Ensoniq Corporation Transoniq Hacker Archive Issue #131 Th 131

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.t—|-'-\-

.

-3,‘.

ru-'-.-hi

--v\¢-

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,

Ayer,

MA

D1432-1344,

phone:

SUB-W2-3296.

For:

ASRs,

TSs,

Iv‘lRs.

j

i-

Do

you

ever

breeze

right

by

the

Hock-

er's

classified

ads

without

reading

them?

You

really

shouldn‘t.

Aside

from

inter-

esting

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.

Robby

Hermon

The

review

copies

of

these

sounds

ar-

rived

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

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

only

$3[l.

The

sounds

in

this

collection

lean

toward

the

synthetic,

some

quite

original

tert-

tures,

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

-

Transferring

from

Song

Mode

to

PC

Merlin

Weinberg

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

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.

21

"

Classifieds

21

The

Interface

22

"

Transoniq-Net

25

'

Hacker

Booteeq

31

i

-

i

ISSUE

NUMBER

131,

$2.50

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-

ber

of

notes

out

of

their

ASRs.

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.

The

sounds

make

only

a

limited

use

of

Patch

Selects,

which

is

a

disappointment,

but

it's

hard

to

complain

when

youlre

get-

ting

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

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.

And

a

word

about

Bolton's

use

of

effects

is

certainly

in

order.

As

a

sometime

recording

engineer,

I’m

perhaps

(over)

sensi-

tive

to

the

overuse

of

effects,

and

reverb

in

particular.

Nothing

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

under

utilize

the

Patch

Selects,

and

yet

e:-thibit

such

care

and

talent

in

the

programming

of

the

effects.

The

somtds

in this

set

benefit

greatly

from

Bolton’s

tasteful

effect

design.

The

reverbs

are

just

right,

for

one

thing:

Bolton

takes

fine

ad-

vantage

of

the

ASR’s

room

reverbs,

never

overdoing,

and

al-

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.

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

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

much

your

collection

of

keepers

is

about

to

grow

from

this

one

10-disk

set.

I

know

I

was.

-|

Bio:

Robby

Berrnon

is

u

musician

shoveling

snow

outside

of

Woodstock,

New

York.

{He's

the

guy

with

the

cuts

in

the

win-

dows.,l

His

iutest,

new

super-onnuoted,

opus

is

“Rings

and

Rings.”

TAKE

conrnot

or

A

TRAN

SWAVE.

Experience

something

you've

never

heard

-

something

you've

never

felt.

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

r-i"=

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.)

pi-.1.

‘I

__

l

"H

$7?

‘

\‘-

'

R.“

1

3/O

‘t

._

“

Q

'

H

f_

-

't_

l,

'

.-

tlll

I

\

E

fr

I

L1

.

*

‘

f

\

If

i

I

R

J

".

l

'

.

.

"

.

-P‘

'

ht>

-

~

L

:5

‘ll

it

||

1-

|

I‘

-

_

-L

"

While

normal

samples

can

only

be

a

still

photo‘

oi

a

sound.

each

Transwave

is

a

series

of

P!

"""l_

128

"frames"

that

go

together

like

a

movie

to

create

motion.

That

motion

is

under

your

V,

control.

As

you

move

the

wheel,

the

filter

sweeps,

as

you

bang

the

keys

harder,

the

Flvl

"_

"If

"

barks,

when

you

change

the

envelope

decay

time,

the

morph

happens

faster.

-

.

, ,

--

‘H’.

J

>5

The

waves

in

this

sound

library

have

been

painstaltenly

manufactured

using

a

computerized

I__|

_

.--1.

ll

T

1-

.,,,|:

-.

."t'

.

-.-

.--

_-‘ye

.1-,,_

1-

-

I-

.'-

-_

-H-'.""'=I-|--

éiii

.___

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

~"

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.

s

WAVEBOY

TRANSWAVE

Souno

LIBRARY

W.-'""-tr

“'~,r'"~..-""~,-"-_-"'-.,

I'l-

*"*~..r"-.-"‘-r

.-

J

D

II

it

1'

1'-'

It

it

Front

Panel

T

l

RND(np)

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.comXtom-

sheariprivateltontshearhhunl.

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.

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

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.

SCD-4

Keith

Emerson

Signature

Series

is

new

shipping!

Step

by

your

dealer

and

give

a

listen

to

these

incredible

organ

and

$H

I

synth

sounds

from

the

legend

himself.

Suggested

retail

$249.95.

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

col-

lection

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.

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.

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

making

the

disks

as

we

speak.

Enpect

to

see

your

requested

copy

in

May.

I

r-r

-

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

en-

gineer

is

telling

you

that

he

wants

to

transfer

your

se-

quence

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

sequence

tracks?

Though

it's

not

always

a

necessity,

sometimes

there's

an

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

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.

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

don't

have

the

same

sotmds

on

the

same

tracks

throughout

the

whole

mne,

or

you

might

be

using

the

same

sound

on

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'

situa-

tion,

but

t.he

main

concepts

can

still

apply.

Documentation

1.

As

always,

before

doing

anything,

make

a

safety

back-

up

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,

save

it

to

disk

and

hack

it

up

to

another

file

by

saving

it

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.

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.)

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

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

the

list.

What

you

are

doing,

in

essence,

is

creating

a

list

of

all

the

unique

sounds

that

were

used

in

the

tune.

S.

After

completing

the

Song

tracks,

move

on

to

the

first

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

MIDI

channel

number,

regardless

of

what

location

it’s

in,

or

what

track

it's

on.)

8.

Continue

checking

all

the

tracks

you

recorded

on,

and

change

the

MIDI

chamtel

according

to

the

list.

9.

Make

sure

that

each

Song

and

Sequence

track

is

set

to

transmit

MIDI.

10.

Make

sure

the

keyboard

is

set

to

Multi

in

the

global

MIDI

control

settings.

11.

Set

the

“Loop="

parameter

of

the

Song

to

off.

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).

I4.

Make

sure

there

is

a

MIDI

cable

going

from

Ensoniq

MIDI

out

to

the

computer

MIDI

in.

Preparing

The

Computer

15.

Setup

the

computer

software

to

record

on

multiple

channelsftracks

simultaneously.

16.

Name

the

tracks

with

the

corresponding

sound

natnes

from

your

list.

1?.

Have

the

computer

sequencer

respond

to

external

MIDI

clocks

so

it

will

wait

for

(and

lock

to)

the

Ensoniq

sequencer.

Transfenin

The

Data

18.

Press

Record

on

your

computer

sequencer.

It

will

go

into

a

“waiting

for

MIDI

clock"

mode.

19.

Press

Play

on

the

Ensoniq

keyboard.

The

Ensoniq

se-

quencer

and

the

computer

sequencer

will

start

together.

20.

When

it‘s

done,

the

computer

will

now

have

one

con-

tinuous

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

22.

Establish

a

new

sequence

location

in

the

Ensoniq

se-

quencer

that

will

be

the

target

template

for

the

computer.

It

should

contain

one

of

each

of

the

sounds

on

the

list,

preferably

in

the

order

that

they

appear

on

the

list.

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

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.

Common

Questions

Q-What

if

I've

used

more

sounds

than

I

have

tracks

in

my

template?

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,

but

they

had

different

track

settings

(such

as

mitt

level)?

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.

I

hope

this

step-by-step

outline

gave

you

some

new

ideas

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.

—

Bio:

in

addition

to

working

in

Tech

Support

at

Ensoniq,

Martin

Weinberg

actually

uses

this

stajj‘.

He

does

arrang-

ingicontposingiprorincing

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.

Mo'

Organ

Mo‘

Organ

(Moog

+

Organ.)

is

inspired

by

a

one-of-a-kind

keyboard

lead

in

Steely

Dan's

“Do

It

Again,"

which

I

as-

sume

was

done

by

the

inimitable

Donald

Fagen

some-

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

you

teach

him

how

to

fish...

well,

you

know

what

I

mean.

To

mimic

a

certain

sound

from

a

recording,

a

few

things

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.

So,

we

have

some

ideas

for

the

patch's

three

voices.

Nertt

let's

look

over

the

samples

and

waveforms

available

in

the

KS-32

{or

the

SQ

or

KT).

The

most

obvious

candidates

to

my

ears

are

listed

under

Waveform,

the

Organ

Variations

Dan

Rohde

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.

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

1

under

Waveform.

No,

it's

not

identical

to

the

Steely

Dan

organ,

but

we

can

call

this

small

compromise

a

choice

of

style,

right?

We

want

an

immediate

attack,

so

set

delay

to

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

=

20,

since

only

one

Glide

Time

can

be

chosen

per

patch

on

the

KS.

(‘We'll

get

to

Voice

3

in

a

minute.)

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

Mod-

source

=

LFO

(+10)

under

Pitch

~—

the

LFO

level

doesn't

seem

to

make

very

much

difference.

The

Sine

wave

has

a

smooth

up

and

down

motion

that

sounds

fine

here.

The

Filter

settings

for

Voice

I

block

about

a

quarter

of

the

lower

frequencies

(Figure

1}.

Both

FC1

and

FC2

Key-

board

=

+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

didn't

select

any

Modsotuce

for

Filter.

If

you

want

to

enable

a

Modsource

here.

you

will

need

to

adjust

the

Cutoff

values

ac-

cordingly.

Organ

sounds

usually

don't

change

that

much

over

time,

just

a

fast

at-

Figure

1

Fl=2Lo

F2=2Hi

FCl=l2'i'

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

lfoice

1

to

-14

gives

it

enough

stereo

to

add

interest

against

Voice

2.

However,

played

through

a

typical

mono

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

tack

and

an

even

tone

thereafter,

so

En-

FC2=64

velope

2

is

not

used

as

a

Modsource

for

Madam"-Elli

any

of

these

Voices.

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

amplitude

frequency

ZLo

I

KS-32

Prog:iv1o’

Organ

WJWE

2.

,

tro

1

__3

1

Select

kloice

On

On

Wave

Class

Waveform Wavelorrn

Wave

Orgi.-‘art

=Org'v'ar2

Delay

Tirna

oo

co

Wave

Direction

-

-

Start

Index

- -

MODSCFI

- -

|ir1ODAlvlT

- -

_He-strk

Decay

10

ac

3

-_

_

On

waveform

Org‘v'ar4

cc

LFO

Speed

Noise

Hate

Love!

Delay

MODSHC

Wave

Fiostarl

S5

00

25

00

Wheel

Sine

OH

2

.

DD

25

00 00

DD

05

co

oo

-

Wheel

-

Sine

-

On

TEL

Fl

LTEH

Pncn

g

1

2 _

3

_

2

3

Octave

+1 +1

Semltono

00 00

Fine

cc

-or

EHV1

LFO

MODSOH

.

MODAMT

Glldo

Glide

Time

EHHD

Ptch

Track

00

D0

00

+00

LFO

-

+10

-

On On

O11

Oil

ac ac

+1

00

+03

00

-D1

LFO

+1

D

On

I

Legato

so

Fiitor

1

Fitter

2

FC1

Cutoff

EH1!

2

FCt

It-ZED

MODSCH

MODAMT

FC2

Cutoff

EHV2

FC2

HBO

FG1M'DD-FC-2

.1

-

2Lo

2Hl

1

2?

00

50

ea

co

so

orr

SLo

etc

1

Hi

1Hi

12?

105

oo

00

SD

so

E4

0

50

Oil’

Wheel

+25

50

00

S0

On

I‘

ENV1

_ _

1

2

3

E

NV2

1

2

_0

—l_r1ltial"

Peak

Ilsroak

Sustain

Attack

.

Decay

1

'

Decay

2

Release

Vol-Lovol

1.-‘oi-Attack

'v‘e|

Curve

Mode

_llIBD_Tr31_ck

initial

Peak

Break

Sustain

Attack

Decay

1

Decay

2

Heloaeo

‘v'o|-Level

‘rel-Attack

'v'ol

Curve

ll-‘lode

HBO

Track

F

Initial

Peak

Brook

Sustain

Attack

Decay

1

Decay

2

Floloase

trot-Laval

Vol-Attack

Vol

Curve

lvlodo

_l!§B_D

Track

so

SS

99

20

20

2-ti

1

III

0

ti

Normal

00

By:

Dan

Ronda

AM

2,5

-"egg"

2,,

'-

00

SS

SS

15

00

25

40

0

=0

Normal

'1"-I

BS

SS

S9

20

2D

20

10

0

‘I

D

Horrnal

0-0

ourvur

1

VOL

Boost

MODSHC

MODAMT

HBD

Scale

Key

Flange

Output

Bus

Priority

Pan

Vol

window

S0

Off

-I-

-

0

FIII1

Mod

-14

>000

I

re

On

0

FJE1

MB-0

+14

>000

3

_.

so

U1‘!

0'0

-

t

FX1

Mid

DU

:-0150'

E

.l_

FFECTS

—-

CHORUS

AND

HEIIEHB

Fill-1

{Stock}

Fit-2

Decay

time

HF

Damping

Chorus

Hate

Chorus

Depth

|

Chorus

Center

Feedback

;

Chorus

Laval

'

MOD

{Dost}

E11’

{MODSHC}

Whool

MODAMT

+oo

E

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

Figure

3

Fl=3LU

F1=|Hl

FCl=l[|'5

F'C2=5U

lltlorlscr=On

'Whel.‘tl=+15

completely

for

Voice

2

since

plenty

is

hap-

pening

already

without

adding

vibrato.

Fil-

ter

is

3!LP

and

ltl-IP,

allowing

slightly

Mo'

Organ's

funkiness.

I

left

the

LFO

out

I

more

low

frequencies

through

than

Voice

l.

l

V

.

ModAmoont

_..._.._p-

amplitude

frsqvvnsr

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.

9'9

Figure

2

Amp

-

Voice

2

00009999

1500254-0

Mode

=

Finish

8

Level-—I~

.l4(seconds)

.29

.10

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

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

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,

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

fre-

quencies

and

increases

the

number

of

higher

frequencies

(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

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.

And

bu-duh, bu-duh,

bu-dat's

all

folks

for

this

program.

I

hope

you

like

this

humble

"impression"

of

this

Steely

Dart

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

Bio:

Dan

Rohtle

is

a

parrrime

musician

anti

high

school

teacher

who

lives

in

Masculine,

Iowa.

He

hopes

someday

to

halance

his

classic-motorcycie-

repairperson

self

with

his

roman-

tic

ritie-the-wind

self.

He

also

hopes

to

win

the

Powerhall

and

to

see

the

end’

to

all

conflicts

in

the

world.

Automated

Mixing

with

the

DP

4

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

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

traclt’s

volume,

EQ,

pan and

FX

setting

at

any

time.

Analog

Audio

Connections

In

this

model

setup.

the

DP)‘-4

will

mix

four

tracks

to

stereo.

Connect

each

tapedeclt

track

you

want

to

automate

directly

to

a

DP}-4

input.

Connect

Outputs

1

and

2

to

your

mixer.

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.

MIDI

Control

The

DP!-4

provides

eight

internal

controllers,

called

DPI4

controllers.

These

can

control

selectable

parameters

in

each

unit.

A

single

unit

can

respond

to

two

of

these

eight

DPI4

controllers.

Each

DP!-4

controller

can

be

controlled

by

a

MIDI

con-

troller.

Press

“System”

and

scroll

until

the

red

LED

dis-

plays

(page)“3’}'.”

The

yellow

display

reads:

“DP,l-fl

Controllerl=MIDI

Control#l]04”

This

means

that

incom-

ing

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-

Roberr

Schttlze

Ltttttm

trol#

U61

to

D63

respectively.

Now

MIDI

controller

61

controls

DPX4

control

1,

62

controls

DPJ4

control

2

and

so

on.

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”

with

the

value

“U”

on

its

controller

channel

(channel

T,

remember?)

it

will

switch

unit

A

to

“bypass,”

while

value

“I2?”

switches

“bypass”

off.

Volume

'

Remember:

Each

tmit

also

has

its

own

MIDI

channel.

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-

trol

each

unit’s

volume

via

the

unit

channel

(1,

2,

3,

4),

and

two

additional

parameters

of

a

nnit’s

effects

algo-

rithm

via

the

control

channel

(T).

Let's

select

the

preset

52,

“Hall

Reverb”

for

unit

A.

A’s

volume

is

already

being

controlled

by

MIDI

controller

#

7

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

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

tape

track

by

ttuning

the

unit's

volume

to

“U”

or

by

set-

ting

“bypass”

to

“kill.”

All

you

have

to

do

now

is

make

your

sequencer

send

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,

clean-

ing

up

tracks

by

muting

the

rough

spots,

controlled

pan-

ning,

dynamic

EQ‘ing

etc..

Now

you

can.

-

Tuning

on

the

Ensoniq

Synlhs

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

En-

soniq‘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.

In

the

ASRIEPS

the

tuning

tables

are

stored

in

an

instru-

ment

and

selected

through

layers.

Each

layer

can

be

set

to

a

particular

tuning.

The

TS

is

different

in

that

the

tuning

can

be

specified

globally

to

affect

all

programs

in

the

sys-

tem,

or

can

be

stored

and

edited

within

a

program.

T

he

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.

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

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-

ting

is

SYSTEM,

then

the

voicels

timing

comes

from

the

global

system

pitch

table.

This

table

can

have

its

contents

Steve

Cttrtin

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

dif-

ferent

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

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=

parameter,

followed

by

the

up

arrow

to

display

the

RE-

PLACE

VOICES

options.

You

then

select

the

PITCH-

TABLE

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.

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

the

same

as

the

re

gnlar

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.

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

be-

tween

two

defined

pitch

relationships.

Extrapolate

will

repeat

pitch

relationships

outside

of

an

edited

key

range.

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

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

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

oc-

tave

and

divides

it

into

13

parts.

Stretch

means

that

the

in-

terval

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

*CALCULATE*

again.

Its

range

should

still

be

C4

and

CS+.

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

would

set

the

D5

key

to

play

C5

and

U

cents,

set

the

cal-

culator

parameters

to

C4

and

D5,

then

do

the

same

inter-

polatefextrapolate

step.

This

allows

the

quick

creation

of

any

equal-tempered

scale.

Tables

in

ROM

One

difference

between

Ensoniq's

samplers

and

syn-

thesieers

is

that

a

synth

comes

with

samples

in

ROM.

The

same

goes

for

tunings

—

the

TS

and

KT

synths

come

with

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

dif-

ferent

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

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

to

CUSTOM

will

select

the

custom

pitch

table.

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

U1-

PROORAMS

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-

ter

contains

the

historical

pitch

tables

such

as

Pytha-

gorean.

Since

this

loads

a

copy

of

the

ROM

tunings

into

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

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

the

keyboard

pitch

modulation

in

a

patch

to

create

any

ar-

bitrary

equal-tempered

scale.

Here's

how

to

do

this:

Select

a

sound

a

press

Edit

Sound

to

change

its

parameters.

Press

the

button

below

the

dis-

play

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

en-

velope

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.

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-tem-

pered

scale.

Here

are

the

details

for

each

instrument:

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

where

you

bring

in

LFO

and

other

frequency

modulation.

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

or

the

Data

Entry

slider.

This

is

one

source

in

addition

to

LFO1,

YEL,

etc.

Set

its

amount

to

-99.

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

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

micro-

tones

on

the

ESQ-1.

This

technique

will

also

allow

using

the

SQ-1, SQ-2,

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.

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

En-

soniq.

As

a

Macintosh

programmer

he

developed

the

ESQ-I

patch

editor

for

Op-code

Systems,

and

enhanced

the

Alchemy

sample

editor

for

Pass-

port

Designs.

He's

now

living

happily

at

the

other

end

of

the

MIDI

cable.

OTTO

L|VES...in

my

PC

The

$oundSeope

Elite

Review

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

My

token

IBM

clone

is

a

Laser

436sa,*'3

(wt436DX'i‘5

over-

drive

CPU),

20

MB

RAM,

1.2

gig

WI)

Caviar

IDE

HD

(yeah,

I

read

about

Windows

95,

too),

Iomega

tape

backup

(pseudo

B:-floppy-type),

Mitsurni

2X

CD

ROM,

Midi-

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

Pat

Ftnrttgart

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

any-

thing

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-opera-

tor

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

Lef-

ty's.

But

type

GM

and

well,

1et’s

begin

again...

{TH

-

New

software

automatically

adjusts

to

the

correct

mode.)

Integration:

Day

1:

Usin

with

Windows

3.1

Okay,

so

I

launched

Cakewalk

prematurely

without

con-

figuring

the

drivers

in

the

Windows

Control

Panel

Applet

(“Gee,

I‘ve

never

done

that”),

so

I

was

greeted

by

ominous

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

1s

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

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

in-

cluded

AudioS

tation

software:

hey,

this

is

very

cool:

a

vir-

tual

software

rack

stereo

system!

Looks

like

MCS

to

rne,

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

was

having

so

much

fun

I

forgot

to

install

Windows

95:

haven‘t

yet,

either,

although

the

WIN95

driver

is

up on

the

SN

DSCAPE

Ensoniq

BBS:

I

just

didn’t

want

to

ruin

a

very

good

and

productive

evening.

Okay,

shell

to

DOS

and

launch

Descent:

oops!

Recon-

figure

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

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

l"m

sorry

to

report

here

that

the

hardest

part

of

installing

the

Elite

with

‘Windows

95

was

logging

onto

the

Ensoniq

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

mul-

titasking

OS,

if

your

game

loads

while

the

music

files

are

playing,

tempo

slows

down

until

W95

is

through

hammer-

ing

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...

The

Hoses

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

per-

haps

an

15-20

degree

difference

in

the

heat

output

of

the

cooling

fan

on

the

back

of

my

computer.

Ensoniq

environ-

mentalism‘!

Works

for

me.

Sounds

are

crisp

and

clear,

and

although

I

wouldn't

jump

up

and

sell

my

KT-83

over

it,

I

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.

What‘s

very

entertaining

is

the

included

“EasyKeys"

soft-

ware.

Imagine

a

Yamaha

or

Casio

from

the

Home

Shop-

ping

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

as

slick

as

MCS

Stereo

software

bundled

with

the

Win-

dows

Sound

System,

but

is

every

bit

as

functional

and

then

some.

It

incorporates

the

mixer

control

panel

on

top

of

the

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

vir-

tual

"cassette"

reels

turn

when

playing

*.wav

files

makes

up

for

it.

Objectively,

the

waveDAC

is

much

quieter

and

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

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-im-

pedance

guitar

cords,

either.

Docs

are

very

good,

and

considering

just

how

many

ways

you

can

define

"multi-

media,"

they're

dowtuight

excellent.

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

cap-

tured

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

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

com-

parison.

*.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

anything

but.

Big

fat

analog

sounds,

boomin‘

basses,

and

clear

FM-type

bell

tines

abound.

I

did

notice

a

bit

of

"nip-

per“

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

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

done:

‘Scape‘s

got

a

mind

of

its

own,

thank

you

very

much,

so

you

won‘t

drop

audio

frames

while

your

CD-

ROM

polls

the

buss

to

pass

video.

No

TSR‘s

to

load

or

un-

load;

in

a

word,

glitchless.

The

GM

wavetable

is

good,

clear,

and

representative

of

the

GM

set;

drums

are

punchy,

the

cymbals

a

little

swirly,

but

crisp

and

defined.

I‘m

not

going

to

go

into

sonoral

sub-

tleties

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

$15

9.

If

you‘re

expecting

that,

sorry

to

disappoint

yon,

cause

da

‘Scape

ain‘t.

‘Scape

is

the

En-

soniq

injection

of

fun,

value,

performance

mix

of

bang-

for-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

sun-

burned

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,

En-

soniq

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

Bio:

When

not

answer-

ing

broadcast

video-

capture

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.

"

';~pa.----

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-

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...

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

port-

able

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

tech-

nology

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,

sounding

like

death

by

suffocation

from

choking

on

a

sax

mouthpiece.

We

are

treated

to

frog

farts

echoing

up

the

spiral;

a

bass

clarinet

solo

played

inside

your

lung;

raindrops

on

upturned

wooden

bowls.

All

this

is

inter-

spersed

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

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

ex-

pand

your

boundaries

of

what

constitutes

"music"

or

a

lis-

tening

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,

Ober-

heim

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

Se-

quencer

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

Good-

man

tune,

complete

with

synth

scratches.

Another

canvas

for

Zantay‘s

excellent

soloing.

Chameleon

—

Another

hip

hop

redux

of

the

Herbie

Han-

cock

classic

jam.

I

would

classify

this

as

“techno

hip

hop.“

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.

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

ap-

peat

to

all

jazzoids.

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

_.

.

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.

Artist:

Robert

Yashinsky.

Contact

Info:

30'?

Wadsworth,

Bloomfield

Hills,

Mich

48301, phone:

(313)

642-6129.

Equipment:

Ensoniq

KS-32,

Roland

TR-505.

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

percus-

sion

tracks

at

times

feel

choppy,

fighting

with

the

keyboard

parts,

this

tape

still

works.

If

you

wish

Yanni

had

an

injec-

tion

of

jazz,

check

out

Offshore

Dreams.

Tape:

Sea

of

Love

(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

‘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.

Equipment:

Ensoniq

SD-ll32,

Gibson

SG

Standard,

Tascarn

ill?-4

4-track,

ltlesis.

Digitech

and

Lexicon

effects.

No.

this

isn't

from

the

Dept.

of

Fisheries.

Songwriting

duo

Fred

Bass

and

George

Stock

present

a

three-song

demo

of

conservative

Christian

pop.

Simplistic

melodies

and

arran-

gements

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

com-

bining

lyrics

of

depth

with

more

memorable

melody

lines.

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

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

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.

3:00

am

to

4:30

pm

CT,

Mon.

-

Fri.

We

accept:

COD,

Visa,

Mastercard,

American

Express.

Dealer

Inquiries

‘Welcome!

"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

Topes

Recently

Received

Collected

Compositions

I996

—-

J.

D.

Ryan

Love

Today-—

Glenn

Govot

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

horne-

based

Portent

Music,

and

can

be

reached

via

ernai

l

at

vincents@harbornet.con-t,

or

at

his

website

at

http:llwww.l¢space.contlvincent.

—u_,_

'-i__

_1__.i

Shown:

-ll-space

rack

with

EPS-16

PLUS

module,

2-space

rack,

Eagle-I

TFFX-sd

case

.'

‘F

-.

.._

.

_,_

_

__

-r_1_-

._i

'_.--

:_;-'d:::‘JlI:;;t

II

_

...--'_'-

L

—_'I\-

-.-"

2.1-‘

‘_-I'.':'H|-P

I-i|-1

.|

lr

_-._

__

=J-‘.2

__=__._3§_o.-5_:

-gHg_.,-‘id

:

- -

I

OPTI-CASE

-

HT.

6,

BOX

235

-

HENDERSON,

TX

75652

1-

FAX:

903-657-6030

_

Frog:

Popcorn

In

Space

Notes:

Another

fun.

one-voice

patch

that

you

have

no

eltcuse

not

to

load.

Staccato

notes

yield

an

echo

effect,

WAV

E

1

_

2 3

_LFD

‘l

By:

Jeflletton

while

held

notes

create

an

arpeggiator

effect.

The

mod

wheel

provides

a

resonant

filter

sweep.

2

3

AMP

Select

‘v'o|ce

Wave Glass

Wave

Delay

Time

Wave

Direction

Start

lnclell

'lvltIlDSlZ'-Fl

fin

Clll

fill

'

LFO

Speed

Transwave

hiolse

Hate

Fleeonarlt

3-it

Level

D00

Delay

-

.

MDDSHG

{ll}

ll‘-lave

Wheel

Flestart

2?

00

00

00

MEI

Cln

Cln

Sawtooth

_2__

__

3

lnltlal

Peak

Break

Sustain

Attach

Decay

1

Decay

2

1,

es

es

'

so

as

co

co

oo

l=ll_'rEn

+ss

1

es

_MClDAlvl'l‘

;Flestrk

Eleoay_

_ _

_

1g_

2

_

55

33

Fleleaso

3

‘llol-Level

-

Fllter

1

SLoPase

‘lHlPass

030

00

ll?

Wheel

+20

01 0

oc

U0

Clll

Plrcl-l

Octave

Semltone

Flne

El~ll"l.-"1

LF-El

i

MDDSCFI

lvlt.‘.lDnlvl'|'

HBD

Ptoh

Track

Gllde

CID-I

__ __

Z_

3

__

'F|lter

2

_

F01

Cutoll

EH1!

2

FG1

KBD

MUEJSGH

'MCllIMll'vlT

F62

Gutoll

_Euv2

i

FG2

F-IBU

i

FG‘ll'v'lDD-FC-2

til

so

co

LFO

oo

On

Cltl

‘v'el-Attack

‘llel

Bu

rve

'

Mode

so

Linear

Normal

.

KBD

Track

+23

OUTPUT

1

_

2_

VOL

Eloost

'

MDDSHC

~

MODA

MT

_

3

S0

On

LFO

Gllde

Time

oo

EHV1

1

2

3

ENV2

1

2

3

-S3

HEID

Scale

co

Key

Henge

-

Output

Elus

Priorlly

Fl‘-(1

Med

._

.

_

1

"'

.

'_

_-

lnltlal

'

lrlltlal

Peak

Peal:

Break Break

Sustalrl

Sustain

Attack

lilltael-t

Decay

1

Decay

1

Decay

2

Decay

2

Fleleaso Fleleaso

§‘v'el-Level

I

'v'el-Lev

el

!'v'e|-Attack

Vol-Attack

llel

Curve

-

‘lllel

C-unle

jlvlode

Mode

HBD

Track

.

KBD

Tracll.

Pan

00

‘v'e_l

wlndovr

coo

_

EFFECTS

—

CHORUS

h.l~lD

REVERE

FX-1

25

Flt-2

-lltl

Decay

time

S5

HF

Damping

-tltl

E.‘-horus

Hate

1S

Chorus

Depth

I-to

Chorus

Center

SD

Feedbacll.

-SD

Chorus

Level

7'2

MOD

[Dost]

-

E‘r'

[lv‘lClDSHl.I'.}

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

“Lem-

ongate."

which

appeared

back

in

Hacker

#121

and

used

a

square

wave

to

emulate

a

keyed

gate

effect.

You

might

remember

that

Lemongate‘s

LFO

actually

modulated

the

filter

cutoff.

since

modulating

the

output

section

tends

to

cause

a

clicking

sound.

Here.

however.

a

clicking

sound

actually

benefits

the

patch!

Once

again.

the

first

things

you'll

want

to

adjust

are

the

LFO

speed.

which

controls

how

fast

the

echoes

occur.

and

the

AMP

envelope‘s

release

time.

which

controls

how

long

the

echoes

last.

This

patch

uses

a

Transwave

{a

waveform

whose

frequency

spectrum

is

designed

to

change

over

time)

for

its

single

voice.

and

the

modula-

tion

wheel

is

setup

to

sweep

through

it.

All

of

the

other

Transwaves

sound

good.

too.

so

feel

free

to

try

them

out.

Heck.

even

the

pipe

organ

waves

produce

an

interesting.

“Who-like"

effect.

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

Haclterpatches.

all

of

which

deal

with

the

KS-32

and

its

relatives.

are

available

via

the

World

Wide

llleb

at

hit

p

.'l

lwww.

te

loll

inlhnetl

~j

j

ettonl

.

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

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.

submit

patches

that

you

know

to

be

minor

tweaks

of

copyrigllted

18

'l

l

F

Z

‘—l—l.

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.

Oh

My!

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

is-

sues

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

sl-

tack

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

ap-

plies

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

pro-

grammer

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

—

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

fil-

ter

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

wave.

rather

than

any

of

the

brass

waves.

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.

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:”

para-

meter

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

matti-

mum

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.

This

is

all

very

well,

but

perhaps

not

too

useful

a

sound

—

espe-

cially

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

so

—

and

the

effect

becomes

interesting.

Now

instead

of

hear-

ing

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

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.

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.

Let’s

say

that

you’re

working

with

envelope

3

(the

AMP

en-

velope)

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

hap-

pens.

As

a

matter

of

fact,

no

matter

what

you

set

[time

4]

to,

the

envelope

always

seems

to

decay

much

too

abruptly.

So

what

gives,

here?

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

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

Change

of

Address

Please

let

us

know

at

least

lour

weeks

in

advance

to

avoid

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}

missing

any

issues.

The

Post

Office.

realty

will

NC-Wteliabiy

-

relatively

low

value,

and

either

or

both

of

them

have

the

“En-

velope2=XX"

parameter

set

to

a

relatively

high

value,

then

bingo!

Envelope

1

is

“closing

down"

the

filter(s)

(allowing

the

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

en-

ample,

since

envelopes,

[like

most

of

the

modulators),

can

be

applied

with

a

negative

or

positive

value,

there

are

some

inter-

esting

effects

you

can

achieve

by

routing

similar

or

identical

en-

velopes

(or

LFO's

or

whatever)

to

similar

or

identical

voices,

but

with

opposing

polarities.

You

might

try

modulating

two

similar

voices

from

two

similar

envelopes,

but

give

one

a

posi-

tive

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

par-

ticularly

spooky

using

the

“Vocal

Uoohs"

or

the

“Vocal

En-

semble"

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.

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

panned

opposite

in

the

stereo

field.

Anyway,

that

should

give

you

enough

to

stay

busy

for

a

while.

See

you

nest

time!

—

4'?-

Bio:

Cleric

Solis-

bur-y's

into

rnrrsic

and

sound

design.

Missing

or

Diamggneid

Issues?

Every

month

we

mail

out

thousands

of

issues

and

every

month

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a

dozen

get

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Office.

If

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lottery,

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eopy

--

no

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{However,

if

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accuse

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Trenscniq

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contains

‘

EP

S-M

EPS-16

PLUS

MASUS

MlFlAt3

E

ESQ

ESCl-|lrl

SQ-B0

VFX

VFX-SD

assess

times‘

no

PM

5

s

1-

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

2.40l'2.-41

‘l.3l"1.00F

P?mWPP

mmmmmm

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

find

i-""'=

"1““E-

Souutlseape

race

21

The

Interface

l

Letters

for

The

Interface

may

“herons-toatty

of

the

following

addresses:

I|—|iI|I-I

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-

l

am

interested

in

buying

a

used

ASH-10.

Are

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‘?

Dr

Dave

{CS

-

As

for

os

I

know,

the

burdwore

for

the

ASR

has

remained

rmcltongcd;

ultltouglt

both

the

software

and

firmware

have

been

up-

graded.

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

f

go

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

ver-

sion

ofony

ASR

in

question

by

pressing

Com-

mond,

than

Env

1‘,

scrolling

two

ticks

to

the

right,

billing

Enter,

and

scrolling

two

more

ticks

to

the

right.

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

itself

just

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

I

MOORE@WARREN.MED.HAR-

YARIILEDU

[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"iAL-

IZE"

will

rtppeor.

Select

*YES*

to

proceed,

iii-II

l

G.

I

or

*Ntll*

to

ccncci

(remember,

reinitialize-

tion

will

erase

both

sounds

and

sequences

from

tbs

.E'SQ's

interact

ntemoryj.

,1’

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

RECORD

and

pressing

the

upper-lefl-bond

"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

{Ensoniq

-

Original

sounds

ore

only

loaded

with

t9.S.

versions

2.3

and

ltigitcr.

It

is

also

u

good

practice

to

tune

filters

ofler

reinitializ-

ing

—

to

do

this,

press

and

bold

Record,

than

press

Fiitcr.,l

Aloha,

I

am

working

on

resurrecting

an

EPS

“Clas-

sic"

(with

the

extra

RAM

module]

and

get-

ting

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.)

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

En-

soniq

{a

lot

of

this

may

have

to

do

with

my

time

schedule

and

the

5

hours

time

dif-

ferenoe).

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}?

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

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.

Mahalo!

David

Fisher

Maui,

Hawaii

dfisher@maui.com

,-‘CS

-

You

will

need

u

SCSI

adopter

to

use

u

hard

drive

with

your

EPS.

Hopefully,

SCSI

kits

can

still

be

ordered

from

Ensoniq;

I

seem

to

remember

the

price

being

about

$250.

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

cur-

rridgesj

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

{T

H

—

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

{Ensoniq

-

The

SP-i

SCSI

kit

is

wbot

you

need.

It

con

be

ordered

from

your

locol

Arotltorired

Service

Center

for

$199.95.

It

re-

quires

mar

you

kovc

on

ME-lo

or

ME-2

memory

expander

to

work.

,1’

Hacker:

First

of

all,

I've

been

enjoying

your

publica-

tion

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

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

put-

ting

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

TH-

I

was

wondering

which

was

widely

eon-

sidered

the

better

synth:

The

IIFK

or

the

SD-1'?

Thanks,

ltingnod@earthlinlr.net

{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

num-

ber

of

new,

improved

sampies,

and

a

bit

broader

MIDI

impiementation,

among

other

things.

,1’

{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

every-

thing

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

!!

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

function-

ing,

that

is,

putting

out

4.93v

and

ll.92v

respectively.

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

in-

struments

can

be

reinitiaiised

in

this

way.

If

you

can

resuscitate

your

instrument,

perform

a

normai

reinitiaiisation

next

|"a,!l‘er

backing

up

any

important

data,

if

any

remains).

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

{Ensoniq

-

If

we

had

to

guess

we'd

say

it

sounds

like

a

keyboard

assembly

problem.

Take

your

unit

to

an

Authorised

Service

Cen-

ter

and

we

wiii

get

it

back

up

and

running

for

you.

,3

TI-I...

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

{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

ques-

tion

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

did-

64?-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

PROCESS-

ING

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.

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

can-

not

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.

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

what-

ever

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

dis-

kettes

to

the

MIDI

standard.

Very

strange,

eh‘?

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

the

drums

sound

correct...

Yipes!

I

thought

Windows

3.1

was

difficult,

try

it

in

Win-

dows‘.-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

Gild-

compatibie

drum

kits

are

available

on

CD-lltlllis

from

inVislon

Interactive

(did-

Si2-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

instructi

ans.

)

{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

Sys-

tem

I

I

-Slit?--2

5

T-I

439

J

for

some

help.

)

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

sam-

ples

at

the

same

time

{eight

voices

poly-

dmbral}?

How

can

I

"tutti

off"

the

"parity"

on

my

-1-4-meg

Dynatek

removable

cartridge

drive

so

my

diskttack

works

properly?

24

Bravo

to

Ensoniq

and

Transoniq

for

their

great

work.

Alain

Leymonerie,

Club

Intemet

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.

I

Grab

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

direc-

tories

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

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

poss-

ible

layers),

you

have

access

to

as

many

as

I024

samples

at

any

point

in

time

{I28

samples

multiplied

by

eight

instruments).

What

the

ASH

has

only

eight

of

is

Instru-

ments,

which

means

that

it

can't

respond

to

more

than

eight

MIDI

channels

at

a

time.

Since

a

single

instrument

can

produce

a

num-

ber

of

difierem

sounds

simultaneously,

though,

this

doesn't

need

to

be

a

limitation.

As

far

as

turning

off

"parity"

on

your

Sy-

quest

drive,

I'm

afraid

nobody

on

this

end

can

offer

you

any

advice.

i'd

suggest

getting

in

touch

with

Dynatek,

and

firing

your

ques-

tion

at

them.

Hy

the

way

—

while

you're

out

net-sttrflng.

you

might

look

around

for

a

program

called

"StudioFal"

from

Harmonics

Systems.

Ap-

parently,

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

key-

board

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

simul-

taneous

timbres

f

either

the

eight

Instruments

or

any

of

the

timbres

that

make

up

the

Instru-

ments)

or

any

combination.

With

the

proper

combination

of

multiple-timbre

instruments,

it

would

be

possible

to

play

3i

dfierent

timbres

simultaneously,

but

in

most

cir-

cumstances

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

fea-

tures

on

the

way.

Frankie"v"e@aol.com

{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,

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.)

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,

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?

Regards,

ill

III

I

1

I-IlIIIi—|

I

M

I I

I

Tra

nsonrqs-Net

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

Mon-

day

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

.I

ones,

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.

ESQ-1

AND

SQ-Eli

Questions

-

Tom

McCaffrey.

ESQLIPA.

215-Bill}-(I241,

before

II

pm

East-

em

Time.

EPSilirIIRAGEiESQiSQ-Sit

M.U.G.

14-Hour

Hotllnc

—

Z12-465-3430.

Leave

name,

number,

address.

24-hr

Callback.

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.

25

Bill

Forrest,

San

lose,

CA

bforrest@ix.

netcom.com

)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

expan-

sion

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

ap-

peared

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...)

)'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

wondegful

and

both

provide

for

upgrades

via

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

other.

I

think

I'd

leave

it

up

to

the

individual

to

decide

which

one

gets

the

nod

for

sound.

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

poten-

tial

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).

Ultimately,

the

decision

to

buy

an

MR

or

IV-IIISB

will

probably

come

down

to

which

machine's

sound

appeals

most

to

your

par-

ticular

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.)

)Er:soniq

-

BTW,

the

MR

also

has

syncable

L.F'D'

s.)

I-Ii

there!

Asking

for

assistancel

I

recently

purchased

a

program

called

II‘-I-

FINITY

from

Jupiter

Systems,

but

(painfully)

the

tool

which

transfers

samples

between

my

EPS

Classic

(called

ASR_SCSl)

doesn't

do

anything

other

than

quit!!!

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

{CS

-

ASR_SCSi'

was

developed

by

Steve

Berkley

and

licensed

to

Jupiter

Systems

I

now

known

as

AnTares

Systems).

Though

the

pro-

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

sup-

pose

it's

possibie

that

the

current

version

(now

at

I

.39b,

I

think)

doesn’t

work

on

the

newer

Mac

models.

I

tried

checking

in

at

Steve

Berkley's

ftp

space

[hpsliftp.crl.comi)lpiuserslroisberkleyi

Utilitiest)

to

see

if

I

could

find

any

info

on

for

perhaps

a

newer

version

of)

ASR_SCSI,

but

couldn't

find

anything

helpful.

Perhaps

one

of

our

readers

can

shed

some

light...)

)Ensoniq

-

That

utility

was

written

by

a

fine

gentleman

by

the

name

of

Steve

Berkley.

He

has

his

own

company

now

called

BIAS

Sofi-

ware,

which

makes

an

excellent

Mac

sound

editing

package

called

Peak.

iSteve,

make

the

check

out

to

Jerry...)

I

would

contact

him

at

-=ti5-SSI-2-=t4d

or

Sberkley@crl.com

for

any

insights.)

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

You

are

all

grcat!!!ll!

Lloyd

S.

Mandela

Gideon

Film

Group

TH-

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

help

with:

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

ex-

pect

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?

Ki-

pling

St,

Providence,

RI

ll2?'-‘I5.

2)

I'm

afraid

I

don't

know

ofTS-I2

compat-

ible

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

[com-

mercial

or

shareware)?

2.

ls

it

true

that

there

are

only

S

MIDI

chan-

nels

available

if

you

use

the

KT-SS

with

an

external

sequencer

software

like

Cubase?

Please

answer

to

my

e-mail

address:

(st.schmalhaus@wies

baden.netsurf.de).

Thanks

in

advance.

CU

on

the

bitstrearn...

Stefan

)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

to

something

useful.

As

for

as

commercial

programs

goes,

you

might

want

to

tool:

into

Marl:

of

the

Unicorn’s

universal

editorllibrarian,

“Uni-

syn,"

which

is

reviewed

in

the

April

issue

of

Keyboard

(Marl:

of

the

Unicorn,

I280

Mas-

sachusetts

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.

2)

You

can

get

I-fl

channels

on

the

KT-38

by

entering

GM

mode.

Uf

course,

this

limits

you

to

the

GM

sound

bank;

the

normal

comple-

ment

of

KT

sounds

is

unavailable

when

in

GM

mode.

j

{Ensoniq

-

I

J

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]:

“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

tool-

box

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

put-

ting

resonance

on

their

filters

got

fired."

Let

me

put

it

the

other

way

‘round:

Maybe

we

should

lire

those

synth

and

sampler

manufac-

turers

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

-

I

have

been

a

subscriber

since

1994

and

find

the

issues

very

interesting.

I

own

TS-Ill

and

I

use

it

mainly

for

live

per-

formance.

My

problem

is

that

I

can

not

master

transpose

the

keyboard.

For

estample,

transpose

-1,

+2,

etc.

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.

Thank

you

very

much,

Kiran

Thakarar

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

ad-

jacent

preset

location,

and

when

you

need

to

immediately

transpose,

just

press

the

ad-

jacent

preset

button

and

you're

in

a

ditjierent

hey.

If

you

are

only

going

I

.-*2

hey

either

way,

a

speedy

way

is

master

tune-slide

it

up

or

down

all

the

way.

j

{CS

-

I

thinlt

Gillormand

has

a

couple

of

ex-

cellent

solutions.

Thanhs,

GI’-lormandlj

TH-

I

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

MR-

Workstation

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.’?

(T

he

sarne

way

the

TS-10

can

just

load

up

and

play

an

ASH

sample.)

Q2.

Will

The

h-IR-‘Workstation

be

SCSI

com-

pat:ible'l

Q3.

Will

the

MR-Workstation

have

most

if

not

all

the

features

that

the

TS-ltIt,l12

had,

est-

cept

for

maybe

Hyperwaves

and

only

a

'tt5—track

sequencer?

2?

l-

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.

Iamal

Hartwell,

j1h9@pcp.cwru.edu

{Ensoniq

-

I

J

The

new

MR-bl

and

MRJ6

will

be

able

to

load

ASRIEPS

samples

and

*.WAV

files

from

floppy

dish

only

into

an

op-

tional

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.

ASRIEPS

sounds

will

load

in

with

near

per-

fect

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.

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

con-

cepts,

and

the

sequencer

is

a

new

model

al-

lowing

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

lis-

teningl

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

of

this

issue

for

more

details.

Future

boards

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.

-dj

I'm

not

sure

ofthis

{at

press

time_l.j

TH-

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

af-

ford

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.

Thanks....

Manuel

Silva

{CS

-

The

“Ensoniq

Diskette

Manager”

from

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

satis-

fied.

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

nearly

any

synth,

and

certainly

any

analog

synth,

and

just

sample

its

sine

waves.

You

could

sample

them

at

a

variety

of

frequen-

cies,

or

simply

get

one

good

sample

and

transpose

it

in

the

AER.

Finally,

if

you're

trapped

on a

desert

island,

you

can

generate

a

square

wave

on

the

AER.

Simply

boot

the

machine,

create

an

instru-

rnent,

create

a

layer,

and

create

a

wave-

sample.

The

resulting

sound

is

a

bi-direction-

ally

looped

sauare

wave.

if

you

then

apply

heavy

filtering

to

the

wave,

you

should

be

able

to

turn

it

into

a

sine

wave.

Iiesarnple

this

wave,

replicating

and

transposing

as

neces-

tars-l

i-M-ii

Dear

Transoniq

Hacker,

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

instru-

ment!

I

arn

asking

for

your

help,

please‘?

My

setup

includes

the

following:

*

A

TS-IE!

Synth

with

IDS

version

3.05

{con-

nected

to

the

MIDI

INIOUT

of

a

AWESZ

Sound

Blaster

in

my

PC}.

*

A

Roland

SC-E3

Super

Canvas

(connected

to

the

"Tl-IRU"

port

of

the

TS-Ill).

*

Cakewalk

Pro.

3.01

for

Windows

running

on

a 436

6tiMI-lz

PC.

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.

I

have

set

the

“PRCIG-CHE"

switch

to

UN

in

the

TS-I'll

(transmit

and

receive

program

changes

over

MIDI}.

I

am

confused

as

to

what

Bank

select

method

the

TS-ltl

uses!

ls

it

controller

ti‘?

Is

it

con-

troller

32?

Is

it

both‘?

Ctr

do-es

it

use

Patch

change

{program

change}

events

to

change

23

banks?

Is

there

a

document

that

will

show

me

the

proper

numbers

to

use

for

controller

ll

or

31

to

send

to

the

TS-lit

from

Cakewalk?

By

the

way,

I

am

able

to

access

all

sounds

in

the

SC-EB

with

this

same

setup.

Last

question:

Can

"SysEx"

messages

be

used

to

change

MIDI

program

set

up

on

the

TS-IE!

just

before

I

start

a

sequence-

play-back

from

my

PC‘?

I

am

confused

be-

cause

somewhere

in

the

TS-Ill

documenta-

tion

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

magazine.

Please

keep

up

the

good

work!

I

appreciate

any

help

and

pointers

you

can

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

of

your

se-

quence

-

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

Cahewallt.

fine

reader,

{Benny

Richardson

a

Cahewall:

user

from

Edmond,

tIIhla._l,

was

kind

enough

to

write

with

the

following

ad-

vice:

"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

ntun-

bers

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

con-

nected

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

regard-

ing

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

ex-

ample

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

chan-

ges

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.

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

I

or

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

process-

ing.

The

digital

output

of

the

sound

generator

is

fed

directly

to

the

digital

input

of

the

ef-

fects

processor.

F

or

this

to

work,

the

sample

rate

of

both

systems

must

be

the

same.

There-

fore,

when

you

change

to

a

44-kHz

ejfect,

your

are

changing

the

sample

rate

of

the

en-

tire

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

com-

pensate

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

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

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

Win-

dows

3.11.

Can

anybody

help‘?

Thanks,

Arthur

Perkins

atraint]

l@castle.net

f

CE

—

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

Macin-

tosh?

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

ex-

pense

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

their

web site.

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

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

{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.

If

you're

just

looking

for

a

way

to

move

samples

between

your

computer

and

AER,

head

over

to

Eteve

Rerkley's

flp

space

[fipol

t[ftp.crl.comtflpI

usersi

rot

s

berkle

yt

U

ti

liti

e

slj

There

you'll

find

a

Mac

program

called

scEPEi,

which

allows

you

to

transfer

samples

between

your

Mac

and

your

AER

I

or

EPE_}

via

ECEI

or

MIDI.

j

Sirs:

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

TI-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

key-

board

and

the

many

other

features.

Some-

thing

that

prohably

doesn't

get

praised

enough

is

the

onboard

sequencer.

From

what

I've

seen

it

has

to

be

the

most

complete

hard-

ware

based

sequencer

while

still

being

the

quickest

to

operate.

I

have

not

yet

had

the

need

to

get

a

computer

involved

in

my

sys-

tem.

Having

made

music

with

this

great

instru-

ment

for

a

while

now

I

wanted

to

request

my

current

three

wishes

from

the

Ensoniq

genie

as

follows:

1]

Sample

Edits

-

when

I

read

the

manual

on

this

subject

I

can

understand

the

basic

ar-

chitecture

of

the

sample

section

and

the

pro-

gram

parameters

seem

to

pretty

much

match

the

synth

section

but

somewhere

in

the

mid-

dle

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

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

hyper-

waves

would

be

exceptionally

cool.

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

produc-

ing

a

small

hand

size

phrase

sampler

using

flash

ram

that

will

send

its

wave

data

out

in

MIDI

Sample

Dump

Standard.

If

the

TS

Bil

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

ar-

ticle

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

environ-

ments

are

nearly

identical}.

EPE

coverage

started

with

Issue

#35.

If

you

ask

real

nice,

maybe

my

cheerful

and

talented

editor

will

send

you

a

listing

of

back

issues...

I

wouldn't

hold

my

breath

waiting

for

En-

soniq

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

Hacker:

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have

an

Ensoniq

TS-I2

{no

SCSI

or

memory

expansion}.

I'm

looking

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a

sample

of

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the

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as

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This

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Publisher:

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Dur

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