ENSONIQ | ZR-76 | ZR-76 1.00: 13—Supplemental Information

ZR-76 1.00: 13—Supplemental Information
Chapter 13ÑSupplemental Information
C h a p t e r 13
S u ppl e m e n t a l In fo r m a t i o n
D e m o Typ e s
When stored in the ZRÕs memory, or on an EXP expansion board, demos will appear in alphabetical order
within these categories:
AMBIENT
BIG-BAND
BLUES
CLASSICAL
COUNTRYDANCE
FOLK
FUNK
FUSION
HIPHOP
HOLIDAY
INDUSTRY
ISLAND
JAZZ
LATIN
NEW-AGE
POP
RAP
ROCK
SOUL-R&B
SOUNDTRACK
TECHNO
WORLD
WORSHIP
*UTILITY
*OTHER
R h y t h m F i n d e r Typ e s
Rhythms will appear in alphabetical order within each of these categories:
DEMORTHM
EXP-RTHM
ROM-RTHM
INT-RTHM
ALL-RTHM
AMBIENT
BALLAD
BLUES
COUNTRY
DANCE
FUNK
HIPHOP
ISLAND
JAZZ
LATIN
ODDMETER
POP
RAP
ROCK
SOUL-R&B
WORLD
*UTILITY
*OTHER
*CUSTOM
Demo-designated rhythms in alphabetical order.
Rhythms found on an expansion board (in numerical order).
Rhythms stored in ROM memory (in numerical order).
Rhythms stored in both FLASH and DRAM memory (in numerical order).
All rhythms, in alphabetical order.
Ambient rhythms.
Rhythms for a variety of ballad styles.
Rhythms for whatever blues you've got.
Assorted country & western rhythm styles.
Move the floor with these dance rhythms.
Complex, syncopated rhythms designed for funk.
Hip hop rhythm styles.
Carribean-style rhythms.
Variety of jazz-based rhythms.
Energetic latin rhythm grooves.
Uncommon meter rhythms.
Top-forty based drum rhythms.
Take it to the top with these rap rhythms.
The ZR offers a variety of driving rock rhythms.
Rhythms optimized for soul and rhythm and blues.
Assorted rhythms from around the world.
Utility rhythms (e.g., default rhythms used for programming and other special purposes).
Rhythms that fall into no appropriate category.
Use this type to define your own special purpose rhythms ENSONIQ rhythms will never be released with a type of CUSTOM.
ENSONIQ ZR-76 MusicianÕs Manual
431
Chapter 13ÑSupplemental Information
S o u n d F i n d e r ™ Typ e s
Here is a list of the available SoundFinder categories. If there are no sounds of a particular type, the type
will not appear in the list of types:
USER-SND
DEMO-SND
EXP-SND
DRM-SND
GM-SND
ROM-SND
INT-SND
ALL-SND
BASS
BASS-SYN
BELL
BRASSECT
BRASSOLO
DRUM-KIT
DRMKITGM
GUITAR-A
GUITAR-E
HITS
KEYS
LAYERS
LOOPGRUV
MALLET
ORCHSTRA
ORGAN-A
ORGAN-E
ORGANLYR
PERC-KIT
PERCSOLO
PIANO-A
PNOLYR-A
PIANO-E
PNOLYR-E
PLUCKED
SAX-SOLO
SOUND-FX
SPLITS
STRGSECT
STRGSOLO
SYN-COMP
SYN-LEAD
SYN-PAD
SYN-VINT
SYNOTHER
VOCALS
WINDREED
*UTILITY
*CUSTOM
MIDI-OUT
432
Sound type for sounds that you want quick access to. These sounds also appear in their appropriate SoundFinder musical
instrument type list.
Demo sounds are designed to demonstrate the scope of sounds in the ZR-76. Whenever this is selected, the first sound in the type
will be selected; the ZR will not reselect the last sound selected in the DEMO-SND type. Demo sounds also appear in their
appropriate Sound Type list.
Expansion board sounds.
ROM drum key sounds.
Includes both ROM General MIDI sounds, and GM/GS drum kit sounds
All sounds in ROM.
All FLASH and DRAM sounds.
All sounds. The SongEditKit appears in ALL-SND.
Acoustic and electric basses.
Synth basses, and processed electric basses with a ÒsynthyÓ quality.
Acoustic and synth bell sounds, both pitched (e.g., glockenspiel, celesta). and non-pitched (e.g., church bells).
Trumpet, trombone, tuba, French horn, saxophone, and mixed brass sections (including sampled sections) and small ensembles
(with more than one distinct pitch/ÒplayerÓ on a single key).
Solo brass (e.g., trumpet, trombone, tuba, French horns).
Drum kits that use the ENSONIQ drum map.
Drum kits that use the General MIDI drum map.
Steel, nylon, and gut-stringed acoustic guitars.
Clean electric guitars and distortion guitars.
Orchestra hits.
Other stringed keyboard sounds (e.g., harpsichord and clavinet).
Unnatural layered combinations of acoustic elements (e.g., a bass harmonic layered with a string section), excluding
pianos/electric-pianos/organs layered with other sounds in which the piano/electric-piano/organ element is dominant. Also
excludes multi-instrumental orchestral layers.
Looped, repeating musical passages and drum rhythm loops (sampled or wave-sequenced) that play on one key.
Tuned mallet-struck percussion instruments (e.g., marimba, xylophone, timpani, steel drum, log drum).
Multi-instrumental orchestral Sounds (e.g., mixed strings/brass/woodwinds/reeds/orchestral percussion) layered with one
another.
Acoustic pipe and pump organs.
Electric and electronic organs.
Any organs layered with other sounds in which the organ element is dominant.
Percussion kits that use either the ENSONIQ or General MIDI percussion maps.
Solo untuned percussion (e.g., taiko, synth-tom) includes most drum key sounds.
Acoustic pianos, honky-tonk, toy pianos, and piano forte.
Acoustic pianos layered with other sounds in which the acoustic piano element is dominant.
Electric and electronic piano sounds, and electric pianos layered with acoustic pianos.
Electric pianos layered with other sounds in which the electric piano element is dominant.
Plucked strings (e.g., harps, banjo, dulcimer, sitar), pizzicato strings, and other plucked instruments (e.g., kalimba).
Solo saxophones.
Realistic sound effects (e.g., broken glass, animal sounds, record scratches) and entirely non-pitched fantasy and chaos sound
effects.(e.g., spacecraft, environments)
Combination keyboard splits of two or more different types of sounds. Also includes splits of similar sounds that have
discontiguous key ranges (e.g., a bassoon/oboe split that covers the natural ranges of both instruments).
Bowed string sections (including sampled sections) and small string ensembles (with more than one distinct pitch/ÒplayerÓ on a
single key).
Bowed solo strings (e.g., violin, viola, cello).
Non-vintage, sustaining and non-sustaining, polyphonic synth sounds with a pitched or non-pitched, highly obtrusive attack
component that lend themselves toward comping (i.e., you can always play successive 1/8 note chords with these funky sounds).
Monophonic lead synth sounds (excluding monophonic synth basses).
Non-vintage, sustaining, polyphonic synth sounds with a pitched, less obtrusive attack component, and an appropriate release,
that lend themselves toward pad playing.
Polyphonic, signature vintage ÒanalogÓ synth sounds (excluding monophonic vintage synth leads and synth basses). Normally
these are named after the synth that they evoke.
Other types of pitched, polyphonic, hybrid synth sounds with sustaining, disparate components (e.g., sample & hold sync sounds).
Vocal sounds (e.g., choirs, synth-vox).
Solo woodwinds/reeds (e.g., flute, oboe, bassoon, clarinet, recorder, English horn, ocarina, bandneon, shakuhachi, bagpipes,
harmonica, accordion, melodica, didjeridoo).
Utility resources (e.g., default template sounds used for programming and other special non-musical purposes).
Use this type to define your own special purpose sounds when created with the Unisyn sound editing software. The SongEditKit
will always be assigned to CUSTOM. ENSONIQ sounds will never be released with a type of CUSTOM.
Use this type for controlling other external MIDI devices. Each note you play, every controller you use, can be transmitted via
MIDI. In any situation where you would otherwise select a local ZR-76 sound, you can transmit MIDI instead, by selecting one of
the special MIDI-OUT sounds. For more information, see ÒSending and Receiving MIDIÓ in Chapter 4.
ENSONIQ ZR-76 MusicianÕs Manual
Chapter 13ÑSupplemental Information
L i s t of Wa v e Na m e s an d Cl a s s e s
Here is a list of the waves built in to the ZR-76:
KEYBOARD
GRAND PIANO
GRAND MED HI
GRAND MED LO
GRAND SOFT
PIANO THUD
PNO HAMMER UP
PNO HARP NOIS
TINE EPNO A
TINE EPNO B
TINE EPNO C
TINE EPNO D
TINE EPNO E
TINE EPNO F
DIGI PIANO
DIGI PNO SOFT
FM EPNO A
FM EPNO B
FM EPNO C
FM EPNO D
WURLIE HIVEL
WURLIE LOVEL
HARPSICHORD
CLAVINET
FM CLAV
CELESTE
ORG-775305004
ORG-845351402
ORG-875434578
ORG-875645332
ORG-888000000
ORG-888808008
ORG-888856444
ORG-888880880
ORGAN WAVE 1
ORGAN WAVE 2
PERC ORGAN 1
PERC ORGAN 2
ROTARY ORGAN
SYNKEY WAVE
CHURCH ORGAN
PIPE ORGAN
REED ORGAN
CLINK
ORG KEYCLICK
MOOG LEAD
PAD SYNTH
STRING-SOUND
NYLON GUITAR
NYLON GTR SOFT
STEEL GUITAR
STEEL GTR SOFT
FRET NOISE
EL GUITAR 1
EL GTR 1 SOFT
EL GUITAR 2
DIST GUITAR
DIST GTR LOOP
FEEDBACK HARM
GTR HARMONIC
JAZZ GUITAR
MUTE GUITAR
MUTE GTR SOFT
CELLO
VIOLIN
STRING SECTION
STRING SECT B
STRING SECT C
PIZZ STRINGS
BANJO
HARP
GOTO
SHAMISEN
SITAR
BRASS+HORNS
TRUMPET
MUTE TRUMPET
FLUGELHORN
SOLO FR HORN
TROMBONE
POP BRASS SEC
FR HORN SECT
SYNTH BRASS
WIND+REEDS
TENOR SAX
ALTO SAX
SOPRANO SAX
SAX AIR
CHIFF
CHIFFLUTE
FLUTE
OCARINA
PAN FLUTE
OBOE
ENGLISH HORN
BASSOON
CLARINET
ACCORDION 1
ACCORDION 2
HARMONICA
CONCH SHELL
RECORDER
VOCAL-SOUND
VOCAL AAHS
VOCAL OOHS
BREATHY OOH
SYNTH VOX AAH
VOCAL AIR
DOO ATTACK
ONE
TWO
THREE
FOUR
BASS-SOUND
STANDUP BASS
STANDUP BS 2
STANDUP BS 3
FRETLESS BASS
FINGER BASS 1
FINGER BASS 2
FINGER BASS 3
PICK BASS 1
PICK BASS 2
MUTED BASS
SLAP BASS 1
SLAP BASS 2
BASS POP NOIS
BS HARMONICS
EL BASS TAP
ANALOG BS 1
ANALOG BS 2
ANALOG BS 3
FM BASS 1
FM BASS 2
GUITARRON
TUBE BASS
ENSONIQ ZR-76 MusicianÕs Manual
DRUM-SOUND
ACOUSTC KICK
BIG KICK
BOOM KICK
BRIGHT KICK
DANCE KICK
ELEC KICK
FAT KICK
GATED KICK
JAZZ KICK
LOOP KICK
MUFF KICK
PROCESSD KICK
PUNCHY KICK
RAP KICK
REAL KICK
RESO KICK
SYNTH KICK 1
SYNTH KICK 2
TIGHT KICK
COM/GATE SNR
CONCERT SNARE
CRACK SNARE
DANCE SNARE
ELEC SNARE
GATED POP SNR
GM SNARE 1
HIPHOP SNARE
POP SNARE
RAP SNARE
REAL SNARE
RIMSHOT
ROCK SNARE
SYNTH SNARE
SNARE ROLL
SIDESTICK 1
SIDESTICK 2
STICK CLICK
BRUSH HIT
BRUSH SLAP
BRUSH SWISH
BRUSH TAP
BRUSH TOM
DRY TOM
ROOM TOM
SYNTH DRUM
SYNTH RIM
DEEP KICK A
DEEP KICK B
DEEP KICK C
ROCK KICK A
ROCK KICK B
ROOM KICK 2A
ROOM KICK 2B
ROOM KICK 2C
BIG SNARE A
BIG SNARE B
BIG SNARE C
DARK SNR 1 A
DARK SNR 1 B
DARK SNR 2 A
DARK SNR 2 B
DRY SNR 1 A
DRY SNR 1 B
DRY SNR 1 C
DRY SNR 2 A
DRY SNR 2 B
DRY SNR 2 C
DYN SNR 1 A
DYN SNR 1 B
DYN SNR 2 A
DYN SNR 2 B
DYN SNR 3 A
DYN SNR 3 B
FAT SNARE A
FAT SNARE B
LIVE SNR 1 A
LIVE SNR 1 B
LIVE SNR 2 A
LIVE SNR 2 B
LIVE SNR 3 A
LIVE SNR 3 B
RING SNARE A
DRUM-SOUND contÕd.
RING SNARE B
RING SNARE C
RING SNARE D
TECHNO SNARE
SIDESTICK 3A
SIDESTICK 3B
BRUSH SWISH2
BRUSH SWISH3
BRUSH SWISH4
DRY TOM HI
LIVE TOM 2 A
LIVE TOM 2 B
LIVE TOM 2 C
PURE TOM A
PURE TOM B
BIG TOM 1 A
PURE TOM C
BIG TOM 1 B
BIG TOM 1 C
BIG TOM 1 D
BIG TOM 2 A
BIG TOM 2 B
BIG TOM 2 C
BIG TOM 2 D
BIG TOM 3 A
BIG TOM 3 B
BIG TOM 3 C
BIG TOM 3 D
LIVE TOM 1 A
LIVE TOM 1 B
LIVE TOM 1 C
ROCK TOM 1 A
ROCK TOM 1 B
ROCK TOM 1 C
ROCK TOM 2 A
ROCK TOM 2 B
ROCK TOM 2 C
CYMBALS
CLOSED HAT 1
CLOSED HAT 2
CLOSED HAT 3
SYN CLOSEHAT
RAP HAT 1
RAP HAT 2
OPEN HAT
SYN OPEN HAT
PEDAL HAT
CRASH CYMBAL
RIDE CYMBAL
RIDE BELL
CHINA CRASH
15"HAT TIGHT
SYN CL HAT 2
TECHNO HAT 1
TECHNO HAT 2
TECHNO HAT 4
TECHNO HAT 3
15"HAT OPEN
15"HAT LOOSE
SYN OP HAT 2
15"HAT FOOT
CYM LOOP
ROOM KICK 1A
THIN RIDE A
ROOM KICK 1B
ROOM KICK 1C
THIN RIDE B
SYNTH CYMBAL
PERCUSSION
AGOGO
BONGO
CABASA
CASTANETS
CLAVE
CLICK
CONGA HIGH
CONGA LOW
CONGA MUTE
COWBELL
COWBELL STICK
CUICA
FINGER SNAPS
GUIRO
HANDCLAPS
JAWHARP
MARACAS
SHAKER
SLEIGHBELL
SPOONS
TAIKO
TAMBOURINE
TIMBALI
TRIANGLE
VIBRASLAP
WHISTLE
WOODBLOCK
SYN CLAPS
SYN COWBELL
SYN MARACAS
SYNTH CLAVE
SYNTH KISS
WIND CHIME
CACTUS LOOP
NUT RATTLE LP
RAINSTICK
EQ CABASA 1
EQ CABASA 2
CONGA HEEL
THIN MARACA
SHEKERE DN
SHEKERE UP
TAMBO DOWN
TAMBO UP
TIMBALI RIM
TUNED-PERC
VIBRAPHONE
MARIMBA
XYLOPHONE
LOG DRUM
KALIMBA
STEEL DRUM
DOORBELL
GAMELAN BELL
GLOCKENSPIEL
HANDBELLS
SM TUNED GONG
TUBULAR
TYMPANI
DANCE HIT
ORCH HIT
SOUND-EFFECT
APPLAUSE
BIRD SONG
GUNSHOT
HELICOPTER
TELEPHONE
WIND CHIMES
SURFACE NOISE
TAPE LOOP
WAVEFORM
SAWTOOTH
SINE WAVE
SQUARE WAVE
TRIANGLE WAVE
ANALOG WV 1
ANALOG WV 2
ANALOG WV 3
ANALOG WV 4
ANALOG WV 5
ANALOG WV 6
ANALOG WV 7
ANALOG WV 8
DIGITAL WV 1
DIGITAL WV 2
BELL WAVE 1
BELL WAVE 2
BELL WAVE 3
BELL WAVE 4
BELL WAVE 5
BELL WAVE 6
BELL WAVE 7
BIG BELL WF
SYNTH BELL
VOCAL WF 1
VOCAL WF 2
VOCAL WF 3
VOCAL WF 4
VOCAL WF 5
VOCAL WF 6
DOUBLE REED
REED WF
SINGLE REED
PIANO BS WF
PIANO WF
E-BASS WF 1
E-BASS WF 2
INHARMONIC
NOISE
SPECTRUM
AIR LOOP
BIG BELL
CRYSTAL
TEXTURE
TRANSWAVE
AAH OOH XW
ANA BS XWAVE
ANA VOX-X
ANALOG PAD X
BELL XWAVE 1
BELL XWAVE 2
BELL XWAVE 3
BELL XWAVE 4
DRAWBAR XW
MELLOW SWEEP
MULTI BELL
ORGAN XWAVE
OSC SYNC XW 1
OSC SYNC XW 2
PHASE SYNC
PULSE X
RAP BS XWAVE
RESONANCE
REZ BS XWAVE
REZ SWEEP
REZO-X 4
REZO-X 3
REZO-X 2
REZO-X 1
SCRATCH WAVE
SOFT ANALOG
TECHNO BASS
TINE XWAVE
TRANSWAVE AA
TRANSWAVE AH
TRANSWAVE EE
TRANSWAVE OO
TRANSWAVE Z
TRI SWEEP
WAKKA WAKKA
433
Chapter 13ÑSupplemental Information
L i s t of Z R - 7 6 S o u n d s
The following is a list of the factory ZR-76 sounds. Sounds will appear in alphabetical order within each
SoundFinder type. The list also includes the sound's residency and effect status.
BASS
Ac.Bass-GM
FingBass-GM
Finger Bass
Fretless
FrtlsBas-GM
Guitarron
P-Bass
P-Bass Slap
PickBass-GM
PickdFretls
Picked Bass
SlapBs1-GM
SlapBs2-GM
Switch Bass
Switch Pop1
Switch Pop2
Uprite Bass
BASS-SYN
303 Bass
Analog Bass
Big Bottom
Dance Bass
GreasySynBs
Grumbler
HouseBass1
HouseBass2
Rap Bass
Rogue Bass
Room Bass
Smack Bass
Synbass1-GM
Synbass2-GM
BELL
Agogo-GM
Bellmen
Big Bell
Celesta-GM
ChurchBells
Crystal-GM
FM Bells
Gamelan+Arp
Glockens-GM
Glocknspiel
Handbell
Little Bell
Musicbox-GM
Octave Bell
Pixie Bell
TinklBel-GM
Trans Bell
Tubular-GM
BRASSECT
Brass 1-GM
Fr.Horn-GM
Fr.HornSect
GreaseBrass
Mute Swells
Pop Brass
StereoBrass
SynBrs.1-GM
SynBrs.2-GM
BRASSOLO
Cornet
Flugelhorn
French Horn
MuteTrpt-GM
MuteTrumpet
Trombone
Trombone-GM
Trumpet
Trumpet-GM
Tuba-GM
DRUM-KIT
Dance Kit
Jazz Kit
Live Kit
MultiKit #1
MultiKit #2
MultiKit #3
Street Kit
DRMKITGM
Brsh Kit-GM
DanceKit-GM
Elec Kit-GM
FormtKit-GM
434
GM 008:032
GM 008:033
ROM 004:105
ROM 004:113
GM 008:035
ROM 004:115
ROM 004:106
ROM 004:107
GM 008:034
ROM 004:109
ROM 004:108
GM 008:036
GM 008:037
ROM 004:110
ROM 004:111
ROM 004:112
ROM 004:114
MediumReverb
MediumReverb
18 EQ->Reverb
Chorus
MediumReverb
18 EQ->Reverb
Dry
Dry
MediumReverb
Chorus
Dry
MediumReverb
MediumReverb
Dry
Dry
Dry
LightReverb
ROM 004:124
ROM 004:119
ROM 004:126
ROM 004:127
ROM 004:116
ROM 004:123
ROM 004:121
ROM 004:122
ROM 004:120
ROM 004:118
ROM 004:125
ROM 004:117
GM 008:038
GM 008:039
29 ResVCF->DDL
08 NonLinReverb2
39 EQ->Comp->Gate
LightReverb
Dry
22 DDL->Phaser
39 EQ->Comp->Gate
LightReverb
39 EQ->Comp->Gate
39 EQ->Comp->Gate
09 Gated Reverb
Dry
MediumReverb
MediumReverb
GM 008:113
ROM 005:102
ROM 005:097
GM 008:008
ROM 005:096
GM 008:098
ROM 005:098
ROM 005:105
GM 008:009
ROM 005:104
ROM 005:101
ROM 005:100
GM 008:010
ROM 005:103
ROM 005:095
GM 008:112
ROM 005:099
GM 008:014
MediumReverb
40 EQ->Chorus->DDL
32 Chatter Box
MediumReverb
WetReverb
MediumReverb
19 Spinner->Rev
MediumReverb
MediumReverb
02 Hall Reverb
WetReverb
WetReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
GM 008:061
GM 008:060
ROM 005:057
ROM 005:056
ROM 005:058
ROM 005:055
ROM 005:054
GM 008:062
GM 008:063
MediumReverb
MediumReverb
WetReverb
05 Large Plate
15 Chorus->Rev
MediumReverb
MediumReverb
MediumReverb
MediumReverb
ROM 005:060
ROM 005:062
ROM 005:063
GM 008:059
ROM 005:064
ROM 005:059
GM 008:057
ROM 005:061
GM 008:056
GM 008:058
MediumReverb
MediumReverb
WetReverb
MediumReverb
02 Hall Reverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
ROM 005:122
ROM 005:126
ROM 005:127
ROM 005:123
ROM 005:124
ROM 005:125
ROM 005:121
Various (per key)
Various (per key)
Various (per key)
Various (per key)
Various (per key)
Various (per key)
Various (per key)
GM 009:040
GM 009:064
GM 009:024
GM 009:066
Various (per key)
Various (per key)
Various (per key)
Various (per key)
Jazz Kit-GM
Orch Kit-GM
Pwr. Kit-GM
Room Kit-GM
Std. Kit-GM
SynthKit-GM
TeknoKit-GM
GUITAR-A
12-String
Dbl 6-Strng
FretNois-GM
NylonGtr-GM
NylonGuitar
Spruce Top
SteelGtr-GM
SteelString
GUITAR-E
Capt.Crunch
Charang-GM
Chicken Gtr
CleanGtr-GM
Dist.Gtr-GM
Electric 12
FM Jazz Gtr
Gtr.Harm-GM
Jazz Gtr-GM
Mean Mutes
MetalGuitar
Mute Gtr-GM
OvDrvGtr-GM
Overdrive
Pearl Strum
Pedal Steel
SpagettiGtr
Tweed&Roto
Wak It
HITS
Dance Hit 1
Dance Hit 2
Dance Hit 3
Dance Hit 4
Dance Hit 5
House Vox
Orch Hit
Orch.Hit-GM
Rave m7maj7
Rave Vox
Slam Orch
KEYS
AutoWahClav
ChatterClav
Clavicle
Clavinet
Clavinet-GM
Funky Clav
Harpsi.-GM
Harpsichord
LAYERS
ChoirStrngs
Lush GtrPad
Mute+Flute
Nylon Pad
Sitar Layer
Steel Pad
LOOPGRUV
Multi Perk
TakeMyWife
MALLET
Balafon
CaribeTrans
EthnoMallet
Log Drum-PT
Marimba
Marimba-GM
SmTunedGong
Steel Drum
SteelDrm-GM
Tymp Roll
Tympani
Tympani mf
Tympani pp
Tympani-GM
Vibes-GM
Vibraphone
WhisperWood
Xylophon-GM
Xylophone
GM 009:032
GM 009:048
GM 009:016
GM 009:008
GM 009:000
GM 009:025
GM 009:065
Various (per key)
Various (per key)
Various (per key)
Various (per key)
Various (per key)
Various (per key)
Various (per key)
ROM 005:003
ROM 005:004
GM 008:120
GM 008:024
ROM 005:000
ROM 005:001
GM 008:025
ROM 005:002
18 EQ->Reverb
18 EQ->Reverb
MediumReverb
MediumReverb
12 Rev->Chorus
18 EQ->Reverb
MediumReverb
WetReverb
ROM 005:008
GM 008:084
ROM 005:012
GM 008:027
GM 008:030
ROM 005:014
ROM 005:015
GM 008:031
GM 008:026
ROM 005:009
ROM 005:013
GM 008:028
GM 008:029
ROM 005:011
ROM 005:007
ROM 005:019
ROM 005:010
ROM 005:016
ROM 005:020
37 Dist->DDL->Trem
MediumReverb
18 EQ->Reverb
MediumReverb
MediumReverb
WetReverb
20 DDL->Chorus
MediumReverb
MediumReverb
MediumReverb
38 Comp->Dist->DDL
MediumReverb
MediumReverb
38 Comp->Dist->DDL
27 Dist->Phaser
23 DDL->EQ
MediumReverb
34 RotarySpeaker
MediumReverb
INT 001:046
INT 001:047
INT 001:048
INT 001:049
INT 001:050
INT 001:051
DRM 018:106
GM 008:055
INT 001:045
ROM 005:031
DRM 018:107
Chorus
Chorus
Chorus
Chorus
Chorus
MediumReverb
MediumReverb
MediumReverb
Chorus
Chorus
LightReverb
ROM 004:059
ROM 004:062
INT 001:041
ROM 004:061
GM 008:007
ROM 004:063
GM 008:006
ROM 005:094
28 Dist->AutoWah
32 Chatter Box
22 DDL->Phaser
15 Chorus->Rev
MediumReverb
27 Dist->Phaser
MediumReverb
MediumReverb
ROM 005:043
ROM 005:006
ROM 005:067
ROM 005:005
ROM 005:018
INT 001:000
WetReverb
MediumReverb
06 Small Plate
15 Chorus->Rev
17 Phaser->Rev
15 Chorus->Rev
ROM 005:114
INT 001:064
07 NonLinReverb1
MediumReverb
ROM 005:093
ROM 005:111
ROM 005:106
ROM 005:112
ROM 005:107
GM 008:012
ROM 005:113
ROM 005:108
GM 008:114
DRM 015:084
DRM 015:076
DRM 015:077
DRM 015:078
GM 008:047
GM 008:011
ROM 005:109
INT 001:010
GM 008:013
ROM 005:110
MediumReverb
15 Chorus->Rev
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
06 Small Plate
MediumReverb
MediumReverb
02 Hall Reverb
ENSONIQ ZR-76 MusicianÕs Manual
Chapter 13ÑSupplemental Information
ORCHSTRA
Orch/Wheel
String+Wind
Wind Str-Wl
Woodwinds
ORGAN-A
Bell Organ
Cathedral
Ch.Organ-GM
ChurchOrgan
Flute Stops
Hall Organ
MellowPipes
Org+Pedals
PhantomPipe
Pipe Organ
ReedOrgn-GM
Regal Organ
WheelPipes
ORGAN-E
3Drawbrs-PR
4Drawbrs-PR
AllStops-PR
Big Organ
Chiff Organ
Donor Organ
Farcheeza
Full B3-PR
Jazz Organ
Organ 1-GM
Organ 2-GM
Organ 3-GM
Ped/Perc B3
Perc B3-PR
Perc+Chorus
Rock B3-PR
Synth Organ
Wheel Org 1
Wheel Org 2
Whl Dbl Org
PERC-KIT
Conga Map
Insta-Rap
Latin Percs
Perc Kit 1
SynPerc Kit
World Kit
PERCSOLO
4x Hat1 B
4x Hat2 B
4x Hat3 B
4xCl Hat1
4xCl Hat2
4xCl Hat3
4xVel Hats
808 Cymbal
Acoust Kik2
AcoustcKick
Agogo
Agogo Stik
AltRevCrash
Big Kick1
Big Kick2
Bongo
Bongo 2
Bongo HP
Bongo Roll
BongoShort
Boom Kik A
Boom Kik B
Boom Kik C
BrassChimes
Bright Kick
Bright Kik2
Bright Udu
Brush Hit
Brush Hit2v
Brush Slap
Brush Swish
Brush Tap
Brush Tap2
Brush Tom1
Brush Tom2
Brush Tom3
Brush Tom4
BrushSwish2
BrushSwish3
BrushSwish4
BrushSwish5
BrushSwish6
Cabasa
Cabasa HP
Cabasa Up
Cactus Hit1
Cactus Hit2
INT 001:011
ROM 005:052
ROM 005:068
INT 001:012
02 Hall Reverb
18 EQ->Reverb
15 Chorus->Rev
05 Large Plate
ROM 004:058
ROM 004:051
GM 008:019
ROM 004:052
ROM 004:055
ROM 004:054
ROM 004:040
ROM 004:049
ROM 004:056
ROM 004:050
GM 008:020
ROM 004:057
ROM 004:053
12 Rev->Chorus
02 Hall Reverb
MediumReverb
12 Rev->Chorus
MediumReverb
12 Rev->Chorus
MediumReverb
MediumReverb
MediumReverb
WetReverb
MediumReverb
MediumReverb
12 Rev->Chorus
ROM 004:037
ROM 004:035
ROM 004:038
ROM 004:031
ROM 004:047
ROM 004:036
ROM 004:043
ROM 004:042
ROM 004:041
GM 008:016
GM 008:017
GM 008:018
ROM 004:034
ROM 004:032
ROM 004:039
ROM 004:033
ROM 004:048
ROM 004:044
ROM 004:046
ROM 004:045
34 RotarySpeaker
34 RotarySpeaker
34 RotarySpeaker
10 Stereo Chorus
MediumReverb
34 RotarySpeaker
MediumReverb
34 RotarySpeaker
34 RotarySpeaker
MediumReverb
MediumReverb
MediumReverb
34 RotarySpeaker
34 RotarySpeaker
MediumReverb
34 RotarySpeaker
MediumReverb
34 RotarySpeaker
34 RotarySpeaker
34 RotarySpeaker
ROM 005:117
INT 001:052
ROM 005:116
ROM 005:120
ROM 005:119
ROM 005:118
Various (per key)
Various (per key)
Various (per key)
Various (per key)
Various (per key)
Various (per key)
DRM 014:001
DRM 014:004
DRM 014:008
DRM 014:000
DRM 014:003
DRM 014:007
DRM 014:010
DRM 014:075
DRM 011:005
DRM 011:004
DRM 016:013
DRM 016:014
DRM 014:071
DRM 011:015
DRM 011:016
DRM 015:031
DRM 015:034
DRM 015:033
DRM 015:035
DRM 015:032
DRM 011:051
DRM 011:052
DRM 011:053
DRM 016:049
DRM 011:000
DRM 011:001
DRM 015:090
DRM 012:076
DRM 012:077
DRM 012:079
DRM 012:082
DRM 012:091
DRM 012:092
DRM 013:064
DRM 013:065
DRM 013:066
DRM 013:067
DRM 012:083
DRM 012:084
DRM 012:085
DRM 012:086
DRM 012:087
DRM 017:028
DRM 017:030
DRM 017:029
DRM 017:064
DRM 017:065
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
ENSONIQ ZR-76 MusicianÕs Manual
CactusLoop1
CactusLoop2
Castanets 1
Castanets 2
China 1-GM
China Crash
ChokeCrash
ChokeSplash
Clave
Clave HP
ClHat 1-NKG
ClHat 2-NKG
ClHat 3-NKG
ClHat 4-NKG
Click
Com/GateSnr
ConcrtBD-GM
ConcrtSnare
Conga Flam1
Conga Hi 2
Conga Hi 3
Conga High
Conga Lo 2
Conga Low
Conga Mute
Conga Shrt2
CongaFingHi
CongaFingLo
CongaHi/whl
CongaLO/whl
CongaLoShrt
CongaMoose1
CongaMoose2
CongaMoose3
CongaMoose4
CongaMoose5
CongaMoose6
CongaPatHi
CongaPatLo
CongLoTite
Cool Ride 1
Cowbel Stik
Cowbell
Cowbell Mtd
CrackSnare1
CrackSnare2
Crash 1-GM
Crash Cym 1
Crash Cym 2
CrshCymRoll
CTRL1 OpHat
Cuica 1
Cuica 2
Cuica 3
Cuica 4
Cuica 5
Cym Swell
Cym Swell2
Dance Kick
Dark Udu
Dbl Moose 1
Dbl Moose 2
DblFlamTom
Dry Tom 1
Dry Tom 2
Dull SynKik
Dyn.Tambo
Dynamic Tom
DynamicKick
DynamicSnar
DynTimb HP
DynTimbali
Egg Shaker
Elec Kick1
Elec Kick2
Elec Sn-GM
Elec Snare1
Elec Snare2
Elec Tom-GM
Fast Taiko
Fat Claps
Fat Kick1
Fat Kick2
Fat Kick3
Fat Kick4
FINTe Drum
Gate/PopSnr
Gated Kick1
Gated Kick2
Gated Sn-GM
Gong ff
Gong mf
Gong p
Guiro Long
Guiro Long2
DRM 017:058
DRM 017:059
DRM 017:039
DRM 017:040
DRM 014:063
DRM 014:062
DRM 014:059
DRM 014:060
DRM 017:012
DRM 017:013
DRM 014:002
DRM 014:005
DRM 014:006
DRM 014:009
DRM 017:016
DRM 012:013
DRM 011:039
DRM 012:007
DRM 015:025
DRM 015:004
DRM 015:005
DRM 015:000
DRM 015:010
DRM 015:009
DRM 015:026
DRM 015:028
DRM 015:003
DRM 015:014
DRM 015:001
DRM 015:011
DRM 015:027
DRM 015:015
DRM 015:016
DRM 015:017
DRM 015:018
DRM 015:019
DRM 015:020
DRM 015:002
DRM 015:013
DRM 015:012
DRM 014:039
DRM 016:022
DRM 016:016
DRM 016:017
DRM 012:016
DRM 012:017
DRM 014:054
DRM 014:052
DRM 014:053
DRM 014:073
DRM 014:032
DRM 015:050
DRM 015:051
DRM 015:052
DRM 015:053
DRM 015:054
DRM 014:066
DRM 014:067
DRM 011:094
DRM 015:091
DRM 015:021
DRM 015:022
DRM 013:016
DRM 013:000
DRM 013:004
DRM 011:056
DRM 016:028
DRM 013:018
DRM 011:013
DRM 012:001
DRM 015:040
DRM 015:041
DRM 017:032
DRM 011:059
DRM 011:060
DRM 012:042
DRM 012:040
DRM 012:041
DRM 013:030
DRM 015:070
DRM 017:021
DRM 011:009
DRM 011:010
DRM 011:011
DRM 011:012
DRM 015:089
DRM 012:022
DRM 011:042
DRM 011:043
DRM 012:021
DRM 014:085
DRM 014:084
DRM 014:083
DRM 017:000
DRM 017:001
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
435
Chapter 13ÑSupplemental Information
Guiro Short
Hand Claps
HiCngMoose1
HiCngMoose2
HiPass Kik1
HiPass Kik2
HiPass Snr1
HiPass Snr2
HiPass Snr3
HipHopSnare
House Rim
HouseClap1
HouseClap2
HouseClHat1
HouseClHat2
HouseClHat3
HouseCrash1
HouseCrash2
HouseKick1
HouseKick2
HouseKick3
HouseKick4
HouseOpHat1
HouseOpHat2
HouseOpHat3
HouseRide1
HouseRide2
HouseSnare1
HouseSnare2
HouseSnare3
HouseSnare4
HouseTom1
HouseTom2
Jaw Harp
JawHarp+HP
Jawharp/whl
Jazz Kick1
Jazz Kick2
Jazz Kick3
Jazz Kick4
LoEthnicDr
LongHat-NKG
LongOpHat 1
Loop Kick1
Loop Kick2
Maracas
Maracas HP
Maracas Up
Marktree
Med Hat-NKG
MeloTom1-GM
Military Sn
Mt Surdo-GM
Muff Kick 1
Muff Kick 2
Muffled Sn
Native Drum
NutRatlHit
NutRatlLp1
Op Surdo-GM
OpenHat-GM
Pedal Hat
Piatti
Piatti 2
Piatti-GM
Pillow Kik
Pole
Pop Snare
Press Roll
ProcessKick
PtchDwnKik1
PtchDwnKik2
PtchDwnKik3
Punchy Kick
R.Crash-GM
Rainstick
Rainstick 2
Rainstick 3
Rap Hat 1
Rap Hat 2
Rap Kick 1
Rap Kick 2
Rap Kick 3
Rap Snare
Rap Tambo
Real Kick
Real Snare
Reso Kick1
Reso Kick2
Rev BoomKik
Rev ClHat 1
Rev ClHat 2
Rev ClHat 3
Rev ClHat 4
Rev ClHat 5
436
DRM 017:002
DRM 017:020
DRM 015:006
DRM 015:007
DRM 011:072
DRM 011:073
DRM 012:051
DRM 012:052
DRM 012:053
DRM 012:031
DRM 018:003
DRM 018:005
DRM 018:006
DRM 014:011
DRM 014:012
DRM 014:013
DRM 014:057
DRM 014:058
DRM 011:068
DRM 011:069
DRM 011:070
DRM 011:071
DRM 014:019
DRM 014:020
DRM 014:021
DRM 014:040
DRM 014:041
DRM 012:036
DRM 012:037
DRM 012:038
DRM 012:039
DRM 013:036
DRM 013:037
DRM 016:035
DRM 016:038
DRM 016:036
DRM 011:034
DRM 011:035
DRM 011:036
DRM 011:037
DRM 015:088
DRM 014:015
DRM 014:014
DRM 011:074
DRM 011:075
DRM 017:024
DRM 017:025
DRM 017:026
DRM 016:048
DRM 014:017
GM 008:117
DRM 012:006
DRM 015:073
DRM 011:048
DRM 011:049
DRM 012:008
DRM 015:092
DRM 017:073
DRM 017:069
DRM 015:072
DRM 014:027
DRM 014:018
DRM 014:079
DRM 014:080
DRM 014:081
DRM 011:067
DRM 016:045
DRM 012:019
DRM 012:056
DRM 011:045
DRM 011:099
DRM 011:100
DRM 011:101
DRM 011:022
DRM 014:072
DRM 017:047
DRM 017:048
DRM 017:049
DRM 014:028
DRM 014:030
DRM 011:064
DRM 011:065
DRM 011:066
DRM 012:028
DRM 016:032
DRM 011:019
DRM 012:000
DRM 011:029
DRM 011:030
DRM 011:109
DRM 014:103
DRM 014:104
DRM 014:105
DRM 014:106
DRM 014:107
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
Rev CmpGtSn
Rev CrackSn
Rev Crash 1
Rev DanceSn
Rev ElKick
Rev FatKick
Rev GateKik
Rev Gm Sn
Rev Guiro
Rev LoopKik
Rev OpHat 1
Rev OpHat 2
Rev PedlHat
Rev Pop Sn
Rev Rap Sn
Rev RapHat1
Rev RapHat2
Rev RapKick
Rev Real Sn
Rev SynHat1
Rev SynHat2
Rev SynHat3
Rev Timbali
Rev.Cym.-GM
RevChinaCym
RevHiphopSn
RevRideBell
Ride 1-GM
Ride Bell
Ride Cym 1
Ride Cym 2
Ride Cym 3
Ride Short
Ride+Bell
RideBell-GM
RideCymRoll
RimshotSnr
Ring Tom 1
Ring Tom 2
Ring Tom 3
Ring Tom 4
Rock Snare
Roll+Sn Hit
Room Tom 1
Room Tom 2
Scratch 01
Scratch 02
Scratch 03
Scratch 04
Scratch 05
Scratch 06
Scratch 07
Scratch 08
Scratch 09
Scratch 10
Scratch 11
Scratch 12
Scratch 13
Scratch 14
Shaker
ShrtOpHat 1
SideStick 1
SideStick 2
SizlRide 2
SizlRide 3
SizlRideCym
Sleighbell
Slow Cactus
Slow Nuts
Slow Ratl 2
Slow Rattle
Snare Roll
Snare-GM
Soft Noise
Splash1-GM
SplashCym 1
Spoons
Spoons 2
Stereo Clap
Stick Click
SwitchTom 1
Syn Cowbell
Syn Kick-GM
Syn Kick1A
Syn Kick1B
Syn Kick1C
Syn Kick1D
Syn Maracas
Syn OpenHat
Syn Snr-GM
Syn Tom-GM
Syn.Drum-GM
SynClHat-GM
SynCloseHat
SynHiCongGM
DRM 012:102
DRM 012:103
DRM 014:070
DRM 012:104
DRM 011:110
DRM 011:105
DRM 011:106
DRM 012:106
DRM 017:005
DRM 011:107
DRM 014:101
DRM 014:102
DRM 014:100
DRM 012:105
DRM 012:108
DRM 014:111
DRM 014:112
DRM 011:108
DRM 012:101
DRM 014:108
DRM 014:109
DRM 014:110
DRM 015:044
GM 008:119
DRM 014:064
DRM 012:107
DRM 014:048
DRM 014:036
DRM 014:046
DRM 014:033
DRM 014:034
DRM 014:035
DRM 014:037
DRM 014:047
DRM 014:049
DRM 014:042
DRM 012:025
DRM 013:006
DRM 013:007
DRM 013:008
DRM 013:009
DRM 012:010
DRM 012:057
DRM 013:010
DRM 013:013
DRM 018:032
DRM 018:033
DRM 018:034
DRM 018:035
DRM 018:036
DRM 018:037
DRM 018:038
DRM 018:039
DRM 018:040
DRM 018:041
DRM 018:042
DRM 018:043
DRM 018:044
DRM 018:045
DRM 017:035
DRM 014:016
DRM 012:066
DRM 012:069
DRM 014:089
DRM 014:090
DRM 014:088
DRM 016:055
DRM 017:060
DRM 017:070
DRM 017:076
DRM 017:075
DRM 012:055
DRM 012:003
DRM 017:045
DRM 014:061
DRM 014:056
DRM 016:041
DRM 016:042
DRM 018:008
DRM 012:072
DRM 013:020
DRM 018:000
DRM 011:084
DRM 011:079
DRM 011:080
DRM 011:081
DRM 011:082
DRM 018:015
DRM 014:025
DRM 012:049
DRM 013:033
GM 008:118
DRM 014:023
DRM 014:022
DRM 018:029
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
ENSONIQ ZR-76 MusicianÕs Manual
Chapter 13ÑSupplemental Information
SynLoCongGM
SynOpHat-GM
SynRideCym1
SynRideCym2
SynRimshot
Synth Clave
Synth Drip
Synth Drip2
Synth Drip3
Synth Hit 1
Synth Hit 2
Synth Hit 3
Synth Hit 4
Synth Hit 5
Synth Hit 6
Synth Hit 7
Synth Hit 8
Synth Hit 9
Synth Hit10
Synth Hit11
Synth Hit12
Synth Hit13
Synth Hit14
Synth Kick2
Synth Kick3
Synth Kick4
Synth Kiss
Synth Kiss2
Synth Kiss3
Synth Snare
Synth Tom 1
Synth Tom 2
Synth Tom 3
Synth Tom 4
Synth Tom 5
Taiko
Taiko-GM
Tambo Shake
Tambo Short
TamboUpShak
Tambourine
Tambourine2
Tight Kick1
Tight Kick2
Timbali
Timbali 2
Timbali HP
TimbaliFlam
TimbaliFlm2
Trashy Snr
Tri Mute-GM
Tri Open-GM
Tri Roll
Triangl/whl
Triangle Mt
Triangle Op
TriangleMt2
TrianglTick
VelociDrums
VelociPercs
Vibraslap
Vibraslap 2
Wakka 01
Wakka 02
Wakka 03
Wakka 04
Wakka 05
Wakka 06
Wakka 07
Wakka 08
Wakka 09
Wakka 10
Wakka 11
Wakka 12
Wakka 13
Wakka 14
Whistle A
Whistle B
WHLJaw Harp
Wind Chime
Windchime2
WindchimeGM
Woodblock 1
Woodblock 2
WoodblockHP
Woodblok-GM
PIANO-A
BrightPiano
ConcertGrnd
Dance Piano
HonkyTnk-GM
Jazz Piano
Piano 1-GM
Piano 2-GM
Piano 3-GM
DRM 018:028
DRM 014:026
DRM 014:076
DRM 014:077
DRM 018:002
DRM 018:010
DRM 018:019
DRM 018:020
DRM 018:021
DRM 018:085
DRM 018:086
DRM 018:087
DRM 018:088
DRM 018:089
DRM 018:090
DRM 018:091
DRM 018:092
DRM 018:093
DRM 018:094
DRM 018:095
DRM 018:096
DRM 018:097
DRM 018:098
DRM 011:086
DRM 011:088
DRM 011:091
DRM 018:023
DRM 018:024
DRM 018:025
DRM 012:047
DRM 013:024
DRM 013:025
DRM 013:026
DRM 013:027
DRM 013:028
DRM 015:069
GM 008:116
DRM 016:026
DRM 016:030
DRM 016:029
DRM 016:027
DRM 016:031
DRM 011:025
DRM 011:026
DRM 015:042
DRM 015:045
DRM 015:043
DRM 015:046
DRM 015:047
DRM 012:034
DRM 016:007
DRM 016:008
DRM 016:006
DRM 016:000
DRM 016:002
DRM 016:005
DRM 016:003
DRM 016:004
INT 001:065
INT 001:063
DRM 017:043
DRM 017:044
DRM 018:054
DRM 018:055
DRM 018:056
DRM 018:057
DRM 018:058
DRM 018:059
DRM 018:060
DRM 018:061
DRM 018:062
DRM 018:063
DRM 018:064
DRM 018:065
DRM 018:066
DRM 018:067
DRM 017:051
DRM 017:054
DRM 016:037
DRM 016:051
DRM 016:052
DRM 016:053
DRM 017:008
DRM 017:010
DRM 017:009
GM 008:115
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
ROM 004:005
ROM 004:004
ROM 004:006
GM 008:003
ROM 004:002
GM 008:000
GM 008:001
GM 008:002
01 PaINTetric EQ
18 EQ->Reverb
12 Rev->Chorus
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
ENSONIQ ZR-76 MusicianÕs Manual
Pop Piano
Room Piano
StereoGrand
Tack Piano
Warm Piano
PNOLYR-A
LA Layer
Pno+Strings
Pno+Voices
PnoStrBells
PIANO-E
DynFM E.Pno
DynoE.Pno1
E.Piano1-GM
E.Piano2-GM
Hammer Tine
HybridKeys
HybridE.Pno
Mod Wurlie
Pure El.Pno
Real El.Pno
Suitcase EP
Tine Flies
Tine Sine
Tine-2-Love
VintgeE.Pno
VintgWurlie
Warm FM Pno
PNOLYR-E
ElPiano+Pad
FM Pno+Strg
PLUCKED
Banjo
Banjo-GM
Coral Sitar
Ethnotan
Hammered
Harp-GM
Harp-Stereo
Kalimba
Kalimba-GM
Koto-GM
Lucy
Mbira
PizzStrg-GM
Santur-GM
Shamisen
Shamisen-GM
Sitar
Sitar-GM
Solo Pizz
Synthtar
Whl/OctPizz
SAX-SOLO
Alto Sax-GM
Bari.Sax-GM
BreathyAlto
BreathySopr
BreathyTenr
Sop.Sax-GM
Soprano Sax
Tenor Lead
TenorSax-GM
SOUND-FX
Applause
Applause-GM
Astro Car
Birds-GM
BUGZ!!!
Gunshot-GM
Hlicoptr-GM
ZR RoboVox
Scratch It
Seashore-GM
SurfaceNoiz
Telephon-GM
Warp Nine
SPLITS
Jazz Trio
Modern Jazz
STRGSECT
Chamber Str
DarkStrings
Dyn Marcato
Holiday Str
Hot Bath
Legato Str
MovieStrngs
SlowStrg-GM
String Mass
Strings-GM
Syn Strings
SynStrg1-GM
TremStrg-GM
Warm Bath
ROM 004:007
ROM 004:003
ROM 004:000
ROM 004:008
ROM 004:001
12 Rev->Chorus
18 EQ->Reverb
01 PaINTetric EQ
MediumReverb
MediumReverb
ROM 004:009
ROM 004:010
ROM 004:012
ROM 004:011
Chorus
MediumReverb
MediumReverb
WetReverb
ROM 004:021
ROM 004:022
GM 008:004
GM 008:005
ROM 004:020
ROM 004:016
ROM 004:023
ROM 004:026
ROM 004:015
ROM 004:013
ROM 004:024
ROM 004:025
ROM 004:017
ROM 004:018
ROM 004:014
ROM 004:027
ROM 004:019
Chorus
Chorus
MediumReverb
MediumReverb
Chorus
MediumReverb
Chorus
MediumReverb
11 8-Voice Chorus
Chorus
17 Phaser->Rev
Chorus
Chorus
Chorus
10 Stereo Chorus
17 Phaser->Rev
MediumReverb
ROM 004:029
ROM 004:028
17 Phaser->Rev
Chorus
ROM 005:089
GM 008:105
ROM 005:017
ROM 005:088
ROM 005:086
GM 008:046
ROM 005:090
ROM 005:084
GM 008:108
GM 008:107
INT 001:038
ROM 005:085
GM 008:045
GM 008:015
ROM 005:091
GM 008:106
ROM 005:087
GM 008:104
ROM 005:045
INT 001:022
ROM 005:044
18 EQ->Reverb
MediumReverb
MediumReverb
20 DDL->Chorus
WetReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
11 8-Voice Chorus
18 EQ->Reverb
MediumReverb
MediumReverb
WetReverb
MediumReverb
WetReverb
MediumReverb
WetReverb
MediumReverb
WetReverb
GM 008:065
GM 008:067
ROM 005:080
ROM 005:077
ROM 005:078
GM 008:064
ROM 005:081
ROM 005:079
GM 008:066
MediumReverb
MediumReverb
WetReverb
WetReverb
WetReverb
MediumReverb
WetReverb
WetReverb
MediumReverb
DRM 018:080
GM 008:126
INT 001:060
GM 008:123
DRM 018:105
GM 008:127
GM 008:125
INT 001:059
DRM 018:072
GM 008:122
DRM 018:070
GM 008:124
INT 001:058
MediumReverb
MediumReverb
MediumReverb
MediumReverb
WetReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
INT 001:061
INT 001:062
MediumReverb
MediumReverb
ROM 005:037
ROM 005:034
ROM 005:040
ROM 005:039
ROM 005:033
ROM 005:036
ROM 005:038
GM 008:049
ROM 005:035
GM 008:048
ROM 005:042
GM 008:050
GM 008:044
ROM 005:032
MediumReverb
MediumReverb
WetReverb
WetReverb
MediumReverb
WetReverb
WetReverb
MediumReverb
Chorus
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
437
Chapter 13ÑSupplemental Information
STRGSOLO
Cello
Cello+Vln
Cello-GM
CntrBass-GM
Contrabass
Elec Fiddle
Fiddle-GM
SoloMarcato
Viola
Viola-GM
Violin
Violin-GM
SYN-COMP
Ana-Comp
Analog Clav
Big AnaLead
Brassy Stab
Brite Comp
Bs.&Lead-GM
Chiff.Ld-GM
Churbles
Digi-Comp
Echoes
House Layer
MassiveLead
Meta-Clav
Mood Unit
Neboir
PolySyn.-GM
Real Rezz
Rezz Comp
Rezz Stab
Rezzy Brass
Rubber Rez
ScratchPtch
Strat Pad
Sync Lead
SynFunkClav
TakeThe5th
Trans Comp
Trans Rezz
Vel Trans
Watery Pad
SYN-LEAD
Acid Wheel
Acid Wheel2
FormantLead
Lucky'sLead
Maxi Mini
Mini-Lead
MonoBrassLd
OdysseyLead
Rap Glider
Rezolution
Smooth Lead
TransFusion
SYN-PAD
4-D Pad
Abaco
Atmspher-GM
Bell Pad
Bellsalar
BowedGls-GM
Britness-GM
ComfortZone
Delay Sweep
Dreamwave
EchoDrop-GM
Evolution
Fantasia-GM
Fat Pad
Goblin-GM
Halo Pad-GM
Hi-Tech Bed
Horizons
Icicles
Icy Voices
Late Breeze
Lovely
MetalPad-GM
Phase Sweep
Positrons
Sage Orbit
Slow Wash
SoundTrk-GM
SpinCrystal
StarThm.-GM
SweepPad-GM
Syn Orch
SynCalio-GM
438
ROM 005:049
ROM 005:048
GM 008:042
GM 008:043
ROM 005:050
ROM 005:051
GM 008:110
ROM 005:041
ROM 005:047
GM 008:041
ROM 005:046
GM 008:040
WetReverb
WetReverb
MediumReverb
MediumReverb
WetReverb
MediumReverb
MediumReverb
WetReverb
WetReverb
MediumReverb
WetReverb
MediumReverb
ROM 004:102
INT 001:040
ROM 004:099
INT 001:033
ROM 004:104
GM 008:087
GM 008:083
ROM 004:073
ROM 004:101
INT 001:039
ROM 005:115
INT 001:029
INT 001:042
INT 001:004
INT 001:056
GM 008:090
INT 001:019
INT 001:043
INT 001:032
ROM 004:086
ROM 004:083
INT 001:127
INT 001:001
ROM 004:095
ROM 004:060
INT 001:028
INT 001:027
INT 001:020
ROM 004:103
INT 001:008
22 DDL->Phaser
20 DDL->Chorus
20 DDL->Chorus
MediumReverb
21 DDL->Flanger
MediumReverb
MediumReverb
33 Formant Morph
22 DDL->Phaser
20 DDL->Chorus
MediumReverb
MediumReverb
16 Flanger->Rev
16 Flanger->Rev
21 DDL->Flanger
MediumReverb
30 Dist->VCF->DDL
16 Flanger->Rev
MediumReverb
MediumReverb
Chorus
01 PaINTetric EQ
40 EQ->Chorus->DDL
22 DDL->Phaser
19 Spinner->Rev
MediumReverb
14 Rev->Phaser
MediumReverb
MediumReverb
13 Rev->Flanger
ROM 004:100
INT 001:044
ROM 004:096
INT 001:026
ROM 004:098
INT 001:024
ROM 004:087
INT 001:035
ROM 004:097
INT 001:021
INT 001:025
INT 001:023
MediumReverb
22 DDL->Phaser
33 Formant Morph
MediumReverb
31 Pitch Detuner
40 EQ->Chorus->DDL
MediumReverb
MediumReverb
MediumReverb
MediumReverb
13 Rev->Flanger
21 DDL->Flanger
ROM 004:068
ROM 004:075
GM 008:099
ROM 004:084
ROM 004:067
GM 008:092
GM 008:100
ROM 004:077
INT 001:054
ROM 004:072
GM 008:102
ROM 004:080
GM 008:088
ROM 004:081
GM 008:101
GM 008:094
ROM 004:078
ROM 004:090
ROM 004:076
ROM 004:070
ROM 004:085
INT 001:003
GM 008:093
ROM 004:079
INT 001:002
ROM 004:074
INT 001:016
GM 008:097
INT 001:006
GM 008:103
GM 008:095
ROM 005:053
GM 008:082
MediumReverb
20 DDL->Chorus
MediumReverb
17 Phaser->Rev
14 Rev->Phaser
MediumReverb
MediumReverb
18 EQ->Reverb
32 Chatter Box
20 DDL->Chorus
MediumReverb
19 Spinner->Rev
MediumReverb
Chorus
MediumReverb
MediumReverb
22 DDL->Phaser
11 8-Voice Chorus
22 DDL->Phaser
15 Chorus->Rev
MediumReverb
10 Stereo Chorus
MediumReverb
40 EQ->Chorus->DDL
11 8-Voice Chorus
23 DDL->EQ
18 EQ->Reverb
MediumReverb
20 DDL->Chorus
MediumReverb
MediumReverb
20 DDL->Chorus
MediumReverb
SyncroTrans
SynStrg2-GM
Textures
Trans Vox
Transilient
Translucent
Transphere
Tryptichon
Warm Pad-GM
SYN-VINT
5ths Wv-GM
AnalogBrass
Elka Strngs
FairliteStr
MicroTrans
OB-8 Strngs
Poly Stab
Prophet Str
Pulse Synth
Retro Lead
Saw Wv-GM
SawTeeth
SquareWv-GM
Vox Humana
SYNOTHER
FormantSync
Glyder
Ice Rain-GM
RainMan
Sample&Hold
Transzex
VOCALS
A Ha Ha Ha
Aaaahhhs
Ahhzy
Airy Voices
Bell-Air
ChoirAah-GM
Nutmeg
Oh Yeah Pad
Oooohhhs
Slow Morph
Solo Vox-GM
SpaceVox-GM
Syn.Vox-GM
Transcend
Tundra Vox
Vox Oohs-GM
Wheel Morph
WINDREED
Accord.-GM
Accordion
Airy Flute
Andes Flute
Bagpipe-GM
Bagpipes-PT
Bandneon-GM
Bassoon
Bassoon-GM
BotlBlow-GM
BrthNois-GM
Chiff Flute
Clarinet
Clarinet-GM
Eng.Horn-GM
EnglishHorn
Flute Pad
Flute-GM
Folk Accord
FormantHarp
Harmnica-GM
Harmonica
Oboe
Oboe-GM
Ocarina-GM
Pan Flutes
PanFlute-GM
Piccolo-GM
Recorder
Recorder-GM
Shaku.-GM
Shannai-GM
TinWhistles
Whistle-GM
*UTILITY
Silence
*CUSTOM
RthmEditKit
SongEditKit
MIDI-OUT
INT 001:053
GM 008:051
INT 001:007
ROM 005:024
INT 001:055
INT 001:005
INT 001:017
ROM 004:069
GM 008:089
20 DDL->Chorus
MediumReverb
14 Rev->Phaser
22 DDL->Phaser
15 Chorus->Rev
20 DDL->Chorus
21 DDL->Flanger
15 Chorus->Rev
MediumReverb
GM 008:086
INT 001:031
ROM 004:089
ROM 004:094
INT 001:009
ROM 004:092
INT 001:034
INT 001:030
INT 001:036
ROM 004:091
GM 008:081
ROM 004:093
GM 008:080
ROM 004:088
MediumReverb
LightReverb
02 Hall Reverb
MediumReverb
11 8-Voice Chorus
11 8-Voice Chorus
MediumReverb
MediumReverb
13 Rev->Flanger
29 ResVCF->DDL
MediumReverb
40 EQ->Chorus->DDL
MediumReverb
22 DDL->Phaser
INT 001:057
INT 001:037
GM 008:096
ROM 004:071
INT 001:018
ROM 004:066
33 Formant Morph
20 DDL->Chorus
MediumReverb
20 DDL->Chorus
MediumReverb
21 DDL->Flanger
INT 001:014
ROM 005:021
ROM 005:030
INT 001:015
ROM 005:028
GM 008:052
ROM 005:029
ROM 005:025
ROM 005:022
ROM 005:026
GM 008:085
GM 008:091
GM 008:054
ROM 004:082
ROM 005:023
GM 008:053
ROM 005:027
19 Spinner->Rev
13 Rev->Flanger
MediumReverb
05 Large Plate
MediumReverb
05 Large Plate
MediumReverb
MediumReverb
13 Rev->Flanger
12 Rev->Chorus
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
Chorus
GM 008:021
ROM 004:064
ROM 005:073
ROM 005:074
GM 008:109
ROM 005:083
GM 008:023
ROM 005:069
GM 008:070
GM 008:076
GM 008:121
ROM 005:075
ROM 005:072
GM 008:071
GM 008:069
ROM 005:071
INT 001:013
GM 008:073
ROM 004:065
ROM 005:082
GM 008:022
ROM 005:076
ROM 005:070
GM 008:068
GM 008:079
ROM 005:065
GM 008:075
GM 008:072
ROM 005:066
GM 008:074
GM 008:077
GM 008:111
ROM 005:092
GM 008:078
MediumReverb
MediumReverb
WetReverb
02 Hall Reverb
MediumReverb
18 EQ->Reverb
MediumReverb
WetReverb
MediumReverb
MediumReverb
MediumReverb
WetReverb
02 Hall Reverb
MediumReverb
MediumReverb
WetReverb
02 Hall Reverb
MediumReverb
MediumReverb
32 Chatter Box
MediumReverb
WetReverb
WetReverb
MediumReverb
MediumReverb
15 Chorus->Rev
MediumReverb
MediumReverb
WetReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
MediumReverb
DRM 018:127
MediumReverb
kit010:001
kit010:000
Xmit bnk:prg
Various (per key)
Various (per key)
ENSONIQ ZR-76 MusicianÕs Manual
Chapter 13ÑSupplemental Information
L i s t of Rh yt h m Pa t t e r n Fi l e s
The following is a list of all the rhythm pattern files currently available for the ZR-76 Drum Machine. All
INT-RTHM rhythm patterns are backed-up to the ZRD-100 floppy disk in the Ò!FLSRTHMÓ rhythm bank.
Any rhythms that are listed as ZRD-100 are additional rhythms available exclusively on the ZRD-100 disk:
Category
AMBIENT
BALLAD
BALLAD
BALLAD
BALLAD
BALLAD
BALLAD
BALLAD
BALLAD
BALLAD
BALLAD
BLUES
BLUES
BLUES
COUNTRY
COUNTRY
COUNTRY
COUNTRY
COUNTRY
COUNTRY
COUNTRY
COUNTRY
COUNTRY
COUNTRY
COUNTRY
COUNTRY
DANCE
DANCE
Name
Sci-Fi 1
Philly
RockBallad1
R&BBallad 2
RockBallad 1
Straight 8
R&BBallad 3
Rim 16&Perc
Rim 16ths
Shuffle 8
Straight 16
Shuffle 1
SlowBlues 1
Shuffle 2
16th Brush 1
Brush Shuffl
Cntry Rock1
Cntry Rock2
Cntry Waltz
Pop Cntry 1
Shuffle 12/8
Slow Shufl1
Straight 1
6/8 Country
Fast Pop 1
Fast Waltz
Euro Dance1
Euro Tech 1
DANCE
DANCE
DANCE
DANCE
DANCE
DANCE
Euro Tech 2
Hip Hop 1
House 2
House 3
House 4
Jungle 1
DANCE
DANCE
DANCE
DANCE
DANCE
DANCE
DANCE
DANCE
DANCE
DANCE
DANCE
FUNK
FUNK
FUNK
FUNK
FUNK
FUNK
FUNK
HIPHOP
HIPHOP
HIPHOP
HIPHOP
HIPHOP
HIPHOP
HIPHOP
ISLAND
ISLAND
ISLAND
ISLAND
ISLAND
JAZZ
JAZZ
JAZZ
JAZZ
Jungle 2
Jungle 3
Jungle 4
JungleRave1
Robo Techno
Slow Euro 1
Techno 1
Techno Toys
House 1
Rave 1
Insert Fun 2
Funk Fun 1
Kickin'
New Jam
Old School1
Old School2
Tiny Drums1
Funky Thang
Dance Pop 3
DanceBeats1
DanceBeats2
Hop Loop 1
HopBallad 2
Insert Fun 1
Soul Jam 1
Pop Reggae1
Reggae 1
Reggae 2
Rubba Dub
Kingston
6/8 latin jz
Swing #1
Brush Ballad
Up Bop
LATIN
LATIN
LATIN
LATIN
LATIN
LATIN
LATIN
LATIN
ODDMETER
Brush Samba
Samba 1
Samba 3
Samba 2
Clave Funk
Songo
Marinera
Vals
5/4 Groove
POP
POP
POP
12/8 ballad
16th Perc 1
Dance Pop 1
Residency
INT-RTHM
ROM-RTHM
ROM-RTHM
ROM-RTHM
ROM-RTHM
INT-RTHM
ZRD-100
ZRD-100
ZRD-100
ZRD-100
ZRD-100
ROM-RTHM
ROM-RTHM
ZRD-100
ROM-RTHM
ROM-RTHM
ROM-RTHM
ROM-RTHM
ROM-RTHM
ROM-RTHM
ROM-RTHM
ROM-RTHM
ROM-RTHM
INT-RTHM
ZRD-100
ZRD-100
ROM-RTHM
ROM-RTHM &
DEMORTHM
ROM-RTHM
ROM-RTHM
ROM-RTHM
ROM-RTHM
ROM-RTHM
ROM-RTHM &
DEMORTHM
ROM-RTHM
ROM-RTHM
ROM-RTHM
ROM-RTHM
ROM-RTHM
ROM-RTHM
ROM-RTHM
ROM-RTHM
INT-RTHM
INT-RTHM
ZRD-100
ROM-RTHM
ROM-RTHM
ROM-RTHM
ROM-RTHM
ROM-RTHM
ROM-RTHM
INT-RTHM
ROM-RTHM
ROM-RTHM
ROM-RTHM
ROM-RTHM
ROM-RTHM
ROM-RTHM
ROM-RTHM
ROM-RTHM
ROM-RTHM
ROM-RTHM
ROM-RTHM
INT-RTHM
ROM-RTHM
ROM-RTHM
INT-RTHM
INT-RTHM &
DEMORTHM
ROM-RTHM
ZRD-100
ZRD-100
ZRD-100
INT-RTHM
INT-RTHM
ZRD-100
ZRD-100
INT-RTHM &
DEMORTHM
ROM-RTHM
ROM-RTHM
ROM-RTHM
ENSONIQ ZR-76 MusicianÕs Manual
POP
POP
POP
RAP
Old Hits 1
6/8 pop
Dance Pop 4
InsertLoop1
RAP
RAP
RAP
RAP
RAP
RAP
RAP
RAP
RAP
RAP
RAP
RAP
JazzyLoop 1
Loops 1
Loops 2
Loops 3
Loops 4
Loops 5
Loops 6
Loops 7
Loops 8
Slow Jam 1
Slow Loops1
WakkaLoop 1
ROCK
ROCK
ROCK
ROCK
ROCK
ROCK
ROCK
16th Snr 1
Basics 1
Basics 2
Big Rock 1
Big Rock 2
Classic 1
Cookin'
ROCK
ROCK
ROCK
ROCK
ROCK
ROCK
ROCK
ROCK
ROCK
ROCK
ROCK
ROCK
ROCK
ROCK
ROCK
ROCK
ROCK
ROCK
Cops
Dance Pop 2
Fast Rock 1
Funky Stick
Med Rock 1
Med. Pop 1
Med. Pop 2
Pop Ballad
Pop Shufl 1
Ride/Rim 1
RockAnthem1
Shuffle 3
Shuffle Pop
Slow Rock 1
Swing 16th1
TripShuffle
All 4 Stick
Drum Solo
ROCK
Sthrn Rock
ROCK
ROCK
SOUL-R&B
SOUL-R&B
SOUL-R&B
SOUL-R&B
SOUL-R&B
Pop Rd/Snr1
Stones
16th Tambo 1
Easy R&B
LoveBallad1
LoveBallad2
Pop Soul 1
SOUL-R&B
Dance Hit 1
SOUL-R&B
Dance Hit 2
SOUL-R&B
SOUL-R&B
SOUL-R&B
WORLD
Gospel 1
Gospel 2
Gospel 3
World Pop 1
WORLD
WORLD
WORLD
WORLD
*UTILITY
World Pop 3
PercGroove1
World Pop 2
World Pop 4
ClickTracks
ROM-RTHM
INT-RTHM
INT-RTHM
ROM-RTHM &
DEMORTHM
ROM-RTHM
ROM-RTHM
ROM-RTHM
ROM-RTHM
ROM-RTHM
ROM-RTHM
ROM-RTHM
ROM-RTHM
ROM-RTHM
ROM-RTHM
ROM-RTHM
ROM-RTHM &
DEMORTHM
ROM-RTHM
ROM-RTHM
ROM-RTHM
ROM-RTHM
ROM-RTHM
ROM-RTHM
ROM-RTHM &
DEMORTHM
ROM-RTHM
ROM-RTHM
ROM-RTHM
ROM-RTHM
ROM-RTHM
ROM-RTHM
ROM-RTHM
ROM-RTHM
ROM-RTHM
ROM-RTHM
ROM-RTHM
ROM-RTHM
ROM-RTHM
ROM-RTHM
ROM-RTHM
ROM-RTHM
INT-RTHM
INT-RTHM &
DEMORTHM
INT-RTHM &
DEMORTHM
ZRD-100
ZRD-100
ROM-RTHM
ROM-RTHM
ROM-RTHM
ROM-RTHM
ROM-RTHM &
DEMORTHM
INT-RTHM &
DEMORTHM
INT-RTHM &
DEMORTHM
INT-RTHM
ZRD-100
ZRD-100
ROM-RTHM &
DEMORTHM
ROM-RTHM
ZRD-100
ZRD-100
ZRD-100
ROM-RTHM
439
Chapter 13ÑSupplemental Information
E X P - 4 : Th e Pe r f e c t Pi a n o ™ by Wi l l i a m Co a k l e y
Your ZR-76 contains ENSONIQÕs EXP-4 Wave Expansion board, featuring The Perfect Pianoª by William
Coakley. This board adds additional waves and sounds to those built in to the ZR, or provided on the
floppy that came with it. The Perfect Pianoª waves are based on a Steinway D grand piano and two electric
pianos. These waves can be accessed by the Unisyn editing software and incorporated into your own new
sounds.
The Perfect Piano ™ Waves
HARP NOISE L
HARP NOISE R
TINE NOISE 1
TINE NOISE 2
WURLIE KEYUP
STNWY SOFT-L
EPNO HI
EPNO MID
STNWY SOFT-R
WURLIE LOW
EPNO LOW
STNWY HARD-L
WURLIE MED
TINE CLANK
EPNO KEY UP
HAMMER THUMP
WURLIE HI
STNWY HARD-R
The Perfect Piano ™ Sounds
PIANO-A
Perfect Pno
StPno EQwhl
Mello-Piano
Warm Pno/EQ
TrackingPno
Stately Pno
Brite Piano
LatinoPiano
Honky-Tonky
Warm-ThkSus
2Lyr-Bright
2Lyr-Stereo
4Lyr w/Thud
Pno/HrpNoiz
Cheap Seats
Lt Chor Pno
EQ Piano
HrdLyrs/Thd
Reflex Pno
DarkSt Pno*
Seq. Piano
036:000
036:001
036:002
036:003
036:004
036:005
036:006
036:007
036:008
036:009
036:010
036:011
036:012
036:013
036:014
036:015
036:016
036:017
036:018
037:001
037:063
MediumReverb
LightReverb
LightReverb
LightReverb
LightReverb
LightReverb
LightReverb
LightReverb
15 Chorus->Rev
LightReverb
01 Parametric EQ
01 Parametric EQ
01 Parametric EQ
LightReverb
23 DDL->EQ
15 Chorus->Rev
01 Parametric EQ
01 Parametric EQ
24 Multi-Tap DDL
MediumReverb
01 Parametric EQ
036:033
036:034
036:035
036:036
036:037
036:038
036:039
036:040
036:042
036:043
036:044
036:046
036:047
036:048
036:050
037:004
037:006
037:012
LightReverb
Chorus
17 Phaser->Rev
18 EQ->Reverb
Chorus
Chorus
17 Phaser->Rev
17 Phaser->Rev
17 Phaser->Rev
12 Rev->Chorus
36 Guitar Amp
32 Chatter Box
27 Dist->Phaser
25 Dist->Chorus
01 Parametric EQ
10 Stereo Chorus
19 Spinner->Rev
15 Chorus->Rev
PIANO-E
Real Thing
Chorus EPno
3Lyr ElPno
CuttinÕTine
4X Med EPno
Subtle EPno
Tine-In
Busted Tine
PhasedWurli
WurliFat
WurliGtrAmp
TalkinÕWurli
TrashdWurli
Rock Wurlie
Pianet
Hybrid EP*
Tine-Wurli
TexturedEP*
440
DigiPianet*
AttackEPno*
Sweet EPno*
WrliHybrid*
FM Hybrid*
PercWurlie*
Tite Wurlie
Amped ElPno
ClaviWurlie
BritePhase
Dark Wurlie
Jazzy Phase
Wurli-Organ
037:013
037:014
037:015
037:016
037:017
037:020
037:023
037:024
037:027
037:028
037:029
037:030
037:031
17 Phaser->Rev
17 Phaser->Rev
Chorus
15 Chorus->Rev
Chorus
MediumReverb
MediumReverb
27 Dist->Phaser
LightReverb
17 Phaser->Rev
LightReverb
17 Phaser->Rev
34 RotarySpeaker
036:019
036:020
036:021
036:022
036:023
036:024
036:025
036:026
036:027
036:029
036:030
036:031
036:032
036:049
037:000
037:002
037:003
037:007
037:008
037:009
037:021
037:025
037:026
037:033
037:034
037:035
037:037
12 Rev->Chorus
01 Parametric EQ
01 Parametric EQ
10 Stereo Chorus
12 Rev->Chorus
40 EQ->Chorus->DDL
15 Chorus->Rev
15 Chorus->Rev
12 Rev->Chorus
40 EQ->Chorus->DDL
15 Chorus->Rev
34 RotarySpeaker
10 Stereo Chorus
01 Parametric EQ
01 Parametric EQ
40 EQ->Chorus->DDL
01 Parametric EQ
12 Rev->Chorus
14 Rev->Phaser
06 Small Plate
19 Spinner->Rev
05 Large Plate
05 Large Plate
31 Pitch Detuner
12 Rev->Chorus
14 Rev->Phaser
02 Hall Reverb
PNOLYR-A
Piano-Bell
ElPno Attack
Piano/ElPno
Toy-Piano
Acoustatine
New Age Piano
TineNoisePd
HarpNoisePd
Padulatiary
Feisty Pad
Quack Comp
Pno/Orgn-Wh
PercOrg Pno
Piano/Wurly
Piano/Strg*
Pno/VibStr*
Piano/Aahs*
NylonPiano*
DeepPnoPad*
KeithJ Pno*
Air Piano*
StPno+EPno*
StPno+Strg*
PnoPdDetun*
Harp-Piano*
Deep Piano*
SqrWavPiano
Pno Squared
Piano-Tri
4L Pno-Synt
4L Pno-Harm
Quack Atak*
Piano-Gamln
Pno/MrmbaPd
PianoVoiln*
Pno/Org-Wh*
SlapAttack*
PnoHrpStrg*
PnoSynLead*
Pno-Kalmba*
037:039
037:040
037:044
037:045
037:046
037:047
037:048
037:049
037:050
037:056
037:057
037:058
037:062
12 Rev->Chorus
12 Rev->Chorus
12 Rev->Chorus
12 Rev->Chorus
15 Chorus->Rev
12 Rev->Chorus
15 Chorus->Rev
12 Rev->Chorus
34 RotarySpeaker
16 Flanger->Rev
01 Parametric EQ
40 EQ->Chorus->DDL
01 Parametric EQ
036:028
036:041
036:045
037:005
037:018
037:019
037:022
037:032
037:036
037:038
037:041
037:042
037:043
037:01
40 EQ->Chorus->DDL
15 Chorus->Rev
34 RotarySpeaker
15 Chorus->Rev
10 Stereo Chorus
10 Stereo Chorus
40 EQ->Chorus->DDL
20 DDL->Chorus
12 Rev->Chorus
12 Rev->Chorus
11 8-Voice Chorus
11 8-Voice Chorus
12 Rev->Chorus
11 8-Voice Chorus
037:010
037:011
037:052
037:053
037:054
037:055
037:059
037:060
037:061
04 Small Room
04 Small Room
17 Phaser->Rev
17 Phaser->Rev
17 Phaser->Rev
17 Phaser->Rev
04 Small Room
04 Small Room
04 Small Room
PNOLYR-E
RhythmicPad
HarpTinePad
Wurli-Rotor
ElPnoGamPad
Orgn Hybrid*
Org-EP Mix*
Weird EPLyr
Wurli-Rez*
EPno-Strgs*
Wurli Synth
EP-Mute Gtr
East Piano*
ElPno-Squr*
EPnoDigVoi*
SPLITS
AcBs/Piano*
Pno/TenrSx*
AcBs/ElPno*
Frtls/EPno*
BsGtr/EPno*
SynBs/EPno*
Piano/Alto*
Piano/Sopr*
Pno/Clarnt*
ENSONIQ ZR-76 MusicianÕs Manual
Chapter 13ÑSupplemental Information
E N S O N I Q Dr u m Ma p
ZR-76 drum kits that are mapped to the ENSONIQ drum map have eight predefined zones. These
predefined zones allow you to swap between the different drum kits that use this map in any of your
sequences or songs and have expected results. Within some of the zones there are single keys and/or
groups of keys designed to be in finish mode as far as their envelopes are concerned.
ZONE
KEY RANGE
NAME
NOTES
1
B1 to E2
(6 keys)
KICK
2
F2 to D3
(10 keys)
SNARE
3
D#3 to C4
(10 keys)
HATS
4
C#4 to A4
(9 keys)
CYMBL
5
A#4 to F#5
(9 keys)
TOMS
All keys in finish envelope mode.
6
G5 to C#6
(7 keys)
PERC1
Shaken or small hitsÑtambourine (G5 to A5); shaker, cabasa, or maracas (A#5 to
C6); claps (C#6); snap; woodblock
7
D6 to G6
(6 keys)
PERC2
Latin non-pitched PercussionÑbongo; conga slap; low conga; high conga;
timbale
8
G#6 to D7
(7 keys)
PERC3
Pitched and Bell-like PercussionÑTriangle (A6 closed, A#6 long); cowbell (G#6);
high agogo: low agogo; claves (B6, or at D#6 if there are no congas); vinyl
surface noise (C7). The keys from B6-D7 allow for non-finish envelope sounds.
The key C#2 allows for non-finish envelope sounds.
Includes sidestickÑthe keys from A2-C3 allow for non-finish envelope sounds
(Snare rolls, brush swirls, etc.)
The keys G#3 and B3 allow for non-finish envelope sounds (closed hats first,
opens on A#3 and B3; foot closed on C4).
The key A4 allows for non-finish envelope sounds (rides C#4 to E4; followed by
crashes).
E N S O N I Q Pe r c u s s i o n Ma p
Percussion kits are subject to the same zone rules as drum kits. Within some of the zones there are single
keys and/or groups of keys designed to be in finish mode as far as their envelopes are concerned.
The ZR-76 percussion map consists of eight zones:
ZONE
KEY RANGE
NAME
NOTES
1
B1 to E2
(6 keys)
KICK
2
F2 to D3
(10 keys)
SNARE
Medium drums such as Conga, Tabla, UduÑthe keys from A2-C3 allow for nonfinish envelope sounds.
3
D#3 to C4
(10 keys)
HATS
Small things that keep time (shakers, small drums, etc) Clave (G#3); sleighbells,
castanets (C4). The keys G#3 and B3 allow for non-finish envelope sounds.
4
C#4 to A4
(9 keys)
CYMBL
Small time-keeping instruments including ride cymbals and instruments like
Guiro (C#4 to E4);. crash cymbals, or other accent instruments like windchime,
vibraslap, gong (F4 to A4). The key A4 allows for non-finish envelope sounds.
5
A#4 to F#5
(9 keys)
TOMS
Things struck that play fillsÑlike timbali, woodblocks, log drums, small pitched
drums.
6
G5 to C#6
(7 keys)
PERC1
Tambourines or similar shaken instruments (G5-A5); small high-pitched shakers
like maraccas, egg shakes (A#5 - C6); claps, clave (C#6)
7
D6 to G6
(6 keys)
PERC2
Multi hits of bongos, high drums, cuica, guiro (D6-E6); multi hits of agogo, or
other metallic inst. (F6-G6)
8
G#6 to D7
(7 keys)
PERC3
Cowbell (G#6); Triangle (A6 closed, A#6 long); Long sounds like rainsticks (B6D7) The keys from B6-D7 allow for non-finish envelope sounds.
Low DrumsÑthe key C#2 allows for non-finish envelope sounds.
Note: Percussion map zones use the drum map zone names when viewed in the Drum
Machine Edit pages.
ENSONIQ ZR-76 MusicianÕs Manual
441
Chapter 13ÑSupplemental Information
B u i l t - I n RO M Pr e s e t s
Location
ROM004:000
ROM004:001
ROM004:002
ROM004:003
ROM004:004
ROM004:005
ROM004:006
ROM004:007
Preset
DefaultPset
Piano+Strgs
ElPnoStrLyr
Piano Blend
Lwr/UprMnul
OrgClavLyr
RubberWurly
PipeLyr-Ped
Location
ROM004:008
ROM004:009
ROM004:010
ROM004:011
ROM004:012
ROM004:013
ROM004:014
ROM004:015
Preset
SynBs/RzClv
BigFatSynth
Org/SqueaLd
UprBs/Piano
Bs/ElPnoPed
Piano/Sax
Pno/Mut-Flt
PnoStr/AcGtr
Location
ROM004:016
ROM004:017
ROM004:018
ROM004:019
ROM004:020
ROM004:021
ROM004:022
ROM004:023
Preset
ElPno/Vibes
ElPno/JzGtr
BoneSaxTrpt
NyGtr/SopSx
MariachiBnd
AcGtr/PnFlt
ChicknPickn
Clo/Vln-Ped
Location
ROM004:024
ROM004:025
ROM004:026
ROM004:027
ROM004:028
ROM004:029
ROM004:030
ROM004:031
ROM005:000
Preset
BsnOboe-Ped
PizArco-Ped
StrngSwpPad
Harp Pad
WetBelChoir
IceMakerPad
PercRainPad
IslandStack
FarEastPhaz
V e l o c i t y Re s p o n s e Cu r ve s in th e ZR - 7 6
The Touch Curve parameter allows you to adjust the velocity response of the ZR-76 keyboard to match
your playing style and technique. There are six velocity curve (touch) settings:
¥
¥
¥
¥
¥
¥
Table-1 Ñ This is for someone with a light touch. On this setting, it is easier to reach the maximum
level of any velocity controlled parameter.
Table-2 Ñ This setting represents average velocity sensitivity. This setting should be right for most
players.
Table-3 Ñ This velocity best represents the Òclassically-trainedÓ player with strong fingers, and offers a
wide dynamic range for skilled pianists.
Table-4 Ñ This velocity setting is for skilled players who desire morevolume for softer playing. It still
requires strong playing to reach the top velocity levels.
Fixed 64 Ñ With this setting the velocity curve always generates a fixed value, set at the halfway point.
This may be useful in simulating vintage synth sounds that originally had no velocity control.
Fixed127 Ñ This setting is also a fixed velocity curve, with full volume. This is good for playing
drum/percussion parts when you want a part without dynamic changes.
L i s t of Qu a n t i z e Te m p l a t e s
The following is a list of all the quantize parameters and their settings for the available quantize templates
(there is no data recorded for High Key and Low Key):
Name
Strict 1/4
Strict 1/8
Strict 1/16
Strict 1/8T
Tighten 1
Tighten 2
Tighten 3
Tighten 4
Tighten 5
Tighten 6
Tighten 7
Tighten 8
Randomize 1
Randomize 2
Randomize 3
Randomize 4
Note Offs 1
Note Offs 2
Swing 1
Swing 2
Swing 2
Humanize 1
Delta 1/8
442
Q. to:
Strength
Swing
Random
Shift
Win. Min
1/4
1/8
1/16
1/8T
1/8
1/8
1/8
1/8
1/16
1/16
1/16
1/16
1/8
1/8
1/16
1/16
1/8
1/16
1/16
1/16
1/16
1/16
1/8
100
100
100
100
5
20
50
70
5
20
50
70
50
60
50
60
100
100
90
92
100
75
100
50
50
50
50
50
50
50
50
50
50
50
50
50
50
50
50
50
50
55
57
63
51
50
0
0
0
0
0
0
0
0
0
0
0
0
3
15
3
15
0
0
0
1
0
2
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
Win.
Max.
50
50
50
50
50
50
50
50
50
50
50
50
50
50
50
50
50
50
50
50
50
50
50
Q Offs?
Move Offs?
Deltas
off
off
off
off
off
off
off
off
off
off
off
off
off
off
off
off
on
on
off
off
off
off
off
on
on
on
on
on
on
on
on
on
on
on
on
on
on
on
on
on
on
on
on
on
on
on
off
off
off
off
off
off
off
off
off
off
off
off
off
off
off
off
off
off
off
off
off
off
on
ENSONIQ ZR-76 MusicianÕs Manual
Chapter 13ÑSupplemental Information
W h a t Is MI D I ?
Musical instrument and computer manufacturers have agreed upon a set of standards that allows their
products to communicate with each other. ItÕs called ÒMIDI,Ó an acronym for ÒMusical Instrument Digital
Interface.Ó There are two basic aspects to the MIDI standards: the kind of wiring to be used for connecting
MIDI devices, and the nature of messages will be sent through those wires.
Life In The MIDI World
MIDI has opened up incredible possibilities for musicians and music lovers alike. Here are some of the
things MIDI has made possible:
¥
¥
¥
¥
¥
¥
¥
Musicians can record their performances into MIDI recordersÑcalled sequencersÑwhich are found in
keyboard workstations, such as the ZR-76, in stand-alone boxes, and in computers. Once recorded,
MIDI-recorded performances can be tweaked and nudged to perfection. Musical arrangements can be
re-orchestrated after theyÕve been recorded. Full-blown multi-instrument recordings can be easily
created.
Keyboardists can connect their instruments to a myriad of sound-producing MIDI boxes. MIDI allows a
conventional-looking keyboard, such as the ZR-76, to control a number of such devices at the same
time, providing for the creation of new, complex timbres. Keyboardists can also set up specific areas on
their keyboards to control specific external MIDI devices. These same capabilities are available to
computer users. Actually, most musical instruments can be outfitted to control MIDI devices.
Musicians can benefit from the communication possible between MIDI instruments and computers to
program sounds for their instruments on their computers, taking advantage of the computersÕ large
graphic displays, familiar keyboards and comfortable mice.
Home enthusiasts can enjoy pre-recorded MIDI music by taking advantage of General MIDI, a
separate-but-related standard described later in this section. General MIDI (GM) sequences can be
performed by any GM-compliant MIDI sequencer, such as the ZR-76, or personal computer.
Internal data from one MIDI device can be transmitted to another for storage.
Recording engineers can control mixing consoles and effects devices with MIDI.
Stage lights in concert halls can be automated to respond to musical cues using MIDI.
U n d e r s t a n d i n g MI D I
MIDI Hardware
The architects of MIDI had to settle, first of all, on the MIDI hardware: the wires. All MIDI cables have the
same kind of plug on either end:
There are three MIDI sockets, or jacks, on the back of most MIDI instruments. The MIDI In jack is for MIDI
information coming into the instrument. The instrument sends out its own MIDI information through the
MIDI Out jack. The MIDI Thru jack is for MIDI data that passes through the instrument unchanged, on its
way to some other MIDI device.
The MIDI cable itself can carry 16 independent channels of MIDI information that travel together through
the wire. This means that you can have 16 separate MIDI conversations going on at once among
instruments and/or computers connected together with MIDI cables.
How MIDI Channels Work
MIDI instruments can be set up to listen to specific channels and ignore everything else thatÕs going on.
This allows a central device such as the ZR-76 or your personal computer to control each instrument
individually.
ENSONIQ ZR-76 MusicianÕs Manual
443
Chapter 13ÑSupplemental Information
Some devicesÑsuch as the ZR-76Ñare capable of responding to as many as 16 channels at once. Such
instruments are referred to as being multi-timbralÑitÕs as if there are up to 16 musical instruments in one
box, and MIDI allows you to control each sound separately.
MIDI rigs can also combine both possibilities, with some instruments programmed to respond to one MIDI
channel or another, and multi-timbral devices set up to receive up to 16 channels at once.
MIDI messages travel up and down all these channels, and these constitute the second major component
of the MIDI Spec.
444
ENSONIQ ZR-76 MusicianÕs Manual
Chapter 13ÑSupplemental Information
How MIDI Messages Work
MIDI works in a manner reminiscent of the old player pianos, whose sheets of hole-punched paper told the
keyboard mechanism which keys to press down and when. ItÕs not sound thatÕs sent through MIDI cables;
itÕs instructions from one MIDI deviceÑcalled the ÒcontrollerÓÑto another. Of course, MIDI generally
doesnÕt cause any keys to physically move.
Suppose a keyboardist presses a note on a keyboard which is controlling some sound-producing MIDI box.
The controller would send out a Key Down message for that note. The MIDI box receiving such a message
would play the note. When the keyboardist lets go, the controller would send out a Key Up message, and
the receiving device would stop sounding the note. At heart, itÕs as simple at that.
MIDI captures the expressive nuances in a performance by sending out other kinds of messages.
Controllers can sense how hard a musician playsÑreferred to in the MIDI world as velocityÑand can
instruct other devices to respond accordingly. Sustain and sostenuto foot pedals also send out MIDI
messages. There are many tools for expression that can be transmitted and responded to via MIDI.
To tell a MIDI instrument which sound or effect program you want to hear, you would send a MIDI Program
Change.
MIDI can also send messages that have the same effect as pushing buttons and twirling knobs on a
receiving device. To make sure that only the intended instrument listens to such instructions, MIDI sends
it a special greeting in a language only it can understand. Every MIDI device has such a language, and
these Òhey thereÓ messages are referred to as ÒSystem Exclusive headers.Ó System Exclusive data is often
referred to as SysEx data. SysEx is also used for the ÒdumpingÓ of a MIDI instrumentÕs memory to an
external storage device, such as a hard disk or floppy drive; it helps the data find its way back home when
itÕs time to load it back into the instrument.
In MIDI recording, all of the messages that a controller produces are sent to a sequencer. Most sequencers
have Record, Stop and Play buttons, since theyÕre usually designed to resemble tape recorders. When the
Record button is pressed, the sequencer captures incoming MIDI information. Pressing Stop tells the
sequencer to store that information in its memory. When Play is pressed, it sends it back out.
The Art of MIDI
The fact that MIDI is so simple to use is a testament to the cleverness of its designers. Its true magic,
however, lies in MIDIÕs power as a tool in the creative process, and in the imaginations of those artists who
wield it.
W h a t Is Ge n e r a l MI D I ?
General MIDI is an agreed-upon set of sounds and protocols which aims to ensure that, no matter what
brand or model General MIDI-compatible instrument you use when playing a General MIDI recording, the
music will sound essentially the same. General MIDI provides a tremendous convenience for listeners and
multimedia fans who want to enjoy MIDI-based music without having to delve too deeply into its
mechanics. All General MIDI-supporting products sport the General MIDI logo:
The ZR-76 is fully General MIDI-compliant instruments. General MIDI accomplishes its predictability by
employing a very specific set of agreements on a number of MIDI issues.
General MIDI Sounds
In the larger MIDI universe, any sound may reside anywhere in an instrumentÕs memory. In the General
MIDI world, the same sounds always reside in the same-numbered memory locations. This guarantees that
if a programmer calls up a particular sound when he or she programs some General MIDI music, any time
anyone anywhere plays that music back on a General MIDI instrument, that same sound will be invoked.
See ÒList of General MIDI SoundsÓ in this chapter for a full list of the General MIDI sounds.
ENSONIQ ZR-76 MusicianÕs Manual
445
Chapter 13ÑSupplemental Information
General MIDI Drum Kits
Another important convention employed by General MIDI instruments are the General MIDI drum maps.
The GM drum maps are available in several different styles, with a different drum or percussion sound on
every key on the keyboard, running from the B two octaves below Middle C to the D# or E two octaves
above. Some sounds in the GM drum maps are consistent from style to styleÑthe low key on a 61-note
keyboard will always be a bass drum of some kind and the note two semitones above it will always be a
snare drum, for instance. Drum maps in General MIDI are always addressed via MIDI channel number 10.
See ÒGeneral MIDI Drum MapsÓ in this chapter for details of the various General MIDI drum map layouts.
Earning the General MIDI Logo
There are a number of other standards with which an instrument must comply in order to deserve its
General MIDI logo. You can be sure that, if the MIDI music you purchase displays the General MIDI logo, it
will work perfectly with your ZR-76.
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ENSONIQ ZR-76 MusicianÕs Manual
Chapter 13ÑSupplemental Information
G e n e r a l MI D I So u n d Ma p
The following map shows the General MIDI sound name and program change number of each sound as
they appear in the ZR-76. This map also shows how General MIDI divides the instruments into 16
categories of similar sounds:
PROG
#
0-7
0
1
2
3
4
5
6
7
INSTRUMENT
8-15
8
9
10
11
12
13
14
15
CHROM
PERCUSSION
Celesta
Glockens
Musicbox
Vibes
Marimba
Xylophon
Tubular
Santur
ORGAN
Organ 1
Organ 2
Organ 3
Ch.Organ
ReedOrgn
Accord.
Harmnica
Bandneon
1623
16
17
18
19
20
21
22
23
2431
24
25
26
27
28
29
30
31
PIANO
Piano 1
Piano 2
Piano 3
HonkyTnk
E.Piano1
E.Piano2
Harpsi.
Clavinet
GUITAR
NylonGtr
SteelGtr
Jazz Gtr
CleanGtr
Mute Gtr
OvDrvGtr
Dist.Gtr
Gtr.Harm
PROG
#
3239
32
33
34
35
36
37
38
39
4047
40
41
42
43
44
45
46
47
4855
48
49
50
51
52
53
54
55
5663
56
57
58
59
60
61
62
63
INSTRUMENT
BASS
Ac.Bass
FingBass
PickBass
FrtlsBas
SlapBs1
SlapBs2
SynBass1
SynBass2
STRINGS
Violin
Viola
Cello
CntrBass
TremStrg
PizzStrg
Harp
Timpani
ENSEMBLE
Strings
SlowStrg
SynStrg1
SynStrg2
ChoirAah
Vox Oohs
Syn.Vox
Orch.Hit
BRASS
Trumpet
Trombone
Tuba
MuteTrpt
Fr.Horn
Brass 1
SynBrs.1
SynBrs.2
PROG
#
6471
64
65
66
67
68
69
70
71
7279
72
73
74
75
76
77
78
79
8087
80
81
82
83
84
85
86
87
8895
88
89
90
91
92
93
94
95
INSTRUMENT
REED
Sop.Sax
Alto Sax
TenorSax
Bari.Sax
Oboe
Eng.Horn
Bassoon
Clarinet
PIPE
Piccolo
Flute
Recorder
PanFlute
BotlBlow
Shaku.
Whistle
Ocarina
SYNTH LEAD
SquareWv
Saw Wv
SynCalio
Chiff.Ld
Charang
Solo Vox
5ths Wv
Bs.&Lead
SYNTH PAD
Fantasia
Warm Pad
PolySyn.
SpaceVox
BowedGls
MetalPad
Halo Pad
SweepPad
PROG
#
96103
96
97
98
99
100
101
102
103
104111
104
105
106
107
108
109
110
111
112119
112
113
114
115
116
117
118
119
120127
120
121
122
123
124
125
126
127
INSTRUMENT
SYNTH
EFFECTS
Ice Rain
Soundtrk
Crystal
Atmspher
Britness
Goblin
EchoDrop
StarThm.
ETHNIC
Sitar
Banjo
Shamisen
Koto
Kalimba
Bagpipe
Fiddle
Shannai
PERCUSSIVE
TinklBell
Agogo
SteelDrm
Woodblok
Taiko
MeloTom1
Syn.Drum
Rev.Cym.
SOUND
EFFECTS
FretNois
BrthNois
Seashore
Birds
Telephon
Hlicoptr
Applause
Gunshot
The names listed above are as they appear in the ZR-76, and not as they appear in the General MIDI Spec.
The only differences are in spelling.
ENSONIQ ZR-76 MusicianÕs Manual
447
Chapter 13ÑSupplemental Information
G M an d GS Pe r c u s s i o n Ke y Ma p s (C h a n n e l 10 )
MIDI
Note #
35
36
____ 37
38
____
39
40
41
____ 42
43
____ 44
45
____
46
47
48
____ 49
50
____
51
52
53
____ 54
55
____ 56
57
____
58
59
60
____ 61
62
____
63
64
65
____ 66
67
____ 68
69
____
70
71
72
____ 73
74
____
75
76
77
____ 78
79
____
80
81
____
82
83
84
____ 85
86
____
87
88
448
B1
C2
C#2
D2
D#2
E2
F2
F#2
G2
G#2
A2
A#2
B2
C3
C#3
D3
D#3
E3
F3
F#3
G3
G#3
A3
A#3
B3
C4
C#4
D4
D#4
E4
F4
F#4
G4
G#4
A4
A#4
B4
C5
C#5
D5
D#5
E5
F5
F#5
G5
G#5
A5
A#5
B5
C6
C#6
D6
D#6
E6
0 - Std.Kit-GM
32 - Jazz Kit-GM
AcoustcKick
Bright Kick
SideStick 1
Snare-GM
HouseClap1
Rock Snare
Dry Tom 1
4xCl Hat3
Dry Tom 1
Pedal Hat
Dry Tom 1
OpenHat-GM
Dry Tom 1
Dry Tom 1
Crash 1-GM
Dry Tom 1
Ride 1-GM
China 1-GM
RideBell-GM
Tambourine
Splash1-GM
Cowbell
Crash 1-GM
Vibraslap
Ride 1-GM
Bongo
Bongo
Conga Mute
Conga High
Conga Low
Timbali
Timbali
Agogo
Agogo
Cabasa
Maracas
Whistle B
Whistle A
Guiro Short
Guiro Long
Clave
Woodblock 1
Woodblock 1
Cuica 1
Cuica 5
Tri Mute-GM
Tri Open-GM
Shaker
Sleighbell
WindchimeGM
Castanets 1
Mt Surdo-GM
Op Surdo-GM
Silence
8 - RoomKit-GM
16 - Pwr. Kit-GM
24 - Elec Kit-GM
25 - SynthKit-GM
AcoustcKick
Bright Kick
SideStick 1
Snare-GM
HouseClap1
Rock Snare
Room Tom 1
4xCl Hat3
Room Tom 1
Pedal Hat
Room Tom 1
OpenHat-GM
Room Tom 1
Room Tom 1
Crash 1-GM
Room Tom 1
Ride 1-GM
China 1-GM
RideBell-GM
Tambourine
Splash1-GM
Cowbell
Crash 1-GM
Vibraslap
Ride 1-GM
Bongo
Bongo
Conga Mute
Conga High
Conga Low
Timbali
Timbali
Agogo
Agogo
Cabasa
Maracas
Whistle B
Whistle A
Guiro Short
Guiro Long
Clave
Woodblock 1
Woodblock 1
Cuica 1
Cuica 5
Tri Mute-GM
Tri Open-GM
Shaker
Sleighbell
WindchimeGM
Castanets 1
Mt Surdo-GM
Op Surdo-GM
Silence
AcoustcKick
Fat Kick1
SideStick 1
Snare-GM
HouseClap1
Gated Sn-GM
Room Tom 1
4xCl Hat3
Room Tom 1
Pedal Hat
Room Tom 1
OpenHat-GM
Room Tom 1
Room Tom 1
Crash 1-GM
Room Tom 1
Ride 1-GM
China 1-GM
RideBell-GM
Tambourine
Splash1-GM
Cowbell
Crash 1-GM
Vibraslap
Ride 1-GM
Bongo
Bongo
Conga Mute
Conga High
Conga Low
Timbali
Timbali
Agogo
Agogo
Cabasa
Maracas
Whistle B
Whistle A
Guiro Short
Guiro Long
Clave
Woodblock 1
Woodblock 1
Cuica 1
Cuica 5
Tri Mute-GM
Tri Open-GM
Shaker
Sleighbell
WindchimeGM
Castanets 1
Mt Surdo-GM
Op Surdo-GM
Silence
AcoustcKick
Elec Kick1
SideStick 1
Elec Sn-GM
HouseClap1
Gated Sn-GM
Elec Tom-GM
4xCl Hat3
Elec Tom-GM
Pedal Hat
Elec Tom-GM
OpenHat-GM
Elec Tom-GM
Elec Tom-GM
Crash 1-GM
Elec Tom-GM
Ride 1-GM
R.Crash-GM
RideBell-GM
Tambourine
Splash1-GM
Cowbell
Crash 1-GM
Vibraslap
Ride 1-GM
Bongo
Bongo
Conga Mute
Conga High
Conga Low
Timbali
Timbali
Agogo
Agogo
Cabasa
Maracas
Whistle B
Whistle A
Guiro Short
Guiro Long
Clave
Woodblock 1
Woodblock 1
Cuica 1
Cuica 5
Tri Mute-GM
Tri Open-GM
Shaker
Sleighbell
WindchimeGM
Castanets 1
Mt Surdo-GM
Op Surdo-GM
Silence
AcoustcKick
Syn Kick-GM
SynRimshot
Syn Snr-GM
HouseClap1
Rock Snare
Syn Tom-GM
SynClHat-GM
Syn Tom-GM
SynClHat-GM
Syn Tom-GM
SynOpHat-GM
Syn Tom-GM
Syn Tom-GM
808 Cymbal
Syn Tom-GM
Ride 1-GM
China 1-GM
RideBell-GM
Tambourine
Splash1-GM
Syn Cowbell
Crash 1-GM
Vibraslap
Ride 1-GM
Bongo
Bongo
SynHiCongGM
SynHiCongGM
SynLoCongGM
Timbali
Timbali
Agogo
Agogo
Cabasa
Syn Maracas
Whistle B
Whistle A
Guiro Short
Guiro Long
Synth Clave
Woodblock 1
Woodblock 1
Cuica 1
Cuica 5
Tri Mute-GM
Tri Open-GM
Shaker
Sleighbell
WindchimeGM
Castanets 1
Mt Surdo-GM
Op Surdo-GM
Silence
ENSONIQ ZR-76 MusicianÕs Manual
Chapter 13ÑSupplemental Information
G M an d GS Pe r c u s s i o n Ke y Ma p s (C h a n n e l 10 )
MIDI
Note #
35
36
____ 37
38
____
39
40
41
____ 42
43
____ 44
45
____
46
47
48
____ 49
50
____
51
52
53
____ 54
55
____ 56
57
____
58
59
60
____ 61
62
____
63
64
65
____ 66
67
____ 68
69
____
70
71
72
____ 73
74
____
75
76
77
____ 78
79
____
80
81
____
82
83
84
____ 85
86
____
87
88
B1
C2
C#2
D2
D#2
E2
F2
F#2
G2
G#2
A2
A#2
B2
C3
C#3
D3
D#3
E3
F3
F#3
G3
G#3
A3
A#3
B3
C4
C#4
D4
D#4
E4
F4
F#4
G4
G#4
A4
A#4
B4
C5
C#5
D5
D#5
E5
F5
F#5
G5
G#5
A5
A#5
B5
C6
C#6
D6
D#6
E6
40 - Brsh Kit-GM
48 - Orch Kit-GM
64 - DanceKit-GM
AcoustcKick
Bright Kick
SideStick 1
Brush Tap
Brush Slap
Brush Swish
Dry Tom 1
4xCl Hat3
Dry Tom 1
Pedal Hat
Dry Tom 1
OpenHat-GM
Dry Tom 1
Dry Tom 1
Crash 1-GM
Dry Tom 1
Ride 1-GM
China 1-GM
RideBell-GM
Tambourine
Splash1-GM
Cowbell
Crash 1-GM
Vibraslap
Ride 1-GM
Bongo
Bongo
Conga Mute
Conga High
Conga Low
Timbali
Timbali
Agogo
Agogo
Cabasa
Maracas
Whistle B
Whistle A
Guiro Short
Guiro Long
Clave
Woodblock 1
Woodblock 1
Cuica 1
Cuica 5
Tri Mute-GM
Tri Open-GM
Shaker
Sleighbell
WindchimeGM
Castanets 1
Mt Surdo-GM
Op Surdo-GM
Silence
Big Kick1
ConcrtBD-GM
SideStick 1
ConcrtSnare
Castanets 1
ConcrtSnare
Tympani
Tympani
Tympani
Tympani
Tympani
Tympani
Tympani
Tympani
Tympani
Tympani
Tympani
Tympani
Tympani
Tambourine
Splash1-GM
Cowbell
Crash 1-GM
Vibraslap
Piatti-GM
Bongo
Bongo
Conga Mute
Conga High
Conga Low
Timbali
Timbali
Agogo
Agogo
Cabasa
Maracas
Whistle B
Whistle A
Guiro Short
Guiro Long
Clave
Woodblock 1
Woodblock 1
Cuica 1
Cuica 5
Tri Mute-GM
Tri Open-GM
Shaker
Sleighbell
WindchimeGM
Castanets 1
Mt Surdo-GM
Op Surdo-GM
Applause-GM
Boom Kik C
PtchDwnKik3
SideStick 1
CrackSnare1
HouseClap1
HiPass Snr2
HouseTom1
4xCl Hat3
HouseTom1
Pedal Hat
HouseTom1
ShrtOpHat 1
HouseTom1
HouseTom1
HouseCrash2
HouseTom1
Cool Ride 1
Gong mf
HouseRide2
Dyn.Tambo
ChokeSplash
Cowbell
808 Cymbal
Vibraslap
SizlRideCym
Bongo
Bongo
CongaLO/whl
CongaHi/whl
CongaMoose1
Timbali
Timbali
Agogo
Agogo
Cactus Hit1
Egg Shaker
Synth Hit 1
Synth Hit 4
Synth Hit 6
Synth Hit 7
Synth Hit12
Synth Hit11
Wakka 1
Wakka 3
Wakka 5
Wakka 7
Scratch 1
Scratch 2
Scratch 3
Scratch 4
Scratch 6
Scratch 10
Scratch 11
Silence
ENSONIQ ZR-76 MusicianÕs Manual
65 - TeknoKit-GM 66 - FormtKit-GM
PtchDwnKik3
PtchDwnKik1
House Rim
House Snare1
Stereo Clap
HiPass Snr3
HouseTom1
HouseClHat2
HouseTom1
HouseClHat2
HouseTom1
HouseOpHat2
HouseTom1
HouseTom1
HouseCrash2
HouseTom1
Cool Ride 1
Gong mf
HouseRide1
Dyn.Tambo
ChokeSplash
Cowbell
808 Cymbal
Pole
SizlRideCym
Synth Drip
Synth Kiss
SynLoCongGM
SynHiCongGM
SynLoCongGM
Timbali
Timbali
Agogo
Agogo
Cactus Hit1
Egg Shaker
Synth Hit 1
Synth Hit 2
Synth Hit 3
Synth Hit 4
Synth Hit 5
Synth Hit 6
Synth Hit 7
Synth Hit 8
Synth Hit 9
Synth Hit 10
Synth Hit 11
Synth Hit 12
Synth Hit 10
Synth Hit 10
Synth Hit 8
Synth Hit 7
Synth Hit 5
Silence
HouseKick2
HouseKick1
House Rim
House Snare1
HouseClap1
HouseSnare4
HouseTom1
HouseClHat1
HouseTom2
Pedal Hat
HouseTom1
HouseOpHat1
HouseTom2
HouseTom1
HouseCrash1
HouseTom2
HouseRide1
China Crash
Ride Bell
Tambourine
SplashCym 1
Cowbell
Crash Cym 1
Vibraslap
Ride Cym 1
Bongo
Bongo
Conga Mute
Conga High
Conga Low
Tambourine
Timbali
Agogo
Agogo
Cabasa
Maracas
Whistle A
Whistle A
HouseRide1
Guiro Long
Clave
Woodblock 1
Woodblock 1
Cuica 1
Cuica 1
Triangle Mt
Triangle Op
Cym Swell2
AltRevCrash
HiPass Kik1
Synth Hit 4
HiPass Snr1
HouseClap2
HiPass Snr2
449
Chapter 13ÑSupplemental Information
Z R - 7 6 MI D I Im p l e m e n t a t i o n
The ZR-76 features an extensive MIDI (Musical Instrument Digital Interface) implementation. For normal
applications, you will find all the information you need regarding the ZR-76Õs MIDI functions in this
manual. You can also refer to the following MIDI Implementation Chart for a summary of the ZR-76 MIDI
implementation.
If you are writing a computer program to communicate with the ZR-76 via MIDI, or otherwise require a
copy of the full MR-76 System Exclusive Specification, it is available free of charge by writing to:
ENSONIQ Corp.
MIDI Specification Desk
155 Great Valley Parkway
P.O. Box 3035
Malvern PA 19355-0735
USA
Include in your written request your name and address, and indicate that you would like a copy of the
ÒMR-76 System Exclusive Specification.Ó Please allow 2 to 3 weeks for delivery.
450
ENSONIQ ZR-76 MusicianÕs Manual
Chapter 13ÑSupplemental Information
ZR-76
MIDI Implementation Chart
Function...
Transmitted
Recognized
Basic
Channel
Default
Changed
1
1-16
1-16
1-16
Mode
Default
Messages
Altered
POLY
X
X
MULTI
X
X
Note
Number
True voice
21-108
21-108
Note On
O
O
Note Off
O
O
Key
Channel
O
O
O
0-119
O
O
O
Velocity
After
Touch
Pitch Bend
Control
Change
Program
Change
True#
System Exclusive
0-119
0-119
0-119
0-119
0-119
O
O
System
Common
Song Position
Song Select
Tune Request
O
X
X
O
X
X
System
Real Time
Clock
Commands
O
X
O
X
Aux
Messages
Notes
Version: 1.45
Remarks
Each of ZR-76Õs 16 tracks
may be set to any MIDI
channel
Note reception is filtered by
Key Lo and Key High track
parameters
Note On velocity reception
is filtered by VelocityRange
Lo and VelocityRange Hi
track parameters
Note Off velocity is filtered
by VelocityRange Lo and
VelocityRange Hi track
parameters when
modulating keyup layers
ZR keyboard produces
channel pressure only
supports held mode
see ÒMIDI Controllers
BehaviorÓ below
select sounds from the
currently selected bank
invalid program changes
select silent sound
see MR-76 SysEx
Specification
recognizes Universal
Non-Real Time SysEx
General MIDI On/Off
messages
recognizes MIDI Tuning
Dump Standard and
Single-Note Tuning
Change messages
X
X
O
O
X
X
X
X
Response to received Controllers varies depending on the nature of the ZR-76 parameter
affectedÑsee parameter descriptions for details
When the ZR-76 is configured for General MIDI, Bank Select reception is disabled, and new
sequences cannot be selected by program changesÑsee ÒUsing the ZR-76 with General MIDI
Standard MIDI FilesÓ, in Chapter 3
Local On/Off
All Notes Off
Active Sensing
System Reset
Mode 1: Omni On, Poly
Mode 3: Omni Off, Poly
ENSONIQ ZR-76 MusicianÕs Manual
Mode 2: Omni On, Mono
Mode 4: Omni Off, Mono
O : Yes
X: No
451
Chapter 13ÑSupplemental Information
MIDI Controllers Reception Behavior
Control Change
452
Description
Remark
0-119
SysCTRL 1-4
assignable controllers
0
Bank Select MSB
always 0
1
Mod Wheel
4
Foot (Pedal)
5
Portamento Time
6
Data Entry MSB
7
Volume
10
Pan
11
Expression Controller
32
Bank Select LSB
64
Sustain
for editing of registered and non-registered parameters
only, after registered or non-registered parameter MSB
and LSB are received
65
Portamento On/Off
66
Sustenuto
72
Release Time
Amp Env Release
73
Attack Time
Amp Env Attack
74
Brightness
Filter Cutoff
75
Sound Controller 6
Normal LFO Rate
76
Sound Controller 7
Amp Env Decay
91
Effects 1 Depth
GM reverb depth, described in ÒAdding Effects to
Tracks,Ó Chapter 8
93
Effect 2 Depth
GM chorus depth, described in ÒAdding Effects to
Tracks,Ó Chapter 8
98
Non-Reg. Param. Select LSB
Track parameter descriptions in Chapter 4 list track
parametersÕ Non-Registered parameter LSB values
99
Non-Reg. Param. Select MSB
always 0
100
Reg. Param. Select LSB
always 0, 1 or 2 only
101
Reg. Param. Select MSB
always 0
ENSONIQ ZR-76 MusicianÕs Manual
Chapter 13ÑSupplemental Information
L i s t of MI D I Co n t r o l l e r Na m e s
This list of MIDI Controller names (as found in the ZR-76) represents the current state-of-the-art MIDI
controller assignments as defined in the MIDI Detailed Specification, version 95.1:
Bank Select #000 - Bank Select
Mod Wheel #001 - Mod Wheel or Lever
Breath #002 - Breath Controller
MIDIContrl#003 - UNDEFINED
FootContrl#004 - Foot Controller
Glide Time#005 - Portamento Time
Data Entry#006 - Data Entry MSB
Volume #007 - Volume
Balance #008 - Balance
MIDIContrl#009 - UNDEFINED
Pan
#010 - Pan
Expression#011 - Expression
FX Control1#012 - Effect Control 1
FX Control2#013 - Effect Control 2
MIDIContrl#014 - UNDEFINED
MIDIContrl#015 - UNDEFINED
GenPurpse1#016 - General Purpose 1
GenPurpse2#017 - General Purpose 2
GenPurpse3#018 - General Purpose 3
GenPurpse4#019 - General Purpose 4
MIDIContrl#020 - UNDEFINED
MIDIContrl#021 - UNDEFINED
MIDIContrl#022 - UNDEFINED
MIDIContrl#023 - UNDEFINED
MIDIContrl#024 - UNDEFINED
MIDIContrl#025 - UNDEFINED
MIDIContrl#026 - UNDEFINED
MIDIContrl#027 - UNDEFINED
MIDIContrl#028 - UNDEFINED
MIDIContrl#029 - UNDEFINED
MIDIContrl#030 - UNDEFINED
MIDIContrl#031 - UNDEFINED
BankSelect#032 - Bank Select LSB
Mod Wheel #033 - Mod Wheel LSB
Breath #034 - Breath Controller LSB
MIDIContrl#035 - UNDEFINED
FootContrl#036 - Foot Controller LSB
Glide Time#037 - Portamento Time LSB
Data Entry#038 - Data Entry LSB
Volume #039 - Volume LSB
Balance #040 - Balance LSB
MIDIContrl#041 - UNDEFINED
Pan
#042 - Pan LSB
Expression#043 - Expression LSB
FXControl1#044 - Effect Control 1 LSB
FXControl2#045 - Effect Control 2 LSB
MIDIContrl#046 - UNDEFINED
MIDIContrl#047 - UNDEFINED
GenPurpse1#048 - UNDEFINED
GenPurpse2#049 - General Purpose 1 LSB
GenPurpse3#050 - General Purpose 2 LSB
GenPurpse4#051 - General Purpose 3 LSB
MIDIContrl#052 - General Purpose 4 LSB
MIDIContrl#053 - UNDEFINED
MIDIContrl#054 - UNDEFINED
MIDIContrl#055 - UNDEFINED
MIDIContrl#056 - UNDEFINED
MIDIContrl#057 - UNDEFINED
MIDIContrl#058 - UNDEFINED
MIDIContrl#059 - UNDEFINED
MIDIContrl#060 - UNDEFINED
MIDIContrl#061 - UNDEFINED
MIDIContrl#062 - UNDEFINED
MIDIContrl#063 - UNDEFINED
Sustain #064 - Sustain
PortOn/Off#065 - Portamento On/Off
Sostenuto #066 - Sostenuto
Soft Pedal#067 - Soft Pedal
LegatoFtsw#068 - Legato Ftsw
Hold 2 #069 - Hold 2
PatchSelct#070 - Snd Variation (Patch Select)
Timbre #071 - Harmonic Content (Timbre)
Release #072 - Release
Attack #073 - Attack
Brightness#074 - Brightness
SoundCntl6#075 - Sound Controller 6
SoundCntl7#076 - Sound Controller 7
SoundCntl8#077 - Sound Controller 8
SoundCntl9#078 - Sound Controller 9
SoundCtl10#079 - Sound Controller 10
GenPurpse5#080 - General Purpose 5
GenPurpse6#081 - General Purpose 6
GenPurpse7#082 - General Purpose 7
GenPurpse8#083 - General Purpose 8
Portamento#084 - Portamento Control
MIDIContrl#085 - UNDEFINED
MIDIContrl#086 - UNDEFINED
MIDIContrl#087 - UNDEFINED
MIDIContrl#088 - UNDEFINED
MIDIContrl#089 - UNDEFINED
MIDIContrl#090 - UNDEFINED
FX Depth 1#091 - Effects Depth 1
FX Depth 2#092 - Effects Depth 2
FX Depth 3#093 - Effects Depth 3
FX Depth 4#094 - Effects Depth 4
FX Depth 5#095 - Effects Depth 5
Data Inc #096 - Data Inc
Data Dec #097 - Data Dec
NonRgPmLSB#098 - Non-Reg param Num LSB
NonRgPmMSB#099 - Non-Reg param Num MSB
RgParamLSB#100 - Reg param Num LSB
RgParamMSB#101 - Reg param Num MSB
MIDIContrl#102 - UNDEFINED
MIDIContrl#103 - UNDEFINED
MIDIContrl#104 - UNDEFINED
MIDIContrl#105 - UNDEFINED
MIDIContrl#106 - UNDEFINED
MIDIContrl#107 - UNDEFINED
MIDIContrl#108 - UNDEFINED
MIDIContrl#109 - UNDEFINED
MIDIContrl#110 - UNDEFINED
MIDIContrl#111 - UNDEFINED
MIDIContrl#112 - UNDEFINED
MIDIContrl#113 - UNDEFINED
MIDIContrl#114 - UNDEFINED
MIDIContrl#115 - UNDEFINED
MIDIContrl#116 - UNDEFINED
MIDIContrl#117 - UNDEFINED
MIDIContrl#118 - UNDEFINED
MIDIContrl#119 - UNDEFINED
Note: Controllers #000-031 are the MSBs and #032-063 are the LSBs for controllers with 14
bit resolution, and their names are displayed identically in the list of values.
ENSONIQ ZR-76 MusicianÕs Manual
453
Chapter 13ÑSupplemental Information
R e s e t Al l Co n t r o l l e r s (M I D I co n t r o l l e r 12 1 ) Re c e p t i o n Be h a v i o r
When the system ResetControlRecv=Off, the reset all controllers message will be ignored.
When system ResetControlRecv=On, the following MIDI messages and parameters on all tracks assigned to
the MIDI channel on which the message was received will be reset to the following values:
Assignable SysCtrl1-4=000
Pitch Bend=center
Channel Pressure=000
Polyphonic Pressure=000 for all 88 keys
Controllers 001 to 004=000
Controller 005=064
Controller 006=000
Controller 007=100
Controller 008=064
Controller 009=000
Controller 010=064
Controller 011=127
Controllers 012 to 031=000
Controllers 033 to 064=000
Controller 065=000
Controllers 066 to 069=000
Controller 070 to 071=000
Controller 072 to 079=064
Controllers 080 to 097=000
Controller 098 to 101=cleared
Controllers 102 to 119=000
Controllers 120 to 127=left unchanged
When system Track ParamReset=Off:
Controllers 005, and 070 to 079 will be left unchanged.
When system Track ParamReset=On:
Controllers 005, and 070 to 079 will be reset to the values listed above.
Track MIDI reception filters do not affect reception of the Reset All Controllers message.
Registered Parameters
Registered parameters 0, 1 and 2 are received multi-timbrally by the ZR-76. When received on a track's
MIDI channel, RPN 0 affects the track's pitch bend up and down simultaneously: Pitch bend up is raised
and pitch bend down is lowered by the same RPN value. RPNs 1 and 2 edit Semitone Shift and Fine Tuning
parameters, respectively, when received on the track's MIDI channel.
Registered parameters must be transmitted to the ZR-76 as a Continuous Controller status byte followed
by three consecutive Continuous Controller messages: The registered parameter MSB and LSB values
select the track parameter that will be edited, and a Data Entry value invokes the track parameterÕs
desired setting.
Controllers
Number
101
100
6
Name
Registered Parameter Select MSB (Most Significant Byte)
Registered Parameter Select LSB (Least Significant Byte)
Data Entry MSB
Registered Parameters
Name
Number
00
Pitch Bend Range
01
02
Fine Tuning
Coarse Tuning
Value
always 0
00, 01 or 02 (see below)
0-127, desired track parameter setting
ZR Parameter Range
0-12 (displayed as Pitch Bend Up =0-12 up; raises
pitch; Pitch Bend Down=0-12 down
0-127 (displayed as -50 cents to +49 cents)
0-127 (displayed as -64st to +63st)
Non-Registered Parameters
Non-registered parameters are received multi-timbrally by the ZR-76, affecting track parameters when
received on the trackÕs MIDI channel.
Non-registered parameters must be transmitted to the ZR-76 as a continuous controller status byte
followed by three consecutive continuous controller messages. The non-registered parameter MSB and LSB
select the track parameter, and a data entry value invokes the track parameterÕs desired setting.
454
Controllers
Number
99
98
Name
Non-Registered Parameter Select MSB (Most Significant Byte)
Non-Registered Parameter Select LSB (Least Significant Byte)
6
Data Entry MSB
Value
always 0
see track parameter descriptions in Chapter
4 for each parameterÕs Non-Registered
parameter LSB value
0-127, desired track parameter setting
ENSONIQ ZR-76 MusicianÕs Manual
Chapter 13ÑSupplemental Information
R e g i s t e r e d an d No n - R e g i s t e r e d Pa r a m e t e r s (R P N / N R P N )
Expression
Responds to MIDI controller 011 and NRPN LSB LSB 034.
FX Bus assignment (Insert, Chorus, Responds to MIDI NRPN LSB 033.
LightReverb, MediumReverb,
WetReverb, Dry)
Pitch Bend Up
Responds to MIDI RPN LSB 000 and NRPN LSB 022.
Pitch Bend Down
Responds to MIDI RPN LSB 000 and NRPN LSB 023.
Octave Shift (-4oct to +4oct)
Responds to MIDI NRPN LSB 011.
Semitone Shift
Responds to MIDI RPN LSB 002.
Fine Tuning
Responds to MIDI RPN LSB 001.
Pitch Table
Responds to MIDI NRPN LSB 021.
Glide Mode
Responds to MIDI controller 065 (see below) and NRPN LSB 031.
When a value of 64 or greater for MIDI controller 065 is received,
glide is enabled for the part; values below 64 do not disable glide.
Glide Time
Responds to MIDI controller 005 and NRPN LSB 032.
Delay Offset (positive-only)
Responds to MIDI NRPN LSB 024.
Sync LFO&Noise (system tempo
time division)
Responds to MIDI NRPN LSB 025.
Normal LFO Rates
Responds to MIDI controller 075 and NRPN LSB 008.
LFO Depth
Responds to MIDI NRPN LSB 009.
LFO Delay Time
Responds to MIDI NRPN LSB 010.
Amplitude Envelope Attack time
Responds to MIDI controller 073 and NRPN LSB 014.
Amplitude Envelope Decay time
Responds to MIDI controller 076 and NRPN LSB 015.
Amplitude Envelope Release time
Responds to MIDI controller 072 and NRPN LSB 016.
Filter Cutoff (lo-pass & hi-pass)
Responds to MIDI controller 074 and NRPN LSB 012.
Filter Envelope Attack time
Responds to MIDI NRPN LSB 017.
Filter Envelope Decay time
Responds to MIDI NRPN LSB 018.
Filter Envelope Release time
Responds to MIDI NRPN LSB 019.
Amp & Filter Envelope Velocity
sensitivity
Responds to MIDI NRPN LSB 020.
Key Range Low limit
Responds to MIDI NRPN LSB 026.
Key Range High limit
Responds to MIDI NRPN LSB 027.
Velocity Range Low limit
Responds to MIDI NRPN LSB 028.
Velocity Range High limit
Responds to MIDI NRPN LSB 029.
Pressure Mode
Responds to MIDI NRPN LSB 030.
Velocity MIDI reception converter
Responds to MIDI NRPN LSB 035.
Mute button
Responds to MIDI NRPN LSB 036 (0=normal muted, 1=unmuted,
2=solo muted, 3=solo, 4-127=solo).
For an explanation of how to use RPNs and NRPNs with the ZR-76, see ÒUsing RPNs and NRPNs to Edit
ParametersÓ at the end of Chapter 4.
ENSONIQ ZR-76 MusicianÕs Manual
455
Chapter 13ÑSupplemental Information
Universal Non-Real-Time SysEx General MIDI On/Off
The ZR-76 recognizes the Universal Non-Real-Time SysEx General MIDI On/Off messages.
When the ZR-76 receives a SysEx General MIDI On message, it responds as if the ZRÕs own ÒENTER GM
mode?Ó command has been run: the General MIDI set-up is selected, and certain System parameters are
reset (see ÒUsing the ZR-76 with General MIDI Standard MIDI FilesÓ in Chapter 3 for details).
The Universal Non-Real-Time SysEx General MIDI On message is comprised of the Universal Non-RealTime header, the current SysEx Device ID number of the ZR-76, sub-ID #1and sub-ID #2 messages, and
an End of SysEx message.
Turning General MIDI On Via SysEx
Transmit
Description
F0, 7E
Universal Non-Real-Time SysEx header
<Device ID>
SysEx Device ID
09
01
F7
sub-ID#1=General MIDI message
sub-ID#2=General MIDI On
End of SysEx
Notes
0-127, determined by the setting
of the SysEx Device ID System
parameter (see Chapter 3)
When the ZR-76 receives a Universal Non-Real-Time SysEx General MIDI Off message, it concludes
General MIDI operation by selecting the default sequence and track 1. System parameters altered at the
start of General MIDI operation are not reset (for a list of these parameters, see ÒUsing General MIDI,Ó
Chapter 3).
The Universal Non-Real-Time SysEx General MIDI Off message is comprised of the Universal Non-RealTime header, the SysEx Device ID number of the ZR-76, sub-ID #1and sub-ID #2 messages, and an End of
SysEx message.
Turning General MIDI Off Via SysEx
456
Transmit
Description
F0, 7E
Universal Non-Real-Time SysEx header
<Device ID>
SysEx Device ID
09
02
F7
sub-ID#1=General MIDI message
sub-ID#2=General MIDI Off
End of SysEx
Notes
0-127, determined by the setting
of the SysEx Device ID System
parameter (see Chapter 3)
ENSONIQ ZR-76 MusicianÕs Manual
Chapter 13ÑSupplemental Information
Pitch Tables and the MIDI Tuning Standard Format
Pitch tables created using an external computer can be downloaded into the ZR-76Õs RAM pitch table using
the MIDI Tuning Standard format. The ZR-76 can accommodate one user-defined RAM pitch table in
addition to the many alternate pitch tables stored in ROM. The ZR-76Õs pitch tables can be accessed by
any of its 16 tracks through the setting of the trackÕs PitchTbl parameter, or via NRPN LSB 021 values sent
on the trackÕs MIDI channel. You can also select a system-wide special pitch table by selecting the desired
table with the PitchTbl System parameter.
The MIDI Tuning Standard is comprised of two kinds of messages: the MIDI Tuning Dump, a SysEx bulk
dump which transmits tunings for all keys, and a Single-Note Tuning Change, which alters the tuning of a
specific note. The SysEx bulk dump format is supported by several tuning editors for the Apple Macintosh
and Microsoft Windows 95. It is anticipated that the Single-Note Tuning Change message will be employed
by third-party tuning controllers to achieve Middle-Eastern music scales.
The ZR-76Õs response to the Single-Note Tuning Change message has been extended to allow users to
apply a single tuning change to the ZRÕs entire pitch range. If a Single-Note Tuning Change message is sent
to user-tuning number 7F (127), and if the note is between Middle C and an octave above (note numbers
60 to 71 inclusive), the tuning change will be applied to all notes in the current RAM pitch table. In all
other cases, the note-change message only changes the tuning for the note specified. If a Single-Note
Tuning Change message is received during playback of a note (between the key-down and key-up
messages), the tuning change takes effect on the next note.
It is suggested that third-party tuning controllers should send a zero-pitch-detune message for each of the
twelve notes supported by the Single-Note Tuning Change message and also select the RAM tuning for the
receiving channel. The zero-pitch messages need only be sent once before sending their note-change
messages.
For more information on the MIDI Tuning Standard, contact:
MIDI Manufacturer's Association
Just Intonation Network
c/o Tom White, President
535 Stevenson Street
P.O. Box 3173
San Francisco, CA 94103
La Habra, CA 90632-3173
Phone: (415) 824-5325
Phone/FAX: (310) 947-4569
FAX: (415) 864-8726
email: mma@earthlink.net
WWW: http://www.dnai.com/~jinetwk
L i s t of RO M Sy s t e m Pi t c h Ta b l e s
The intervals (or relationships) between each note in a scale is called a pitch table. The default pitch table
is the western 12-tone equal-tempered pitch table. The ZR-76 offers a large assortment of traditional,
modern, ethnic, and exotic pitch tables for use as the System pitch table. These pitch tables are:
Pitch Table
EqualTemper
Pythagrn-C
Just Int-C
Meantone-C
Wrkmeistr-C
Vallotti-C
Grk-Diatonc
Grk-Chromat
Grk-Enharm
Turkish-A
Arabic-1
Description
The Western 12-tone equal-temperament tuning is used for the default pitch table.
Early tuning derived by calculating 12 perfect fifths and adjusting the octaves downward as necessary. Leaves all fifths except
the one between G# and D# very pure. The entire mathematical anomaly encountered by tuning up 12 perfect fifths (called the
Pythagorean comma) is accounted for in the interval between G# and D#.
Designed so that the major intervals in any scale are very pure, especially the third and fifth.
One of the earliest attempts to derive a tuning which would accommodate music played in a variety of keys. The major third
interval is very pure.
Derived by Andreas Werkmeister, a contemporary of Bach, this is a further attempt to create a temperament which would
accommodate music played in any key.
A variation of Pythagorean tuning in which the first 6 fifths in the circle of fifths are flat by 1/6 of the Pythagorean Comma. This
is probably close to the tuning used by Bach for his Well-Tempered Clavier.
The basic building block of ancient Greek music (in which most modern Western music has its roots) was the tetra chord - four
notes and three intervals spanning a perfect fourth. The placement of the two inner notes of the tetra chord determined its
genus Ñ diatonic, chromatic or enharmonic. This pitch table is derived from two diatonic tetra chords, combined to form a
seven-note scale similar to the modern diatonic scale. It is to be played only on the white keys. Tone center is E.
This pitch table is derived from two chromatic tetra chords (the intervals are, roughly, quarter-tone, half-step, major third),
combined to form a seven-note scale. It is meant to be played on the white keys. Tone center is E.
This pitch table is derived from two enharmonic tetra chords (the intervals are, more or less, two quarter-tones followed by a
major third), combined to form a seven-note scale. It is meant to be played on the white keys. Tone center is E.
This is a typical Turkish octave-based scale using only one quarter tone. The second note in the scale is tuned 40 cents flat from
the equal-tempered equivalent. In this tuning B is 40 cents flatter from B natural. The scale rises from A.
The intervals in this table form the basis for much Middle Eastern music. Here the octave is divided into 17 intervals,
corresponding to the fret intervals of some stringed instruments used in this area. The scale rises from the base pitch of C4 in a
series of three repeating intervals (in cents) of 90, 90, 24 and so on. From C4 to F5 represents an octave.
ENSONIQ ZR-76 MusicianÕs Manual
457
Chapter 13ÑSupplemental Information
Arabic-2
Arabic-3
Arabic-4
Java-Pelog1
Java-Pelog2
Java-Pelog3
Java-Slndro
Java-Combi
Indian-Raga
Tibetan
Chinese-1
Chinese-2
Thailand
24-Tone-Equ
19-Tone-Equ
31-Tone-Equ
53-Tone-Equ
Harmonic
CarlosAlpha
Carlos-Beta
CarlosGamma
Partch-43
Reverse
Bagpipe
ShonaMbira1
ShonaMbira2
SuperJust
88CET
Pierce-Bohl
WS1
WS2
WS3
Stretch
RandomDetun
RAM
458
Similar to Arabic 1, except that here the octave is divided into 24 intervals. This makes one pitch octave cover two keyboard
octaves, meaning that the fingering will be the same in any octave. This scale rises from the base pitch of C4 in a series of four
repeating intervals (in cents) of 24, 66, 24, 90 and so on.
This is a 12-tone scale using quarter tones (notes tuned sharp or flat by 50 cents from their equal-tempered equivalents) on the
C#, E, G# and B keys.
Another octave-based scale with an Arabic flavor. In this case the Òquarter tonesÓ are not perfectly equal, imparting a distinctive
character to the notes.
One of the two main scales of the gamelan orchestras of Java and Bali is the seven-tone scale called Pelog. The notes C, D, F , G,
and A (which are reproduced on the black keys) are considered primary, with E and B used for grace notes. The octaves are
stretched (tuned a little sharp) due to the harmonic content of the instruments in the gamelan. (There are many variations of
these tunings, almost as many as there are gamelan ensembles. These tunings are to be considered typical, not definitive.)
Another version of the seven-tone Pelog scale used in gamelan music. The notes C, D, F , G, and A (which are reproduced on the
black keys) are considered primary, with E and B used for grace notes. The octaves are stretched (tuned a little sharp) due to the
harmonic content of the instruments in the gamelan.
A third version of the seven-tone Pelog scale used in gamelan music. The notes C, D, F , G, and A (which are reproduced on the
black keys) are considered primary, with E and B used for grace notes.
A 15-tone equal tempered tuning from Java. Playing every third note (as in a diminished chord) yields a typical 5-tone scale of
the gamelan. Other notes can be used as passing tones.
This is actually two pitch tables in one. The white keys play the seven-tone Pelog scale, same as the table JAVA-PELOG1. The
black keys play a five-tone scale called Slendro, which is close to a five-tone equi-tempered scale. Both tunings have their
octaves stretched (tuned a little sharp) due to the harmonic content of the instruments in the gamelan.
Indian scale used to play ragas, based on 22 pure intervals called Srutis. This pitch table uses two keyboard octaves to play one
octave in pitch. The 22 Srutis are mapped to keys in this two-octave range omitting the A#s, which play the same pitch as the
adjacent A.
This tuning is based on a pentatonic scale from Tibet. Notice that playing the black keys yield a scale similar to the 5-tone
Slendro tuning from Indonesia.
This is a seven-tone scale used widely in China. It is meant to be played on the white keys.
A seven-tone scale based on an ancient Chinese lute tuning. It is meant to be played on the white keys.
This is a seven-tone equi-tempered scale from Thailand. It is meant to be played on the white keys.
Centered on C4, this scale has an even quarter tone (50 cents) between each keyboard note, and each pitch octave covers 2
keyboard octaves. This tuning has been used by many contemporary composers and can be used in some Middle Eastern music.
Centered on C4, this scale divides the octave into 19 equal steps. From C4 to G5 forms an octave. This scale yields very pure
thirds and sixths, but not fifths. Like the 24-tone scale, this has been used by some modern composers.
Centered on C4, this scale divides the octave into 31 equal steps. From C4 to G6 forms an octave. Similar to 19-tone in the purity
of its intervals.
This scale divides the octave into 53 equal steps. From C2 to F6 forms an octave. It yields very pure thirds, fourths and fifths.
This is a mathematically generated scale based on the relationships of the partials in the harmonics of the fifth octave of the
linear harmonic spectrum. It is interesting mostly from a theoretical standpoint.
Derived mathematically by Wendy Carlos in the search for scales with the maximum purity of primary intervals, This is based on
the division of the octave into 15.385 equal steps (78 cents per key). One pitch ÒoctaveÓ covers 16 keys, though because the
Carlos scales are asymmetric (not based on whole number divisions of the octave) they do not yield pure octaves.
Wendy CarlosÕ Beta scale is based on the division of the octave into 18.809 equal steps 63.8 cents per key. One pitch ÒoctaveÓ
covers 19 keys; though, being asymmetric, it yields no pure octaves.
Wendy CarlosÕ Gamma scale is based on the division of the octave into 34.188 equal steps (35.1 cents per key). This scale has
essentially perfect major thirds, fourths and fifths. One pitch ÒoctaveÓ covers 35 keys, though, again, being asymmetric it yields
no pure octaves.
Harry Partch was a pioneer of micro-tonality in the early 20th century. He developed this 43-tone-per-octave scale of pure
intervals, and even designed an entire orchestra of instruments using this scale. The tonal center is found on key D2 (the low D
on the 76-note keyboard). This pitch table has been transposed up an octave to bring the notes into a more usable range.
This pitch table simply reverses the pitch-tracking of the keyboard, putting the highest notes at the bottom of the keyboard and
the highest notes at the top. Hours of fun.
This is the tuning of a traditional Scottish bagpipe.
One tuning of the African Mbira, similar to the Kalimba or thumb-piano. Each Mbira player uses his own ÒtuningÓ which is his
signature.
Another Mbira tuning.
This is a Just Intonation scale created by Wendy Carlos.
88CET is a scale with a constant interval of 88 cents. It features three different thirds and close approximations to many just
intervals. This keyboard mapping omits the G#/Ab key from the system.
An octave-repeating stretched scale invented by John Pierce which is derived from a pure twelfth divided into thirteen steps.
The WS scales are for single samples which span the entire keyboard. WS1 maintains 12 tones per octave for two octaves
centered on middle C, then continues to high and low ends of the keyboard with 1/4 of a semitone or 48 tones per octave.
WS2 maintains 12 tones per octave for three octaves centered on middle C from G to G.
WS2 maintains 12 tones per octave for four octaves centered on middle C.
A stretch tuning, in which the middle C is at unity, C1 is detuned flat 40 cents and C8 is detuned sharp 40 cents. The stretch is a
linear ramp between these two offsets.
Each note has been ÒtweakedÓ by + or - up to 10 cents, giving chords a chorused effect which is different for each note.
Selects pitch tables that can be downloaded via MIDI. See earlier for more information about RAM pitch tables.
ENSONIQ ZR-76 MusicianÕs Manual
Chapter 13ÑSupplemental Information
U s i n g th e ZR - 7 6 Ou t p u t s
A Note About the Main and Aux Output Jacks
Use standard balanced (TRS) stereo cables or unbalanced (TS) mono cables for these connections.
As the labels on the Aux Out jacks and Main Out jacks indicate, the ZR employs automatic switching on
each stereo pair of outputs. That is:
¥
¥
Main Outputs Right and Left are normally stereo outputs. However, if nothing is plugged into the Right
Output, the stereo signal will be summed to mono and sent to the Left Output.
Similarly, the Aux Outputs Right and Left are normally stereo outputs. However, if nothing is plugged
into the Right Aux Output, the stereo signal will be summed to mono and sent to the Left Aux Output.
Note: If there is nothing connected to the Left Aux Out jack, any signal sent to the Aux
Outputs will be summed into the Main Outputs.
Ground Compensated Outputs
The ZR-76 has Òground compensatedÓ outputs, which offer the advantages of balanced outputs (minimized
hum and interference), plus the advantage of a transformer isolated output (eliminates ground loop
problems). The output connector ÒgroundsÓ are not hooked directly to the ZR-76 ground, thus eliminating
the possibility of a ground loop. This ground compensating scheme works on both balanced and
unbalanced equipment with standard cables.
Using XLR Outs with the ZR-76
The ZR-76 ground compensating outputs make things very easy. Use of a standard 1/4Ó to XLR cable will
work fine with no ground loops.
1/4" to XLR Balanced Cable
T
R
S
Red
Black
Shield
3
1
2
Case
ENSONIQ 1/4" output
3-Pin XLR male input
(ground compensated)
(balanced)
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Chapter 13ÑSupplemental Information
A No t e ab o u t St e r e o Fo o t Sw i t c h e s
The recommended stereo foot switch for use with the ZR-76 is the ENSONIQ SW-10 Dual Foot Switch. The
SW-10 is a dual (piano-type) foot switch with two separate pedals.
When the SW-10 is connected, the pedals can be assigned to a number of different functions, allowing a
total of four independent foot switch controllers (when two optional SW-10 Dual Foot Switches are
connected). If you are considering using a foot switch, we highly recommend the ENSONIQ SW-10 Dual
Foot Switch. Why not get two?
Note: If you are using a foot switch manufactured by another company, there is a
possibility that the wires inside the foot switch may be reversed. This could make the ZR
recognize Foot Switch 1-R as left, and Foot Switch 1-L as right.
A No t e ab o u t Mo n o Fo o t Sw i t c h e s
The ZR-76 has two stereo foot switch jacks. When any mono foot switch is plugged in, it functions like the
right side of a stereo foot switch, and acts as a permanent shut-off switch for the (non-existent) left side of
the foot switch.
If you are using a single foot switch (SW-2 or SW-6) in either of the Foot Switch jacks, the FtSw 1-L and/or
FtSw 2-L values on the System page should always be set to ÒUnusedÓ. This will prevent note drones.
Remember that the foot switch jacks are optimized for use with a stereo foot switch (SW-10), and when a
single foot switch is connected, it behaves like the right foot switch.
To optimize the usage of mono foot switches, please consider performing one of the two modifications
explained in ÒHOT MODSÓ on the following pages.
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Chapter 13ÑSupplemental Information
H O T MO D S !
Although mono foot switches can be used as is, their usage can be optimized if you are willing to make
either of the following modifications. If you are not comfortable performing the following modifications, we
recommend asking a qualified technician for assistance:
Replace the Mono Foot Switch Plug with a Stereo Plug
The advantage of this modification is that you will eliminate the ÒshortedÓ left foot switch signal (see ÒAbout
Mono Foot SwitchesÓ earlier).
Tools/supplies required:
soldering iron
solder
wire cutters
1/4Ó stereo plug
1.
2.
3.
4.
5.
Unscrew the mono plug cover, and slide it out of the way (down the cable).
Either with wire cutters or a soldering iron, remove the wires from the mono plug.
Replace the mono plug cover with the stereo plug cover on the mono foot switch cable.
Solder the ÒhotÓ wire (the insulated wire in the center of the cable) to the tip connector, and the ground
(shield) wire to the sleeve on the stereo plug as shown in the diagram.
Screw the stereo plug cover onto the stereo plug to complete the modification.
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Chapter 13ÑSupplemental Information
H O T MO D S !
Build a Splitter Box to Merge Two Mono Foot Switches into One Stereo Jack
The advantage of this modification is that it will allow you to make two mono foot switches function as
one stereo foot switch.
Tools/supplies required:
soldering iron
solder
wire cutters
drill and drill bits
one plastic housing assembly (must be large enough to mount three jacks)
one stereo jack
two mono jacks
shielded wire
1/4Ó stereo-to-stereo cable
1.
2.
3.
4.
5.
6.
7.
Drill three holes in the housing assembly and mount the stereo and mono jacks.
Solder a wire from the tip of the left mono jack to the ring of the stereo jack.
Solder a wire from the tip of the right mono jack to the tip of the stereo jack.
Solder a wire(s) connecting the sleeves of all three jacks.
Connect the mono foot switch(es) to the mono jacks.
Connect the stereo-to-stereo cable between the stereo jack and either Foot Switch jack.
You might want to mark the housing assembly to easily identify the jacks.
Tip: By doubling the above instructions, you could build a splitter box to merge four mono
foot switches into two stereo jacks, for maximum ZR-76 control!
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Chapter 13ÑSupplemental Information
Using Headphones with the ZR-76
Headphones can be used with the ZR-76 when connected to the rear panel 1/4Ó stereo Phones jack to
listen to the keyboard in stereo. The signals going to this jack are the same signals that appear at the main
output jacks, even if they are not connected. The main outputs are mapped to the stereo headphone as
follows: Main Out Left is mostly to the left; Main Out Right is mostly to the right. The outputs are not
routed hard left and right to the headphone jack, to provide a Òmixed stereoÓ signal:
H e a dp h o n e s
Left Ear Hears
Main Out Left - mostly
Main Out Right - a little
Right Ear Hears
Main Out Right- mostly
Main Out Left - a little
Headphone volume is controlled by the Master Volume slider. Plugging headphones into the Phones jack
does not turn off the audio in the outputs.
Warning: The headphone output circuit is designed to minimize the volume differences
between low and high impedance headphones. Because some headphones are more
efficient than others, make sure you set the Master Volume slider accordinglyÑhigh output
volume levels could damage your hearing.
Sending the Aux Signals to the Headphones
Since the headphone jack always mirrors the Main Output jacks, the easiest way to send the Aux signals
to the headphones is to route the Aux signals to the Main Outputs. HereÕs how:
To Route the Aux Signals to the Main Outputs:
1.
2.
3.
Press the System button.
Using the Parameter knob, locate the ÒAuxToMainOutsÓ parameter.
Turn the Value knob, or press the up and down arrow buttons to select ÒAuxToMainOuts=Always.Ó
Now whatever was routed to the Aux jacks is now being sent to the Main Outputs, and therefore, can
be heard in the headphones.
Note: Remember to reset the System ÒAuxToMainOutsÓ parameter if you do not want to
send the aux signals to the main outputs.
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Chapter 13ÑSupplemental Information
E r r o r / I n f o r m a t i o n a l Me s s a g e s
The following error/informational messages are organized alphabetically.
1 6 Tr a c k Re c o r d e r Me s s a g e s
Add track parameters
to track #?
Align MIDI channels
to track numbers?
Can't append to an
empty track!
Can't change FX when
playlist is active!
Can't copy a rhythm
track to itself!
Can't copy playlist!
Select a seq first!
Can't copy when
playlist is active!
Can’t edit drum kit
on rhythm track!
Can't edit multiple
time signatures!
Can't erase when
playlist is active!
Can't locate when
playlist is active!
Can't loop when
playlist is active!
Can't mix when
playlist is active!
Can't mute when
playlist is active!
Can't pan when
playlist is active!
464
This appears when the selected sequence has had it's track #'s and MIDI channel #'s
aligned (i.e., ÒAlign MIDI channels to track numbersÓ has been performed, and the track
contains a GM sound), but the selected track does not yet contain track parameters.
This prompt appears when you:
- Turn the left knob on the Track select page.
- Turn the Mix knob
- Turn the Pan knob
- Press the Mixdown/FX Routing button
Answering No or Yes will re-display the track select page.
This appears when the selected sequence has not had it's tracks/channels aligned.
This prompt appears when you:
- Press a track button
- Press Enter from the SoundFinder Send To page (which always sends to the current
song)
- Press Enter from the Idea Pad Send To page when Send To=Current Song
Pressing Yes will move all the data around to make track numbers and channel numbers
the same, add track parameters to the selected track, and add the sequence name, the
sequence insert effect, and the ability to store the Region settings to the sequence as a
SysEx.
The next available empty track will become the selected track; if there is no available
empty track, pressing Enter will do nothing.
This appears when you try to append a track to another track on which nothing has
been recorded.
This appears when you try to change the Insert Effect or track routing with an active
playlist.
When performing the Track Copy command on a rhythm track, if you try to select the
Dest Part to be the same as the current and press Enter on that page, this message will
appear.
This appears when you press the the Song Editor copy button with an active playlist.
This appears when you press the 16 Track Recorder Copy button with an active playlist.
This appears when you try to edit a drum key on the rhythm drum kit on track 10.
If a sequence has more than one time signature, attempting to edit the time signature
value on the sequence select page will show this message. The displayed time signature
value is read only.
This appears when you press the 16 Track Recorder Erase button with an active playlist.
This appears when the sequencer is not playing, and you press the 16 Track Recorder
Stop button with an active playlist.
This appears when you press the Loop button with an active playlist.
This appears when you move the Mix knob with an active playlist.
This appears when you press the Mute button with an active playlist.
This appears when you move the Pan knob with an active playlist.
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Chapter 13ÑSupplemental Information
Can’t quantize track
rhythm playback!
Can't quantize when
playlist is active!
Can't record when
playlist is active!
Can't rename an
empty sequence!
Can't smooth step!
Step #4
= Bank1: D
Can't solo when
playlist is active!
No playlist defined!
Hold to define one.
No seqs to select!
Not enough memory to
finish alignment!
Press STOP first!
RAM low! Playlist
not smooth. Proceed?
Recording stopped!
Out of song memory.
Replace contents of
rhythm & target trk?
Replace contents of
rhythm track?
Replace rhythm from
Drum Machine only!
Replace sound on
target track?
Rhythm data is not
available!
ENSONIQ ZR-76 MusicianÕs Manual
When a Rhythm is on track 10, the 16 Track Recorder Quantize function will only
quantize any note data that exists on the track; it will not quantize the rhythm
playback, and will not quantize events that control rhythm playback
(start/stop/fill/var). If there is a rhythm on track 10, but there are no note events on
track 10, pressing the 16 Track Recorder Quantize button will display this momentary
error message.
This appears when you press the 16 Track Recorder Quantize button with an active
playlist.
This appears when you press the 16 Track Recorder Record button with an active
playlist.
When you try to rename a nameless, empty sequence that has no sounds assigned to
any tracks, this error message is displayed.
If there is insufficient RAM to play all playlist steps seamlessly, and you still go ahead
and build the playlist even though it cannot be smoothed, the ZR will tell you which
steps cannot be smoothed by timed messages similar to this (step numbers and bank
locations will vary).
This appears when you press the Solo button with an active playlist.
This message is displayed when the Playlist button is pressed and released and no
Playlist has been defined.
This appears when there are no sequences in the currently selected song, and you press
the Playlist button.
This error message is displayed if the aligning of tracks has begun, but thereÕs
insufficient memory to complete the process.
Tip: We recommend that when an SMF that contains either 1) multiple MIDI channels
per track, 2) multiple tracks with the same MIDI channel, or 3) more than 16 tracks is
loaded, sequencer memory should be empty to give the aligning process the highest
odds for success.
This appears in several situations:
¥ when you press the Bank button and the playlist is selected, and playing.
¥ when you attempt to change the time signature of a sequence while it's playing
¥ while the sequencer is running, if you press:
16 Track Recorder Edit
16 Track Recorder Copy
16 Track Recorder Erase
16 Track Recorder Quantize
Song Editor Copy
Song Editor Erase
Song Editor Misc.
Song Editor Select Song
Song Editor New Song
Song Editor Song Playlist
¥ Any sequence button except for the selected one
This prompt is displayed when there is insufficient RAM to play all playlist steps
seamlessly.
This appears when you run out of sequencer memory while recording.
After aligning tracks on a sequence as the result of doing a Send to Track from
SoundFinder (or the Idea Pad), if there is something recorded on both the target track,
and track 10 (a rhythm, or a normal track), this is displayed.
After aligning tracks on a sequence as the result of doing a Send to Track from the
Drum Machine, if track 10 contains data, this is displayed.
This message is displayed when you attempt to change the rhythm on the rhythm track
by tunring the Value knob.
After aligning tracks on a sequence as the result of doing a Send to Track from
SoundFinder (or the Idea Pad), if the target track contains data, this is displayed.
When the Drum Machine cannot find the rhythm that should be in the selected rhythm
location, this message will be displayed.
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Chapter 13ÑSupplemental Information
Select new rhythm &
send to track!
Seq tempo/meter will
be used! Proceed?
Set Method to Normal
for quantize params!
Song playlist does
not have a region!
Sound not available!
Tempo read-only when
playlist is active!
Update track params
with MIDI values?
Rhythms cannot be selected on track 10. This display informs you that you have to use
the Drum Machine Send To function to change the rhythm on track 10.
Pressing Send To Track in the Idea Pad will display this prompt after pressing a track
button or after pressing Yes, if the idea was recorded with a rhythm, and the target
sequence contains data on at least one track (i.e., has a tempo & time signature
already), but both the target track and track 10 are empty.
When the 16 Track Recorder Quantize command has Method=Deltas, and all of the
subsequent parameters are no longer displayed, turning the left knob clockwise will
display this message as an informational tip.
This appears when you press the Region From or To with an active playlist.
When a sequence or drum pattern contains a RAM or FLASH resident sound on a track,
and you erase all RAM or FLASH sounds in the librarian, pressing the track button will
display this message.
When the Song Playlist is selected, and the Song Editor Tempo page is displayed, the
Current Tempo parameter is read-onlyÑattempting to edit the value will display this
momentary error message.
When any MIDI input has been received by the ZR-76 in sequencer mode (multi mode),
on any track (the track could be defined with track params, defined without track
params, or *UNDEFINED) in a sequence that has had its tracks/channels aligned,
pressing any of the following controls will display this prompt:
- pressing a track button
- pressing the FX/Mixdown Routing button
- turning the Mix knob
- turning the Pan knob
- pressing the Mute button
- pressing the Solo button
Pressing Yes will copy the last received values for all track parameters into the SysEx's
that contain the track parameters in the current sequence; any tracks that were either
defined without track params, or *UNDEFINED, will become defined with track
parameters. Pressing No will leave the track unchanged, and will redisplay the sequence
select page.
D i s k / G l o b a l / S t o r a g e Me s s a g e s
Bad location
Bad MIDI file data!
File can't be loaded
Can only load first
100 files from disk!
Can’t close file!
Can’t erase file!
Can’t format floppy!
Can’t open disk!
Can’t open
<filename>
Can’t rename file!
Can’t save more than
100 files to disk!
Couldn’t find
pattern to save!
Couldn’t find
preset to save!
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This is displayed when trying to send a sound into a ROM location.
This appears when a corrupted .MID, .SMF, .MFF file is loaded. The ZR-76 will abort the
load and show this error message.
The ZR floppy disk system has a file limit of 100 files. This means that you can only view
the first 100 files on a disk. This momentary warning message is displayed if the disk
you've inserted contains more than 100 files.
This appears if a specific file on the floppy disk is corrupted and canÕt be closed.
This appears if try to erase a file that exists in ROM memory.
This appears when the floppy disk is corrupted and cannot be formatted.
Interrupted disk writes (by ejecting the disk during the write cycle) shows this message.
This appears if a specific file on the floppy disk is corrupted and canÕt be opened.
This appears if try to rename a file that exists in ROM memory.
The ZR floppy disk system has a file limit of 100 files. This means that you can only save
100 files to disk. This error message is displayed if you try to save more than 100 files to
a disk.
This appears if you try to save a pattern that doesnÕt exist or thatÕs been erased from
memory.
This appears if you try to save a preset that doesnÕt exist or thatÕs been erased from
memory.
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Chapter 13ÑSupplemental Information
Couldn’t find
rhythm to save!
Couldn’t find
sound to save!
Couldn’t find
target preset!
Couldn’t find
target rhythm!
Couldn’t find
target sound!
Disk not readable!
Disk Utilities:
No disk in drive!
Disk write-protected
Disk is full!
Disk read failed!
Disk write failed!
Disk’s been changed!
Dump:
<dump type>
Sending...
Failed! May be hosed
Fatal memory error!
File is bigger than
free memory!
File is too big
File with same name
exists! Overwrite?
Insufficient memory!
Load from disk?
No disk in drive!
Load from disk?
No readable files!
Not a valid preset
file!
Not a valid program
file!
Not a valid rhythm
file!
ENSONIQ ZR-76 MusicianÕs Manual
This appears if you try to save a rhythm that doesnÕt exist or thatÕs been erased from
memory.
This appears if you try to save a sound that doesnÕt exist or thatÕs been erased from
memory.
This appears if you try to load a preset into a location that doesnÕt exist, or thatÕs
corrupted.
This appears if you try to load a rhythm from floppy into a location that doesnÕt exist, or
thatÕs corrupted.
This appears if you try to load a sound into a location that doesnÕt exist, or thatÕs
corrupted.
Ejecting the disk while loading directories displays this message.
This appears when you press the Disk Utility button when there is no disk in the drive.
If you try to process any disk command and the diskÕs write-protect window is open,
this will be displayed.
This appears when there is no more room to store information on the floppy disk.
This appears if there is corrupted data on the floppy disk during a disk load command.
If either the floppy disk or the file is corrupted, this will be displayed when trying to
save the data to a floppy disk.
This appears whenever you try to load data from a disk, and thereÕs a different floppy
disk in the drive.
Message to inform that the ZR-76 is transmitting MIDI SysEx.
Message to inform you that the disk file may be corrupted.
This appears when the ZRÕs memory bank becomes corrupted. Restarting the ZR should
remedy the problem.
This appears when there is not enough allocated memory in the ZR to load a file from
the floppy disk.
This appears when youÕve exceeded the available memory for your file.
This appears when a file of the same name exists on a disk and a disk save is invoked.
When there is not enough memory to complete an operation, this is displayed.
This appears when you press the Disk Load button when there is no disk in the drive.
After pressing Disk Load, if no legal files are found on a disk, this error message will be
displayed on the bottom line of the Load page.
This appears when you try to load in preset data that is corrupted, or data that was
saved improperly.
This appears when you try to load in sound data that is corrupted, or data that was
saved improperly.
This appears when you try to load in rhythm data that is corrupted, or data that was
saved improperly.
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Chapter 13ÑSupplemental Information
Not enough FLASH
memory!
Not enough FLASH
rhythm memory!
Not enough memory
for this RAM setup!
Pattern is too big
RCV: <message type>
Receiving <msg type>
RCV: <message type>
Successful!
Save to disk?
No disk in drive!
Sorry! No memory for
sound sent from MIDI
Turn Layer off
to save to disk!
Turn Split&Layer off
to save to disk!
Turn Split off
to save to disk!
This appears when the information you are trying to save exceeds the available
allocated memory.
This appears when the information you are trying to save exceeds the available
allocated memory.
This appears when the information you are trying to save exceeds the available
allocated memory.
This appears when youÕve exceeded the available memory for your pattern.
Message to inform that the ZR-76 is receiving MIDI SysEx.
Message to inform that MIDI SysEx reception is complete.
This appears when you press the Disk Save button when there is no disk in the drive.
Message to inform that the ZR-76 does not have sufficient memory to store the single
sound SysEx message that was sent to it.
This appears if you try to save the current sound to disk and layer is on. Saving a single
sound to disk will only save the primary sound in SoundFinder mode.
This appears if you try to save the current sound to disk and split and layer are on.
Saving a single sound to disk will only save the primary sound in SoundFinder mode.
This appears if you try to save the current sound to disk and split is on. Saving a single
sound to disk will only save the primary sound in SoundFinder mode.
S o u n d F i n d e r Me s s a g e
Too few free layers
to save as a sound!
This is displayed when trying to save a split or layered sound to the internal FLASH
RAM when there is not enough memory available.
To remedy the problem, press the Librarian button until the display shows ÒErase
memory item?Ó Press the Yes button. The ZR will then display ÒSound : XXXÓ. Use the
up/down arrows or the Value knob to select which FLASH sounds you want to erase
from memory, thereby freeing memory for your sound. Press the Yes button to begin
the process of creating more space for your custom, split or layered sounds.
G l o b a l Er r o r Me s s a g e
Sorry! An Unexpected
Event xxx occured.
Unknown error
Error code = xxx
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Message to indicate that the ZR-76 has experienced a fatal error. This will cause the ZR76 to soft restart after displaying the message for about three seconds. The bottom line
shows the event code number (000 to 256).
This also indicates that the ZR-76 has experienced a fatal error. This will cause the ZR-76
to soft restart after displaying the message for about three seconds. The bottom line
shows the error code number (000 to 256).
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Chapter 13ÑSupplemental Information
Glossa ry
Active
The state of a drum kit zone when itÕs audible. Also the audible state of the phrase a zone
plays in a variation or fill. The opposite of ÒMuted.Ó
Add Mode
A mode of recording in the 16 Track Recorder where recording new material on a previously
recorded track superimposes the new music on top of the old without erasing it. See
ÒRecording Modes.Ó
Alt. FX Bus
The Òsecond-choiceÓ effect bus routing for sounds routed to the insert effect bus. Also an
alternate term for the effect bus routing parameter of any sound not routed to the insert
bus. In the ZR Unisyn editor, the Alt. FX Bus is the means by which a soundÕs effect routing is
programmed when itÕs not being routed to the insert or dry effect busses.
Ambience
The sound of the physical spaceÑreal or simulatedÑin which a sound occurs.
Amplify
To increase the level, or loudness, of a signal.
Amplitude
The level, or loudness, of a signal.
AO-C8
The MIDI pitch range of an 88-note keyboard. The lowest note is an A, designated as ÒA0,Ó
and the highest note, a C, is referred to as ÒC8.Ó The numbers increment at each CÑA0 is
followed by A#0, B0 and C1, for example. Middle C is ÒC4.Ó Most MIDI manufacturers use this
scheme; however, a few manufacturers refer to Middle C as ÒC3.Ó
Append
To attach one track to the end of another. One of the 16 Track Recorder Copy functions.
Attenuate
To decrease the level, or loudness, of a signal.
Balanc ed -Li ne Input
Three-conductor balanced lines are used to interconnect various pieces of equipment, and
are often used in professional studios. These balanced-line inputs tend to reject hum and/or
radio frequency interference. The ZR-76 has balanced-line outputs, for connecting with
professional balanced-line input studio equipment.
Bandwidth
The overall frequency spectrum of a sound or effect, measured in Hertz (Hz) and kiloHertz
(kHz).
Bank
A collection of sounds, presets or rhythms. The ZR-76 contains ROM sound banks and
rhythm banks, FLASH sound, preset and rhythm banks, and can contain RAM sound and
rhythm banks. Each sound bank in the ZR-76 can hold up to 361 sound layers; each rhythm
bank is 80, 000 bytes in size; the FLASH preset bank can hold 32 presets. Sound banks may
be selected via MIDI through the use of MIDI Bank Select messages.
Bank Select
A type of MIDI message that can select sound banks in MIDI devices that store sounds in
bank groupings and support Bank Select messages. The ZR-76 responds to Bank Select
messages, and transmit them when a MIDI-OUT sound is selected.
Base MIDI Channel
The MIDI channel on which SoundFinder receives MIDI data. Also the channel upon which
SoundFinder transmits MIDI when a non-MIDI-OUT sound is selected.
C4
The MIDI designation for Middle C on a MIDI keyboard or controller. Note: some MIDI
manufacturers refer to Middle C as ÒC3.Ó
Chorusing
An audio effect that results from the mixing together of a source signal with slightly delayed
copies of itself where the delay time of the copies is fluctuating in a regular, rhythmic
fashion. The timing variations create phasing anomalies that cause the source signal to swirl,
and sound wider and/or bigger.
Click
A term for the metronome in the ZRÕs 16 Track Recorder; not necessarily a description of the
sound the metronome uses.
Clock
1/384th of a quarter note in the ZR-76; the ZRÕs finest metric value. Locations within
sequences are measured in bars, beats and clocks.
Clock Source
A built-in reference pulse generated by the ZR-76 for the synchronizing of LFOs, delays and
noise modulators used in sounds and effects. The rate of the pulse is derived from the 16
Track RecorderÕs tempo, or the Drum MachineÕs tempo when in SoundFinder. The clock
source can also be synchronized to received MIDI clocks.
Compression
A sound conditioning process that reduces a source signalÕs dynamic range. Loud signals get
softer and softer signals get louder.
Compression Ratio
The amount by which a signal is compressed, expressed as a ratio. For example, a 4 to 1
compression ratio will result in an increase of 1dB in output level for every 4dB increase in
input level. At high ratios (such as 20:1 and above), the compressor acts as a limiter.
Computer
A personal computer typically using either the Mac OS or an IBM-compatible operating
system (such as Windows 3.1 or Windows 95). To be used in conjunction with a ZR-76, a
personal computer must be able to mount DOS-formatted 3.5Ó floppy disks.
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470
Countoff
Beats heard before recording begins that allow a musician to become accustomed with the
tempo of the music about to be recorded.
CTRL
Synonym for Òsystem controller.Ó
Cutoff Frequency
The filter setting that determines which frequencies a filter will leave un-attenuated. In a
low-pass filter, the cutoff frequency setting determines the highest frequency that will be
allowed to pass through the filter. In a high-pass filter, it determines the lowest frequency.
Cycle
A sound waveÕs single journey from exerting a greater amount of air pressure to a lesser one
and back to its starting point. The number of cycles per second determines the pitchÑor
frequencyÑof the sound wave. The number of cycles per second is expressed in Hertz (Hz)
and kiloHertz (kHz).
D ampi n g
A reverb parameter that determines how quickly the high-frequency content of a reverb will
be reduced as it decays to silence.
DDL
Abbreviation for Òdigital delay line,Ó an effect that creates a digital copy, or copies, of a
source signal and plays it (or them) back later than the original signal. These delays can be
used to create a myriad of audio effects.
Delta Quantize
A new ENSONIQ form of rhythm auto-correction, delta quantizing analyzes the spaces, or
deltas, between recorded notes to ascertain the musicianÕs intent and corrects timing
mistakes without the artifacts often introduced when using standard quantization methods.
Allows the rhythmic auto-correction of tracks recorded without a metronome reference.
Diffusion
A reverb parameter used to smear a reverbÕs transients in order to smooth the reverbÕs
sound. Low diffusion values will cause transients to appear as a series of discrete echoes,
while higher values tend to increase the blurring effect for a smoother sound.
Drum Key
Any of the keys on the keyboard when a ZR-76 drum or percussion kit sound is selected. Each
key in a ZR drum or percussion kit sound plays a standard ZR sound and has its own set of
parameters.
Drum Kit Sound
A special type of sound program that assigns a standard sound to each key on the keyboard.
Drum (and percussion) kit sounds can access up to 64 standard sounds at once.
Drum Map
A standardized selection of sounds for the drum keys in a drum or percussion kit sound.
Dry
The effect description for a sound not routed to any of the ZRÕs effects.
Early Reflections
(ER)
Early reflections are delayed signals that aurally suggest the size of ambient spaces. In the
real world, sound bounces off surfaces it encountersÑwalls, ceiling and floor. Quick early
reflections suggest small spaces, with these surfaces close by. Longer early reflections imply
to the ear that the surfaces are farther away, and that the ambient space is therefore
larger.
Edit Buffer
An area of the ZRÕs memory that temporarily stores changes to a sound, preset, rhythm or
track. When editing sounds, presets and rhythms, the edit buffer hold changes youÕve made
until a new sound, preset or rhythm is selected, or until you save your work. After each new
recording and track command in the 16 Track Recorder, the edit buffer temporarily retains
the trackÕs previous state, allowing you to undo your most recent track procedure.
Effect
Signal processing typically applied to sounds as a final touch. Many effects simulate
ambiences of a realistic or fantastic nature. Effects include reverbs, delays, choruses,
flangers, phasers, distortion and so on. Every ZR-76 song offers a global chorus and a global
reverb setup. Each sequence offers an insert effect. Many of the ZR-76 sounds also contain
insert effects. Any sound in SoundFinder or on a track in the 16 Track Recorder can be routed
to any of the ZR effects.
Effect Bus
A pathway leading to each of the effect possibilities: insert, global chorus, global reverb or
dry. A sound assigned to an effect bus is processed by the effect for which the pathway is
named. Synonym for ÒFX Bus.Ó
Envelopes
Devices that allow the shaping of sounds and effects.
EPROM
A memory chip found inside the ZR-76 containing the computer programming code for the
ZRÕs operating system. The ZR operating system requires a pair of EPROMS.
Equalization (EQ)
The process of altering the frequency content of a sound. Everything we hear is comprised of
a number of sound waves occurring at the same time, at different pitches, or Òfrequencies.Ó
Equalization allows you to change the volume balance of the frequencies within a sound.
Feedback
A signal routing in which the output of an effect is mixed back into the input. Feedback of a
delay line is also called regeneration.
Fill
A non-repeating drum or percussion phrase typically used to set up transitions in a musical
arrangement.
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Filter
A device that attenuates selected frequencies within a sound or effect. For example, a highpass filter passes all signals higher than a selected frequency, attenuating all those
frequencies below it. A low-pass filter passes all signals below a selected frequency,
attenuating all those frequencies above it.
Flanger
A processor that simulates the effect of two synchronized tape machines playing back the
same signal, with the speed of one machine being slowed slightly by the gentle pressing on
the outer shellÑor flangeÑof one of its tape reels. This small amount of delay causes a
phasing cancellation that momentarily filters out elements of the sound being processed.
Changing the delay time causes the ÒflangeÓ effect. In the ZR-76, flanging is achieved using
interpolated digital delay lines.
FLASH
A long-lasting form of computer memory utilized in the ZR-76.
Frequency
The number of times per second that a sound wave repeats its excursion from maximum
compression of air pressure to minimum compression and back to its starting pointÑeach
excursion is called a cycle. The number of cycles per second is expressed in Hertz (Hz) and
kiloHertz (kHz). Lower frequencies produce lower pitches and higher frequencies produce
higher pitches. Sounds are comprised of a number of sound waves of varying frequencies
occurring at roughly the same time. ÒFrequencyÓ may be used a shorthand for one of those
sound waves, or ÒfrequenciesÓ for a group of them.
FX
Abbreviation for Òeffect.Ó See ÒEffect.Ó
FX Bus
Synonym for ÒEffect Bus.Ó
Gate (Noise Gate)
A device that attenuates a source signal falling below a pre-determined volume threshold. A
useful tool in eliminating noise and controlling signals that use an effect. Ambiences such as
reverb may be gated to produce an extreme and artificial-sounding decay.
General MIDI
A set of standards providing a uniform palette of sounds, drum kits and effects to be used in
the creation of MIDI recordings.
Global
ÒGlobalÓ has two meanings in the ZR-76: 1. parameters that affect the operations on the
entire ZR-76; these are accessed by pressing the System button in the Disk/Global section of
the ZRÕs front panel. 2. a description of the chorus and reverb effects universally available in
every ZR song.
Hysteresis
The property of a system whose behavior is determined by the level, direction and history of
a controlling signal. Used in the ZR-76 to provide greater control over gating, triggering and
compression.
Idea
A piece of music played on the ZRÕs keyboard, and/or produced by the ZRÕs Drum Machine,
thatÕs been captured by the Idea Pad.
Layer
ÒLayerÓ has two usages in the ZR-76: 1. a set of digital sound recordingsÑor samplesÑthat
span the entire MIDI pitch range, and their associated parameters. Up to 16 of these can be
combined to create a standard ZR-76 sound (split and/or layer single sounds can have more
than 16). 2. a function available in SoundFinder that allows you to stack two sounds on top of
each other so that when a key is pressed, both sounds are heard.
LED
LEDs (Light Emitting Diodes) are small solid-state lamps found embedded in a number of
the ZRÕs buttons. Under normal conditions, they have a virtually unlimited lifetime.
LFO
An oscillator that generates sound waves at a frequency below the audio spectrum. These
low-frequency waves can modulate audible sound waves to produce vibrato, tremolo, and
other effects. They can also be employed to produce rhythmic changes in various effects.
LFO Depth
The amount of LFO modulation.
LFO Rate
The speed at which an LFO wave completes a single cycle.
Limiter
A device that will prevent a source signal from exceeding a pre-set amplitude threshold. A
limiter can be thought of as a compressor with an infinite compression ratio.
Loop Length
The length, in bars, of a Drum Machine variation; when the variation plays to its end, it
starts playing again from its beginning without stopping.
LSB
Many MIDI controllers use a pair of MIDI messages. The firstÑthe MSBÑfor ÒMost
Significant ByteÓÑchooses among 128 sets of MIDI values, each of which contains 128
values of its own. The LSBÑfor ÒLeast Significant ByteÓÑselects one of the 128 values
contained in each MSB set. The ZR-76 MIDI Implementation Chart in this chapter provides
information on the proper use of MSB/LSB values with various MIDI controllers and the ZR76.
Merge
To combine the data on one track in the 16 Track Recorder with the data of another. One of
the 16 Track Recorder Copy functions.
MIDI
Musical Instrument Digital Interface. A communication protocol for musical instruments.
MIDI has expanded the ability of the electronic musician to interconnect products from
different manufacturers through the use of this single communication protocol. See ÒWhat Is
MIDI?Ó elsewhere in this chapter for more information.
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MIDI Controller
ÒMIDI controllerÓ has two different usages in the ZR-76: 1. a physical device that produces
MIDI messages, including the ZRÕs keyboard, pitch bend wheel, mod wheel and foot controls,
as well as external devices that can be used to access the ZRÕs sounds. 2. the types of
messages produced by devices such as those described in the first meaning, including Pitch
Bend messages, Volume messages and many others. MIDI controllers are referred to by
name and/or number. The ZR-76 responds to all MIDI controller messages.
MIDI In
Theon the ZRÕs rear panel that receives MIDI data transmitted to the ZR from an external
MIDI device.
MIDI Merger
A device that allows a MIDI instrument to receive MIDI data from multiple transmitting
instruments through a single MIDI In jack by combining all of the instrumentsÕ data into a
single MIDI data stream. MIDI Mergers are available as self-contained devices; many MIDI
patchbays also offer built-in MIDI merging. See ÒMIDI Patchbay.Ó
MIDI Out
The jack on the ZRÕs rear panel that transmits MIDI data from the ZR to an external MIDI
device.
MIDI Thru
The jack on the ZRÕs rear panel that passes along MIDI data received by the ZRÕs MIDI In
jack.
Modulation
Any change made to a sound, sound wave or effect, either through pre-programmed
automatic devices or real-time manual manipulation.
Modulator
Any device, real or software-based, that can be used to change a sound, sound wave or
effect.
MSB
Many MIDI controllers use a pair of MIDI messages. The firstÑthe MSBÑfor ÒMost
Significant ByteÓÑchooses among 128 sets of MIDI values, each of which contains 128
values of its own. The LSBÑfor ÒLeast Significant ByteÓÑselects one of the 128 values
contained in each MSB set. The ZR-76 MIDI Implementation Chart in this chapter provides
information on the proper use of MSB/LSB values with various MIDI controllers and the ZR76.
Muted
The state of a drum kit zone when itÕs silenced, and the inaudible state of a phrase played by
a zone in a variation or fill. The opposite of Òactive.Ó Also the state of a track in the 16 Track
Recorder when the FX/Mixdown Mute button has been pressed in order to silence it.
Noise
A software mechanism that produces a randomly fluctuating level, used to create random
modulation in a sound or effect.
Normal LFO
A ZR-76 LFO whose rate is set to a fixed time value.
Overdubbing
Adding a new recording to material previously recorded on the track. In the ZR-76, this is
accomplished through the use of the Add recording mode. Historically, this was achieved by
making a copy of tape recording as new recording occurred, and combining both elements
into a new recording.
Pan
The apparent location of a sound relative to the left and right speakers used in a
stereophonic sound system.
Parameter
Any setting of the ZR-76 that can be changed or modified.
Parametric EQ
An equalizer for targeting specific frequency regions in a sound with pinpoint accuracy.
Paste
To copy data from one track to another, replacing any data already on the track. One of the
16 Track Recorder Copy functions.
Patchbay
A central junction box for audio or MIDI cables. A patchbay allows the interconnection of
instruments, consoles, recorders and effect devicesÑand the changing of those
connectionsÑthrough electronic switching, eliminating the need for physically unplugging
and re-plugging cables.
Phaser
Originally conceived as an approximation to the flange effect. All-pass filters are used in
place of the delay lines. All-pass filters introduce delay by modifying signal phase, hence the
name.
Pick-up
A few lead-in notes that occur prior to the beginning of a composition, or prior to a section of
a composition.
Pitch Table
A set of tuning instructions that tell the ZR-76 what pitch to sound in response to the receipt
of MIDI note-ons.
Portamento
The gliding in pitch of one note to another.
Pre-roll
To listen to music from a point prior to the location at which recording will begin, in order to
allow a musician to become accustomed to the music before recording commences. Similar in
use to a countoff.
Program Change
A MIDI message that instructs the ZR-76 to select the sound whose Program Change
number corresponds to the Program ChangeÕs numerical value.
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Punching
To re-record a portion of a track. To Òpunch inÓ is to start recording somewhere in the middle
of a track; to Òpunch outÓ is to stop recording somewhere in the middle of a track.
Q
A bandwidth control that determines the width of the resonant peak at the center of the
frequency band. This is equal to the cutoff frequency divided by the bandwidth. By raising
the Q value, a narrower bandwidth is selected.
Q u an t i z e
To align the notes in a track to multiples of a selected metric value. For example, to quantize
a track to quarter notes is to move each note in a track to its nearest quarter note.
Quantize To
The metric value to which notes on a track in the ZR-76 will be aligned when quantized.
RAM
For ÒRandom Access Memory.Ó A very fast type of temporary computer memory used in the
ZR-76.
Rec o rd i n g Mo d es
The various ways that recording can occur in the 16 Track Recorder. In Replace mode, newly
recorded music replaces music already on the selected track; in Add mode, new music is
combined with music already on the track; Track Mix mode allows the recording of Mix and
Pan knob movements onto the selected track.
Regeneration
A signal routing in which some of the output is mixed back into the input. The feedback of a
delay line is also called regeneration.
Region
A section of a sequence determined by the settings of the Region From and Region To
parameters. A sequenceÕs region is the portion of the sequence that will be heard when the
sequence is played back, and can determine an area of the sequence to be processed by the
16 Track Recorder Copy, Erase and Quantize functions.
Region From
The start point of a region, as in, Òthe region goes from here to here.Ó
Region To
The end point of a region, as in, Òthe region goes from here to here.Ó
Release Velocity
The speed at which you let go of keys on a keyboard. Release velocity sensitivity can be
used as a modulator of ZR-76 sounds.
Replace Mode
A mode of recording in the 16 Track Recorder where new material recorded on a track
replaces music previously recorded on the track. See ÒRecording Modes.Ó
Resonant Peak
The frequency selected in an equalizer (EQ) or filter. Q may be as narrow as a single
frequency or broadened, using a Q control, to include adjacent frequencies.
Reverb
Multiple echoes and reflections that combine to create an ambient effect that fades to
silence in imitation of the manner in which sound naturally decays. Different devices have
been used to simulate these ambiences: springs, plates, tubes and chambers. The ZR-76 uses
digital processing to create new environments and simulate these classic ambiences.
Rhythm
A collection of complementary Drum Machine variations and fills. Each rhythm uses a
stylistically appropriate drum kit sound.
Rhythm Name
The name of an individual Drum Machine rhythm.
R h y t h m T r ac k
A special track in the 16 Track Recorder that can play a rhythm from the Drum Machine, and
can record drum or percussion notes played on the selected rhythmÕs drum kit.
Rhythm Type
One of the categories into which Drum Machine rhythms are sorted.
RhythmFinder
The method for selecting Drum Machine rhythms. Rhythms can be selected using the
Rhythm Type and Rhythm Name knobs, or by holding down the Select Rhythm button and
spelling the name of the desired rhythm on the ZRÕs keyboard.
ROM
For ÒRead-Only Memory.Ó A type of permanent computer memory used in the ZR-76. ROM
memory contains sounds and rhythms programmed by ENSONIQ.
RPN
For ÒRegistered Parameter,Ó a set of MIDI Controller values used for the adjustment of
various pitch bend and tuning parameters.
Sample
A digital recording used as the basic building block of ZR-76 sounds.
Scoop
To selectively erase notes out of a track. Notes can be scooped out one-by-one, or all of a
specified noteÕs occurrences in a track can be scooped out at once.
Sequence
A piece of music recorded as MIDI data.
Sequencer
A device that records and plays back MIDI data.
Signal
A general term for sound.
Silence
SMF
The abbreviation for ÒStandard MIDI File.Ó See ÒStandard MIDI File.Ó
Song
In the ZR-76, a song is a collection of up to 24 sequences, a song playlist if one has been
created, and a set of global chorus and global reverb settings.
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Song Memory
The area of RAM memory in which the ZR-76 holds song data. The ZR-76 song memory can
hold as many songs as available memory allows. There is always a song active and available
in the ZRÕs Song Editor.
Song Playlist
A list of sequences arranged into a song structure. In the ZR-76, to hear a completed song,
you play its song playlist.
Sound
A sound in the ZR-76 is a collection of one or more layers of samples. Most standard ZR-76
sounds have a maximum of 16 layers, though split and/or layer single sounds may have more.
Drum and percussion kit sounds are a special type of sound in that they contain no layers of
their ownÑeach key uses a separate sound.
Sound Name
The name of an individual ZR-76 sound.
Sound Type
One of the categories into which sounds are sorted.
Sound Wave
A periodic disturbance in air pressure that causes the eardrum to vibrate in response.
SoundFinder
SoundFinder has two meanings in the ZR-76: 1. The method by which sounds (and presets)
are selected in the ZR-76. You can select sounds using the Sound Type and Sound Name
knobs, or by holding down the Select Sound button and spelling the desired soundÕs name on
the ZRÕs keyboard. 2. The area in the ZR-76 where sounds, splits, layers and presets are
created, edited and used; also, in a sense, the arena in which the Idea Pad and Drum
Machine operate.
Split
A combination of two sounds, each played from its own area of the ZRÕs keyboard. Splits are
created by pressing the Split button in SoundFinder.
Split Key
The key on the ZRÕs keyboard below which the split sound is heard in SoundFinder.
Standard MIDI File
A disk file containing a sequence recorded using the Standard MIDI File format. Standard
MIDI File sequences can be played by any sequencer of any brand or type that supports the
Standard MIDI File format.
Standard Sound
A ZR-76 sound program that is heard over the entire keyboard range. Standard sounds
typically have up to 16 sound layers, though split and/or layer single sounds may have more.
S y n c L FO
A ZR-76 LFO whose rate is synchronized to the ZRÕs clock source.
SysCTRL
Synonym for Òsystem controller.Ó
System Controller
Any of four assignable MIDI controllers available in the ZR-76, useful for enabling systemwide ZR response to non-standard MIDI controllers. Each system controller may be set to
any MIDI controller number (000-127), and may be used in the modulation of sounds and
effects. Each system controller may also be referred to as ÒSysCTRLÓ or ÒCTRL.Ó
Template
A collection, stored in the ZRÕs FLASH memory, of 16 Track Recorder quantization settings.
Track
A receptacle for recorded MIDI data. Each musical performance recorded in the ZR-76 is
recorded on a track. Each sequence in the 16 Track Recorder contains 16 tracks.
Track Mix Mode
A method of recording in the 16 Track Recorder that allows you to record Mix and Pan knob
movements for a track onto the track. See ÒRecording Modes.Ó
Transient
A quick, momentary burst of high-amplitude sound.
Value
A ZR-76 parameter setting.
Variation
A repeating drum or percussion phrase used in the Drum Machine.
Velocity
The forceÑinterpreted in MIDI terms as speedÑwith which you strike keys on a keyboard.
Velocity sensitivity can be used as a modulator of ZR-76 sounds and effects.
Voltage-Controlled
Filter
A filter whose cutoff frequency is modulated by input voltage. Useful for creating distortion,
wah wah, and envelope (auto) wah effects.
XLR Connector
A type of professional audio connector, with three pins: pin 1 is the ground reference, pin 2
carries the ÒhotÓ signal, and pin 3 carries the anti-phase ÒcoldÓ signal. Designed for use with
balanced inputs and outputs.
Zone
A range of keys on the keyboard within a drum kit sound thatÕs allocated for the
reproduction of an instrument (or type of instrument) in a real drum kit.
ENSONIQ ZR-76 MusicianÕs Manual
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