Issue #90
Iransmiq'
Hacker
f
W AVe B O Y ' s A u d i o - l n E f f e c t s D i s k f o r t h e E P S
Another Unauthorized Break-in
Craig Anderton
Jhe Independent News
I^Aagazine for Ensoniq Users
In this issue
Articles;
Using the EPSs & the ASR-10 With an
External Sequencer
None of this interferes with standard EPS
operation, so any instruments you have
loaded can still feed busses 2 and 3 if you
want effects. Impressive, eh?
Gary
Dinsmore
7
SQ-1/2 & KS-32: Strings 'n' Things
Mark
Clifton
8
Upgrading the ASR-10 Memory
About thie AIE
The package consists of a concise man
ual, along with a single EPS floppy disk
containing 21 effects files and the latest
EPS-16 PLUS operating system (1.3). 13
effects are identical to the original EPS
Ensoniq
Corp
10
An SQ-R Primer for ESQ-l/SQ-80 Owners
P a r t n
Brian
Post
11
The VFX Delay-Flange
Dara
Jones
14
algorithms, but include the audio in op
For: EPS-16PLUS.
Product: Audio-In Effects Disk 1.0.
Price: $39.95.
From: Waveboy Industries, PO Box 233,
PaoU, PA 19301, (215) 251-9562.
tion. Another five are new effects (one is
SDs & VFXs - The Pipe Organ
a plate reverb that doesn't have audio in),
and there are three parallel effects that are
Jim
offshoots from the Parallel Effects Disk.
Tw o o f t h e s e h a v e t h e a u d i o i n f e a t u r e .
Finally, there are three instrument files, a
song file, and bank file that loads a demo
of the Time-Dicer effect (more on this
Grote
20
Reviews:
Waveboy's Audio-In Effects Disk
Craig
Anderton
cover
The DP/4 - Part B
later).
Charles
This follow-up to the ultra-cool Parallel
Effects Disk (or PED, reviewed in Hacker
Issue #82) continues the Waveboy tradi
tion of multiplying EPS-16 PLUS power
for cheap. The Audio-In Effects Disk
Using the AIE is easy: you load from the
EPS 1.3 operating system, plug your in
Ensoniq's SL-4 & 5 for EPSs & ASR-10
(AIE) contains several algorithms which,
once loaded from disk, give you the
lows in the PED tradition — it's for
option to route any instrument plugged
into the EPS-16 PLUS sampling audio
input jack through the internal effects via
strument of choice into the audio in, load
the desired effect from disk (it becomes
the bank effect), and go. The manual fol-
people who want to get started without
going through a lot of excess verbiage,
yet all the information you need is pretty
much there. (By the way, if you lose the
Bus 1.
manual and don't know how to get in
touch with Waveboy, scroll through the
But that's not all; you can do vocal har
monies a la DigiTech Vocalist, change
the pitch of a sampled loop in the EPS
without changing the tempo, or change
the tempo without changing the pitch.
parallel effects parameters and you'll find
the address and phone number).
ISSUE NUMBER 90, $2.50
Alan
pops when loading new effects, it's prob-
Fischer
Macintosh
Latter Sound's Vol. 1 for $Q-80s
Michael
Mooney
4
13
15
Regular Stuff:
Random
Notes
3
Hypersoniq
4
Ensoniq's Customer Service Q & A
Anthony Ferror a & Dennie Edwards 18
C l a s s i fi e d s
19
Hackerpatches
Sam Mims & Jeffrey Rhoads 22
The
Since you can sometimes hear clicks and
R.
Current
Hacker
Interface
24
O.S
Booteeq
27
31
DECEMBER, 1992
ably a good idea to lower the volume before you press Enter.
Also, you should spend some time determining the proper set
tings for both the EPS input and source output levels to avoid
especially when the algorithm is stretched to extremes. (By the
way, altering the pitch bend changes the time a loop takes to
complete, just like a normal sampler. Time or pitch is preserved
only when transposing from the keyboard.)
distortion (unless that's an effect you want).
If you have a problem hearing the sounds of instrument loaded
I did run into two bugs (sometimes the two parallel effects with
audio in wouldn't pass the input signal, and also, the AIE disk
wouldn't boot from Flashbank) but I alerted Bill Mauchly, the
program's author, who fixed both bugs before the review went
into print. Those who already have the AIE disk and have ex
into the EPS, don't panic; any instruments feeding Bus 1 won't
be heard since that bus is dedicated to the audio in. So, reprogram any instruments to Bus 2 or 3 if needed.
perienced these problems should contact Waveboy about up
About the Algorithms
grading.
Most of the algorithms are self-explanatory if you're familiar
However, in the process of checking out the Waveboy disk, I
did find an EPS bug; it's possible to crash the EPS and bring up
the dreaded Error 129 message by pressing Edit, Effects, then
holding down the left arrow button and stepping from screen to
screen with the down arrow button (EPS power users often get
into the habit of stepping through screens this way). Since this
with the EPS-16 PLUS effects, and there's the usual collection
of tweakable parameters. However, there are a couple of effects
making their debut on this disk that require further explanation.
The Time-Dicer+ algorithm is a pitch shifter, but don't expect
an Eventide H3000. Most pitch shifters color the sound, and
happened with the ROM as well as Waveboy effects, it seems
very unlikely this is Waveboy's problem.
this one is no exception. However, there are enough parameters
and options that you can make some truly fabulous sci-fi
sounds as well as do the normal octave above/below type ef
fects. If you like ring modulators and think tape distortion is
one of analog tape's assets and not drawbacks, you'll get along
The Dynamic Duo
just fine with the Time-Dicer.
The PED and AIE disks complement each other. The PED is
essential if you use the EPS multi-timbrally and want to have
The 3V Harmony algorithm generates three-part harmonies
from the input signal. One simple application is to play a single
note melody into the EPS audio in, and use the EPS keyboard
different effects on different instruments. Granted you can do
this to a certain degree with a stock EPS (as explained in Ensoniq's latest "Musical Perspective" brochure, written by
yours truly), but the PED trades off a bit of effects quality for a
to specify the chord type (major, minor, 7th, etc., all of which
are referenced to middle C). The input signal will appear in
glorious three-part harmony. For example, if you have C major
held down on the EPS, singing F gives you F major, B give you
B major, etc. If you hold down C minor, singing F gives F
lot more versatility, and it's worth it.
The AIE is a combination utility ("gee, sure wish I had one
more decent reverb lying around for the background vocals")
minor, B gives B minor, and so on.
and creative tool — some of the time sliced and harmonized
sounds are truly bizarre, yet not repelling. If you like industrial
Voices will not steal from keys that are held down, so if you're
holding down a major chord and want to add a 7th, you'll have
to let up on one of the notes before you play the 7th.
sounds, you'll love the kinds of noises the pitch shift-based al
gorithms can create. It can even perk up a guitar in a pinch with
the distortion/chorus/reverb type algorithms. Finally, AIE also
brings some DP/4 flavoring into the EPS-16 PLUS; if you've
been interested in checking out a DP/4, this gives you a taste
If you're a vocalist, you can sequence a series of chords into
the EPS, and as you sing along with it, have your voice turn
into three-part harmony. This is conceptually similar to
DigiTech's Vocalist, although the fidelity of the dedicated
(as well as a hint of how effects work in the ASR-10).
From what I understand, the next disk in the series will add
more synthesis functions to the EPS-16 PLUS. Based on Wave-
DigiTech box is superior. Those with minimal music technique
can step time a chord progression into a sequencer, then bang
on just one note to create chords (all you need is rhythm).
boy's track record, I'm looking forward to it already. In any
event, Waveboy has done it again: come up with yet another
nifty way to get more mileage out of your keyboard. That's not
a bad idea in itself, but the execution is what makes this disk
well worth the cost. ■■
Applications and Bugs
One of the most interesting Time Dicer applications is chang
ing a looped, rhythmic sample's pitch without changing the
tempo. You can also alter the tempo without changing the
pitch, although this requires a more drastic compromise in
terms of signal quality. Again, don't expect super high-fidelity
— but you can partake of some useful as well as novel noises.
Bio: Craig Anderton is a musician (ten recordings), author
(eleven books), and lecturer. He is currently Editor-at-Large
for Guitar Player magazine. West Coast editor for EQ, and a
regular contributor to Keyboard, Pro Sound News, and SoundOn-Sound magazines.
2
Front
Panel
RND (J-//)
of TriviaToons (from the Michael Ford Archives), each retailing for
$24.95. Titles include 2001, Mission Impossible, Star Trek, Jeopardy,
Honeymooners and Our Gang.
Hacker News
It was a noble experiment... (Maestro, a little back-peddalling
music, please.) You've probably already noticed yet another change
in our printing methods. After two months of panic and crises in
learning how to run our own press in the midst of meeting a publica
TRANSONIQ-NET
HELP WITH QUESTIONS
All of the individuals listed below are volunteersl Please take that
tion schedule, we've found another web-press printer who can print
into consideration when calling. If you get a recording and leave a
the Hacker for just a slightly higher cost than we can. Of course,
there are always tradeoffs. In this case, our paper quality is down
about 3db. We hope that you, our readers, are so tickled with our
content that the paper is of little consequence. We've lost a little
durability and "postal resistance," so be sure to let us know if your
issue arrives damaged and we'll be glad to replace it. What you've
gained is that your publisher gets to retain what's left of his sanity.
At this point, we intend to keep the press for such non-scheduledependent things as flyers and renewal notices. It's very risky for
anyone to be relying on a single press to meet a publication schedule
— it's just not that kind of critter. Maybe someday in the far distant,
message, let 'em know if it's okay to call back collect (this will
greatly increase your chances of getting a return call).
All Ensoniq Gear - Ensoniq Customer Service. 9:30 am to noon, 1:15
pm to 6:30 pm EST Monday to Friday. 215-647-3930.
All Ensoniq Gear - Electric Factory (Ensoniq's Australia distributor).
Business hours - Victoria. (03) 4805988.
SD-1 Questions - Philip Magnotta, 401-467-4357, 4 - 10 pm EST.
very dim future we may try for Hacker covers or something.
VFX Sound Programming Questions - Dara Jones, Compuserve:
71055,1113 or Midi-net and Fido-net. The local BBS is the Nightfly in
Transoniq-Net News: Rob Feiner has expanded his question-answer
DaUas: 214-342-2286.
ing domain to include hard drive systems, studio and computer ques
tions. He's also added his CompuServe address (71024,1255). Philip
SD-1 Questions - John Cox, 609-888-5519,6 - 8 pm EST.
Magnotta has been added to help with SD-1 questions.
SQ-80 Questions - Robert Romano, 607-533-7878. Any oT time.
Hard Drives & Drive Systems, Studios, & Computers - Rob Feiner,
Ensonlq News
Cinetunes. 914-963-5818. 11 am - 3 pm EST. Compuserve: 71024,1255.
EPS/EPS-16 PLUS/ASR-10: After a couple of false starts we're
SQ-80 Questions - Michael Mortilla, 805-966-7252 weekends and after
5 pm Pacific Time.
pleased to announce the release of our first CD-ROM, CDR-1 for the
EPS-16 PLUS and ASR-10 samplers. CDR-1 includes SLT-1 through
13, ESS-1 through 12 (Signature Series) and the Essential Sounds
that were shipped with the EPS-16 PLUS. This is the equivalent of
181 floppy disks, which would have cost $1,388.75. By buying this
one CD-ROM disk for only $399.95 you save almost $1000! The up
coming CDR-2 will include SL-1 through 20 and ESS-13 through 20
(Signature Series), and will also cost only $399.95 - a savings of
EPS, EPS-16 PLUS, & ASR-10 Questions - Garth Hjelte. Rubber
Chicken Software. Pacific Time (WA). Call anytime. If message,
24-hour callback. (206) 821-5054.
ESQ-1 AND SQ-80 Questions - Tom McCaffrey. ESQUPA. 215830-0241, before 11 pm Eastern Time.
$1000.1
ESQ-1 Questions - Jim Johnson, (503) 684-0942. 8 am to 5 pm Pacific
Time (OR).
Other upcoming releases for the EPS/EPS-16 PLUS/ASR-10 samp
lers include: SL-18. An excellent collection of synth-oriented sounds,
EPS/MIRAGE/ESQ/SQ-80 M.U.G. 24-Hour Hotline - 212-465-
created for Ensoniq by Erech Swanston and Rob Feiner, of Hacker
3430. Leave name, number, address. 24-hr Callback.
fame! Includes 5 disks and a sound manual. Suggested retail: $39.95.
And, the ESS-I8 JeffLorber Signature Series. We realize you have
SAmpling & Moving Samples - Jack Loesch, (201) 264-3512. Eastern
waited a while for this collection, and we're sorry for the delay. But
Time (N.J.). Call after 6:00 pm.
when you hear these great sounds and drum loops crafted by one of
LA's top producer/performers you'U forget the delay and start jam
ming! Includes 4 disks and a sound manual, suggested retail: $39.95.
MIDI Users - Eric Baragar, Canadian MIDI Users Group, (613) 3926296 during business hours. Eastern Time (Toronto, ONT) or call
MIDILINE BBS at (613) 966-6823 24 hours.
KS-32/SQ Series Instruments: EX-1 Sound card which features 160
new Sounds for any of the 32-Voice KS/SQ instruments. This new
card utilizes the new 16-bit expansion waveforms and provides a
broad range of imaginative and imitative sounds for your music. Sug
Mirage Sampling - Mark Wyar, (216) 323-1205. Eastern time zone
(OH). Calls between 6 pm and 11 pm.
SD-1, sound programming, sequencing, & MIDI - Eric Olsen,
Pegasus Sounds, (616) 676-0863. Mon, Tues, Thurs, Fri: 4 pm to 9:30
pm Eastern Time. Sat: 12 to 10 pm. (No calls on Wednesday please!)
gested retail: $99.95. And the PC-1. A new concept in accessories for
your KS-32, this card contain 70 Performance Presets which can be
loaded into the KS-32, giving you pre-programmed splits, layers and
sequence templates. Suggested retail: $99.95. A PC-2 will be avail
able in January for the SQ 32-Voice keyboards.
SQ-1 Questions - Pat Finnigan, 317-462-8446. 8:00 am to 10:00 pm
E S T.
ESQ-1, MIDI & Computers - Joe Slater, (404) 925-7929. Eastern time
S D - 1 3 2 - Vo i c e / S D - l / V F X - s d : W e h a v e r e l e a s e d t h r e e m o r e v o l u m e s
z o n e .
3
code GalaxyTM format. Extensive performance notes accompany
HYPERSONIQ
the collection. For further information, contact: Redshift Limited,
4808 Hollow Comer Road, Suite 126, Culver City, CA 90230.
NEW PRODUCTS
MIDI Mark Productions announces the arrival of its newest
sampling CD — the "Dance Construction Set #1." The CD con
Redshift Limited announces the availability of their SQ-80
tains over 1,200 samples of drum loops, synths, basses, effects,
vocal fx, and drums. Samples were chosen for their effectiveness
patches as a three-volume set. the PrivatLabeUM Collection. The
price of the set has been sharply reduced to $32, including ship
ping and handling. The 120 patches include few imitative sounds,
no drum kits, and not one single sound effect! Instead, they con
centrate on the strengths of the SQ-80 with an emphasis on
musicality, timbral movement, and playability throughout the key
board range. The collection is useful to musicians playing in
styles ranging from hard rock to pop to New Age to cool jazz. The
PrivatLabel Collection is available in either SQ-80 disk or Op-
in "New Jack, House, R&B, Techno and Hip Hop" music. There
are over 130 drum loops made with drum machines or live drums
and no rights reserved. An additional 60 Hip-Hop and New Jack
drum loops do have rights reserved. This CD has already received
rave reviews in England, N.Y., and by Los Angeles studio
musicians. Price: $75, plus $3 s/h. Contact MIDI Mark Produc
tions, P.O. Box 217, Whittier CA 90608. Phone: (310) 699-0095.
The Ensoniq DP/4
R e v i e w
Part II
Charles R. Fischer
As you may remember, back in Part 1 our heroes learned of an
Fortunately, many of the effects that accentuate the noise (com
exciting new digital multi-effects processor that threatened to
overturn the entire music industry's concept of what a
multireffects unit was capable of doing. This device, known to
pression, distortion, amp emulators) have been thoughtfully
equipped with noise gates, which can reduce the hiss to an in
audible level.
us as the Ensoniq DP/4 Parallel Effects Processor, has been
known to gamer rave reviews from the music press, while strik
ing fear into the engineering staffs of competitors.
For my listening tests, I used three different MIDI instruments
with the DP/4: an Oberheim Xpander, an Alesis D4 drum
module, — and, surprise! my good ol' SQ-80, which was picked
to see if the DP/4 could put any life into those sleepy 8-bit
Now that we're back for the finale, we can finally get to the
REAL important stuff — like how it sounds, what were its best-
waves. As it turned out, the surprise was on me.
and worst-sounding effects, its MIDI implementation, and my
overall opinion (if you haven't guessed already).
Not only did the SQ-80 and its characteristic grunge come alive
The Sounds
playing it again daily (something that has not happened in
with those sparkling effects, but it sounded so good that I began
years). What was really scary was when I called up my tuning
Sure, the features that we covered in Issue #88 are certainly
patch (a single-oscillator sound with no animation whatsoever),
run through a chorus-or-pitch shifter and delay presets (that's
noteworthy. However, they wouldn't really be worth very much
if the audio quality was lackluster. If you've been following En
soniq products for a while, you're probably aware that many
only 2 units), and ended up with fat analog timbres similar to a
Roland Juno in texture. While it would be pretty dumb to buy a
people identified their stuff with the "good price/performance,
DP/4 just to do that, I'm in awe of anything that can make that
lame sound" tag, (mostly due to the Mirage and ESQ-1). Maybe
stupid patch sound great!
this was true a few years ago, but newer models like the KS-32
and EPS-16 Plus should have laid this to rest. But even I was
The Xpander and the D4 sounded fine, too, although it would be
almost impossible to expect that after the SQ-80 miracle. For
another approach, I had a couple of friends run their guitars
through the various amplifier/speaker emulations (more on this
subject soon). But first, we'll cover how I responded to the
sound quality of the basic effects categories:
surprised to discover that the DP/4 sounds far better than most
signal processors in its price bracket — it sounds downright
t e r r i fi c !
I'm forced to admit that the DP/4 is one of the better sounding
digital processors I've ever used. While it's not quite as clean as
the Eventide H3000, and the reverbs aren't nearly as pristine as
those on high-end units from AKG and Lexicon, they're damn
Reverbs/Delays
Let's face it, the reverb sounds are one of the most important ef
fects to be found in any type of digital processing, period. And
for the most part, the DP/4 does an excellent job at producing a
good nonetheless (and considerably cheaper than these devices).
After having this thing around for a month, I've been able to
pick out a few imperfections here and there, but most of these
wide variety of reverb and delay effects.
flaws were inoffensive or easily corrected. For example, it is
possible for certain combinations of effects to get rather noisy.
First, the reverbs. You'll find a healthy assortment of presets
4
dedicated to reverb and ambience effects in each configurations
collection, which range from cliches to the truly bizarre. With
ten basic algorithms (each having an assortment of parameters
for tweaking), you've got an awful lot of stuff to work with. I
especially liked the "plate" algorithm, which seemed to have a
special airiness that meshed well with almost every sound I tried.
On the other hand, I never managed to figure out how to use
While I wasn't terribly enthusiastic about the pitch shifters on
board, the side effects are pretty much the same on anything
short of an Eventide H3000.1 don't want to imply that they're
unusable, as lots of people seem to be happy using worsesounding shifters than on the DP/4. Personally, I rarely use them
for anything more than detuning by a few cents sharp or flat for
fattening up textures, and the DP/4 sounded wonderful for this
purpose.
some of the weirder ambiences that I tried (although I can't say
that someone else couldn't). I did find that my favorite presets
used two or more units in parallel or series to provide a
smoother, more realistic sound. While the single-unit 'verbs
Amplifier/Speaker Emulations
Can an unassuming box filled with digital chips actually do jus
tice to a screaming Marshall or Boogie? When you start talking
aren't quite as spectacular, they're certainly more than good
about that possibility to the average brain-damaged guitarist,
you'll generally get reactions ranging between disbelief and
enough for most of us mortals.
revulsion. Well, I had three guitar molesters try out this much-
The delay algorithms were especially crisp and clean. I found
them to be universally wonderful. While most of the delay al
gorithms are usually combined with one or two other effects,
they all managed to sound excellent to these ears. Sure, decent
delays are pretty routine these days, but having a herd of pro
grammable, sweet-sounding delays chained together can lead to
all sorts of bizarre noises, especially when placed in feedback
hyped capability of the DP/4, and all ended up giving it passingto-pretty-good grades. While all agreed that it was audibly dif
ferent than the real thing, it was still good enough for recording
and low-volume situations. All three were able to point out some
of the limitations while wandering through the factory presets,
which depended on each person's tastes. On the other hand, I got
loops, series/parallel groupings, and other esoteric hookups. I
good results when playing my synths through the amp presets
(although I usually had to tweak a few parameters to get the
spent an afternoon listening to echoes moving around the room
in quadraphonic patterns — outrageous!
desired results).
went so far as to borrow an extra stereo amp and speakers, and
The Van Der Pol Filter
Choruslng/Flanging/Phasing
In case you're unaware, the V.D.P. is an algorithm designed to
This group of familiar effects is done very well on the DP/4: the
enhance the high-frequency spectrum, similar to "enhancers"
made by Orban (AKG), Aphex, and EBB. These devices can add
chorus and flanging presets usually impressed everyone. The
a sheen to otherwise dull-sounding audio sources.
phasers sound extremely smooth, even with lots of regeneration.
One exception was the rotary speaker; while adequate for use in
a busy mix, it simply lacked the animation and warmth of the
real thing. However, I found that by adding a little extra process
To my ears, the V.D.P. is fairly subtle. While it does add new
ing, it wasn't hard to make things sound significantly better. I
put together a 1-source patch with compression, a tube amp
cessive use can sound unnatural, mixing in just a dash of V.D.P.
spectra to the input, you'll find it necessary to experiment with
the settings to avoid adding noise or odd side effects. While ex
can help make a plain sound stand out in a mix, or can almost
emulator, rotating speaker, and reverb together to get a scream
make a nasty Mirage or ESQ-1 sound serviceable.
ing "Hammond-in-Heat" preset, which was far more satisfying
than the original.
Compressors, Eq, Et Al
Pitch Shifters
The compressors and other gain-control algorithms won high
This was one family of algorithms that didn't seem to be on a
marks due to their smooth response (these things aren't easy to
do digitally). Nice job, Ensoniq. The equalizer and filters are
pretty good, with an ability to be swept over a multioctave range
without zippering or noticeable audio artifacts —: even with fair
ly frantic real-time modulation going on. This makes them much
par with the others. I'm aware that designing a pitch shifter that
works well is not easy, even with all the technology available
today. Like most multi-effects units with this capability, the
DP/4 suffers from audible side effects when used for shifting
better for emulating analog-type filter technology (used in every
pitches over fairly wide intervals.
thing from the wahwah pedal to most synths and samplers). The
wahwah and envelope follower emulations are fantastic, with no
The DP/4 provides four different pitch shifting algorithms, with
each optimized for certain applications. One is designed for
detuning effects and pitch correction, as its can only be tuned up
and down a semitone from the input signal. Two other al
gorithms provide two notes that can be transposed over an oc
tave up and down (the version that uses two units sounds much
hiss, noisy pots, or batteries to worry about.
Two other things I should mention: Whenever a new preset or
configuration is called up, all of the audio outputs are muted
momentarily so that the processors can change what needs to be
changed without glitching. This is true of virtually all multi
processors on the market, as well. Finally, each of the four units
better than the 1-U selection). Finally, there's a combination
stereo pitch shifter/delay, which seems to be best used for creat
can be set to either switch over to dry signal, or to mute the out-
ing off-the-wall sound effects.
5
put whenever the effect is bypassed — yet another nice touch.
Second, It would be helpful to many folks if Ensoniq offered
(optional) balanced inputs and outputs for the DP/4. TTiere are
lots of people in the pro audio world who are using gear with
balanced I/O's exclusively, and making this option available
The MIDI Side Of Life
As you might expect. Ensoniq paid close attention to the MIDI
capabilities of the DP/4. You can use up to six channels for con
trolling individual sections if you wish — that's one channel for
each of the four units, another for controlling the configuration
would simplify using the DP/4 in sound reinforcement and
broadcast applications.
Finally, I'd love to see Ensoniq offer alternate algorithms for
this machine. While the present algorithms are great for
meat-and-potatoes music, how about software emulating a Moog
itself, and one dedicated to real-time control messages (although
many users should be able to get plenty of mileage from one or
two channels).
filter/VCA/and envelope generators, all under MIDI control? Or
maybe a set of state-variable filters, each having its own fre
For starters, each individual unit has its own MIDI parameters:
quency, resonance, and mode parameters? Or simulated tube
enable/disable, channel number, enable/disable program chan
ges, enable/disable program map, and what particular MIDI con
troller is used to bypass the effects from that unit. Having a
separate program map for each imit makes it possible to have all
compressors for all those folks who can't cough up the $2,500 or
so for a classic Pultec? After seeing what the folks at WAVeBOY managed to do for the EPS-16 Plus processor (reviewed in
the April '92 Hacker), I can't begin to imagine what might be
four units respond differently, even if they're sharing a single
MIDI channel — very smart design. Furthermore, the configura
tion portion of the DP/4 shares these features, allowing you to
done with the DP/4's turbopowered DSPs.
Conclusion
reconfigure the entire setup, or reroute all four units in various
ways using a single MIDI message.
What can I say about the DP/4 that doesn't repeat the rave
responses from other reviewers? I'm sorry if you had hoped that
Another clever feature is that all four units can be set to respond
to MIDI volume messages on independent channels, allowing
I would trash the thing in print, but it's rare to encounter pro
ducts as innovative, versatile, and worthwhile as the DP/4.1, for
you to perform automated mixes of MIDI gear that ignores
one, am impressed.
volume messages, guitars, vocals, etc. — without the need for a
separate MIDI mixer. Very nice — so far, so good.
With its multiple audio inputs and outputs available to be used in
almost any way you see fit, it's not very hard to imagine how
However, I was less enthusiastic with the way the DP/4 is
equipped for real-time parameter changes. Each unit only allows
control of two-user parameters each (that's eight overall),
many ways the average musician could make good use of its
talents. If you've got a multitrack recorder and a small MIDI
setup for songwriting and recording song demos, adding a DP/4
would make a big difference in making your home productions
sound more professional. And if you're performing live, effects
can be used on various mixer channels or sends, as required,
without any repatching or knob tweaking to deal with. The
regardless of the complexity of algorithm in use. As a fan of
using MIDI to control my effects in real time, I often find it
necessary to control a dozen (or more) parameters at a time! It's
unfortunate that my $500 Alesis Quadraverb (see review in the
Feb. '92 Hacker) lets you split its eight parameters anywhere
ability to reconfigure units between sources is what makes the
among the effects being used; I just wish that the DP/4 was at
least equal to the Quadraverb in this regard.
DP/4 so different from any other multi-effects processor on the
market — for now. I predict that we'll be seeing a number of
The DP/4 offers a wide range of choices for what might be used
copycat products with similar features in the near future, and
we'll see the DP/4 become to multi-effects units what the Lin-
for making parameter changes, including MIDI note number,
velocity, pitchbend, aftertouch, controllers #000 through #127,
the footswitches, and the footpedal/CV input. This selection is
nl>rum was to drum machines.
What makes the DP/4 even more remarkable is that it's En-
limited by the fact that the user is limited to choosing 8 of the
entire group; the same 8 controllers are used for all presets and
soniq's first stand-alone signal processor — and those respons
ible for its design and manufacture deserve to be congratulated
for their efforts. I can honestly rec-
configturations. I would have preferred an approach where a
separate set of controllers could be used with each preset, which
_ ommend this box to anyone in the
would have allowed a much greater amount of control over
things. Oh, well, maybe in the next software release...
market for a serious multi-effects
p r o c e s s o r . ■■
Caveats
Bio.: Charles R. Fischer works as a
test technician for AKG Acoustics,
Of course, I have a few gripes with the DP/4, most of which are
trivial. First, I'm really disappointed by the two previously men
tioned limitations pertaining to MIDI real-time controls; there
Inc. He has written more than 70 ar
ticles on electronics and music tech
nology for a variety of magazines,
designs custom MIDI controllers, and
are plenty of times where I could have done a lot more with the
DP/4 if it weren't for these limitations.
has played keyboards and synthe
sizers professionally.
6
Using the EPSs & the ASR-10 With
an Externoi Sequencer
Reworking Old Sequences
Gary Dinsmore
When you start grouping multiple pieces of MIDI gear
MIDI, and turn looping off.
around your EPS the problems multiply. This article is a
walk-through of one such problem that I worked through in
Step two is to set up Cakewalk to receive the MIDI data.
my home studio.
Go to the "Settings" menu and set the clock to internal. Next
My system now consists of the EPS, a Yamaha piano box, a
under "MIDI In" set up to record the channels that represent
Roland drum box, a Midiverb and a keyboard mixer on the
the tracks the EPS will be playing on. For example, if the
audio end feeding my old stereo. On the MIDI end I have a
3x8 MIDI switcher feeding Cakewalk in my 386 IBM clone
computer. The EPS has a Maartists 4x expander with SCSI
port in it and that is attached to a Seagate ST296N with 80
meg. This, incidentally, is the same drive I have in my com
puter, and it only responds on port 3.
EPS has data recorded for instruments 1, 2 and 3 set Cake
My current project is to take many of the sequences that I
recorded in the EPS and transport them over to Cakewalk and
tidy them up. I have worked out the steps for getting the se
select the "Channel table." With this you map the instrument
channel from the EPS to tracks in Cakewalk. I have used this
walk to record channels 1, 2 and 3. Also turn off the "MIDI
thru" feature. Next in the "Settings" menu select "Record fil
ter" and mark the events you want recorded. You need at
least "notes on" and "notes off." You can also record "after
touch," "controller changes," "patch changes," "chaimel
aftertouch" and "pitch wheel changes" if you desire. Next
to record a medley of songs in one Cakewalk worksheet. To
do this I record each song on a group of tracks in Cakewalk
like 1, 2 and 3 for the first song, 10, 11, 12 and 13 for the
second song, 20, 21 and 22 for the third song etc. For our
quence into Cakewalk and then moving it back to the EPS
^ter I have worked it over. The reason I like this procedure is
that I can remove most of the aftertouch and pedal data. This
reduces the size of the song by a bimch. I also add patch data
purposes here, however, just record onto tracks 1 through 8
to control the Midiverb and Yamaha. I find editing with the
or how ever many instruments are in your song. You must
full screen computer much easier and faster than the EPS.
Finally you can't work directly on the controller data in the
also activate the "Use Channel Table" in the upper left comer
of the screen. If everything winds up on the active track this
is the first thing to check. You may have set up the channel
EPS.
table but forgot to turn it on.
Here is how I edit sequences now.
On my setup I have to set switches to tell the EPS to look at
Cakewalk and for Cakewalk to look at the EPS for MIDI
Step one is to load the sequence in the EPS and set it up to
transmit the data to Cakewalk.
data. If yOu are hard wiring this, run a MIDI cable from the
EPS MIDI OUT to the computer interface MIDI IN A. Run a
Load the song and the appropriate instruments so you can
second cable from the EPS MIDI IN to the computer inter
play the song back. Start the song playing, select each instru
face MIDI OUT A.
ment in turn and turn the volume down with the data entry
slider to figure out which tracks are active. If you can't hear
which part disappears run the volume down on all of the in
At last you are ready to record. Rewind Cakewalk and
struments then bring one instrument at a time up.
Go to these instruments under EDIT INSTRUMENT mode
song on the EPS. When the song ends punch out with the
space bar and Cakewalk will ask if you want to keep the take.
Answer yes and you should get numbers in the events column
and set the instruments to send keys to either "BOTH" or
of Cakewalk.
Record. After a count in measure Cakewalk will start the
"MIDI" so Cakewalk will get some data to record. Continue
through the windows until you can set the MIDI OUT
CHANNEL. I simply set these to the instrument number.
That is instrument 1 gets MIDI channel 1, instrument 2 gets
Now you go ahead and edit to your heart's content. Play it
back, shift instruments, change pitch and velocity as you see
fit. When everything is perfect you are ready to send it back
MIDI channel 2 etc. Also go to the EDIT MIDI pages and set
to the EPS.
the EPS to transmit on the Instrument Channels.
Start by erasing the song and all sequences under COM
MAND SEQ- SONG. Change to EDIT MIDI and change the
Set up the EPS sequencer to take its timing from the external
7
1
MIDI IN MODE to OMNI. Check and see that the sequencer
the MIDI IN MODE to "MULTI." Now you can play the
edited song on the EPS without running the computer. If you
is set for MIDI for the CLOCK SOURCE.
now save the song and an instrument bank you can load the
Now go to the tracks in Cakewalk and turn on only those
song and the needed voices directly.
tracks you want to record to the first instrument in the EPS.
This could be a single track, several tracks or even all tracks.
Working between these two machines can be quite frustrat
ing. Each is so powerful that it can take a lot of trial and error
Now back to the EPS and hit the REC button. Since the EPS
to get all of the switches and modes set properly. To make
the task manageable you need a check list. Then, when you
have everything checked off you are ready to fly. m
is waiting for the external clock it will not start recording
until you hit Play in Cakewalk. When the song ends in
Cakewalk the EPS will also stop and ask you if you want to
"KEEP TRACK?" Reply with "Yes" as usual.
Select some new tracks in Cakewalk and a new instrument in
Bio: Gary Dinsmore has been an amateur musician all his
the EPS and repeat. Do this as many times as you have parts
life, at least all he can remember. Gary spends a lot of time
working with computers, so programing the EPS is an easy
extension of those skills. He has started doing a little
to record.
When you finish set the clock source back to INTERNAL and
freelance writing and published "The EPS Users Guide."
S Q - 1 / 2 & K S - 3 2 : H o w Things Work
Part 1: Strings 'n' Things
Mark Clifton
This is the first part in a series of articles aimed at the inter
mediate SQ-1 programmer who is familiar with basic sound
and is matched very nicely to the wavesample above it so that
there is very little change in timbre when you play between
design techniques (a graduate, one might say, of the Clark
Salisbury School of SQ), but may be unfamiliar with some of
the lesser known tricks that can spice up sounds and make
them more realistic. Each month I'll present a useful, realworld sound patch that uses special techniques (like realistic
them. The sample extends from F5 downward to G3. On the
rest of the keys below it is the double bass sample. And that's
where the problem begins.
To start, solo the String Ensemble waveform by itself with no
fancy modulation. Start playing a chromatic scale downward
starting from C4. Sounds nice, huh? A very usable mid- and
vibratos or wind instrument pitch blips) that can be applied to
other sounds. And in true Cliftonian fashion, I'll attempt to ex
plain exactly how those techniques do what they do. These ar
low-range string sound. That is, until you hit F#3 and wham!,
ticles will focus mainly on imitations of acoustic instruments.
the double bass sample happens. Just try playing a musical
phrase between the two wavesamples and you'll soon find out
If you're more into esoteric synthesized textures, check out
Jack Stephen Tolin's "Wave Mutilation 101" series, which
that it's like impossible to create a smooth sound with that
contains some of the most demented methods of destroying
waveforms ever to spring from the mind of a psych major.
bass sample pounding on the low notes. Now don't get me
wrong — both samples are good and usable. It's just that the
difference in sound between them can be rather jarring. I knew
that there was no way I could get a smooth low string with that
For this month, we'll look at the patch "Low Strings." This is
a patch that I created for Latter Sounds because I was in need
kind of timbral gap in the middle.
of a full, rich-sounding low string (Double Bass and Cello)
What I needed was a way to remap the two wavesamples so
that they overlapped, thus blending the sounds and allowing
section.
The String Ensemble waveform is good raw material for most
string sounds, but it has a major flaw in the lower range. The
waveform is multisampled, that is it is made up of several dif
each section to play through its full natural range, which ex
tends well past the ranges that the samples are mapped in. And
although the SQ doesn't allow you to remap the samples
ferent wavesamples mapped across the keyboard. This par
within a waveform it does allow you to shift wavesamples into
ticular waveform appears to have been made up of three
different note ranges.
separate samples. The uppermost one sounds like a violin sec
tion. This sample is mapped to F#5 and all keys above it. The
next sample adds what sounds like violas and maybe cellos
When you tune a waveform on the SQ-1 (using Oscillator
Tuning page), the samples it contains are shifted to a new note
8
SQ-1/2 & KS-32 Prog: Low Strings''
By: Mark Clifton
LFO
LFO Speed
3 8
3 6
3 7
4 0
40
4 0
Wave
String
String
V i o i a S e c t StringEns StringEns
Noise Rate
Level
2 4
24
Delay Time
000
000
Delay
5 9
59
24
59
Off
Off
WAVE
S e l e c t Vo i c e
Wave Class
O n
O n
O n
Expan
000
Forward
Forward
Forward
MODSRC
0 0
1 2
1 2
Wave
Tr i a n g l e
Off
Sine/Tri
Off
Veioc
Veioc
Restart
O n
O n
O n
MODAMT
- 0 9
-09
Restrk Decay
26
2 6
1
2
3
2L0
2Lo
Wave Direction
Start Index
MODSCR
2 6
F I LT E R
Filter 1
2L0
Sine/Tri
M P
1
2
3
initial
67
6 7
67
Peak
99
9 9
9 9
Break
9 2
9 2
92
Sustain
8 4
8 4
8 4
Attack
21
21
Decay 1
Decay 2
7 5
7 5
21
7 5
6 6
3 0
6 6
3 0
6 6
Release
Ve i - L e v e i
2 6
2 6
2 6
Ve i - A t t a c k
13
Convex
13
1 3
Convex
Convex
Normal
Normal
Normal
+00
+00
+00
Ve i C u r v e
Mode
KBD Track
3 0
1
2
3
Filter 2
2Lo
2Lo
2Lo
Octave
-1
022
022
022
1
2
3
+00
+ 0
+04
FC1 Cutoff
Semitone
-2
-04
E N V 2
+70
+70
+70
VOL
7 0
7 4
7 0
Fine
+00
+28
-24
FC1 KBD
- 2 9
- 2 9
- 2 9
Boost
O n
On
O n
ENV1
+00
- 9 9
MODSCR
L F O
L F O
L F O
MODSRC
LFO
Off
Off
L F O
+02
+02
+99
+02
MODAMT
+ 11
+ 11
MODAMT
+04
.
MODSCR
Off
Off
Off
FC2 Cutoff
036
0 3 9
+ 11
036
KBD Scale
+00
- 9 9
+65
ENV2
+46
+46
+46
Key Range
Output Bus
Priority
A4#-C7
C2-D4#
FX1
Med
FX1
FX1
Med
Med
Pan
+00
+28
- 2 8
Ve i w i n d o w
>000
>000
>000
PITCH
MODAMT
.
KBD Ptch Track
O n
O n
O n
FC2 KBD
+36
+36
+36
Glide
Off
Off
Off
FC1MOD-FC2
O n
O n
O n
Glide Time
0 0
00
0 0
2
3
1
2
3
initial
0 0
0 0
initial
5 6
5 6
5 6
Peak
0 0
00
Peak
9 9
9 9
9 9
Break
0 0
00
Break
86
86
8 6
Sustain
9 9
99
Sustain
7 2
72
72
Attack
00
0 0
Attack
08
0 8
0 8
Decay 1
Decay 2
99
99
61
61
9 9
87
8 7
8 7
Release
99
99
Decay 1
Decay 2
61
9 9
Release
77
7 7
7 7
Ve i - L e v e i
0 0
0 0
Ve i - L e v e i
46
4 6
4 6
Ve i - A t t a c k
0 0
0 0
Ve i - A t t a c k
06
0 6
0 6
Ve i C u r v e
Linear
Linear
Ve i C u r v e
Convex
Convex
Convex
Mode
Normal
Normal
Mode
Normal
Normal
Normal
KBD Track
+00
+00
KBD Track
+00
+00
+00
ENV1
ENV2
)UTPUT
HALL REVERB
FX-1
45
FX-2
2 5
Decay Time
3 8
Diffusion
5 4
Detune Rate
3 6
Detune Deptft
HF Damping
4 6
H F B a n d w i d t fi
9 9
LF Decay
fyiOD (Dest)
BY (MODSRC)
+ 11
fylODAIulT
+99
(Note; fyfodwfieei
increases reverb.)
14
FXi-iyiix
M o d w fi e e i
range to cause the change in pitch. In other words, if a
to appear as a result of the pitch bending.
key ranges of the wavesamples will shift downward so that
they are mapped an octave lower. Instead of bending the pitch
The technique is basically the same for Oscillator three except
that I used different tuning values in order to isolate the
waveform is tuned an octave higher than the original pitch, the
viola/cello sample. When both oscillators are played together
you get seamlessly overlapping bass and cello sounds that play
smoothly up the keyboard. Oscillator one was put in to cover
up some of the sonic artifacts resulting from the bending of the
pitch and also to add more fullness and consistency. This par
ticular patch was created on an SQ-32 voice. The "Viola Sect"
of the wavesamples, the SQ just moves them all to a different
location. This is done to keep the sound consistent and prevent
some of the weird sonic artifacts that can creep in when the
pitch is bent too severely.
When a modulator, however, is applied to pitch (on the Pitch
Mods page) it will bend the pitch without shifting the wave-
waveform is not available on the plain bread- and-butter SQ-1
but you can still get a nice realistic sound by replacing this
samples. This is done by altering the sample rate of the
waveform with the "String Ensemble" wave.
wavesample so that you can bend the sound as high or low as
you want without intruding into the key range of another
This technique can also be seen used in the patches "Tarkus"
(TH #86) and "Sabre Saw" (#66) by Jim Grote and in "Sam's
Piano" (#64) by Sam Mims. All three are VFX/SD-1 Hackerpatches but they transfer nicely into an SQ-1. Have fun shift
sample.
Using these principles, I tuned the sounds so that they covered
the key range that I wanted them to and then used an envelope
to bend the pitch into tune. If you'll take a look at Oscillator
two of "Low Strings*" you'll see how I tuned the lower double
bass sample until it covered the range from C2 (the lowest
note on the SQ-1 keyboard) to A#5. Since this put the sound
ing those wavesamples. But always remember this — if you
have a dog, don't shift them too high. Trust me, I found out by
accident how much good ol' Flem hates beat frequencies, mm
Bio: Mark Clifton is a player and composer of Jazz, New Age,
Orchestral and Rap (yes. Rap!) music and an aspiring Cyber
punk writer who also wouldn't mind going into sound design
or film scoring. His favorite color is the infinite, star-speckled
massively out of tune, I used Envelope 1 with the Fine tuning
parameter to bend the pitch until it was in tune. This took
some tweaking to get it right, but not bad, considering. Then I
scaled the sound (on the Keyboard Scale/Range page) so that it
faded out in the upper register where some noisy artifacts start
blackness of space.
9
Upgrading the ASR-10 Memory
Ensoniq Corporation
It seems as though there is some confusion as to what type of
3. The ASR-lO's four SIMM slots work in pairs of two; slots
1 + 2 (the slots filled with 1-meg SIMMs in a stock ASR-10)
SIMM (Standard Inline Memory Module) should be used in
the ASR-10 Advanced Sampling Recorder.
and 3 + 4. Each pair of SIMM slots must have the same size
SIMM. If you install a 4-meg SIMM in slot 3, then you must
This should help: Located on the bottom of the ASR-10 is a
install a 4-meg SIMM in slot 4. (Note: when installing
small hinged door that is secured by one Phillips-head screw.
Behind this door are fom SIMM slots. When shipped, the
SIMMs, it is suggested that the larger capacity SIMMs be
placed in slots 1 and 2 and that any smaller capacity SIMMs
ASR-10 will have two SIMMs located in the first two slots.
be placed in slots 3 and 4.)
These are 1-meg SIMMs, that when combined give the stock
ASR-10 two megs of internal memory. The other two slots
4. If any SIMMs are installed in slots 3 and 4, the jumper lo
are for two more SIMMs.
cated on the circuit board just above slot 1 must be moved
from the pins labled STANDARD to the pins labled EXP (ex
Sounds simple enough, but here are some rules to follow
when increasing the ASR-10 memory:
panded).
1. The ASR-10 will accept only 1-meg or 4-meg SIMMs.
That's it. Remember, 8-bits, 80 nanoseconds, keep them in
pairs, and move the jumper if you're using slots 3 and 4.
2. Use only 8-bit SIMMs that run at 80 nanoseconds or faster.
SIMMs can be purchased at most computer stores. The prices
This type of SIMM is commonly used in Macintosh com
puters. DO NOT use the 9-bit, IBM-PC style SIMMs.
will vary, so it pays to shop around, ma
UNAUTHORIZED BREAK-IN
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W
A
V
INDUS
10
ft
R
n
TRIES
v
An SQ-R Primer For ESQ-l/SQ-80 Owners
P a r t I I o f I I I — S m a r t Tr a n s m i t
Brian Rost
This series of articles is aimed at getting ESQ-1 and SQ-80
owners up to speed on integrating an SQ-R module into their
setup. It is broken into three parts. In Part I, we looked at fun
We could use the YES and NO buttons to select the key range
values, but since we enabled editing the keyrange back in the
System menu, all we need do to set the values is play a key on
the ESQ-1 keyboard. Play B3 to set it as the high value of the
damental differences between the ESQ-1 and SQ-R architec
tures. Here, we will examine how to use the SQ-R Smart
key range.
Transmit feature to add powerful controller capabilities to the
ESQ-1 in live performance. And, in the final part, we will ex
plore using the SQ-R in a multi-track sequencing environment
and wrap it up with a discussion on using the SQ-80 disk drive
to store SQ-R patch and preset data.
Scroll to the next page and we see the current internal sound
program that is assigned to the track. We're not using an inter
nal sound for bass, so skip over this page and go set the MIDI
chaimel on the next page. We can pick whatever channel we
wish here, as long as it is not the base channel. For this ex
The Smart Transmit feature of the SQ-R is an idea that I'm
ample, let's make it channel 2. Two pages later we see a
parameter for MIDI Program, enter the patch number for VEL
BAS here. Be careful! These numbers range from 0 to 127, so
surprised no one else has thought of before. There's a large
gap between what controller features are found in your aver
age MIDI keyboard and what is really needed to control a
complex MIDI setup in real time. Using Smart Transmit, your
ESQ-1 can take on many of the more powerful controller fea
tures that were added to the VFX family. The heart of using
Smart Transmit is learning how to harness the presets. As
mentioned earlier, you are always in one of the presets of the
SQ-R. The idea is to use a preset as sort of a "mega-patch."
Selecting a preset with a single patch change command actual
ly triggers a complex series of events.
pick a number one less than the number that the ESQ-1 uses
for the patch. The next page has the Status parameter, set it to
MIDI. Then we come to the page for Pressure. For an ESQ-1,
we can skip this because the ESQ-1 doesn't send pressure, but
SQ-80 owners may want to set this to CHANNEL, for reasons
we'll see later. On the next page set Sustain Pedal to OFF, skip
over the Transpose parameter on the next page and we're done
w i t h t h e PA R A M b a n k .
Use the Bank Select buttons to get to the mix bank. Here we
set the output volume for the track over a range of 00 to 99.
The PAN parameter on the next page is only of interest for in
ternal sounds, so skip it, similarly the Output, Timbre and
To make use of the Smart Transmit feature, place the SQ-R
into either POLY or OMNI mode. Enter the System menu and
scroll to the page where the base channel and MIDI mode
parameters are shown. In OMNI mode, the base channel is
Release pages.
somewhat irrelevant, but in POLY mode, this is the channel
that we must set the ESQ-1 to transmit on. For this example,
Now use the Track buttons to go to track 2 (notice we're still
in the Edit Track mode), jump back to the PARAM bank and
start setting up for our piano patch. Set up Key Range to start
at C3, pick the sound as ROM 00, set Status to LOCAL, Pres
let's use channel 1. While we're still in the System menu,
scroll over a few more pages and set both Prog Change and
Preset Prog to ON. If Prog Change is OFF, the setting of
Preset Prog is ignored, so make sure both are ON. Now any
sure to CHANNEL (if you have an SQ-80) and Sustain Pedal
to ON. The other parameters we don't care about for internal
program change messages sent down the base channel to the
SQ-R will select presets, rather than sounds. Before we leave
the System menu, scroll to the pages for the Edit Key Range
and Retransmit parameters and set them both ON.
sounds.
with the ESQ-1 playing the VELBAS patch on the bottom two
Jump u^) to the MIX bank and set the volume, set Pan to
SOUND (so that the panning programmed into the patch is
used) and Output to SOUND (so that the effect program of the
patch is used). The Timbre and Release parameters may be set
here if you want to make quick tweaks to the patch, for now
octaves of the keyboard and the SQ-R playing the Grand Act
leave them at 0.
OK, now we're ready to set up a preset. For this first example
we'll assume we want to do something simple, a split program
piano patch on the upper three octaves.
Now select the other six tracks and turn them all OFF by
pressing both Track buttons at once while the track is selected.
Each press toggles the ON/OFF state. Finally, name and save
Hit the Select Preset button and then use the Track buttons to
select one of the eight tracks (the selected track's number will
flash on and off). Let's put the bass on track 1, so select track
1 and then hit the Edit Track button. Using Bank Select, go to
the PARAM bank, and find the page that shows Key Range.
the preset as preset 00.
Now go back to the ESQ-1 and set the CHAN parameter on
11
the MIDI page to 01. Go select a new sequence and go to the
MIX/MIDI pages. We needn't select VELBAS as the sound or
even set the track volume, just set the track status to MIDI and
the channel to 2. Deselect all the tracks in the sequence, then
jump back to the INTERNAL Page and select the first patch.
We can see the display of the SQ-R flicker as the preset is
selected. Now we're ready to play.
ting the key range. It's also possible to do transpositions of
tracks, over a range of eight octaves. Where the ESQ-1 allows
only a single split point and a maximum of two sounds layered
on either side of the split, the SQ-R has no such restrictions.
Imagine we go back to our original split, but replace VELBAS
with BO_STR. Going to the Transpose page of the parameter
bank for track one, we could set the transpose interval to be +2
octaves, so that the strings appear pitched in the same octaves
as the piano even though they are played on the bottom two
octaves of the keyboard. Notice that by using the transpose
feature, keyboard tracking does not become a problem, since
We should find that not only do we have our split set up as we
wanted, but that only the Grand Act piano responds to the sus
tain pedal. This is because we turned off the pedal response in
the track for VELBAS, remember? If one patch sounds too
loud, just pop back into the MIX menu on the SQ-R and tweak
when the SQ-R receives C2 it retransmits C4 to the ESQ-1.
For each preset stored in the SQ-R, an equivalent sequence
the volume to suit.
template should be created in the ESQ-1. The ESQ-1 template
really only defines the MIDI channel, since volume and pro
gram selection will be under control of the SQ-R presets
(Status should be set to MIDI). If we stick to using the same
MIDI channels for the ESQ-1 consistently, then one sequence
So much for a simple example, how about something more
complex? OK, let's say we want to do some layers. We want
to layer VELBAS with the SQ-R patch Clav. We would also
like to layer Grand Act with some strings, but only in the first
octave, since strings in the top two octaves sound pretty thin.
template will be sufficient. All we need do after powering up
the ESQ-1 is to select that sequence, then simply selecting a
new preset on the SQ-R will set up both synths.
Starting from the preset we just created, let's tackle the bass
layer first. Go back into the Edit Track menu and select track 1
again. Go to the PARAM bank and set the Status parameter
from MIDI to BOTH. Now scroll back to the page that shows
the internal sound and select ROM patch 24, Clav. That's our
sole change in this menu. Go up to the MIX menu and set Pan
As a last point concerning Smart Transmit, let's look into the
Pressure parameter when using an SQ-80 as a master key
board. The SQ-80 sends two types of pressure, channel pres
sure (where a single pressure value is sent for the entire
to SOUND and Output to SOUND, and we're done with the
keyboard), and key pressure (where a pressure value is sent for
each key currently being held). The ESQ-1 and SQ-80 respond
to both types automatically, unlike the SQ-R which requires
bass layer. What we've done is set up the preset to select the
Clav Patch for the internal sound while still calling up VEL
BAS on the ESQ-1, from the same track.
you to select either key or channel pressure on a track by track
basis. If set to key pressure, an SQ-R track will actually ignore
channel pressure messages, but if set to channel pressure the
For the strings, we must create a new track, so turn track 3 ON
and go into the PARAM menu. Now set the key range to go
from C3 to B4, which is the middle octave of the keyboard.
Set the sound to be ROM sound 17, String Section. The
remainder of the PARAM Bank should be set identically to
what we set up for track 2. Now go to the MIX bank. Set it up
like track 2 but set the Output Parameter to FX2. Jump into
track 2 and also set the Output parameter to FX2. This is be
cause both Grand Act and String Section use the Hall reverb
effect while Clav Uses Chorus+ Reverb. This way, since track
1 has Output set to SOUND, Chorus+Reverb becomes the ef
fect for the entire preset. By setting the other tracks to FX2,
the piano and string sounds bypass the chorus but still get
SQ-R will convert key pressure to channel pressure. Of course,
if the track has pressure set to OFF, both types are ignored.
Now assume we have two tracks set up in a split on the SQ-R,
with each half of the split using a sound that accepts pressure
as a modulator. If we send channel pressure from the SQ-80,
both sides of the split will see the same pressure messages, not
such a good idea. If we set the SQ-80 to key pressure, each
side sees its own pressure messages, but they are key pressure
messages. By setting the Pressure parameter for each side of
the split to either KEY or CHANNEL, we can control how the
track will respond to the pressure messages. This can be ex
reverb.
tremely important if we have a track driving a third synth
which responds to channel pressure only, for example. In
Now, name and save this preset as preset 01. Jump back to the
ESQ-1 and from the INTERNAL page, try switching between
the first two patches. We find that the SQ-R will jump between
presets 00 and 01, alternating between the layered and unlayered sounds. Using the same strategy, we can build up to
eighty presets which can be called up in live performance,
each one being a complex set of splits and layers.
general, if we want to use pressure on more than one track of a
preset, set the SQ-80 to generate key pressure. Select between
key or channel pressure for each track based on what makes
sense, mm
In our examples, we only scraped the surface. Our splits didn't
Bio: Brian Rost spends his evenings either hunched over his
SQ-80 or playing bass with the HUBCAPS, a Boston-based
roots rock band. To unwind during the day he designs com
overlap, but it's easy enough to set up splits that do when set
puters.
12
EPS/ASR-10
Orand
Quartet
Alan Macintosh
Aboard the classic EPS
For EPSs and the ASR-10.
Product: Ensoniq EPS Sound Library SL-4 Pianos (Vol. 1) and SL-5
But wait! We've been addressing the EPS-16-h elite and fu
Pianos (Vol. 2).
ture ASR owners. What about us humble classic EPS owners?
Price: $39.95 per volume, 5 disks each.
We're the ones who really have to face sonic reality, so let's
take a sharper look at this sample set and play the grands on
From: Ensoniq Corp., 155 Great Valley Parkway, Malvem, PA 19355,
(215) 647-3930 or contact your local Ensoniq dealer.
the classic EPS.
Steinway 2 is bright, a little thin, with a touch of ambience
that distances the sound. The feel? Well, er,...just like the
Packaged in cellophane and cardboard rather than traditional
tux and tails, four Ensoniq pianos take their bows on the
moldy upright that's been sitting in the church basement
since '65.
grand concert stage. From the West, Volume 1 debuts Steinway 2 with Bosendorf 2, and from the East, Volume 2 pre
sents Kawai 1 and Yamaha 1 grands. Large versions weigh in
But we can remedy most of that clunky personality with a
quick fix: in the EDIT mode, turn on all layers on the
PATCH= page, underline the INSTRUMENT NAME on the
EDIT page, select WAVESAMPLE VOLUME on the AMP
aroimd 3000 blocks, small versions about 800.
Admittedly, this author remains tmderwhelmed by grandiose
piano samples, and while this particular grand quartet war
rants less than a standing ovation, it merits a careful audition.
page, and moving the DATA ENTRY SLIDER, set the
WAVESAMPLE VOLUME. Press LOAD, then 0 on the key
pad, and you're done. This brings all wavesamples in the in
strument to the same value and brings you fairly close to a
consistent soimd across the keyboard. The quick fix compen
sates for inconsistent use of volume BOOST among wavesamples in the original EPS-16+ programming, and you can
quick fix the other pianos as well.
As a group, all the pianos soimd and play wonderfully on the
EPS-16-F, and tonally, they fall naturally into a pair of
brighter and a pair of more subdued grands.
Steinway 2 and Bosendorfer 2 contain a little more sparkle
and grit than their Eastern cousins. Run your fingernail along
a bass string of an acoustic piano and you'll get the idea. The
round-wound surface of the string translates to a grainy
sound texture, and the Stein and Bosen capture that quality.
Bosendorfer 2 is a little darker and fuller than the Stein, very
present. Quick fix it, and you'll be playing a piano with a rich
bass section and clear, woody upper octaves. Loops in the
Bosen, except for a couple of cockeyed bass samples, sound
exceptionally smooth with a hint of natural chorusing. Of the
two Western grands, Bosendorfer 2 offers a more mature
sound and musical potential. As a set, the Western pianos
lack the full tone and long, comfortable sustain we need to
play musically.
Kawai 1 and Yamaha 1 are the mellower fellows, softer in
tone, smoother in texture, with thicker, rounder sound.
Aboard the EPS-I6-1- and ASR-10
At the local Ensoniq dealer where I went to hear the grands
on something hipper that my classic EPS at home, the newest
EPS offspring, the ASR (Advanced Sampling Recording)
Eastern Pianos are mellow, attractive, playable. You may
want to quick fix them, you may want to lengthen the decay
time on the amplitude envelopes, but the Kawai 1 and
Yamaha 1 will draw music from your fingers. The Kawai
chords ballads beautifully, and the Yamaha will cover Floyd
Cramer and Jerry Lee Lewis licks with its brighter per
sonality.
keyboard, had just arrived. So of course I couldn't resist serv
ing my grand samples to the ASR, which happily gobbled
them.
Both the EPS-16-1- and the ASR contain FX sections as well
as parameters that allow greater control over velocity sen
Programming
sitivity, and because of this, all the pianos stand up well
under most playing styles. Ballad style on the Stein and
Bosen will give you the biggest problem — the sound dies far
quicker than your fingers leave the keys. Otherwise, the FX's
compensate nicely for spastic loops and stingy sustains.
Programming on all four grands falls short of their clean,
clear wavesamples. Piano samples challenge even the best
programmers because each sample demands its own
meticulously tweaked amplitude envelope, its own carefully
13
scaled tone envelope to mask nasal loops in order to sound
full and feel natural. Tone needs to brighten and volume
needs to strengthen seamlessly as your fingers search for
nuance and power from low velocities to high. In this grand
set, you won't find that kind of programming.
increasing SAMPLE START in the second layer?
S m a l l Ve r s i o n s
A small version accompanies each grand, and they're all,
umh,... small.
Ensoniq has a classic opportunity here to increase sales of
both sample sets and samplers by providing the kind of
If It Were My Money
in-depth programming we players need! Give us a grand
I'm writing a check right now for the Eastern set — Kawai 1
and Yamaha 1.1 can already hear the music in those pianos,
and I'm ready to let them inspire some new songs.
piano, a single layer that responds musically, that sustains
long, that plays consistently from note to note, octave to oc
tave. And when you add the EPS-16+'s and the ASR's FX to
that kind of programming, the result can't help but astonish.
As for the Western set — Steinway 2 and Bosendorfer 2 — I
think I'll wait. I lean away from pianos in my own writing,
but if I were a grand piano hound, I'd buy the Western set
just to strengthen my piano library and widen my palate of
piano flavors. If it's your money, buy them with eyes and
ears wide open, and put on your editing hat.
Patches
And give us patches! Creative patches! Generally, the patches
on these disks offer a bright version, a mellow version, and a
honky-tonk detuned version that sounds like Eubie Blake
playing stride at the bottom of an overly chlorinated swim
As for me, I'm loading in Kawai 1 as we speak. The pos
sibilities are, well... grand, h
ming pool.
How about a patch that gives us the upper octave, or a 2octave doubling? Or a patch with attack that slides from
Bio: Alan Macintosh composes and produces music, designs
sound, and studies the Japanese language in the high desert
of Las Vegas, Nevada.
marshmallowy to hard-as-nails with increased velocity? How
about a three-layer patch with sound that swims with a slow,
gentle detiming, or a double-layer version that choruses by
The
Va n i l l a
VFX
—
Not
Dead
Ye l l
125 BPM Delay-Flange
Dara Jones
I must admit that my first encounter with the VFX was
clouded with suspicion. Someone offered to trade with me for
my Jupiter 6. Now the J6 is a great synth, but this offer
seemed a bit too good to be true. Sure enough, my research
revealed that not only had the VFX been known to have had
chose Popboard from the internals and ran ROM's Guit-Echo
through FX2 and used it for a mid-range bass sound. With a
little syncopation, it ALMOST sounds like the real thing.
Page 1: Del + Flange + Rev3 Decay-Time=72
problems, but there wasn't even an upgrade path for it. My
Reverb
Mix
-FX
1=28
FX
2=49
friend assured me that his had been fixed and and I even went
so far as to go hear it, but my suspicions remained with me...
A large hall type decay time was used on the reverb. I wanted
the delay/flange to be real up front so I used just enough
reverb on FX 1 to sweeten, but not send away. I used a little
more for FX 2, but still not enough to overpower.
at least for a while. But I just couldn't get over the profes
sional quality of the FX. Really breath-taking compared to
the synth I had at the time. So, several months later, I became
the proud owner of a great-sounding dinosaur and booted my
other synth out the door.
Page 2: Flanger Rate=38 Min=052 Max=083
Feedback= +13
In celebration of the upcoming holiday season I'm offering
A relatively slow flanger rate was used so that the guitar
you hacks a flange-delay-reverb FX that can be best used in
multi-mode. FX 1 is calibrated to a tempo of 125 beats per
minute and FX 2 makes for a nice generic reverb. There's a
lot of factory guitar/clavs that sound good through FX 1.1
sweeps back and forth slowly as the music moves on and
gives the guitar a little extra interest. A fairly conservative
feedback # as well as min-max ratio was used because this
14
ra is meant to enhance, not take over.
made mud. A mix of 41 was used so that the first strike of the
note is slightly louder than its repeat.
Page 3: Delay Time=246 Regen= +07 Mix=41
So, have fun with this and write with your suggestions for fu
ture articles, because the VFX may be old, but he's not dead
Reverb HF-Cut= off
The delay time is calculated to complement the ROM
Guit-Echo patch which is basically set to 240 ms. I used 246
ms for just ^ slight detuning of the tempo which is right
yetlH
around 125 bpm. The regeneration time of +07 gives only
programs sounds and is a connoisseur of fine old analogs.
She plans to do film editing in the next year or so.
Bio.: Dara works as a horticulturalist by day but by night she
one repeat — any more repeats than that would've probably
Latter Sound's
S Q - d O s
Volume
1
for
Michael Mooney
AIR CAL is a chiffy, D50-ish synth that also uses the CV
For: SQ-80.
pedal but this time to add a more percussive attack. But my
personal favorite has to be SUB SPG, an airy chime synth
with a long sustain that allows you to play chords while
Product: Volume 1, The Collection — 40 Sounds, 3 demos and documen
tation.
Price; $19.
bending single notes via Poly-key pressure. The technique
takes some practice to master but it's worth it.
From Latter Sound Productions, 1341 Westheaven Ct., Tallahassee, FL
32310. Phone: (904) 575-5561.
As a matter of practicality, there's not much support for the
SQ-80 these days. After all, it has been discontinued for a
few years now and even during its relatively short production
Most of the other sounds are ESQ-types that, while not bad,
are not exactly groundbreaking. Exceptions to this are
FLIGHT, an evolving resonant synth with stereo imaging
from modulated panning, and two organs, ORGVOC and
nm was kind of the Ross Perot of the D50/M1 race.
BRIORG. ORGVOC uses a bell-like vocal attack transient
spliced to an organ wave to create a unique combination that
I'm surprised to say I haven't heard before. And BRIORG is
more of a traditional church-type organ but with the mod
wheel providing brightening to suit the user's taste. But,
So as an avid SQ-80 enthusiast, when Latter Sound an
nounced the release of a new volume of sounds for the SQ-
80, I was more than a little interested. The SQ-80 Volume 1
Collection consists of 40 sounds along with handy perfor
mance notes that detail modulator programming and three
very nicely done demo sequences.
curiously, neither organ features a pseudo-Leslie effect via
aftertouch. Another minor gripe is that HORN and H0RN2
sound virtually identical except for a slightly longer release
on the latter.
Many of the sounds are quite good as demoed by the sequen
ces, but I must confess that I was a bit disappointed to dis
So, overall, what we have here is a bit of a mixed bag. The
question is, of course, "Is it worth the bucks?" I'd have to say
yes. The SQ-80 sounds are strong and the others could be
useful to some, especially if you don't already own a large
library of ESQ soimds. But I do hope that with the release of
cover that less than half the 40 sounds utilize the SQ-80
exclusive waveforms. A fact made more ironic since the best
sounds of this collection are definitely the ones that do make
use of the SQ-80 specific waveforms. These include:
SQ-80, Volume 2, that Latter Sound chooses to focus more
JOURNEY — a breathy digital electric piano with
modulated panning,
METVOC — an ambient synth gong,
KYSLAP — a fairly accurate emulative electric bass,
BRSSECT — a terrific punchy brass section,
ISLAND — an interesting mallet and plink hybrid that
uses a pseudo-slapback delay, and
CV WAH — a keyboard/guitar that uses the CV pedal to
imitate, you guessed it, a wah pedal
on the SQ-80 exclusive waveforms. It can make the dif
ference between a good collection and an outstanding one. wm
15
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Listening in On Customer Service
Anthony Ferrara and Dennie Edwards
Ensoniq Customer Service
Hello, and greetings from Malvern! Some of you may be
volume jumps when I bypass one or more units. How do I
avoid this boost in output?"
familiar with our names from reviews and articles that we
each have written for the Hacker. Well, coincidently, we
have both been hired by Ensoniq and we are now working as
product specialists in the Customer Service department. Con
sequently, Dennie and I will be collaborating on a monthly
column of "Most-Asked User's Questions and Requests,"
The solution will depend on the configuration of the unit. The
best way is to change the way the unit bypasses the proces
sor. For this example, we will have the DP/4 in a one-source
configuration. In this situation, we can use all four processors
based on our perspectives as product specialists.
at once, in parallel. We'll use four effects — chorus, reverb,
delay, and pitch — loaded into units. A, B, C, and D respec
Prior to working at Ensoniq, Dennie was assistant manager
tively. If we bypass any one of the four units, we will then
experience this output boost.
and keyboard tech for an Ensoniq distributor. He has an
in-depth knowledge of the Ensoniq product line and how it
interacts with other products and technologies. I come to En
What is happening when we bypass the unit is that the mix
soniq from the academic side of music, where I was teaching
goes totally dry. The DP/4 has a parameter to change this.
The Edit/Config parameter (Number 7) provides a way to
change the effect of the bypass. Instead of changing the mix
on the college level, while playing and recording in the
Philadelphia area.
to dry and increasing the output, set the bypass button to kill,
essentially setting the output mix volume of the unit to 0.
One of the many way cool features in the DP/4. This feature
Here are some of the queries we've been hearing lately, with
mine first, followed by Dennie's DP/4 comments:
will kill all volume from the output of the unit. If you have
1. I'm getting a low-battery signal on my keyboard. What
any unit with a series routing to another, there will be no
should I do?
input to the second unit.
The signal for a low battery can indicate a number of things,
So, think about what your configuration is like, your routing,
including simply needing a replacement battery in an older
your mixing, and the order of your effects, and go ahead and
model. The lithium battery in the ESQ-1, for instance, will
experiment. Remember, all of the factory presets can be
probably need changing. In the newer models, however, a
low-battery message appearing on your screen will likely be a
symptom of other conditions requiring service. These might
called up by re-initializing the unit and you can store all of
your custom programs through SYSEX. Have fun and just
remember — if it sounds good, process it with a DP/4 and
include scrambled data requiring re-initialization or some
make it sound better! m
type of hardware problem on the main board. As always, the
Customer Service department can provide you with the name
and number of an authorized service center in your area.
2. Most of the calls that come in to Ensoniq regarding the
DP/4 are about the internal routing of the signal. The DP/4 is
unlike any other processor on the market today.
BACK ISSUES
The signal routing of the DP/4 goes like this:
Back issues are $2.00 each. (Overseas: $3 each.) Issues 1- 30, 35 - 38,
and 67 - 72 are no longer available. Subscriptions will be extended an
» from the input jacks to the front panel for attenuation
equal number of issues for any issues ordered that are not available at
» to the main processor board for A/D conversion
Number 13. SQ-80 coverage started with Number 29, (although most
ESQ-1 coverage also applies to the SQ-80). EPS coverage got going
with Number 35 (and also applies to the ASR-10). VEX coverage
(which also appUes to the SDs) got started in Number 48. The SQs got
the time we receive your order. ESQ-1 coverage started with Issue
» to the appropriate 24-bit ESP (Ensoniq Signal Processor)
chip
» then to the D/A conversion
going in Number 63. (SQ articles also apply to the KS-32.) DP/4 cover
age started in #88 (much of which also applies to the ASR-10). Permis
sion has been given to photocopy issues that we no longer have
available — check the classifieds for people offering them. A free back
» up to the front panel for attenuation
» then to the output jacks
issue index is available which contains the tables of content for all is
sues since Number 43.
A common question concerning the DP/4 is, "The output
1 8
C l a s s i fi e d s
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uals, excellent condition: $1000. Jeff, (314) 537-1260.
VFX-sd Multi-timbral keyboard synth with built-in
24-track sequencer and disk drive. Home use only.
Original box, all manuals, disks, etc. $1000. (201)
933-9636. Leave message. New Jersey, Giant's
SP USERS! My new disk - "Keyboard" - contains
over 100 sounds on it including such classics as Fender
Rhodes Bass with Vox Organ (Doors), Red Rubber
the modulation wheel, all fully programmed. $35 a set.
EPS/EPS16 Sampling Made Easy Video. Easy to fol
low, step by step. 2 hr video, 2 disks, 90 min cassette.
$30. Satisfaction Guaranteed. Wildwood Sounds, 4726
Pebble Creek Terr., Pensacola, FL 32526. Call Tony
after 6 pm. (904) 944-6012.
NEW SQ-80 SOUNDS from the Hacker's Sam Mims!
Soundset 4 takes full advantage of the SQ-80's imique
waveforms, and brings "hidden waveforms" to the
SQ-80 for the first time. Also available for the ESQ
and SQ-80 are Soundsets 1,2, and 3. Forty patches per
set, each with 22-page booklet of programming notes
Ball Organ, Nasty B-3 sounds, bunches of different El.
and performance tips, for $17.95. Send SASE for free
literature. Syntaur Productions, 2315 Mid Lane #44,
Pianoes, some futuristic sounds, nice Ml and SY77
emulations, etc. Also, like all my disks, includes my
runtime version of the SP operating system. Just boot
USER GROUPS
Houston, TX 77027, or call (713) 965-9041.
up with my disk and GO! Only $19 plus $1 postage/
handling. Also, my library of "Lush," "X," "Addy,"
"Turbo" - $15 each plus $1 postage/handling or all 5
30-Year-Old EPS-16+ owner would like to meet other
'16+ owners in the New York area. Call Abraham,
for $69 Including Postage!! Bob Spencer, 703
(718)956-3597.
Weatherby Ln., Greensboro, NC 27406.
SOFTWARE
Stadium area.
Ensoniq SQ-80 complete with manual and cover,. 8
ECCENTRIC SAMPLES (Mirage and EPS). Ethnic,
Ancient Greek, Medieval inslruments; Partch creations;
Industrial Percussion & more. Mirage demo tape: $3.
only used in studio. $765. Phone: (215) 489-7646.
EPS demo tapes (Vol. 11 or Vol. Ill): $6 each. U.S.
funds only. Demo tapes include disk list. For lists
Special Expander Offer - Free Sounds - Best Prices.
sound disks and 2 cartridges. Over 2000 sounds. Was
Oview/VFX for IBM. Synth programmer. New in box unused. Cost $140, price $110 obo + shipping. PO Box
1582, Ft. Bragg, CA 95437. Phone: 707-964-6704.
alone, send SASE to: NIGHTWIND Sound, 170 Mar
Midlcaster is still available. The way-cool operating
EPS-16+ 1-Meg Flashbank and 10 Free Disks only
$250. Expanders for EPS. VFX-sd, SD-1. RAM
memory for Akai, Casio, Roland, Peavey, and Yamaha.
Monte Ave., La Selva, CA 95076.
system that mms your Mirage into a very capable Sys
cola, FL 32526. Call Tony after 6 pm. (904) 944-6012.
dividual sounds. $14.95 + $2 s/h. CA Res. add
Wildwood Sounds, 4726 Pebble Creek Terr., Pensa-
SAMPLES
tem Exclusive data librarian, a 20,000-note sequence
Proteus and U220 sounds digitally mastered on Com
pact Disk (CD). 600 samples total, covering 98 in
appropriate sales tax. Digitelesis, 5232 Camino Playa
Malaga, San Diego, CA 92124.
player, a disk copier/formatter, and wave-draw syn
thesizer is still available for a limited time. For more
information, or to order, contact Tim Martin, 1510 S
5th W, Missoula, MT 59801. Phone: 406- 542-0280
And thank you for yom support.
MUSIC / SEQUENCES
BIG MIRAGE SAMPLE BLOWOUT! The famous
MINOTAUR 8-disk set of Medieval and Renaissance
SUPERB EPS-16 PLUS SAMPLES of E-mu Proces
instruments is available for only $80.00! Lutes, viols,
harps, bells, krumhoms, much morel Get 'em while
Sam Mims, $9.95 per disk. Post-production quality
•MERRY Christmas* Live performance MIDI se
sound effects samples for EPS-16 Plus, all from digital
source recordings, $5.95 per disk, $5.45 each for six or
more. Mirage Disk 1, samples from Minimoog, DX-7,
quences of Christmas carols on floppy disk for IBM
they last! Minotaur Studios, 52 State Sl, Canton, NY
13617.
sion, Minimoog, K-4, and more, from the Hacker's
and VFX, for $7.95. Send SASE for free listing to:
New 16-bit samples from Tom Shear! Now available:
Minimoog Collection - 3 disks, 27 sounds, all with
patch selects. Oberheim Collection - 3 disks, 26
sounds. Each 3-disk set only $15. Professional quality
at PD prices. Write for sound list (include SASE): Tom
Shear, 255 Small Rd., Syracuse, NY 13210.
Syntaur Productions, 2315 Mid Lane #44, Houston, TX
77027, or call (713) 965-9041.
Wanted: VFX/SD-1 and SQ-80 sounds for trade. Also
38 issues of Hacker for sale. Excellent condition.
interested in sounds for Matrix 6, TX81Z, and Wave-
Phone: 310-645-4181.
good acoustic/grand piano patch for a VFX. I'm
hoping someone has developed a patch that is better
Looking to trade EPS or EPS-16+ samples. -1 have
over 100 megabytes of quality sounds and am looking
than the "Classic Piano" available with the VFX. If so,
I'm a new Hacker subscriber in desperate need of a
please call me at (302) 368-7324. Leave phone num
COMEDY SOUND BYTES: On EPS-16+, EPS or
tape media. Original and licensed outtakes and effects.
Also, custom production on our live sound stage to
your specifications. SASE to: The Bros. Ryan, P.O.
Box 964, Ocean View, DE 19970 for a free listing.
EPS Samples: Disks of Bolivian and Indian instru
ments, invented instruments, prosaic sounds, and the
Recycle Orchestra. 9 Disks, 77 sounds, 308 patch
selects: only $36. Bill Sethares, 622 N. Henry St.,
Madison, WI53703. You haven't heard these before!
Mirage samples: Plus moving wavesamples all over. 7
sounds in one bank, much more. Listings; $1.00. Demo
$40.00. Call 803-791-7627 after 5:30 EST.
M.U.G. will provide Out-of-Print issues for cost of
materials and postage. M.U.G. Hotline: 212-465- 3430
or write: G-4 Productions, PO Box 615TH, Yonkers,
NY 10703. Attn: TH Back Issues. Phone: (212)
465-3430.
ber, I'll call you back. Thanks.
Photocopies of out-of-print past issues of the Hacker
VFX, VFXsd, SD-1 OWNERS. Volume 1: 62 PD
sounds, 20 presets, $12.50 disks. Latter Sound Produc
tions, 1341 Westheaven Ct., Tallahassee, FL 323108629. Phone: (904)575-5561.
Folks in the New York City area can get copies of un
come. Call Jay Armstrong at 203-349-9658 or write to:
No copyrighted sounds.
(617) 787-5980.
OUT-OF-PRINT BACK ISSUES
station. (708) 427-1615.
Jay Armstrong, 125 Creamery Rd., Durham, CT 06422.
St., Bldg. 2, Suite 1, Brighton, MA 02135. Phone:
PAT C H E S / S O U N D S
Trade sounds by mail. I have over 1.6 million blocks
(800 MB) library. Great PD and homemade! Craig
Duncan, PO Box 83164, Los Angeles, CA 90083.
for people to trade samples. All kinds of sounds wel
PC. Other formats available. 25 Religious classics:
$24.95. 25 Secular favorites: $24.95. Plus $3 shipping
and handling per order. MIDI Music Co., 230 Foster
can be obtained by calling Jack Loesch, 201-264-3512
after 6 pm EST.
available back issues of the Hacker - call Jordan Scott,
212-995-0989.
60 VFX-sd patches created by Jim Grote. Wide variety
of sounds with complete documentation. Call for free
Information Packet, or send $30 for VFX-sd disk to:
Jim Grote, 3721 Frances Ave., Cincinnati, OH 45211.
Phone: (513) 661-8885.
FREE CLASSIFIEDS!
Well—within limits. We're offering free classified ad
vertising (up to 40 words) to all subscribers for your
100 Dynamic Drum Pattems SR16, HR16, EPS/EPS16,
sampled sounds or patches. Additional words, or ads
for other products or services, are 25 cents per word
per issue (BOLD type: 45 cents per word). Unless
VFX/SD, SD-1. Only $12. 2000 Digital Samples on 2
renewed, freebie ads are removed after 2 issues. While
XLH-lOO tapes. Best sounds from Tl, DPM, SDl, Pro
teus, Moog, lots more. $25. EPS/SPS16 Sound Disk.
My 10 best disks, sounds like Steinway + Strings on
you're welcome to resell copyrighted sounds and
programs that you no longer have any use for, ads for
Free Drum Patterns with 120 VFX-sdl sounds: $20.
19
copies of copyrighted material will not be accepted.
Sonic Derivations — SDs and VFXs
The Pipe Organ
Jim Grote
I'd like to introduce my new series, "Sonic Derivations." Here
I will pick various patches that I've created for the VFX/SD
mants" are generated. A formant is a sound with a strong peak
in its frequency spectrum giving it a vocal quality. The SD has
series, and go step-by-step through the methods I use to pro
such a wave, FORMANT-X. I use two FORMANT waves as
the basis of my patch, CATHEDRAL, which I've included with
gram them. This usually includes some history and technical
information about the original sound being synthesized.
this article. The frequency of the formant (the harmonic peak)
can be adjusted by changing the transwave start point. By itself,
the FORMANT wave doesn't immediately strike you as sound
ing like a pipe organ. Nevertheless, in the complete patch, the
Generally, I like to write about a sound that uses some of my
unique Grote-like programming methods. These articles assume
that you know the basics of creating patches on the SD series.
And, frankly, even if you don't want to read this, you can al
formants impart realism to the sound. Combined with the for-
ways just enter the patch and get to try out a new sound for
mants, I add the PIPEORGAN wave which adds a lot of upper
your SD.
harmonics. To enlarge and strengthen the sound, I add the
FRENCHHORN waveform. This really mirrors the brass pipes.
When I first bought my VFX-sd, one thing that really im
Note that each wave is detuned a little bit simulating subtle im
pressed me was how many oscillators it could use for each
patch; up to six. This feature still blows away most other
perfections in the pitch of the pipes. I pretty much leave the fil
synths. This programming strength inspired me to reach for one
ters wide open so as to not mute the sound at all. When air is
of my dreams — simulating a perfect pipe organ. Layering lots
of waves is the ideal way to do this, as a pipe organ is com
prised of hundreds of oscillators (i.e., each pipe) added together
first blown into a pipe, the pitch wavers a bit before settling
to get their huge sound.
longer it takes to reach its pitch so I apply some waveform
delay to the lower oscillators, in particular the lower FORM
into tune. To recreate this, I use ENVl on each wave to briefly
modulate the pitch on the attack. Also, the larger the pipe, the
People have been trying to electronically simulate the pipe
ANT and FRENCHHORN waves.
organ for years, the most notable attempt being the Hammond
organ series. The theory behind these organs was to emulate the
A sound isn't complete until it is placed somewhere, complet
additive synthesis nature of pipe organs (that is, create complex
ing its identity. Pipe organs are often found in large cathedrals
waveforms by adding together simpler waveforms such as the
with highly reflective marble floors and walls. This creates
sine wave). In principle, the pipe organ is an additive syn
thesizer. Richer sounds are created by pulling out more stops,
enormous amounts of reverberation. Therefore, I send the patch
through the CONCERT reverb algorithm, with a pretty long
which adds more octaves/harmonics to the sound. Electronic
decay time. You can't play a pipe organ without mucho reverb.
organs use such devices as spinning tone wheels to created near
perfect sine waves which are then added together with stops or
I set up the patch select buttons to implement different pipe
combinations. Like having multiple keyboards on a pipe organ,
sliders to create a fuller sound.
this allows you to switch between the full blast sound and more
The end result is actually quite far from a real pipe organ. This
delicate subdued sounds. The right Patch Select gives a quiet
flute sound, which is equivalent to having only one stop open.
is because each "oscillator" on a pipe organ creates a sound
much more complex than a sine wave. The Hammond ends up
The left Patch Select gives a thin sound and both buttons
having a different sound. Nevertheless, with this new sound,
selects a medium intensity sound. This one is useful if you need
they have created their own legacy and aren't even considered
to be imitating pipe organs anymore.
more polyphony without weakening the sound too much. Also,
the timbre slider allows a continuous transition from full blast
to subdued.
The basic way pipe organs generate their sound is by forcing
air through a pipe when a key is depressed. This causes the pipe
Well, I hope you like this sound. Last time, I gave you the
chance to pretend you're Keith Emerson. Now I hope to give
you the opportunity to pretend you're Bach for a day. Turn the
to resonate at a certain frequency. The pitch of the note
generated is a function of the length and width of the pipe.
Various timbres are created by using different pipes. Flutes
pipes are metal pipes in which air is blown over a slot causing
volume way up and play, da dum dum, Bach's "Toccata and
Fugue in D Minor." See you next time. ■■
air in the pipe to vibrate. String pipes are similar but with a
brighter sound. Brass pipes use a vibrating reed to create a
bright hom timbre. Some of large bass pipes can be made of
Bio: Jim Grote offers a disk of 60 of his original VFX/SD
sounds — see the classifieds. He's been programming and
playing synthesizers for years. He is fascinated equally by both
science and art: thinking and feeling, programming and un
wood, giving a warmer sound.
With the pipe resonating around a certain frequency, "for-
bridled jamming.
20
Jim Grote
SD & VFX Patch
SD & VFX Prog: Cathedral
NOTES; (*0) selects subdued timbre.
(0*) selects single flute sound.
(♦♦) selects thinner sound.
TIMBRE slider fades sound.
WAV E S
1
2
3
4
5
Wavi Fornnant-X Formant-X PIpo-orgn FrenchHrn Ocarina
Wa v e C l a s s Tr a n s w a v e Tr a n s w a v e Wa v e f o r m B r a s s S n d B r e a t h S n d
Delay
20
Start
0
Modsrc
Keybd
Modamt
21
20
-71
MODMIXEB
0
5
-
43
Keytjd
-65
-
0
0
Off
0
-
Initial
Peak
30
0
3 0
Break 1
0
0
Break 2
0
0
0
0
Attack
1 2
12
Decay 1
Decay 2
Decay 3
0
0
0
0
0
0
Release
0
0
KBD Track
Ve l C u r v e
0
0
Cnvx2
Cnvx2 -
L
SRC-1
SRC-2
SRC-2 Scale
SRC-2 Shape
PITCH
0
+ 0
-1
Mode
Norm
Norm
0
+1
0
0
0
Ve l - L e v e l
0
- 3
-1
0
-4
0
Ve l - A t t a c k
0
0
System
System
System
System
System
ITCH MODS
1
2
3
4
5
MODSRC
Timbre
Timbre
Timbre
Off
Timbre
Initial
Peak
MODAMT
- 4 4
0
- 1 4
Break 1
None
- 11
None
- 4 6
Qllde
None
None
None
Break 2
ENV1
LF01
+ 3
0
0
0
+ 2
+1
+1
-1
0
+1
Sustain
Atteck
1
2
3
4
5
LP/3
LP/3
LP/3
1 2 7
1 2 7
LP/3
127
LP/3
127
0
0
0
0
0
Timbre
Off
-
1 Octave
+1
+ 0
Semitone
0
Fine
[pitch Table
F I LT E R 1
[Mode
Cutoff
KBD
MODSRC
MODAMT
jENV2
F I LT E R 2
[Mode
Cutoff
KBD
MODSRC
MODAMT
|ENV2
OUTPUT
VOL
MODSRC
MODAMT
KBD Scale
LO/HI K^
DestBus
Pan
MODSRC
._MPP_AMT__
Pre-Gain
Vo i c e P r i o r
Ve l T h r e s h
Decay 1
Decay 2
Decays
JielMSi...
6
127
KBD Track
Ve l C u r v e
Off
Timbre
Off
.
- 4 4
-
- 6 4
0
0
0
0
1
2
3
4
5
HP/1
HP/1
HP/1
HP/1
HP/1
Initial
32
+90
3 3
0
3 3
0
+90
+90
Off
Off
0
Off
Peak
Break 1
Off
+90
Off
0
0
0
0
0
0
0
0
0
0
Mode
Ve l - L e v e l
-
Ve l - A t t a c k
NV3
6
Break 2
Sustain
Attack
MODAMT
Level
MODSRC
. _ D e l a y.
Waveshape
Restart
Noise SRC RT
2
3
4
5
64
99
6 4
8 4
8 4
9 5
6
9 9
9 9
9 9
7 3
95
9 5
9 5
74
95
95
9 5
9 5
9 5
9 5
73
95
9 5
9 5
73
1
1
1
1
4 4
9
0
Decay 1
Decay 2
Decay 3
9
9
9
13
13
1 3
13
0
9
9
9
9
0
Release
14
+10
11
12
13
12
+ 1 0
+10
+ 1 0
+10
-
2
3
4
5
6 5
6 2
6 5
8 6
72
Timbre
Off
Timbre
Off
Timbre
KBD Track
-95
0
-92
0
•6
Cnvxl
Cnvxl
Cnvxl
Cnvxl
0
- 3 4
0
- 2 2
0
Ve l C u r v e
Mode
Norm
N o r m
Norm
N o r m
Cnvxl
Norm
.
A0-C8
Ve l - L e v e l
Ve l - A t t a c k
0
0
0
0
0
0
0
0
0
0
A0-C6
FX1
FX1
FX1
FX1
3 5
5 0
5 6
4 4
Off
0
"off
Off
. . 9
Off
__Q.
Med
On
Med
Off
Med
0
0
0
Off
-
FX2
63
Off
0
0
""5ff
" " o fi
Med
0
6
1
1
1
2
3
4
5
1 3
21
2 0
21
Off
Off
Off
Off
Off
-
-
2 6
2 0
2 4
2 0
2 0
Off
Off
Off
Off
Off
0
0
0
0.
^Slne
-
. 0
S i n e
Off
0
"sTne
■" " s i n e
EFFECTS (1)
PGM CONTROL
P i t c h Ta b l e
Bend Range
Delay
Med
0
2 2
LFO
MODSRC
0
ENV2
6
Restrike
G l i d e Ti m e
Rate
-
Off
Effect
•
Decay Time 56
•
XI
FX1
62
3 2
FX2
26
Off
Off
Off
Off
0
0
0
0
EFFECTS (3)
EFFECTS (2)
FX2Mode Norm Stereo Sand
Diffusion
58
Pre-Oelay
Early-Refl Level
4 3
Time
30
LF
Decay
5
Reverb HF Damp 30
9
PERFORMANCE
Timbre
Release
21
Reverb
0
6
-
""sine"""
Concert
SQ-1/2 & KS-32 Hackerpatch
Jeffrey Rhoads
Prog: Koke Bottles
By: Peter Eades, Browns Plains, Australia
Notes: One of my favorite sounds from the Genesis album,
We Can't Dance, is the milk bottle sound from the intro to
of this sound — not quite mallets, not quite island perc. The
strike gets harder as velocity increases and the sound gets
"Dreaming While You Sleep." Koke Bottles is my recreation
brighter as the wheel increases.
W AV E
S e l e c t Vo i c e
Wave Class
1
2
3
O n
On
Tu n e d P e r c P e r c
O n
TunedPerc
LFO
LFO Speed
IMP
Initial
Peak
Noise Rate
Level
1
2
99
99
3
" 9 9
Wave
Marimba
WoodenHt Doorbell
99
0
0
71
19
2 3
Break
Delay Time
0
0
15
Wave Direction
2
Fonward
Sustain
Forward
Delay
0
0
Start Index
36
0
0
MODSRC
Wave
Attack
3 9
Fonvard
5 8
31
MODSCR
Off
Restart
4 6
Veloc
-26
0
27
MODAMT
6 3
Decay 1
Decay 2
47
Veloc
36
Restrk Decay
0
0
0
F I LT E R
TCH
1
2
3
Filter 2
Octave
-1
+1
+1
FC1 Cutoff
Semitone
0
0
0
ENV 2
Fine
-3
-22
+ 4
FC1 KBD
7 6
0
ENV1
0
0
0
MODSCR
L F O
0
0
Keybd
MODSCR
Off
Off
0
Off
MODAMT
FC2 Cutoff
MODAMT
0
0
ENV2
K B D P t c fi T r a c k
0
O n
Off
O n
Glide
Off
Off
Off
Glide Time
0
0
Release
50
0
0
0
Ve l - L e v e l
66
46
0
3 L P
Ve l - A t t a c k
0
0
0
1HP
Ve l C u r v e
Quick
Linear
Quick
127
Mode
Finish
Normal
Finish
0
9 9
KBD Track
28
0
9 8
6 7
0
Wheel
Wheel
0
12
3 0
127
0
0
0
0
FC2 KBD
0
0
0
FC1MOD-FC2
O n
0
O n
Filter 1
;NV1
1
2
2 L P
2 L P
7 6
2LP
2 H P
6 7
1
2
3
6 5
9 0
Boost
8 8
O n
O n
Off
MODSRC
Off
Off
Wheel
0
0
0
0
2 9
0
MODAMT
KBD Scale
C 2 C 7
C 2 C 7
C 2 C 7
F X l
Medium
FX2
Low
F X l
3
Key Range
Output Bus
Priority
ENV2
O n
lUTPUT
73
VOL
0
Medium
Initial
Initial
Pan
2 8
-14
28
Peak
Peak
Ve l w i n d o w
0
0
0
Break
Break
Sustain
Sustain
Attack
Attack
Decay 1
Decay 2
Decay 1
Decay 2
Release
EFFECTS —
Any reverb effect — slightly drier on FX2.
Release
Ve l - L e v e l
Ve l - L e v e l
Ve l - A t t a c k
Ve l - A t t a c k
Ve l C u r v e
Ve l C u r v e
Mode
Mode
KBD Track
KBD Track
The Hack: i d like to thank Peter for this particular
Modulate FX2 Mix by Modpedal at +99.
No-Deposit / No-Return sort of patch, "Koke Bottles" from
Australia. A couple of suggestions: in the Output Section,
lower Vol for Voice 1 to 65. This will give all three voices a
Bio: Jeffrey Rhoads has been a
more even balance. And, although Env 1 is set to default in
keyhoardistlcomposer on the Phil
this patch, some changes in the Pitch Envelope may create
adelphia Jazz and R + B scene for a
some interesting motion. (Even though it's not "authentic" to
period of time resembling forever.
the patch.) Since Peter wants us to choose our own reverb, try
Hall Reverb, where FXl = 25, FX2 = 35, Decay Time = 43,
Diffusion = 50, Detune Rate = 30, Detune Depth = 25, HF
Damping = 25, HF Bandwidth = 85, LF Decay = -f14, and
He has an interest in cinema and has
developed some film courses, Jeff
still believes in magic and longs for
city lights.
Hackerpatch is intended to be a place where patch vendors can show their wares and musicians can share their goodies and impress then-
friends. Once something's published here, it's free for all. Please don't submit patches that you know to be minor tweaks of copyrighted
commercial patches unless you have permission from the copyright owner. All submitted patches are subject to consideration for mutilation
and comments by Sam Mims and Jeffrey Rhoads — our resident patch analysts. If you send in a patch, please include your phone number.
Requests for particular patches are also very welcome.
Pending Hacker-Requests: VFX/SD-1 - A piano patch better than the standard "Classic Piano."
SQ-1 & 2/KS-32 - A "Harmon" muted trumpet sound, like "Miles Davis" sound.
ESQ/SQ-80 - Patch sheets for the Heaven patches that were released to public domain.
2 2
ESQ & SQ-80 Hackerpatch
SQ-80 PROG: Parity
OCT
SEMI
Guest Hacker: Charles R. Fischer
The Hack:
B Y: C h a r l e s R . F i s c h e r
FINE
WAV E
0 S C 1
+0
00
00
Synth2 LFOl
M0D#1
DEPTH
+ 02
0 S C 2
+0
00
03
Synth2 LF02
0 S C 3
+0
00
04
Pluck
LFOl
M0D#2
DEPTH
- 0 2
E n v l
+ 0 3
+
V e l-
02
Parity is a simple patch with a clear digital timbre. I came up
with this sound to prove to someone that with the right
+ 0 2
X
programming and a little effects processing, the SQ-80 could
LEVEL OUTPUT
M0D«1
55
On
LF02
DCA2
56
On
DCA3
40
On
DCA1
DEPTH
M0D#2
DEPTH
+06
Kbd2
- 0 7
LFOl
+04
Kbd2
- 0 6
Vel
+42
Kbd2
+ 08
sound at least as good as the Roland D-50 (hence the name).
We both ended up preferring the SQ-80!
DCAs 1 & 2 create the bright, metallic sound with a bit of de
F I LT E R
FREQ Q KEYBD M0D#1
DEPTH
M0D#2
DEPTH
086
00
O f f
0 0
FINAL
DCA4
1
20
08
VOL
PA N
38
O f f
PAN MOD
04
DEPTH
LF03
+ 4 4
•
FREQ RESET
H U M A N WAV L 1
D E U Y
LF01
21
Off
On
Tri
0 0
00
21
W h e e l
LF0 2
23
Off
On
Tri
0 0
00
63
Wheel
LF03 ;
18
Off
Noi
0 0
01
20
P r e s s
ENV1
-24
ENV2
+
ENV3
+63
ENV4
+63
On
L1
L2
T 2
T 3
T 4
T K
00
0 4
0 8
6 3
2 0
18
+00
OOL
00
4 8
5 6
6 3
2 0
0 9
+00
+00
26L
00
00
18
0 0
2 0
00
+63
+63
12L
00
00
3 2
3 2
4 2
00
ENV
OSC
O f f
Off
-63
Off
AM
MONO
Off
Off
T1V
GUDE
v
00
S P L I T / L AY E R S / L P R G L AY E R L P R G
1 Off
T1
MOD
08L
63
LV
L2
+00
SYNC
M O D E S1
L3
+00
tuning; the modwheel adds vibrato, while pressure brings in a
slight pan modulation. The filter has been set to bring out the
upper harmonics with medium resonance and a high cutoff fre
quency. (Thanks to Sam Mims for providing the idea.)
1
c
O n
SPLIT
O f f
I recommend playing this patch through a medium-long reverb
and a fairly long delay with some regeneration. Pan the reverb
and the delay's stereo outputs to different locations in the mix
— and instant ambience!! Also, this patch sounds best in the
top three octaves of the keyboard.
Bio: Charles R. Fischer works as a test technician for AKG
CYC
Off
Acoustics, Inc. He has written more than 70 articles on
1
electronics and music technology for a variety of magazines,
SPRG SPUTKEY
designs custom MIDI controllers, and has played keyboards
and synthesizers professionally.
1
O f f
311lll|at uiui like for
A SCSI
You've got to be
kidding!
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The
Interface
Letters for The Interface may be sent to any of the following addresses:
U.S. Mail - The Interface, Transoniq Hacker, 1402 SW Upland Dr., Portland, OR 97221
Electronic mail - GEnie Network: TRANSONIQ, CompuServe: 73260,3353, Intemet (via OS): [email protected]
This is probably one of Ae most open forums in the music industry. Letter writers are asked to please keep the vitriol to a minimum. Readers are
reminded to take everything with a grain of salt. Resident answer-man is Clark Salisbury (CS). Letter publication is subject to space considerations.
Dear Hackerites,
fullest possible memory for your EPS-I6
PLUS is 2 Meg RAM and I Meg Flash.]
I have two questions concerning use of
basement.
Jay Armstrong
Flash memory on the EPS-16+ rack.
Somewhere in the U.S.
Dear Hacker,
1) Will the EPS-16+ boot itself from Flash?
Is there any point in copying the OS into the
flash in order to avoid having to boot from
floppy? (I am assuming those lucky enough
Three cheers for the basement.
I'm tired of musicians who whine and
to have hard drives can boot from the hard
apologize because they, "just make MIDI
disk?)
music in their basements." It's as if hearing
loss, a record deal, genital herpes, a drug
problem and 1,000+ screaming fourteenyear-olds at a gig is the only worthy goal in
life - the "I Didn't Become a Pop Superstar
So Life Isn't Worth Living" syndrome.
2) It is possible to obtain 2Mb flash mem
ory chips for the EPS. Is the 16-^ capable of
addressing the full I6R RAM plus 2Mb of
flash, or is there in fact no point in fitting
[CS - If it's any consolation, you don't
necessarily need to make it to the big time to
have a hearing loss, genital herpes, and a
drug problem, from what I understand. And
if MY butt was skinny, well, I don't know,
but I might shake it - just a little.]
Gentlemen:
We are a small comedy music, effects, and
radio theater production house. The '16+ has
m o r e t h a n 1 M b fl a s h t o t h e 1 6 + ?
Yeah, it's great to have goals and to dream
but just because your name isn't Michael
Any clues on these points gratefully
Jackson doesn't mean it's time to sell your
been a most welcome enhancement to our
small studios. After some six months of
received.
stuff and spend the rest of your life on the
couch watching Peoples Court reruns. What
And for a bonus point: Can anyone recom
mend a well-produced cimbalom sample for
the EPS? I'd really rather not spend the time
finding and recording a cimbalom myself!
is really important to you? Is it creativity, a
good groove or is it shaking your skinny
working with the equipment, both of our
operators feel that they are still quite novice
Regards,
Andy Spiceley
20 Langborough Road, Wokingham
Berks, RGII 2BT, England
Phone: 0734 787171
Fax: 0344 487832
email: [email protected]
[CS - 1) Yes, the EPS-16+ can boot from
an OS copied to the Flashbank. This will
allow you to boot the EPS-16+ with no disk
in the floppy drive.
and somewhat distant from realizing the
butt in public?
creative potential of the machine. We know
it will just take study and hands-on ex
This may sound like I remember when
perimentation, but a few answers now will
hopefully expedite our efforts.
movies were a nickel, but it wasn't that long
ago that people were using patch cords and
Much of our work consists of adapting
having to write down many, many settings
for one sound. The early Moogs were so big
that you got exercise running a voltage con
licensed sound effects. Could we have a
trol line from the keyboard to the first oscil
lator. Anyway, who wants to wait for a
stoned drummer to show up three hours late
whose grandma just died for the fourth time
step-by-step patch select assignment guide?
Often we have tried to sample an effect but
load the same sample into other registers for
editing, so that we may have the original
plus three edited versions to assign to patch
selects. Is this not done by the copy instru
ment command or does that have the effect
rectly, the answer is yes - the EPS-I6+ rack
this month? In your basement you don't
have to listen to a guitar player who thinks
that on the seventh day God invented the
Les Paul, a 3000-watt Marshall amplifier
(cutoff at 4 kHz) and only knows three bar
chords. There is life after Stairway to
will address all internal memory, plus
Heaven. 1 actually liked the tune the first
(ED 005 and 006) has no patch select func
Flashbank. So you definitely will get more
1,000,000 times I heard it. The hell with all
of them - three cheers for the basement!
tions. Is that because it is an EPS compatible
mileage out of the FB-2 Flashbank, which
provides I megabyte of programmable
Okay, 1 will admit that another set of ears
comedy samples/sounds, scripts, joke collec
tions, parodies, etc.
2) If I'm understanding your question cor
whatever memory you have installed in the
ROM in addition to whatever memory you
have installed in the EPS-I6+ (rack or key
board).
As for the cimbalom, maybe one of our
readers has a clue. Readers?]
[Ensoniq - As we see your question, you are
asking if the size of Flash memory can be 2
Meg. The answer is no, the denser chips are
not compatible with the board design. The
can help and yes, there can be a synergy
created playing with other people but that is
not the only way to make music and it cer
tainly isn't the way things are heading. Let
me load a violin sample from my SCSI
drive into my ASR-10 and play a very sad
of restricting edit because they are copies? If
so, must we sample the effect four separate
times to have them all on board for editing?
Also, we noticed that the Bosendorfer piano
disk? In closing, we would like readers to
know that we are always looking to purchase
Respectfully,
J D Ryan, Producer
The Brothers Ryan
P O Box 964
tune for the poor musician who is sur
Ocean View, DE 19970
rounded by all of this great Ensoniq gear
with thousands of CD quality sounds and
(302) 537-0775
the latest in computer editing. In order to do
that, though, I've got to go down in the
[CS - Since making a copy of an instrument
2 4
doesn't copy the actual wave data, but rather
sets up a new set of "pointers" to that data,
sample, and I think the decision was made
that I own the VFXsd, try as I might, I have
any edits you make to a copied instrument's
wave data will affect the original as well.
You don't need to re-sample the instrument,
though. Just take your new instrument, save
it to disk, and then load it from disk into
to place priority on the quality of the sound
yet to see any wind come out of that board.
I haven't seen any third party sounds with
wind patches either. Maybe TH or anyone
out there could help me out.
any locations you want to edit independent
ly from the original instrument. This has the
added benefit of insuring that you've got a
[Ensoniq - Clark is right about the Bosen
dorfer piano. We prioritized maximum size
over leaving memory free for Patch Selects.
Remember, an in-box sound has to fit in an
unexpanded EPS-16 PLUS (1 Meg RAM) so
size vs. quality was an important issue.]
backup of the original instrument on disk,
in case of any problems.
If all you want to do, however, is to create
patch select variations, you're going about
it the wrong way. Once you have a sound
sampled into a new layer of a new instru
ment, you can simply copy that layer back
into the same instrument. You can have up
to 8 layers in an instrument, of course, any
of which can be copies of your original
layer. These layers can be assigned to play
in any combination, under control of the
patch selects. The basic steps for ac
complishing this are;
1) Sample your effect into a new layer of a
new instrument. This will default to Layer I.
of the instrument, rather than trim the
samples down to make room for patch select
variations.}
Dear TH and Ensoniq,
The new KS-32 seems to be a nice piece of
gear but I still hesitate to buy one. What
about a "PLUS" version with a disk drive
3) Copy the PARAMS (not PARAMS
+DATA) only of layer I back into the same
Instrument - press COMMAND, then
plete EPS-16+ in the KS-32 box with those
wonderful 76 keys. I can tell you I know a
hell of a lot of keyboard players who would
buy a sampling workstation with 76 wooden
keys as a stand-alone unit on stage. And
maybe some small built-in speakers for
hotel rooms? An 88 key board would simp
ly be too large for the car's backseat.
I swear you would blow out Korg's "ProX."
Please keep that in mind when you design
the successor for the EPS-16+ - you know,
with some expanded RAM possibilities.
Keep up the good work.
ENTER and follow the prompts.
Matthias Walh
Villmergen, Switzerland
4) Assign the new layer to a patch select. hit EDIT and double-click INST to move to
[Ensoniq - Well, you're a little late to affect
the layer assign page.
the successor to the EPS-16 PLUS, but we
signments by scrolling to the layer you want
to turn on or off for the patch you're work
ing with, and use the UPIDOWN buttons to
turn the layer on or off.
Portland, OR
[CS - Hi Jerry! How's the wife and kids?
In looking through my database, I find no
wind-type patches for the VEX or SD series.
So tell ya what I'm gonna do. I'm gonna put
together a wind sound for publication in
next month's Hackerpatch. So watch these
pages, and don't let your subscription
lapse.
And give me a call - let me know how
you're doing.]
TH,
I'm really upset. I found out today that En
soniq is coming out with a new EPS with
32 note polyphony and 16 Meg of memory.
Also they have stopped making the EPS-
TURN YOUR MIDI
S^UENCER INTO A
LAYER, then scroll to COPY LAYER. Hit
5) As you hold one, the other, or both patch
select buttons, you will see which layers are
active in any given patch. Change these as
Jerry Iverson
and sample-RAM? Or even better - a com
2) Select Layer I for editing - hit EDIT,
a n d u n d e r l i n e LY R = 1 .
Thanks much
hope you'll be satisfied by the features of
the ASR-IO. We have had great reaction to
the feel of the KS-32 so we will certainly
keep your comments in mind. By the way,
the keys on the KS-32 use a weighted, flying
mechanism to achieve their true feel, but
they are not wooden. Thanks for writing!]
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6) Now when you want to edit the new layer
to create a variation, be sure you have the
correct layer selected for editing, and that
the layer is active in the current patch.
And I'm sure Ensoniq will correct me if I'm
mistaken, but I believe that the reason there
were no patch select variations included
with the Bosendorfer sound is that there
simply wasn't enough room on the disks to
include them. While copying layers to use
for instrument variations takes up very little
space, the Bosendorfer is a rather large
• Chord chairs provided for all of the sequences.
• Excellent for learning how to arrange and play
DearTH,
I currently own a VFX-sd which is full of
great sounds. One use for my equipment is
an Easter and Christmas church production
(full scale with orchestra, choreography,
150 member cast - in short, the works!) It
never fails - on each production I am asked
to come up with various sound effects. The
one effect called for every time is for wind.
When I owned my ESQl, I simply replied,
"No problem," punched up one of several
wind patches and instant breeze. Well, now
25
all styles of music.
• Works with any midi set up that can produce
drurrus, piano, bass, and guitar. Type 1 midi file
format for all computer .sequences.
AVA H A B L E D ATA F O R M AT S :
MAC, IBM, ATARI, AMIGA, Roland MC300/500/
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Korg T-Serie.s/Ol/WFD
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VISA AND MASTERCARD ACCEPTED
NEW SOUND MUSIC
P.O. Box 37363
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16+. I and thousands of other people have
been let down because our '16+s will be ob
portable machine as well, but I couldn't af
ford both a desktop and a notebook Mac.
solete. I have had mine only for nine
months. Already they have discontinued it.
Maybe they'll make some kind of upgrade
for polyphony or memory but I heard from
a reliable source that they can't.
It seems like I get stung on keyboards no
Now Apple has just introduced the Macin
tosh Duo - a machine that functions both as
a notebook and as a desktop computer, with
power comparable to my llci. And for not
much more money than my Ilci. So am I
What a joke. Wait until all the hackers find
out about this. I won't be the only one writ
ing in.
my present machine. I'll probably be work
ing with my present system for a couple
more years, anyway, but I'd like to think
that personal computer technology will de
velop quickly enough so that when I'm
ready, the upgrades available to me will in
clude some astonishing technology.
depressed? No. And here's my reasoning.
matter how much I research them. I wonder
if Ensoniq would like to buy my '16+ back.
sooner or later, I will want to upgrade from
So I guess it's really just the old "half-full!
1) I love my llci - it's a great machine. It's
quick, versatile, and gets the Job done usually in a relatively elegant fashion. This
fact has not changed because Apple has in
half-empty" syndrome - it all depends on
how you look at it.]
(Ensoniq - Dear Mr. Suite,
troduced a new machine.
Thanks for hearing my gripes,
Don Suite
Clark makes a great point, but we thought
2) If I had waited for the next generation of
Macintosh before making my purchase, I
would have spent the last six months bang
Salt Lake City, UT
[TH - Hmmm, always stung, no matter
what. Okay Don, you win. Next time you
buy something we'll all promise to NEVER
make anything better.]
ICS - I know it can be depressing when a
newer, flashier version of a product that
you already own comes out - it happens to
us all. About six months ago I purchased a
Macintosh lici system. It was a bit of a
tough decision, because I really wanted a
ing my head against the performance ceil
ing of my old computer. Projects would
have taken longer (making my daily work
routine less productive and less lucrative),
and my personal frustration factor (PFF)
would have remained at inordinately high
levels.
3)1 think the new Mac Duo is a way cool
concept. I'm looking forward to seeing
where this technology heads, because
Christmas Sequence Sale
Any Christmas
Sequence Only $8.50
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Now is the time to order the Ouistmas sequences you need for the holiday season. We've
added a lot of new selections to our already large holiday selection and are offering a great deal.
When you order 10 Christmas songs, we will give you free our Christmas Piano Dinner Solo!!
If you order 10 Christmas songs, any other song on our list is only $8.50!!!
Call now and be ready for Christmas!!!!
you'd appreciate hearing from us as well.
Yes, we stopped making the EPS-16 PLUS
and now make a newer design that incor
porated many of the features that our users
(and Hacker readers) have asked us to
make. We have stated time and time again
that we simply couldn't add these features
to the existing products, but we heard the
need for them and created the product. That
is not a bad thing. And your EPS-16 PLUS
continues to work and will still provide all
the great features and sound that were the
factors that prompted you to buy it for in
the first place. It is not obsolete, and you
/
Treat Yourself!!
EPS/16 PLUS
Samples from K. Thomas
Electronic Musician says —
"Sound Quality: 5 out of 5
Value: 5 out of 5"
[EM, Jan. '92]
Keyboard Magazine says —
"Beautifully recorded... incredibly
smooth... rich... soulful... crisp and
seamlessly multi-sampled."
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51 Charter Oak Drive, Newton Square, PA 19073-3044
Order line only please: 1-800-3LB-MUSIC
FAX: 215-356-6737 Technical Support: 1-215-356-7255
Demo Tape... $8
K. Thomas
VFX/sd/SD-l/32/EPS/EPS-16+/Korg 01/W/Korg T-Series/IBM/
Box 174
Certain formats are not available for this special offer.
S t r a t f o r d , O N T.
N5A 6T1 Canada
(Offer expires December 25, 1992.)
Phone: 519-271-7964
SMF/Mac/Roland Sound Canvas/Alesis Data Disk/Proteus
2 6
^
can continue to make great music with it for
a long time to come. Just because the MiniMoog, Prophet 5, CS-80, DX-7 (and dare
we say) Mirage are no longer being manu
factured does that make them obsolete, use
less, and a joke?]
Dear TH & readers,
I've been real busy in the studio (Studio B)
lately, but I couldn't resist offering you a
short review of the first encounter with the
ASR-10. My predictions weren't too far
large logo on the right reminding you
you've got the best of the best. Keep in
mind the unit I had to check out may have
been somewhat of a prototype so a few
things might change. The LED read out is
very similar to the other units but I suspect
the information line may have been raised
up a little to make reading easier at lower
viewing angles. The keyboard is a little stiffer to the touch and has an excellent synth
feel. Don't worry, this is no piano action or
spongy "clicker" either. The new highdensity drive works faster than the standard
drive (estimated about 20% faster), but this
off!!
may only be with Hi-Density disks. I have
yet to determine that one. One other benefit
Taking the time to sit down and try out the
brand new ASR-10 is a tough job, but I vol
of the HD Drive is that now a lot more in
unteered anyway. The opportunity came
when Saturday our local music store was
those 2-disk pianos you already own can
hosting a "Factory Rep. Show and Sale." I
was all up for this special event because the
single HD disk and cut down on disk swap
ping hassles. The access to the floppy drive
is a bit more awkward as you tend to brush
rumor was one of the new ASR-lOs would
be on display. Needless to say after owning
an EPS and watching the development of
the 16+ I was looking forward to seeing if
the ASR-10 would be the next quantum-
f o r m a t i o n c a n fi t o n o n e d i s k . S o m e o f
now be transferred to the new format on a
sampling life easier is a small input volume
control and mic/line switch. Both are lo
same Hgures again except to point out a few
highlights...
cated on the back side. It appears as though
the "Bar graph" read out inside the view
screen still goes blank when actual sam
Cosmetically the ASR-10 is slightly larger
pling happens. This unit had the 1.0 soft
ware and there was a glitch in the bar-graph
LEDs which I suspect will be worked out
with the next update. But what about the
sound?? Well this new sampler uses the
state of the art "1-bit" analog-to-digital con
version system.
when you upgrade. The color is more in
keeping with the 16+, it's black. As a mat
ter of fact even the buttons are black with
bility is expandable to 16 meg, all using
relatively inexpensive, user installable
Simms chips. With this much memory the
capabilities of the ASR-10 start sounding
more like a mini hard-disk recording system
more than a sampler. The effects add
additional spice to the sounds and with 50
algorithms (read types..reverb, delay, dis
tortion, chorus, etc.) You can even plug
another instrument into the audio inputs and
process it through the onboard effects easi
ly. With flexibility like this it'll be a while
until you'll need to buy another effects box.
All in all I was very impressed with this
new unit, the only let down is that an on
board hard drive is not available as an op
tion. Even with 20% faster load times those
Yupl At least my trusty EPS is soon to be
replaced by the new ASR-10 in my studio.
out. The double LED lights that give a con
stant read out of input material (for sam
pling or effects processing) should make
these jobs easier to do. Also making your
(and heavier) than any of its sampler
predecessors. This only becomes important
if you use a hard case and hope to keep it
I've heard. The additional memory capa
Concerning the sampling side of things.
Stereo is the new feature here. Stereo in and
the Hacker. Therefore I won't go over the
system combined with 16 bit technology
and a 44.1k sample rate gives one of the
cleanest, most natural sounding samples
big pianos still take a while. Well do I think
this new machine is worth the $2695 tag.
laid out for all to see in the Hacker Inter
You've probably read the facts about the
new unit published in the October issue of
l a t e s t D AT r e c o r d e r s . T h i s n e w c o n v e r s i o n
up against the control wheels while insert
ing or removing disks.
leap in sampling. My predictions had been
face and I wanted to examine in person,
what had been only hinted at on paper.
This is the same type as those used in the
very few breaks in the look except for the
If you own a 16+ and don't need the extra
sample time, then the decision to move up
is a bit tougher, but as for myself, I've al
ready put my deposit down to order one.
This is only a brief review, I expect we'll be
seeing a lot more articles about this amaz
ing new unit in future Hackers. I'd especial
ly like to thank Ensoniq and their rep, Mike
Lundin, as well as Guzzardo's Music and
their rep, Mike Mclntyre, for letting me
have some hands on time with the new
sampler before they were readily available.
I guess some dreams do come true!
Thanks again...
Michael Castronovo
Rockford, IL
CHANGE OF ADDRESS
Current Ensoniq O.S. (Disk/EPROM)
E P S
2.49/2.40
SQ-R
1.02
EPS-M
EPS-16PLUS
2.49/2.41
SQ-R 32
SQ-R PLUS
2.03
1.15
SQ-2
1.2
2.03
4.10/4.10
Please let us know at least four weeks in advance to avoid missing
any Issues. The Post Office really will NOT reliably forward this
type of mail. (Believe us. not them I) We need to know both your
old and your new address. (Issues missed due to late or no
MASOS
1.3/1 .OOF
2.0
MIRAGE
3.2
E S Q
3.5
SQ-2 32
SD-1
ESO-M
1.2
SD-1 32
4.10/4.10
SQ-80
V F X
1.8
DP/4
2.30
KS-32
1 . 11
3.00
VFX-SD
2.1/2.00
ASR-10
1.05/1.00
US: $23/year. All others: $32/year (please use Intemational Money
SQ-1
SO-1 32
1 . 11
2.03
KMX-8
2.00
Order, payable in US funds). Please make payable and mail to:
KMX-16
1.50
SQ-1 PLUS
1.1
change notification are your own dumb fault - we mailed them!)
S U B S C R I P T I O N I N F O R M AT I O N
1 2 M O N T H LY I S S U E S
TRANSONIQ HACKER
1402 SW UPLAND DR., PORTLAND, OR 97221
2 7
(CS - Thanks for the info, Michael. I'm real
impressed with the ASR-IO, too, and look
ing forward to spending some quality time
with it here in the near future. Heck, maybe
I'll even write something about it.}
portamento effect such as in ELP's "Lucky
M a n " !
Dear Hacker
mode. You can adjust the speed of the
repeats by adjusting some or all of EN
repeating percussion sound such as ORBIT
VELOPE 3 TIMES - select the voice you
wish to edit, and hit the ENV3 button twice
to access the TIMES page.]
I would also be interested to know if there
are any "How To" publications for pro
[Ensoniq - Almost any book on program
gramming VFX sounds. The factory
manuals give you the mechanics of it but
blink away the details on how to get the
ming (even if it deals with analog synthesis)
will be a good source of information for
you. Only FM technology is different
enough from our wavetable synthesis that
you can't apply information to our architec
sound you have in your head to the key
I have to say I've been enjoying your mag
azine almost as much as my VFX for over
board.
two years now. I especially look forward to
In closing, thanks a lot for a great magazine
and as long as I'm asking, how about a
Hackerpatch for Heart's "Magic Man"!
the Hackerpatch feature from which I've
robbed some sounds to add to my personal
controlled by ENVELOPE 3, set to REPEAT
2) How can I change the rate (speed) on a
(VFX factory cart: #VPC-101)?
[Ensoniq - Yes, only HD disks are faster.
We can't change the way normal density
disks work.]
it's a pretty sure bet that the repeats are
ture. Look to the Mix Bookshelf (800)
233-9604 for a good selection.]
TH,
library. Singin.PNO (March 1991) has a
rich tine sound not found in any factory
Thanks,
patches. Likewise, K.Emerson (Sept. 1990)
Stan Chmura
I have been using the EPS-16+ rack with 2
provides a punchy organ that comes dan
Canterbury, Ct.
MB RAM and 1 MB of Flashbank for a
year now but my enjoyment of the instru
gerously close to the real thing. So now I've
at least scratched the surface in the world of
[CS - 1) Glide is controlled from the
programming. Which brings me to a couple
of questions that maybe you or Ensoniq can
PITCH MODS page, and can be enabled in
dependently for each voice in a given sound
(although glide time is a single parameter
help me with. (These are really just tweaks
and are probably embarassingly simple.)
1) How do I adjust the glide to produce a
that is shared by all voices in a program).
To simulate the old analog-style portamento
you describe, do the following for each ac
tive voice in a patch:
A) Select the voice you wish to edit - press
the VOICE SELECT button, and select (un
derline) any voice you wish to edit. Alter
nately, you can select all active voices in a
program for group editing by rapidly
double-clicking the VOICE SELECT button.
ment is greatly decreased by having only
2MB of RAM. Take, for example, the
strings series SL-10 through SL-13. When
you load just the SML versions of these in
struments, you cannot simultaneously hold
the pizzicato, tremolo, and harmonics in
RAM. Of course you would use the main
memory as well as the Flashbank. Also, if
you greatly reduce the sample rate it still
isn't enough to hold a sensible string sec
tion.
So I would like to know if a memory expan
sion for the EPS-16+ is available or can be
expected in the future. Can the processor in
the 16+ handle more RAM?
MONSTER DAN is hotter than ever with
B) Hit the PITCH MOD button, and select
(underline) GUDE=XXXX. For the type of
glide you describe, use the MONO selec
tion; in other words, set GUDE=MONO.
Thanking you in advance for your trouble,
ALfred Karolyi
Mainz, Germany
hundreds of selections from the '50s to
this week's chart for your ESQ-1, SQ80, VFX-sd, or SD-1 — also ROLAND,
MACINTOSH and IBM. Data includes
sequences, drum pattems, patches and
programmed mix. Demanding profes
sionals agree that MONSTER TRACKS
Incredibly detailed arrangements are
the greatest! Convincing demo avail
able.
Now on GS Standard!
Q»t your original* taquencedl
MONSTER TRACKS
P. O . B o x 7 1 9 1
Eugene, OR 97401
5 0 3 - 6 8 3 - 7 11 5
Initninwnt iwmss ara tradamark* of Ensoniq Corporation.
C) Press the PROGRAM CONTROL button,
and adjust glide time to taste. Higher values
produce longer glide times, lower values
produce shorter times.
[CS - No memory expansion is planned (or
2) While I'm not familiar with this par
ticular sound (Orbit), repeat times are
controlled by the envelopes, generally
the original EPS back in Issue §36, "Sur
speaking. The exception to this is sounds
t h a t u s e t h e M U LT I - W AV E . H i t t h e V O I C E
SELECT button and check to see if the
sound is using the MULTI-WAVE - if it is,
the only way to change the repeat rate is to
tune the pitch of the voice higher or lower,
depending on whether you want the sound
to go faster or slower.
If the voice is using one of the other waves.
28
even possible) for the EPS-16+, unfor
tunately.
I did an article on memory conservation for
viving the Memory Shortage." If you
haven't been a subscriber that long, you
may want to contact one of the "Outof Print" back issue suppliers in the clas
sifieds for a copy - some of the information
presented therein may give you some ideas
about how to get more into the EPS-16+
without having to resort to sample-rate con
version.]
Dear Hacker,
I have subscribed for seven issues now and
even close), and people will get mad at me,
don't feel you devote enough information to
EPS-16+ owners. In your response to Paul
Bissel in Issue #88 you gave two back is
sues as the answer to his wanting more in
formation on altering sounds for the
and
EPS-16+. I think two back issues plus Mr.
Shear's in #86 is just not enough coverage.
(I wish Tom had explained more thoroughly
what the filters, etc. do. Give him two pages
next time!)
Anyway, every issue you have "Wave
Mutilations" and Hackerpatch for SQs,
[CS - Creating presets on the SQ series is
no big deal - just select the location you
want to put the new preset (hit the SELECT
B) It will take an awful lot of time, and my
wife will get mad at me (she doesn't see me
very often as it is).
SEQUENCESIPRESETS button, and hit the
BANK
and
SCREEN
button
that
cor
responds to the location for the new preset),
and press ENTER. The SQ display will
I might re-consider my position though, if:
show:
A) I can come up with a really quick easy
New Sequence
way to do it, or
B) Somebody pays me a lot of money to do
Location=##.
it, or
C) Somebody else does it, or
D) All of the above (preferred method).
If this is the correct location, hit ENTER.
The SQ will display the default time signa
ture for editing (remember, presets are Just
I'll keep you posted.]
sequences with no tracks recorded). Hit
ENTER. The SQ will give you a chance to
Dear Hacker,
change the default sequence name - I'd
recommend naming the preset - it'll be
much easier to keep track of later. Hit EN
cause it is a synth, too. I know I for one
Thanks for a great magazine. Ever since I
set.
can't afford to buy all my sounds nor do I
want or have the option of sampling lots of
got my first Ensoniq keyboard and found
your sample copy enclosed, I have anxious
ly awaited its monthly arrival.
The next step will be to set up each track of
the preset to do what you want it to do -
ESQs, SDs, and VFXs. Why can't you pub
lish a conversion table for the EPS? You'd
only have to do this one time and even if
the sounds do not end up converting exact
ly, it would give us EPS owners more
things to try. After all, we bought the EPS
not only for its sampling ability, but be
different keyboard stuff.
Please give EPS-16+ owners equal time for
their investment in your magazine!
TER once again, and you have a new pre
play internal voices, external MIDI sound
My question is this: I have an SQ-1+ and
have tried to create presets. Maybe I'm not
sources, or both; volume, transpose and
all there, but I'm having trouble following
board range for each track; how the track
Sincerely,
the instructions in the manual. Could some
LJ Nichols
one there turn the lightbulb on?
panriing information for each track; key
will respond to the sustain pedal; and so on.
The first thing you'll probably want to do is
Boston, MA
[TH - On an actual word-count basis the
EPSIEPS-16+ receives more coverage than
any other instrument. Lately, we've re
ceived a flood of samples for review - so
Sincerely,
to assign an SQ sound to your first track.
Richard Hueston
To do this, press the track button for the
Piscataway, NJ
track that you want to put a sound into. The
SELECT SEQUENCES/PRESETS LED will
the coverage has been tilted more toward
reviews than normal. The two back issues
mentioned in answer to Paul Bissel's ques
tion aren't the only ones that have ever
gone into wave manipulation. See also: #43,
Craig Anderton on sample customization;
#52, Chip Burwell on "getting sounds to
swell"; #60 and #64, with Earle Peach
covering creative and additive synthesis;
#71, Barry Carson on effects tips; #74, with
Erech Swanston on arpeggiation. Good ol'
Clark even covered it some in #71 and #74.
And Tom Shear even made an attempt at an
Professional Rack Enclosures
"EPS Hackerpatch" in #86. And - hang in
there - Robby Berman is, even as we speak,
pounding out an article (or perhaps a short
series thereof) on EPS envelopes.]
w/hand1e
RAX 1/S ( 19 X J.75 X 7.50; $24. 95 N/A
RAX 2/S ( 19 X 3.50 X 8.75) $29. 95 $34.95
RAX 3/S f J9 * 5.25 X 10.5) $34. 95 $44.95
[CS -We get a number of requests for pro
gram conversion charts for various instru
ments, and I've been hesitant to attempt this
sort of thing because:
RAX .50 r9.5 X J.75 X 7.50; $19.95 N/A
• F U L LY
B L A C K - F U L LY
ASSEMBLED
UNITS INCLUDE RACK MDUNTING HOLES
CUSTOM
OPT
1ONS
C O L O R G R A P H I C S / L E T T E R I N G Yo u r N a m e o r
Logo
•Virtually Any
Color^Color
Knobs
C U S T O M PA N E L FA B R I C AT I O N R o u n d , S q u a r e
or Rectangular Holes • Any Size (within
St ructuraI 1 imi ts) .
CUSTOM
ENCLOSURE
SIZES (Available Upon
Request).
A L S O AVA I L A B L E ; 1 , 2 , & 4 C h a n n e l N o i s e G a t e s 0 F i l t e r E n h a n c e m e n t E Q ' s
Kits or Assembled Power Amps • Dynamic Noise Reduction • 12-48 Channel PA's
S/H ADD $3.50 for RAX 1S&.05 / $5.50 for RAX 2S & 3S
A) The converted programs will not sound
quite like the original, (in some cases, not
Cashier's Check • Money Order • Check (Bank Clearance)
STRADA
2 9
P. O . B o x
612
Alpha
11 .
614
13
(309)667-2553
begin flashing. You may now select any of
the SQ sounds to place in that track in the
same way that you'd select the sound for
review, "Holding Hands with Alexander,"
in the October issue, I held my hands along
with the rest of me and went and bought the
performing - press the BANK and then
SCREEN button that corresponds to the in
strument you want. Whatever sound you
select will be placed into the track you've
selected. You can also place other sounds
into other tracks in the same way - just
press the track button for the track you
want to put a sound into, and locate the
sound in the usual way.
book since I needed (still do) more detailed
Next you might want to edit some of the set
tings - transpose, volume, key range, and
so on - associated with SQ sequence/preset
tracks. Press the EDIT SEQUENCES!
PRESETS button - its LED will light to in
dicate that you're in edit mode. There are a
number of parameters that you may or may
not want to edit for each track of a se
quence! preset. These parameters are found
Once you've entered the parameter bank,
you can scroll left andlor right to view and
edit the various parameters associated with
the current track - things like transpose,
key range, track status, and so on. If you
want to edit the value for a track other than
the one you currently have selected. Just
press the track button corresponding to the
track you wish to edit. As long as you're
still in the parameter bank, you can move
freely among the various tracks to set each
of their parameters in whatever way you
One of the points Perrara made was "One
area that is not covered in this manual is the
very aware of that.
extensive sequencer capabilities of the
EPS-16+. Alexander Publishing says a
volume devoted to this will be available at
some point." According to the last page in
the book itself, it says "Some [features] I
would have liked to cover but had to forego,
for reasons of book size and production
schedules, like the nitty-gritty of sample
data editing, the synthesizer features of fil
ters, modulation, envelopes, LFO, MIDI
secrets. Other subjects may yet get covered
in the future. There's a rumor floating
around Alexander Publishing of a book
about sequencing with the EPS-16 PLUS..."
So, I guess sequencing really is not covered.
Anthony also said, "I feel that it makes a
valuable supplement to the factory manual,
given the tutorial approach that is taken. It's
a good value for the price if what you're
seeking is a very basic tutorial approach."
It's a manual supplement that is missing
to set the track's status to MIDI or BOTH,
rather than LOCAL or EXT, and you'll need
to make sure that your MIDI channels are
set up correctly. The track status and MIDI
channel parameters are located along with
the other track parameters in the parameter
Last, and maybe least, Anthony said, "At
$24.95, compared to the list price of $9.95
for the original manual, the question is
whether the added coverage is worth the
cost."
authors have made the claim that this book
is all-inclusive, and my half-page review
was not meant to cover all the bases.
However, I feel that the position you take in
your letter Justifies some explanation on my
part. First, you called me at Ensoniq Cus
tomer Service and asked for my opinion of
the quality of the Alexander book, not about
the coverage of specific topics. Second, you
purchased the book at a local music store
(rather than through mail order), at which
time you could have checked the table of
contents. On both occasions, you had an
opportunity to determine whether the book
suited your particular needs - which only
you can decide.
What The Pros Use
up-to-date drum sounds and
funky breakbeat loops.
From R&B, Rap, Pop, to Rock.
— Prosamples Package —
You get 35 disks: Formatted
The answer is - No. With the majority of
the features not being covered, I don't think
it's worth paying two-and-one-half times
the price of the original manual.
So, bottom line, a little more accuracy from
Mr. Ferrara would have been appreciated.
And I still need help with filters and en
velopes. Any volunteers, call (718) 9563597.
for the EPS, EPS-16-F,
and the ASR-10.
Over 400 samples on disk
for only $50.00 — or call
and make your own
package deal.
1-800-528-0799
24 Hours
Abraham Zabalawi
NYC, NY
Good luck, and let me know if there's any
thing else we can do to help.]
[Anthony Ferrara responds - Abraham,
first I want to thank you for calling and
writing since it lets both the editor and me
After reading Anthony Ferrara's book
16-Flus manual. Neither I nor the book's
tant.
bank.
TH,
I stand by the content and opinion of my
review; namely that the book would be a
valuable complement to the original
many areas which, to some of us, are impor
want.
This should give you a good start at getting
sounds into presets, and setting some of the
track parameters for those sounds. Of
course, you can use external MIDI devices
with presets as well - to do this, you'll need
fort using the products I review. I also want
to give the product's creator!publisher!
producer a fair shake, since so much of
their personal energy presumably went into
the product in question. Their reputation
and my credibility are on the line - I am
help with envelopes and filters.
in what's called the "Parameter Bank." The
parameter bank is accessed from Sequence!
Preset Edit mode (which you should still be
in, as long as you haven't pressed any other
buttons) by pressing the bank 6 button.
that people invest their time, money, and ef
know that someone is actually reading my
reviews! In all seriousness, I am very metic
ulous regarding accuracy when preparing
an article for publication, since I realize
3 0
Sky Is The Limit
918 Ashlin Avenue
Macon, GA 31201
I personally use reviews as an information
guide, never as my sole means of evalua
tion. Reviews, whether positive or negative,
are only one person's opinion, and I try to
balance several in helping to decide about a
purchase. I can't tell you how many times
I've read a book or movie review, only to
arrive at a totally different assessment than
the one I found in print.
Your letter and follow-up phone call serve
to illustrate a crucial point - "Et Caveat
Emptor" (let the buyer beware)! In all
events, I recommend that you research
before you purchase. I have had personal
experiences similar to yours. Now, when
ever I have a question about content, I al
ways call the publisher directly before I
make a purchase.
Finally, I believe that Alexander Publishing
is planning a second volume on the 16-Plus,
which I am told will cover the topics that
you are interested in. But, please, don't take
my word for it, give Alexander a call.
They'll be glad to talk to you themselves!]
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P E R M I T N O . 11
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Our (somewhat regular) Illustrious bevy of writers includes: Craig Anderton,
Robby Berman, Barry Carson, Mark Clifton, Gary DInsmore, Dennle Edwards,
Rob Felner, Anthony Ferrara, Pat FInnlgan, Charles R. Fischer, Gary Glebler, Jim
Grote, Garth HJelte, Bryce Inman, John Loffink, Alan Macintosh, Daniel Mandel,
Sam MIms, Gary Morrison, Michael Mortllla, William Pont, Jeffrey Rhoads, Brian
Rost, Clark Salisbury, Tom Shear, Joe Slater, Kirk Sllnkard, Bob Spencer, and
Jack Tdlln.
Copyright 1992, Transoniq Hacker, 1402 SW Upland Drive, Portland, OR
97221. Phone: (503) 227-6848 (8 a.m. to 9 p.m. Pacific Time).
Subscriptions: 12 monthly Issues. US: $23/year. All others: $32/year. Payable
In US funds.
Transoniq Hacker is the Independent user's news magazine for Ensonlq
products. Transoniq Hacker Is not affiliated in any way with Ensonlq Corp.
Ensonlq and the names of their various products are registered trademarks of
the Ensonlq Corp. Opinions expressed are those of the authors and do not
necessarily reflect those of the publisher or Ensonlq Corp. Printed In the
United States.
Cases §or
Bnsoniq Cqu^Hneat
Now available direct from factory (except in current dealer
areas) our full line of ATA cases Category I and II
Keyboards: EPS, EPS-16 PLUS, VEX, VFX-sd,
SQ-80, SQ-1, SQ-l-f, SQ-2
Module rack cases:. 3-space, 4-space, 5-space, 6-space.
(2-space racks available with surface
mount hardware only.)
Mention the (TH) code number 839 when inquiring to
receive our special factory direct pricing.
Shown: 4-space rack with EPS-16 PLUS module,
2-space rack, Eagle-I VFX-sd case
CALL US AT 1-800-637-6635
8:00 am to 4:30 pm CT, Mon. - Fri.
We accept: COD, Visa, Mastercard, American Express.
Dealer Inquiries Welcome!
OPTI-CASE • RT. 6, BOX 235 • HENDERSON, TX 75652 • FAX: 903-657-6030
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