Ensoniq Corporation Transoniq Hacker Archive Issue #127 Th 127

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seunds).

_

.ll.-

The

independent

News

Magazine

fer

Enseniq

Users

All

In

the

Fclmily

.__.

¥'

'

-

-i-'-it-.-.+

:-

,

1

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

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

eften

perplexed

anyway.)

The

ASRs

de

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}.

Robby

Barman

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,

expansive-

setntding

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

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.

Perhaps

the

meat

ehviens

attribute

ef

the

TS

is

that

its

setutds

are

se

dang

big.

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

many

eases,

Satnp

has

brel-tea

dewn

pre-existing

TS

seunds

inte

their

sem-

penent

layers,

and

sampled,

leeped

and

pregrammed

eaeh

separately.

Seme

ef

the

samples

take

advantage

ef

the

ASH

effeets,

while

ethers

eapture

the

TS

preeesser.

Samp

makes

use

ef

the

stan-

dard

real-time

ASR

eentrellers:

pitch

bend,

med

wheel,

Pateh

Seleets

and

Arneles:

Replacing

Yeur

Drum

lvlaehine

Avi

Weinherger

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

.. 4

KS

Defaults

Den

Rehde

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

..

I5

KT

Drum

Mapping

Al‘

Blake

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

..

ll}

Using

the

Enseniq

Presets

—

Part

I

Frank

F

ertnnete

.

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

.. 12

TS

Relling

Grand

Gerry

Weryiiw

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

..

I4

‘EFX-SD

Chttreh

Bell

Jim

Greta

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

..

13

[

Reviews:

All

in

the

Family

—

Samples

frem

Samp

[

Rehhy

Barman

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

..

eever

Basement

Tapes:

Maeeahee

Denis!

Mandel

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

.. 16

Regular

Stuff:

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

ISSUE

NUMBER

l2?,

$2.50

JANUARY,

1996

pressure.

All

ef

the

seunds

were

sampled

at

29.'?l~:,

a

perfectly

apprepriate

sampling

rate

fer

the

TS.

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

be-

cause

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

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

in-

treductery 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

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.

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

Announce

ments

New

seunds

frem

Ensettiql

ASRFTSIEPS-16

PLUS

{CD-RDM}

SCI}-l

-Citicage

Signature

Series

—-

it

reek

a

while

te

clean

up

deseriptiens,

theugh

they

seem

silly

here

in

this

review,

de

eveke

the

lenely

emetienal

subtext

in

this

seund.

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.

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

CELES-

TIAL.

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

authentic-

seunding,

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.

The

TS-Ill

Samples

far

the

ASH-ll?

are

a

great

way

te

jumpstart

yeur

ASR-ll]

er

SS

inte

synthdem:

letsa

big

tex-

tures,

geed

leeps

and

expressive

fun.

Fer

mere

infe,

call

James

lvl.

Satnp

aretmd

9

am

CST

at

414-922-433?,

Menday

threugh

Friday.

-

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

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.

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.

KT

Series

{RUM

cards)

KTC-3

Cirurcitlffrespel

seunds

—

160

setmds

perfect

fer

gespel

and

warship

music.

$99.95

suggested

retail.

KTC4

Cartntry

seunds

—

160

seunds

fer

beth

styles

ef

music

(that's

Ceuntry

and

Wesrernl).

$99.95

suggested

retail.

Hacker

News

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

shuf-

fled

areund

the

Internet,

please

cenract

us

at

503-22?-6848.

We've

get

a

new

page

at

eur

Web

site

{http:;'i'www.tran-

seniq.cemr'--trnserriq)

—

On-Line

interface.

This

is

a

spet

where

yeu

can

drep

yeur

letters

te

the

interface

and

Answer

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

ship-

ping.

Fer

further

infermarien,

centact:

3D

Seunds,

Bex

22065,

50

Westrneunt

Rd.

N

.,

Waterlee,

ONT

Canada,

N2L-6J7,

phone:

519-74'?-0282.

‘k

‘I

'#

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

dif-

ferent

Enseniq

keybeards.

Phat

Leaps

is

Number

14

in

Syntaur's

cellectien

ef

4-disk

sample

sets,

and

is

geared

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,

beth

by

pregramming

an

Arp

2600

and

by

rnil-ting

live

'

"-

- -

---9at-;r;et-'ttr

|\|

IQ

drunr

sets.

The

snunrls

crc

then

sequenced

using

liisien

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

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.

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

Skeleten

Key,

h-iirzirigrm

lxnul

‘fern

dees

vecals

fer.

Tent

says

there

are

a

11llIl1ln.'-1'

cf

tutu.-r

rcall

y

talented

unsigned

industrial

bands

featured

ti:r'nt1.glnnn.

tic-epic

seeking

infe

en

it

can

cen-

tact

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.

‘t

hir'tt-that

ty

News

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'3dseund

s.

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

pat-

terns,

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;

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.

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,

TX

??'09.?..

phenc:

Ti

_-1---:'iii.l--lilfttl.

How

to

Creole

on

EPS

Disk

to

Replace

Your

Drum

Machine

A

lot

of

us

musicians

have

made

extensive

use

of

dmm

machines

before

we

ever

purchased

the

EPS.

And

since

these

of

us

who

have

used

them

probably

have

tens

of

se-

quences

using

this

drum

machine,

it

would

be

a

nightmare

to

change

all

the

sequences

to

utilize

EPS

drums

instru-

ments.

Given

that,

it

would

be

very

useful

to

create

a

disk

that

would

be

compatible

with

the

drum

machine.

This

disk

would

enable

us

to

play

all

the

sequences

we

already

have

directly

on

the

EPS,

without

changing

them,

and,

fur-

ther,

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.

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.

Tosmn

1.

Find

a

drtun

instrlnnent

disk

that

includes

sounds

that

suit

your

taste.

2.

Lead

the

drmn

instruments

to

“instrument-track”

#1.

3.

Press

“command,”

“instrument”

and

go

to

“create

new

instrument”

by

pressing

the

left-right

arrows.

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.”

Avi

Weinbcrger

3.

Play

the

notes

on

the

EPS

keyboard

until

you

hit

the

sound

you

want

to

transfer

first.

When

playing

the

key-

board,

look

at

the

screen

and

see

how

the

wavesample

number

changes

to

show

which

wavesample

you

are

play-

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.”

T.

Press

“enter-yes.”

Screen

shows

“wavesample

1

created”

then

goes

back

to

“copy

wavesample.”

You

have

just

copied

the

sound

you

like.

Explanation

of

MIDI

Key

Numbers

After

copying

the

wavesample,

we

have

to

adjust

its

range

to

that

of

drum

machine.

The

place

of

the

specific

drum

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).

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

I.

Press

“edit.”

Screen

shows

“urmamed

I

lyr=l

ws=l.”

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

calcu-

late

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

have

to

reduce

one

octave,

which

means

we

will

use

note

B

in

octave

1

(B1).

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

high

to

“hi=B1.”

This

will

put

the

bass

drums

exactly

on

MIDI

key

number

35

which

is

B1

in

the

EPS.

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.

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.

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).

In

most

cases,

this

will

be

the

correct

one.

If

not,

the

desired

root

key

will

be

near

it.

Next

Wavesampies

Follow

the

preceding

steps

to

create

all

the

other

drums

sounds

wavesamples.

Save

the

Instrument

to

disk

I.

Press

“command”

and

then

click

the

“instrument”

but-

ton

twice.

The

screen

will

show

“save

instrument.”

2.

Press

“enter

yes.”

The

screen

will

show

“namc=un-

narned

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.

4.

After

finishing

the

name

changing

press

“enter-yes”

and

the

instrument

you

had

just

created

will

be

saved

to

disk.

Tips

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.

Sup-

pose

you

havc

discontinuity

in

the

drum

sounds.

For

ex-

ampie,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

tom

wavesample

to

MIDI

key

41.

Copy

hi-hat

wave-

sample

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.

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.

And

that

is

how

to

make

a

drum

machine

compatible

disk

for

the

EPS.

So

now

you

can

sell

your

drum

machine

be-

cause

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.

-

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

as-

sume

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

_

I1111

D1:

ggj

u

_t~1

I

_

H

-

-Ii

The

first

default

sets

all

Levels

at

99

with

a

fast

Release

of

Lev1=99

so as as

+

0.10

seconds.

This

would

work

well

for

the

amp

enyelope

2” 2” 2” 1”

ii,‘

lk

of

an

organ

program

or

any

other

instrument

requiring

an

ii

it

I

immediate

Attack.

Since

LeyV=Ufl,

no

VelCurve

is

in

1

i

effect.

‘\l'E1-i-

he

All

Zeros

.

\

_i

gg

.

.

-

l

I

Seconds

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

[-].)

Levele-

F1111

veracity

9”

'*'

”

"

"'

_

Iange

\

Ley1=E9

as as as

p

i

t

\;

Seconds

.2e

.ro

.eo .1o

ED ED

ID

ID

N

1

Lsvv=es

‘

'-

t

'

're1curv=I;luickr.l.ie

,-

”"\\

i

_-|I'__'_-F,-|Il-'-

Full

Velocity

Flange

This

one

is

identical

to

Full

On

with

one

big

difference:

LevV=99,

which

means

the

Level

(not

the

time)

can

vary

from

00

to

99

depending

on

how

quickly

the

key

is

struck.

A

Lev’v'

value

other

than

00

also

automatically

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

I

ratio.

This

default’s

Lev“v'

is

extreme,

higher

than

usually

chosen

for

most

sounds.

Slow

String

This

default

is

characterized

by

a

slower,

vari-

able

Attack

time.

Struck

at

slowest

velocity,

the

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

gives

this

default

some

degree

of

real

time

velocity

control

over

its

Levels,

too.

Quickrise

is

the

most

sensitive

of

the

KS-32's

four

§;oI

string

9”

Lsv1I5E

99

94

B4

'-

'_”_“

35 4?

Lev?=13

.I|.'|:.I.':'l-t"tl=lil5

as so

T”

*4

_

|

vo1eury=ouiokr1se

E

Level

-1»-

see.

.11

.s4

1.i_'

1.?

Z

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!

99

Lev1=fl9

95

T5

00

00

50

T0

30

'

Lev?=l9

.

ve1curv=Convex

'1

HeyboardTrk=+5E

o

u»

Lovela-

\

\

I

'j§EET””TlE"'

t.3il

s

s

Piano

Decay

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

Level

can

vary

by

about

20%,

depending

on

key

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

respon-

siveness

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

Percussion

Designed

for

drums,

cymbals,

pot

lids

and

other

hit

things,

this

default

has

the

same

LevV=l9

as

Piano

Decay,

giving

it

some

responsiveness

to

velocity.

Its

curve,

however,

is

Concave,

the

least

responsive

to

lower

velocities

and

most

responsive

(steepest

part

of

curve)

to

higher

velocities.

lvIode=Finish

means

that

any

sample

played

will

automatical-

Lev?=19

Hod:=Fin1sh

99

va1Curv=Conoave

m

G

LevE1+-

Highest

Lov1=99

vo so

oo

”“1”“1”?

so

as

13

co

Lowest

yelooity

5812-

I-.1

1.1‘

B..1

ly

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

__\

Lev1=00

so

ss

as

50

50 40

15

5

-

I

I

fill

Lovela-

.311-3'-1'?‘

I-I-It

I

I

lII—

1il—1lIl—

E

Seconds

1.5

1-E

-BI

J.

T

Ramp

Up

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,

remem-

ber

these

defaults

are

meant

to

be

starting

points.

Perhaps

different

Attack

values,

such

as

30

which

l‘ve

added

to

the

illustration,

would

give

it

more

uses.

1 1

3_.

Ramp

Down

I

nun

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?

Llttre-1

4-

Short

Blip

Short

Blip

99"

I

I

|,

____

,

'

'

'

.

Lsvlrllfi

99 00 00

oo

JD

{'15}

3‘?

This

IS

an

almost

mstan

U2 D2

W15

_.

taneous

ascent

and

descent

from

Level

00

to

99

then

Ht

y

-|-

I

back

to

00.

Used

for

an

Amp

default,

it

might

work

for

the

sound

of

a

submarine‘s

sonar‘?

_

D

D|

L-E\l'E1-In-

t....e

99

-.-.4

as

it§ti§.."‘v.1..n.

1

The

default

cem-

bines

the

contours

w-v=1s

S

.,___

s

A

—"’*

=

of

Ramp

Up

with

Short

Blip.

to

label

suggests

In-=xv=vs

,

that

it

simulates

the

change

in

tone

over

time

of

a

Highest

Note

_

I

‘relcurvwoutokrtse

Lowest.

velocity

trumpet,

tuba.

or

French

horn.

Its

LevV=19

gives

,,g1,gg,,,,,.,.,,,,,yg

it

some

responsiveness

to

key

velocity,

though

its

AtckV=06

gives

it

a

lesser

degree

of

Attack

time

_1

J

hm

-4,

4,._-in-lg--1-~

,

variability.

Its

Quickrise

curve

makes

it

highly

.

.

-

----.

responsive

even

to

lower

velocities.

Keyboard-

Trak=+20

shortens

the

higher

notes’

overall

Time

values

and

extends

the

lower

notes.

‘

99

T

__

Brass

Filter

Inn

Filter

"""""—'-F‘-_

-T

,5;

_1_-jg

1'?

II

EU

15

E1-1-

to

B

Lev

Repeat

Tri

'—‘*fi“—‘“'i‘

99

_

i

E

Lev1=00

as

pg pg

I

t

y

l

This

one

is

a

Short

Blip

(0.12

total

seconds)

that

repeats

as

long

as

the

I

as

DE

f

t

_

key

is

held

down

(Mode=Repeat).

It

would

work

much

like

a

PosTri

””””=””””“

‘

l

LFO

waveform

with

a

0.16

second

Release

time.

A

setting

of

Mod-

“'

i

souree=Env2

(Repeat

Tri)

to

a

degree

of

-50

would

make

the

peaks

:

i

point

downward

to

a

level

of

-50.

You

might

use

this

in

a

voice

where

you

need

a

different

LFO

rate

or

waveform

than

the

one

you‘ve

al-

ready

chosen

for

the

LFO.

-

,

“D

.es

.os .1s

LE\rE1-o-

l

, I

.,,

_

Repeat

Ramp

llfllt

Hang

'_

Lev1=t'JEt

oo

ssoo

This

contour

functions

like

a

sawtooth

LFO

00

12

00

15

,

waveform.

For

a

reverse

sawtooth

pattem

(Ramp

Down):

Hode=Repeac

I

99

00

00

00

12

00

00

16

and

keep

Mode=Repeat.

to

'5’

Leve1~1-

|.

M

‘EC

.

,5

B

9,

_

,___

_

_

-

_

_.

Wind

Pitch

Ilnfl

Pitch

Hishsr

schol-

-

s

ass

1.“-1_aa

s s

_

'

Except

for

its

Initial

00

value,

this

default

is

similar

_

2“

2° 2° 2°

I

fillies

to

Full

On.

The

high

Atcl-:V=99

value

shortens

the

|

*‘““‘9g

_

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

para-

meter

would

suffice.

ct

'3'

Lovela-

-I'

-Z

I

_

L...

..J

l

_go

.2o

-—--Bani:

Pad

Q9

‘/it

With

its

slow

Attack

and

very

slew

Release,

this

iL'“'1=§§

33 33

default

suits

the

needs

of

an

unobtrusive,

sustained

background

sound.

E11-

;

I.‘

|

-1-1;

1

hi

Hui

'-'

!!E~!£iE

99,1

an

.ss

t.e

Lev

|Lov1=?£l

Q9

CID

fifl

cs

to

so

is

Amp

Blip

i

This

envelope

is

similar

to

Short

Blip

except

that

its

Initial

value

is

70.

The

1

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.

I.-eve

1

1-

|"

“U

.os

.1o

.15

J

'

'

-i——-

—

i

1

-

Transllnt

99-F

Transient

E

,

Lev1=99

as

go

co

,

ill

D

55

'

This

looks

similar

to

Amp

Blip

except

for

its

sheer

cliff

drop

to

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.

EVE

-||-

3

L1

p-

_

.____________.__________________._________________.________n.~_n___

99

_.

.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

\

used

like

a

PosTri

LFO

waveform.

Its

Release

is

a

1

.

E

1

.

E

{

1

,5}

D

D

Level+-

slow

1.6

seconds.

-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

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:

If

a

Drum

or

Percussion

sound

is

selected:

1.

Press

the

EDIT

SOUND

button.

2.

Press

Upper

D,

Lower

3

Display

will

read...

“Press

ENTER

to

set

GM

map."

3.

Press

ENTER.

(The

Enseniq

map

limits

you

to

only

1’?

dnun

waves.)

_

If

a

non-Percussion

sotmd

is

selected:

1.

Press

the

EDIT

SOUND

button.

2.

Press

Upper

U,

Lower

‘I’

Display

will

read...

"Press

ENTER

to

Change

Soundlvlode."

3.

Press

ENTER.

4.

Press

Upper

U,

Lower

3

Display

will

read...

“Press

ENTER

to

set

GM

map."

5.

Press

ENTER.

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

At

Blake

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

Please

don‘t

play

any

additional

notes

or

the

Map Police

will

come

to

arrest

you.

The

first

C2

should

be

flashing.

Now

we

need

to

press

the

UP

arrow

to

select

the

next

KEY.

The

screen

should

say:

Ke-y=C#2

so

he

Puncnr

tcrcx

Our

task

now

is

to

select

a

wave

for

C#2.

Press

bottom

row

button

#1

which

selects

the

WAVE

CLASS.

Use

bot-

tom

row

button

#1

as

a

cursor

to

select

the

two

parameters

on

this

page.

Press

bottom

row

button

#1

until

Wave=

KICK-DRUM

is

flashing.

Since

I

want

a

SIDESTICK

on

C#2,

I

need

to

hit

the

UP

arrow

twice

to

select

Wave=

MISC-DRUM.

The

screen

should

read:

l't‘eve=l"|ISC—DRU|*-‘I

RIHSHOT

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

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

dif-

ferent

snare

just

press

bottom

row

#1

to

select

REAL

SNARE

and

hit

UP

arrow

to

select

Snare

waves.

Once

that’s

done,

press

bottom

row

#0

and

screen

should

read:

l(ey=D2

ac

an

sou.

sures

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-

board.

Then

press

G2

Once.

Now

the

screen

should

read:

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

REAL

SNARE

on

D2

thru

G2.

We've

only

done

3

out

of

a

possible

1‘?

waves

so

we

have

14

to

go.

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

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:

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

TUNED-

PERC,

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

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:

Ke.-_y=C3#

so

are

PUNCHY

KICK

Now

we

have

used

four

waves

out

of

17.

The

KT

is

now

saying

that

no

wave

has

been

specified

yet

for

C3#.

Let’s

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.

N

ow

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

-

Please

do

not

play

any

other

notes

or

the

dreaded

‘ll’?

will

appear!

Eventually

we

are

going

to

be

able

to

play

all

of

our

waves.

Now

with

the

first

C3#

flashing

ltit

the

UP

arrow

to

D3.

Display

reads:

Ket_y=D3

A0

:A0

Pl.H*~lCl-l‘|’

KICK

New

we‘re

ready

to

find

a

wave

for

D3.

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

you'll

have

the

added

“Hidden

ROM"

waves

irt

the

kit

as

*

i

_

I

-

i

I

well.You

will

end

up

with

48

total

waves

out

of

a

possible

53!

{Remember

our

snare

drum

occupies

6

keys.

If

we

had

placed

the

snare

on

only

1

key

there

would

be

5

more

hid-

den

GM

waves.)

-

Bio:

Al

Bloke

is

a

Tacit

Support

person

and

KT

school

in-

structor

at

Ensoniq

Corp.

He

and

his

wife

are

a

keyboard

aria‘

vocal

duo that

perform

up

and

down

the

Mid-Atlantic

region.

Using

The

Ensoniq

Presets

Part

I

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

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.

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

set-

tings

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

reminders

are

especially

aimed

at

those

who

are

new

to

the

keyboard.

It

would

be

helpful

to

review

the

January

ar-

ticle

as

these

ideas

build

on

that.

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

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

key-

boards

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

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.

1.

In

that

regard,

the

VFX

and

SD-I

axes

are

even

faster

than

F

ra

nk

Fortunate

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.

For

those

interested,

among

other

additions

to

the

TS

parameters

not

found

on

the

SD-I

are:

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.

d)

Many

more

controller

settings.

e)

The

track

and

MIDI

pages

have

been

expanded.

One

of

the

best

editions

is

the

bank

select

feature.

f)

One

of

the

greatest

changes

on

the

TS

reflect

the

enor-

mously

expanded

effects

parameters.

Let's

visit

some

of

these

preset

pages

and

see

some

of

the

ease

of

use

and

delightful

ways

that

they

can

aid

perfor-

mance.

While

my

context

is

in

my

work

as

a

church

musician

these

features

will

be

applicable

to

all

kinds

of

music

situations.

A.

THREE

INSTANT

SOUNDS.

Most

Ensoniq

users

realise

that

every

time

they

select

a

sound

it

is

also

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

banks.

'

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

a

carpet

of

sound

during

a

quiet

part

of

the

meeting,

and

needs

to

go

seamlessly

from

one

sound

to

another.

Re-

member

that

some

voices

may

lose

their

character

from

taking

on

the

common

effect.

(In

my

earlier

article

I

men-

tioned

ways

to

deal

with

this.)

When

we

find

a

sound

with

a

special

effect

that

we

want

to

use,

but

find

other

voices

not

working

well

with

that

effect,

(like

a

piano

sound

for

instance)

we

can

send

that

sound

tl1rou

gh

the

“dry”

routing

ir1

the

effect.

C.

RICH

SOUNDING

LAYERS:

In

church

work

musicians

need

a

variety

of

electric

or

acoustic

piano

set-

tings

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.)

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.

D.

OCTAVES

(KEY

ZONE):

I

have

personally

found

with

strings

that

it

is

best

to

review

the

lower

octaves.

Al-

most

all

of

the

settings

will

start

to

“growl”

in

the

extreme

lower

ranges

of

the

T6

note

TS-12.

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

trans-

pose

the

bass

up

an

octave

which

allows

for

the

bottom

note

on

the

TS-12

to

sound

as

the

regulation

E-2

note.

This

is

particularly

helpful

when

I

want

to

split

the

key-

board

three

ways.

E.

TUNING

AND

TRANSPOSING:

When

tuning

strings

with

acoustic

or

electric

pianos

I

find

it

best

for

my

taste

to

tune

them

to

the

same

octave.

(This

is

accessed

on

the

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

it

is

effective

to

tune

the

percussive

sounds

in

higher

ec-

tave

ranges.

For

instance

if

I

want

to

add

a

“ping”

bell-like

percussive

sound

to

an

electric

piano

it

will

most

often

sound

more

brilliant

to

have

that

bell

sound

in

a

higher

oc-

tave

setting.

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

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

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

op-

tions,

and

the

awesome

effects

pages.

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.

-

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

Mobil-

iaation.

TS

Rollin

Grand

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

had

just

been

released.

A

new

piano

patch

had

just

been

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

point

is

that

every

time

we

have

an

incremental

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

sound

it

produces

is

tleceivingly

coruplert.

lvlultiple

strings

beat

and

flange

against.

eaclr

other

in

a

nonrcpeti-

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

in-

creasingly

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

the

reason

the

old

analog

synth

destrrilusl

above

dirln’t

hold

anyone's

interest

for

long.

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

Garry

Wasyiiw

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.

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

modulating

the

LP

filter

with

the

LFO

that

has

its

rate

varied

with

noise.

The

second

voice

adds

a

thud

to

the

attack.

The

para-

meters

are

fairly

straightforward.

The

nest

wave

is

the

selection

from

the

WAKEFORM

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.

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

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-

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

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in

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HACKER

BASEMENT

TAPES

T

.

r

t

-Dcrnlelll/lonciel

And

Now

Here’s

Something

Really

Different...

Tape:

The

Joy

ofivorleslfilectronlc

Backup.

Artist:

Bnrce

Maccabee.

Contact

info:

6962

Eyler

Valley

Flint

Rd,

Sabillasville,

MD

2l'l39.

Equipment:

Mirage,

ESQ1

and

SQ-2.

Over

the

years

(yes

it's

been

a

couple!)

I

have

received

rock,

rap,

jazz,

boogie

woogie,

ambient

music,

thrash-

country-progressive,

you

name

it.

But

tmtil

now

I

had

not

received

any

opera.

Well

stand

hack.

Bruce

has

cooked

up

a

compilation

of

some

very

beautiful

standard

rock,

classi-

cal

and

operatic

pieces.

Some

original,

some

not.

Most

of

these

pieces

come

off

as

very

raw,

not

especially

well

recorded

instnmrentals.

They

are

awkward

at

best.

What

amazed

me

is

the

two

songs

buried

in

the

middle

19

that

were

quite

well

done.

I

think

it

points

to

the

martim

that

simpler

is

better.

These

two

songs

were

simple

back-

ground

accompaniment

with

a

beautiful

vocal,

by

Chris-

tine

lvlaccabee,

recorded

live.

-

While

Bruce

managed

to

really

hit

the

spot

with

Christine

singing

his

own

voice

on

Junk

Mail

Blues

comes

off

rather

like

an

out-take

from

Dr.

Dernento.

The

low

points

in

this

tape

are

the

tempo

changesiadjusb

mcnts

that

don't

quite

jive.

This

is

a

real

mi:-ted

bag.

Some

quality

stuff.

Christine's

voice

is

a

real

high

point.

However,

there

is

just

enough,

“Gee,

listen

to

what

I

can

do

with

my

synthi"

to

make

this

almost

unlistenable.

Bruce

appears

to

be

a

capable

player,

and

I

would

suggest

revisiting

what

made

those

pieces

with

Christine

9911.119

so

good.

-

If

you

want

your

tape

run

through

the

ringer,

err,

Hacker,

just

mail

it

off

to:

Basement

Tapes,

Transoniq

Hacker,

1492

SW

Upland

Dr.,

Portland

DR

91221.

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DWAF'tElSDFTWAFtE

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stand,

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plus

disk

holders,

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59-W

speakers

wieords.

$1499.

(593)

261-1613.

Pro

Mid!

Software

for

PC:

Cubase

Score

1.11,

orig

$529,

sell

$219.

‘tfision

1.4,

orig

$259,

sell

$99.

Free

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or

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Tools

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with

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All

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Performance

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with

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Expander,

case

and

25+

disk

library.

Good

to

excellent

condition.

$659.

(299)

633-6156.

Call

'1'-3

am

or

5-19

pm

Calif.

time.

Also

looking

for

used

help

videos

for

the

TS-12.

EPS-16

PLUS

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with

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RAM

and

Flash

RUM

expansion

plus

SCSI,

dis!-ts,

docs

lit

original

packaging.

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or

best

offer.

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Loffirtk

at

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Pampered

EPS

with

2X

memory,

manuals,

and

29

disks.

Home

use

only

—

mint.

$615.

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Bering,

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1953,

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Arbor,

MI

43191‘.

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(313)

995-5445.

Ensoniq

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Wall

System

—

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lights,

Q-Loo

If

you‘-‘re

selling

your

gear...

Please

he

sure

to

pms

along

how

absolutely

vital

it

is

to

have

a

sub-

scription

to

the

Transonlty

Hacker.

And

—-

we‘re

always

happy

to

do

a

sub

transfer.

No

charge,

and

it's

a

nice

extra

to

help

close

the

deal.

E

M

I

I

g

stand,

Mac

computer,

lots

of

cables

and

eon-

verters,

many

patches,

samples,

cartridge,

manuals,

instruction

videos.

Great

condition,

never

used

on

stage

or

moved!

Must

sell

--

holding

two

jobs

and

never

use.

$6599.

Cal!

(296)

933-3914.

Peavcy

Midi

Bass

wicase.

Like

new.

Excel-

lent

tracking.

New

$1199,

sell

$1299.

Also,

1963

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Mustang

$499.

Must

sell

due

to

disability.

Might

consider

trade

for

studio

equipment.

Benny

at

(495)

343-3613.

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Springbrook

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Spring,

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ASR-19

samples

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fidelity,

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disk,

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Phone:

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TH‘s

Jack

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presents

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sounds),

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9314

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136,

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64132.

1?

Bio:

Daniel

Mandel

is

a

songwriter,

sound

designer,

and

has

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pro

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and

keyboard

equipment

and

produced

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tapes

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FINALLY!

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PA,

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MISC

ASR-19

Covert

‘tfideos

instructional

tape.

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3

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This

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copies.

Excellent

condition.

Best

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Call

Charles

at

213-369-3331.

(Due

set

only.)

Mint

back

issues

of

Transonlq

Hacker.

#31

—

#34,

39,

43

-—

6'1,

T1

—-

1'9.

$25

for

the

lot,

plus

$4

UPS.

Glen

Bering,

Box

T953,

Ann

Arbor,

MI

43191‘.

Phone:

(313)

995-5445.

OUT-OF-PRINT

BACK

ISSUES

lvl.U.G.

will

provide

Dut-of-Print

issues

for

cost

of

materials

and

postage.

M.U.G.

Hot-

Iinet

212-465-3439

or

write:

G-4

Produc-

tions,

PD

Box

6l5TH,

Yonkers,

NY

19193.

Attn:

TH

Back

Issues.

Phone:

(212)

465-3439.

* * *

Folks

in

the

New

York

City

area

can

get

copies

of

unavailable

back

issues

of

the

Hacker

—

call

Jordan

Scott,

1'13-

933-2499.

FHEE

CLASSIFIEDS!

Well

-

within

limits.

We're

offering

free

classified

advertising

(up

to

49

words)

for

your

sampled

sounds

or

patches.

Additional

words,

or

ads

for

other

products

or

services,

are

$9.251’

word

per

issue

(BULB

type:

$9.45,lword).

Unless

renewed,

fi'eebie

ads

are

removed

after

2

issues.

While

you‘re

wel-

come

to

resell

copyrighted

sounds

and

programs

that

you

no

longer

have

any

use

for,

ads

for

copies

of

copyrighted

material

will

not

be

accepted.

Sorry

-

we

can't

(we

won‘t!)

take

ad

dictation

over

the

phone!

Sonic

Derivations:

The

Church

Bell

A

patch

for

the

VFX-SD

series.

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.

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.

The

Sound

of

the

Bell

A

good

bell,

when

properly

struck,

should

give

out

two

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

acutel-

ly

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

sus-

tain

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.

_

Creating

the

Strike

Tone

To

create

the

patch

I

started

off

with

the

TUBULAR-L

waveform,

which

is

a

relatively

simple

sound

like

a

Jim

Grate

[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.

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

sus-

tain,

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

ap-

proximate

range

of

frequencies,

not

an

exact

and

pure

overtone.

Therefore,

after

experimenting

quite

a

bit,

I

set-

tled

on

the

SPECTRL-X

wave,

tuned

up

a

minor

third.

Its

effect

is

subtle,

but

noticeable

if

you

compare

with

or

without

the

minor

third

wave.

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

The

second

and

third

octaves

generate

the

best

church

bell

tolling

sound.

Higher

up

on

the

keyboard,

this

patch

sounds

more

like

carillon

bells,

which

are

used

more

for

playing

actual

melodies.

Also,

I

programmed

the

Mod

wheel

to

pan

the

sound

all

the

way

left,

as

a

quick

and

Btu.‘

Jirn

Grate

has

been

programming

and

piaying

syn

easy

way

to

move

the

sound

off

center.

I

hope

you

enjoy

thesiaers

fur

years.

He

is

fascinated

equally

by

both

this

sound.

A

soft

and

distant

bell

tolling

creates

a

great

science

and

art,

words

and

pictures,

seund

and

music.

haunting

mood

and

dark

ambiance.

Enjoy.

-

SD

8:

VFX

Frog:

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James

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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

deton-

ing

some.

In

addition,

for

Voice

2,

tone

down

the

LFO

para-

meter

to

+01.

Stay

in

the

Pitch

Section

again:

tum

on

the

MODSRC

to

LFU

and

let

its

MUDAMT

=

+10.

We‘re

start-

ing

to

inject

a

faint

sing-song

effect

into

Voice

2.

For

‘iioice

2,

change

the

‘iiel

Curve

to

LINEAR

for

both

en-

velopes

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.

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.

T

_

__.i

Finally,

balance

the

two

voices.

at

the

Output,

reduce

Voice

1’s

Vol

to 55.

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

Bio:

Jefirey

Rltoads

has

been

a

key-

boardistlcomposer

on

the

Philadel-

phia

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.

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...

SQ

Modulation

—

The

Story

Continues...

Clark

Salisbury

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

ex-

planation

of

the

lvlode

parameter.

If

your

SQ-1

happens

to

still

be

in

the

same

condition

it

was

in

when

we

were

so

rude-

ly

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

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

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.

There

are

three

modes

that

an

envelope

can

run

in.

So

far

we‘ve

been

using

NORMAL

mode.

Selecting

the

mode

para-

meter

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

ii

l

Q

iii

y

eTH

--~

A

Faster,

Cheaper

Hacker

l

If

you

can

receive

e-mail

via

the

Internet,

you

can

take

ad-

;

vantage

of

avoiding

the

post

office

and

get

a

faster,

cheaper,

1

e-mail

version

of

the

Hacker.

The

e-mail

Transonia

Hacker

-

contains

all

of

the

same

information

and

advertising

as

the

l

printed

versien.,

but

it‘s

only

$20,r'yes.r

--

anywhere

on

the

,1»

planet.

Plus,

if

you

convert

over

from

the

printed

version

you‘ll

;"

get

extra

issues

added

to

your

sub.

Interested?

Just

send

a

mes-

!-

sage

to

us

at

eTI-l@transoniq.com

and

we‘il

e-mail

back

com-

"""'l

plate

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

ad-

just

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

dif-

ferent

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

CON

YEX

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

set-

ting

of

U0

gives

us

no

where

to

go

—

the

attack

time

is

al-

ready

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

at-

tacking

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

avail-

able

for

all

issues

since

#1

IE:

$1

each

{anywhere}.

Urders

for

e-mail

is-

sues

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

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

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

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.

The

envelope

we've

been

working

with

has

been

used

to

con-

nol

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

applica-

tions

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

mach-

inations

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

bin

go.

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

dis-

play

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

en-

velope

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

per-

fect

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

is-

sues

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

scissors

is

going

to

—

Bio:

Clank

has

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????

Steven

J.

Pyne

‘liia

Intemet

{Ensoniq

—

You

are

reaiiy

going

to

need

to

caii

our

Customer

Service

depart-

ment’,

at

6I

0-64?-3930.

You

offer

so

Iii-

rie

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

com-

puter,

what

additional‘

cards

are

in-

stalled,

which

version

of

Windows

J,

and

whether

this

is

happening

during

record-

ing

and

playback,

only

on

playback,

only

on

certain

files,

etc.

Rest‘

assured,

we

will

find

out

what

the

problem

is,

but

we

need

some

"interac-

tive"

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

mes-

sages

that

I

don't

understand.

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

mes-

sages

and

their

meanings‘?

I'm

stuckil

Please

help!

Thanks

again!

I

Brandon

Via

Internet

{CS

-

I'm

afraid

I'd

need

more

informa-

tion

ro

nasard

any

kind

of

guess

1'

and

my

guesses

are

among

the

top

most‘

hazard-

ous

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

hookups

that

might

be

nosing

your

clock

signal,

then

caII

Ensoniq

Customer

Serv-

ice

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

en-

gineer

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

in-

siruction,

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

cur-

rent

version

is

3.53.

Cali

us.)

-

Dear

TH:

I

think

this

is

a

reasonable

proposal

for

consideration

on

Mount

Malvern.

En-

soniq

sequencers

should

be

able

to

in-

corporate

a

multi-chatmel

mode

on

one

INSTRUMEPIT

(track?)

of

the

future

Ensoniq

machines.

There

are

many

very

modest

computer

systems

transmitting

more

than

16

MIDI

charmels.

It

seems

reasonable

to

be

able

to

import

a

multi-track

recording

into

one

INSTRU-

23

MENT

for

transmission

to

extemal

modules

and

still

be

able

to

add

other

on-board

music.

It's

really

frustrating

to

limit

the

on-

board

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

im-

agine

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,

rack-

mountabiej

with

SCSI

ports.)

{Ensoniq

-

Thanks

for

the

suggestionij

To:

transoniq.corn

Just

a

quick

note

to

say

that

even

though

I

don't

have

any

new

toys,

the

occasional

articles

en the

EPS-16

PLUS,

SD-II32,

and

DPI4,

that

I

de

have,

keep

me

eur-

rent

and

interested.

I

find

that

by

reading

all

the

articles

abeut

the

new

instru-

ments,

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

J

e

se,

CA

{CS

—

Se

dc

I.

Let

me

hear

ltfer

me.

And

write

again,

anytinteij

*

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

En-

seniq

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

(share-

ware)

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

ar-

cane

and

mystical

practices.

The

infer-

matien

weighs

a

bit

heavier

an the

PC-side

ef

things,

but

there's

a

let

ef

in-

fermatien

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:

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

seund-

ware

cempanies

like

Syntaur

and

Eye

dc

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

pre-

cieus

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.

Thanl-ts,

Ales;

Darsen

adarsen@tribune.cem

[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

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

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

the

ASR,

i.e.

what

medel

what

US

was

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

I-ID

I'm

pretty

1-teen

te get

them

te

werlt

witheut

lesing

me

a

let

ef

pregramming

werk.

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.

Thanks!

Paul

-=:SennenSystem>

Tan

Via

Internet

{CS

-

First

ajf,

it’s

deubtful

the

memery

chips

are

yeur

preblem.

And

althcugh

I'm

net

familiar

with

the

Fireball

drive,

I’ll

pass

aleng

seme

general

SCSI-type

tips.

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

sys-

tems

seme

sert

cf

active

terminatien

(such

as

the

SCSI

Sentry

frem

APS}

may

prcve

helpful.

3)

Use

the

shertest

SCSI

cabling

pess-

ible.

SCSI

chains

sheuld

net

exceed

20

feet

in

length,

and

can

became

trauble-

scrne

even

at

sherter

distances.

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

at-

tached.

SCSI

devices

cannet

be

meunted

ence

the

ASH

has

been

pcwered

up.

6)

Parity

must

be

disabled

en

SCSI

devices

ta

cemmunicate

preperly.

F’)

Enseniq

has

tested

drive

mechanisms

frem

several

manufacturers.

The

list

ef

uppreved

fixed-drive

mechanism

manu-

facturers

is:

Fu_litsu,'

Ccnner;

Seagate;

and

Quantum.

If

your

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

Subject:

TS-ll]

filter

Can

somebody

tell

me

if

there

is

a

modification

to

get

a

resonant

filter

on

a

TS-1D

synth?

A

former

Arp

2600

tripper.

Teussaint

Rudy

Via

Intemet

[CS

-

There

are

several

effect

al-

gorithms

available

in

the

TS-IO

which

will

previde

a

resenant

filter

that

you

can

use

en

your

TS

seunds.

Try

these

ef-

fects

I

and

their

variations}

te

see

if

ene

of

them

might

previde

what

yeu're

lech-

ingfer:

-

'

ll?

ENV

VCF'+CHORIIS+llEl="

I

-=l

ENV

PHL.»lt"\lGEIl+IlE'r'

Ill

ENV

l=’CF+RlJTt§lSPKR+h'Elt'

66

VCF—-DISTGRTIGN--VCF

ti?

Weill

-

-DI

S

Ttflll

TI

tfllll

+li’E

V

Trip

en,

.»'llll’etelegist.j

TI-I:

Where

can

I

find

Macintosh

applications

to

store

and

edit

EPS-16

PLUS

sounds

and

waveforms‘?

Also,

what

is

the

best

MIDI

application

fer

the

Macintosh

to

interface

to the

EPS-16

PLUS?

Alan

Via

Intemet

{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

"F

rem

Cyberspace

te

Your

Ear,"

which

provides

seme

excellent

informa-

tien

en

software

available

via

the

Net,

and

hew

te

use

it.

When

you

ash

what’s

the

best

applica-

tien

fer

use

with

yeur

EPS-I6

PLUS,

I

assume

you

mean

the

best

sample

editer.

The

application

of

cheice

ameng

profes-

sienals

(at

least

for

the

Mac),

is

called

Alchemy,

and

it’s

a

commercial

pre-

gram.

It’s

not

inexpensive,

but

ifyou're

interested

in

doing

sound

design

and

sample-mashing,

it's

the

program

te

use.

Fer

mere

information,

centact

Passport

Designs

{'-=ll5-?26-0236,‘

http.'llwww.

mw.i‘

.ce

mtpasspertlij

{Enseniq

—

We

can

add

that

there

is

a

new

program

call

Furphel,

from

BIAS

Software

which

werlzs

well

with

our

samplers.

They

can

be

reached

at

1

i

l

1

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

I

1

|-|

—1

~=ll.'tT-.i'3I-5l3.‘i,

or

e-mailed

at

sberhley@

crl.cem.j

Sirs,

I

am

l.l1e

proud

owner

of

a

KS-32

key-

board

and

am

facing

little

problems:

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

and

on

again.

Do

you

have

any

explana-

tion

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

version

installed,

and

if

yes,

can

I

do

it

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

mem-

ory

card‘?

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.'?

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

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

play-

ing

original

SQ-R

sounds.

Is

there

a

“normal”

difference

between

the

two

1

I

_

Missing

or

Damaged

Issues?

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

subscrip-

tion

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

explana-

tion

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

En-

soniq

technician

{who

should

also

be

able

to

supply

you

with

the

chips

in

the

first

place).

Installation

should

be

inex-

pensive

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

m

_.

- -

.-.-.

--t.

_ _

_._

.::r

__

Eli?

.lGGiS5—Fl5T

Lfllfllllfi

1uua.

stnstunns

an-an

noun

sacs

GUARANTEE

,

,3

5,"

r

LNAIDG-.SY!i’E

-s"

em

'

I'Ai'.$

-

3‘l'HIl'lGS"*

‘I'iIl"lD.tk=ERhS$

.

..

HAIWHREPS

r

flliiltlilllir-id-1.5.3-r

GUITARLUDPS

r

'iflSI1!l'!flfi

1

flR[1‘HHH"S-

Elfliflflfi-BflM

'flHlMIflBHlHEH€l£WS

Slfififlfi

-

"r'fl€Ai.S*S€l!lfi%%_

T5’-DFDEH‘

1-800

-301-

MIDI

{sass}

S

auaextunoteeae

S,

-

Fllll

lihThLU[i$

l§hL|.1

’

|V||D|

MARK

:-

u'.

riciir

'1|.-

.

u.-u.=1|:u

-.1

-.=:.¢.|:a

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

ac-

commodate

a

parameter

introduced

with

the

first

pressure sensitive

SQ,

which

was

the

SQ-2

ll

believe).

This

para-

meter,

"WHEEL+PRESS,"

made

it

poss-

ible

to

use

both

these

controllers

simultaneously

without

maxing

out

the

depth

of

the

parameter

they

were

con-

trolling

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

pro-

gram.

This

should

restore

the

vibrato

to

a

more

manageable

setting.

Your

perception

of

a

sound-quality

dif-

ference

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

prede

cessors.,l

{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

Transoniq

Hacker:

I

was

deeply

involved

with

the

Novem-

ber

issue

(No.

125)

when

I

came

across

a

question

posed

by

Dave

Ward

of

New

Zealand,

who

asked

about

his

TS-Ill

in-

terfacing

with

a

2'I-"ll

MB

hard

drive.

Maybe

I’m

missing

something,

but

I

am

confused

by

your

response

to

his

ques-

tion,

(along

with

a

thousand

other

things...)

and

Ijust

had to

write

and

ex-

pose

my

sheer

stupidity.

You

responded

to

one

question

by

stat-

ing

that

a

CD-RUM

will

give

you

access

to

hundreds

of

sounds

and

all

one

must

do

is,

"...p1ug

the

drive

into

your

25

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

relation-

ship

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]?

These

questions

weigh

heavily

on

my

mind

and

I

look

to

you

for

infinite

wis-

dom

and

guidance,

and

please

forgive

my

ignorance.

I

am

but

a

novice.

But

thanks

so

much

for

your

insight

a.r1d

response.

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.

Thanks

again,

Dennis

Smith

Newberry,

SC

{CS

-

Oops.

Sorry

about

any

confusion

I

may

have

caused

in

my

response

to

Dave

Ward's

question

—

I

neglected

to

men-

tion

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

around

$200.00,

I

believe.

And

I'm

afraid

the

Chicken-people

are

right;

you

don't

have

the

tools

you

need

to

create

original

samples

for

your

TS

-I0.

However,

elsewhere

in

the

Inter-

face,

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

sup-

ports

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

TI-]_.

Every

day

I

use

my

ASR-10

Rackmount

with

a

DCI

44-Meg

Syquest

and

a

For-

mac

8-*-‘l0-Meg

hard

drive

—

with

no

problems.

Fast

and

cheap.

P.S.

E-mail

and

the

Intemet

are

still

very

expensive

here

in

France.

It's

a

kind

of

"marketing"

fashion

for

the

moment...

Pierre

Gasmi

Fontaine,

France

{CS

-»

Thanks

for

writing.

We'll

add

your

stuff

to the

list

of

customer-

approved

peripherals.

I

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

wish

in

the

compositlglrecording

realm

with

it.

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

ad-

dress

is

33306

Bormeville

Drive,

Scap-

poose

UR,

97056;

Phone

503-543-2534.

My

e-mail

is

gdinsmore@bcc-empl.com

Gary

Dinsmore

Scappoose

OR

{CS

-

Great

to

hear

from

you,

Gary.

Glad

to

know

you're

still

out

there.

Thanks

for

the

update.

Keep

in

touch...

I

Hi,

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‘?

Ihave

a

Yamaha

Clavinova

‘I50

and

all

I

want

is

to

be

able

to

"write

down"

what

I

am

composing.

Thanks,

Tuli

Ilia

Intemet

E?

{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

soft-

ware.,l

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,

En-

soniq

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

in-

credible.

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.

Brian

Albritton

The

Hunger

Houston,

TX

{CS

—

Thanks

for

the

tips,

Brian.

Your

letter

raises

a

good

point,

which

I

didn't

bring

up

in

my

original

response

to

Mr.

Gulllen:

Often,

the

best

way

to

achieve

o

vintage

effect

is

~with

vintage

equip-

ment.,l

I-Ii,

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

key-

board

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

was

way

above

them.

I

need

some

help.

Sincerely,

Norm

Ritland

normritland@mailbag.com

[CS

—

I

wish

you'd

told

me

more

about

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.

First,

bear

in

mind

that

the

MIDI

output

of

your

guitar

controller

will

need to

connect

to

the

MIDI

input

of

your

com-

puter

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

con-

troller,

you

might

want

to

see

if

you

can't

find

some

sort

of

MIDI

switch-box,

such

as

the

MPII-I04

MIDI

Input

Selec-

tor,

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.]

{Ensoniq

—

Clark's

answer

is

correct,

but

just

to

remind

everyone;

The

MIDI

thru

jack

is

an

output,

not

an

input,

on

all

MIDI

products.

It

echoes

out

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

q

Dear

Hackers,

Here's

another

tip

from

a

rank

novice.

Recently

I

was

playing

my

TS-11,

ac-

companying

another

musician

who

was

playing

the

piano.

I

had

made

a

preset

keyboard

split,

with

these

voices

and

keyboard

zones:

MULTI-BASS

A0-G3+

ORCH

STRINGS

A3-B5

ASR

FLUTE

C6-CS

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

oc-

casionally.

I

couldn't

play

that

high

note

in

strings,

since

the

flute

started

on

C6.

My

solution

to

this

was

to get

an

inex-

pensive

two-octave

MIDI

keyboard

controller

(by

I‘-Iovatlon).

This

little

key-

board

is

connected

to

the

TS-12

at the

MIDI

In

port.

I

reprogrammed

by

key-

board

split

like

this:

MIILTI-BASS

A0-G3+

MIDI-OFF

DRCH

STRINGS

G3+-G’?

MIDI-GFF

ASR

FLUTE

C3-CS

MIDI-LOOP

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

con-

troller,

but not

when

I

play

the

TS-12.

The

bass

and

strings

sound

only

when

I

play

the

TS-12.

Now

I

have

programmed

other

three-

28

way

keyboard

splits,

where

one

lead

sound

only

plays

on the

remote

key-

board,

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-

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.

David

Simenson

Merced,

Califomia

{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

a

variant

of

that

setting,

which

compen-

sates

for

the

possibility

of

having

con-

troller

information

be

sent

from

the

keyboard,

go

through

a

computer,

and

come

back

again

to

the

keyboard,

dou-

bling

the

action.

This

can

cause

volume

to

"spiral"

down

or

other

controllers

to

go

beyond

the

desired

range.

In

your

situation

LOCAL-OFF

will

work

fine.

,l

Help

l

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

ep-

sutil)

only

use

files

with

extensions

*.ed*

and

*.gkh

I

thought

edm

could

put

*.ef*

files

straight

onto

a

floppy

but

ap-

parently

uot.

So

what

is

my

next

stage?

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

*.wav

file

on

my

TS-12.

Thanks

a

lot

for

your

help.

Andrew

Ugden

Manchester

England

I

TH

-

We

passed

your

letter

on

to

Garth

with

the

following

results

(Thanks,

Garth!

,1...

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

for-

mat.

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

yourself

first,

since

an

.ins

is

not

a

dish-image

file

f

that

has

the

for-

matting

info

on

it),

but

a

single

file

image.

EPSDish

does

write

the

.ins

file

l¢‘fl°PPJl-

But

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.

For

example

B.tiSS.WAlt’.

2)

Use

Convert

1.4

to

convert

it

to an

AIF

file.

Syntax.‘

convert

{pathj’bass.wav

[path]

-AIF.

3)

Use

the

sharewaretfreeware

program

t'llF2EFE.EXE

(written

by

the

in-

domitable

Terje

Finstadj

to

change

bass.aif

to

bass.efe.

Syntax.‘

ai,f2efe

[path]bass.aif

{

path

,lbass.efe.

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

for-

matted

floppy.

EDM

does

write

.efe

files

to

Ensonioformattedfloppies.

5}

Unfortunately,

you'll

find

that

the

root

hey

is

a

bit

ofi’.

As

of

right

now,

Transonicg-Net

i

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

Mon-

day

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,

Pass-

word:

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

East-

BITI

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

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

pro-

gram,

written

by

Tim

Dorcas,

who

specifically

did

it

for

TS

owners.

This

will

avoid

the

root

hey

problem.

it

is

sold

through

Rubber

Chicken

Sofnvare.

Hope

this

helps!

Special

Note:

if

any

of

you

use

these

shareware

programs,

please

take

time

to

send

the

programmer

a

checlt

for

pay-

ment.

These

programs

are

not

easy

to

write,

but

not

everyone

has

time

to

marltet

things

either.

Show

your

ap-

preciation

by

paying

for

the

product.

J

Greetings!

I've

been

a

reader

of

the

Hacker

for

some

time

now

and

wrote

a

couple

years

ago

in

reference

to

incorporating

a

com-

puter

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.

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

lvlic-

ron

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

Multi-

sync,

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

call-

ing

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:

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

gar-

bage

is

still

being

sampled

and

the

pitch

is

being

raised

a

half

step

or

so

at

the

root

note.

Transposing

or

changing

the

root

note

doesn’t

help.

And

this

is

hap-

pening

when

I

sample

either

charmcl.

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

down-

load

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-

put

all-of-a-sudden

going

bad.

llm

run-

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

scenario.

lvly

suspicions

are

either

the

input

is

freakin'

when

it

feels

the

signal

coming

from

the

computer

or

that

US

3.53

may

be

need

updating

(unlikely).

On

a

happier

note,

I’ve

found

the

“Hack”

pretty

informative

while

I've

been

subscribing

and

I

recently

recom-

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

per-

tain

to

the

EPS

or

ASR

{which

isn't

a

problem

as

TH

is

a

forum

for

all

En-

soniq

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

Sincerely,

Kevin

Capito

AudioGraFX

Louisville,

KY

{Ensoniq

-

it

sounds

like

you

are

sup-

plying

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?

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

put-

ting

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

sample

rates.

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-

puter

and

the

ASR.

At

any

rate

{pun

in-

tended)

call

us.)

Current

Ensoniq

0.8.

{DIeitlEPFlt'Jhi)

r

EPS

EPS-M

EPS-15

PLUS

MASD-'5

MIRAGE

EEG

ESQ-M

SD-ED

‘llF.'-ll

"v‘FJt-SD

SQ-1

SCH

32

r

SQ-1

PLUS

i

SD-Fl

SU*Fl

32

Si]-H

PLUS

EC!-2

SU~2

32

SD-1

SD-1

32

DPl4

DPl4+

KS-32

nan-to

ASH-BB

HM

I-B

KMK-15

T5-‘I

fill

E

KT-T

EB

Sourfiaoape

2.4H.l2.-till

2.45.l2.4‘l

1.3.l1.ElllF

Ff?P?#PfPPffPPP

um

mm¢u—~wmmmmu

u'Eummu*§u

b

u

4.1Ut'4,-1U

4.1fll4.1fl

1.15

2.112

eewewwww

QEEEEQQE

w

we

gill

.-.1.-.

Q;

.;.—

L_

L-

PROFESSIONAL

DUAUTY

Low-cost

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TS-1ill'12

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these

and

other

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packages.

Giebler

Enterprises

26

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Drive

Phoenikville,

PA

19460

»

em

sea

ease

__-

Em

[Fak:}933-D395

L.,|,,-,|.,|..-1|“

-.-|

F-F

-1-1-1-1

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I

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mfg;

‘

Sequences

Sequences

Irr

l'.l'n=

flflfinf

musicrarr..-

For

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EPS,

16+,

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ion:

and

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All

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GM,

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i_

__F[h

{Elli}

255-3091

E

Dnllne

E-lililfif

illupport

Tiifljlilgeompul

lrve.corn

L.

B.

Music

Sequences

We

Support

Ensoniq

-

Roland

Korg

~

Yamaha

I

SMF-GSIGM

Formats

Why

not

give

L.

ll.

Music

u

try

and

see

why

so

niony

people

love

our

sequences

—

and

keep

coming

liuckfor

ntorell‘

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Lyrics

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Iii

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