Ensoniq Corporation Transoniq Hacker Archive Issue #131 Th 131
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Robby Hermon
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The review copies of these sounds arrived Clark Kent-style on floppies with
hand-written labels, looking for all the
world like old EPS disks, the kind with a
jillion itty-bitty sound names squeezed
onto the label — ezcept, of course,
they‘re HD disks. I’ve never seen ASR
ru-'-.-hi
--v\¢-
disks looking like this; memory efficien-
cy isn’t quite as eommon as it used to be,
and it‘s nice to encounter it again. But
Bolton's disks provide a great
bang-per-buck ratio: Each disk has at
least 16 sounds, and some considerably
more. That’s over 160 ASR sounds for
Produet: ASR sounds: Synth Collection I
-—- a Ii]-floppy set {over 160 samples).
Priee: $30 plus $3 s,-‘h.
From: George Bolton, 19 Third Street,
SUB-W2-3296.
For: ASRs, TSs, Iv‘lRs.
i-
Do you ever breeze right by the Hock-
er's classified ads without reading them?
You really shouldn‘t. Aside from interesting gear showing up from time to
time, you might miss some sonic gold in
them thar hills. Cine sueh nugget is Synrh
Collection I, a 10-floppy set of sotmds
offered by George Bolton of Ayer, Mass
for $30 plus $3 shipping and handling.
One thing that night be hard to glean
from the ad is that these 10 disks are
packed with samples fer your ASR.
Another thing you wouldn’t know is how
good the sounds are.
i
ISSUE NUMBER 131, $2.50
3
Mo’ Organ
Den Ronda
5
Automated Mining With the DP,-’4
Robert Lntnm
3
Tuning on the Ensoniq Synlhs
Steve Curtin
9
De-Classified! — Bolton ASH Sounds
Robby Bermna
cover
only $3[l.
Ayer, MA D1432-1344, phone:
j
Transferring from Song Mode to PC
Merlin Weinberg
The sounds in this collection lean toward
the synthetic, some quite original terttures, and some of them familiar. The
usual suspects are present (synth basses,
keyboardish sounds, bells, sync sounds),
and Bolton offers them in fresh, clear,
in-your-face renditions. Many of them
were created in the Korg DSS-1, taking
advantage of its additive synthesis and
manual wave- drawing capabilities. This
means that a Bolton sound is not a
recording of some other instrument, as
samples tend to be; it's the thing itself.
This must be the reason that these
sotmds are so crisp, the kind that would
stand right at the front of any min, even
though they’re not e:-taggeratedly bright
at all.
How does he squeeze so many sounds
SountiSeape Elite
Pat Finnigen
12
Basement Tapes: Teller dc Znntay
Steve Vincent
15
Random Holes
3
Haekerpatehes - Iej‘ fetter:
SQIKSIKT: Popcorn in Space ............ .. 13
Hacker Reinitislization — SQIKSIKT Series
1
Envelopes and Oscillators
"
Clerk Salisbury
19 '
Current U.S.
Classifieds
The Interface
Transoniq-Net
Hacker Booteeq
i
21 "
21
22 "
25 '
31
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MAY, 199-6
I
into this set? Ivlost of the sounds are but a single sample,
that’s how -—~ hence their dinky memory usage. They also use
the 29kHz sampling rate. Altogether, this data miserliness also
serves Bolton‘s other goal with this eolleetion: that the sounds
not hog polyphony, allowing users to get the maximum num-
under utilize the Patch Selects, and yet e:-thibit such care and
talent in the programming of the effects. The somtds in this
ber of notes out of their ASRs.
ways enlivening the sound at hand. Good jobl Other
algorithms are utilized thoughtfully as well. Users of these
sounds will, no doubt, go out of their way to make sure that
sequences using these sounds also use their effects, since they
make everything sound so alive.
set benefit greatly from Bolton’s tasteful effect design. The
reverbs are just right, for one thing: Bolton takes fine advantage of the ASR’s room reverbs, never overdoing, and al-
Bolton‘s looping is e:-tcellent: I haven't found a problem loop
in the bunch. And ASH users take note: all the looping was
done right in the ASR; no computer or graphic waveform edit-
ing was involved at all. Ivlakes an ASP. user proud, I tell ya.
What review in the Hacker would be complete without the
mention of some favorites? This one. Honestly, there's too
many sounds here to study each one in more than cursory
The sounds make only a limited use of Patch Selects, which is
a disappointment, but it's hard to complain when youlre getting so very many worthwhile sounds. Other than that, they
are very well-programmed. They play well, with a musical
velocity responsiveness, both in terms of dynamics and
detail and still get this review written in 1996. I'm much more
interested in moving these babies over to my SCSI drive and
into use. If you’re looking to score a truly usable cltunp of
synth sounds, this set is the perfect deal for you. The variety
offered is great, the quality high. and you’ll he surprised how
timbre. Pressure is also, um, pressed into service, not just as a
modulator of the sounds themselves, but also as means of
real-time control over the effects.
much your collection of keepers is about to grow from this
one 10-disk set. I know I was. -|
And a word about Bolton's use of effects is certainly in order.
As a sometime recording engineer, I’m perhaps (over) sensi-
Bio: Robby Berrnon is u musician shoveling snow outside of
tive to the overuse of effects, and reverb in particular. Nothing
Woodstock, New York. {He's the guy with the cuts in the windows.,l His iutest, new super-onnuoted, opus is “Rings and
Rings.”
betrays an amateur like too much ‘verb. This is a pitfall that
Bolton never falls prey to. lt’s a tad odd that Bolton should so
TAKE conrnot or A TRANSWAVE.
Experience something you've never heard - something you've never felt.
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The WAVEEOY
TRANSWAHE Sound Library uses a unique feature of Ensoniq samplers: transwave loop
modulation. Transwaves bring dramatic, dynamic modulation to the usually static world of
samplers. They can capture the dripping sweep of e resonant filter, subtle pulse-width mod,
or the organic morphing between vocal sounds. (This is synthesis; there are no pianos.)
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1" While normal samples can only be a still photo‘ oi a sound. each Transwave is a series of
128 "frames" that go together like a movie to create motion. That motion is under your
control. As you move the wheel, the filter sweeps, as you bang the keys harder, the Flvl
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barks, when you change the envelope decay time, the morph happens faster.
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The waves in this sound library have been painstaltenly manufactured using a computerized
phase-alignment process to assure smooth and clickless modulation. Accept no substitute insist on genuine WAUEBDY Transwaves.For ASH-1U and BB, TS-“ill and 12, EPS-16 PLUS.
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WAVEBOY TRANSWAVE Souno LIBRARY
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The Price is only S69, which includes EB sounds on 5 disks, includes shipping. and a manual
,H_l§~_-_..
which covers editing of Transwaves for your own devious purposes. Oversees add $6. To
order, send a check or money order, or call or fan to pay by VISA or i"u'iE15iEl'EErtj_ wn,‘=,tEEtt3Y
Industries F'.O. Elo:-: 233 Flaoli, PA 19301 USA tel: dill-251-B552 fan: 610-dud-BUYS
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synth sounds from the legend himself. Suggested retail
$249.95.
Hacker News
Long-time Haclrer writer Tom Shear tells us he now has his
own web page - check it out at: http:!,r'members.aol.comXtomsheariprivateltontshearhhunl. How about the rest of you‘?
Please let us know.
Deja vu all over again... We find ourselves in a familiar spot
— new instruments, new subscribers, and not a whole lot to
print about them. New MR owners are asked to be patient —
there will he coverage. Lots. Meanwhile, don't forget those
sound reviews also apply to yottr new baby, and hey, ever
consider writing? You're on the cutting edge.
AS-18 & 19 "r-itrnospheres, Attitudes, and Accidents“ Vols. I
tit 2 —- An evocative collection of ambient sotutd effects,
mood loops, and imaginative tel-tttues. This is the perfect collection for film composers, experimental musicians, and
dance producers looking for new sounds to use in remi:-tes.
Each set contains five disks and a sound manual. Suggested
retail ~— $39.95. Available May, 1996.
MRC-i “Synth Banks" — the first ROM card release for the
MR-Rack. MRC-l contains 160 unique synth timbres, from
vintage synth emulations to new and imaginative pads and
te:-ttures. Also includes special Performances and a demo.
Suggested retail — $99.95. Available in May.
Announcements From Enseniq
Last issue we armotmced two new keyboards, the MR-ll*'orlo
Stariorts. To simplify their naming we have decided to call
them the MR-6i (61-key synth action) and the MR-?d (‘I6-key
weighted piano action). We won't give you demerits for using
EXP-l' "Tire Real World" -—- the first enpander board for the
MR instruments (rack and keyboards) features Z4 MB of
world and ethnic samples {over 400 new waveforms), all
newly-sourced over the last two years. Over 500 Sounds, and
new drum kits. Suggested retail $500. Available end of April.
the old names in articles and the Interface yet, but please try
to work the new and improved names into your vocabulary as
soon as possible.
UNISYN — We are sorry for the prolonged delay in shipping
the rtmtime version of Mark Of The Unicorn's editor!
librarian, but we have resolved all the issues and MOTU is
SCD-4 Keith Emerson Signature Series is new shipping! Step
by your dealer and give a listen to these incredible organ and
making the disks as we speak. Enpect to see your requested
copy in May.
$H
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Transferring From Song Mode
To or Computer
So you just fmished your latest masterpiece of sequencing
and new you want to take it to a recording studio. The engineer is telling you that he wants to transfer your sequence to his computer. But you used Song mode with
multiple sequence steps, and new you're wondering: How
do you transfer and combine all those separate Song and
Martin Weinberg
to add or layer tracks that use some of the studio's
modules. Also, many studios have their recording deck set
up to synchronize with the computer using SMPTE.
sequence tracks?
If you did the whole tune in one sequence location you
could just assign tracks l-12 to MIDI channels 1-12 and
let ‘er rip. When you use Song mode, though, often you
Though it's not always a necessity, sometimes there's an
don't have the same sotmds on the same tracks throughout
the whole mne, or you might be using the same sound on
advantage to u'ansferring your sequence to the studio's
computer (or your own computer, for that matter). You
may want to do more entensive editing, or you may want
different tracks and you'd like to combine the data.
I-lcre is a step-by-step procedure for doing a successful
transfer. You may decide to modify this to suit yotn' situation, but t.he main concepts can still apply.
MIDI control settings.
11. Set the “Loop=" parameter of the Song to off.
Documentation
1. As always, before doing anything, make a safety backup of your work. Put the original away, and work with tho
copy. For that matter, anytime you‘re planning on doing
any significant editing of your precious creative output,
12. Make sure the Song location is underlined and
selected.
I3. Re-save your work to disk using a modified name (so
you don’t overwrite your original work).
save it to disk and hack it up to another file by saving it
I4. Make sure there is a MIDI cable going from Ensoniq
MIDI out to the computer MIDI in.
with a slightly different name.
2. Take a piece of paper, and list the numbers 1-16 down
the left side. This represents MIDI channels l~l6.
Preparing The Computer
15. Setup the computer software to record on multiple
channelsftracks simultaneously.
3. If you recorded on the Song tracks, find the first Song
track you recorded on, and write down the name of the
sound on that track by #1 on your paper. It doesn't matter
if the sound is actually on track 1 or not. (If there are no
Song tracks, then start with the first sequence component.)
16. Name the tracks with the corresponding sound natnes
from your list.
4. Then, go to the nest Song track you recorded on, and
write the name of that sound by #2 on your paper (again,
regardless of the track number it came from). Now this is
1?. Have the computer sequencer respond to external
MIDI clocks so it will wait for (and lock to) the Ensoniq
sequencer.
very important: if you come across a sound name that is
already on the list, then just skip over it. Do not add it to
Transfenin The Data
the list. What you are doing, in essence, is creating a list
18. Press Record on your computer sequencer. It will go
of all the unique sounds that were used in the tune.
into a “waiting for MIDI clock" mode.
S. After completing the Song tracks, move on to the first
19. Press Play on the Ensoniq keyboard. The Ensoniq sequencer and the computer sequencer will start together.
sequence component and do the same procedure.
6. Continue tmtil you've documented all the sequences.
Preparing The Ensoniq Keyboard
"
T. Now go hack to the first location you documented
(either the Song location or the first sequence location)
and change the Track MIDI chamtel nmnbers according to
your lisL (For example, if GRAND-PIANO was ne:-tt to #4
on your paper, then every track that has GRAND-PIANO
will he set to MIDI charmel 4. If you do this properly, then
every occurrence of a certain sound will have the same
20. When it‘s done, the computer will now have one continuous sequence, with each sound combined on a separate
computer track.
21. If everything was successful. then save the computer
sequence to the computer hard drive, and proceed to the
next step.
Creating The Template
MIDI channel number, regardless of what location it’s in,
or what track it's on.)
22. Establish a new sequence location in the Ensoniq sequencer that will be the target template for the computer.
It should contain one of each of the sounds on the list,
8. Continue checking all the tracks you recorded on, and
change the MIDI chamtel according to the list.
preferably in the order that they appear on the list.
9. Make sure that each Song and Sequence track is set to
transmit MIDI.
23. Set each track to receive MIDI, with the MIDI channel
number corresponding to the track number.
24. Make sure there is a MIDI cable going from computer
10. Make sure the keyboard is set to Multi in the global
MIDI out to Ensoniq MIDI in.
25. Now, when you press Play on the computer, and you'll
hear the computer playing the tune using the keyboard
template.
A-In that case, you would need to treat each of those
tracks as if they were different sounds, each with their
own MIDI charmel.
Common Questions
I hope this step-by-step outline gave you some new ideas
Q-What if I've used more sounds than I have tracks in my
template?
about transferring your data. You might only use part of
the instructions, or all of it, if the circtunstances fit. As
with most procedures, taking a few minutes to document
in the beginning can save you hours down the line. —
A-You have two options. In the computer sequencer you
can assign the estra sounds to other keyboards or modules
that you or the studio may have. Or, if you can record
some of the sequenced tracks to tape, you can do one pass
with just the extra sounds, then re-assign the tracks with
the rest of the sounds.
Q-What if I've used the same sound on 2 different tracks,
Bio: in addition to working in Tech Support at Ensoniq,
Martin Weinberg actually uses this stajj‘. He does arrangingicontposingiprorincing for both a variety of clientele as
well as his own original projects. When he's performing
on stage. Martin ares either an acoustic piano or his
"Ali-Ensoniq" keyboard rig.
but they had different track settings (such as mitt level)?
Mo' Organ
Dan Rohde
Mo‘ Organ (Moog + Organ.) is inspired by a one-of-a-kind
keyboard lead in Steely Dan's “Do It Again," which I assume was done by the inimitable Donald Fagen some-
1, 2, 3, and 4. There are other possibilities, of cotuse, such
as Perc Organ, or even the Breath Waves or Transwaves,
which you could plug in later if you'd like.
where around 1924. I'll try to er-tplain why I've made
various choices to help better understand how to do it
yourselves with the SQ series keyboards. After all, if you
give a guy a patch, he has a new sound for a day, but if
Let's program one voice at a time. Start by finding a RAM
program that you can live without. then push the Edit
Sound button. Solo Voice one and Select Organ Variation
you teach him how to fish... well, you know what I mean.
1 under Waveform. No, it's not identical to the Steely Dan
To mimic a certain sound from a recording, a few things
organ, but we can call this small compromise a choice of
style, right? We want an immediate attack, so set delay to
have to happen. First of all, you need to listen carefully to
the sound. In this case there seem to be a couple
keyboards doing different things simultaneously. I hear a
fairly shrill organ with no delay, no vibrato. and no rotary
speaker (Leslie) effect. A second organ similar to the first
kicks in after a short delay, probably the result of a delay
effect device. Mo' Organ attempts to simulate this delay
through Voice 2's Amp settings. A last element of the
sound is a vintage synthy glide, probably a mini-Moog
considering that this jewel of a song was recorded about
22 years ago.
zero. The Restrike Decay seems to sound best when it
matches its Release value under Amp. I set the Octave
value under Pitch to +1 so I wouldn't have to reach up so
darn far on the keys to play the high notes. Env 1 and LFO
remain at aeros since we'll get some modulation with the
Chorus + Reverb effect. For now, it will simplify things to
use only a Reverb effect so you can tell more easily how
your settings change each voice. To add some interest. and
to not waste the Wheel, under Pitch's Modsource, set LFO
= +10, in case you want to add a little vibrato in real time.
Envelope I is not used as a Modsource for any of the three
voices, so it is left blank. Glide = Off, but Glide Time =
So, we have some ideas for the patch's three voices. Nertt
let's look over the samples and waveforms available in the
20, since only one Glide Time can be chosen per patch on
the KS. (‘We'll get to Voice 3 in a minute.)
KS-32 {or the SQ or KT). The most obvious candidates to
my ears are listed under Waveform, the Organ Variations
Under LFO for Voice 1, set Speed to 35. A little slower
also sounds okay. The Level is 25, though by setting
Wheel as the Modsource — which in mrn enables Modsource = LFO (+10) under Pitch ~— the LFO level doesn't
seem to make very much difference. The Sine wave has a
seems loud, you can lower it, but you should lower the
other two ‘ir'oices' Outputs to the same degree to keep a
volume balance. Output Bus = FXI enables the chorus
part of the effect; FX2 would enable only Reverb. Panning
smooth up and down motion that sounds fine here.
lfoice 1 to -14 gives it enough stereo to add interest
against Voice 2. However, played through a typical mono
The Filter settings for Voice I block about a quarter of the
lower frequencies (Figure 1}. Both FC1 and FC2 Keyboard = +50, which makes the keyboard track the filters
exactly. That is, you will get the same tone, neither more
nor less trebley or bassy, no matter what key is played. I
PA system, this stereo effect will be lost.
On to Voice 2. Organ Variation 2 is similar to Variation 1
except it is less shrill. One way to make it sound a little
later than Voice 1 is to adjust the Delay Time, but this
didn't select any Modsotuce for Filter. If
you want to enable a Modsource here. you
will need to adjust the Cutoff values accordingly. Organ sounds usually don't
change that much over time, just a fast attack and an even tone thereafter, so Envelope 2 is not used as a Modsource for
Figure 1
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FC2=64
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any of these Voices.
amplitude
The quickest way to set the Amp values is
to select Defaults, then Full On, which is
just right for a basic organ envelope. Under
Output, Volume = Si] is about right. If this
frequency
KS-32 Prog:iv1o’ Organ
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Waveform Wavelorrn waveform
Orgi.-‘art =Org'v'ar2 Org‘v'ar4
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Wave Class
Wave
Delay Tirna
Wave Direction -
Start Index
MODSCFI
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Semltono
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Sustain
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Release
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Decay 2
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Chorus Depth
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Feedback
Chorus Laval
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Vol Curve
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Decay 1
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Decay time
Decay 2
Heloaeo
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isn.'t nearly so effective as using the Amp
envelope later, so let's leave it at zero. The
Restrike Decay again matches the Release
setting under Amp.
Octave = +1 tmder Pitch, though you could
go for = fl to give it an octave sound. Fine =
-U4 adds interest; a little detuning enhances
Mo' Organ's funkiness. I left the LFO out I
completely for Voice 2 since plenty is happening already without adding vibrato. Filter is 3!LP and ltl-IP, allowing slightly
more low frequencies through than Voice l.
V
Figure 3
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Amp settings for Voice 2 create a .14 second delay. By
choosing Mode = Finish, we tell the Voice always to play
through all its settings, but ignoring the Sustain stage.
Decay 2 = 25, so the audible duration lasts about one-third
second (Figure 2). In other words, you will always hear an
unobtrusive "echo" after the initial organ sound no matter
how long or short the key down event. Though the KS-32
doesn't offer Delay through its DSP, other Ensoniq synths
do. Finally, under Output, Pan = +14 to add a little stereo
for the headphones or recording deck.
but only when you use legato technique. When you play
notes staccato, the Moog effect is absent. The "Do It
Again" lead seems to have Moog sometimes, but not all
the time. If you want to hear the Moog glide all the titne,
choose Mini-Mode, but it's too much for my ear.
Under Filter, FCI Cutoff = I05 knocks off some of
highest frequencies, while FC2 Cutoff = 50 allows more
lower frequencies through than do Voices l and 2. Maybe
too subtle, but it seems to make a difference. The Wheel
(+25) as the Filters' Modsource will raise both Filters‘
Cutoffs, which both decreases the amount of lower frequencies and increases the number of higher frequencies
Figure 2
(Figure 3). So, the Wheel creates both vibrato and a more
treble tone for Voice 3. Under Amp, Initial = 90, which
takes the edge off the sample's attack. Finally, select
9'9
Amp - Voice 2
Chonis + Reverb for effect, then save and Rename the
patch. I like Mo' Organ because, well, I always like to
hear Mo' Organ in a song.
00009999
1500254-0
Mode = Finish
And bu-duh, bu-duh, bu-dat's all folks for this program. I
hope you like this humble "impression" of this Steely Dart
8Level-—I~
.l4(seconds) .29 .10
lead sound. By the way, I'd rather listen to their "...but the
hangman isn't hangin' and they put you on the street"
lyrics than Robert Frost's poetry any day. There, I said it,
and I'd Do It Again if I had the chance. -r
The Wave for Voice 3 is Organ Variation 4, chosen for its
smoothness and ambient compatibility with the other
Voices. (Is my jargon on a roll or whatl) I fooled arotntd
Bio: Dan Rohtle is a parrrime musician anti high school
teacher who lives in Masculine,
Iowa. He hopes someday to
with the Sine Waveform for Voice 3 because of its old
synthy sound, but went with the Organ in the end. LFO (=
+10) is chosen as the Modsource for Pitch so that the
halance his classic-motorcycierepairperson self with his romantic ritie-the-wind self. He also
hopes to win the Powerhall and
Wheel — designated as LFO's Modsource — could
produce some vibrato in real time. The Glide setting under
Pitch is Legato, which, as Robert Frost says, "makes all
the difference" in this Voice's read less traveled. Legato
enables you to achieve that rollercoaster-MiniMoog glide,
to see the end’ to all conflicts in
the world.
Automated Mixing with
the DP 4
Roberr Schttlze Ltttttm
With the information contained in this article, you will be
able to automate the volume, EQ and PX settings of up to
four tape tracks with an Ensoniq DPI4 parallel effects
trol# U61 to D63 respectively. Now MIDI controller 61
controls DPX4 control 1, 62 controls DPJ4 control 2 and
so on.
processor controlled by a MIDI sequencer.
This is especially useful if you are working with a four or
E track tape deck. Using the DP!-"-l as an automation means
that you can paclt vocals and guitar and saxophone on to a
single track, because the DPI4 can automatically change
Each unit‘s bypassfkill function can be assigned its own
MIDI controller. The DPI4 defaults are MIDI Control#
75, 76, T7 and 78 for units A, B, C, D respectively. Check
“system” pages “6,” “I3,” “Z0,” “2'i'.” We’ll leave them
lilte that. when the DPI4 receives “MIDI controller it 75”
each traclt’s volume, EQ, pan and FX setting at any time.
with the value “U” on its controller channel (channel T,
remember?) it will switch unit A to “bypass,” while value
Analog Audio Connections
“I2?” switches “bypass” off.
In this model setup. the DP)‘-4 will mix four tracks to
stereo. Connect each tapedeclt track you want to automate
Volume
directly to a DP}-4 input. Connect Outputs 1 and 2 to your
mixer.
Remember: Each tmit also has its own MIDI channel.
Press “Edit,” “Config” and select “4 Source Config.”
Scroll right and select AB Output Select “1-2 Mixed
Stereo.” Scroll right again and select CD Output Select
“3-4 Mixed Stereo.” If you have not stuck any plugs into
output sockets 3 and 4, all input will be mixed to outputs
1 and 2. Scroll right again and set each unit to (b)ypass
instead of (1-t)il1.
'
Volume control is a special case, because each ttnit’s
volume can be controlled via the unit chamtel, not only
via the DPI4 control channel! Unit chamtels are assigned
on pages “U0,” “I37,” “l4” and “Z1.” Defaults are chamtel
I to 4 for units A to D. Set “system” page 5? to “Receive
Control 7 On Unit channel” to “Yes.”
Example for Unit A
So now we have made the necessary settings we can con-
MIDI Control
trol each unit’s volume via the unit channel (1, 2, 3, 4),
and two additional parameters of a nnit’s effects algo-
The DP!-4 provides eight internal controllers, called DPI4
controllers. These can control selectable parameters in
rithm via the control channel (T).
each unit. A single unit can respond to two of these eight
Let's select the preset 52, “Hall Reverb” for unit A. A’s
volume is already being controlled by MIDI controller # 7
DPI4 controllers.
Each DP!-4 controller can be controlled by a MIDI controller. Press “System” and scroll until the red LED displays (page)“3’}'.” The yellow display reads: “DP,l-fl
Controllerl=MIDI Control#l]04” This means that incoming MIDI “controller 4” messages will influence DP!-=1
controller 1, but only if the DP!-4 is receiving them on its
“Control Charmel.” Scroll left to page “36” and checl-t
that “Control Chan” is set to “O?” and “MIDI is Enabled.”
Scroll right again and on pages 37 to 44 set “MIDI Con-
received on channel 1. How about controlling the reverb
“Mix” from a sequencer‘? Easy: Scroll to page “23.” Set
“Modl Src=” to “Cntrl-1.” The second line now reads:
“MIDI Control#U6l.” Scroll to page “Z4.” It reads:
“lvlodl Destination Parameter=l]Ul.” Scroll back to page
“U1.” The “Mix” parameter is flashing. You see? The
parameter numbers correspond to the page numbers.
Scroll to page “E5.” It reads: “Modl Param Range
lvlin=3-4% l'vlax= 99%.” For the widest possible control
range set “Min=” to “[l'l]‘il:-.”
Scroll to page 27. The settings for the second controller
All you have to do now is make your sequencer send
are made here. MIDI control #06? is controlling
parameter D3, Decay time. That’s neat. Sending MIDI
controller #'i'5 on channel T will toggle bypass depending
on the value. Use this for radical effects. You can mute a
these controller messages, and you will see: It really
worltsl New think of all the tricks youlve always wanted
to do but couldn’t, because you couldn't automate tape
tracks: Fading out while turning up the reverb mix, cleaning up tracks by muting the rough spots, controlled pan-
tape track by ttuning the unit's volume to “U” or by setting “bypass” to “kill.”
ning, dynamic EQ‘ing etc.. Now you can. -
Tuning on the Ensoniq Synlhs
Steve Cttrtin
Last month we discussed the subject of tuning in general,
and tuning Ensoniq‘s samplers — the ASR-IUISB and
EPS-16 PLUS. This month we will look at tuning on Ensoniq‘s synthesizer families, including the venerable
ESQ-1,r‘S Q-SO and the affordable SQ and KS series.
Same Tuning Table Format
The TS, VFX, SD and KT series store tunings in a format
that is very similar to the ASRIEPS. Each MIDI note can
be mapped to a unique pitch and offset. This allows the
creation of non-octave repeating scales, Just Intonation
scales and other interesting timings.
pasted in from a custom pitch table. A setting of ALL-C4
will disable pitch tracking — all notes will sound as if you
played C4. CUSTOM specifies that the voice gets its
tuning from the custom pitch table internal to the program.
Wltile the contents of these tables can be uploaded and
downloaded over SysEx, none of the currently available
tuning editors support this SysEx format, which is different from the ASR‘s. Since the tunings are stored in
programs any patch librarian that supports the TS will be
able to store this data, but not allow editing of its contents.
Tuning Table Editor
In the ASRIEPS the tuning tables are stored in an instru-
The tuning table editor on the TS allows you to enter a
custom pitch table for a particular program. This is done
by pressing Program Control and selecting the OPTlON=
ment and selected through layers. Each layer can be set to
parameter, followed by the up arrow to display the RE-
a particular tuning. The TS is different in that the tuning
can be specified globally to affect all programs in the system, or can be stored and edited within a program. The
space for voices 5 and 6 in a TS program are used to malte
room for the pitch table data. This meam that a program
with a custom pitch table can contain at most four voices.
PLACE VOICES options. You then select the PITCHTABLE option to replace voices 5 and 6 (Note that the TS
display always refers to what we call a pitch table as a
PITCH-TABLE). You have now created a custom pitch
table which can be changed using the pitch table editor.
Since each program can contain one pitch table, tunings
can be selected by a simple patch change message.
Just as in the ASR where each layer has its own pitch table
selection, each synth voice can select a pitch table in the
Pitch Mods page. The difference is that this parameter is
You can verify this by seeing EDIT PITCH TABLE on the
Select Voice page where the enablefdisable for voices 5
and 6 would normally be.
The pitch table editor is accessed through the Select Voice
page. Until you etlit the pitch table, the tuning will sotmd
not a direct specification of the pitch table name. There
are three settings for this -—- in almost all cases you want
all the voices in the patch to be the same setting. If the set-
the same as the regnlar system table. Press the soft button
beneath EDIT PITCH-TABLE. You will now see a display
of the cturent key, its playback pitch in semitones and its
playback pitch in cents.
ting is SYSTEM, then the voicels timing comes from the
global system pitch table. This table can have its contents
Playing a key will select that l-tey for editing and play a
note with the displayed pitch and offset.
Remember that the pitch table parameter in the Pitch Mod
page must be set to CUSTOM to hear your edited tuning.
A utility called the pitch table calculator contains two very
useful utilities for the creation of equal-tempered tunings
or tunings that octave-repeat. If you are already editing a
pitch table, press the soft key marked *CALCULATOR*.
You can then select the key start and end ranges.
There are two operations you cart perform — Interpolate
and Exuapolate. Interpolate will fill in tuning values between two defined pitch relationships. Extrapolate will
repeat pitch relationships outside of an edited key range.
33 tunings already in ROM. These can be selected and
heard by pressing the System button four times. At this
point the page will show a single parameter labeled
PITCH-TABLE. This parameter can be set to ROM to
hear the ROM pitch tables. You will then see a display of
the name of the current tuning table, probably SYSTEM.
Pressing the up and down arrow keys will select the different pitch tables. They include classical Greek, Arabic,
Javanese and Indian scales, as well as experimental scales
such as Wendy Carlos’ non-octave-repeating Alpha and
Gamma scales, and Harry Partch’s 34 note Just scale.
Preset Bank D Mode
The other settings in the System Pitch Table page allow
Using the interpolate and extrapolate commands, you can
create any equal-tempered scale, many of them non-octave
repeating. Tunings constructed from a certain number of
you to access your own pitch table from the system, so
that all programs whose voice pitch table parameters are
set to SYSTEM will use this pitch table. Setting this value
equal-tempered tones per octave are called ET for short. A
favorite microtuning scale which we will keep referring to
is 19 tones per octave, or 19ET.
to CUSTOM will select the custom pitch table.
To create a pitch table on the TS that contains the Pierce
scale, do the following. The Pierce scale is a “stretch”
tuning that takes the interval of a perfect fifth plus an octave and divides it into 13 parts. Stretch means that the interval of a semitone is larger than that in the standard
l2ET. In the Tuning Editor page, you would set C5+ to
play the pitch G5 + 2 cents. Press the soft button above
*CALCUl_.ATE* and set its range to C4 and C5-t-, then
press INTERPOLATE to calculate the scale. Play a few
keys to hear the different scale. As you play each key
within the key range, you can see from the scale display
that interpolate has filled in new values for the pitch and
offsets in that range. If you play outside the range of C4 to
C5+, though, the scale will still be ir1 12ET. This requires
the “Extrapolate” function. Press the soft button above
This table can be copied from the tuning editor using its
COPY command with the option of “copy to system.”
There is a special mode of the TS that allows the instant
selection of up to 60 different timings with a simple patch
change. Setting the system pitch-table parameter to U1PROORAMS will enable this feature.
You can load an existing bank of programs which contain
all the_ROM tunings with multiple transpositions of these
tunings. First find the TSD-IUD floppy that was included
with your TS and insert it into the disk drive. Press the
storage button twice to access the storage page, then press
the up or down arrow until the display reads TYPE=
60-PROGRAMS. Select the LOAD FILE= field and select
either the ETHIMOD PTS or HIST PTS files. The former
file contains the Ethnic pitch tables, such as Arabic, and
the modern pitch tables, such as the I9 and 31 ET. The lat-
*CALCULATE* again. Its range should still be C4 and
CS+.
ter contains the historical pitch tables such as Pytha-
This time press the soft button above EXTRAPOLATE.
You will now be able to hear this scale repeated across all
octaves. To make a scale of (for instance) 14ET, you
these programs, this is also the only way of looking at the
contents of the ROM tunings. Once the file is loaded into
bank set U1, when a patch change comes in, the tuning in
would set the D5 key to play C5 and U cents, set the calculator parameters to C4 and D5, then do the same interpolatefextrapolate step. This allows the quick creation of
any equal-tempered scale.
Tables in ROM
One difference between Ensoniq's samplers and synthesieers is that a synth comes with samples in ROM. The
same goes for tunings — the TS and KT synths come with
gorean. Since this loads a copy of the ROM tunings into
that patch is loaded into the system-wide CUSTOM ttming
but the other patch information is left unaffected.
KT Synths
The KT-T6 and -83 contain ROM tunings identical to the
TS series. Select the System page and scroll over to the
pitch table parameter, then use the left-right arrow buttons
to scroll through and then select a tuning.
Although you don't have the ability to edit different note
and offset mappings as with the ASR and TS, you can edit
LFO1, YEL, etc. Set its amount to -99.
the keyboard pitch modulation in a patch to create any arbitrary equal-tempered scale.
when you play some keys you should now be able to hear
smaller intervals between semitones, but not quite a
quarter-tone tuning. Now do the same thing for frequency
modulation source 2. This should decrease the intervals
even more. You can adjust your semitone interval with the
modulation amount —— just remember that both arnoitnts
have to be negative to counteract the existing l2ET pitch
modulation. One disadvantage of this technique is that
now you can't modulate pitch, not even with a pitch bend
Here's how to do this: Select a sound a press Edit Sound
to change its parameters. Press the button below the display marked Wave (in red) and verify that you are editing
parameters for all the waves — the display will say ALL
if this is true. Next press the button marked Pitch (in red)
and scroll over to a page marked Keyboard Scaling. Set
this parameter to OFF. At this poim, playing different
keys will all sound as if you played middle C. Scroll back
to the pitch modulation page, which has parameters for envelope and LFO amounts and an assignable modulator on
the bottom line of the display. Scroll through the
modulators until you see KEYED. Adjust the amount of
modulation and play some keys.
wheel. Of cotuse if you want BET or some other tuning
with intervals greater than 12ET the modulation would be
positive because the intervals defining a semitone are
greater than IZET. Thanks for Brian McLaren for first
mentioning using two modulation soitrces to get microtones on the ESQ-1.
This technique will also allow using the SQ-1, SQ-2,
Greater amounts of keyboard modulation will result in
larger intervals for the semitone. A value of around 90
will get you 19ET, and a value of around T4 will get you
31ET. You can “tune” this by playing a set of keys and
zeroing in on an octave. For 19ET, play a middle C and a
G on the octave above that and tune this in so they sound
like an octave.
ESQ-1 and SQ
Wliile these synths don‘t contain pitch tables, you can also
use the above technique of modulating pitch with the key-
board as a modulator to create any arbitrary equal-tempered scale. Here are the details for each instrument:
SQ-R and KS-32 in a l9ET or other microtuiiings. You
can do this from the pitch modulation editing page. Leave
keyboard tracking set to ON, and then make one of the
frequency modulators KEYED with an amomit of around
-9?. This will counteract the regular 12ET tuning and give
you smaller semitone intervals equaling 19 tones per
octave. If you set keyboard tracking OFF, you can get
smaller semitone intervals with the keyboard modulation
set to a positive value, such as tunings of 53 tones per
octave.
So there you have it -— this has been an introduction to
tuning on the Ensoniq synths, and will hopefully get you
going exploring the musical vistas that alternative tuning
has to offer.
On the ESQ-1, using two frequency modulation sources is
the trick to getting microtonal scales —— just scaling the
keyboard modulation with one modulation source won‘t
get the semitone interval size down to anywhere near
19ET. The ESQ-1's voice architecture assumes that the
keyboard pitch is changing the oscillator frequency in a
12ET scaling — you can’t turn this pitch mapping off like
you can with the KT.
What you can do is counteract this built-in modulation
with negative modulation coming in from the mod sources
Thanks to Tom Tracy and John Senior at Ensoniq for their
comments and corrections. The next installment will cover
the MR Rack and MR-6lX?6 and their support for the
MIDI Timing Standard. =-
Bio: Steve Carlin is a
sofivvare engineer and
inning evangelist at Ensoniq. As a Macintosh
where you bring in LFO and other frequency modulation.
programmer he developed
Here’s a step by step procedure to do this: Bring up a
single oscillator page, after muting the two other to keep
things simple. Play a few keys to hear your ciurent timing.
Press the soft key for frequency modulation source one
and scroll to KEYED using the Up and Down arrow keys
the ESQ-I patch editor
for Op-code Systems, and
enhanced the Alchemy
sample editor for Passport Designs. He's now
living happily at the other
end of the MIDI cable.
or the Data Entry slider. This is one source in addition to
OTTO L|VES...in my PC
The $oundSeope Elite Review
Pat Ftnrttgart
Pwuct: Soundscape Elite.
For: IBM PC or eompatible.
Priee: $159195.
From: Ensoniq, 155 Great Valley Pkwy., lvialvern, Pt-l. 193 55, phone:
610-64?-3930.
mp.
1
—-_
l
t
I-
Hey gang, sorry for being away for so long. We just spun
the Targa 2000 for the new PC] Macs, and 96+ hour weeks
aren’t real conducive to writing habits. So I apologize; buy
our new board for your new Mac (shameless plug}, or go
see "Toy Story": that’s our board at work. Take two:
they’re only $5’i'95. We can’t build them fast enough, so
when you think a new Ensoniq keyboard costs way too
much, remember you can buy two fully blown, ported,
stroked and relieved (sounds like my old high school
girlfriend, Dirty Donna) ASR-10s for about what our video
digitizer retails for. So let Ensoniq up, Okay? Yes, costs
are an issue these days. Gig SCSI drives broke the $300
mark this month, the Nasdaq is rising, we’re not at war: ya
know, life is pretty good. It's so good I decided to pitch
that stinky old SoundBlaster I’ve been moving from 236 to
386 to 486, and decided my token PC representative 486
deserved a little attention. So hey, sold the Blaster and
bagged a SoundScape. I confess to seriously considering
the feature connector wavetable add-in board to the blaster,
but, hey, Ensoniq made its name in sampling: let’s see how
lvlalvern silicon behaves on a diet of *.wav files. I was
going to install Windows 95 anyway (so my daughter
would leave my ‘T100 alone), so hey, I coughed up the
extra dough and went for the full-meal deal...
Installation
right, folks, da 'Scape is also a CD-ROM interface for
Sony, Mitsumi and Panasonic ATAPI IDE IX or EX
CD-ROM readers! Very cool, following the Ensoniq
philosophy of integrated workstations. Installation was
relatively easy: removing all the other flotsam cards from
the buss was more time consuming. I made sure to read the
installation manual to ensure IRQ’s and DMA"s (I've
learned to hate DOS machines) didn't conflict with anything else in the system. Cotmected my Mitsumi CDROM
to the appropriate connector and that's all there was to it.
Reassembled and reconnected, booted and fed the a:>
drive the Install #1 disk and followed the screen prompts.
Installed! I thought about adding that high-speed Iomega
tape controller at this point, but hey, we all read our
owner's manuals cover to cover before we turn these
things on, don’t we? Sure, and Fm patient and will wait.
Back into the desk drawer with the tape controller, back on
with the lid, plop the monitor back on it and power it up.
Now; let’s critique...
Operation
Upon installation, the SoundScape installer alters your
autoe:-:ec.bat, config.sys and path files to make its presence
felt. The very cool thing is its emulative modes. Type FM,
and presto, it‘s a SoundBlaster again with cheesy 2-operator FM synthesis. Wonderful for those horrible 11-voice
A:-tel-F demos that came with my original SoundBlaster.
Type MT32, and presto: Leisure Suit Larry's theme: the
clarinet never sounded better than when the doctor screws
a new head onto Larry under the sidewalk in front of Lefty's. But type GM and well, 1et’s begin again... {TH New software automatically adjusts to the correct mode.)
My token IBM clone is a Laser 436sa,*'3 (wt436DX'i‘5 overdrive CPU), 20 MB RAM, 1.2 gig WI) Caviar IDE HD
Integration: Day 1: Usin with Windows 3.1
(yeah, I read about Windows 95, too), Iomega tape backup
(pseudo B:-floppy-type), Mitsurni 2X CD ROM, Midi-
Okay, so I launched Cakewalk prematurely without configuring the drivers in the Windows Control Panel Applet
(“Gee, I‘ve never done that”), so I was greeted by ominous
Quest entry level MPU401 card, 1'?" rnultiscan and
Truevision Color Impact 2MB Video "card. Machine is our
old friendly ISA bus. Hey, I can not only sell my
Soundblaster, but I can sell my MPU-'11-01 interface card,
too, as well as retire that china syndrome CD-RUM inter-
face card with the el cheapo DIP switches on it. That’s
silence. Quit Cakewalk, configure my drivers, launch
Cakewalk again and do the old MIDI in-out. Opened a
*.wrk file, and presto, yeah, same instruments, same tracks,
same drum map, yeah, this is the stuff. And controllers all
worked including reverb and chorus knobs (our old DSP
i
BBS and downloading the files. Took me two hours, but
it‘s not Ensoniq’s fault: it's not my fault either: my phone
service provider here in urban Indiana uses phone lines not
very fault tolerant over 9600 baud, and since I don't have
an ISDN line direct to Malvern, I CRC‘d the files to make
sure they came through intact. I printed the “Read.me" file,
followed the instructions, and, well, so much for ordering
the DOOM 1 and 2 upgrades, ‘cause it ran fine. The only
problem you‘re likely to notice is, since W95 is a true multitasking OS, if your game loads while the music files are
playing, tempo slows down until W95 is through hammering your disk, then it‘s sound as usual. There's a great deal
of ballyhoo about W95"s handling of shared interrupts, but
the Elite doesn‘t seem to care, so neither did I. Only wish
I‘d siphoned off the Developer Effects Toolkit, but I was
too anxious to get ’Scaping to wait any longer. If I mail in
my warranty card Malvern’Il send them for free, so...
friend OTTO2 at work), so I disconnected the cheap
A-verb box, and presto! My favorite upright bass was
there, the great horn samples, the superlative sax, even the
generic GM pad sounds I-3 were good. And Ensoniq just
upped the ante for soundcards: the Elite organ samples are
those Joey deFrancesco gen-u-wine B3 samples. ‘Sense
me, Turtle Beach, ‘sense me Roland, but this is the real
stuff here in the wavetable: if you put it there to begin
with, you DON‘T need those extra SIMM slots to load
those REAL sotutds.
Okay, let‘s attach that stupid Joystick-to-MIDI dongle and
see how sluggish the MPU-401 emulation is. I-Itnm, no
noticeable delay when I flood the In with 3 busy channels
of note data and a furious channel I0 onslaught of Spinal
Tap drum solo (known to be fatal, as we all know), and da
'Scape didn't hiccup, burp, or exhibit any other electronic
flatulence. Hmm, Okay, let‘s see how much slower the
CDROM is using a sound card as a device driver. Still
The Hoses
plays Video for ‘Windows QuickTime clips without drop-
ping frames. Okay, let‘s see how posterized the Myst
QuickTirne movie looks: no difference from the dedicated
CDROM card. Okay, letis play an Audio CD thru the included AudioS tation software: hey, this is very cool: a virtual software rack stereo system! Looks like MCS to rne,
Ensoniq's got a real winner on their hands here. Elite kills
three birds with one board: it replaces your CDROM inter-
face card, IvlPU40l interface card, and any outboard GM
module tied up to your computer. Being one card, it draws
less on your power supply, generates less heat, and takes
up less room. Your machine will run cooler. I noticed perhaps an 15-20 degree difference in the heat output of the
cooling fan on the back of my computer. Ensoniq environmentalism‘! Works for me. Sounds are crisp and clear, and
although I wouldn't jump up and sell my KT-83 over it, I
but free wida -Scape! Mondo! And although the included
Voyetra‘s Orchestrator is a bit primitive by Cakewalk
yardsticks, having blinking ‘T-segment tricolor LED’s
winking at you on EACH track following velocity is a true
visual treat: you don't even get those on REAL. mixers
nowadays. Voyetra calls them “MIDI density" meters: if it
looks like a VU meter and acts like a VU meter, well...l
don‘: have to run MIDI cables over to the computer
anymore. Ensoniq antiumbilicalism? The bundled software
apps are absolutely super for the entry level novice, and a
helluva lot of fun for the professional as well. Orchestrator
is a “quick and dirty" bundled sequencer with a helluva
GUI, and sure to please even if it doesn‘t record fader
movements (it ain't $299.95, either). DOS tools (mixer,
etc) are provided, although a PC clone without windows is
like a Mac without a mouse. A 386 or higher platform is
recommended, so just say Windows and be done with it.
was having so much fun I forgot to install Windows 95:
haven‘t yet, either, although the WIN95 driver is up on the
SNDSCAPE Ensoniq BBS: I just didn’t want to ruin a very
good and productive evening.
Okay, shell to DOS and launch Descent: oops! Reconfigure Descent for GM and launch descent; WOW! There's
like, uh, guys who write GM themes for these games,
dudes! And the Descent theme upon exiting the mines is
unbelievable on the Elite! Oops! Remove the MIDI dongle
What‘s very entertaining is the included “EasyKeys" software. Imagine a Yamaha or Casio from the Home Shopping Network; that’s Easylieys in a nutshell. Tape
transport-type controls for playing tunes (the controls are
on a boombox, replete wtbroken antenna; these guys don’t
miss a lick) are present, with style buttons, LED indicators,
introifilltend buttons, etc. My daughter loves it, so that's
the ultimate complement from me (now she leaves my
SD-1 alone!) The AudioStation software GUI is not quite
from the joystick port and connect my Gravis Ultrapad;
this must be Double Jeopardy because the scores are reaiiy
changing now...And the Soundfllaster emulation still gives
me the same whirring and clanking as I change weapons
from the quad laser to the vnlcan caruion. YYYEEESS SS!
Ooohh, ooohh, I need a bigger room reverb for this!
Integration: Day 2: Using wtwindows 95
as slick as MCS Stereo software bundled with the Win-
l"m sorry to report here that the hardest part of installing
dows Sound System, but is every bit as functional and then
some. It incorporates the mixer control panel on top of the
the Elite with ‘Windows 95 was logging onto the Ensoniq
1s
virtual "rack" system for ease of level control. I do miss
the rounded 3-D wann funnies of MCS (looks kinda like
Harmon-Kardon audio equipment), but watching the virtual "cassette" reels turn when playing *.wav files makes
up for it. Objectively, the waveDAC is much quieter and
anything but. Big fat analog sounds, boomin‘ basses, and
clear FM-type bell tines abound. I did notice a bit of "nipper“ noise on the "Level Control“ fader the installer drops
into your Windows startup folder, but only when I was
madly terquing the fader from full off to full on 7-3 times
less "hissier" when playing less-than-optimal 16-bit
wavefiles, and sterling when fed 48K DAT samples. No
volume fluctuations or "pumping" during fade-in or
a second. Since the Elite uses a I6-bit DAC, as well as a
I6-bit AID-D,tA CODEC (COmpresser-DECompresser)
driven by its own Motorola 68000 CPU, it‘s not lying their
sucking up host CPU cycles or inserting wait states till it‘s
fadeout of both wavefiles or wavetable outputs: in fact, the
wavetable output seems less noisy than most Ensoniq
synths. Then again, it‘s not driving 30-foot high-impedance guitar cords, either. Docs are very good, and
considering just how many ways you can define "multimedia," they're dowtuight excellent.
done: ‘Scape‘s got a mind of its own, thank you very
much, so you won‘t drop audio frames while your CDROM polls the buss to pass video. No TSR‘s to load or unload; in a word, glitchless.
The GM wavetable is good, clear, and representative of the
The Thorns
None. I don‘t know if the MIDI HO is buffered as per the
MPU-401 spec, but it works so well I doubt anyone‘ll care
if it is or isn't. I'm sure to get shot at over this one, but I
didn‘t find the choice of IRQ‘s 2, 5, 7 and 10 limiting at
all. To someone with a scanner card, Adaptec controller, or
trick video card (hrnm, who could that be, now?) it might
pose a problem, but I tried the Elite “Installation From
Hell“ scenario with an Adaptec AI-IA-2340 SCSI con-
troller, a TARGA 16132 video capture board (guess who
makes thati),
Logitech Scanlvlan 32,
and Wacom
CADICAM tablet Took about two hours, and they said it
couldn't be done, but I‘ve got two minute video clips of
DOOM playing with John Madden-style X‘s and O‘s
drawn in while shooting aliens, all this while being captured by our TARGA board while spooling this thru that
Adaptec controller @ 2.8 Mbisec., output to NTSC 640 x
430 30 framet60 field (actually 29.97 fps, but whose
counting?) video, with the Elite doing both the music from
its GM wave set and the Blaster sound PX emulation, all
simultaneously. Bulletproof, so go ahead and shoot.
The Goods
The SoundScape, in spite of its unusual IR-Q and DMA
choices, is one helluva sound card. It‘s closest competitor
GM set; drums are punchy, the cymbals a little swirly, but
crisp and defined. I‘m not going to go into sonoral subtleties of the card, guys: it‘s a General MIDI card. Don‘t
sell your TS-I0 just yet. It‘s utilitarian: it‘s not supposed to
be a killer synth for $159. If you‘re expecting that, sorry to
disappoint yon, cause da ‘Scape ain‘t. ‘Scape is the Ensoniq injection of fun, value, performance mix of bangfor-buck that an overly saturated and stagnant multimedia
market so desperately needs. I‘m SOOO tired of walking
into a computer store‘s "multimedia" area just to be sunburned by blue and orange boxes and irritated by tinny
little 3“ speakers that promise a "multimedia" experience
that I welcome any differing thought to shake that
stereotype. And Ensoniq is just the company I like to see
pushing that definition to the next level, ‘cause Sega and
the Hedgehog just don‘t give me a chubby, in spite of all
the media blitz. "(E)nos lives“ spelled backwards is evil
Son(E), and that‘s indicative of the Playstation. No, I wel-
come Ensoniq to the fray: their confidence is so high they
offer a 30-day money-back guarantee if you're not happy
with your Elite for any reason. Find dtat in the fine print of
a Creative Labs or a Turtle Beach product. Once again, Ensoniq is playing for keeps widi that kind of guarantee, and
determined to change the way we define "multimedia."
And you know, I can guarantee you one thing...
They sure make it sound better... -I
is the Turtle Beach Maui, and you‘ve got to add $150 of
SIMM memory to get the good samples into it for
playback. AND it doesn‘t sport any DSP, so you get no
reverb, chorus, etc. The Roland RAP-I0 is close to its
equal in the GM department (since GM is a Roland spec,
they should set the standard), but its handling of *.wav
files and Soundblaster emulation pales by Elite comparison. *.wav files are crisp and clear on the Elite, where,
on the RAP-I0 they get a -I2dbioctave EQ treatment
above 14k. The Keyboard Magazine article claimed the
Sot.tndScape sounded "thin and nasal“; the Elite sounds
"
';~pa.----
Bio: When not answering broadcast videocapture questions for
Truelfision, Pat is a
tech support person for
¢___,,
RasterO_os, a company
that
makes
video
boards and monitors.
He stiii uses a B-3 for
a keyboard stand.
HACKER BASEMENT TAPES
-
.
-.
'
Steve Vincent
Jorgen Teller, Bip Bop! (Robert Zu ntcry, et czrl)
Robert L. werntz, Nathaniel Reichrnan, Robert ‘rashinsky, Avereecl {James Avery ancl Bertrand Reed),
Frecl Bass and George Stock
As we scramble to get current on the mountain of tapes and
CD‘s to be reviewed, we urge any artists whose work ap-
sounding like death by suffocation from choking on a sax
mouthpiece. We are treated to frog farts echoing up the
pears during this catch-up period to write in with an update
on how to contact you, or news of any new works you have
in the hopper. Now, for this month‘s selections...
spiral; a bass clarinet solo played inside your lung;
raindrops on upturned wooden bowls. All this is interspersed with periodic vocal recitations of text which sound
like narrations done by that nerdy looking guy in the
Waveboy ads. The overall feel is like a Laurie Anderson
CD: My inner Ear (c) 1993.
Artists: Jorgen Teller with Jakob Brandt-Pedersen and Iakob Draminsky
Hojmark.
Contact Info: Hesselograde 4,3 tv., DK-2100 Copenhagen 0, Denmark,
phone: 45-31203316.
Equipment: Ensoniq, Roland and Akai samplers, bass clarinet,
Pitchrider, 6 sonars with MAX (sic), vocal recitation, and a spiral tower.
If you would enjoy filling your soundscape with something
realty different, heady, meaningful and challenging, then
this CD is a must-listen. Teller describes "My Inner Ear"
as "a concert for three samplers in the spiral corridor of the
Roundtower in Copenhagen, based on non-heard sound
material." My fantasy is that these guys, armed with portable DATs, reduced themselves to microbe size a la the old
sci-fi flick, Fantastic Voyage, and traveled through the
human body recording all the noises we normally don‘t get
to (or want to) hear, taking side trips through computer
components and other electronic stuff for a few non-human
sounds, returned to normal size, dumped their sounds into
their samplers, played them in the acoustically amazing
Roundtower {an architectural spiral, like the cochlea in the
inner ear), recorded the performance, and released it on
CD.
How did they organize the material for the performance‘?
"The placing of around 100 sounds and the text in 3 move-
ments of 6 parts was done by tossing I Ching coins I8
times“ (remember that when trying to come up with a song
list for your next gig). What does it sound like? The technology is transparent, the sounds are extremely organic and
natural, except when electronic sounds are clearly intended,
and even then they serve the higher purpose of exploring
sonic space, ambiance, dimension, and texture. The sounds
emanating from even my lowly boombox create seriously
palpable textures, reminding me of extremely high fidelity
recordings of the pops and squeaks inside your sinuses,
echoing through the corridor of the Roundtower. The track
“Eustachian Tubes" could induce panic in a reed player,
performance, but without the tension she tends to build. It‘s
more like Teller and friends are saying, "Sit back, relax,
and listen to these sounds; we know they are sort of
everyday sounds, but just listen to how they echo up this
wonderful spiral, and think about how sounds travel
through your own inner ear, giving you a sense of physical
space and balance ~— your body's own gyroscope.“ The ar-
tists‘ fascination with the material is contagious.
What can we learn from this project? (1) There are no
limits to what you can do with sound. It is healthy to expand your boundaries of what constitutes "music" or a listening expericnce. (2) When technology serves art, the
results can be emotionally powerful. (3) If you can‘t afford
a Lexicon PCM-80, just fly to Copenhagen and mix down
in the Roundtower.
These guys are serious about sound, and have an amazing
passion for exploring the outer- and inner-limits of the
aural landscape. This is a stunning CD!
Tape: Bip Bop!’
Artist: Bip Bop! (Robert Zantay, ct al).
Contact info: Bip Bop! Productions, 235 E 'i'5tir St #4A, New York, NY
10021, phone: (212) 233-T390.
Equipment (Zantay): Ensoniq ‘JFK and EPS-16+, Yamaha WE-T, Oberheim Xpanrler, Casio ‘v'Zl0m and BM, Emu Proteus, Kawai KS, Altai
S-1000, Roland D50 and D110, Blorg DWE000.
“The beat of Hip Hop + the heat of Be Bop = 3D Bip Bop!"
So begins the liner notes for Robert Zantay‘s Bip Bopi, a
foray into jazz idioms as revelatory as Charlie Parker‘s
(then) daring new'harmonic style, claims Zantay. This is
serious jazz by serious musicians with tour and session
resumes that could spill over into the next issue of the
Hacker. In addition to Zantay, who controls the above
shoot-load of gear from behind a ‘WK-T wind controller,
Bip Bop! includes Allen Gerber on keys, Kasper Galli on
_.
guitar, Clive Bullard on bass, and Jim Mussen on drums.
The studio tracks were recorded “live“ into ‘v'oyetra‘s Sequencer Plus, and the live tracks were recorded using a
portable cassette sitting on a table at Le Bar Bat (NYC) on
4-28-93. Highlights:
Are We On The Outro Yet? -- "Rap meets Bip Bop!“ says
it all. If you can‘t imagine a cookin‘, expressive solo using
an orchestra hit sample driven by a wind controller, then
you need to hear this to believe it.
Wali:in' it — A walking bass line over a hip hop beat along
with a catchy melodic hook add up to make this tune a
standout.
? Cum ll -- A hip hop remix of the original Benny Goodman tune, complete with synth scratches. Another canvas
for Zantay‘s excellent soloing.
Chameleon — Another hip hop redux of the Herbie Hancock classic jam. I would classify this as “techno hip hop.“
.
play. One hopes the final recording will lose the
overly-quantized feel evident in the work-in- progress.
Tape: Samothrace (p) 1993.
Artist: Nathaniel Reichman.
Contact Info: n.-"a.
Equipment: Ensoniq SD-H32, ASR-I0, Yamaha R}{l20 percussion
module; mastered to analog tape (Teac X-2000M), then "remastered" in
real time on the ASR-10 for EO and compression; copied to cassette.
Nathaniel Reichman is passionate, and it shows in every
track of this techno-rockiexperimentaliindustrial collection
of insuumentals. He tastefully wrings every ounce of juice
from his" gear to weave mostly upbeat yet emotional
techno-tracks. If you like Front 242, Tangerine Dream,
Yello (to mention a few of Nathaniel‘s heroes), you‘ll love
this; it‘s classy music. Nat — if you‘re reading this, please
send your current contact info!
Tape: Offshore Dreams (p) 1993.
Blues For A New Age —- An extremely effective merging of
Miles Davis lead stylings, with a new age feel provided by
synth pad beds. Production-wise, the best track on the tape.
Artist: Robert Yashinsky.
Contact Info: 30'? Wadsworth, Bloomfield Hills, Mich 48301, phone:
(313) 642-6129.
Equipment: Ensoniq KS-32, Roland TR-505.
Do Bron Blues -—- One of the four live tracks, this is a
wonderful jazzy blues featuring Zantay “scatting“ with his
WK-T driving vocal "Do“ samples on his EPS-16+.
Robert Zantay‘s musicianship far outshines his use of MIDI
technology, which is by no means slothful in itself. But
wonderfully phrased, zesty jazz solos sometimes suffer
from the use of cliched or overused samples. This kind of
expert musicianship deserves equal attention to sound
design. Most synth parts were played on the WX-7, making
this tape an excellent showcase for alternate controllers.
The music of Bip Bop! is a fresh approach that should appeat to all jazzoids.
Writing in the jazzipop genre, Robert Yashinsky offers
some excellent lite jazz modulations and great keyboard
chops. While his simplistic melody lines don‘t do justice to
his complex-yet-accessible progressions, and the percussion tracks at times feel choppy, fighting with the keyboard
parts, this tape still works. If you wish Yanni had an injection of jazz, check out Offshore Dreams.
Tape: Sea ofLove (c) 1994.
Artist: Avereed (James Avery and Bertrand Reed).
Contact Info: 318 Lake Ave, Ithaca, NY 14850, phone: (607) 273-‘I312.
Equipment: Ensoniq TS-10, EPS-16+, SD-L-"32, Alesis SR-16, Digitech
Short Takes
Tape: Alice (p) (c) I993.
Artist: Robert L. ‘Wemtz.
Contact Info: Ivory Creations, 9l6 W Stephenson, Freeport, IL 61032,
phone: (8I5) 233-4416.
Equipment: Ensoniq EPS-16+.
"Alice" is a music score composed by Robert Werntz for
the New Expressions Dance Theater‘s production of “Alice
In Wonderland.“ Sequenced entirely on the EPS-16+, this
working copy of the score shows creative use of different
keyboard sounds to represent the various characters in the
‘Jocoder.
Avereed, “the DJ‘s with hundreds and hundreds of parties
and thousands of dancers satisfied,“ continue the nautical
theme in Sea of Love. This duo knows how to craft
crowd-pleasing tunes, from soulful ballads anticipating the
birth of a child ("Gonna Have A Baby") to political rap
("Ta.rman," apropos at this time of year), to funk-dance
and even gospel (“Ba,oti.-rest“). While more attention should
be paid to vocal pitch and phrasing, their sales success
(“I00 tapes in just 3 weeks“; sounds like a DiscMakers ad!)
proves Avereed is on the right track. You gotta love a
couple of guys who pose with their beloved Ensoniq
‘boards!
Tape: Stock-Bass Demo (c) 1904.
Artists: Fred Bass and George Stock.
Contact Info: Fred Bass, l'l Schussler Rd, Worcester, MA 01609. phone:
(503)155-4559.
"Short Talces" section. This will just be a few sentences on
some of the subtnlsslons that have been piling up the
longest. if your tnusic falls into this category, and you’d
lllte to have a more thorough going-over, please feel free to
re-subrnit.,l
Equipment: Ensoniq SD-ll32, Gibson SG Standard, Tascarn ill?-4 4-track,
Topes Recently Received
ltlesis. Digitech and Lexicon effects.
Collected Compositions I996 —- J. D. Ryan
No. this isn't from the Dept. of Fisheries. Songwriting duo
Fred Bass and George Stock present a three-song demo of
Love Today-— Glenn Govot
conservative Christian pop. Simplistic melodies and arrangements are consistent with scrmonette lyrics, reminiscent
of Don Francisco, evangelistic folk-pop balladeer of the
"l0s and ‘80s. The vocals are outstanding in pitch and
timbre, including wonderfully thick and lush background
tracks, and the overall production quality is high. Keep
working on those lyric-writing chops; when you start combining lyrics of depth with more memorable melody lines.
If you want your tape run through the wringer, err, Hacker,
just mail it off to: Basement Tapes, Transonia Haclter.
1402 SW Upland Dr... Portland OR 9?22l.
Bio." Steve Vincent produces
dernos and Cllls at his hornebased Portent Music, and can
be reached via ernail at
then your message will go down more easily. -I
{TH — For the next several months, Hacker Basement
Tapes is going to be in “catch-up tnode." We've divided the
column into two sections: A main review section. in which
we'll try to have at least a couple reviews per month. A
vincents@harbornet.con-t, or
at his website at
http:llwww.l¢space.contlvincent.
Cases for
Ensoniq
Now available direct from factory (escept in cut-rent dealer
areas) our full line of ATA cases Category I and II
Keyboards:
EPS, EPS-16 PLUS, ‘JFK. VFX-sd,
SQ-30, SQ-1. SQ-1+. SQ-2
—u_,_
'-i__
Module rack eases: 3-space, 4-space, 5-space, 6-space.
(2-space raclls available with surface
mount hardware only.)
Mention the (TH) code number 839 when inquiring to
receive our special factory direct pricing.
_1__.i
Shown: -ll-space rack with EPS-16 PLUS module,
2-space rack, Eagle-I TFFX-sd case
.'
._i
-.-"
3:00 am to 4:30 pm CT, Mon. - Fri.
We accept: COD, Visa, Mastercard, American Express.
Dealer Inquiries ‘Welcome!
.._
.
'_.-- :_;-'d:::‘JlI:;;t
I
_,_ _ __
_ ...--'_'-
‘F
-.
-r_1_-
__=__._3§_o.-5_:-gHg_.,-‘id
:- -I
2.1-‘
‘_-I'.':'H|-P I-i|-1
.| L lr —_'I\_-._
__
=J-‘.2
OPTI-CASE - HT. 6, BOX 235 - HENDERSON, TX 75652 1- FAX: 903-657-6030
_
Frog: Popcorn In Space
By: Jeflletton
Notes: Another fun. one-voice patch that you have no
while held notes create an arpeggiator effect. The mod
wheel provides a resonant filter sweep.
eltcuse not to load. Staccato notes yield an echo effect,
WAV E
Select ‘v'o|ce
Wave Glass
Wave
Delay Time
Wave Direction
Start lnclell
'lvltIlDSlZ'-Fl
_MClDAlvl'l‘
;Flestrk Eleoay_ _ _
1
_
2
fin
Clll
Transwave
Fleeonarlt 3-it
D00
{ll}
Wheel
+ss
es
Plrcl-l
Gllde Time
EHV1
_- lnltlal
._
'
_LFD
LFO Speed
hiolse Hate
Level
Delay
. MDDSHG
ll‘-lave
Flestart
l=ll_'rEn
_
__ __
Octave
Semltone
Flne
El~ll"l.-"1
LF-El
i MDDSCFI
lvlt.‘.lDnlvl'|'
HBD Ptoh Track
Gllde
3
fill
Z_
3
__
_
F01 Cutoll
EH1! 2
_Euv2
i
1
2
.
3
1
"'
Peak
Break
Sustalrl
Peal:
Break
Sustain
Attack
lilltael-t
Decay 1
Decay 2
Fleleaso
§‘v'el-Level
!'v'e|-Attack
llel Curve
jlvlode
HBD Track
-
AMP
.
Peak
Break
Sustain
Attach
Decay 1
Decay 2
Fleleaso
‘llol-Level
‘v'el-Attack
‘llel Bu rve
Mode
. KBD Track
'
MEI Cln
Sawtooth
Cln
2
_
3
'
030
00
1,
es
es
so
as
co
co
oo
_2__ __
3
55
33
so
Linear
Normal
+23
ll?
Wheel
OUTPUT
+20
01 0
oc
i FG2 F-IBU
FG‘ll'v'lDD-FC-2
ENV2
' lrlltlal
_
3
lnltlal
SLoPase
‘lHlPass
FG1 KBD
MUEJSGH
'MCllIMll'vlT
F62 Gutoll
oo
2
2?
00
00
00
1g_
- Fllter 1
'F|lter 2
CID-I
til
so
co
LFO
oo
On
Cltl
1
‘l
U0
Clll
1
~
'_
2
3
VOL
Eloost
' MDDSHC
MODA MT
HEID Scale
Key Henge
Output Elus
Priorlly
Pan
‘v'e_l wlndovr
1
_ 2_
_3
S0
On
LFO
-S3
co
-
Fl‘-(1
Med
00
coo
_
EFFECTS — CHORUS h.l~lD REVERE
FX-1
Decay time
E.‘-horus Hate
Chorus Depth
Chorus Center
Feedbacll.
Chorus Level
MOD [Dost]
E‘r' [lv‘lClDSHl.I'.}
Decay 1
Decay 2
Fleleaso
I 'v'el-Lev el
Vol-Attack
‘lllel C-unle
Mode
. KBD Tracll.
25
S5
1S
I-to
SD
-SD
7'2
-
Flt-2
-lltl
HF Damping -tltl
The HHCKI : “Popcorn In Space" shows how to use an
LFO. set to a sawtooth wave. to create an infinitely
repeating envelope. The patch is a close cousin to “Lemongate." which appeared back in Hacker #121 and used a
waveform whose frequency spectrum is designed to
change over time) for its single voice. and the modulation wheel is setup to sweep through it. All of the other
Transwaves sound good. too. so feel free to try them out.
square wave to emulate a keyed gate effect. You might
remember that Lemongate‘s LFO actually modulated the
Heck. even the pipe organ waves produce an interesting.
“Who-like" effect.
filter cutoff. since modulating the output section tends to
cause a clicking sound. Here. however. a clicking sound
actually benefits the patch!
Bio: Jeff Jetton is a Nashilille-based keyboard player
who is perhaps best lcnown for coining the word
“l»l+’ho-lllze." Many of his previous Hacker articles and
Once again. the first things you'll want to adjust are the
LFO speed. which controls how fast the echoes occur.
Haclterpatches. all of which deal with the KS-32 and its
relatives. are available via the World Wide llleb at
and the AMP envelope‘s release time. which controls
how long the echoes last. This patch uses a Transwave {a
hitp .'llwww. telollinlhnetl~jjettonl.
Haclterpatch is intended to be a place where patch vendors can show their wares and musicians can share their goodies and impress their
friends. {Ilnce something's published here. it‘s free for all. Please don't submit patches that you know to be minor tweaks of copyrigllted
commercial patches unless you have permission from the copyright owner. All submitted patches are subject to consideration for mutilation
and comments by Sam lvlims and Jeffrey Rhoads — our resident patch analysts. If you send in a patch. please include your phone number. L
Requests for particular patches are also very welcome.
18
fine of oar-rnest eorlunon requests from new subscribers [new owners} is for more basic tutorial inforlnation. We've all been there. Unfortunately. the
Hacker is usually "there" when a new instrument first makes its appearance — and then we move on. ‘While back issues can answer many questions. not
all are still available and they do represent an additional eltpense for the new reader. Hence. "Hacker liei.=litlalisatioll" —- yup. old goods in a new
wrapper. we feel e little funny about the whole reprint thing --- so we're going to keep it small. Clark's series on the SQs is the most requested. least
available. and dreraost generally applicable {KSs dr. KT: in particular —- and he's checking ‘em for freshness}. so here we go...
Envelopes and Oscillators.
wave. rather than any of the brass waves.
Oh My!
First. select RUM sound 0?. the “LA. Brass" sound —— we
might as well start with something that's not too unlike what we
want to end up with. Hit "Edit." then "Wave," then button “0"
— you'll note that the sound uses two voices. voices 1 and 2.
‘Voice 1 is assigned the “Brass Ensemble” wave. and voice 2 is
assigned the “Trump lllariation” wave (as you'll recall. you can
inspect and edit wave assigrlments by selecting one of the
voices and hitting the number "l" button). First. change the
wave for each of the voices to the “Sawtooth” wave. located
within the “Waveform” waveclass. You now have a rather
raw-sounding analog brass patch. Let's class it up a bit.
Part8
Clark Salisbury
Welcome back. SQ-1 fans. As you'll recall. last month we spent
some quality time with envelopes and filters. and a couple of issues back we looked at envelopes and the amplifiers. This time
out. let's check out one of the more overlooked applications of
envelope generators. the control of oscillator pitch.
Now why would anyone want to control oscillator pitch from an
envelope generator? A couple of reasons. actually. One is that
many acoustic instruments eshlbil a slight pitch shift at the sltack of a note. particularly plucked instruments like the guitar
and banjo [as well as many drum and percussion sounds.) You
can recreate this effect by using an envelope to modulate the
pitch of a voice. Using an envelope allows you to control how
much pitch bending takes place. whether the pitch bends up or
down. and how long it takes for the pitch to return to its normal.
unmodulated state. For an example of this technique as it applies to a more synthetic testurc. select the program called
“Super Pad" {ROM sound #40) and eltamine the Pi tch menu for
each of the two voices used. You should find that voice 1's
pitch is being modulated by envelope 1. with an amount of -60.
This gives the sound a rather ethereal. otherworldly attack. as
the two voices start out rather heavily dc-tuned. but gradually
come closer together. pitchwise. You might want to eltamirle the
parameters associated with envelope 1 to sec the values the programmer used to achieve this effect.
As a matter of fact. noting what the various programming pages
are doing in a sound can be an cltcellcnt tool for learning about
how other progratnmers approach the task of creating sounds —
'l
l
F
Z‘—l—l.
definitely one of the best ways to learn a lot of cool tricks for
sound programrnirlg. Whenever you hear something on the SQ
that you like. make a point of browsing through the parameters
to get an idea of how the sound is created. Solo each voice to
hear what its contribution to the overall sound is. check out filter and envelope settings. pay attention to what waves are being
used. and so on. You might be surprised at the nifty ideas you
can pick up just by doing this.
At any rate. let's work with an eltamplc of envelope-controlled
pitch shifting. We'll start by creating arl "analog" (synthesizer)
brass sound in the old-fashioned way —- using the sawtooth
First. make sure “ALL.” voices are selected for editing. hit the
"Filter" button. and then button "l." Bring Fill [filter l cutoff)
down from "012" to "000" — this will mellow the sound out a
touch. And as long as we're fooling around. let's dc-tune the
two voices slightly. Now head back at page “0” of the "Wave"
menu. select voice 1 {make sure that the "Select"? OICE:” parameter is set to "ONE" now instead of "t'tLL”}. hit "Pitch" and
button "0." and set "Fine" tuning to “-04." Likewise select
voice 2. but set its fine tune parameter to +04. Now that we've
made a couple of basic chlmges to this patch. let's get on to the
matter at hand. which is a look at the use of pitch envelopes.
Select voice l for editing. and move to the pitch modulation
page {press "Pitch." then the number "l" button}. Set the value
for “Env1=X}l” to "+99." Envelope 1 is always hardwired to
control the pitch of a voice. but in most cases the modulation
amount is set to "00." so no pitch modulation occurs. What
we've just done is set envelope 1 pitch modulation to its mattimum positive amount — "+953." (Pitch modulation can also be
negadveJ
You'll notice. however. that changing the modulation amount
has no discernible effect on the sound — not yet. anyway. Let's
head over to the “Envl" page -—- press "Env1" and then button
ilfliil
It should become immediately apparent why envelope 1 seems
to have no effect on the sound — all of its times are set to “fl-[l."
Even though level 1 is set to 53. the envelope rims its course.
and ends at a level of 00. in 00 time —- why. that's no time at
all!
Ah. but try setting time 1 to a value of. say. 50. and the effect
becomes immediately apparent. with voice l swooping down in
pitch to match voice 2.
relatively low value, and either or both of them have the “Envelope2=XX" parameter set to a relatively high value, then
This is all very well, but perhaps not too useful a sound — especially if you need to play anything faster than about a whole
note. But try setting time 1 to a fairly short value -—- say lfl or
bingo! Envelope 1 is “closing down" the filter(s) (allowing the
so — and the effect becomes interesting. Now instead of hearing that rather seasick downward pitch bend at the onset of a
note, the pitch change will happen so quickly that we won’t
necessarily hear it as a distinct pitch sweep, but more as a "blip"
at the beginning of the note’s attack. This can be a useful effect
when you need to punch up the attack of some types of sounds,
including those in the brass family. You might try shortening
time 1 even a bit more — I prefer a value of around 4 or 5 for
this type of thing. Now the pitch bend becomes very subtle, but
notice that the attack of the sound has a good deal more bite
filter‘s cutoff point to remm to a low value) before the sound
has had a chance to go through the complete release cycle set at
Envelope 3. Since the filter is removing most or all of the
sound‘s harmonics, there’s no sound left after envelope 2 has
run its course — so the effect of envelope 3 on the release time
of the sound is not audible.
Once you have a handle on what all the envelopes in a sound
are doing, you might wa.nt to try a couple of things out. For enample, since envelopes, [like most of the modulators), can be
applied with a negative or positive value, there are some interesting effects you can achieve by routing similar or identical envelopes (or LFO's or whatever) to similar or identical voices,
than it did when we began.
This same sort of little bend at the beginning of a sound can be
used very effectively to punch up lots of different kinds of
-sounds. As I’ve already mentioned, many of the plucked-string
family of sounds, such as guitar, bass and banjo can benefit
from this technique, as well as a number of drtun-type sounds.
And many hom and other wind instrument patches can be made
to have a bit more "bite," as we’ve just seen in our analog brass
patch.
but with opposing polarities. You might try modulating two
similar voices from two similar envelopes, but give one a positive modulation amount and the other a negative modulation
amount. The effect will be that of the pitch of one voice moving
up while the pitch of the other is moving down; this can be particularly spooky using the “Vocal Uoohs" or the “Vocal Ensemble" waves and lots of slow envelope modulation.
By the way, don't forget Lev‘! (velocity control of envelope
level) and Atclr‘v' (velocity control of envelope attack time).
These parameters allow you to control how the envelope
responds to velocity, influencing how much pitch-shifting takes
place by how hard you play the keyboard, for example, or at
what rate the pitch shift happens.
This just about wraps up our discussion of envelopes, at least
for now. However, before I sign off, I’d like to leave you with a
few tips and ideas regarding the use of envelopes in your
day-to-day existence.
The first tip is really a caveat, and that is this: you need to keep
track of what all the envelopes in a program are doing. Why‘?
Because when you're using multiple envelopes, it is possible for
one envelope to sabotage what another is doing.
Another idea might be to use one Amp envelope to fade a voice
out, while another Amp envelope is fading another voice in.
This gives you a way to control cross-fades between to different
sounds, or to create stereo panning effects if the two voices are
Let’s say that you’re working with envelope 3 (the AMP envelope) and you decide it might benice to set up a rather long
release time. So you head over to envelope 3, select [time 4],
and set its value to a fairly high number, "40." But nothing happens. As a matter of fact, no matter what you set [time 4] to, the
envelope always seems to decay much too abruptly. So what
panned opposite in the stereo field.
Anyway,
that
should give you
enough to stay
busy for a while.
See you nest
4'?-
gives, here?
time! —
Chances are that if you head over to envelope 2, [the envelope
that's normally routed to the filter), you’ll find that [time 4] on
this envelope is set for some relatively low value, and that this
envelope is being used to control filter cutoff —- you can check
Bio: Cleric Solisbur-y's into rnrrsic
and sound design.
out the latter by hitting “Edit,” then "Filter," and scrolling. If
one or both of the filters’ (FCI or FC2) cutoff points is set to a
Missing or Diamggneid Issues?
Change of Address
Please let us know at least lour weeks in advance to avoid
missing any issues. The Post Office. realty will NC-Wteliabiy
-
forward this type of rnait. {Believe us, northern!) We need to know both your old and your new address. {issues missed due to late or no change notification are your own dumb fauft- we
mailed thetnl}
Every month we mail out thousands of issues and every month
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one of the winners of this lottery, just gigs us a call {E103-22?-EH48,
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happy to mail a replacement eopy -- no prob. {However, if you accuse us of nefarious
schemes to ‘rip you oft,‘ you will be offered a refund and given
helpful subscription into for other musician rnagasinea}
I
I
I
l
I
l
HAHDWAHEISOFTWAFIE
CD-Rom for sale: 2X External Chinon
535s. $145. Only have one. Call Jose
615-ST] -423?. E-Mail at I-Alea@usit.net.
fully programmed. $5 per HI} disk, $30 for
all six (30 sounds). Check or M.Cl. Dr send
SASE for complete documentation. Iames
Samp, 9'0 N. Bell St., Fond du Lac, WI
54935. Phone: (41-4} 922-4337.
OUT-OF-PRINT BACK ISSUES
M.U.G. will provide Elut-of-Print issues for
cost of materials and postage. M.Ll.G. Hotline: 212-465-3430 or write: G-4 Productions, PCI Box fil5TH, Yonkers, NY 10303.
For Sale: EPS 115+ with DEX-5 expander,
$1100. Roland A-S0 Master controller,
$1200. Both pieces in excellent condition.
Call Dave at 40'!-621-9596 or E-mail me at
dco4'l'51B@pegasus.ec.ucf.edu
TH's Jack Toiin presents SYNTH-BITS!
Classic HR-15 drums (2 disks; 49 sounds),
M1 synth-textures (5 disks; 50 sounds)
come in easy to manage samples that turn
your EPS-16+ or ASR-10 into a synthesizer! Star-Tree SF blurbs [2 disks; 20
Attn: TH Back Issues. Phone: (212)
VFK-sd Workstation: $290. Good condition, although the logo on the back peeled
off. Extra sound libraries, good hardcase,
sustain pedal, all manuals. Used for film
sounds}. Duly $3 per disk. SF blurbs for
your PC: $2 per disk, 12 disks available.
FREE CLASSIFIEDS!
Jack Tolin, 9314 Myrtle Ave., # ISIS, Kansas City, MD 64132.
Well - within limits. We're offering free
classified advertising (up to 40 words) for
Your ultimate source for synth samples for
your Ensoniq Sampler. Moog, Korg, fiber-
your sampled sounds or patches. Additional
words, or ads for other products or services, are $0.25! word per issue (BOLD
type: $0.45fword}. Unless renewed, freebie
scoring
and band recording ——- great
machine. Also,
‘roe-are-arse.
HART:
$139.
Alex,
heim, Yamaha, Sequential! Send SASE for
free catalog: Tom Shear, 305 Fifth Avenue,
Williamsport, PA, l'l"i01.
If you’re
selling your gear...
MUSIC
Please be sure to pass along how
absolutely vital it is to have a subscription to the Trnnscniq Hacker.
And -- we're always happy to do a
sub transfer. No charge, and it's a
nice extra to help close the deal.
“Resonant Dwarf“ forges original electroacoustic 8: electronic samples for EPS1fi+.
465-3430. * * * Folks in the New York City
area can get copies of unavailable back issues of the Hacker - call Jordan Scott, ‘illi983-2400.
ads are removed after 2 issues. While
you're welcome to resell copyrighted
sounds and programs that you no longer
have any use for, ads for copies of copyrighted material will not be accepted. Sorry
- we can't {we won't!) take ad dictation
over the phone!
ARP, Korg, Moog, Hohner, Paiste, Roland,
Sequential tit assorted sonic surprises.
Catalogue = $1 or free with SASE. $4 per
disc. Andrew Faltonson, "Resonant
SAMPLESIPATCHESISDUNDS
l
Cunent Ensoniq 0.9.
(DlsldEFI='tDht}
Dwarf," 903 NE 50th St. #2, Seattle, WA
93105.
Dinosaultemains -- vintage sounds for
EPS-16+. New Mellorron rnulti-sample
disks. Two-disk sets of violins, choir, brass.
Sets are $19.90 each + $3 sih. Call for free
brochure. T13-4S1-1256.
ASR-10 Sounds:
Synth Collection
1.
Hand-drawn and additive synthesis. Crisp,
metallic to warm, analog sounds. HD, 10
disks — only $30 plus $3 sih. Send certified check or money order to: G. Bolton,
19 Third St, Ayer, MA 01432-1344.
CUSTUM ASH-10 YUCDDER SAMPLES! Yes, indicate what phrase needed
[up to 12 syllables) and I will createfsample
the robotic voice. These aren't vocoder
samples, tether Kraftwerk “music nonstop"
voices. $10;'phrase, 5.f$4t1 pp. For info
write: Wayne Schroeder, 523 Scott St.,
Studio L, San Francisco, CA 9411?.
ASR-10 samples of the TS-10. Hi fidelity,
la eTH — A Faster, I
1 Cheaper Hacker Q
If you can receive e-mail via the Internet, you can take advantage of avoiding the post office and get a faster,
cheaper, e-mail version of the Hooker.
The e-mail Trenscniq Hacker contains ‘
all of the sante information and
advertising as the printed version, but
it's only $20r'year — anywhere on the
planet. Plus, if you convert over from
. the printed version you'll get extra
issues added to your sub. Interested’?
Just send a message to us at
eTH@transoniq.com and we'll e-rnail
back complete subscription information. Let us know if you'd like a free
copy of the current issue and we'll
find i-""'= "1““E-
l
I
EPS
EP S-M
EPS-16 PLUS
MASUS
MlFlAt3 E
ESQ
ESCl-|lrl
SQ-B0
VFX
VFX-SD
1-
assesstimes‘ 5
s
PM
no
SE}-E
S01v2 32
SD-1
SD-1 32
DPI4
DF'.-’4+
KS-S2
ASH-10
ASH-BB
KMX-B
KMX-1 E
TS-‘l 01! 1 2
KT-TEJBB
Souutlseape
21
2.4 9l'2.40
2.40l'2.-41
‘l.3l"1.00F
P?mWPPmm m m 0
2.‘ll'2.00
1.11
2.03
1.15
1.20
2.03
1.15
1.2
2.03
4.'l0l'4.l0
4.10.-'4.10
1.15
2.02
3.10
35311.5
3.531350
2.00
1.50
3.05
1.52
race
The Interface
I|—|iI|I-I
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iii-II
l
G.
I
Letters for The Interface may “herons-toatty ofthe following addresses:
HS. Mail - 'I'l1eI:aariace. Transoniq Hacker, Milk SW Upland Dc, Fenland, DE. 91221
Electronic mail - Gfinie Network: TRANSONIQ, Irucraet: ittterface@transonic.ccsn.-in many cases a quick answer can be obtained it; posting to our
immactive, on-line Eterface at our‘Web-site (l1ttp:llwww.transoniq.ccn1i-trnsouiqii1uetface.htn1l}or calling Ensoniq CS at 61064?-39 0.
This is probably one of the most open forums in the music ittductry. Letter wnters are asked to please keep the vitriol to a minimum. Readers are
rcm'mr1ed- to take everything with a grain of salt. Resident -answer-rrnan is Clark Salisbury {CS}. Latter pnb1icat.ion_ig subject to space oopsideratious.
TH-
or *Ntll* to ccncci (remember, reinitialize-
l am interested in buying a used ASH-10. Are
tion will erase both sounds and sequences
from tbs .E'SQ's interact ntemoryj.,1’
folks) already qualify for sainthood for having
these useful www pages - I will gladly send
my subscription in, if I am not wasting any
trees.
there arty modifications in hardware that
would make this a bad idea, or is it just the
software that is different‘? Would I be able to
get 3.0‘?
ft9Codcno@ool.com - I om not sure if this is
what you wont but here it goes...
2'. Factory Internal Programs Reloaded After
Reinitiuliring: When the memory of tire
ESQ-i is rs-initialised {by holding down
Maui, Hawaii
Dr Dave
{CS - As for os I know, the burdwore for the
RECORD and pressing the upper-lefl-bond
,-‘CS - You will need u SCSI adopter to use u
ASR has remained rmcltongcd; ultltouglt both
the software and firmware have been upgraded. The current ASR US version is 3.53,
and you sltor-ddn't hove any trouble obtaining
o cars; Ensoniq nos it posted or their web
site 1'kttp:llwww.ensoniq.com."J, us well as on
Compuscrve fgo MIENSUNIQJ, and perhaps
other places as well. Current version of tire
ASR firmware IEEPROMJ is 1.50 (3.50 for
the ASR-SS). You con check the firmware version ofony ASR in question by pressing Commond, than Env 1‘, scrolling two ticks to the
right, billing Enter, and scrolling two more
ticks to the right.
"soft-button" if think rite sequencer truck
buttons], than answering "yes," the 40
original factory sounds will outomoticoliy be
reloaded into the ESQ-i's internal program
memory, us port of the reinitiolisotion
process. This also croses sequencer memory
and any programs that were in the internal
memory at the time._i
hard drive with your EPS. Hopefully, SCSI
kits can still be ordered from Ensoniq; I seem
to remember the price being about $250.
if you find you need to upgrade the firmware,
it shouldn't be any big deal. Cost should be
minimal {under $50.00 or so, I think}, and the
operation itselfjust involves swapping o chip
or two.I
{TH — You can now oiso find 3.53 or our ftp
site.)
Hi.
I've got an ESQ-1 that needs a good boot or reboot. I recall reading in an old issue of
the Hacker how to do this myself. Could
someone remind me which two buttons I have
to press‘?
Thanks,
Jeff Moore
Boston
IMOORE@WARREN.MED.HARYARIILEDU
[CS — if I'm not mistaken, press and itold the
Record button in the sequencer keypad, and
press tire "sofl" button in the top icfl corner
ubove the fluorescent display. The message
"ERASE ALL MEil1'ORY AND RE.ii\l'.l"iALIZE" will rtppeor. Select *YES* to proceed,
Mahalo!
David Fisher
dfisher@maui.com
Aloha,
Yes, you con put your OS on your i-turd drive
-;’or Syqucst drive, or wherever]. Elf course, the
OS will originally come from rt floppy disk, so
try to keep your floppy drive limping along for
os long os possible. And yes, I suppose you
could live without ofloppy drive. You'll hove
to resign yourself to bucking up datu to
another ltord-drive for to other Syquest currridgesj by manually loading the dots into the
EPS than saving it to the backup media. Also,
you won't be able to use floppies for obtaining
new sounds {oitlrouglt I imagine you've
tltouglu of n'tis,l._l
I am working on resurrecting an EPS “Classic" (with the extra RAM module] and getting it to work with a hard disk — most likely
a Syquest cartridge drive thatl have. [I am
exploring the world of hard disk recording
with Deck II at the same lime.)
{TH — The large degree of compatibility
omong the samplers bus let us do on awful lot
of stuff that uppiies to oil of them and to keep
publishing EPS material whenever we get it.
We'll send you u copy of tits current issue so
you con better decide.,l
Most of our diskettes have become moldy and
unusable due to the humid climate where we
live. The disk drive may also be on its last
legs. I have heard that it is possible, but I
have had a hard time getting info from Ensoniq {a lot of this may have to do with my
time schedule and the 5 hours time differenoe). Do I need a special SCSI card or
adapter‘? Can lput the EPS OS on the hard
disk? (I have found the info on the Mac
utility, etc. on the OAK WWW Page.) 1 do
not seem to find many sounds there - are
there places to downloadfand or purchase
sounds? Can I live without the diskdrive
{which I see from other postings cost $120 to
replace}?
{Ensoniq - The SP-i SCSI kit is wbot you
need. It con be ordered from your locol
Arotltorired Service Center for $199.95. It requires mar you kovc on ME-lo or ME-2
memory expander to work.,1’
{Ensoniq - Original sounds ore only loaded
with t9.S. versions 2.3 and ltigitcr. It is also u
good practice to tune filters ofler reinitializing — to do this, press and bold Record, than
press Fiitcr.,l
Last but not least how much of your
magazine's coverage is relevant to users of
the older EPS machines? You (and the OAK
22
Hacker:
First of all, I've been enjoying your publication for many years. I own an ESQ-1 and a
Mirage {along with other assorted dinosaurs]
and have been making MIDI music for about
four years. By the way, I've had virtually NO
problems with my Ensoniq gear.
Three years ago I sent in a tape for review.
Imagine my surprise to see it critiqued in the
March 1996 issue! I really appreciate the fact
that it was finally heard. Much has changed
since I993. I'm now in San Francisco, I‘ve
written much more since the "City Lights"
tape {the one that was reviewed) and I will he
submitting a more recent tape for review. In
the meantime, your readers are welcome to
Suggestions.....Helpl I ll! I need this item back
in service. I am able to solder. I tested the
power supply and it appears to be functioning, that is, putting out 4.93v and ll.92v
respectively.
drop by http:IIwww.creative.net,t'-duane to
check out a few clips from two of my latest
efforts. This site also has some clips I wrote
to attach to different system events on a PC
or lvlhfi [opening a file, error message, etc.)
which are available for downloading.
Once again, thanks for listening and for putting out a great publication.
Duane Frybarger
390 Cicary St., #25
San Francisco, CA 94169
duane@creative.net
{TH — Weii, thanh you! Sorry about the long
lead time. As you probabiy read in the iast
issue, we’re doing some serious catching up.
We're iooking forward to getting the more
recent tape.,l
Have I burned the RUM or the Bios? Can I
get new versions of RDMIDS for this
machine? It was using version 2.{l[].
Please email response.
Thanks for your timel
Kip Chatterson
itiprc@tenet.edu
[CS - The best thing, of course, would be to
get the machine in to an authorised service
center fa iist of service centers is avaitabie, I
beiieve, at their web site. In the meantime,
you might try this.
Turn the power on and off about ten times, at
one second intervats. Many cg’ Ensoniq's instruments can be reinitiaiised in this way. If
you can resuscitate your instrument, perform
a normai reinitiaiisation next |"a,!l‘er backing
TH-
up any important data, if any remains).
I was wondering which was widely eonsidered the better synth: The IIFK or the
SD-1'?
This procedure is impiemented in the eariy
stages of a new instrument’s design so that a
method for reinitiaiising exists during initial
deveiopment of a machine's OS. This may not
work with your VFX, but it’s probably worth
trying.j
Thanks,
ltingnod@earthlinlr.net
{CS — Sounds to me iike you’ve probabiy
answered your own question. Good _iob of it,
too. So I’m taking the rest of the week oflf.
It seems iogicai that you may be running out
of memory, but we’ ii be passing your question aiong to Ensoniq, so stay tuned for more
possibie info. ,l
{Ensoniq — Not knowing what US you are
using makes it hard to trouble-shoot what the
probiem is. First step — be sure you are using
US 3.53. Ifyou don't have it you can get it
from our Web Site [‘http:tiwww.ensoniq
.comt_l, or caii Customer Service at did64?-39315.
Four smaii memory is dejiniteiy an issue —
the ASH needs enough room to process the
sampie and ofier the new and aid versionsfor
you to audition. It seems iikety that this is the
problem.
We also don‘t recommend going to quaiity
ievei 99 - it does take a iong timei If I El isn’t
good go up to 20, or perhaps to dd. The ditl
ference between 45‘ to 99 is probably not dis-
cernibie enough to be worth the wait time.
Time not an issue? Go ahead, the PROCESSING display has a nice caiming e_ft'ect...,l
Hi.
I am trying to record sequences created on
my SQ-Eli into a PC equipped with Cubasis.
{CS - Since the SI}-I is the direct descendant
of the VFX, most would consider it to be a
more sophisticated instrument. The SD-I, for
example, inciudes more wave RGM, a number of new, improved sampies, and a bit
broader MIDI impiementation, among other
things.,1’
{Ensoniq - If we had to guess we'd say it
sounds like a keyboard assembly problem.
Take your unit to an Authorised Service Center and we wiii get it back up and running for
you.,3
TI-I...
{GNormand@aoi.com - I have owned two
VFX-SIJs and even though they can't piay
quite as many notes as an SD-I I24 vs 32),
somehow I have managed to make a ton of
money with them. I sold them and got a
TS-I2. It wiii do a iot of neat things, but
tacks some neat things the oid VFX couid do.
Have fun.,1’
T]-I_
My TIFX died last night - or at least appears
to have. I had it on, I loo!-ted down and everything was fine. A minute later the screen was
full of GUDDD [t]'X’s overlapped and other
strange characters). I restarted several times,
the buttons and keys won't respond. The US
never comes up - just GD-Uilfiil !!
I produce house music, remaking classics. So
this tool is essential for me.
‘Whenever I sample, for esample, a 16-bar
vocal section from a song averaging 101 bpm
to 125 bpm, I do my conversions and the
whole procedure, get my percentage, set my
quality at 99 and wait my time and then I test
the outcome. (Here's the punch.) The
ILSR-lll will cut off half of my sample. But
when I set the quality to lfi, the sample is
whole but the quality isn’t acceptable.
Maybe this is because I have only 4 meg of
RAM?
Christopher Gbrien
Jackson, TN
23
Although all of my tracks on the SQ and
within Cubasis are both set to different MIDI
channels, the SQ sends all sequencer info to
the one channel in Cnbasis that is recording. I
am aware CUEASE has a function that will
let you remiit to separate the tracks, but I cannot upgrade at this time. l have been told that
there is a software program available that
converts SQ sequences to a standard MIDI
file. Does anyone know where I can get this
program?
Thanks,
Todd A. Ivlillcr
'
Velocity lvlasic Productions
toddro@idirect.com
httpzi,-‘vrtvw.idirect.com,IusersJ'toddm.hm1l
{CS — What you’re probabiy thinking of is
one of the sequence converters avaiiabie
from Giebier Enterprises ['26 Crestview
Drive, Phoenirtiiite, PA Iiiddil; Phone:
did-933-d332,* Far: did-P33-0395). These
programs are intended to provide a reiativeiy
painiess way to transfer sequences between
your PC and the synth of your choice. And
yes, the SQ-iii] is supported. I
{Ensoniq - Another workaround would be to
record each track separately into Cuflase. Set
all your tracks on the SQ except track i to
LDCAL, and record into a single track on the
computer. Then set track I to Local and set
track 2 to BDTH and record that pass into
another track on the computer, and so on,
and so on until you've got all your track
recorded. It takes time, but it will work.)
_-
T]-]_.
I own an ESQ-1 that I love to use for quick
ideas. However, the unit sends and enacts
random modulation and data entry messages
both internally and externally. For example, I
can be using the unit without any problem,
then suddenly, while in the sequencer, with
the cursor on the tempo, the tempo will begin
to change up and down in miner and extreme
increments. The same thing happens when I
am editing any designated parameter. I can
see the MIDI signal on my MIDI activity
monitor.
Df course when I put it in the shop, they can't
find any problem because the synth won't do
it. What could the problem possibly be‘? I
can't afford THE EXDRCISTI ll
Any help would be appreciated.
I would like to play my PC MIDI files
through my EPS-16+, but then I'd have to
re-map the keyboardlinstrutttenlletc to have
Bravo to Ensoniq and Transoniq for their
great work.
the drums sound correct... Yipes! I thought
Alain Leymonerie,
Club Intemet
Windows 3.1 was difficult, try it in Windows‘.-lfi ! It won't even allow me to do it! (At
least not simply...)
Can you help me‘?
Thank you for your time...
Mojones
alla@usa.pipe]ine.com
{CS - Actually, I think that several Gildcompatibie drum kits are available on
CD-lltlllis from inVislon Interactive (didSi2-TSSUJ. And it wouldn't surprise me if one
of the major vendors — Rubber Chicken
{Still-8??-d3??j, Eye dz I Productions {Silli?2d-Tdd-lj, etc. - also had Gin‘-compatible
kits.
Dn the other hand, it's really not that big a
deal to re-map drums in an Ensoniq sampler.
Detailed instructions for doing so can be
found at E-'nsoniq's -Compuserve forum {go
MIENSONIQJ, or the documents can be
retrieved via Ensoniq's fax-back system
fdflll-25?-I439). Dr, just give them a call
(did-64?-3930), and ask them to send you the
instructians.)
Montreal
fit‘. Becks {erb@freeway.net) — An octave has
I2 essentially equal intervals over a 2 times
frequency change. Thus each interval results
in a frequency that is the I 2th root of 2 times
faster. IGrab your calculator.) So N keys up
the keyboard will give you 2 raised to the
i"ili2 power faster frequency. Your bpm's will
pass more quickly so multiply bpm of the
sample by 2 to the i*i'iI2ths power. Going
down the keyboard divide by 2 to the i'v"il2ths
power.
I generally use the formula for wave period
as opposed to frequency — which swaps the
multlplyidivide.)
)CS - Creating a CD-RUM for your sampler
isn't difiicult. .i'ust make an exact image of
the final CD on an Ensoniq-formatted hard
disk flake care to put your flies and directories in the order you want them on the final
disk), and use your CD-recorder to make a
disk-image of that.
Of course, there are a couple of things to
keep in mind when making the original image
Thanks,
ReggieB@eworld.com
)CS - My guess is that you have a faulty data
slider. What happens is the slider randomly
fires of some data or other, afiecting whatever parameter is currently underlined. One
solution is to install a new data slider fl’ d
check with Ensoniq Customer Support for
this). Another way to go is to make sure you
never leave important parameters {such as
tempo) underlined while sequencing.)
{TH - Sometimes a little spray can of contact
cleaner can fix something like this - if it's not
sealed or inaccessible...)
{Ensoniq - Make sure any contact cleaner
you use has the phrase "safe for plastics"
clearly printed somewhere on the label.)
To: webers@transoniq.com
Subject: EPS-16+ General MIDI drum kit
sample‘?
Heeeelp! Do any exist‘? Ensoniq Corp told me
that they haven't mapped any drum kit diskettes to the MIDI standard. Very strange,
eh‘?
{Ensoniq — Clark is correct, there are
Gilt‘-ma,oped kits on many of our CD-ROM
disks. including CDR-4, CDR-5, CDR-I2,
and CDR-I5. Uur AS-6 floppy collection also
has GM drum maps, but it is on HD disks,
which your EPS-Id PLUS can't read. These
kits are included in CDR-4 - that's where
you can get to them.
If you want to remap some kits yourself, go to
document #000? on our Fax On Demand System II -Slit?--2 5T-I 439J for some help. )
on your hard disk. Create directories and
sub-directories first, and avoid fragmenting
files. Also, if you are using banks, create
them with the hard disk set to the same SCSI
ID that you intend to use with your ASR-ill
CD-RUM drive.
The ASR-I-El can play as many different
samples as it has notes of polyphony. Since
each ASR instrument can contain up to I 23
wavesamples {spread across the eight possible layers), you have access to as many as
I024 samples at any point in time {I28
samples multiplied by eight instruments).
TH-
What is the way to know at what speed a 120
bpm beat on c2 will play at c#2, d2, etc.'i
We want an article on how to transfer hard
disk to CD RUM (details).
Is it true that the ASR-III can play 31 voices,
but can't play more than eight different samples at the same time {eight voices polydmbral}?
How can I "tutti off" the "parity" on my
-1-4-meg Dynatek removable cartridge drive so
my diskttack works properly?
24
What the ASH has only eight of is Instruments, which means that it can't respond to
more than eight MIDI channels at a time.
Since a single instrument can produce a number of difierem sounds simultaneously,
though, this doesn't need to be a limitation.
As far as turning off "parity" on your Syquest drive, I'm afraid nobody on this end
can offer you any advice. i'd suggest getting
in touch with Dynatek, and firing your question at them.
Hy the way — while you're out net-sttrflng.
you might look around for a program called
"StudioFal" from Harmonics Systems. Apparently, it performs all types of audio-savvy
calculations, including calculations which
will address these particular problems.)
Ilinsoniq - 3,1 The ASR-ill has a total of eight
Instrument locations. Although you can only
play these eight Instruments simultaneously,
the "instruments" can consist of many dif
ferent samples [for example, a drum set with
many dhferent drum sounds across the keyboard is considered one "instrument"). The
ASH-Ill is 3i voice polytimbral with dynamic
voice allocation - you can play multiple
notes of the same timbre, multiple simultaneous timbres feither the eight Instruments
or any of the timbres that make up the Instruments) or any combination. With the proper
combination of multiple-timbre instruments,
it would be possible to play 3i dfierent
timbres simultaneously, but in most circumstances Si different timbres wouldn't be
available. Regardless, you can always play
SI voices simultaneously, but recognise that
some instruments consist of multiple layers
which use more than one voice per note.
I-ti Syquest 44' drives are not recommended
for disk tracks. Also there is no parity on -=t-ts
that we have seen.)
Transoniq,
ljust read the review on MR RACK by Pat
Finnigan, and he said some interesting things.
First he mentioned that the Ivill RACK is the
only module that can reach S4 MB when the
III-IUSII can. He also says that Roland is
only capable of using the leftover expansions
from the ill series and throwing a power
supply and having individual expansions for
a craxy price when you can have a MR
RACK that holds three. Well, the ]‘v'-IDSII
can hold four and is quite impressive and is
generally in the same ballpark in price.
P.S. I love the ASR-ID but want to know if
there's a new sampler with some modem features on the way.
and I now have four added boards in it for
over l'llilII patches with all the effects. I
would have bought MR Rack, but there
wasn't any. It seems to me the MR Rack is
me-tooing it — too little, too late, and this guy
Finnigan is carrying on like he lived in a
cave. What's the deal‘? Is the Hacker the only
thing he reads?
Hi Eric and lane,
I just finished reading #129 with the lead
story being "The Name is Rack. Mr Rack!"
by Pat Finnigan.
Now, I am a longtime supporter of Ensoniq,
and still have three units, keys, sampler and
effects, but I bought the Roland J"v"l{t3tIt a
year ago last Dctober, like I‘? months back,
Regards,
I
M
I
I
Transonrqs-Net
I
HELP WITH QUE TIONS
All of the individuals listed below are volunteers! Please take that into consideration when calling. If
you get a recording and leave a message, let 'ern know if it's okay to call back collect {this will greatly
increase your chances of getting a retum call}.
All Ensoniq Gear -- Ensoniq Customer Service. 9:30 am to noon, 1:15 pm to 6:30 pm EST Monday to Friday. ore-on-sass. Ensoniq‘: Fax Dn Demand line, {I-Ellfl-25'?-I439) can also be used
to retrieve specs, IDS info, hard-drive info, and the like.
All Ensoniq Gear — Electric Factory [Ensoniq's Australia distributor). E-mail address: eifa@
or.email.com.au; their web site at http:ilw*s"n.oscmail.com.aul-cll'a; or e-mail their resident
clinician, Michael Allen, at mallen@geito.com.au. Phone calls, Business hours — ilictoria. (D3)
48f}-5983.
All Ensoniq Gear - The Electric Factory in New Zcaland, phone (64) 9-143-5916, fax (64)
9-443-5393, or e-mail geoffm@elfa.co.ns {Geoff Mason).
n.
TS Questions - Pat Esslinger, Intemet: pate@execpc.com, Compuserve: ’l424lI,l5fi2, or ADL:
ESSLIP.
TS, VFX, and SD-I Questions - Stuart I-locking, stul1@osemail.com.au.
MIDI users and ASH-Ill Questions -
Ariel and Meiri Dvorjctski, Intemet: s3'lt5l§2l@
techstll‘2.tcchnion.ac.il, or dvorjet{a§l}techurrix.technion.ac.i1. You can also call Sincopated BBS at
(Israel country code: 9'l2) 4-BTIEUSS, 24 hours, 23.SK. Modem. Please Login as: ENSUNIQ,
Password: MIDI.
SD-1 Qu estlons - Philip Magnotta, Alil -415'? -435?, 4 pm - l2:3II EST.
VFK, SD32, and EPS-16+ Questions - Dara .Iones, Intemet: 'ill]55.1 1l3@compus erve.com or call
214-361-U329.
SI]-1, DPI4, ASII-III Questions - .Ioi-m Cox, fill?-SE3-5519, (NI) 5pm - E pm EST weekdays.
Any time weekends.
SQ-SD, VFII Questions - Robert Romano, 60'?-S93-4363. Any ol' time (within reason} EST.
Hard Driv & Drive Systems, Studios, 8: Computers - Rob Feiner, Cinetunes. 914-E163 -SE13.
llam-3pm EST. Compuserve: 'i1l}2-1,1255.
EPS, EPS-16 PLUS, -Sr ASR-1|] Questions - Garth Hjelte. Rubber Chicken Software. Call
anytime. If message, 24-hour callback. {E12} 235-9793. Email: chicitcnEPS@wil1rrrar.com.
Frankie"v"e@aol.com
ESQ-1 AND SQ-Eli Questions - Tom McCaffrey. ESQLIPA. 215-Bill}-(I241, before II pm Eastem Time.
{CS - The rule is, there's always a new
fsampler, synth, sport-utility vehicle, etc.)
with newer, cooler features on the way. As
far as a replacement for the ASH-ill, though,
EPSilirIIRAGEiESQiSQ-Sit M.U.G. 14-Hour Hotllnc — Z12-465-3430. Leave name, number,
address. 24-hr Callback.
we haven't heard of anything imminent. .l-lut
then, we don't necessarily know more than
anyone else about new releases from En-
soniq.)
MIDI Users — Eric Baragar, Canadian MIDI Users Group, (613) 392-6296 during business hours,
Eastern Time (Toronto, DNT) or call lvIlDILH\lE BBS at (613) 956-5323 24 hours.
SQ-1, KS-32, SD-1, SCSI S: hard drive Questions - Pat Finnigau, 31'?-462-E446. B:Iill am to
l'll:=lII pm EST.
ESQ-I, MIDI St Computers — lee Slater, [4Ii4) Q25-SE31. EST.
ill
III
I
1
25
I-IlIIIi—|
Bill Forrest,
San lose, CA
)Er:soniq - BTW, the MR also has syncable
L.F'D' s.)
bforrest@ix. netcom.com
You are all grcat!!!ll!
Lloyd S. Mandela
Gideon Film Group
I-Ii there!
)Palrick Finnigan — Dkay, enough flames
about the Ii"I BBB already. The R box is twice
the sire {two rack spaces) and, with a 2Mb
PCMCIA card in addition to all four expansion slots filled inclusive of internal
WaveRDM, comes to -=t2Mb — which, if Mr
Forrest comes out of the woods to do the
math, is half the MR Rack capacity. True, the
.Ii*'iliSli and the expansion board idea is a
Roland first, but I didn't mean to get into a
“chicken or the egg" diatribe. Sorry if it appeared so. I stand by my assessment of the
new Roland rack modules: take the lid oyff of
one and check it outfor yoursel)I..
Pricewise, MR Rack wins hands down. Now,
back to my cave, sir...)
Asking for assistancel
TH-
I recently purchased a program called II‘-IFINITY from Jupiter Systems, but (painfully)
I subscribe to paper version of TH, use a
TS-I2, EDM, Cakewalk, and Soundvert. I
have two questions that TH may be able to
the tool which transfers samples between my
EPS Classic (called ASR_SCSl) doesn't do
I'm using a PPC Sllifi with the newest release
of OMS and an Crpcode Studio 4. If I'm
going to attach my old Atari computer to the
setup with Genwave, transferring data works
fine. Do you have a clue what's going on
with this software‘)? (OMS is working all
right, it doesn't seem to be a setup problem.)
Thanks for your help!
achim.froehIich@giessen.nets urf.-::le
)'C.'S - For what it's worth, I've had a fair
amount of experience with both the JV-ilidli
and the MR rack, and I have a lot of respect
for both products. Both machines sound
{CS - ASR_SCSi' was developed by Steve
Berkley and licensed to Jupiter Systems I now
wondegful and both provide for upgrades via
known as AnTares Systems). Though the pro-
expansion boards. The Roland provides more
to choose from in terms of expansion, but it's
been around longer. No doubt the MR will
begin catching up soon.
While the two units don't sound alike, it's
tough to say that one sounds better than the
gram's copyrighted by Ensoniq, they never
intended to distribute or support it, so I think
your best bet is to keep in touch with AnTares
Systems for suport and (hopefully) upgrades.
I've used ASR_SCSi on several drflerent Mac
systems, but never on a Power PC, so I suppose it's possibie that the current version
other. I think I'd leave it up to the individual
(now at I .39b, I think) doesn’t work on the
to decide which one gets the nodfor sound.
newer Mac models.
Dne can be a bit more objective about
programmability, though. While the Roland
provides some excellent sound-shaping tools
{I'm particularly fond of the multi-mode
resonant filters, the dual MIDI-syncable
l.FDs, and the flexibility provided by the
various "structures"), I think you've got to
give the nod to the MR. With up to id layers
per voice, Transwaves, shill-able sample split
points, and so on, there's much more potential for sound warpage in the MR inote,
though, that you have to have a computer Windows or Mac - to do real sound editing
on the MR).
I tried checking in at Steve Berkley's ftp
space [hpsliftp.crl.comi)lpiuserslroisberkleyi
Utilitiest) to see if I couldfind any info on for
perhaps a newer version of) ASR_SCSI, but
couldn't find anything helpful. Perhaps one
Ultimately, the decision to buy an MR or
IV-IIISB will probably come down to which
machine's sound appeals most to your particular taste. The two instruments are worthy
competitors, though, and that's a good thing
for consumers.
By the way, you might want to check out the
review of the MR in this month's Keyboard
magazine.)
help with:
anything other than quit!!!
of our readers can shed some light...)
I) Does anyone have current email address
for Tim Dorcas — the author of Soundvert.
I'm interested in updates and have technical
questions and suggestions. The Soundvert
documentation has an email address that does
not seem to be functional.
2) From the level of technology I would expect that TS-I2 should match or outperform
an Allen Organ. Are there Allen samples out
there? Dr really great sets or pipe organ
samples‘? {I have the Rubber Chicken CD
with its few samples.)
E. Becks
)CS - I j I couldn't find an email address for
M. Dorcas, but I did find an analog address
you might try writing to: Tim Dorcas, I? Kipling St, Providence, RI ll2?'-‘I5.
2) I'm afraid I don't know ofTS-I2 compatible any pipe organ samples. Readers?)
Hi folks!
l. I am looking for a Windows-based sound
editor for Ensoniq's KT-SS. Docs anyone
know where I can get such an editor [commercial or shareware)?
)Ensoniq - That utility was written by a fine
gentleman by the name of Steve Berkley. He
has his own company now called BIAS Sofiware, which makes an excellent Mac sound
editing package called Peak. iSteve, make the
check out to Jerry...)
2. ls it true that there are only S MIDI channels available if you use the KT-SS with an
external sequencer software like Cubase?
I would contact him at -=ti5-SSI-2-=t4d or
Sberkley@crl.com for any insights.)
Thanks in advance.
Please answer to my e-mail address:
(st.schmalhaus@wies baden.netsurf.de).
CU on the bitstrearn...
Stefan
To All Who Attempted to Help —
Greetings, I am very thankful for all of the
help your group gave me as I attempted (and
finally succeeded) to repair my ESQ-1.
She's humming again and I am eternally
grateful.
26
)CS — I J I know of no shareware editors for
the Kit‘ series, but that doesn't mean that
none exist. You might want to cruise over to
Michael Hyman's most excellent Ensoniq
Resources on the Internet guide {http:r't
www.netaxs.comi-mikehiensoniq.html). You
may find a link or two there that'll lead you
l-
to something useful.
the issues very interesting.
As for as commercial programs goes, you
I own TS-Ill and I use it mainly for live performance. My problem is that I can not
master transpose the keyboard. For estample,
transpose -1, +2, etc.
might want to tool: into Marl: of the
Unicorn’s universal editorllibrarian, “Unisyn," which is reviewed in the April issue of
Keyboard (Marl: of the Unicorn, I280 Massachusetts Ave. Carnbridge, MA t.l2I38
|"dl?}5?ti-2?t'itl,* for {till-‘J 5?d-3609). You
might also want to checl: with Sound Quest
Inc. They sell a universal editorilibrarian for
the PC, |"and MAC, Atari and Amiga} called
MIDI Quest, as well as individual editor.-'
librarians for specific synths. Sound Quest
can be reached at {Still} dd?-3998, or via the
Internet at '.?d?fl2.22t?5@Compuserve.com.
I use the keyboard in program and preset
modes, and I need to transpose both with a
simple key press. Could you please, please
help??? Any ideas...
Please reply on my email address:
l-t:iran@prismles.com. Also, please include my
question in Transoniq magazine.
Q4. How much are you expecting your
FLASH memory boards to cost {range}? Will
I also be able to save programs, sequences,
and songs on the Flash memory boards‘?
Q5. What type of wave expansion memory
will there be and how much will they cost
{range if possible}?
Q6. Will l be able to audition all edits before
saving changes like the T5-12'?
I know these are a lot of questions, but it is
very important to me in my decision-making
process of what keyboard to buy.
Thank you very much,
Iamal Hartwell,
2) You can get I-fl channels on the KT-38 by
entering GM mode. Uf course, this limits you
Kiran Thakarar
j1h9@pcp.cwru.edu
to the GM sound bank; the normal comple-
jGIllormand@aol.com - lilo, there isn't a
master button. I have a TS-I2 and wish there
were such a tool. lldahe your preset - I do hey
bass on bottom, lteys and strings on top with
the strings on the CV pedal for volume-touch
your transpose heys and move all three
sounds where you want them. Save to the adjacent preset location, and when you need to
immediately transpose, just press the adjacent preset button and you're in a ditjierent
{Ensoniq - IJ The new MR-bl and MRJ6
will be able to load ASRIEPS samples and
*.WAVfiles from floppy dish only into an optional Flash memory board {MR-Flash). The
board will offer 4 Ildli‘ of Flash memory and
retail for $299. You can use up to 3 Flash
boards if you wish. This feature will not be
available in the first release, but will follow
shortly.
hey. Ifyou are only going I.-*2 hey either way,
ASRIEPS sounds will load in with near perfect translation - but the ejfects will not be
translated, as the architectures will be very
difierent. Also you should note that Flash
memory takes a while to write to, so you will
not be changing sounds between songs etc. It
will allow you to configure a group of
sounds.-‘wave data that is totally of your
choosing and then always have it available
{think of it as a user-configurable expansion
board}. When you want to change a sound
you con, but it is not fast-performance
oriented.
ment of KT sounds is unavailable when in
GM mode.j
{Ensoniq - IJ Clark is correct, Unisyn does
have full KT support.
2) Yes, in regular multi-timbral operation the
KT has 5' ports. GM mode will give you I6,
but limits you to the GM soundset.j
Hi Hacker,
Tom Shear wrote in eTHl3t]:
a speedy way is master tune-slide it up or
down all the way. j
{CS - I thinlt Gillormand has a couple of excellent solutions. Thanhs, GI’-lormandlj
“Flld: No Static At All?
"l’ou've heard me say it before. If you like to
program your own samples, there are few
items more essential to your EPSIASR toolbox than the Waveboy dislts. fine of my
favorite is the Resonant Filter dish. I hope
whoever the engineer was who convinced
synth and sampler manufacturers to stop putting resonance on theirfilters got fired."
Let me put it the other way ‘round: Maybe we
should lire those synth and sampler manufacturers who convinced their engineers to stop
putting resonance on their filters. ;-)
PS: I agree with your verdict on the Waveboy
Reso+Fl'v'.l-Disk, Tom. Simply a must.
Diet: I ASL
Dietmar -Dieta- Tinhof
lvlusic-Soundfingineering-Soundlllcsign
tiietz@atneLat
TH -
THI am purchasing a new keyboard this year and
I was reviewing some of the specs to the
MR-Workstation and it looks like it will he
a winner. I was also impressed with some of
the features on the TS Series. I wanted to see
if it's worth my while to wait for the
MR-Workstation.
Q1. lt says in the brochure that the MRWorkstation can load ASRIEPS samples. Can
it load these samples like the TS-ltl;'12‘? Will
it load and play it completely with all of the
effects, mapping, velocity, aftertouch, etc.’?
(The sarne way the TS-10 can just load up
and play an ASH sample.)
2) There will be no SCSI option for these
keyboards.
3] The i'h'Il“s will be mostly di,t]’erent from the
TS - they use the new voice architecture and
ESP-2 ejfects lilte the MR-Roch. The Idea
Pad and Drum Machine are totally new concepts, and the sequencer is a new model allowing for I 6 trachs and Sit-IF compatibility.
{lust as you all have been asking fort} We
have even changed our dish format to an
MS-DDS compatible format. See, we are lisQ2. Will The h-IR-‘Workstation be SCSI com-
teningl
pat:ible'l
Q3. Will the MR-Workstation have most if
not all the features that the TS-ltIt,l12 had, estcept for maybe Hyperwaves and only a
'tt5—track sequencer?
I have been a subscriber since 1994 and find
2?
4) MR-Flash will retail for $2519. It only
holds wave data - the sounds etc. have to be
stored into Ilhil-I locations, and can be saved
to dish. When the MR loads a sample from
dish it will automatically create the needed
program in Rhildfor you.
E) We have already announced that Mil wave
expansion can be up to .L‘-i Mil per board. See
the announcement about EXP-I in the front
sample. The resulting sound is a bi-directionally looped sauare wave. if you then apply
heavy filtering to the wave, you should be
banks?
of this issue for more details. Future boards
able to turn it into a sine wave. Iiesarnple this
proper numbers to use for controller ll or 31
will include a 25' MB Dancetliip-hop board
for $425, an Drchestral board, drums, and
others. Stay tuned -— we'll announce more
details as they are ready.
wave, replicating and transposing as neces-
to send to the TS-lit from Cakewalk?
Is there a document that will show me the
tars-l
i-M-ii
By the way, I am able to access all sounds in
the SC-EB with this same setup.
Dear Transoniq Hacker,
-dj I'm not sure ofthis {at press time_l.j
TH-
Hello there, friends! I have had a problem
using my TS-1|] with a Cakewalk PC setup,
and I can not postpone this letter any longer.
I need to make full use of my Ensoniq instrument! I arn asking for your help, please‘?
Can anyone tell me if there is a way to read
Mirage formatted disks on the PC? My
Mirage disk drive went south and I can't afford to [or really want to} have it repaired,
but I would like to keep the sample library I
have accumulated over the years. Please help
if you can.
* A TS-IE! Synth with IDS version 3.05 {connected to the MIDI INIOUT of a AWESZ
Sound Blaster in my PC}.
Thanks....
Manuel Silva
* A Roland SC-E3 Super Canvas (connected
to the "Tl-IRU" port of the TS-Ill).
{CS - The “Ensoniq Diskette Manager” from
* Cakewalk Pro. 3.01 for Windows running
on a 436 6tiMI-lz PC.
My setup includes the following:
Last question: Can "SysEx" messages be
used to change MIDI program set up on the
TS-IE! just before I start a sequenceplay-back from my PC‘? I am confused because somewhere in the TS-Ill documentation I read that "when in General MIDI
Mode, the Universal SysEX General MIDI
Off message is the only SysE:It message that
will he received; all other SysEx messages
are ignored." Do I send my SysE:-t messages
before entering MIDI mode‘? Has anybody
compiled a list of common SysEx messages
for the TS- Ii]?
Even though I am a novice in the MIDI world
I do look forward to and enjoy reading your
Giebler Enterprises claims to be able to read,
write, format and copy any Ensonio format
dislts on a PC. Contact them at 26 Crestview
Drive, Phoenirville, PA I9-tltill, phone: {dill}
933-U332 . far: 933 -U395. i
Iii everyone,
I have an ASH-Ill with which I am very satisfied. I am looking for pure sinewave samples
at a range of frequencies to experinrent with.
Does anyone have andlor sell such samples‘?
'I'h-anlts,
hi Finn
,-‘CS - Sine waves are pretty easy to generate
using any of the sample editing software
available. I use Alchemy, personally, but you
might find it a bit expensive just for a few
lousy sine waves. However, you may ltnow
someone who has access to Alchemy, or
something lilte it, who could help you out
with the editing.
Another thought would be to borrow or rent
magazine. Please keep up the good work!
I appreciate any help and pointers you can
The sound out of the TS-10 goes to the sound
INPUT of the SC-B3 for mining then the
SC-EB -sound output goes to a sound
amplifier.
The problem that I have not been able to
overcome is that I don't seem to he able to
access any of the Utl, U1, R2, R3, R4, TS
sound hanks from my Cakewalk setup.
Cakewalk comes with a TS-ID instrument
hank definition already setup, and even
though Cakewalk's Track,lMeasur'e screen
displays the proper hank patches names, the
TS-ID only displays and plays the General
MIDI Sound Map. It appears that the TS-I0
is not receiving or is ignoring the patch
change commands from Cakewalk. I have
read the TS-Ill Musician's Manual many
times and even bought the EVS3 and E'v'S4
Ensoniq videos but still can not fist my
problems. I have trietl both the "Ensoniq" and
“Cakewalk” fart. on request services and I did
pick up good information and tips but I still
have not been able to for my problems.
nearly any synth, and certainly any analog
synth, and just sample its sine waves. You
could sample them at a variety of frequencies, or simply get one good sample and
transpose it in the AER.
I have set the “PRCIG-CHE" switch to UN in
the TS-I'll (transmit and receive program
changes over MIDI}.
Finally, if you're trapped on a desert island,
you can generate a square wave on the AER.
I am confused as to what Bank select method
the TS-ltl uses! ls it controller ti‘? Is it con-
Simply boot the machine, create an instrurnent, create a layer, and create a wave-
troller 32? Is it both‘? Ctr do-es it use Patch
offer.
Thank you very much,
Guillermo Pena
pena@chips.com
{CS - You say that when you send bank and
program change messages to your TS-Id, it
will play only sounds from the GM set. This
would indicate that your TS is in GM mode,
in which case it won't respond to normal TS
banlt and program change messages.
if you haven't put the TS into GM mode on
purpose I‘d guess that you are playing baclt
GM-compatible sequences which include a
"GM-t‘IJltI" message {this should show up as a
short syser string at the beginning ofyour sequence - probably on track one). Deleting
this message may solve yoto problem. if
you've been enabling Gil-I on your TS for
some specific reason, you'll need to decide
which is more important to you — to have
your TS respond correctly to GM program
changes, or to have access to the standard
complement of TS-Ill sounds. The two are
mutually exclusive.
fin the other hand, several of our readers
have reported confusion when trying to send
bani: and program changes messages from
change {program change} events to change
23
Cahewallt. fine reader, {Benny Richardson a
Cahewall: user from Edmond, tIIhla._l, was
kind enough to write with the following advice:
"Dn the main screen of Cakewalk there is a
provision for setting patch numbers. Leave
this blank. It seems to override patch select
data entered as a MIDI event. Enter bank
selects first {controller 32), then patch ntunbers ll-59, or till-I I9 -— *regardless* of what
the manual says about patch numbering. I
have also found this to be true with my SQ-I.
Also, as we should all know by now, MIDI
loops are a no-no. The Cakewalk manual
states the preferred mode to use is local-ofli
At least when recording a sequence make
sure that each track is set only to receive if
the TE-Ill MIDI Dut and In are both connected to your computer MIDI interface.
When using Multi-track record, any
*defi'ned* track will record data, whether it
is being 'sent' anything or not."
As far as using sysex messages to control
aspects of the TS-Ill, what your manual is
trying to tell you is this: the TE-It? will not
respond to sysex messages when it ls in GM
mode, with one exception - the message
which turns GM off. If you wish to use sysex
with your TE, the TE cannot be in GM mode.
Ensoniq will provide you with details regarding the TE-ItIt's sysex implementation. Send
them a reauest {in writing) for the TE-Ill
MIDI spec. Address your request to the MIDI
Epec desk, Ensoniq, I55 Great Valley
Parkway, Malvern PA I 935$. You might also
be able to locate a copy via their fax-back
system {Sill}-25?-I-i391, or perhaps on their
web site.j
{Ensoniq - Also note that there is no
provision for SysEx control of parameters
that have an existing MIDI controller, for example program change numbers.j
TH...
I have an ASR-Ii! and I have two questions.
Why is it that when I sample a drum loop at
30 kHe and adjust it to a set tempo, it changes quality wise and time wise when I change
just the effect to a 44-kHz effect’? It shouldn't
do that should it'l
And, I was wondering if you could tell me if
you know of anyone who has made a vocoder
effect for the ASE-ID. I've talked to Wave-
Hoy Industries ab-out their voder disk. I was
told that this disk was not exactly what I'm
looking for. I just want to know who I should
talk to to see about having this effect created
for me — if the AER-l[l's architecture is
capable of doing this.
Micah Demetrius Cltis
{CS - I'm not sure I exactly understand what
it is you're asking, but do you think that's
going to stop me from trying to answer your
auestioni Df course not.
First, it's possible that if you sample a sound
at 3ilkIIe, and then change the pitch by a
small amount Ia couple of ticks or so} you
can hear a small change in the duality of the
sound. This has to do with the way the AER
interpolates to make pitch changes. This,
however, should not be a factor when you
play back a illklis sound at 44kI-Is. Neither
should the tempo of the sound change, simply
because you've changed the playback rate.
I-Ii there,
My name is Arthur Perkins and I'm the proud
owner of an EPS sampler.
My problem is this: I am trying to download
samples from the EPS into a PC using
Eamplevision for Windows, but the program
always pulls down the same wavesample
regardless of the wavesample I requested. I
am using v2.-‘-I9 of the EPE operating system
and v1.tIt3 of Eamplevision, along with Windows 3.11.
Can anybody help‘?
My advice is to get in touch with Ensoniq
customer service and take them through this
process with you, to see where things may be
going haywire.
Dh - and I don't know of any vocoder efiects
for the AER. Unfortunately, creating a new
effect algorithm for the AER Ior any digital
ejjfects processor] is not trivial. It would be a
lot cheaper to just buy a doggone vocoder,
rather than to hire some gigubucks-per-hour
software geek to spend weeks creating the
code for you. If the AER could support it, that
is.j
{Ensoniq - The AER-Ill, like all digital audio
devices, processes audio at a specific sample
rate. The sound generator and the effects
processor must run at the some sample rate,
since they are communicating digitally. That
is to say, the output of the sound generator is
not converted from a digital signal to an
analog signal and then fed to the effects
processor where it is converted from an
analog signal to a digital signal for processing. The digital output of the sound generator
is fed directly to the digital input of the effects processor. For this to work, the sample
rate of both systems must be the same. Therefore, when you change to a 44-kHz ejfect,
your are changing the sample rate of the entire system. At the higher sample rate, the
bandwidth is increased and aliasing is
reduced, which improves the quality of the
signal. Although the system attempts to compensate for the pitchttempo change that
would normally occur when a sample is
played back at a dijferent rate than it was
sampled at, there is a limit to how far it can
Thanks,
Arthur Perkins
atraint] l@castle.net
fCE — I'd suggest getting in touch with Rub-
ber Chicken {Elli}-8??’-d3??j, distributors of
Eamplellision. They should be able to give
you a hand.j
,~"Gvran Ekstrvm, Illtl33?,32I.7@compttserve
.com - A few months ago another letter was
published from an AER-ltl owner who, like
myself, was having the same problem. I
managed to get the attention of a guy called
Ted Ilermanson from Turtle Reach who was
very helpful. It took a couple of weeks to sort
out the problems {there were some believe
me, not just the "same sample" problem)
with the EFEIAER driver and I now have a
working Eamplevision for Win -c-> EPE
setup.
Contact Turtle Beach and ask for the updated
.li'.F'.5‘.DLL file. Mine is dated I996-02-24 and
is 9.'lI2tl bytes large.
Gh, there is one small problenuauirk left with
this driver. In my setup, the EPE-I 6+ must be
in EDIT mode or Ell’-IIIIIIHI timeouts. Took me
a while to figure that one outl Itlot really a
problem if you remember it. I can also
recommend getting a ECEI connection for
sample transfers, it works really great with
the Adaptec 29-till ECEI card I have.j
TH-
Where can I find VFK patches for my Macintosh?
go.
When dealing with time-critical samples
{such as drum or rhythm loops} you should
only play back the sample at the rate it was
sampled at. If you want higher fidelity,
sample at the 44-kits rate. If you need more
sample time, use the ED-kl-It rate.j
29
Greg Duel
duelg@peak.crg
ICE — I'm afraid VFX patches won't work on
you Mac; you'll need a VFX to use them
{sorry —I couldn't resistj.
Most of the usual vendors {Eye & I, Eound
Eource Unlimited, etc.) have patches for the
VFI. Whether or not they can supply them in
a format readable by your Mac is something
you'd have to ask them.
Ensoniq, of course, also has patches, but
you'll have to purchase them on cards, an expense I assume you're trying to avoid. If
you're interested, though, you can probably
get an idea of what's available from them at
A friend is looking for an Ensoniq TS-1!]. He
wants me to locate one, buy it and bring it to
him in Russia. Can you help me‘? Are there
sources for pre-owned units of this model?
Thanks for your help,
Fred Ward
ward@centuryinter.net
[TH - You might try a small {freebie} ad in
our Classifieds.j
their web site.
TI-I-
In the meantime, try pointing your browser at
Michael IIyman's most excellent Ensoniq
Resources on the Internet guide. -1'http.'II
www.netaxs.coml--mikehiensoniahtmlj This
should steer you in a helpful direction._i
I want to begin this message to The Interface
by saying how much I enjoy owning my
TS-Ill. I like the sounds, the feel of the keyboard and the many other features. Something that prohably doesn't get praised
enough is the onboard sequencer. From what
I've seen it has to be the most complete hardware based sequencer while still being the
quickest to operate. I have not yet had the
need to get a computer involved in my system.
Howdy dudes and dudettesll
Help me out folks. I want to access some of
these samples out here in cyberville - but,
doggone it, I've got a MACH Looks like to
me that those "Boys" over there at GIEBLER
are totally STUCK on the cl‘ diesel IBM
machines. Can you guys help me figure a
way to use my Mac QISDE to get samples
from the NET into my ASR-10‘? I can't
spring for one of those POWER Macs just yet
and I sure don't plan on getting an
IBM-DOS-WINDOW I BGates any time
EIIER {again}.
In closing - I betcha, there's more musicians
on Macs than any other platform. Gr maybe,
it's just there's "more better" musicians.
Right?
Thanks in advance
Davo
david hell@coastalnet. com
Having made music with this great instrument for a while now I wanted to request my
current three wishes from the Ensoniq genie
as follows:
could be upgraded to read MSDS wave data
into its disk drive in Ensoniq format, the gap
could be bridged to creating custom samples.
This would be a pretty powerful scenario
with a very portable sampling front end,
processed by all the power of the TS {aided
by wish #1 above). A next best alternative
would be for one of the innovative code
heads out there to write a PC disk utility to
do the conversion.
P.S. At the next Transoniq Hacker Peoples‘
Choice Awards my vote for "Best Article
Title" ("Polygamy and Memory Failure...No,
sorry - Polyphony and Memory Shortage")
goes to Paul Rowland for the March, I996
issue.
Garry Wasyliw
Regina, Sask., Canada
{TI-I — Robby Berman assures us that an article on sample edits is in the works.j
{CE - When looking for sample editing tips,
don't neglect TH back issues.
We've
published a number of feattues dealing with
sample editing operations for the EPE and
AER series fEPE and AER editing environments are nearly identical}. EPE coverage
started with Issue #35. If you ask real nice,
maybe my cheerful and talented editor will
1] Sample Edits - when I read the manual on
this subject I can understand the basic architecture of the sample section and the program parameters seem to pretty much match
the synth section but somewhere in the middle I get lost. I've been able to deal with
single layers but something eludes me when
there are many to deal with. I think I need
more detail than is in the manual on what the
display is telling me and bow to navigate
around the layers. Could one of the excellent
HACKER writers who owns both a TS and an
ASR do a series of articles walking us
through this ‘I
send you a listing of back issues...
I wouldn't hold my breath waiting for Ensoniq to implement MEDE on the TE-series.
In the meantime, though, there are several
utilities available for PCs that will allow you
to manipulate samples and save them to
Ensoniq-compatible diskettes. I'd suggest
getting your hands on a copy of Garth I-Ijel-
te's "From Cyberspace to your Ear," which
originally appeared in TH Issues IIIZE
{August '95) and I23 {September '95} for
starters. That should help to get you pointed
in the right direction.j
{CE — First of all, start by checking out Garth
I1'jette's "From Cyberspace to your Ear,"
available at the IIacker's ftp site. This should
tell you pretty much everything you need to
know to get going.
2) Resonant Filters — I've read the exchanges
on this in the past but I still want to record
_my vote. Polyphonic filter sweeps of hyperwaves would be exceptionally cool.
If you're just looking for a way to move
samples between your computer and AER,
head over to Eteve Rerkley's flp space
[fipolt[ftp.crl.comtflpI usersirots berkleyt Utilitie
slj There you'll find a Mac program called
scEPEi, which allows you to transfer samples
between your Mac and your AER Ior EPE_} via
ECEI or MIDI.j
3} MIDI Sample Dump Standard — I've been
reading the various schemes for converting
samples in other flavors to TS format but I
have not yet seen a possibility that would
easily create original waves within my setup
short of the purchase of an additional full
sampler. Just recently, howeverl had an idea
when I saw that the "Y Company" is producing a small hand size phrase sampler using
flash ram that will send its wave data out in
Sirs:
MIDI Sample Dump Standard. If the TS
Bil
Hacker:
I have an Ensoniq TS-I2 {no SCSI or
memory expansion}. I'm looking for a sample
of the famous electric grand piano, the
Yamaha CP-SD. Can you help me‘?
Thanks,
Lucio Gregori
Sao Paulo, Brazil
{TH — Anyonelj
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Pestmastet: Please return Ferm 35-1? as seen as eessit:-ie se
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Publisher: Eric Gelsllnger
Editrltr: Jane Talisman
Advertising rates: Please send fer rate card.
Dur {semswhat regular} llluslrieus ttevy el writers includes: Graig snderten, Ftehtty
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