according to
the MIDI key number. For instance, the bass drum of the
Roland 505 is at MIDI key number 35. If we use the for-
mula described above, MIDI key number 35 is in octave 2,
note B (B2). In order to adjust it to the EPS octaves, we
I. Press “command” and then click the “instrument” button twice. The screen will show “save instrument.”
2. Press “enter yes.” The screen will show “namc=unnarned inst.“
3. Change the name to the name you want by using the
data entry slide or the up-down arrows to select the
characters.
have to reduce one octave, which means we will use note
B in octave 1 (B1).
4. After finishing the name changing press “enter-yes” and
the instrument you had just created will be saved to disk.
Since note B1 is below the EPS keyboard range, use the
up-down arrows until the “1o=B1.” After adjusting the low
boundary move the ctusor tmder the “hi=xx” and set the
Tips
high to “hi=B1.” This will put the bass drums exactly on
MIDI key number 35 which is B1 in the EPS.
l. To conserve memory try to use the same wavesample
for different drums. For example: low tom, mid tom and
high tom can be created from the same wavesample. Suppose you havc discontinuity in the drum sounds. For exampie,take the Roland 505. The low tom is at MIDI key
41, hi-hat at MIDI key 42, mid tom at MIDI key 45 and hi
tom at MIDI key 48. So you would do following. Copy
4. After completing the range setting press “set keyboard
range” key again to keep the setting that you had made.
Important noteli During this process never try to press
“set keyboard range" key when you are in “load” mode.
This will make you limit the whole instrument range,
rather than just the wavesample range.
tom wavesample to MIDI key 41. Copy hi-hat wavesample to MIDI key 42. For mid tom, copy “parameters
only” from low torn to MIDI key 45. Set the range of the
torn starting at MIDI key 45 up to MIDI key 50 so the
pitch for the hi tom will be higher than the mid tom.
Readlusting the Pitch of the wavesample
Since we were moving the wavesample range from the
original pitch, we have to readjust the range to bring it
back or to change it if we wish.
1. Press “edit” and make sure you are in the correct
wavesample.
If the difference between the mid tom and hi tom is not
enough. you can copy the parameters again to MIDI key
43 turd adj ust the pitch of the hi tom as you want.
2. Drum sources. You are not restricted to taking all the
drum sounds from one disk. For example, you can take the
bass drum from the Brett Bash disk and the hi hat from the
Power Drums disk.
2. Press “pitch.” Screen will show “root key=xx fine=+U.”
3., Play the wavesample key and use the up-down arrows
to change the pitch and bring it to the pitch you want.
Small tip, first adjust the “root key” to be the same as the
key you placed the wavesample on tut in our example).
And that is how to make a drum machine compatible disk
for the EPS. So now you can sell your drum machine because you really don‘t need it any more and if you cannot
think of anything really swell to buy you can send the
money to me. -
In most cases, this will be the correct one. If not, the
desired root key will be near it.
Bio.‘ Avi Weinberger is en electronic engineer with e
recon.-ri degree in busine.t.s administration.
“The K$’s (De)FauIl lies Not in
Our Stars... ”
Dan Roltde
“...but in ourselves that we are unalerllngs." — Cassius in Julius Caesar. But enough about the irrelevant power struggles
of ancient Rome.
Ensoniq‘s KS-32 and other keyboards come equipped with handy gizmos called defaults, I? of them, in fact, listed on
page 6-22 of the Musicians Manual. To understand what they can do, however, does require some investigation. For
those of you who are visual learners, I've graphed these defaults not only to show how these 1? typical contours look but
also to help you get a better‘ handle on what exactly the 13 settings within the KS's envelopes do.
Don’t fret if this stuff looks odd at first. A default is the result of considerable technological development, to say the
least. You should know, though, that an envelope is a modulation sotuce that can be applied to a signal. It can be
programmed to raise and lower Levels of pitch, filter, and amp in various ways over time. They can even be used to a
negative degree. though I haven't shown those in this article. (You could hold a pocket mirror undemeath one to see what
a negative envelope would look like.)
To avoid trying to explain too much at once, I will describe how each parameter functions as the need arises. I will assume you know what the eight Level and Time values mean. Beside each illustration, I’ve listed only those values other
than xero. Mode=Normal unless otherwise stated. I've also converted the time values to seconds. The dotted lines indicate
where the Sustain occurs.
Full On
_
The first default sets all Levels at 99 with a fast Release of
0.10 seconds. This would work well for the amp enyelope
of an organ program or any other instrument requiring an
immediate Attack. Since LeyV=Ufl, no VelCurve is in
I1111 D1:
ggj
u
_t~1
Lev1=99 so as as
2” 2” 2” 1”
I _
H - -Ii
+
lk
i ,‘
ii
1
it
I
i
effect.
‘\l'E1-i-
All Zeros
.
\
he
gg
Seconds
.
. -
l
I
_i
ED
This default is a quick way to clear all settings to 00. Im__ __ _ __ _ . _ ' i
agine an infinitely small point in time and space. (This was the easiest one to draw [-].)
F1111 veracity
9” '*'
”
Iange
Full Velocity Flange
" "' _
\
Ley1=E9 as as as
p
i
ED ED ID ID
1 Lsvv=es
' 're1curv=I;luickr.l.ie
This one is identical to Full On with one big difference:
t
N
‘
'-
,-
Levele-
LevV=99, which means the Level (not the time) can
vary from 00 to 99 depending on how quickly the key is
t
struck. A Lev’v' value other than 00 also automatically
\;
”"\\
Seconds .2e
i
_-|I'__'_-F,-|Il-'-
brings the “v'elCurve into effect. As shown on page 6-19
of the manual, the linear curve gives a straight response
slope. That is. any velocity value affects output at a 1 to
.ro
.eo
.1o
I ratio. This default’s Lev“v' is extreme, higher than
usually chosen for most sounds.
Slow String
§;oI string
Lsv1I5E 99 94 B4
This default is characterized by a slower, vari-
able Attack time. Struck at slowest velocity, the
'- '_”_“
as so
35 4?
T” *4 _
Lev?=13
Level does not reach 99 for a maximum of 0.'l1
seconds. At highest velocity, the Attack time is
reduced to about one-third second. Lev‘tl=l3
9”
.I|.'|:.I.':'l-t"tl=lil5
| vo1eury=ouiokr1se
gives this default some degree of real time
velocity control over its Levels, too. Quickrise
Level-1»-
E
is the most sensitive of the KS-32's four
see. .11
.s4
1.i_'
Z
1.?
l
velocity curves. That is, a key struck at only 50% velocity reaches maximum Levels. Note also its very slow 1.? second
Release.
Plano Hoop!
Piano Decay
99
Lev1=fl9 95 T5 00
00 50 T0 30
'
Lev?=l9
.
ve1curv=Convex
Designed to simulate a piano, this default begins with
an immediate Attack (0.0 seconds) followed by a fairly
straight Decay slope to 00. Lev“v'=19 means the Initial
'1
Level can vary by about 20%, depending on key
HeyboardTrk=+5E
\
Lovelaou»
\
'j§EET””TlE"'
t.3il
I
s s
velocity. The Convex ‘v’elCurv makes amplitude most
variable in the lower velocity range, with the flatter end
of the curve affecting the higher velocities. In other
words, softer velocities have a higher degree of responsiveness than higher velocities. To further simulate a
piano, Keyboard Tracking=+56. This setting shortens all envelope times except Release of keys above middle C. The
higher the note, the shorter the overall Decay time. Conversely, the lower notes Decay more slowly.
Percussion
99
Percussion
Designed for drums, cymbals, pot lids
and other hit things, this default has the
same LevV=l9 as Piano Decay, giving
Highest
Lov1=99 vo so oo
so as 13 co
”“1”“1”?
Lev?=19
it some responsiveness to velocity. Its
curve, however, is Concave, the least
responsive to lower velocities and most
Lowest
yelooity
va1Curv=Conoave
Hod:=Fin1sh
responsive (steepest part of curve) to
m GLevE1+- 5812higher velocities. lvIode=Finish means
I-.1
1.1‘
B..1
that any sample played will automatically run through the envelope‘s entire cycle — though the Sustain value is ignored — whether. or not the key is released.
This ensures that a percussion sample will not be cut off in the midst of its Decay time. The length of the sound is deter-
mined by the length of the sample.
gag EB
99"‘ its net.-.-xv=sol
Ramp Up
__\
Lev1=00 so ss as
50 50 40 15
5
Looking like its label, this envelope is a straight upward
-
slope. It reaches Level 99 after a slow 3.2 seconds. yet it
has a fast Release of 0.15 seconds. Its use‘? Well, remember these defaults are meant to be starting points. Perhaps
I
I
fill
Lovela-
.311-3'-1'?‘
I-I-It
E
Seconds
1.5
I
I
lII—
1-E
1il—1lIl—
-BI
different Attack values, such as 30 which l‘ve added to
the illustration, would give it more uses.
J.
T
1
I
nun
1
Ramp Down
3_.
as
Lu-1=g9 as as as
A reverse of the Ramp Up pattem. it begins at Level 99 and
1” '5” 2” 1”
-
_
falls to 00 in a straight slope after 3.‘? seconds. Uses? Maybe
as part of a layered sound?
Short Blip
Ll4-t re-1
|,
oo JD
'
'
'
.
This
IS
an almost mstan
_. taneous ascent and descent
from Level 00 to 99 then
back to 00. Used for an Amp default, it might work for the sound of a submarine‘s sonar‘?
‘
____ ,
{'15}
Short Blip
99
3‘?
T
Inn Filter
t....e 99 -.-.4 as
__
"""""—'-F‘-_
it§ti§.."‘v.1..n.
1'? II EU 15
w-v=1s
S
In-=xv=vs
I ‘relcurvwoutokrtse
,,g1,gg,,,,,.,.,,,,,yg
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sA
—"’*
99" I
Ht y
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-|- I
Brass Filter
-T
1
I
Lsvlrllfi
99 W15
00 00
U2 D2
L-E\l'E1-InD D|
,5; _1_-jg
The default cembines the contours
= of Ramp Up with Short Blip. to label suggests
,
Lowest. velocity
that it simulates the change in tone over time of
a
_
trumpet, tuba. or French horn. Its LevV=19 gives
it some responsiveness to key velocity, though its
Highest Note
E1-1-
AtckV=06 gives it a lesser degree of Attack time
_1 J
-4, 4,._-in-lg--1-~ , variability. Its Quickrise curve makes it highly
.
.
----.
responsive even to lower velocities. KeyboardTrak=+20 shortens the higher notes’ overall Time values and extends the lower notes.
to LBev
hm
Repeat Tri
'—‘*fi“—‘“'i‘
E Lev1=00 as pg pg
This one is a Short Blip (0.12 total seconds) that repeats as long as the I
as DE
key is held down (Mode=Repeat). It would work much like a PosTri
LFO waveform with a 0.16 second Release time. A setting of Modsouree=Env2 (Repeat Tri) to a degree of -50 would make the peaks
point downward to a level of -50. You might use this in a voice where
i
t
y
l
f t
””””=””””“
‘
“'
: i
l
you need a different LFO rate or waveform than the one you‘ve already chosen for the LFO.
_
l
i
,
I
LE\rE1-o-
-,
.,, _
llfllt Hang
99 _I
“D
.es .os
.1s
Repeat Ramp
'_
Lev1=t'JEt oo ssoo
00 12 00 15
,
Hode=Repeac
I
This contour functions like a sawtooth LFO
waveform. For a reverse sawtooth pattem
(Ramp Down):
99 00 00 00
12 00 00 16 and keep Mode=Repeat.
to 'L5eve’1~1‘EC
|.
M
.
,5
B
_
Ilnfl Pitch
- s s s ass
1.“-1_aa
9, _ ,___
Hishsr
_ _
- _ _.
Wind Pitch
schol-
2“ 2° 2° 2°
I
| *‘““‘9g
_
' Except for its Initial 00 value, this default is similar
fillies
to Full On. The high Atcl-:V=99 value shortens the
_
Attack time with higher velocities. Its use is intended
“"
_
for the pitch envelope of a wind instrument, though a
very low setting at a sound’s hardwired Envl parameter would suffice.
-Z-I'
ct 'Lovel3' a-
l
I
_go
_
L...
.2o
..J
-—--Bani: Pad
With its slow Attack and very slew Release, this
default suits the needs of an unobtrusive, sustained
Q9 ‘/it
iL'“'1=§§ 33 33
background sound.
E11;
I.‘
!!E~!£iE
|
Lev
99,1
an
|Lov1=?£l Q9 CID fifl
cs to so is
-1-1;
.ss
1
hi
Hui
'-'
t.e
Amp Blip
i
This envelope is similar to Short Blip except that its Initial value is 70. The
sample would sound inunediately then rise to 99 after only (1.03 seconds. The
0.15 second Release is slower than if the key is kept down.
1
1
I1-.-eve
“U
-i——-
|"
.os
.1o
—
.15 J
i
1
'
Transient
Transllnt
, Lev1=99 as go co
,
This looks similar to Amp Blip except for its sheer cliff drop to
ill
'
99-F
D 55
'
M D
U0. Though it has no Sustain, its Release is a looong 2.8 seconds.
It appears to be ready for other settings before it could actually be
used as a Transient contour.
E
'
*'
EVE-||-
.____________.__________________._________________.________n.~_n___
99 _.
3
1
L
p-_
.o2
-Bl
l
516‘! LID
Lev1=UD 99 DD DU
5D SD no 50
I l~locle=Repeet
This default works like Repeat Tri, but it has a much
slower overall cycle time of 3.2 seconds. It could he
\
D
DLevel+-
used like a PosTri LFO waveform. Its Release is a
slow 1.6 seconds.
1 .E
1 .E
{ 1 ,5}
-i-I
Those are the 1? defaults. Using them at the right time and place takes some experience, especially when you begin to
use all three within a voice, or all nine within a KS -32 sotmd. Considering the KS‘s 32-voice polyphony, you could fire
up as many as 283 (1) envelopes at once. Would the world as we know it end‘? Who knows‘? In
9
KT Drum Mapping Mode
Ens... er.. we||.. Less Hard
At Blake
Or — How to Create rt Drum kit from scratch using the
"Hidden" ROM GM [General MIDI) Drum Map to have
more than I7 Drum waves.
Wltat is a Map? In MI terminology a “Map” is a syste-
matic method of assigning waves to specific keys across
the keyboard. The best way to create a kit from scratch is
to have a clear map. When the map is totally clear, only
the 53 “hidden” GM ROM waves are heard. (There's a list
of the GM ROM waves on page 114 of the Users Manuel
which is helpful.) The fastest way to clear the map is to
start from the Select Sound button and do the following:
waves and then you should be able to go from there using
the same method.)
By the way, Repeatedly pressing bottom row button U can
be used to select the four parameters on this page.
Hit bottom row U slowly tmtil the first AU is flashing.
Press C2 on the keyboard twice. Now your screen should
read:
Ke-_y=C2
C2 :C2
PUNCHT KICK
If a Drum or Percussion sound is selected:
Please don‘t play any additional notes or the Map Police
will come to arrest you. The first C2 should be flashing.
1. Press the EDIT SOUND button.
2. Press Upper D, Lower 3 Display will read... “Press
ENTER to set GM map."
Now we need to press the UP arrow to select the next
KEY. The screen should say:
3. Press ENTER. (The Enseniq map limits you to only 1’?
dnun waves.)
_
Ke-y=C#2 so he
Puncnr tcrcx
If a non-Percussion sotmd is selected:
Our task now is to select a wave for C#2. Press bottom
1. Press the EDIT SOUND button.
tom row button #1 as a cursor to select the two parameters
2. Press Upper U, Lower ‘I’ Display will read... "Press
on this page. Press bottom row button #1 until Wave=
KICK-DRUM is flashing. Since I want a SIDESTICK on
row button #1 which selects the WAVE CLASS. Use bot-
ENTER to Change Soundlvlode."
3. Press ENTER.
4. Press Upper U, Lower 3 Display will read... “Press
ENTER to set GM map."
C#2, I need to hit the UP arrow twice to select Wave=
MISC-DRUM. The screen should read:
5. Press ENTER.
l't‘eve=l"|ISC—DRU|*-‘I
RIHSHOT
This procedure sets all of the 17 possible waves to a Lo
key of A0 and a Hi key of A0, which leaves you with the
S3 hidden ROM GM voices. In the display is:
l(e_y=?'?? A0 :.AO
PUNCHY KICK
{The first AU is the "Lo" key, the second AU is the “Hi”
Ker-1
We cart start building our Drtun kit here. {We’ll do 5
Press bottom row #1 until RIMSHOT is flashing then hit
UP arrow once to select SIDESTICK 1. Now we can exit
this page and go back to the EDIT VOICE page. To do
this just press bottom row button #0. Now the screen
should read:
Key-=C#2 ac :AU
srttesrtcx
Press bottom row #0 tmtil the first A0 is flashing. Press
the C#2 key on the keyboard just twice. Screen should
now read:
KE_y=C#2
C#Z :C#2
SIDESTICK
We now have PUNCI-IY KICK on C2 and SIDESTICK on
C#2. To verify this, hit the C2 key and then the C#2 key.
Now we need a snare for D2. To do this, first make sure
your screen reads as above, then hit the UP arrow once to
Open hat on A#2, and Toms on A2 and B2. (See page I14
of the owner's manual.)
Now we need to continue, building our own drum pad for
C3. This will be th 4th wave out of a possible 1?. But by
utilising the "hidden" Glvl ROM waves, we'll end up with
48 waves! (This is what separates the KT-T6 from the
KS-32 mapping system.)
Let’s fill our Kit with a variety of different waves. Play a
C3. Your display should now read:
select D2. Screen should read:
Key=D2 A0 :A0
PUNCH)’ KICK
Press bottom row button #1. Use bottom row #1 to select
Wave=KICK-DRUM. Hit UP arrow once to select Wave=
SNARE-DRUM. Screen should read:
l\'eve=5hlARE-DRUM
REAL SNARE
REAL SNARE is okay with me but if you wanted a different snare just press bottom row #1 to select REAL
SNARE and hit UP arrow to select Snare waves. Once
KBF???
AU :A0
PUNCHY KICK
Let‘s first find a new wave. Press bottom row button #1 so
that KICK-DRUM is flashing. Now scroll up to TUNEDPERC, but do not play the keyboard yet. VIBRAPHONE
is the first wave in the TUNED-PERC wave class. Now
press bottom row button 0 until the lst A0 is flashing.
Play a C3 twice and only twice. Don’t worry right now if
you can’t actually hear the wave. Your screen should now
read:
|(e_y=C3 cs =c3
vreaaractte
that’s done, press bottom row #0 and screen should read:
l(ey=D2 ac an
sou. sures
Do not play additional notes yet as you will not hear
Vibraphone as yet. Instead, hit the UP arrow to advance to
the next Key:
Now we need to define a key range. Now what if I want
the REAL SNARE wave to occupy more than one note,
say D2 to G2‘? Easyl First use bottom #0 to select the first
A0 (which is the LO key). Press D2 Once on your key-
Ke.-_y=C3# so are
PUNCHY KICK
board. Then press G2 Once. Now the screen should read:
saying that no wave has been specified yet for C3#. Let’s
l(e_y=D2 D2 :G-2
REAL SNARE
Your SNARE should now play on D2, D#2, E2, F2, F#2
and G2. (If you would like the pitch to change as you play
each note of the the snare press bank 1 screen 1 and set
KEYBOARD TRACKING to ON.) New we should have
PUNCHY KICK on C2, SIDESTICK I on C#2, and
Now we have used four waves out of 17. The KT is now
press bottom row button #1 to select KICK-DRUM wave
class since we are looking for a new waveform. UP arrow
to PERCUSSION and we should have VIBROSLAP as
our wave. Now hit bottom row button #0 until the first A0
is flashing. Press C3# twice and only twice. Your screen
should read:
Key=C3#
C3# :C3#
VIBROSLAP
-
REAL SNARE on D2 thru G2. We've only done 3 out of a
possible 1‘? waves so we have 14 to go.
Please do not play any other notes or the dreaded ‘ll’? will
appear! Eventually we are going to be able to play all of
Wllat if I now want the Hidden GM waves to occupy Keys
G2# to B2? Easy, don‘! do anything just play within that
range and you should hear a closed hat on G#2 and an
our waves. Now with the first C3# flashing ltit the UP
arrow to D3. Display reads:
Ket_y=D3
A0
Pl.H*~lCl-l‘|’ KICK
well.You will end up with 48 total waves out of a possible
:A0
53! {Remember our snare drum occupies 6 keys. If we had
placed the snare on only 1 key there would be 5 more hid-
New we‘re ready to find a wave for D3.
den GM waves.) -
You should new be able to use this model to work_from
for the additional 12 waves. After installing the 12th wave
you can then play the entire set starting from C2 and
Bio: Al Bloke is a Tacit Support person and KT school instructor at Ensoniq Corp. He and his wife are a keyboard
aria‘ vocal duo that perform up and down the Mid-Atlantic
you'll have the added “Hidden ROM" waves irt the kit as
region.
*
i
_
I
-
i
I
Using The Ensoniq Presets
Part I
Frank Fortunate
Most people I meet who compare Ensoniq keyboards to
other well-lcnown synths would agree that the Ensoniq
workstations, especially in the VFXISD-1 and TS families
the TS Series in many ways since they dealt with fewer
ptuameters and storage options. But no one upgrading to
the TS would complain since the preset storage on the TS
tripled from 40 {SD with cartridge) preset locations to 120
in the TS.
have the most user friendly sequencers of all keyboards.
Another outstanding and sometimes overlooked feature of
these keyboards is the preset feature and its ease of use —
especially in live performance.
For those interested, among other additions to the TS
parameters not found on the SD-I are:
Whilel will address mostly the TS keyboards, almost all
material can also apply to the VFX and SD-l keyboards as
well. It should always be remembered that the same settings that are used for presets in live playing will also
apply for the sequencing/recording enviromnent as well.
Similar to the first article that I did in January, I995 these
a) An attack page that is added to the release soft button.
b) More options for velocity on the key cone pages.
c) The addition of the detune page.
reminders are especially aimed at those who are new to
the keyboard. It would be helpful to review the January article as these ideas build on that.
d) Many more controller settings.
e) The track and MIDI pages have been expanded. One of
the best editions is the bank select feature.
1. QUICK SETUP: In comparison to many other work-
station keyboards, one of the outstanding preset feature
that sets Ensoniq synths apart is the quickness with which
f) One of the greatest changes on the TS reflect the enor-
mously expanded effects parameters.
they cart be set up and stored. To be sure there are other
keyboards that have features that allow for quick and easy
handling of certain features. For instance various keyboards and have on board sliders that can act as mixers
which allow for real time volume and parameter changes
while playing. Compared to the Ensoniq TS and SD
Let's visit some of these preset pages and see some of the
ease of use and delightful ways that they can aid performance. While my context is in my work as a church
musician these features will be applicable to all kinds of
music situations.
presets, few other keyboards out there at present allow so
many variations of sound and performance, from volume,
splits, layers, etc. to be so quickly made, quickly stored,
and quickly accessed when playing live.
A. THREE INSTANT SOUNDS. Most Ensoniq users
realise that every time they select a sound it is also
1.
In that regard, the VFX and SD-I axes are even faster than
selected as part of a preset in the preset buffer. If you only
neetled three sounds for a given occasion that were not al-
ready stored as a preset, you could select them and find
them all in the preset buffer ready for use in performance.
No need to go chasing back and forth in different sound
This is particularly helpful when I want to split the key-
banks.
E. TUNING AND TRANSPOSING: When tuning strings
with acoustic or electric pianos I find it best for my taste
'
board three ways.
B. SEAMLESS SOUND CHANGES: Another advantage
to putting three voices instantly into the preset mode is
that they all retain the same effect and therefore switching
between them avoids the hiccups that happen when sotmds
with different effects are selected in sounds mode. This is
especially helpful when the church musician needs to keep
to tune them to the same octave. (This is accessed on the
a carpet of sound during a quiet part of the meeting, and
needs to go seamlessly from one sound to another. Remember that some voices may lose their character from
it is effective to tune the percussive sounds in higher ec-
tuning button of the TS and transpose button on the SD.)
For other sotmds where I layer pads with keyboards and
where I want to have much bigger sounds I experiment
with the pads in higher octaves. I have also found when
adding a percussive element to electric pianos and organs
tave ranges. For instance if I want to add a “ping” bell-like
percussive sound to an electric piano it will most often
taking on the common effect. (In my earlier article I mentioned ways to deal with this.) When we find a sound with
a special effect that we want to use, but find other voices
sound more brilliant to have that bell sound in a higher octave setting.
not working well with that effect, (like a piano sound for
instance) we can send that sound tl1rough the “dry” routing
ir1 the effect.
F. BRING VOICES IN WITH VELOCITY: With the
velocity page I can set up presets that layer brass and
keyboards to come in at different velocities. In a piano and
C. RICH SOUNDING LAYERS: In church work
musicians need a variety of electric or acoustic piano settings with strings added to accompany various kinds of
congregational singing, especially contemporary worship
songs. We can take advantage of the TS that has so much
preset storage and store several variations of piano-string
layers with different volumes,‘ release and attack settings,
etc. I-Iere is the general procedure that I use:
Volume: The first thing I do is get the basic volume (mix)
adjustments between the keyboard and string sound.
Attack and Release: Next I adjust the attack and release.
The TS provides adjustment of both with the same preset
button. {On the SD the attack adjustment is done in the
voice programming section.)
brass preset I can set the brass velocity to come in around
S0 or 90. This allows me to play softly without brass but
to have brass stabs when I play harder.
The only drawback is that it takes more control of my
playing so that the brass don't pop in when I don't want
them. A variation of this is to use the double pedal (En-
soniq model SW1) set to select patches, which gives me
safer and easier control.
To do that I will take a brass or string sound and program
it to have all of the voices muted out in its “normal” or
“live” setting, and have the voice only sotmd with left or
right patch select settings. I then set up a preset with that
sotutd included. Of course it only sotmds when I access it
with the pedal that is imitating the patch selection. This
allows me to play as hard or as soft as I care to, and the
layered sound will come in only with tl1e pedal.
I have layers that I can use for FASTER passages which
would probably have a quicker attack and a shorter
release, as well as layers for SLOWER songs which would
have slower attacks and longer releases.
I trust this gets you back into using some of these neat
preset features. Next time we will dive into controllers,
performance options, pressure,‘ volume pedal, MIDI options, and the awesome effects pages.
D. OCTAVES (KEY ZONE): I have personally found
with strings that it is best to review the lower octaves. Almost all of the settings will start to “growl” in the extreme
lower ranges of the T6 note TS-12.
I would be interested in any feedback or ideas to start a
possible users group for the SDI or the TS. I can be
reached at Operation Mobilization, tel. TFO-631-0432, fax:
T20-631-0439, email: Intemet: fort@omusa.om.org. With bass guitar patches I find it helpful to set the low
note to a C-2 to simulate a five-string bass guitar, or the
higher E to emulate four-string bass parts. I often transpose the bass up an octave which allows for the bottom
note on the TS-12 to sound as the regulation E-2 note.
Bio: Frank has been a college music tlteory teacher, and
has spent I5 years directing rnusic on two ocean liner
ships. He is currently music director for Operation Mobiliaation.
TS Rollin Grand
Garry Wasyiiw
Have you listened to a vinyl retinrtl lately’? After several
years of CD listening I recently got out my turntable and
put one on. With today‘s ears, I was really surprised at the
amount of backgrormrl noise and lack or‘ high end that I
used to accept. There is a real sirui!.ru'ity between this and
electronic piano sounds. I can r'errrert*ber' going down to
my local music store when the ltolnntl .lI-if-’3P analog synth
through the synthesis parameters. I was after a sound of
harmonics "swimming" in a warm body resonance with
varying timbral response to dynamics. The tone is darker
and rounder than seems to be currently popular in a
multi-instrumental min. You will notice a difference when
sustaining chords or playing closely spaced intervals.
loaded in and everyone was rrrrr.rrveo by what they heard.
Today very few people would rtt:cepl that sound as an
acoustic emulation.
The chart begins with Wave 1, “GND-PIANO.“ This voice
has been filtered at both the high and low frequencies for
low velocities. Harder playing increases the brightness and
also adds more bottom. The upper harmonics are varied by
The point is that every time we have an incremental
modulating the LP filter with the LFO that has its rate
varied with noise.
had just been released. A new piano patch had just been
advancement in synthesis teclttarlogy the piano seund
becomes totally realistic; that is, tmtil we become accus-
tomed to its shortcomings and want tnore. Even though a
piano is most appropriately controlled lrtnrr a keyboard,
The second voice adds a thud to the attack. The parameters are fairly straightforward.
the sound it produces is tleceivingly coruplert. lvlultiple
The nest wave is the selection from the WAKEFORM
strings beat and flange against. eaclr other in a nonrcpeti-
class; in this case a bell. It is LP filtered to be the low part
of the sound and add the effect of a piano body resonance.
tive way with timbral changes from note to note.
The attempt to replicate piano strtlrrtis in the more recent
generation of electronic instruments has been to add increasingly larger samples taken over smaller ranges, but
unless very large memories are rlsetl, the sustain must still
be looped resulting in a static sountl. arrotlrcr shortcoming
of the sampling process is that sonntls trutst be transposed
up and down to fill in notes hr.~tv.":".~e1r the points actually
sampled. This can alter the sounrl in tr negative way.
Waveforms found in synthesi:-rers, however do not erthibit
may of these same problems as they are more simple
mathematical descriptions of wave shapes. This allows
them to sound more consistent. along the keyboard. The
drawback here is that the timbre is very static and that is
In this case the pitch is subtly varied by the LFO to mimic
the flanging of multiple strings.
The patch select variations are provided to enable you to
hear a variation with another waveform (0*), and then the
same two versions without the thump (*0 and **). There is
lots of room to ertperiment with substituting other waves
for the WAVEFORM.
If you monitor this patch through stereo speakers, you will
hear the notes pan across like the real thing. If you want it
to be mono, be sure to go to the second output page of
each voice and set the MODAMT to zero.
-
The effects have been applied fairly lightly using a little
the reason the old analog synth destrrilusl above dirln’t
hold anyone's interest for long.
EQ and a short reverb. Experimenting with the EQ setting
will yield many variations. The patch can also sound quite
good dry if you need to use the effects for other instru-
In light of the above, the piano patches. in the TS are very
good, mainly due to the large sampled GND-PIANO
wave, but I believe that a little programming effort can
introduce even more realisrn. The approaclr that I have
used in the “Rolling Grand" patch is to use a sample for
its attack and harmonic content, srnoothed by layering
with a waveform and introducing subtle harmonic motion
ments in a min. -
Bio: Garry lives in a quiet little town in Canada. His next
an-or neighbour is a well irnewn singer wire is canrnraniy
believed in have been deceased since i'9?'.?.
By: Garry l1"a.ryfiw
flu
e
2
DI
‘Wave
Wave Glass
1
2
9
4
5
GndPlano l=rtdThud' Bellliave Pedwaveti
Keyboard Keyboard Waveform Waveform
_Delay
9-hiftfIn den
-
WJWES
-
9999
+19
E
9
ll
_
__
9999
lvlo damt
Sample Start
Start lvlodsrc
H9‘il§Fl.! ._
ifi9E"
MDD HIKEH
1
2
9
4
Src-1
—
_
—
-I
Src-2
—
H
_
-Ir
Src-2 Scale
—
Q
—
-or
-
-i
1-
-I-
._"5_*l?"_F?“
PITCH
9-ctave
Serrtltone
Fine
Glide rrtode
Glldetime
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And Now Here’s Something Really
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Artist: Bnrce Maccabee.
that were quite well done. I think it points to the martim
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Tape: The Joy ofivorleslfilectronlc Backup.
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While Bruce managed to really hit the spot with Christine
Over the years (yes it's been a couple!) I have received
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What amazed me is the two songs buried in the middle
19
Bio: Daniel Mandel is a songwriter,
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1?
Sonic Derivations:
The
Church
Bell
A patch for the VFX-SD series.
Jim Grate
This patch was created to satisfy my fascination for the
evocative, eternally recognisable sound of the church bell.
I have always been interested in the complex yet somber
tone of the bell. Thus I was inspired to create this sound
on the VFX.
[t1lJ11lfll' bell being struck. This is the primary sustain note.
I used two TUBULAR-L waves, using the second wave to
emphasise the strike. The sustain of this sound was pretty
good, but it still sounded too much like tubular bells,
which have a cleaner sound. Church bells create a deeper,
more complex and interesting attack.
A Short History of the Bell
As a first step in any patch creation, I first try to learn as
much as I can about the physics anti character behind the
original sound I want to reproduce. Structure-wise, the
church bell that I had in mind, is the familiar hollow
curved shape that traces its roots back to ancient China.
Before the lflth century he, the Chinese began creating
large, barrel-shaped brass bells, decorated with ornate
designs on their outer surfaces. The Romans created a
wide variety of small bells and such, but it wasn’t until the
Middle Ages that larger bells become prominent in
western civilisation. There, they were used for religious
rituals and occasions, and hence became associated with
churches and cathedrals.
So I began to concentrate on the strike sound using other
enharmonic waveforms. The best was the ANVIL-HIT
which helped expand it beyond just the tubular chime
sound. Finally, I settled on adding a third TUBULAR-L
wave an octave up, to brighten the attack a tiny bit more.
Creating the Sustain
Now the strike tone sounded pretty good, but the sustain
was a bit too sterile. To create the minor third of the sustain, I tried adding another TUBULAR-L wave, but this
didn’t work at all. The minor third doesn't really become
apparent until the strike tone dies and this wave was too
bright. Keep in mind that even this minor third is an approximate range of frequencies, not an exact and pure
The Sound of the Bell
overtone. Therefore, after experimenting quite a bit, I settled on the SPECTRL-X wave, tuned up a minor third. Its
A good bell, when properly struck, should give out two
effect is subtle, but noticeable if you compare with or
without the minor third wave.
distinctive tones notes —- the strike note or key of the bell,
and the hum or sustaining note. The hum note should be a
major sixth below the strike note. The strike note is acutelly a complex array of non-harmonic tones, characteristic
of a metallic surface being struck. The sustaining sound is
also a series of complex. harmonics. Because of the curved
shape of the bell, a significant secondary note of the sustain is a minor third. This is precisely what gives the bell
its haunting, somber tone. It is a subtle but important
aspect of the sotuid.
_
I was now really close to what I had in mind, but the
sound just wasn't deep enough. To round out the tone, I
added a subtle ANVIL-LP wave an octave lower. Finally,
I added a touch of slow modulation to each wave, to
animate the sustained sound, and added a long decaying
CONCERT REVERE to enrich the sustain.
Performance Tips
Creating the Strike Tone
The second and third octaves generate the best church bell
tolling sound. Higher up on the keyboard, this patch
To create the patch I started off with the TUBULAR-L
sounds more like carillon bells, which are used more for
playing actual melodies. Also, I programmed the Mod
waveform, which is a relatively simple sound like a
wheel to pan the sound all the way left, as a quick and
easy way to move the sound off center. I hope you enjoy
Btu.‘ Jirn Grate has been programming and piaying syn
thesiaers fur years. He is fascinated equally by both
this sound. A soft and distant bell tolling creates a great
haunting mood and dark ambiance. Enjoy. -
science and art, words and pictures, seund and music.
SD 8: VFX Frog: CI-IIJFICHBELLS
By: James Grate
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By: Jack Carder, Springfield, VT
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50
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13
Chorus Depth
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Feed hack
MOD {Desi}
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+04
Finally, balance the two voices. at the Output, reduce Voice
1’s Vol to 55.
The l‘1flGl(I.lack’s Back. He’s got another pad to feed the
hungry synth. Jack says that “Relax Pad“ is one of his earlier
efforts. Well then, we like his early stuff. “Relax Pad" has a
simple back to basics approach: the envelopes are open and
straightforward as are the filter values. A little fine tuning
here and there should be enough. (After all, this is what we
do here.) In the Pitch Section for Voices l and 2 change the
FINE values to -04 and +00 respectively to lighten the detoning some. In addition, for Voice 2, tone down the LFO parameter to +01. Stay in the Pitch Section again: tum on the
MODSRC to LFU and let its MUDAMT = +10. We‘re starting to inject a faint sing-song effect into Voice 2.
As for the program’s Effect, it just needs to be a tad more
dramatic. For the 3 Voice Chorus, change both the Chorus
Rate lit. Center to +50. Then increase Feedback to +60.
Jeffrey Ritoads
For ‘iioice 2, change the ‘iiel Curve to LINEAR for both envelopes 1 and 2 to smooth out the melody. (Listen hardl) In
the LFO Section for both voices, LFCI Speed should equal 20.
The LFO should be present regardless of the lvlodwheel
setting. Voice 1's Level is now = 15 and Voice 2's 4: 20. Also
for Voice 2, the Restart value should he changed to OFF.
. ........
Bio: Jefirey Rltoads has been a keyboardistlcomposer on the Philadelphia Jars and R t-it B scene for a
period of time resembling forever.
He nos an interest in cinema and has
developed some film courses. Jefl’
still believes in magic and longs for
city lights.
Hacitarpotcn is intended to ho a place where patch vendors can show their wares and musicians can share their goodies and impress their
friends. Once somethiug‘s published here, it's free for all. Please don‘tst1l;ttrtil:paI.'cl1es that you know to be minor tweaks of copyrighted ’
commercial patches unless you have permission from the copyright owner. All submitted patches are _suhject to consideration for mutilation
and oommenm by Sam Mime and Jeffrey Rhuads — our resident patch analysts. If you send in a patch, please include your phone number. I
Requests for pmticular patches are also very welcome.
20
fine of our most common requests from new subscribers {now owners] is for more basic tutorial information. We‘ve all been there. Unfortunately, the
Hacker is usually “titers” when a new irtstrtnncttt 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 Reinirialisnrion" -- yup, old goods in a new
wrapper. We feel a little funny about the whole reprint thing --- so wc‘rc going to keep it small. Clark's series on the SQs is the most requested, least
available, and the most generally applicable {_KSs tit. KTs in particular ----and he's checking lam for frcslmess}, so here we go...
will need to fish last month‘s copy of TH out of the trash,
look up my column, and repeat steps I through whatever to
bring yourself (not to mention your SQ-1) back into sync
with this month's column. Once titat’s out of the way, you
should be looking at the aforementioned display, accessed {as
SQ Modulation —
The Story Continues...
Clark Salisbury
you probably know} by hitting the Edit button, then the Amp
button, and then the 2 button. All set‘? Good. Let’s {n.HE.lvI)
condnue.
Editors can be so brutal. Take last month's column, for
example.
We were right in the middle of working out an envelope for a
piano-type of sound. We’d gotten all the basic settings
together and we'd even discussed keyboard nacking. I had
made you my most excellent promise that we'd talk about the
Mode parameter and the next thing you know YDWWWE
GRARRE ARGHGI-ll Column over, signing off now, g'night
folks, write when you find work, a kiss is but a kiss — in
short, I got edited! And I coulda been a contender. Hid. —
Clark, you’d already run on for over two and tr half pages.
Somebody had to stop you.,l
Oh well, happens to the best of us, I suppose. And there is
some small solace in that this current rant still counts toward
my total word count for this month's article attd since I'm
paid by the word I suppose there is some justice after all.
But I suppose I've milked this one out enough. What this
means to you, though, is that the following article was meant
to be part of last montlfs article. Since I'm planning on just
picking up right where we left off, you may want to review
last month‘s coltunn before you continue on here. Then
again, you may not. I get paid either way, so no skin off my
proboscis.
At any rate, when we last left our hero, he had just finished
revealing the mystical secrets of the wily keyboard tracking
parameter and was preparing to undertake an unassisted explanation of the lvlode parameter. If your SQ-1 happens to
still be in the same condition it was in when we were so rudely interrupted last time, the SQ-1’s display should be showing
something like
Mode=NURlvIAL
KeyboardTrk=+23
If, though, you have used your SQ-1 since last month, you
There are three modes that an envelope can run in. So far
we‘ve been using NORMAL mode. Selecting the mode parameter and scrolling up once sets the mode to FINISH. In this
mode, the envelope runs through its complete cycle whether
you hold the keys down or not. It‘s sort of like having the
sustain pedal stuck in the on position. FINISH mode is most
often used with percussion sounds, where you want the sound
to play all the way through whether you are holding the keys
down or not. There are other applications as well, many of
which are found in the special effects category.
The third mode, accessed by scrolling up one more time, is
called REPEAT mode. Here, the envelope runs through from
beginning to end in a cyclic fashion for as long as the key or
sustain pedal is held down. This also has a lot of applications
from the special effects category, but it can be pretty useful
for some complex kinds of tremolo and vibrato effects, or for
creating interesting filter sweeps. More about these later.
I1-low we"re getting close to a basic piano-type of envelope.
But there's still a couple of parameters we should check out.
Press the 1 button, and you'll find yourself at another page of
envelope modulators -— specifically, modulators that deal
with velocity. The first modulator in the display is the Lev“v’
modulator (which I like to think of as the “envelope level
l
"""'l
y
ii
l
Q
iii
eTH --~ A Faster, Cheaper Hacker
l
;
1
l
,1»
;"
!-
If you can receive e-mail via the Internet, you can take advantage of avoiding the post office and get a faster, cheaper,
e-mail version of the Hacker. The e-mail Transonia Hacker
contains all of the same information and advertising as the
printed versien., but it‘s only $20,r'yes.r -- anywhere on the
planet. Plus, if you convert over from the printed version you‘ll
get extra issues added to your sub. Interested? Just send a message to us at eTI-l@transoniq.com and we‘il e-mail back complate subscription infortnation. Let us know if you'd like a free
l copy of the current issue and we'll send one along.
-in
H
t
—'t|-us
—-
_
_
controlled by velocity modulator"). It is here that you can adjust an envelope's sensitivity to key velocity (higher values
will make the envelope more sensitive). Since we're dealing
with the amplifier envelope here, adjustments made to this
parameter will change how velocity affects the loudness of
the sotutd. You may want to esperiment a bit with the different velocity curves available. These are accessed through
the 'y'elCurv parameter located at the bottom of the page, and
allow you to tailor the velocity curve of the current voice.
Perhaps the easiest way to get a feel for what the different
curves do is to set the Lev‘! parameter to a fairly high value,
perhaps in the range of 53-72, then try each of the curves
while playing the keyboard at different velocities. For our
piano patch, I've settled on a LevV amount of 26, and a
CONYEX velocity curve, but I have a fairly light touch. You
may well find that some other combination of settings is
more to your liking.
The final parameter on this page is the Atck? parameter
(attack time controlled by velocity). This has the effect of
shortening Time 1 of the envelope when playing at higher
velocities. The classic eaarnple of how to use this parameter
is the string patch, in which notes played softly take a while
to build up, and notes played harder attack more quickly. To
try this parameter out, go to the first page of this envelope
(hit the U button) and set Level 1 to DU and Time 1 to some
value greater than U0. (Since velocity can only be used to
shorten the attack time of the envelope, using a Time 1 setting of U0 gives us no where to go — the attack time is already as short as it can get.) For now, try a value of 50 for
Time 1. This should give you an interesting “bowed piano"
effect; the piano sound swells to full volume rather than attacking percussively.
Head back to the velocity control page (hit button 1), and set
Atckll to a relatively high number -- say, 66. Now when you
play softly on the keyboard, you get the bowed piano effect,
but as you play harder the sound becomes more percussive.
Back Issues
Back issues are $2.{lll each. More than lfi: $115 each, more than 21:
$1.50 each. {fiverseast $3 each.) E-mail copies of back issues are available for all issues since #1 IE: $1 each {anywhere}. Urders for e-mail issues shonld be sent to: issues@transoniq.corn.
Issues 1- 40, E1, 6'? — T4, Tl‘, T9 and E2 — B5 are no longer available.
Permission has been given to photocopy issues that we no longer have -—
clteclt the classifieds for people offering them. A free back issue indert is
The envelope we've been working with has been used to connol volume, but envelopes cart be used to control other
things, too: Pitch, tone, effects, even other modulators (such
as the LFEJ). We'll be working with these and other applications presently.
For now though, there's one more thing to cover, and it's one
of the coolest features of the SQ-l envelopes: There are
preset envelopes built into the SQ-1. This means you don't
necessarily have to go through all the aforementioned machinations every time you need to set up an envelope. Simply
load one of the preset envelopes. Many of these will be fine
just as they are, but if not, all that's usually needed is a minor
tweak or two, and bingo. Here's how it works:
>From any of the envelope pages [in this case’ we'll continue
working with the amp envelope) press the 3 button. The display will read, “Press ENTER to select defaults." Press enter.
You can now scroll through the listing of default envelopes
stored in ROM. To instantly produce a piano envelope, for
example, scroll until you see PIANO DECAY and hit Enter.
To try out other envelopes, hit the Enter button, select the envelope you want to check out, and hit Enter again. You may
repeat this process as many times as you want.
Of course, not all envelopes work in all instartces. Using the
ALL ZEROS default with the amplifier envelope results in no
sound, for eaample. If you find any particular envelope inter-
esting, you can scroll through the rest of the envelope menu
pages to see what parameters went into creating it. Hey —
you might pick up a trick or two.
Also, be aware that loading one of the default envelopes
replaces whatever the current envelope is. So if you've been
working for three hours perfecting the envelope for that perfect baaouki patch, save your work before loading any of the
default envelopes.
Anyway, if you are reading these words, it's a good bet that
this article made it into the current issue in a more-or-less
complete form and you may now safely use the last two issues of the Hacker to wrap fish. On the other hand, we'll be
doing a bit more with envelopes neat time, so you may want
to hang onto these issues for future reference. Besides, you
never know when
a crazed editor
with a big pair of
available which contains the tables of content for all issues -since #43.
ESQ-1 coverage started with Issue #13. SQ-Ell coverage started with
#29, (although most ESQ-1 coverage also applies to the SQ-ED}. EPS
coverage got going with #35 {and also applies to the AS-R-111}. VFX
coverage {which also applies to the Slls} got started in #43. The SQs got
scissors is going
going in #53. (SQ articles also apply to the KS-32 fit KT-’Hit'33.) DPH
coverage started in #35 (much of which also applies to the ASH-10, and
Bio: Clank has
most of which also applies to the HPIZ). TS-1th'I2 coverage got going
with #93 but owners should also check out sample reviews {EPSIASR}
and SD tit. VFX programming tips.
to —
been involved
with electronic
music since I 980.
ll?“-_..
.
_.'___.-_
1
1
I
l
1
I
M
Letters for The Interface may be sent to any of the following addresses:
l.l.$. Mail - The Interface, Transoniq Hacker, Id-U2 SW Upland II'lr., Portland, DR W211
Electronic mail - Ghnie Network: TRANSDNIQ, Intemet: interfaee@transouiq.com.
This is probably mm of the most open forums in. the music industry. Letter writers are asked to please keep the vitriol to a minimum. Readers are
reminded to take everything with a grain of salt. Resident answer-man is Clark Salisbury (CS). Letter publication is subject to space considerations.
To: interface@transoniq.com
I have the Ensoniq Soundscape Card on
my home pc. I have static during .wav
file playback in Windows. Can you help
me????
{CS - I'm afraid I'd need more information ro nasard any kind of guess 1'and my
guesses are among the top most‘ hazardous avaiiabiej as to what your problem
might be. Best I can suggest is to first
make sure you're using the most current
GS, and you don't have any goofy MIDI
Steven J. Pyne
‘liia Intemet
{Ensoniq — You are reaiiy going to need
to caii our Customer Service department’, at 6I 0-64?-3930. You offer so Iiirie information that we can't begin to
trouble-shoot your system to get‘ at this
problem. To effectively Ireip you we need
to know about your system (what computer, what additional‘ cards are installed, which version of WindowsJ, and
whether this is happening during recording and playback, only on playback, only
on certain files, etc.
Rest‘ assured, we will find out what the
problem is, but we need some "interactive" diaiog with you.I
To: interface@transoniq.com
I need some helpl I have a lot of your
back issues, but I don't have any for the
recent years. I only have a few with info
on the ASR-ll]. I'm having problems
with the software, especially on the
rhythm tracks. I'm losing accuracy on
the beat for no apparent reason. Also,
I'm getting some obnoxious error messages that I don't understand.
hookups that might be nosing your clock
signal, then caII Ensoniq Customer Service fdit?-64?-3930j, or visit their oniine
helpline (Irttp.*IItv|-t-1-v.ensoniq.contIj. I've
always had reliable petfformance, timing
and otherwise, from my ASH, and I use
the sequencer a Ior, so my hunch is that
something's broken.
As far as Ensoniq error codes go, they
mean nothing to the mortal man. They
are intended only to help an Ensoniq engineer track down software problems. As
such, they give no specifics as to what's
going on inside your machine. Rather,
they are used to track down the general
area in which a problem has occurred.
So, even ifyou could look up an error
message and find that it means, say, the
effects chip tried to execute an illegal insiruction, that knowledge would do you
Iirrie good. Thar is, not unless you're
capable of de-bugging and re-writing
the ofiending portion of Ensoniq-pro
prierary code.j
{Ensoniq -—- Since it sounds so much like
software we really need to know what
software version you are using. The current version is 3.53. Cali us.)
-
Dear TH:
I think that it's a software problem; it
reeks of software. My big brother has an
EPS and the US system which was really
bad until the update. Do you have any
idea how to get a listing of error messages and their meanings‘? I'm stuckil
Please help!
Thanks again!
I Brandon
Via Internet
I think this is a reasonable proposal for
consideration on Mount Malvern. Ensoniq sequencers should be able to incorporate a multi-chatmel mode on one
INSTRUMEPIT (track?) of the future
Ensoniq machines. There are many very
MENT for transmission to extemal
modules and still be able to add other
on-board music.
It's really frustrating to limit the onboard musical contribution because you
want to include some discreet MIDI
charmels. Using just four MIDI channels
on an EPS or ASR means there are only
four instruments left for samples. It
should be possible to record MIDI tracks
on the available "hardware" positions,
then "bounce" the whole wad down to a
single INSTRUMENT. I cart even imagine routines for step editing that would
be tedious, but do-able in this scenario.
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" l6+'s but I don't
recall this feature being available on any
of the newer machines. Remember, EPS
stands for Ensoniq Performance sampler.
Adding more gear to the studio is not my
concern; being able to perform out with a
small load of equipment is important to
me.
Torn Jordan
"v'ia Internet
{CS — I don't know what issues might be
involved in implementing such a scheme,
but this seems Iike a pretty cool idea to
me. This may have something to do with
the fact that I use an ASE-I0 rack hooked
up to a Syquesi drive to play sequences
and control external MIDI devices in Iive
performance, in part because there are
no other sequencers (particularly, rackmountabiej with SCSI ports.)
{Ensoniq - Thanks for the suggestionij
modest computer systems transmitting
To: transoniq.corn
more than 16 MIDI charmels. It seems
reasonable to be able to import a
multi-track recording into one INSTRU-
Just a quick note to say that even though
I don't have any new toys, the occasional
23
articles en the EPS-16 PLUS, SD-II32,
and DPI4, that I de have, keep me eurrent and interested. I find that by reading
all the articles abeut the new instruments, I learn mere abeut the enes I
have. I really appreciate Clark Salisbury
fer his l-mewledge, ability, and sense ef
humer.
Thanks fer a few geed years.
Bill Ferrest,
S an Jese, CA
I, but ne luck. Even Enseniq deesn't
have any.
If there is a Hacker eut there willing te
part with seme ef these apparently precieus RAM cartridges, please centaet me
via internet (include phene number tee).
I am interested in the 80-patch velume
type, but weuldn’t mind these that have
larger memery capacities.
Hacker,
Can yeu help‘? I have seen a eeuple sites
en the internet that centain files fer the
EPS and ASH, but I have been unable te
find a utility that cenverts them te Enseniq fleppies. Can yeu help? I have
searched Oakland’s page, but have
feund mest ef the utilities te be tailered
te the EPS’s deuble-density drive. De
yeu 1-mew ef anything eut there (shareware) that can de such a thing? Any help
weuld be much appreciated.
Jasen Huffman
Via Intemet
{CS - .Ias-an, first, surf yeurself en ever
te the I-Iaeker’s web site, fhttpdlwww.
transenia.cemt~trnseniqt), ge te the ftp
page and grab a cepy cf Garth Hjelte’s
excellent article addressing just such arcane and mystical practices. The infermatien weighs a bit heavier an the
PC-side ef things, but there's a let ef infermatien useful ta Mac users, tee. In
the unlilcely event yeu den’t find what
yau need there, please e-pest me a nete
(care cf TI-I), explaining what yeu’re
missing and I’ ll see what I can da.j
Dear Hackers:
I recently installed twe 4M SII'vIMS, the
B-chip variety which I have been teld are
the right type. I am net sure if this may
be causing any preblems with the hard
drive.
Paul -=:SennenSystem> Tan
Via Internet
adarsen@tribune.cem
{CS - First ajf, it’s deubtful the memery
write again, anytinteij
*
witheut lesing me a let ef pregramming
werk.
Thanks!
Thanl-ts,
Ales; Darsen
{CS — Se dc I. Let me hear ltfer me. And
I-ID I'm pretty 1-teen te get them te werlt
[CS - Censider yeur message duly
pasted. And if yeu haven’t already dene
se, chech cut Michael I-Iyman's mast
excellent “Enseniq Iieseurces en the
chips are yeur preblem. And althcugh
I'm net familiar with the Fireball drive,
I’ll pass aleng seme general SCSI-type
tips.
Internet“ guide lhttp.'IIwww.netaxs.ccrnI
--milcehIenseniq.htmIt,]. Perhaps yeu can
find a link there that might steer yeu
teward what yeu’re leclsing fer.,1’
Hi there,
I have had mega preblems getting my
ASR-10 te werk with a hard drive I
bought — 1G Fireball drive. It fermatted
ence, seemed te be werking, then the
ASP. and drive crashed lesing all data.
Attempted refermats failed every time.
The ASR hung en each attempt.
I) Enseniq devices use a SCSI ID cf 3;
yeu can use any ID ether than this fer
yeur SCSI peripherals.
2) Be sure ta terminate praperly. The
first and last devices in a SCSI chain
sheuld be terminated. Fer cemplex systems seme sert cf active terminatien
(such as the SCSI Sentry frem APS} may
prcve helpful.
3) Use the shertest SCSI cabling pessible. SCSI chains sheuld net exceed 20
feet in length, and can became traublescrne even at sherter distances.
I am net sure abeut the fellewing things:
Is the Fireball (Fast SCSI3) cempatible
with the ASK"? I theught all SCSI weuld
werk with it but maybe net.
Is the US stuffed up? I tried refermats
with US 1.6, 2.11], 3.53 and all did net
werl-t. The ene successful fermat at the
beginning was with 2.0 after twe failed
attempts with 3.53.
Is the ASR-ll} faulty‘? Can yeu please
describe te me any successful attempts
yeu knew ef when using a I-Idrive with
4) Make sure yeur SCSI cables are
functicning preperly. SCSI cables seem
ta have an incrdinately high failure rate.
5) It may seem ebvieus, but pewer up
yeur SCSI devices befere yeur Enseniq
instrument. The ASH will check fer SCSI
devices as part cf its beet reutine. If it
finds nene, it will assume nene are attached. SCSI devices cannet be meunted
ence the ASH has been pcwered up.
6) Parity must be disabled en SCSI
devices ta cemmunicate preperly.
the ASR, i.e. what medel what US was
Is it at all pessible te find EPROM
cartridges (er equivalent} fer the ESQ
anymere? I have tried finding them
threugh leeal classified ads and seundware cempanies like Syntaur and Eye dc
used, any instances ef hanging and hew
was the preblem selved?
I'd greatly appreciate yeur help. Having
spent stacks ef $ en the ASR and en the
24
F’) Enseniq has tested drive mechanisms
frem several manufacturers. The list ef
uppreved fixed-drive mechanism manufacturers is: Fu_litsu,' Ccnner; Seagate;
and Quantum.
Ifyour drive mechanism dees net appear
on this list, that deesn’t mean that it
wen’: werlt; it may be simply that yeur
drive has net been tested.
I have used SCSI peripherals of every
description with my Enseniq devices,
with seldem a problem (at least, nene
that ceuldn’t be reselved by following
the guidelines listed above]. And lets of
our readers use hard drives, CD-ROM
drives, cartridge drives, and so on with
no major difficulty. So the list of what
we knew werlts with the ASR might be
rather lengthy. If yeu’ve followed all the
procedures listed abeve, the only thing I
can suggest is to call Enseniq Customer
Service (tilt?-dtl?-3930}. They sheuld be
able te get you on tracIt._l
{Enseniq — Clarh’s info is right en the
money. You should definitely use the
latest software {Version 3.53}, but if
there is still a problem call us. We might
have te get yeur drive from you to test it
eut (since we are unfamiliar with it,l.,I
Ill ENV l=’CF+RlJTt§lSPKR+h'Elt'
66 VCF—-DISTGRTIGN--VCF
ti? Weill- -DISTtflllTItfllll+li’EV
~=ll.'tT-.i'3I-5l3.‘i, or e-mailed at sberhley@
crl.cem.j
Trip en, .»'llll’etelegist.j
Sirs,
I am l.l1e proud owner of a KS-32 key-
board and am facing little problems:
TI-I:
Where can I find Macintosh applications
to store and edit EPS-16 PLUS sounds
and waveforms‘?
1. Sometimes, when switching on, the
keyboard displays the usual “U0 Grand
Piano," but refuses to produce any sound
and the buttons do not respond. The only
solution I have found is to switch it off
Also, what is the best MIDI application
fer the Macintosh to interface to the
EPS-16 PLUS?
and on again. Do you have any explanation for this‘? I was told that System 3. ll]
would fin the problem (I am currently
using 3.0). Is it possible to have this new
Alan
version installed, and if yes, can I do it
Via Intemet
by myself or does it have to be done by a
service center? Is it an EPROM change,
or can it be loaded via SYSEX or memory card‘?
{CS - A good start would be to fellew
seme of the varieus linlrs yeu can access
from the Hacker's web site (http.*tivvun»v.
transenia.ceml~trnsenietJ. And while
yeu’re there, check out Garth I-Ijelte’s
article "Frem Cyberspace te Your Ear,"
which provides seme excellent informatien en software available via the Net,
and hew te use it.
2. I have been using new headphones for
a while, which have a very good
bandwidth, and I have noticed that the
KS-32 produces noise in the etttreme
high end. Has this noise been suppressed
in the new versions of the O.S.'?
A former Arp 2600 tripper.
Teussaint Rudy
Via Intemet
When you ash what’s the best applicatien fer use with yeur EPS-I6 PLUS, I
assume you mean the best sample editer.
The application of cheice ameng professienals (at least for the Mac), is called
Alchemy, and it’s a commercial pre-
[CS - There are several effect al-
gram. It’s not inexpensive, but ifyou're
interested in doing sound design and
3. A friend of mine has bought a
second-hand SQ-R, and when we try to
use sounds programmed on the KS-32,
the SQ-R plays them with much more
vibrato than the KS-32. We have tried to
load the sound by both SYSEX and by
using an MC-32 RAM card, and the
results are the same. (Of course, we
den’t use sounds with enpansion waves
that the SQ-R doesn’t have.) ‘Where does
Subject: TS-ll] filter
Can somebody tell me if there is a
modification to get a resonant filter on a
TS-1D synth?
gorithms available in the TS-IO which
will previde a resenant filter that you
can use en your TS seunds. Try these effects Iand their variations} te see if ene
of them might previde what yeu're lechingfer:
'
sample-mashing, it's the program te use.
Fer mere information, centact Passport
Designs {'-=ll5-?26-0236,‘ http.'llwww.
mw.i‘ .cemtpasspertlij
ll? ENV VCF'+CHORIIS+llEl="
I -=l ENV PHL.»lt"\lGEIl+IlE'r'
Software which werlzs well with our
samplers. They can be reached at
{Enseniq — We can add that there is a
new program call Furphel, from BIAS
1
i
l
1
I
1
|-|
—1
the vibrato come from?
There is also a sound quality difference
between the two - the SQ-R seems
duller than the KS-32, even when playing original SQ-R sounds. Is there a
“normal” difference between the two
1
I
_
Missing or Damaged Issues?
Change of Address
Please let us know at least four weeks in advance to avoid missing
an'y issues. The Post Difice really will NOT reliably forward this
type of mail. {Believe us, net theml} We need to know both your
i
eld and your new address. {Issues missed due to late or no change
notification are your own dumb fault - we mailed them!)
25
Every month we mail out thousands of issues and every month about
a doeen get "misplaced" by the Post fiffiee. If you're ever one of the
winners of this lottery, just give us a call (563-22?-5343, 3 am - E
pm Pacific Time) and we‘ll he happy to mail a replacement copy --ne prob. (However, if you accuse us of nefarious schemes to “rip
you eff," you will be offered a refund and given helpful subscription info for other musician tuugei'.i11es,}
products or is something wrong with the
SQ-R?
Thanks in advance for your answers.
Yours,
Gregoire Ivtarechal
‘iianves, France
{CS - I J I'm afraid I have no explanation for your problem. Fortunately, it
seems lilte a relatively minor annoyance.
Any new CS for your KS-32 would be
supplied on EEPRGM chips. These
should be installed by an Authorised Ensoniq technician {who should also be
able to supply you with the chips in the
first place). Installation should be inexpensive and painless.
2} I don’t believe that changes to the OS
will suppress normal operating noise.
When you talte your machine in to be
upgraded, though, have the tech take a
listen and confirm that the noise you
hear is normal.
3} The KS-32’s LFU depth parameter
(which is in charge of vibrato depth in
both machines) was scaled back to accommodate a parameter introduced with
the first pressure sensitive SQ, which
was the SQ-2 ll believe). This parameter, "WHEEL+PRESS," made it possible to use both these controllers
simultaneously without maxing out the
depth of the parameter they were controlling too easily. It does mean,
however, that sounds created for the
KS-32 (and other pressure-sensitive
machines in the SQ family) will often
have an accentuated vibrate when
played on non-pressure sensitive Sos.
The fix is change LFO amount (on the
PITCH page for whichever voicelsj
might be active) to about half of
whatever it is set to in the offending program. This should restore the vibrato to
a more manageable setting.
Your perception of a sound-quality difference between the KS-32 and SQ-R is
correct. The KS (as well as more recent
SQ-Series instruments) produce a
crisper, brighter seund than their
predecessors.,l
TS-ltl." How is this accomplished, and
how does a CD-REM communicate with
a TS-ltl in Ensoniq format?
I also have the Giebler disk utilities, and
have yet to discover their true potential
(and I'm sure they have more than I give
them credit for), especially in relationship to all the other gear I have. I would
like to use my new PC, all my musical
software (Cakewalk, etc.), the Giebler
utilities, my CD-ROM, and TS-ll] to
sample and record sounds, create loops,
pattems and sequences - all to be played
and used on the TS-10. But I understand
from talking to the folks at Rubber
Chicken Software that about all I can do
would be to use an Ensoniq CD of
sampled sounds in my CD-ROM to
move sounds or samples to 3-11'2" flop-
py disks and then to use them in my
TS-10.
Those Ensoniq CI?-ts are quite expensive,
so I would love to hear that I am indeed
missing something and that with the
equipment I have, I could record or
transpose "any" sound or sample or loop
to my TS-10 with great ehse. Is this even
possible? If so, how? If not, what do I
need? And how could my computer's
CD-ROM "plug" into my TS-ll]?
{Ensoniq - I j This is a known problem
that has been fixed, but the OS is version
3.lI'l, not 3.ltJ. It can be installed at any
Authorised Ensoniq Repair Station for a
modest bench fee only - the chips are
free.I
These questions weigh heavily on my
mind and I look to you for infinite wisdom and guidance, and please forgive
my ignorance. I am but a novice. But
thanks so much for your insight a.r1d
response.
Transoniq Hacker:
P.S. I have enjoyed TI-I tremendously.
It’s nice to be able to read a rag that, for
once, is actually applicable and helpful
to me in all my needs.
m
_.
-
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|V||D| MARK
:- u'. riciir '1|.- . u.-u.=1|:u -.1 -.=:.¢.|:a
I was deeply involved with the November issue (No. 125) when I came across a
question posed by Dave Ward of New
Zealand, who asked about his TS-Ill interfacing with a 2'I-"ll MB hard drive.
Maybe I’m missing something, but I am
confused by your response to his question, (along with a thousand other
Thanks again,
Dennis Smith
Newberry, SC
{CS - Oops. Sorry about any confusion I
things...) and Ijust had to write and ex-
may have caused in my response to Dave
pose my sheer stupidity.
Ward's question — I neglected to mention that you need Ensonio’s TS-I ll SCSI
interface before you can plug i a
CD-REM drive into your TS-ll? (details,
details). Such a device will set you baclt
You responded to one question by stating that a CD-RUM will give you access
to hundreds of sounds and all one must
do is, "...p1ug the drive into your
25
around $200.00, I believe.
And I'm afraid the Chicken-people are
with it.
right; you don't have the tools you need
to create original samples for your
TS-I0. However, elsewhere in the Interface, you'll find a letter from Andrew
Ogden, and a response from Garth
Hjelte (hey, Garthl Want a _iob?...}.
Hang onto Garth's response, because it
details how to get .wav type files into a
TS-I0. This might become meaningful to
you should you ever acquire any sort of
sound- or multi-media card that supports digital recording. Because as
nearly as I can tell {being a Mac guy
and all), .wav files are the lingua franca
when it comes to PC audio. In other
words, everybody supports them. So it's
pretty likely that if you can get a sound
into your PC, it'll show up as - or else
be easily converted to — a .wav file. And
you'll want to know how to get that .wav
file into your TS-I0. And then you'll
thank me for telling you to hang onto
Garth's instructions.I
Also, I am now a keyboard salesman
here in Miatni at Ace Music Center. If
you're in the South Florida area, stop in
and we'll exchange tricks.
Paul Santa Maria
Miami, Florida
I-Ii.
I have been out of touch for some time.
Ijust received a request for my manual
for the EPS Classic. I still have a few
left over, and I still ship them out for
$2-:1 plus $3 shipping in the US. A bit
more for Canada and overseas.
I have a new address, however, since
Issue #46 where one of my articles was
published. That is where my last request
originated and a relentless EPS classic
owner tracked me down. The new adTI-]_.
dress is 33306 Bormeville Drive, Scappoose UR, 97056; Phone 503-543-2534.
Every day I use my ASR-10 Rackmount
My e-mail is gdinsmore@bcc-empl.com
with a DCI 44-Meg Syquest and a Forproblems. Fast and cheap.
Gary Dinsmore
Scappoose OR
P.S. E-mail and the Intemet are still very
expensive here in France. It's a kind of
"marketing" fashion for the moment...
{CS - Great to hear from you, Gary.
Glad to know you're still out there.
Thanks for the update. Keep in touch...I
mac 8-*-‘l0-Meg hard drive — with no
Pierre Gasmi
Fontaine, France
Hi,
{CS -» Thanks for writing. We'll add
your stuff to the list of customerapproved peripherals.I
{CS - I'm afraid recommending music
notation software for the PC-platform is
a ways out of my realm. One go 1 ..n;e
to begin research on your own, though,
would be back issues of the popular
electronic music magazines." Electronic
Mtisician and Keyboard, in particular,
come to mind. Also, you might drop in at
your local music dealer. This is where
you're most likely to be able to get an
actual hands-on demo of music software.,l
I got my Gateway 2000 with the Ensoniq
Soundscape Card. I called Gateway for
advice about choosing some software for
composing but that was probably beyond
their field. Can you help‘?
To: interface@transoniq.com
Subject: Kraftwerk-Type Vocoder
I am responding to a letter by Iohrmy
Guillen in the last Hacker in which he
asks about the "Kraftwerk" vocoder
sound. I went through the same search
that he is going through and I tried every
vocoder-effect that I could find Dlgitech Ilocalist II, Roland SE-50, Ensoniq DP4, etc. After uying everything I
finally discovered a Korg DVP-1 and it
has the old grainy sound that I wanted.
All the newer vocoders sounded too
pretty and clean. The DVP-1 is a late
'80s voice processor that has pitch shift,
harmonise, etc. that aren't very good by
today's standards, but the vocoder is incredible. It's very robotic, and very dirty
and grainy. It may even be a little dirtier
and computerish than the phrase "music
non-stop" on the Kraftwerk album, but I
like it.
You might try the back of Keyboard
Magazine and look tmder Rogue Music
or one of the other used music dealers. I
see them every once in a while. Heck,
for the right price I might sell you mine.
P.S. I think the Roland one (VP-?0?) is
cooler but it is also harder to find and
more expensive.
Hi Hackers Just writing to say I'm still using only
my I6-Meg ASR-10 keyboard to crank
out local and national television themes,
doing full songs within the board (mine
as well as others), and having a general
ball being able to do almost anything I
Ihave a Yamaha Clavinova ‘I50 and all I
want is to be able to "write down" what
I am composing.
Brian Albritton
The Hunger
Thanks,
{CS — Thanks for the tips, Brian. Your
letter raises a good point, which I didn't
Tuli
Ilia Intemet
Houston, TX
bring up in my original response to Mr.
wish in the compositlglrecording realm
Gulllen: Often, the best way to achieve o
E?
vintage effect is ~with vintage equipment.,l
{Ensoniq — Clark's answer is correct,
but just to remind everyone; The MIDI
thru jack is an output, not an input, on
I-Ii,
whatever data is received at the MIDI
input, but does not have anything to do
with the MIDI data that a device itself
provides.,l
all
I own a rs-1 u. 1 drive the keyboard wiih
a Gateway Computer using Cakewalk
software. I recently purchased a MIDI
guitar. I tried to leave the MIDI cables
as they were between the computer and
the keyboard and involve the guitar
using the MIDI THRU input on the keyboard but nothing happens. I also tried
the MIDI Thru input on the soundcard
adapter ‘but still nothing. I asked the
sales staff at Ward Brodt Musi_c (where I
purchased the TS-10) and they said it
MIDI
products.
It
David Simenson
Dear Hackers,
Merced, Califomia
Here's another tip from a rank novice.
Recently I was playing my TS-11, accompanying another musician who was
playing the piano. I had made a preset
keyboard split, with these voices and
I need some help.
Sincerely,
Norm Ritland
normritland@mailbag.com
MULTI-BASS A0-G3+
ORCH STRINGS A3-B5
ASR FLUTE C6-CS
First, bear in mind that the MIDI output
of your guitar controller will need to
connect to the MIDI input of your computer before you can use the guitar as a
controller for sequencing. If you don't
need to be able to use your TS-I0 for
recording purposes {just for playback},
you won't need to have its MIDI output
connected to your computer.
If you want to be able to record from
either your TS-I0 or you guitar controller, you might want to see if you
can't find some sort of MIDI switch-box,
such as the MPII-I04 MIDI Input Selector, made by Roland.
If you want to be able to record using
your guitar controller and your TS-I0
simultaneously (either you have four
arms, or you want to jam with a friend},
you'll need what's called a MIDI merge
device. Anatek is one company that
makes an inexpensive versien.]
board on top of a piano, and play a
TS-l2 voice, while playing live piano to
a TS-12 sequence. It opens up many new
performance possibilities.
keyboard zones:
[CS — I wish you'd told me more about
out
sound only plays on the remote keyboard, and the bass and other lead
sotmds only play on the TS-12 keyboard.
The remote keyboard could play a drum
set or bass line. I can set the remote key-
q
was way above them.
the MIDI guitar you're using - at least
what make and model. Still, there are
only a couple of ways you might resolve
your difiiculty.
echoes
way keyboard splits, where one lead
I could play bass with my left hand, and
sampled strings or flute with my right
hand. The only problem was that I only
had two octaves or less of each lead
voice, and the melody I was playing in
ORCH STRINGS went up to C6 occasionally. I couldn't play that high note
in strings, since the flute started on C6.
{CS — You make a good point, David.
Not all TS-I0 for ASR or KT or
whatever) voices have to be performed
from the instrument's built-in keyboard.
Some can be controlled from external
sources (external keyboards, drum pads,
sequencer, etc.) at the some time that
others are controlled internally.I
{Ensoniq - Nice tipl Actually since you
want the flute to only be triggered from
MIDI you can set the Track Status to
either LDCAL-OFF or MIDI-LOOP.
LOCAL-OFF means thdt the keyboard
will not "talk" to the internal voice, but
it will respond via MIDI. MIDI-LOOP is
MIDI In port. I reprogrammed by keyboard split like this:
a variant of that setting, which compensates for the possibility of having controller information be sent from the
keyboard, go through a computer, and
come back again to the keyboard, doubling the action. This can cause volume
to "spiral" down or other controllers to
go beyond the desired range. In your
situation LOCAL-OFF will workfine.,l
MIILTI-BASS A0-G3+ MIDI-OFF
DRCH STRINGS G3+-G’? MIDI-GFF
ASR FLUTE C3-CS MIDI-LOOP
Help l
You set the MIDI-OFF or MIDI-LOOP
with the TRACK MIDI button. The
manual was vague and not very helpful
about this - I just fiddled around until I
formd out that with ASR FLUTE in
MIDI-LGDP, the flute voice will sound
when I play the remote keyboard controller, but not when I play the TS-12.
I'm still stuck, I downloaded Convert
V1.4 and managed to convert a *.wav
file into a *.ins file, I then tried to put it
onto a" floppy disk, but the two programs
that put the files onto disk (edm and epsutil) only use files with extensions
*.ed* and *.gkh I thought edm could put
*.ef* files straight onto a floppy but ap-
The bass and strings sound only when I
parently uot. So what is my next stage?
play the TS-12.
Convert will not convert a *.wav straight
into a *.gkh so I'm a bit stuck. Please
help me because I really want to hear a
My solution to this was to get an inexpensive two-octave MIDI keyboard
controller (by I‘-Iovatlon). This little key-
board is connected to the TS-12 at the
Now I have programmed other three28
your help.
AIF file. Syntax.‘ convert {pathj’bass.wav
[path] -AIF.
Andrew Ugden
Manchester
England
3) Use the sharewaretfreeware program
t'llF2EFE.EXE (written by the indomitable Terje Finstadj to change
*.wav file on my TS-12. Thanks a lot for
4) Use the Ensoniq Dish Extractor
f'ede.e;te, not to be confused with the
commercial Ensoniq Dish Manager;
edm.e.rej to save the file to Ensoniq formatted floppy. EDM does write .efe files
to Ensonioformattedfloppies.
bass.aif to bass.efe. Syntax.‘ ai,f2efe
ITH - We passed your letter on to Garth
[path]bass.aif {path,lbass.efe.
with the following results (Thanks,
5} Unfortunately, you'll find that the
root hey is a bit ofi’. As of right now,
Garth!,1...I
Transonicg-Net i
{Garth (Rubber Chichenj —.l understand
your confusion - the documentation on
these sharewarelfreeware type programs
is not very good. Let's try to sort this
Dill.
First, epsutil.e;re is actually an older
program, written by Michael Chen in
I992. The last program he put out was
an improved version of this, called
EPSDislc. This {generally} combined all
the epsreadlwritetutil type programs into
one program.
in EP.5'Dish lingo, The .ghh type file is
an entire dish-image file, in PC file format. An .ins file is a single file image.
An .ins type file can be written to floppy
rising E'.PSDislt - you just need to format
the floppy yourselffirst, since an .ins is
not a dish-image file fthat has the formatting info on it), but a single file
image. EPSDish does write the .ins file
l¢‘fl°PPJlBut you are not out of the hole yet. The
Convert 1.4 version seemingly does not
convert to .ghh or .ins adequately. in the
end, you won’t see the file come up in
the directory when you insert it into your
EPSMSR, or you might pich up some
other type of error. Now, with the help
of the oalc.oal:land.edu people (thanks
guys for the thread), here's a sure fire
way of converting .wav files to
E'P.5'h=i.5'lt-forntatted floppy only with
shareware.{freeware progranw:
1) sen with a 16'-so .wav pa. Since
.wav files always just looh like "wav"
files, sometimes this is tricky. it could be
an <5’-bit .WriV file.
B.tiSS.WAlt’.
For
example
2) Use Convert 1.4 to convert it to an
HELP WlTH QUE TIONS
All of the individuals listed below are volunteers! Please take that into cmtsidctsticn when calling. If
you get a recording and leave a message, let ' know if it's oi-ray to call back collect (this will greatly
increase your chances of getting a return call}.
All Ensoniq Gear - Ensoniq Customer Service. 9:30 am to noon, 1:15 pm to 6:30 pm EST Monday to Friday. fiiti-64?-3930. Ensonitfs Fan fin Demand line, (1-Eflfl-Z5?-I439} can also be used
to retrieve specs, OS info, hard-dritte info, and the lilte.
All Ensoniq Gear - Electric Factory {Ensonitfs Australia distributor). E-mail address: elfa@
oeemail.com.au; their web site at http:,l{www.o."son1ail.cotn.au,l~c1fa; or e-mail their resident
clinician, Michael Allen, at mallen@gel4o.corn.au. Phone calls, Business hours - Victoria. (U3)
dlifi-5933.
All Ensoniq Gear - The Electric Factory in New Iceland, phone (6-4} 9-443-5916, far. (64)
9-443-SE93, or e-mail geoffrn@elfa.oo.ne {Geoff Mason}.
TS Questions — Pat Essiinger, Intemet: pate@~esecpc.cont, Composer-ve: ’lt-2131,1552, or AOL:
ESSLIP.
TS, ‘FFJI, and SB-1 Questions - Stuart Hocking, stuh@oeemai1.com.au.
~
MIDI users and ASR-16 Questions - Ariel and Mcirl Dvorjetski, Internet: s3'lfil92 i@
teci:rstt12.technion.ac.i1, or dvorjet@technnia.tecIu'tion.ac.il. You can also call Sincopated BBS at
{Israel country code: 9T2} 4-Tlfitlflfi, 24 hours, 28.351 Modern. Please Login as: ENSGNIQ, Password: MIDI.
SD-1 Questions-~ Philip iviagnotts, 401-45'?-435?, 4 pm - 12:3ti EST.
‘VFK Sound Programming Questions - Dara Jones, Ccmposerve: 'iitl5S,lil3 or Internet:
ddjones1@netcom.corn or call 214-361-lii32£t.
S1}-1, ilPld, ASR-lb Questions - John Cos, 609-ESE-551?, {NI} 5pm - 3 pm EST weekdays.
Any time weekends.
SQ-80, VFX Questions - Robert Romano, 601'-E93-1353. hay oi‘ time (within reason} EST.
Hard Drives & Drive Systems, Studios, tit Computers - Roi: Feiner, Cinetunea. 914-963-SE18.
ilarn-3pm EST. Cotnpnservc: ’l1=l}24,1255.
EPS, EPS-16 PLUS, & ASR-Iii Questions - Garth Hjelte. Rubber Chicken Software. Call
anytime. Ifmessage, 24-hour callback. {6l2)235-919%. Email: chicitenEPS@wil1mar.com.
ESl¥1 hill] SQ-S0 Questions — Tom MeCat'frey. ESQHPA. 115-BED-D241, before ii pm EastBITI
Iflllfis
EPSFMIRAGEIESQISQ-iitl l'v!.U.G. 21-Hour Hotiine -- 212-465-$43!]. Leave name, number,
address. 24-in Callback.
MIDI Users - Eric Baragar, Canadian MIDI Users Group, {E13} 392-6296 during Business hours,
Eastern Time (Toronto, UN?) or call l*dIDIL]l"~lE BBS at (613) 966-6323 24 hours.
so-1, as-ss, so-1, scat st hard drive Questions - Pat Finoigan, sis-seas-iss. soc am to
toss pm ear.
ESQ-1, MIDI lit Computers — Joe Slater, (404) 925-Efiiii. EST.
29
l
will avoid the root hey problem. it is
sold through Rubber Chicken Sofnvare.
When I try to sample from my computer
(using the DAL card) into the ASR I,lO
I'm successful on the first few attempts
but on subsequent tries I start hearing
those nasty pops and clicks that the
manual talks about when a 4811: sample
rate is input. It says to ignore the pops they won't be recorded, they’re just a
clock rate anomaly. But some of the garbage is still being sampled and the pitch
Hope this helps!
is being raised a half step or so at the
root note. Transposing or changing the
there is no way of changing that, unless
you do it in a EPS.-‘ASR.
One commercial program, SoundVert
1.03, will convert .lti"Alt’ files into any
Giebler format. it is a Windows program, written by Tim Dorcas, who
specifically did it for TS owners. This
Special Note: if any of you use these
shareware programs, please take time to
send the programmer a checlt for payment. These programs are not easy to
write, but not everyone has time to
marltet things either. Show your appreciation by paying for the product.J
root note doesn’t help. And this is happening when I sample either charmcl.
Sincerely,
Kevin Capito
AudioGraFX
Louisville, KY
{Ensoniq - it sounds like you are supplying digital input data at a sample rate
other than what the ASR wants to see.
The ASR digital input will try to loch to
any input rate, but only a 44.i kHz rate
will worlc properly and not be trans-
posed. it sounds like the rate you are
supplying may be outside of the locking
range and the ASR is intermittently
losing sync. A modification was made to
the Di-ill board in early ’94 to improve
error handling. How old is your board?
I've been a reader of the Hacker for
some time now and wrote a couple years
I realize the ASR can recognize 48k but
my computer system is not capable of
sampling at 48k (the WAV files were
recorded at 4-4k, 16-bit stereo). My local
dealer said to reboot the ASR but that
didn’t help. I‘m pretty sure it's not the
DAL card. It works fine when I download a sample to my DAT {which locks
perfectly to the card). And I can sample
from the DAT to the ASR fine and
vice-versa — which could rule out the in-
ago in reference to incorporating a computer with my EPS-16+. (At the time I
was in need of some in-depth training
regarding interfacing computers with the
music I was creating.) New I’m writing
about a weird little recording problem.
put all-of-a-sudden going bad. llm run-
sample rates.
ning a pretty long RCA. cable from my
computer to the ASR (actually, two
RCA's connected by a female-female
connector). Ithought that could be it but
the same cable works fine with the DAT
The last thing that comes to mind would
be digital noise from the PC corrupting
the output signal. Maize sure you don"t
have any ground loops between the com-
Greetings!
scenario. lvly suspicions are either the
Having acctunulated that much needed
experience using computers, I'm more
confident about identifying and solving
problems. But this has me stumped. My
current setup includes: an EPS-16+ wl2x
expander, an ASR-IUR wfldlvleg, SCSI,
Digital IlU, an Apple CD-ROM, a lvlicron 100 MI-In Pentium, 16M EDD RAM,
two IG-Seagate SCSI HDs, Plextor
4-Plex SCSI CD-RUM, Adaptec SCSI
Controller, AIWE 32, DAL's Digital
Only Card, 3D Blaster, 1'?" MAG Multisync, a plethora of programs, A Tascam
DA.-P1 DAT, and a bunch of other gear.
(Pm using CL’s Wave Studio for now
until I can afford IQS ‘s SAW Plus.)
I could possibly get a quicker response
to the problem I'm experiencing by calling Ensoniq Customer Service but it‘s
not that crttcial at the moment. (Chances
are I’lI figure it out before this gets
printed - and that's okay.) This is what's
happening:
input is freakin' when it feels the signal
coming from the computer or that US
3.53 may be need updating (unlikely).
it's also possible that there is something
wrong with the digital lit? board, but
since it worlts with the DAT player that
seems unlikely. Possibly your PC is putting out data at some rate other than
44.1’ lcHe. A DAT player has a wider
lock-in range since it needs to be able to
handle 32 ltils, 44.1 l:He and 48 hi-is
puter and the ASR. At any rate {pun intended) call us.)
Current Ensoniq 0.8.
{DIeitlEPFlt'Jhi)
On a happier note, I’ve found the
“Hack” pretty informative while I've
been subscribing and I recently recom-
r
mended it to an attendee at an Ensoniq
clinic when he overheard me talking to
The Man, Doug Nestler. I can usually
digest the whole thing in one sitting - I
guess therels only so much information
you can accumulate in a few weeks and I
usually only read the columns that pertain to the EPS or ASR {which isn't a
problem as TH is a forum for all Ensoniq products). And I often try the
programming or sampling suggestions.
And the fact that it’s now available on
the Net is evidence that you’re staying
current. I haven’t installed a modem in
my PC yet. (Bad computer user! Bad!)
I'm anxious to see what TH will offer in
the future. Many thanks in advance.
SD
r
i
EPS
EPS-M
EPS-15 PLUS
MASD-'5
MIRAGE
EEG
ESQ-M
SD-ED
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"v‘FJt-SD
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SD-Fl
SU*Fl 32
Si]-H PLUS
EC!-2
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SD-1
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DPl4
DPl4+
KS-32
nan-to
ASH-BB
2.4H.l2.-till
2.45.l2.4‘l
1.3.l1.ElllF
bu
Ff?P?#Pf PfP Pummmu'¢u—E~wmummu*
m u §u
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Call new to order or for more information
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26 Crestview Drive
Phoenikville, PA 19460
»
Em
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51 Charter Oak Drive
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ASR + 16-PLUS
EFFECTS
The ‘tfodcr synthesizes vocals out of arty saropled sound. lt can sound like a vocoder, but
ENSONIQ MIDI MANAGER
Send or Fleoeive Data through MIDI
KS-32 VF)-t SD-1
"-
Why not give L. ll. Music u try and see
ENSONIQ DISKETTE MANAGER
Use Ensoniq Disks on your IBM-PG
Read.iWriterForm atrC-opy and more.
Supports all Ensoniq Disk Formats.
to your PG tor these keyboards:
|------..=-..._
thcre*s never been an effect like this for any
other keyboard. The lowest lo keys of the key-
revs EPs/ass mars or THE
PHATTEST oeuu LOOPS rote
eae mo oases Tennis.
Easr-l-vast Lccr
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board each trigger a different vowel or consonant. Your left hand actually forms words by
"spelling" them. {DP-E, it takes some practice to
sing a whole sentence.) Your right hand controls the notes and chords of your robot choir.
And how long have you been waiting to make a
big fat breatlty choir sing "Louie, Louic'i'" Dr
maybe it was a car crash snare that you needed
to say "mom!" Need details? The ‘vodcr is a
3-band parametric HQ effect for the Ensoniq
ASR-lll and EPS-lo PLUS. This E-Q can rapidly "morph" between many different settings.
These different settings impose vocal characteristics onto any sound that is run Lbsough Lhe
EQ. lt’s much cooler than a lvlorpheus.
Audio-in is supported.
The Voder disk is $49.95 and comes with
sounds: a choir, a solo voice, a robot voice, a
talking rhythm loop. -Drder by rvtcrvtsa by
culling [Elli] E51-9552 or send check or money
order to WA"v'cEUY Industries, PU BOX I33,
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DATED MATERIAL - Tll'tlE MALUE
ADDRESS CORRECTION REQUESTED
Postmaster: Please return Form '35-rt? as soon as possible so
we can change our records. This is a monthly publication.
Publisher: Eric Geislfnger
Edltrik: -Jane Talisman
Advertising rates: Please send for rate card.
Flates for authors: Please send for writer-info card.
Dur {somewhat regular] illustrious bevy of writers includes: Graig Anderton, Ftobby
Barman, Paul Sissell, Steve Byhurst, Mark Stilton, Anthony Ferrara,Pa1Finnigan,
Charles R. Fischer, Jeffrey Fisher, Gary Giebier, Jim Grote, Garth Hielte, Bryce
Subscriptions: 12 monthly issues. US: $2Siyear, All others: $S2iyear. Payable
in US funds.
lnman. Jeff Jetton, Daradcnes, Brad Kaufman. Johnny Itionaris, Flay Legnlnl, John
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Salisbury, Tom Shear, Kirk Sttnkard, Jack Tolin, Steve ‘vtncent and Garry Wasyilw.
Dopéyrlght fess. Transoniq Hacker, 1-toe SW Upland Drive, Portland, DH
Ei?2 1. Phone: {EDS} 22?‘-ES-'-id ill am to S pm Pacific West Coast Time}.
Transoniq Hacker is the independent user's news magazine for Ensoniq
products. Trensonig Hacker is not affiliated in any way with Ensonic Dorp.
Ensoniq and the names of their various products are registered trademarks cf
the Ensoniq Corp. Dpinlens expressed are those of the authors and do not
necessarily reflect those of the publisher or Ensoniq Corp. Printed in the
United States.
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