Reference Manual

Reference Manual

R e f e r e n c e M a n u a l

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READ THIS FIRST!

Grounding Instructions

This product must be grounded. If it should malfunction or break down, grounding provides a path of least resistance for electric current to reduce the risk of electric shock. This product is equipped with a cord having an equipment-grounding conductor and a grounding plug. The plug must be plugged into an appropriate outlet that is properly installed and grounded in accordance with all local codes and ordinances.

DANGER: Improper connection of the equipment-grounding conductor can result in the risk of electric shock. Check with a qualified electrician or service personnel if you are in doubt as to whether the product is properly grounded. Do not modify the plug provided with this product — if it will not fit the outlet, have a proper outlet installed by a qualified electrician.

CAUTION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

CAUTION : TO REDUCE THE DANGER OF ELECTRIC SHOCK

DO NOT REMOVE COVER (OR BACK)

NO USER SERVICEABLE PARTS INSIDE

REFER SERVICING TO QUALIFIED SERVICE PERSONNEL

This symbol is intended to alert the user to the presence of uninsulated "dangerous voltage" within the product's enclosure that may be of sufficient magnitude to constitute a risk of electronic shock to persons.

This symbol is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the appliance.

SEE IMPORTANT SAFETY INSTRUCTIONS ON BACK COVER!

"INSTRUCTIONS PERTAINING TO A RISK OF FIRE,

ELECTRIC SHOCK, OR INJURY TO PERSONS"

IMPORTANT SAFETY INSTRUCTIONS

WARNING—When using electric products, basic precautions should always be followed, including the following:

1.

Read all the instructions before using the product.

2.

Do not use this product near water - for example, near a bathtub, washbowl, kitchen sink, in a wet basement, or near a swimming pool, or the like.

3.

This product should be used only with a cart or stand that is recommended by the manufacturer.

4.

This product, either alone or in combination with an amplifier and headphones or speakers, may be capable of producing sound levels that could cause permanent hearing loss. Do not operate for a long period of time at a high volume level or at a level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should consult an audiologist.

5.

The product should be located so that its location or position does not interfere with its proper ventilation.

6.

The product should be located away from heat sources such as radiators, heat registers, or other products that produce heat.

7.

The product should be connected to a power supply only of the type described in the operating instructions or as marked on the product.

8.

This product may be equipped with a polarized line plug (one blade wider than the other). This is a safety feature. If you are unable to insert the plug into the outlet, contact an electrician to replace your obsolete outlet. Do not defeat the safety purpose of the plug.

9.

The power supply cord of the product should be unplugged from the outlet when left unused for a long period of time.

10. Care should be taken so that objects do not fall and liquids are not spilled into the enclosure through openings.

11. The product should be serviced by qualified service personnel when: a. The power supply cord or the plug has been damaged; or b. Objects have fallen, or liquid has been spilled into the product; or c. The product has been exposed to rain; or d. The product does not appear to operate normally or exhibits a marked change in performance; or e. The product has been dropped, or the enclosure damaged.

12. Do not attempt to service the product beyond that described in the user-maintenance instructions.

All other servicing should be referred to qualified service personnel.

SAVE THESE INSTRUCTIONS

TM

R e e n

M ann allll

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Written, designed, and illustrated by:

Thanks to:

Robby Berman

Jim Bryan

Copyright © 1998

ENSONIQ¨ Corp

155 Great Valley Parkway

Box 3035

Malvern, PA 19355-0735

USA

World Wide WebÑhttp://www.ensoniq.com

Printed in U.S.A.

All Rights Reserved

Please record the following information:

Your Authorized ENSONIQ Dealer:___________________________ Phone:_______________

Your Dealer Sales Representative:_________________________________________________

Serial Number of Unit:___________________________ Date of Purchase:_________________

Your Authorized ENSONIQ Dealer is your primary source for service and support. The above information will be helpful in communicating with your Authorized ENSONIQ Dealer, and provide necessary information should you need to contact ENSONIQ Customer Service. If you have any questions concerning the use of this unit, please contact your

Authorized ENSONIQ Dealer first. For additional technical support, or to find the name of the nearest Authorized

ENSONIQ Repair Station, call ENSONIQ Customer Service at (610) 647-3930 Monday through Friday 9:30 AM to 12:15

PM and 1:15 PM to 6:30 PM Eastern Time. Between 1:15 PM and 5:00 PM we experience our heaviest call load. During these times, there may be delays in answering your call.

This manual is copyrighted and all rights are reserved by ENSONIQ Corp. This document may not, in whole or in part, be copied, photocopied, reproduced, translated, or reduced to any electronic medium or machine readable form without prior written consent from ENSONIQ Corp. The ASR-X Pro software/firmware is copyrighted and all rights are reserved by ENSONIQ Corp.

Although every effort has been made to ensure the accuracy of the text and illustrations in this manual, no guarantee is made or implied in this regard.

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Note: This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to part

15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures:

* Reorient or relocate the receiving antenna.

* Increase the separation between the equipment and receiver.

* Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.

* Consult the dealer or an experienced radio/TV technician for help.

Changes or modifications to the product not expressly approved by ENSONIQ could void the user's FCC authority to operate the equipment.

In order to fulfill warranty requirements, your ASR-X Pro should be serviced only by an Authorized ENSONIQ Repair

Station. The ENSONIQ serial number label must appear on the outside of the unit, or the ENSONIQ warranty is void.

ENSONIQ, ASR-X Pro, Scratch Pad, Patch Selects and SoundFinder are trademarks of ENSONIQ Corp.

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T em p G u d e n essss

The ASR-X Pro contains a substantial amount of computerized and electronic circuitry that can be susceptible to damage when exposed to extreme temperature changes. When the ASR-X Pro is brought inside after sitting in a cold climate (i.e., the back seat of your car), condensation builds up on the internal circuitry in much the same way a pair of glasses fogs up when you come inside on a cold day. If the unit is powered up as this condensation occurs, components can short out or be damaged. Excessively high temperatures also pose a threat to the unit, stressing both the internal circuits as well as the case. With this in mind, it is highly advisable to follow these precautions when storing and setting up your ASR-X Pro:

¥

¥

¥

Avoid leaving the ASR-X Pro in temperatures of less than 50 degrees

Fahrenheit or more than 100 degrees Fahrenheit.

When bringing the ASR-X Pro indoors after travel, allow the unit at least 20 minutes to reach room temperature before powering up. In the case of excessive outdoor temperatures (below 50 degrees

Fahrenheit or above 100 degrees Fahrenheit), allow an hour or more before power up.

Avoid leaving the ASR-X Pro inside a vehicle exposed to direct sunlight.

C arrrree n d FFF e e d n g oo h e D Drrrriiiivvv e

The ASR-X ProÕs disk drive is used to store sounds, rhythms, and sequencer data. This quad-density disk drive will store your data on a high-density

(HD) 3.5Ó micro floppy disk. You can also store data on a DOS-formatted double-density (DD) 3.5Ó micro floppy disk.

¥

¥

¥

¥

¥

DonÕt expose disks to temperature extremes. Temperatures below 50û

F and above 140û F can damage the plastic outer shell.

DonÕt expose your disks to moisture.

DonÕt dry your disks in a microwave oven.

DonÕt subject disks to strong magnetic fields. Exposure to magnetic energy can permanently damage the information on the disk. Keep disks away from speaker cabinets, tape decks, power cables, airline xray equipment, power amplifiers, TV sets, and any other sources of magnetic energy.

DonÕt eject the disk while the drive is operating (i.e., when the disk drive light is on).

e ann U p aaa n M aiiiinn e naaa n

Clean the exterior of your ASR-X Pro with a soft, lint-free, dry (or slightly damp) cloth. You can use a slightly dampened cloth (with a mild neutral detergent) to remove stubborn dirt, but make sure that the ASR-X Pro is thoroughly dry before turning on the power. Never use alcohol, benzene, volatile cleaners, solvents, abrasives, polish or rubbing compounds.

P ollllaaa o n n o u n d n g

Like many modern electrical devices, your ENSONIQ product has a threeprong power cord with earth ground to ensure safe operation. Some products have power cords with only two prongs and no earth ground. To ensure safe operation, modern products with two-prong power cords have polarized plugs which can only be inserted into an outlet the proper way.

Non-polarized Polarized

Three-prong with earth ground

Disks have a sliding write-protection tab so that you can protect your data against accidental erasure. When the write-protection tab covers the protect window, you can store information on the disk. Sliding the tab so that the window is open will protect the disk against being accidentally reformatted or having files deleted. High density disks can be easily identified because they have an additional disk window located on the lower right corner of the disk.

Floppy disks are a magnetic storage medium, and should be treated with the same care youÕd give important audio tapes. Just as you would use high quality audio tapes for your important recording needs, we recommend using high quality floppy disks for your ASR-X Pro. Here are a few DoÕs and DonÕtÕs concerning disks and the disk drive.

¥

¥

D oÕÕÕÕssss::::

¥ Use either high-density (HD) or double-density (DD) 3.5Ó disks. Both types are available from most computer stores.

¥ Keep your disks and the disk drive clean and free of dust, dirt, liquids, etc.

Label your disks and keep a record of what is saved on each.

¥

D o

¥ DonÕt use single-sided (SD) disks. These disks have not passed testing on both sides. While a single-sided disk might work with the ASR-X

Pro, it is possible that you will eventually lose important data to a disk error if you try using single-sided disks.

DonÕt put anything other than a disk into the disk drive.

DonÕt transport the unit with a disk in the drive.

Some products, such as older guitar amplifiers, do not have polarized plugs and can be connected to an outlet incorrectly. This may result in dangerous high voltages on the audio connections, which could cause you physical harm or damage any properly grounded equipment to which they are connected, such as your ENSONIQ product.

To avoid shock hazards or equipment damage, we recommend the following precautions:

¥ If you own equipment with two-pronged power cords, check to see if they are polarized or non-polarized. You might consider having an authorized repair station change any non-polarized plugs on your equipment to polarized plugs to avoid future problems.

¥

¥

Exercise caution when using extension cords or plug adapters. Proper polarization should always be maintained from the outlet to the plug.

The use of polarized extension cords and adapters is the easiest way to maintain proper polarity.

Whenever possible, connect all products with grounded power cords to the same outlet ground. This will ensure a common ground level to prevent equipment damage and minimize hum in the audio output.

AC outlet testers are available from many electronic supply and hardware stores. These can be used to check for proper polarity of outlets and cords.

A C LLLLiiiinn e C o d o n n g

As with any computer device, the ASR-X Pro is sensitive to sharp peaks and drops in the AC line voltage. Lightning strikes, power drops, or sudden and erratic surges in the AC line voltage can scramble the internal memory, and in some cases, damage the unitÕs hardware. Here are a few suggestions to help guard against such occurrences:

¥

¥

A surge/spike suppressor. A surge/spike suppresser absorbs surges and protects your gear from all but the most severe over-voltage conditions. You can get multi-outlet power strips with built-in surge/spike suppressers for little more than the cost of unprotected power strips, so using one is a good investment for all your electronic equipment.

A line conditioner. This is the best, but by far the more expensive way to protect your gear. In addition to protecting against surges and spikes, a line conditioner guards the equipment against excessively high or low line voltages. If you use the ASR-X Pro in lots of different locations with varying or unknown AC line conditions, you might consider investing in a line conditioner.

Table of Contents

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The ASR-X Pro Experience Begins........................................................................................................................................1

What Else is in the Box?..................................................................................................................................................1

Setting Up the ASR-X Pro........................................................................................................................................................1

Using the Audio Outputs................................................................................................................................................1

Setting the Output Volume............................................................................................................................................2

The Audio Inputs .............................................................................................................................................................2

Making MIDI Connections..............................................................................................................................................2

Using a Foot Switch with the ASR-X Pro .....................................................................................................................2

Powering the ASR-X Pro ................................................................................................................................................2

The ASR-X Pro Controls..........................................................................................................................................................3

The ASR-X Pro Display...................................................................................................................................................3

The Knobs.........................................................................................................................................................................3

The Exit/No and Enter/Yes Buttons and Their LEDs................................................................................................3

Playing the Demo.....................................................................................................................................................................4

Important ASR-X Pro Concepts.............................................................................................................................................4

Architecture Overview...................................................................................................................................................4

You Are Here...........................................................................................................................................................5

WhatÕs Where .........................................................................................................................................................5

The All Notes Off Button........................................................................................................................................6

About Note, Tips and Warnings in the ASR-X Pro Documentation................................................................................6

Optional Accessories for the ASR-X Pro ..............................................................................................................................6

22 TTT

Introduction to Tracks..............................................................................................................................................................7

To Select One of the Tracks in the Currently Selected Sequence..................................................................................7

Selecting a Sound for a Track................................................................................................................................................7

Banks and Sounds..................................................................................................................................................8

Selecting a TrackÕs Sound Using the Sound Type and Sound Name Knobs.......................................................8

SoundFinder............................................................................................................................................................8

Selecting a TrackÕs Sound Using the Essentials Buttons..........................................................................................9

Programming the Essentials Buttons..................................................................................................................9

Selecting and Playing a TrackÕs Sound Via MIDI........................................................................................................10

Selecting and Programming a MIDI-OUT Sound......................................................................................................10

Quickly Erasing a Track Sound .....................................................................................................................................11

Editing Track Parameters........................................................................................................................................................11

Overrides and Offsets............................................................................................................................................11

Editing Track Parameters Via MIDI......................................................................................................................12

What Each Track Parameter Does...............................................................................................................................12

Muting and Soloing a Track ....................................................................................................................................................19

Muting and Soloing from the Front Panel ...................................................................................................................19

Muting Tracks via MIDI ...................................................................................................................................................19

33 PPP 1

The Pads:Overview..................................................................................................................................................................21

What are the Pads? .........................................................................................................................................................21

What the Pads Play..........................................................................................................................................................22

Standard Sounds ....................................................................................................................................................22

Kit Sounds ................................................................................................................................................................22

Octave Transpose Buttons............................................................................................................................................23

The Kit Mapper .......................................................................................................................................................23

Patch Select Buttons .......................................................................................................................................................23

Patch Selects and MIDI..........................................................................................................................................24

ENSONIQ ASR-X Pro Reference Manual i

Table of Contents ii

Programming the Pads........................................................................................................................................................... 24

Overview.......................................................................................................................................................................... 24

To Prepare the Selected TrackÕs Sound for Pad Editing................................................................................ 24

Selecting a Pad for Editing .................................................................................................................................... 25

Choosing a PadÕs Sound......................................................................................................................................................... 25

Overview of the Pad Edit Parameters.................................................................................................................................. 25

Determining a PadÕs Behavior .............................................................................................................................................. 26

PAD Parameters.............................................................................................................................................................. 26

Editing a PadÕs Sound.............................................................................................................................................................. 27

The ASR-X Pro Modulators ........................................................................................................................................... 27

WAVE Parameters .......................................................................................................................................................... 29

PTCH Parameters........................................................................................................................................................... 30

ENV1 Parameters ........................................................................................................................................................... 31

FILT Parameters .............................................................................................................................................................. 32

FLT1 and FILT2 Parameters ......................................................................................................................................... 33

ENV2 Parameters ........................................................................................................................................................... 33

AMP Parameters ............................................................................................................................................................. 33

ENV3 Parameters ........................................................................................................................................................... 34

MOD Parameters ............................................................................................................................................................ 34

MISC Parameters ............................................................................................................................................................ 35

Processing a SoundÕs Wave................................................................................................................................................... 36

The Pad Process Display............................................................................................................................................... 36

The Pad Processes ......................................................................................................................................................... 36

Normalize gain? ..................................................................................................................................................... 36

Scale loudness?...................................................................................................................................................... 36

Reduce sample bits?............................................................................................................................................. 37

Invert sample data?............................................................................................................................................... 37

Truncate length?.................................................................................................................................................... 38

Copy sound?........................................................................................................................................................... 38

Scale time?.............................................................................................................................................................. 38

Stomp!........................................................................................................................................................................................ 39

Sound Type...................................................................................................................................................................... 39

Oscillator #...................................................................................................................................................................... 39

Mode.................................................................................................................................................................................. 39

Oscillator Mode Stomper Parameters........................................................................................................................ 40

Filter Mode Stomper Parameters ................................................................................................................................ 40

44 EEEEffffffffeeeeccccttttssss 44

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Overview of the ASR-X Pro Effects....................................................................................................................................... 41

Insert Effects..................................................................................................................................................................... 41

The Insert Control Track....................................................................................................................................... 41

Global Reverb.................................................................................................................................................................. 42

FX Busses: How Sounds are Sent to the Effects........................................................................................................ 42

Selecting and Editing a Sequence's Effects........................................................................................................................ 43

To Select an Effect........................................................................................................................................................... 43

To Edit an Effect............................................................................................................................................................... 43

Insert Effect and Global Reverb Context Parameters ..................................................................................... 44

Insert Effect Real-Time Modulation Parameters.............................................................................................. 44

Setting a Sequence's Insert Control Track.......................................................................................................................... 46

Bypassing a Sequence's Effects............................................................................................................................................ 46

LFO Wave Shapes.................................................................................................................................................................... 47

Distortion Curves ..................................................................................................................................................................... 47

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Overview................................................................................................................................................................................... 49

What is Sampling? .......................................................................................................................................................... 49

What is Resampling?............................................................................................................................................. 49

What Happens When You Create a Wave................................................................................................................. 49

What can be Sampled in the ASR-X Pro..................................................................................................................... 49

Using the ASR-X Pro Audio Inputs............................................................................................................................... 50

ENSONIQ ASR-X Pro Reference Manual

Table of Contents

Resampling Setup ....................................................................................................................................................................50

Source................................................................................................................................................................................50

In Bus.........................................................................................................................................................................51

Recording Mode ..............................................................................................................................................................51

Auto-Normalize...............................................................................................................................................................51

Record Time.....................................................................................................................................................................51

Pre-Trigger Time.............................................................................................................................................................52

Trig Mode..........................................................................................................................................................................52

Setting the Trigger Threshold........................................................................................................................................52

Sampling/Resampling a Wave..............................................................................................................................................53

How to Start and Stop Sampling a Wave ....................................................................................................................53

Sending a Wave to Pads..........................................................................................................................................................53

What Happens When You Send a Wave to a Pad or Pads?....................................................................................54

Automatically Spreading a Wave Across all of a KitÕs Pads............................................................................55

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Overview....................................................................................................................................................................................57

How the ASR-X Pro Sequencer Works .......................................................................................................................57

What is a Sequence? ......................................................................................................................................................57

Operating the Sequencer .......................................................................................................................................................58

The Sequence Select Button..................................................................................................................................................59

Creating a New Sequence.............................................................................................................................................60

Selecting Sequences ......................................................................................................................................................60

The Sequence Edit Button......................................................................................................................................................60

Tempo...............................................................................................................................................................................60

RecordMode.....................................................................................................................................................................61

Step Recording........................................................................................................................................................61

Recording Track Parameter Changes................................................................................................................63

Recording Sequence Volume and Tempo Changes......................................................................................63

Loop Playback..................................................................................................................................................................64

Time Signature.................................................................................................................................................................64

Using Regions...................................................................................................................................................................64

RecordQuantize...............................................................................................................................................................65

Edit Click/Countoff?........................................................................................................................................................65

The Sequence Process Button..............................................................................................................................................67

Undo track ?......................................................................................................................................................................67

Quantize track?................................................................................................................................................................67

Copy track?.......................................................................................................................................................................72

Erase track? ......................................................................................................................................................................74

Erase trk to end?..............................................................................................................................................................74

Rename sequence?........................................................................................................................................................75

Append sequence? ........................................................................................................................................................75

Copy this sequence?......................................................................................................................................................75

Erase this sequence?......................................................................................................................................................76

Erase all sequences? ......................................................................................................................................................76

Enter pattern mode?.......................................................................................................................................................76

Create a new song? ........................................................................................................................................................77

Playing a Song.........................................................................................................................................................77

Exiting and Re-Entering Song Mode...................................................................................................................77

Editing a Song..........................................................................................................................................................77

Adding a Step to the End of a Song .....................................................................................................................78

Inserting and Erasing Song Steps ........................................................................................................................78

The ASR-X Pro Sequencer and MIDI....................................................................................................................................79

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The Disk/Global Controls.......................................................................................................................................................81

Storage Options ...............................................................................................................................................................81

Introduction to Floppy Disk Storage .....................................................................................................................................81

The Floppy Disk Drive....................................................................................................................................................81

Introduction to SCSI Storage...................................................................................................................................................82

What is SCSI?....................................................................................................................................................................82

ENSONIQ ASR-X Pro Reference Manual iii

Table of Contents

About SCSI Device IDs ................................................................................................................................................... 83

About Termination ......................................................................................................................................................... 84

Folders/Directories ........................................................................................................................................................ 85

Invisible Folders...................................................................................................................................................... 85

Preparing for SCSI ........................................................................................................................................................... 85

Attaching SCSI Cables........................................................................................................................................... 85

Powering Up SCSI Devices ........................................................................................................................................... 85

Troubleshooting Your SCSI System ............................................................................................................................ 86

SMDI Transfers ................................................................................................................................................................ 86

The Disk Buttons...................................................................................................................................................................... 86

SCSI Device Selection and Navigation........................................................................................................................ 86

Select Device?........................................................................................................................................................ 87

Scan SCSI Devices?............................................................................................................................................... 87

Folder Navigation................................................................................................................................................... 87

Creating a New Folder Using the ASR-X Pro .................................................................................................... 88

Creating a New Folder Using a Computer........................................................................................................ 88

The Save Button.............................................................................................................................................................. 88

File Types that can be Saved............................................................................................................................... 89

Saving the Contents of the Scratch Pad to Disk ............................................................................................... 90

Naming Disk Files................................................................................................................................................... 90

The Load Button.............................................................................................................................................................. 90

File Types that can be Loaded............................................................................................................................. 90

A Note About Imported ASR-10 and ASR-88 Sounds ................................................................................... 91

Selecting an Individual File to be Loaded.......................................................................................................... 92

Selecting a Location into which a Sound will be Loaded.............................................................................. 92

The System/MIDI Button........................................................................................................................................................ 92

Set system prefs?............................................................................................................................................................ 93

Touch Curve........................................................................................................................................................... 93

Patch Selects........................................................................................................................................................... 93

FtSw L and FtSw R (............................................................................................................................................... 93

AutoSelect FXBus................................................................................................................................................... 94

Track ParamReset.................................................................................................................................................. 95

Auto-Zero Cross..................................................................................................................................................... 95

SCSI Device ID ........................................................................................................................................................ 95

SCSI Termination ................................................................................................................................................... 95

Alter system pitch? ......................................................................................................................................................... 95

The System Pitch Bend Setup............................................................................................................................. 95

Fine Tuning ............................................................................................................................................................. 96

PitchTbl.................................................................................................................................................................... 96

Edit MIDI settings?........................................................................................................................................................... 96

Local-Off Operation of the ASR-X Pro................................................................................................................ 96

ClockSource............................................................................................................................................................ 97

Xmit MIDI Clocks .................................................................................................................................................... 97

Bank&ProgChgRecv.............................................................................................................................................. 97

ResetControlRecv.................................................................................................................................................. 97

AllNotesOff Recv .................................................................................................................................................... 97

SysEx Device ID...................................................................................................................................................... 97

CTRL1, CTRL2, CTRL3 and CTRL4..................................................................................................................... 97

Access disks utils?........................................................................................................................................................... 98

Format disk?............................................................................................................................................................ 98

Copy [disk name] disk?........................................................................................................................................ 98

Optimize [disk name] disk?Ó............................................................................................................................... 99

A Note About the SCSI Copy and Optimize Utilities........................................................................................ 99

Reset SCSI bus?...................................................................................................................................................... 99

Write-Protect .......................................................................................................................................................... 100

Erase disk files?....................................................................................................................................................... 100

Rename disk files?................................................................................................................................................. 100

Directory Sorted..................................................................................................................................................... 101

Free........................................................................................................................................................................... 101 iv ENSONIQ ASR-X Pro Reference Manual

Table of Contents

Enter MemoryManager?................................................................................................................................................101

Show free memory?..............................................................................................................................................101

Erase memory banks? ..........................................................................................................................................101

Erase sound?...........................................................................................................................................................101

Rename sound? .....................................................................................................................................................101

Change sound type?..............................................................................................................................................102

Exp Name.................................................................................................................................................................102

Save these settings?........................................................................................................................................................102

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Overview....................................................................................................................................................................................103

An Important Note About Electro Static Discharge............................................................................................................103

Opening the ASR-X Pro...........................................................................................................................................................103

Installing Additional Sampling/Resampling Memory........................................................................................................104

Installing an ENSONIQ EXP-Series Wave Expansion Board.............................................................................................106

Updating the ASR-X Pro Operating System ........................................................................................................................108

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List of ROM Waves....................................................................................................................................................................111

List of SoundFinder Categories..............................................................................................................................................112

Drum and Percussion Maps...................................................................................................................................................113

ENSONIQ Drum Map......................................................................................................................................................113

ENSONIQ Percussion Map ............................................................................................................................................113

GM Kit Map........................................................................................................................................................................114

List of Quantize Templates.....................................................................................................................................................115

What Is MIDI?.............................................................................................................................................................................115

Life In The MIDI World ....................................................................................................................................................115

Understanding MIDI........................................................................................................................................................116

MIDI Hardware........................................................................................................................................................116

How MIDI Channels Work .............................................................................................................................................116

How MIDI Messages Work.............................................................................................................................................117

The Art of MIDI..................................................................................................................................................................117

List of MIDI Controller Names.................................................................................................................................................118

ASR-X Pro MIDI Implementation...........................................................................................................................................119

MIDI Implementation Chart...........................................................................................................................................119

MIDI Controllers Reception Behavior..........................................................................................................................120

Reset All Controllers Reception Behavior...................................................................................................................120

Track ParamReset Behavior..........................................................................................................................................121

Using RPNs and NRPNs to Edit Parameters ...............................................................................................................122

Registered Parameters..........................................................................................................................................122

Non-Registered Parameters................................................................................................................................123

List of NRPNs............................................................................................................................................................123

Pitch Tables and the MIDI Tuning Standard Format.................................................................................................124

List of ROM Pitch Tables.................................................................................................................................................124

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ENSONIQ ASR-X Pro Reference Manual v

1ÑWelcome

11 W

Congratulations on your purchase of the ENSONIQ ASR-X Pro Advanced Sampler/Resampler. This box is the ultimate groove machineÑideal for deejays and musicians who enjoy grabbing sounds out of the air and turning them into mind-boggling loops.

This bookÑthe ASR-X Pro Reference ManualÑcontains detailed information on all of the ASR-X ProÕs many features. If youÕd like to start getting to know your ASR-X Pro through a hands-on tour of its hot spots, take a look at the ASR-X Pro UserÕs Guide, which contains step-by-step quick-starts for the major features of the ASR-X Pro, a list of all of its built-in sounds and descriptions of its insert effect parameters.

For the latest information on the ASR-X Pro and other ENSONIQ products, visit ENSONIQÕs World Wide

Web site at http://www.ensoniq.com.

The following items are included with every ASR-X Pro shipped from the ENSONIQ factory:

¥ ENSONIQ X-Audio Sampling CD

Volume 1ÑProducersÕ Mix

¥ hex wrench

¥

¥

¥

ENSONIQ ASR-X Pro UserÕs Guide

ENSONIQ ASR-X Pro Reference Manual

AC power cable

Main Out

Right

Left Phones

Mono Mono

As shipped from ENSONIQ, the ASR-X Pro provides two ways to listen to the sounds it makes:

¥ You can listen to the ASR-X Pro using headphones by plugging your headphones into the 1/4Ó

Phones jack on the ASR-X Pro rear panel.

¥ Using 1/4Ó audio cables, you can connect the Left and Right Main Outs to a mixer or amplifier. The

ASR-X Pro outputs produce a great-sounding stereo image. If youÕd prefer to use the ASR-X Pro in mono, connect only the Left or Right Main Out jack to your mixer or amplifier, and make sure nothing is plugged into the other Main Out jack.

stereo, but do so with care, since the dynamic range of the ASR-X Pro is much greater than that of a CD or record, and could damage your speakers. See ÒSetting the Output volumeÓ below.

These four pairs of stereo outputs become available for use with the purchase and installation of an

ENSONIQ X-8 output expander board. You can connect them to a mixer, amplifier or stereo system.

ENSONIQ ASR-X Pro Reference Manual 1

1ÑWelcome

The ASR-X Pro, like all digital equipment, produces its best fidelity when its front panel Volume knob is turned all the way upÑwhen using the ASR-X Pro with a mixer or amplifier, use the input level controls on the mixer or amplifier to find a usable volume setting for the ASR-X Pro. When the ASR-X Pro is connected to a home stereo, turn the ASR-X Pro Volume knob all the way down, power up (see below), and, while playing its pads with maximum force, slowly turn up the ASR-X Pro Volume knob to find a level that sounds good but doesnÕt cause the stereoÕs inputs to distort.

The two Audio Input jacks on the rear panel of the ASR-X Pro allow you to sample audio from a microphone or line-level audio sourceÑsuch as a CD player or phonographÑconnected to your ASR-X

Pro. The use of the Audio Inputs is described in Chapter 5.

Thru

MIDI

Out In

The ASR-X Pro has powerful MIDI capabilities. The rear panel MIDI jacks are:

¥ MIDI ThruÑThis jack is used when the ASR-X Pro is part of a MIDI daisy-chain, with multiple MIDI devices connected in a row. Any MIDI data that the ASR-X Pro receives will be passed along from this jack to the MIDI In of the next device in the series.

¥ MIDI OutÑThe ASR-X Pro sends MIDI data out of this jack. Since the ASR-X Pro can play external

MIDI sounds from its pads or sequencer tracks, or provide a timing reference for an external sequencer, connect this jack to the MIDI In of a MIDI sound module, sequencer, or MIDI patchbay.

¥ MIDI InÑThe ASR-X Pro responds to MIDI data sent through a MIDI cable connecting this jack to the MIDI Out of an external MIDI controller, sequencer, storage device or MIDI patchbay. When the ASR-X Pro is receiving MIDI data, its front-panel MIDI LED flashes.

MIDI

2

Connecting a foot switch to the ASR-X ProÕs rear-panel Dual Foot Switch jack allows you to use a foot switch for conventional purposesÑas a sustain pedal, for exampleÑor for performing certain operations hands-free. Chapter 7 describes the many possible uses of a foot switch with the ASR-X Pro. The ASR-X Pro can accommodate a dual foot switchÑsuch as

ENSONIQÕs SW-10Ñor a single foot switch, such as ENSONIQÕs SW-2 or SW-6.

Dual

Foot Switch

(Sustain)

To learn how to connect SCSI devices to your ASR-X Pro, see Chapter 8.

Connect one end of the supplied AC cable to the ASR-X ProÕs line jackÑlocated next to the On/Off switch on the rear panelÑand the other end to a grounded AC outlet. The ASR-X Pro works with all standard voltages.

When powering up the ASR-X Pro, as with any audio gear, turn down your monitoring system to avoid any unwanted level spikes. To turn on the ASR-X Pro, press in the top of the rear-panel On switch.

ENSONIQ ASR-X Pro Reference Manual

1ÑWelcome

Each section of the ASR-X Pro provides buttons for its related tasks. In addition, there are a set of common controls and indicators that youÕll find yourself using again and again.

The display located in the center of the ASR-X Pro front panel is your doorway to all of the ASR-X ProÕs workings. Information relating to everything you do is presented on this display. Each chapter in this manual describes what youÕll see while using your ASR-X ProÑand what it all means.

Select Track

Parameter Value

1 16

MIDI Channel

Essentials

Sound

Type

0

1

2 3

4

Sound

Name

5 6 7

Demo

8 9

In the center of the front panel, below the display, are two knobs central to most every ASR-X Pro activity. These knobs each have two names, since they operate in two wide-ranging contexts.

¥ When youÕre selecting sounds for tracks or for pads in the ASR-X Pro, the central knobs are referred to as the Sound Type and Sound Name knobs. These names are printed underneath the knobs, as shown above. The Sound Type and Sound Name knobs are the key to unlocking the power of the

ASR-X ProÕs SoundFinder feature. Each knob does just what its name suggests: the Sound Type knob selects a kind of sound, and the Sound Name selects an individual sound.

¥ Virtually every other ASR-X Pro activity also uses the two central knobs. In these contexts, theyÕre referred to as the Parameter knob and the Value knob. These names are printed above the knobs, as shown in the above illustration.

¥ A parameter is a characteristic of the ASR-X Pro software that can be changed.

¥ A value is the setting of a parameter.

The Parameter knob is used for the selection of a parameter for editing, and the Value knob changes its value. There are times that the knobs are used for selecting procedures to be performedÑin these cases as well, the knobs are referred to as the Parameter and Value knobs.

Exit

No

Enter

Yes

The two buttons marked ÒExit/NoÓ and ÒEnter/YesÓ are central to the performance of many ASR-X Pro procedures, and are used for navigating the ASR-X Pro displays and parameters.

Most of the operations performed on the ASR-X Pro are posed as questions on its displayÑat such a time, think of these buttons as No and Yes buttons. When the ASR-X Pro asks you a question, the LEDs in the buttons flash as a reminder that the ASR-X Pro requires a response from you in order to proceed with the selected operation. To answer ÒNoÓ or ÒYes,Ó press the appropriate button.

ENSONIQ ASR-X Pro Reference Manual 3

1ÑWelcome

Some of the ASR-X ProÕs features offer sets of parameters and procedures. In such cases, youÕll begin by answering ÒYesÓ to a top-level question, which will have the effect of beginning the procedure. From there youÕll encounter parameters presented on sub-displays that relate to the top-level question. To exit back out to the top level of the ASR-X Pro, you can press the Exit/No button.

The ASR-X Pro contains some short demonstration pieces to give you an idea of the kind of music it can produce. These demos are based on the wave data built into the ASR-X Pro. To play the main demo:

1.

Locate the Essentials buttons on the ASR-X Pro's front-panel.

2.

Hold down the Essentials Button 5.

Essentials

0 1 2 3 4

5 6 7

Demo

8 9

3.

While still holding the Button 5 down, press Essentials Button 9.

5 6 7

Demo

8 9

4.

Release both buttons.

The display will show...

Start demo playback?

MAINDEMO: Internal

5.

Press the Enter/Yes button to hear the demo.

3.

To stop the demo, press any button on the ASR-X Pro front panel.

4.

To select the individual demos that make up the main demo, turn the Parameter knob to select other demo categories, and the Value knob to select individual demos in the selected categoryÑthen press

Enter to hear the selected demo.

The ASR-X Pro is a groovestation containing a variety of elements, each represented by an area (or two, in the case of the pads) of the ASR-X Pro front panel:

¥ tracks

¥ pads (and pad editing)

¥ effects

¥

¥

¥ sampling/resampling sequencer disk functions and global settings

While each area has its own chapter in this manual describing it in detail, itÕs important that you always know where you are and what youÕre doing.

4 ENSONIQ ASR-X Pro Reference Manual

1ÑWelcome

¥ In the ASR-X Pro, there is always a sequence selected, even if you havenÕt recorded anything.

¥ In the ASR-X Pro, there is always a track selected, even if you havenÕt recorded anything.

Therefore, the important thing to remember about the architecture of the ASR-X Pro is this simple rule:

This means that:

¥ When you press the Track Sound button and pick a new sound, youÕre choosing a new sound for the currently selected track (described in Chapter 2).

¥ When you play the pads, youÕre playing the sound on the currently selected track (see Chapter 3).

¥ When you convert a standard sound into a RAM kit, the newly created RAM kit is assigned to the currently selected track (described in Chapter 3).

¥ When you select new sounds or otherwise edit or process whatÕs on a pad, youÕre editing one of the pads in the RAM kit on the currently selected track (described in Chapter 3).

¥ When you sample or resample and send your wave(s) to one or more pads, youÕre sending them to a

RAM kit on the currently selected track (described in Chapter 5).

¥ When you play the pads and record in the sequencer, youÕre recording on the currently selected track (described in Chapter 6).

The ASR-X Pro contains essentially three types of memory:

1.

ROM (for ÒRead-Only MemoryÓ)ÑThis is a permanent and unchangeable area of memory that contains the wave data used by the sounds shipped with your ASR-X Pro; it also contains the sounds themselves.

2.

RAM (for ÒRandom Access MemoryÓ)ÑThis area of memory holds:

¥ the contents of the Scratch Pad ¥ waves youÕve sampled and sent to pads

¥ the sounds that play your samples ¥ RAM kits youÕve created and edited

¥ sequences ¥ System/MIDI settings do will be stored in RAM only until you turn off the ASR-X Pro, at which time RAM is cleared.

While this offers you a clean slate each time you turn on the ASR-X Pro, it also means that itÕs important to remember to save your work to disk before powering down.

ENSONIQ ASR-X Pro Reference Manual 5

1ÑWelcome

3.

FLASHÑFLASH memory is a writable form of permanent memory in which the ASR-X Pro stores its operating systemÑits contents are retained even when the ASR-X Pro is turned off. In addition, when the ASR-X Pro is shipped from the factory, FLASH holds the default system, click and resampling setup parameter values, as well as the default Essentials buttons sound assignments and

USER quantization templates. You can write your own custom settings to FLASH; see Chapter 7.

When you update your operating system version from floppy, the new version is written to FLASH.

From time to time you may see ÒAllocating memoryÓ briefly appear on the ASR-X Pro display. This is completely normalÑit means that the ASR-X Pro is defragmenting its RAM memory to make most efficient use of available space. Defragmenting takes bits and pieces of free RAM joins them into uninterrupted, larger chunks of memory. This helps your data play back quickly and smoothly.

The ASR-X Pro supports 32-voice polyphony, which means that 32 sound layers can be playing at any given moment. Different sounds use different numbers of layersÑsounds based on the samples you create use one or two per note, while ROM sounds may use up to 16 per noteÑso the number of notes that can be played simultaneously depends very much on the sounds being used. To learn more about sound layers, see Chapter 3.

ItÕs not uncommon for MIDI devices to get momentarily confused, given the amount of MIDI data that moves through the cables in a MIDI studio, and the ASR-X Pro is no exception. The Disk/Global Load button doubles as a handy All Notes Off button. If notes in the ASR-X Pro continue playing when you feel they should stop, double-click this button to turn off all of the currently sounding notes.

Load

Disk / Global

Save System

All Notes Off Save All MIDI

6

Throughout the ASR-X Pro Reference Manual and UserÕs Guide, youÕll encounter notes, tips and warnings, offset from the rest of the text by borders, and always beginning with the word ÒNote,Ó ÒTipÓ or ÒWarningÓ in bold type. Each of these has its own meaning:

¥ Note: information regarding the topic being discussed that should not be overlooked.

¥ Tip: a way of using the feature being discussed thatÕs worth being aware of.

¥ Warning: information thatÕs vital in preventing damage to the ASR-X Pro, other equipment, or you.

O N

¥ X-8 output expanderÑThe X-8 output expander provides additional outputs for your ASR-X Pro, usable as four pairs of stereo outputs, or as eight mono outputs.

¥ SW-10 foot switchÑThe SW-10 provides two foot pedals mounted on a single base that let you take full advantage of the ASR-X Pro many hands-free possibilities.

¥ SW-2 foot switchÑThe SW-2 synthesizer-style single foot switch can access the many possibilities available to a foot switch on the ASR-X Pro.

¥ SW-6 foot switchÑThe SW-2 piano-style single foot switch can access the many possibilities available to a foot switch on the ASR-X Pro.

¥ X-Audio audio CDsÑEach X-Audio series CD contains a huge assortment of materials that can be sampled into the ASR-X Pro.

¥ EXP Series Wave Expansion BoardsÑThese exciting boards from ENSONIQ provide the ASR-X Pro with new sounds and ROM wave data.

ENSONIQ ASR-X Pro Reference Manual

2ÑTracks

22

Trrrraaaacccckkkkssss

Whatever you do in the ASR-X ProÑand whatever kind of sound you play from its pads or via

MIDIÑyouÕre always on a track in a sequence, even when you havenÕt yet recorded any notes. When you choose and listen to the sounds built-in to your ASR-X Pro, or that youÕve sampled/resampled yourself, youÕre actually choosing sounds for the currently selected track. Tracks are absolutely central to life with an ASR-X Pro. The Track buttons allow you to control the properties of each track.

Each track has:

¥ a sound that can be played using the ASR-X Pro pads or from an external controller via MIDI, or a sound that can play an external

MIDI device.

¥ an editable set of parameters that determine how the sound will behave while itÕs assigned to the track.

¥ a mute/solo capability that can silence the track or isolate by turning all other tracks off.

¥ its own MIDI channel for receiving and transmitting MIDI data. Each trackÕs MIDI channel is the same as its track numberÑthere are 16 tracks in each sequence.

Sound

1

Track

Edit

Mix / FX Bus

Select Track

MIDI Channel

Mute

Solo

16

These topics are discussed in detail in this chapter.

The track display tells you which track is currently selected. To view it, press the Track Sound button.

The currently selected track m

¦01 ROM08:000

PERCSOLO: Thump Kick

1.

Press the Select Track right arrow button to select a higher-numbered track, or the left arrow button to select a lower-numbered track.

1

Select Track

MIDI Channel

16

There are four ways to place a sound on the currently selected track, all of which begin with pressing the Track Sound button: Sound

Track

Edit Mute

¥ You can select a trackÕs sound using the front-panel Sound Type and Sound Name knobs, taking advantage of the ASR-X Pro powerful SoundFinder featureÑsee ÒSelecting a TrackÕs Sound

Using the Sound Type and Sound Name KnobsÓ below.

Mix / FX Bus Solo

¥ You can select a trackÕs sound by sending MIDI Bank Select and Program Change messages to the

ASR-X ProÑsee ÒSelecting a TrackÕs Sound Via MIDIÓ later in this section.

¥ You can transform any ROM sound on the track into a new, editable RAM drum kit by sampling or resampling and sending your sample to a pad (see Chapter 5).

ENSONIQ ASR-X Pro MusicianÕs Manual 7

2ÑTracks

¥ You can transform any ROM sound on the track into a new, editable RAM drum kit by editing the sound using the Pad editing controls (see Chapter 3).

When a new sound is selected for a track, the ASR-X Pro will automatically reset certain track parameters if the System/MIDI Track ParamReset parameter is set to ÒOnÓ (see Chapter 7). For a list of these parameters, see ÒTrack ParamReset BehaviorÓ in Chapter 9.

Sounds are stored in the ASR-X Pro in groups called banks. A bank can contain up to 127 sounds. Each bank has a corresponding MIDI Bank Select number that allows it to be selected via MIDI, and within each bank , each sound has a program number corresponding to a MIDI Program Change value so that it, too, can be selected via MIDI (see ÒSelecting and Playing a TrackÕs Sound Via MIDIÓ later in this chapter).

Sound selection using the ASR-X Pro front-panel knobs is simple. The ASR-X Pro utilizes ENSONIQÕs acclaimed SoundFinderª technology to make the location and selection of sounds logical and easy.

SSSSoooouuuunnnnddddFFFFiiiinnnnddddeeeerrrr

SoundFinder is a database of all the sounds in your ASR-X Pro. The power of a database lies in its ability to let you to view information in a manner of your choosing. SoundFinder keeps a list of all the sounds available in your ASR-X Pro, and shows them to you in convenient categories called sound types.

SoundFinder sound types show you sounds by instrument familyÑvocals or bells, for exampleÑor by other useful criteria, including the location in the ASR-X ProÕs memory where they reside. The ALL-SND category is especially useful,: it shows all of the ASR-X Pro sounds arranged in alphabetical order.

youÕve selected, and offers it to you as a first choice when you return to the category.

While most of SoundFinderÕs categories describe types of musical instruments, there are three additional categories that allow you to select sounds based on the location in memory in which they reside:

¥ EXP-SNDÑThis category contains sounds located on an EXP Series Wave Expansion Board.

¥ ROM-SNDÑThis category contains sounds stored in permanent ROM.

¥ RAM-SNDÑThis category contains sounds stored in temporary RAM. There are two banksÕ worth of RAM sound memory (to learn about banks, see ÒBanks and SoundsÓ above).

You can also set a track to transmit MIDI dataÑsee ÒSelecting and Programming a MIDI-OUT Sound.Ó

8

1.

Press the Track Sound button.

Sound

Track

Edit Mute

Mix / FX Bus Solo

The display shows you information thatÕs helpful when picking sounds:

The track being edited Where the sound it resides The soundÕs MIDI bank and program numbers l l n n

¦01 ROM08:000

PERCSOLO: Thump Kick i

The currently selected SoundFinder category i

The currently selected sound

ENSONIQ ASR-X Pro MusicianÕs Manual

2.

Turn the Sound Type knob to select a different SoundFinder category, if desired.

SND category). To find the sounds that play your waves, turn it all the way right (*CUSTOM).

3.

Turn the Sound Name knob to select a new sound.

The ten Essentials buttons provide instant access to 15 0f your favorite sounds. To assign an

Essential sound to the currently selected track:

1.

Press the Track Sound button.

2.

Press the desired Essentials button for

Essential sounds 0-9, or hold down an upper Essentials button and press the button beneath it for Essential sounds 10-14.

0

5

1

6

Essentials

2

7

Demo

3

8

4

9

2ÑTracks

The single Essentials buttons are pre-programmed by ENSONIQ with the following sounds:

Essentials button: selects:

0 Gizmo Kit

1

2

Dance Kit

HeavyDrmKit

3

4

OlÕSkoolKit

GM Kit

Essentials button: selects:

5

6

7

8

9

Vintge Bs 1

Sweep Bass

Snot-T-Bass

Mono Boy

TiteÕTÕBass

The upper and lower Essentials pairs are programmed to select these sounds:

Essentials pair:

0 and 5

1 and 6

2 and 7

selects:

R. Peggio

Classic Syn

Squared Off

Essentials pair:

3 and 8

4 and 9

selects:

PaddedEPno

Techno Sync m

Buuuuttttttttoooonnnnssss

You can assign one any of your own favorite sounds to an Essentials button in any of the following ways:

¥ Select the desired sound using the Sound Type and Name knobs, hold down the Track Sound button and, while still hold it, press the Essentials button to which you want to assign the sound.

¥ Hold down the desired Essentials button and, while still holding it, select the desired sound using the Sound Type and Name knobs.

¥ After setting up a foot switch for the selection of Essentials (Chapter 7), select the desired sound using the Sound Type and Name buttons, hold down the Track Sound button and, while still holding it, select the intended Essentials button using your foot switch.

these settings?Ó in Chapter 7.

ENSONIQ ASR-X Pro MusicianÕs Manual 9

2ÑTracks

You can select sounds for tracks by sending the ASR-X Pro MIDI Bank Select LSB and Program Change values on each trackÕs MIDI channel (the MIDI channel corresponding to its track number). Sounds can also be played from MIDI on each trackÕs MIDI channel.

regardless of which track is currently selected.

System/MIDI Bank&ProgChgRecv parameter must be set to ÒOnÓ (see Chapter 7 for more information). In addition, the target trackÕs ProgramChngeRecv and Bank Select Recv parameters must also be set to ÒOnÓ (these two parameters are described later in this chapter).

The track sound selection display shows you the Bank Select LSB and Program Change values for the displayed sound. You can program these Bank Select and Program Change values into an external MIDI device in order to select the sounds via MIDI later on.

The soundÕs Bank Select LSB value l

The soundÕs Program Change value n

¦01 ROM09:012

BASS-SYN:BarkinÕBass

1.

Set a MIDI device to transmit on the channel of the track whose sound you want to select or play.

2.

Send the appropriate Bank Select and Program Change values to the ASR-X Pro.

3.

Send note and controller data from your external device to play the trackÕs sound.

m m O

U

You can set up a track to transmit Bank Select, Program Change, note and controller data to an external

MIDI device by assigning a MIDI-OUT sound to the track. When a track uses a MIDI-OUT sound, the track will produce no sound on the ASR-X Pro itselfÑinstead, notes played on the pads, as well as data recorded on the track, will be transmitted from the ASR-X Pro on the track's MIDI channel.

O UTTTT SSSSoooouuuunnnndddd

To assign a MIDI-OUT sound to a track, turn the Sound Type knob clockwise all the way to select the

MIDI-OUT sound category. The MIDI-OUT category does not require you to select an individual sound as suchÑinstead, its display allows you to set Bank Select MSB and LSB and Program Change values for transmission from the selected track in order to select the desired sound in the external MIDI device.

The currently selected track and MIDI channel m

¦01 Bank MSB:LSB:Prg

MIDI-OUT:000:000:000 j j j p

The MIDI-OUT SoundFinder category MSB value LSB value Program Change value

To set a Bank Select or Program Change value to be transmitted, select the desired field by turning the

Value knobÑthe selected field will flash to show that it can be edited. Turn the Value knob to set the desired Bank Select MSB, LSB and/or Program Change value. The values are transmitted as theyÕre set.

10 messages. Consult your external device's documentation to learn which values to use.

ENSONIQ ASR-X Pro MusicianÕs Manual

2ÑTracks pressed, the sound's Bank Select LSB and Program Change values will be transmitted.

You can quickly erase a RAM sound from a track by holding down the Track Sound button and, while still holding it, pressing the No button. When the ASR-X Pro asks you if youÕre sure you want to delete the sound and any references to it, press the Yes button to erase the soundÑit will be removed from

RAM and replaced by the ROM sound Silence.

erase the original ÒSMPL XÓ version of the sound. If you erase this sound, the ASR-X Pro will also delete all copies of the sound, including the final version. Delete only the unwanted copiesÑif you havenÕt re-named your sounds using the Memory Manager, these will be the versions whose names end with an underscore and a number. Erase the original version of a sound only when you want to remove it and any sounds based upon it from memory.

Editing a trackÕs parametersÑand therefore determining the behavior of its soundÑinvolves the same technique regardless of the parameter being edited.

1.

Press the Track Edit/Mix/FX Bus button in the Track section of the ASR-X Pro front panel.

Sound

Track

Edit Mute

Mix / FX Bus Solo

2.

Turn the Parameter knob to select the track parameter youÕd like to edit.

All of the track parameter displays show the track number and currently selected sound on the top line, and the selected parameter and its value on the bottom line:

The track being edited m

The trackÕs sound m

¦01 OhMyOhMy

Track Volume= 100 i

The currently selected parameter i

The parameterÕs value

3.

Turn the Value knob to change the setting of the selected parameter .

ASR-X Pro sounds are made up of layers of waves. Track parameters allow you to easily change the settings in all of a soundÕs layers at once by altering them in one of two ways. Each track parameter is either:

¥ an override, which sets all of the layers in the currently selected sound to the absolute value you set.

¥ an offset, which raises or lower the programmed values by the amount you set.

Overrides set all of a soundÕs layers to the same absolute value for the selected parameter.

ENSONIQ ASR-X Pro MusicianÕs Manual 11

2ÑTracks

When an override parameter is set to ÒProg,Ó the originally programmed setting for each layer is retained.

Offsets are typically used to affect all of a soundÕs layers at once, retaining their different settings for the selected parameter in relation to one other. Offset parameters offer values that have positive/negative aspects (shown with a Ò+Ó or Ò-Ó). When an offset is set to Ò0,Ó the originally programmed value for each layer is in effect.

force them beyond those limits. If a track offset parameter appears to be having no effect, itÕs likely that the setting for the parameter in the soundÕs layers has already reached its maximum or minimum setting.

Track parameters can be edited via MIDI in two ways. Some of the parameters, such as Track Volume,

Mix (Expression) and Pan correspond to standard MIDI sound controllers, and can be adjusted by sending the ASR-X Pro values for the relevant controllers. In addition, most of the track parameters can be edited using special registered and non-registered MIDI parameters (RPNs and NRPNs). To learn more about RPNs and NRPNs, see Chapter 9.

12

The Track Volume parameter allows you to override the loudness ceiling programmed into the selected trackÕs sound. A Volume setting of 127 will leave the soundÕs level set as it was programmed. Lower values will reduce the soundÕs loudnessÑdown by 96dB at a value of 0.

Track Volume can also be edited via MIDI with controller #7 (Volume) messages.

The Mix (Expression) parameter can raise or lower the level of the sound on the selected track, but only as high as the maximum set by the Track Volume parameter.

You can set an acceptable loudness ceiling for a sound with the Track

Volume parameter, and use the Mix (Expression) parameter to adjust its level without worrying that it will ever become too loud.

Mix (Expression) can also be edited via MIDI with controller #11

(Expression) messages.

ENSONIQ ASR-X Pro MusicianÕs Manual

2ÑTracks

The Vol/MixPolarity parameter reverses the manner in which the selected trackÕs sound will respond to

Volume and Mix (Expression) messages received via MIDI. When set to +Pos, the sound will respond normally: higher Volume and Mix (Expression) values will result in greater loudness. When set to -Neg, higher Volume and Mix (Expression) values will lower the level of the sound.

ASR-X Pro sounds are programmed to be heard in specific places in the left/right stereo field. By adjusting the Track Pan setting, you can offset the stereo placement of the currently selected trackÕs sound. A value of Center 00 will leave the sound panned as it was programmed. Lower values will shift it to the left, and higher values will move it to the right. If components within the sound are panned differently, their relative positions will be maintained as the sound is shifted in either direction.

Track Pan can be edited via MIDI with controller #10 (Pan) messages.

The FX Bus parameter allows you to assign the selected trackÑand its soundÑ to the current sequenceÕs insert or global reverb effects, or left un-effected, or Òdry.Ó This is accomplished by assigning the track to an FX (for ÒeffectÓ) bus. (Using the ASR-X Pro Effects is described in Chapter 4.) You can select:

¥ ProgÑto have the sound of each pad use its own FX Bus setting in a kit sound, or to have a standard sound use its Alt Bus setting.

¥ InsertÑto send the selected trackÕs sound to the sequenceÕs insert effect.

¥ LightReverbÑto add a minimal amount of global reverb to the selected trackÕs sound.

¥ MediumReverbÑto add a greater amount of global reverb to the selected trackÕs sound.

¥ WetReverbÑto add the maximum amount of global reverb to the selected trackÕs sound.

¥ DryÑto leave the selected trackÕs sound un-effected, or Òdry.Ó available. These stereo FX busses, AuxOut1, AuxOut2, AuxOut3 and AuxOut4 allow you to send a trackÕs sound directly to the auxiliary outputs. To use the auxiliary busses as separate mono busses, pan the tracks routed to them hard left or hard right (see ÒTrack PanÓ above).

MIDI controller #91 can be used to select one of the reverb busses or the dry bus for any track other than the insert control track. This is accomplished by sending the ASR-X Pro a controller #91 value on the trackÕs MIDI channel. When the track receives a controller #91 value of:

¥ 0, it will be assigned to the Dry FX bus.

¥ 1-40, it will be assigned to the LightReverb FX bus.

¥ 41-80, it will be assigned to the MediumReverb FX bus.

¥ 81-127, it will be assigned to the WetReverb FX bus.

When a track's TrackMIDIOut parameter is set to ÒEnable,Ó the track can transmit MIDI data on its corresponding MIDI channel when it uses a MIDI-OUT sound.Ó When the parameter is set to ÒDisable,Ó no MIDI data for the track will be transmitted from the pads or sequencer.

when theyÕre different from the last ones transmitted from the track.

ENSONIQ ASR-X Pro MusicianÕs Manual 13

2ÑTracks

The Pitch Bend Up and Pitch Bend Down parameters allow you to separately set how you want the selected trackÕs sound to respond to up and down Pitch Bend messages received via MIDI.

Pitch Bend Up and Pitch Bend Down can be set to:

¥ 1-12dn or 1-12upÑto lower or raise the pitch of the selected trackÕs sound by 1 to 12 equal-temper semitones when Pitch Bend up or down messages are received via MIDI.

¥ ProgÑto respond to received up or down Pitch Bend messages according to the programming in the trackÕs sound.

¥ SysÑto use the global system Pitch Bend Up or Down values (see Chapter 7 for details).

¥ OffÑto ignore received up or down Pitch Bend messages.

enable its response to Pitch Bend messages received via MIDI. This parameter is described later in this chapter.

14

The Octave Shift parameter allows you to shift, by octaves, the pitch at which the selected track will play its sound. A setting of 0oct means the sound will play at its programmed octave tuning value. You can tune the sound up or down by a maximum of four equal-temper octaves.

The Semitone Shift parameter allows you to shift, in semitone steps, the pitch at which the selected track will play its sound. A setting of 0st means the sound will play at its programmed semitone tuning value.

You can shift the sound upward by as much as 63 equal-temper semitones or downward by 64 semitones.

The Fine Tuning parameter allows you to re-tune the sound on the selected track by cents. A setting of

0cents means the sound will use its programmed fine tuning value. You can lower or raise the soundÕs fine tuning by -50 to +49 cents. 100 cents equals one semitone.

ASR-X Pro contains a variety of non-standard tunings, or pitch tables. The PitchTbl parameter allows the selected trackÕs sound to use one of these special tunings.

be used by the sound on the track. By setting each track to a different pitch table, you can program the ASR-X ProÕs tracks to produce 16 different tunings at once!

The PitchTbl parameter can be set to:

¥ ProgÑto use the pitch table the sound was originally programmed to use.

¥ SysÑto use the global system pitch table. (See Chapter 7 to learn about designating a system-wide pitch table.)

¥ One of the pitch tables built into the ASR-X Pro.

Chapter 9 provides a list of the built-in ASR-X Pro pitch tables.

transmit it to the ASR-X Pro via MIDI. ÒAbout RAM Pitch TablesÓ in Chapter 9 provides detailed information on creating your own pitch tables.

ENSONIQ ASR-X Pro MusicianÕs Manual

2ÑTracks

The Glide Mode parameter allows you to set the glide characteristics of the selected trackÕs sound. The parameter can be set to:

¥ ProgÑso that gliding from note to note will occur according to the soundÕs programming.

¥ OffÑso that no gliding will occur.

¥ OnÑso that all of the layers in the sound will glide from note to note.

the Glide Time parameter (described below) to set the speed at which the trackÕs sound will glide from note to note.

If the Glide Mode parameter is set to ÒProgÓ or ÒOff,Ó the parameter can also be toggled on or off via

MIDI by sending MIDI controller #65 (Portamento) values to the ASR-X Pro on the selected trackÕs MIDI channel. Values of 64 or above will turn glide on; values of 63 or lower will turn it off (there is no way to select the Prog setting via MIDI). When controller #65 is used for this purpose, the ASR-X Pro display will not show that the parameter has been resetÑit will simply happen. In order to return control of the Glide

Mode parameter to the ASR-X ProÕs front-panel, a controller #65 value of 63 or less must be sent to the

ASR-X Pro on the selected trackÕs MIDI channel.

When a trackÕs sound is programmed to glide from note to note, the Glide Time parameter allows you to adjust the speed at which its notes will glide from one to the next. The parameter can be set anywhere from -64 to +63. A value of 0 means that the sound will glide at its programmed speed. Higher values will slow the soundÕs glide, and lower values will cause it to speed up.

The Delay Offset parameter can be used to increase the amount of time it will take for a trackÕs sound to be heard after it receives a key down message, either from a pad or via MIDI. If a sound has been programmed with a delay time, the delay offset will lengthen that delay time by up to 2500 milliseconds

(ms). If a sound has no programmed delay time, the Delay Offset parameter can delay it up to 2500ms. If the parameter is set to 0ms, no delay time will be added to the sound.

O

&

N

The SyncLFO&Noise parameter allows you to alter the behavior of any LFOs and noise generators in the selected trackÕs sound that are programmed to be synchronized to the ASR-X ProÕs sequencer or to incoming MIDI clocks. The parameter can be set to:

¥ ProgÑto allow the synchronized LFOs and noise in the trackÕs sound to behave as programmed.

¥ NormalÑto de-synchronize any synchronized LFOs and noise in the trackÕs sound.

¥ 1/1 to 1/32TÑto set the rhythmic relationship of any synchronized LFOs and noise in the trackÕs sound to the ASR-X ProÕs system tempo, or to incoming MIDI clocks. A ÒTÓ following a number signifies a triplet value.

MIDI clocks will control synchronized LFOs or noise. See Chapter 7.

The Normal LFO Rates parameter allows you to raise or lower the programmed speed of any unsynchronized LFOÕs in the selected trackÕs sound. The parameter can be set from -64 to +63. A value of

0 means the trackÕs sound will retain its programmed LFO rate. A value other than 0 will be added to or subtracted from the soundÕs originally programmed rate.

ENSONIQ ASR-X Pro MusicianÕs Manual 15

2ÑTracks

The LFO Depth parameter allows you to increase or decrease the programmed depth of the LFOÕs in the selected trackÕs sound. The parameter can be set from -64 to +63. A value of 0 means the trackÕs sound will retain its programmed LFO depth. A value higher than 0 will increase the depth of the soundÕs LFOs, while values below zero will reduce it.

The LFO Delay Time parameter allows you to lengthen or shorten the delay programmed for any of the

LFOs in the selected trackÕs sound. The parameter can be set from -64 to +63. A value of 0 means the trackÕs sound will retain its programmed LFO delay setting. Any value above 0 will lengthen the soundÕs

LFO delay times, while any values below 0 will shorten them.

A m

The Amp Env Attack parameter allows you to lengthen or shorten the attack times of amplitude envelopes within the selected trackÕs sound. The parameter can be set anywhere from -64 to +63. A value of 0 will leave the attack times of amplitude envelopes within the trackÕs sound behaving as programmed. Values above 0 will lengthen the attack times, while values below 0 will shorten them.

A m

The Amp Env Decay parameter allows you to lengthen or shorten the decay times of amplitude envelopes within the selected trackÕs sound. The parameter can be set anywhere from -64 to +63. A value of 0 will leave the decay times of amplitude envelopes within the trackÕs sound behaving as programmed.

Values above 0 will lengthen the decay times, while values below 0 will shorten them.

A m

The Amp Env Release parameter allows you to lengthen or shorten the release times of amplitude envelopes within the selected trackÕs sound. The parameter can be set anywhere from -64 to +63. A value of 0 will leave the release times of amplitude envelopes within the trackÕs sound behaving as programmed. Values above 0 will lengthen the release times, while values below 0 will shorten them.

The Filter Cutoff parameter allows you to raise or lower the filter cutoff settings programmed into the selected trackÕs sound. The parameter can be set anywhere from -64 to +63. A value of 0 will leave the cutoff settings in the trackÕs sound unchanged. Values above 0 will raise the cutoff settings, while values below 0 will lower them.

The Filter Resonance parameter allows you to raise or lower the resonance settings programmed into the selected trackÕs sound. The parameter can be set anywhere from -64 to +63. A value of 0 will leave the resonance settings in the trackÕs sound unchanged. Values above 0 will increase the resonance settings, while values below 0 will lower them.

The Filt Env Attack parameter allows you to lengthen or shorten the attack times of filter envelopes within the selected trackÕs sound. The parameter can be set anywhere from -64 to +63. A value of 0 will leave the attack times of filter envelopes within the trackÕs sound behaving as programmed. Values above

0 will lengthen their attack times, while values below 0 will shorten them.

16

The Filt Env Decay parameter allows you to lengthen or shorten the decay times of filter envelopes within the selected trackÕs sound. The parameter can be set anywhere from -64 to +63. A value of 0 will

ENSONIQ ASR-X Pro MusicianÕs Manual

2ÑTracks leave the decay times of filter envelopes within the trackÕs sound behaving as programmed. Values above

0 will lengthen the decay times, while values below 0 will shorten them.

The Filt Env Release parameter allows you to lengthen or shorten the release times of filter envelopes within the selected trackÕs sound. The parameter can be set anywhere from -64 to +63. A value of 0 will leave the release times of filter envelopes within the trackÕs sound behaving as programmed. Values above 0 will lengthen the release times, while values below 0 will shorten them.

A m

The Amp&Filt Env Vel parameter allows you to increase or decrease the velocity sensitivity of the amplitude and filter envelopes within the select trackÕs sound. The parameter can be set anywhere from -

64 to +63. A value of 0 will not change the responsiveness of the amplitude and filter envelopes in the trackÕs sound. Values above 0 will increase the effect of velocity upon the soundÕs envelopes, while lower values will decrease its impact.

The Key Range Lo and Key Range Hi parameters allow you to limit the pitches that the sound on the selected track will play. The Key Range Lo parameter sets the lowest note that will play, while the Key

Range Hi parameter sets the highest. Either parameter can be set anywhere from A0 to C8. Middle C is

C4. (Some MIDI controller manufacturers refer to Middle C as C3Ñif youÕre playing the ASR-X Pro from an external MIDI device, check the deviceÕs manual.) its Key Range Hi value be set below its Key Range Lo setting.

The VelocityRange Lo and VelocityRange Hi parameters allow you to set an allowable velocity range for the selected track. When the track receives velocity values from the pads or via MIDI that fall outside of that range, the trackÕs sound wonÕt play. The VelocityRange Lo parameter sets the lowest allowable velocity; the VelocityRange Hi parameter sets the highest. Either parameter can be set from 0 to 127.

should its VelocityRange Hi value be set below its VelocityRange Lo setting.

ItÕs not uncommon for different components of ASR-X Pro sounds to be heard only when the pads are struck, or MIDI notes are received, with particular velocities. The Velocity Mode parameter provides a way to alter sounds so you can reliably produce these values and, therefore, the sounds those velocities produce. When the Velocity Mode parameter is set to any value other than Normal, velocities that fall within the soundÕs velocity window (see the VelocityRange Lo, VelocityRange Hi parameter description above) are automatically converted to the velocity set with the Velocity Mode parameter. The possible settings for the parameter are Normal, and Fix 001 through Fix 127.

The ASR-X Pro responds to channel and polyphonic pressure messages that it receives via MIDI. The

PressureMode parameter allows you to determine how the trackÕs sound will respond to MIDI pressure messages. You can set this parameter to:

¥ OffÑso that the trackÕs sound will not respond to keyboard pressure. If pressure has been assigned as an insert effect modulation source, that response to pressure is also disabled.

ENSONIQ ASR-X Pro MusicianÕs Manual 17

2ÑTracks

¥ AutoÑso that the trackÕs sound will respond to whichever type of pressure the ASR-X Pro receives via MIDI.

¥ ChannelÑso that the trackÕs sound will only respond to channel pressure.

¥ KeyÑso that the trackÕs sound will only respond to key pressure.

m C

The ProgramChngeRecv parameter enables or disables the selected trackÕs response to received MIDI

Program Change messages. The parameter can be set to ÒOnÓ or ÒOff.Ó

The Bank Select Recv parameter enables or disables the selected trackÕs response to received MIDI Bank

Select messages. The parameter can be set to ÒOnÓ or ÒOff.Ó

The Data Entry Recv parameter enables or disables the selected trackÕs response to received Data Entry

(controller #6) messages. The parameter can be set to ÒOnÓ or ÒOff.Ó

The Pitch Bend Recv parameter enables or disables the selected trackÕs response to received Pitch Bend messages. The parameter can be set to ÒOnÓ or ÒOff.Ó

The Mod Wheel(1) Recv parameter enables or disables the selected trackÕs response to received Mod

Wheel (controller #1) messages. The parameter can be set to ÒOnÓ or ÒOff.Ó

The FootPedal(4) Recv parameter enables or disables the selected trackÕs response to received Foot Pedal

(controller #4) messages. The parameter can be set to ÒOnÓ or ÒOff.Ó

The Volume(7) Recv parameter enables or disables the selected trackÕs response to received Volume

(controller #7) messages. The parameter can be set to ÒOnÓ or ÒOff.Ó

Paaaannnn((((111 Reeeeccccvvvv

The Pan(10) Recv parameter enables or disables the selected trackÕs response to received Pan (controller

#10) messages. The parameter can be set to ÒOnÓ or ÒOff.Ó prrrreeeessssssssnnnn((((111 Reeeeccccvvvv

The Expressn(11) Recv parameter enables or disables the selected trackÕs response to received Expression

(controller #11) messages. The parameter can be set to ÒOnÓ or ÒOff.Ó

The Sustain/SostRecv parameter enables or disables the selected trackÕs response to received Sustain or

Sostenuto (controllers #64 and #66, respectively) messages. The parameter can be set to ÒOnÓ or ÒOff.Ó

The SysCtrl1 Recv, SysCtrl2 Recv, SysCtrl3 Recv and SysCtrl4 Recv parameters enable or disable the selected trackÕs response to received MIDI messages for any of the special user-assignable SysCTRLs (see

Chapter 7 to learn more about these definable controllers). The parameters can be set to ÒOnÓ or ÒOff.Ó

18 ENSONIQ ASR-X Pro MusicianÕs Manual

2ÑTracks

The Mute/Solo button provides an easy way to enable or disable the playback of the tracks in a sequence. You can silence, or mute, the selected trackÑor you can solo the track by silencing all of the tracks except the selected track.

Sound

Track

Edit

Mix / FX Bus

Mute

Solo while the track being muted or un-muted is being recorded.

¥ To mute the currently selected track, press the Mute button onceÑthe Mute LED will light, and the word ÒmuteÓ will appear in the display to show that the selected track has been silenced.

m

¦01 mute ROM08:000

PERCSOLO: Thump Kick

¥ To unmute the currently selected track, press the Mute button onceÑthe Mute LED will turn off and the track will once again be audible.

¥ To solo the currently selected track, double-click the Mute buttonÑthe Mute LED will flash, and the word ÒsoloÓ will flash in the display.

m

¦01 solo ROM08:000

PERCSOLO: Thump Kick

¥ To un-solo the currently selected track, press the Mute buttonÑthe Mute LED will turn off and any tracks that were audible prior to soloing the track will once again be audible.

¥ To solo groups of tracksÑthis is called a group-soloÑselect each of the tracks in turn and doubleclick the Mute button for each track.

¥ To remove the currently selected track from a group-solo, double-click the Mute button.

The ASR-X Pro solo is intelligent in that it remembers if any tracks in the sequence were already muted prior to soloing, and restores them to that state when the solo is disengaged. When a track is soloed, and any track other than the soloed track is selected, the display will flash the word Òmute.Ó Tracks that were already silenced before the solo was engaged will show a non-flashing Òmute.Ó

Tracks can be muted via MIDI by sending a controller #119 message on the channel whose number corresponds to the track you want to mute. The track will respond to a controller #119 value of:

¥ 127 by muting the track.

¥ 000 by un-muting the track.

¥ 064 causes a track thatÕs part of a group-solo to be removed from the solo group.

ENSONIQ ASR-X Pro MusicianÕs Manual 19

3ÑPads

33

Paaaaddddssss

All MIDI samplers and MIDI synthesizersÑthe ASR-X Pro, of course, belongs in both categoriesÑshare two fundamental elements: sounds and a way to play them. The most common device used to play sounds is the conventional white-and-black-keys keyboard. Typically, a key on a keyboard will play the note that would be produced by striking the same key on a traditional instrument, such as a piano.

Each semitone is represented by a MIDI note name. The octavesÑwhich begin at each C naturalÑare numbered, as shown above. The ASR-X Pro can address MIDI notes from A0 to C8.

In the flexible realm of the sampler, however, any sound can be assigned to any MIDI note.

A key on a keyboard connected to a sampler is really nothing more than a switch that plays whatever sound is assigned to the corresponding MIDI note. The ASR-X Pro provides pads instead of a piano-style keyboard for this purposeÑthe ASR-X Pro is a groove machine, and grooves are most fun when banged into being. (You can also play ASR-X Pro sounds via MIDI from any MIDI controller; see Chapter 2.)

The 13 ASR-X Pro pads trigger 13 adjacent MIDI note numbers, the equivalent of 13 adjacent keys on a piano-style keyboard (unless the Kit Mapper, described later in this chapter, is on). You can use the pads to play single notes or chords.

The pads default to playing the octave beginning at C2, though they can be re-directed up or down to trigger the MIDI note numbers in any octave (see ÒOctave Transpose ButtonsÓ later in this chapter).

ENSONIQ ASR-X Pro Reference Manual 21

3ÑPads

The ASR-X Pro provides two major types of sound structuresÑstandard sounds and kit sounds. Precisely what the pads play depends on the structure of the sound assigned to the currently selected track.

SSSSttttaaaannnnddddaaaarrrrdddd SSSSoooouuuunnnnddddssss

Standard sounds play digital recordings of audio called waves. This can be:

¥ waves built into your ASR-X Pro ROM.

¥ waves youÕve loaded into your ASR-X Pro.

¥ waves that youÕve created in the ASR-X Pro.

The waves in standard sounds are arranged in layers comprised of wave data and parameters that shape the data. Some of the ROM standard sounds in your ASR-X Pro are comprised of multiple layers, which may contain groups of related waves in order to accurately reproduce a real-world or synthesized sound.

Sounds that play the waves you create on the ASR-X Pro are organized in layers, as wellÑstereo waves are played by sounds with two layers, mono waves are played by sounds using one layer.

When a standard sound is selected, each pad will play the sound at a different pitch, determined by the setting of the selected trackÕs PitchTbl parameter (see Chapter 2), and whether or not the Kit Mapper is turned on (the Kit Mapper is described later in this chapter).

22

Kit sounds utilize a powerful structure first introduced in ENSONIQÕs MR synthesizer series. In a kit sound, each note from B1 to D7 actually plays its own complete soundÑeither a standard sound or another kit sound. Therefore, what the pad plays depends on the sound youÕve assigned to it.

If youÕve assigned the same standard sound to more than one pad, they play the same sound. Since each pad has its own set of PAD parameters (described later in this chapter), you can program the pads to play

ENSONIQ ASR-X Pro Reference Manual

3ÑPads different variations of the same sound, perhaps setting them to play at different pitches. You can also program each pad in a kit to play a sound thatÕs unrelated to what the other pads are playingÑin this case each pad triggers something completely unique.

Tuning Shift parameter described later in this chapter can change the pitch of the padÕs sound.

The ASR-X Pro pads default to playing the octave-plus-one-note beginning at the C natural two octaves below Middle CÑC2. The Octave Transpose buttons provide a means of changing which of five octaves in the selected sound will be addressed by the 13 pads. You can:

Octave Transpose

¥ repeatedly press the either Octave Transpose button to redirect the pads upward or downward.

¥ press either Octave Transpose button once, and turn the Value knob to select the desired octave.

The Pad Xpose (short for Òpad transposeÓ) display shows you the octave in the currently selected sound thatÕs being played by the pads:

The selected track l

The location in memory, bank and program number of the selected sound m n n

¦01 ROM09:010

Pad XPose=2oct C4-C5 i

The amount by which the pads have been shifted upward p

The octave being played

Typically, the pads in the ASR-X Pro play 13 adjacent notes. When youÕre using a kit sound that conforms to the ENSONIQ drum or percussion maps (described in Chapter 9), these 13 notes may be variations of the same kit component. The Kit Mapper re-assigns the pitches played by the pads so that the important elements of a typical kitÑwhich are mapped to different octaves within the kitÑare available at once.

¥ To turn on Kit Mapper , tap the left Octave Transpose button until the display shows

ÒPadXpose=Kit Mapper.Ó To turn it off, press the right-hand Octave Transpose button.

Patch Selects™

The Patch Selectª buttons provide access to variations of the ASR-X Pro ROM sounds. The layers in these sounds are programmed to supply up to four different versions of the basic sound, or sometimes completely different sounds that complement the basic sound. The Patch Select buttons are used for turning on and off these different sets of layers.

Selects. Well-programmed sounds created on those instruments take advantage of this feature.

ENSONIQ ASR-X Pro Reference Manual 23

3ÑPads

To hear the effect of the Patch Select buttons, press one or both as you play an ASR-X Pro ROM sound.

The four possible Patch Select states are:

¥ RightÑwhen only the right button is pressed.

¥ LeftÑwhen only the left button is pressed.

¥ BothÑwhen both buttons are depressed.

¥ OffÑwhen no Patch Select button is pressed.

The default behavior of the Patch Select buttons is that they are active only when theyÕre being held down. This can be changed by resetting the System/MIDI Patch Selects parameter (see Chapter 7).

24

The Patch Select states listed above can be invoked via MIDI by sending MIDI controller 70 values on the

MIDI channel of the track containing the sound you wish to manipulate. Send the ASR-X Pro a value of:

¥ 32 to ÒpressÓ the left Patch Select button.

¥ 64 to ÒpressÓ the right Patch Select button.

¥

¥

127 to ÒpressÓ both Patch Select buttons.

0 to ÒpressÓ neither Patch Select button.

m m

The ASR-X Pro allows you to edit the behavior of the pads in any kit sound. You can:

¥ select a new sound to be played by the pad.

¥ adjust the manner in which the pad will play its sound by setting volume, panning, effect routing and tuning parameters.

When a pad is playing a sound that uses waves youÕve created on your ASR-X Pro by sampling or resampling, you can also:

¥ set the manner in which the padÕs sound will play back its wave(s).

¥ program the sound using an extensive suite of sound-sculpting parameters.

¥ perform various permanent operations upon the soundÕs wave data.

selected sound is not playing an ASR-X Pro-created wave the display will show the ÒSynthesize

Stomper sound?Ó prompt described later in this chapter.

Any ASR-X Pro sound can be converted into a kit so that it can be edited. The sound will function essentially as it always didÑhowever, youÕll be able to re-program the sound pad-by-pad.

In order to program a soundÕs pads, two conditions must be met:

1.

The sound must be a kit, or converted into a kit for editing.

2.

The sound must be in RAM, so that it can be altered (sounds in ROM are unalterable).

The ASR-X Pro has a name for a sound that meets both of these requirements: itÕs called a RAM kit.

The ASR-X Pro knows when a sound is ready to be edited. If the selected sound is a RAM kit, itÕs already editable. When the selected sound is not a RAM kitÑif, for example, itÕs a ROM sound or a non-kit RAM soundÑthe ASR-X Pro will ask the following question when you press the Pad Sound or Edit buttons:

Make a RAM kit from

¦01:Sweep Bass?

i

The selected track p

The selected sound

When you press the ÒYesÓ button in response to this question, the ASR-X Pro creates a copy of the selected sound as a kit in RAM, and assigns it to the selected track. The newly created kit will add an

ENSONIQ ASR-X Pro Reference Manual

3ÑPads underscore and a two-digit number to the end of the soundÕs original nameÑabbreviating the original name if necessaryÑ to show that itÕs based on the original sound. The new kit can be found in the USER-

SND and DRUM-KIT SoundFinder categories.

If the selected sound is a ROM kit soundÑso that it already has the desired kit structure for editing, but is a permanent, uneditable ROM soundÑyou can press the Pad Sound or Edit buttons and press any pad to view the name of the sound itÕs playing and the settings of its parameters. If you attempt to change the sound played by a pad, the above display will appear, asking if you want to make a RAM copy of the kit.

To edit a pad, you must first press the pad to select it. The displays that relate to the various pad-editing functions all show, in their upper-left corners, the pad thatÕs currently selected. If youÕd like to select a pad outside of the current pad octave range, use the Octave Transpose buttons to select the octave in which the pad can be foundÑthen press the desired pad to select it for editing,

When the selected track contains a RAM kit sound, pressing the Pad

Sound button allows you to choose a new sound for any of its pads.

The pad sound-selection resembles the track sound-selection display:

Sound

Pad

Edit Process

Loop / Filter Stomp !

The pad being edited The selected track The soundÕs memory residency, bank and program number l l n n n padD2 ¦01 ROM08:000

PERCSOLO: Thump Kick i

The currently selected SoundFinder category i

The currently selected sound

You can choose a new sound for the selected pad by turning the Sound Type knob to pick the type of sound you want, and the Sound Name knob to select the individual sound.

press each pad button to view the name of the sound being played by the pad; however, you can only change a padÕs sound if youÕve copied the ROM kit into RAM for editing.

while still holding it, pressing the No button. The sound Silence will be assigned to the pad.

The Pad Edit parameters allow you to determine the behavior of the sound played by each pad in a RAM kit. This includes ROM or RAM sounds that play the ASR-X ProÕs built-in sound waves, as well as the waves that you create yourself and have sent to pads. All of these parameters are accessed by pressing the Pad Edit button.

Sound

Pad

Edit

Loop / Filter

Process

Stomp !

To simplify navigation, the Pad Edit parameters are divided into 12 sub-groups.

The PAD parameters are always available, regardless of the type of sound being played by the selected pad. They allow you to determine the manner in which the pad will play its sound, and are described

ENSONIQ ASR-X Pro Reference Manual 25

3ÑPads below in ÒDetermining a PadÕs Behavior.Ó The PAD parameter settings become part of the selected trackÕs RAM kit.

pressing any pad, and turning the Parameter knob to view the padÕs settings. In the case of nonkit sounds, all of the padÕs will show the same parameter values.

The ASR-X Pro also provides the following groups of sound parameters when the selected pad is playing a sound based on an ASR-X Pro-created wave stored in RAM memory. The settings for these parameters become part of the padÕs sound. The full sample-programming power of the ASR-X Pro is unleashed through the use of these parameters, described later in this chapter in ÒEditing a PadÕs Sound.Ó

¥

¥

¥

WAVE

PTCH

ENV1

¥ FILT

¥

¥

¥

¥

FLT1

FLT2

ENV2

AMP

¥ ENV3

¥ MOD

¥ MISC

All of the Pad Edit parameters share a common display layout that tells you the note corresponding to the pad being edited, the type of parameter selected, the name of the sound the pad is playing, and the selected parameterÕs current value:

The padÕs note The type of parameter The sound the pad is playing l m n

C2 PAD SMPL1_01

Pad Volume= +2dB i

The currently selected pad parameter i

The selected parameterÕs value soundÑor sounds, in the case of kitsÑin its own way. If editing Pad parameters produces unexpected results, check the track parameters for the currently selected track to see if theyÕre influencing the sound youÕre attempting to edit.

PPP AD

The PAD parameters allow you to determine the manner in which each pad in the currently selected

RAM kit will play its sound. All of the PAD parameters settings are permanently stored in the RAM kit when you save it. When a padÕs sound contains multiple layers, all of its layers are affected simultaneously by PAD parameter edits.

The Pad Volume parameter allows you to raise or lower the level of the sound being played by the selected pad. The parameter can be set anywhere from -50dB to +14dB. When the Pad Volume parameter is set to 0dB, the padÕs sound will play at its originally programmed volume.

26

The Pad Pan parameter allows you to shift the stereo image of the selected padÕs sound leftward or rightward in the stereo field. The parameter can be set anywhere from Left -64 to Right +63. A value of

Center 00 will leave the soundÕs original stereo placement intact.

ENSONIQ ASR-X Pro Reference Manual

3ÑPads the soundÕs internal stereo imaging is preserved.

The FX bus parameter allows you to assign the selected padÕs sound to one of the ASR-X ProÕs FX busses.

The parameter can be set to:

¥ ProgÑso that if the pad is playing a standard sound, the soundÕs Alt Bus will be used, or if the pad is playing a kit sound, the sound played by each note in the kit will use its own FX Bus setting.

¥ InsertÑto route the padÕs sound to the currently selected sequenceÕs insert effect.

¥ LightReverbÑto apply a minimal amount of reverb to the padÕs sound.

¥ MediumReverbÑto apply an average amount of reverb to the padÕs sound.

¥ WetReverbÑto apply a large amount of reverb to the padÕs sound.

¥ DryÑto leave the padÕs sound un-effected.

¥ AuxOut1, AuxOut2, AuxOut3 or AuxOut4Ñto send the padÕs sound directly to one of the four auxiliary outputs. These values are only available when an X-8 output expansion board is installed.

to ÒProg.Ó

The Tuning Shift parameter allows you to raise or lower the note to be played by the pad. In many cases, this parameter will have the effect of raising or lowering the pitch at which the padÕs sound will be heard.

When the pad is playing a sound that contains more than a single waveÑexamples of this would be drum kits, or sounds with multiple-sample layersÑthe parameter will have the effect of pointing the pad to a different noteÑand therefore, possibly different wave dataÑ within the padÕs sound. The parameter can be set anywhere from -64st (ÒstepsÓ) to +63st. When the Tuning Shift parameter is set to 0st, the padÕs sound will play at the pitch equivalent to striking a Middle C (C4) . When the pad is playing a wave youÕve created in the ASR-X Pro, the wave will be heard at its original pitch.

steps when the sound employs an equal-temperament tuning table. However, some ASR-X Pro sounds use special tunings. For example, the tuning of drum sounds often varies only by small increments as you move from key to key, in order to simulate the subtle pitch shifts of real-world drums. The effect of the Tuning Shift parameter depends, therefore, on the tuning table used by the padÕs sound.

The following groups of parameters allow you to program sounds based on ASR-X Pro waves.

Some of the parameters in this section can be changedÑor modulatedÑin real time by an external mechanism called a modulator. These parameters can be set to:

Off

Full Amt

LFO

Stepped

Smoothed for no modulation

The maximum amount of modulation is applied to the modulation destination the selected waveÕs LFO a significant amount of random noise modulation at a rate determined by the

NoiseSource Rate parameter (see later in this section) a subtle amount of random noise modulation at a rate determined by the

NoiseSource Rate parameter (see later in this section)

ENSONIQ ASR-X Pro Reference Manual 27

3ÑPads

Whl+Press

FootPedal

Sustain

Sostenuto

SysCTRL1

SysCTRL2

SysCTRL3

SysCTRL4

PatchSel

Env1

Env2

Env3

Velocity

Vel+Press

MIDI Key#

Keyboard

Pressure

PitchWhl

ModWheel the selected waveÕs Envelope 1 the selected waveÕs Envelope 2 the selected waveÕs Envelope 3

MIDI velocity: higher values cause greater modulation; lower values cause less modulation a combination modulator, with MIDI velocity and pressure messages together achieving maximum modulation amounts

MIDI note numbers set the modulation destination parameter to absolute corresponding values

MIDI note numbers above C4 raise the modulation destinationÕs value from its setting; lower note numbers reduce it

MIDI channel or polyphonic (ENSONIQ PolyKeyª) pressure; higher values cause greater modulation, lower values cause less modulation

MIDI pitch bend raises or lowers modulation destination value; a pitch bend wheel at rest transmits a central modulation value of 64

MIDI modulation wheel (controller #1); maximum values are attained when the mod wheel is pushed all the way forward

A combination modulator, with MIDI mod wheel and pressure messages together achieving maximum modulation amounts

MIDI foot pedal (controller #4); maximum values are attained when the foot pedal is pushed all the way forward

MIDI sustain pedal (controller #64) operating as a modulation switch: down produces maximum modulation; up produces no modulation

MIDI sostenuto pedal (controller #66) operating as a modulation switch: down produces maximum modulation; up produces no modulation the first of the ASR-X ProÕs assignable MIDI controllers (see Chapter 7) the second of the ASR-X ProÕs assignable MIDI controllers (see Chapter 7) the third of the ASR-X ProÕs assignable MIDI controllers (see Chapter 7) the fourth of the ASR-X ProÕs assignable MIDI controllers (see Chapter 7) the Patch Select buttons: the left button produces a modulation value of 32; the right button 64; both buttons 127; neither button 0

28 ENSONIQ ASR-X Pro Reference Manual

3ÑPads

W AVVV

The waves you create on your ASR-X Pro are digital recordings of a sound. Digital recording captures audio by taking snapshots of the sound many times per secondÑ44,100 times per second in the ASR-X

Pro. Therefore, instead of recording continually, it actually samples the sound many times per second. On playback, the ear perceives these snapshots, or Òsamples,Ó as a single sonic entityÑin the ASR-X Pro, this single entity is called a Òwave.Ó The ASR-X Pro can play the list of samples that make up a wave forward or backward, play specified sections of samples, or play sections of them over and over for as long as you hold down a pad or key on an external MIDI keyboard. The WAVE parameters control these features.

PlayMode

Start/Loop

Sample Start

Loop Start

Loop End

StartToEndIndex

IndxModSrc

Index ModAmt

OnceForward,

OnceBkwrd,

LoopForward,

LoopFwd&Bwd

00 to 99% for sample start, loop start and loop end points

Determines the direction and manner in which the wave will play:

OnceForwardÑthe wave will play from beginning to end once and stop.

OnceBkwrdÑthe wave will play from back to front once and stop.

LoopForwardÑthe wave will play from the beginning to its loop end point, at which time it will start again from the loop start point and play to the loop end point repeatedly until the pad or key is lifted.

LoopFwd&BwdÑthe wave will play from the beginning to its loop end point, at which time it will play backwards to the loop start point and then forwards to the loop end repeatedly until the pad or key is lifted.

Provides three editable fields that allow you to set the wave playback start point, loop start point and loop end point as percentages of the waveÕs samples. This can be viewed as a coarse adjustment for these three points. Optimal loop points are automatically offered when the System/MIDI

AutoZero Cross parameter is set to ÒOnÓ (see Chapter 7).

Determines the point from which the wave will play on key-down, expressed as individual samples. This is a fineadjust for the wave playback start point.

0 to the number of samples that comprise the entire wave.

0 to the number of samples that comprise the entire wave.

0 to the number of samples that comprise the entire wave.

0 to 127

Determines the point from which the wave will loop when

PlayMode is set to LoopForward or LoopFwd&Bwd, expressed as individual samples. This is a fine-adjust for the wave playback loop start point.

Determines the point to which the wave will play, whether the wave is set to loop or not, expressed as individual samples. This is a fine-adjust for the wave playback loop end point.

Allows you to choose one of 128 locations between the

Sample Start and Loop End points from which to begin wave playback. A setting of 0 causes the wave to start playback from the Sample Start point.

(see modulator list) Selects a modulator for the StartToEndIndex. See ÒThe

ASR-X Pro Modulators" earlier in this section for a list of the available StartToEndIndex modulators.

-127 to +127 Determines the degree to which the IndxModSrc will affect the StartToEndIndex.

W AVVV

¥ You can set Sample Start to a higher value than Loop Start. When your wave is a beat loop, this lets you play a few beats from the end of the wave before the loop starts playing.

¥ By modulating the StartToEnd Index, you can start playback of a wave from a different place within the wave every time you strike its pad. When Envelope 3 is set to Repeat (see later in this chapter), the wave will restart playback from the StartToEnd Index point each time the envelope repeats.

ENSONIQ ASR-X Pro Reference Manual 29

3ÑPads

30

C

H

The PTCH parametersÑfor Òpitch parametersÓÑallow control of the selected soundÕs pitch bend, tuning, glide and modulation.

Pitch Bend Up

Pitch Bend Down

PitchBendMode

SemitoneTuning

Fine Tuning

KeybdTrack

12 down to 12 up,

Off

12 down to 12 up,

Off

Normal, Held

-64st to 64st

-127 to +127 various

Determines the maximum number of steps by which the pad's sound will be raised or lowered when the ASR-X Pro receives pitch bend messages from a MIDI pitch bend wheel pushed all the way up (forward).

Determines the maximum number of semitone steps by which the pad's sound will be lowered or raised when the

ASR-X Pro receives pitch bend messages from a MIDI pitch bend wheel pulled all the way down (back).

Determines whether or not the sound will pitch-bend normally or in held mode. Normally, when MIDI pitch bend messages are received, all notes sounding are affected by the pitch bend messages. In held mode, only notes physically being held downÑnotes which have not yet received a key-up messageÑare affected when pitch bend messages are received. The held option is useful for a number of musical situations, including the simulation of pedal steel guitars or solo string lines played against a chordal background.

Lowers or raises the pitch of the padÕs sound by semitones.

Fine tunes the pitch of the padÕs sound by steps of one cent

(1/100 of a semitone).

Determines the pitch response of the padÕs sound to MIDI note numbers. The default setting is Western equal temperament; other options include ratio relationships to received note numbers, inverted equal temperament or assignment to the soundÕs pitch table, determined by the

PitchTbl parameter (see below).

PitchTbl

Glide Mode

Glide Time

Voice Mode various, RAM

Off, On

0 to 127

Poly, Mono

Selects a pitch table which may be accessed by the sound

(see ÒList of ROM System Pitch TablesÓ in Chapter 9 for a list of pitch tables). The ASR-X Pro supports the MIDI

Tuning Change StandardÑpitch tables may be transmitted via MIDI SysEx to the ASR-X ProÕs RAM pitch table (see

ÒASR-X Pro MIDI ImplementationÓ in Chapter 9 for more details).

Enables/disables glide (portamento) in the padÕs sound.

The exact nature of the soundÕs glide is determined by the

Voice Mode parameter (see below).

Determines the amount of time it takes for the pitch to glide from one note to another when glide is enabled: 0 represents the shortest glide time, 127 the longest. When

Voice Mode=Mono (see below), glide in the ASR-X Pro is constant-time portamento: the time it takes to glide from note to note is the same regardless of how far way from each other the notes are.

Determines whether the padÕs sound will be polyphonic or monophonic. When Voice Mode=Poly, notes glide from a random selection of pitches.

PtchModSrc

Pitch ModAmt

Pitch ModRange

LFO Pitch ModAmt

(see modulator list) Selects a pitch modulator for the padÕs sound. See ÒThe

ASR-X Pro Modulators" earlier in this section for a list of the available pitch modulators.

-127 to +127 Determines the amount and polarity of pitch modulation caused by the Pitch Mod within the overall limit designated by the Mod Range parameter (see below).

0st to 64st

0 to 127

Determines the maximum amount of pitch shifting the

Pitch Mod may cause, in keyboard steps. The amount of pitch change invoked by each step is dependent on the soundÕs pitch table.

Determines the degree to which the LFO will affect the pitch of the padÕs sound.

ENSONIQ ASR-X Pro Reference Manual

3ÑPads

Env1PitchModAmt -127 to +127 Env1PitchModAmt provides a special routing that endows

Envelope 1 with unique capabilities in the modulation of the soundÕs pitch. When applied to the soundÕs pitch via the Env1PitchModAmt parameter, Envelope 1 automatically sustains at the pre-enveloping pitch, regardless of its Sustain Level (4) setting. Instead, its

Sustain Level (4) setting serves to determine which

Envelope 1 level values will cause the pitch to rise above the un-enveloped pitch and which level values will drive it below. Envelope 1 level values equal to the Sustain Level

(4) value will cause the sound to play at the un-enveloped pitch. Higher level values will shift the pitch upward, and lower values will shift the pitch downward. This feature allows for the creation of bi-directional pitch envelope shapes, while conveniently ensuring that the padÕs sound will always sustain at the un-enveloped pitch.

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The following parameters pertain to the first of the selected soundÕs three envelopes. Envelope 1 is typically applied to pitch, though it may be used as a modulator for any modulatable parameter. When

Envelope 1 is applied to a soundÕs pitch through the Env1PitchModAmt pitch parameter, itÕs endowed with some special attributes, described above.

Envelope Mode

Attack Time (1)

Attack Level (1)

Ramp Time (2)

Ramp Level (2)

Ramp Time (3)

Ramp Level (3)

Decay Time (4)

0 to 127

0 to 99

0 to 127

0 to 99

0 to 127

0 to 99

Normal, Finish,

Repeat

0 to 99

Envelope 1 may function in one of three ways:

¥ NormalÑEnvelope 1 plays through normally. When the key is released, the envelope takes the Release Time (5) to go from the current level down to zero.

¥ FinishÑEnvelope 1 finishes playing through all its stages, ignoring the key-up event. The envelope spends no time at the Sustain Level (4) stage. When the Decay Time (4) interval is finished, instead of stopping at the Sustain Level

(4) stage, the envelope immediately goes into the Release

Time (5) stage. This is good for percussive-type sounds where you want the envelope to be the same for every note, no matter how long the key is held down.

¥ RepeatÑAt the end of the Ramp Time (3) stage, instead of sustaining, Envelope 1 goes immediately back to the beginning and repeats, starting with the Attack Time (1) stage. When the key is released, the envelope stops repeating and moves into the release stage, taking the

Release Time (5) interval to go from the current level down to zero. This type of envelope can be used to create complex

LFO-type effects.

Determines the time it takes for the envelopeÕs level to travel from zero (when a note-on is received) to Attack

Level (1). The higher the value, the longer the time.

Determines the level the envelope will reach at the end of the time defined by Attack Time (1).

Determines the time it takes the envelope to go from Attack

Level (1) to Ramp Level (2).

Determines the level the envelope will reach at the end of

Ramp Time (2).

Determines the time it takes the envelope to go from Ramp

Level (2) to Ramp Level (3).

Determines the level the envelope will reach at the end of

Ramp Time (3).

Determines the time it takes the envelope to go from Ramp

Level (3) to the Sustain Level (4) stage. At the end of

DecayTime (4,) the envelope will remain at Sustain Level

(4) until the key is released.

ENSONIQ ASR-X Pro Reference Manual 31

3ÑPads

Sustain Level (4)

Release Time (5)

Keybd TimeScaling

VelAtckTimeModAmt

VelRelTimModAmt

0 to 99

0 to 99

0 to 99

-127 to +127

Vel Levels ModAmt -127 to +127

Vel Curve

0 to 127

Quickrise,

Convex1,

Convex2,

Convex3,

Linear,

Concave1,

Concave2,

Concave3,

Concave4,

LateRise

Determines the level the envelope will reach at the end of

Decay Time (4) and that it will retain until a note-off or sustain-off message is received. When Envelope 1 is used to modulate pitch through the Env 1 Amt parameter, this parameter functions differentlyÑsee ÒEnv1PitchModAmtÓ above.

Determines the time it takes the envelope to return to zero after the key has been released.

Makes the envelope times longer or shorter, depending on the key played. The scaling effect of this parameter is based on a center break point of F4+. Higher values will make all envelope 1 times (except Release Time [5}) shorter for keys above F4+, and longer for keys below F4+. Envelope times for F4+ itself are not affected by this parameter.

Determines the degree to which higher velocities will shorten Envelope 1Õs Attack Time (1). This parameter will have no effect if Attack Time (1)=0.

Determines the degree to which higher release velocities will make Envelope 1Õs Release Time (5) shorter or longer.

When the value is positive, a higher release velocity value will result in a shorter Release Time (5). When the value is negative, a higher release velocity value will result in a longer Release Time (5). This parameter will have no effect if Release Time (5)=0.

Determines to what degree velocity will affect envelope levels. Values above 0 increase the amount of velocity required to reach the Envelope 1 values determined by its level settings. Vel Curv gives you further control over the velocity response of the envelope.

Selects which of the velocity response curves the envelope will use if the velocity level control (Vel Levels ModAmt) is set to some value other than zero.

32

Each sound in an ASR-X Pro sound has a pair of independently configurable multi-mode dynamic digital filters. The following FILTÑfor ÒfilterÓÑparameters determine the overall behavior of the soundÕs two filters.

Mode

Link

Resonance (Q)

3PoleLP/1PoleLP,

Resonant2LP/2LP,

Resonant2BP/2BP,

FilterBypass

Independent,

FLT2 uses FLT1

0-50

Determines the filter configuration for the sound: LP=lowpass filter, which allows frequencies lower than the filter cutoff frequency (Fc) to be heard; HP=high-pass filter, which allows frequencies above the Fc to be heard. Each sound has two filters: the first is always LP, while the second may be LP or HP. The steepness of each filter is determined by its pole setting; the higher the pole value, the more extreme the filterÕs slope becomes. A 1-pole filter rolls off frequencies at 6 dB per octave, a 2-pole filter at 12 dB, and a 3-pole at 18 dB per octave. The Resonant2LP/2LP value makes both filters resonant; Resonant2BP/2BP creates a combined dual resonant band pass filter.

When set to On, Filter 2 uses Filter 1Õs settings; when Off,

Filter 2 uses its own settings.

When Filter Mode=Resonant2LP/2LP, this sets the loudness of the frequencies at the cutoff points of both filters. When Filter Mode=Resonant2BP/2BP, this sets the width of both of the bands, and the cutoff frequency levels.

ENSONIQ ASR-X Pro Reference Manual

3ÑPads

FFFFLLLLTTT

1 aaaannnndddd FFFFIIIILLLLTTTT222

The following parameters are available for both of the selected soundÕs two filters.

Filter Cutoff

Keybd Track

0 to 127

Off, various

Determines the selected filterÕs cutoff frequency. Filter 1 is always a low-pass filter: frequencies within the selected wave that are lower than the FLT1 Filter Cutoff setting will pass, or be heard. Frequencies above it will be filtered out.

Lowering the FLT1 Filter Cutoff value is similar to turning down the treble on a home stereo. The effect of the cutoff frequency in FILT2 will depend on the setting of the FILT

Mode parameter.

Determines how the selected filterÕs cutoff frequency will change as various pitches are played, expressed in ratios.

Positive values raise the cutoff as higher notes are played.

TrackBreakpoint

Cut ModSrc

Cutoff ModAmt

Env2CutoffModAmt

C-1 to G9 Determines which note will be treated as the nominal center of the key track range, and produce neither negative or positive cutoff modulation.

(see modulator list) Selects a modulator for the selected filterÕs cutoff frequency.

See ÒThe ASR-X Pro Modulators" earlier in this section for a list of the available modulators.

-127 to +127

0 to 127

Determines the amount by which the Cut ModSrc will lower or raise the selected filterÕs cutoff frequency.

Determines the degree to which Envelope 2 will affect the selected filterÕs cutoff frequency.

N

V222

The following parameters pertain to the second of the selected soundÕs three envelopes. Envelope 2 is typically applied to filter cutoff settings, though it may be used as a modulator for any modulatable parameter. The parameters available for Envelope 2 are identical to those associated with Envelope 1 (see

ÒENV1 ParametersÓ earlier in this chapter).

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The AMPÑfor ÒamplifierÓÑparameters provide control of the selected soundÕs keyboard rolloff characteristics, volume modulation and stereo panning modulation.

Rolloff Mode

Roll Slope

Roll Breakpoint

Vol ModSrc

Volume ModAmt

Pan ModSrc

Pan ModAmt

Off, Below, Above Enables/disables a progressive volume reduction for the sound, either above or below the Roll Breakpoint (see below).

0-127

C-1 to G9

Determines the extremity of the rolloff when Rolloff Mode is set to ÒAboveÓ or ÒBelow.Ó.

Determines the note above or below which the rolloff occurs when Rolloff Mode is not set to ÒOff.Ó

(see modulator list) Selects a modulator for the soundÕs volume. See ÒThe ASR-

X Pro Modulators" earlier in this section for a list of the available modulators. Note that Envelope 3 always affects the soundÕs volume.

-127 to +127 Determines the degree to which the Vol ModSrc will lower or raise the volume of the sound.

(see modulator list) Selects a modulation source for the soundÕs position in the stereo field. See ÒThe ASR-X Pro Modulators" earlier in this section for a list of the available modulators.

-127 to +127 Determines the degree to which the modulator will move the soundÕs stereo position to the left (negative values) or right (positive values).

ENSONIQ ASR-X Pro Reference Manual 33

3ÑPads

Alt Bus Default,

LightReverb,

MediumReverb,

WetReverb, Dry

Determines the effect bus to which the sound will be routed when itÕs selected for a track if the System/MIDI

AutoSelect FXBus parameter is set to ÒOn.Ó

N V333

The following parameters pertain to the third of the selected soundÕs three envelopes. Envelope 3 is typically applied to the soundÕs volume settings, though it may be used as a modulator for any modulatable parameter. The parameters available for Envelope 3 are identical to those associated with

Envelope 1 (see ÒENV1 ParametersÓ earlier in this chapter).

M O

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The MOD parametersÑor Òmodulation parametersÓÑcontrol the behavior of the soundÕs LFO and noise generator.

LFO Shape

LFO Start Phase

LFO Rate

Rate ModSrc

LFO Rate ModAmt

Triangle, Sine+Tri,

Sine, Pos-Tri, Pos-

Sine, Sawtooth,

Square

0 to 127

0 to 99

Determines the wave shape of the soundÕs LFO:

TriangleÑcommonly used to modulate pitch to produce vibrato

Sine+TriÑmixture of a sine and triangle wave, a somewhat pointy sine wave

SineÑpure fundamental frequency, more rounded in its peaks and valleys than the triangle wave

Pos-TriÑa positive-only triangle wave useful for simulating vibrato on instruments like the guitar where a player can only bend notes up

Pos-SineÑpositive-only sine wave useful for simulating vibrato on instruments like the guitar where a player can only bend notes up

SawÑsawtooth wave commonly used for special effects

SquareÑpositive-only square wave useful for producing in-tune trill effects

Determines the starting phase of the LFO, when

Retrigger=On. With a setting of 0, the LFO will always restart at the beginning of its cycle.

Tip: When LFO Start Phase=0, this parameter determines what part of the LFO wave will be applied as a fixed modulator upon key-down.

Determines the speed of the LFO.

Tip: When this parameter is set to 0, the LFO will produce modulation only upon new note-ons, and will not further modulate already-sounding notes.

(see modulator list) Selects a modulator for the LFO rate. See ÒThe ASR-X Pro

Modulators" earlier in this section for a list of the available

LFO Rate Mod modulators.

-127 to +127

0 to 127

Determines the degree to which the Rate ModSrc will slow down or speed up the LFO Rate.

Determines the amplitude of the LFO.

LFO Depth

DpthModSrc (see modulator list) Selects a modulator for the LFO depth. See ÒThe ASR-X Pro

Modulators" earlier in this section for a list of the available

LFO Depth Mod modulators.

LFODepth ModAmt -127 to +127 Determines the degree to which the modulator will decrease or increase the LFO depth.

LFO Delay Time 0 to 99 Determines the time it takes for the LFO to go from zero to the amount determined by the LFO Depth parameter.

Values above 0 will cause the LFO to take longer to achieve its full depth.

34 ENSONIQ ASR-X Pro Reference Manual

LFO Key Restart

LFO Sync

NoiseSourceRate

Noise Sync

Off, On

Normal, various rhythmic divisions of the current sequence tempo or received MIDI clocks

0 to 127

Determines whether the LFO will restart with each note-on.

When set to ÒOff,Ó the LFO will cycle continuously without resetting, whether a note is being played or not. When set to ÒOn,Ó the LFO waveform will always commence at its starting location, as determined by the LFO Start Phase parameter, when a note-on is received.

Enables/disables synchronization of the LFO to the currently selected sequence, by providing rhythmic divisions of its pulse. The LFO may be also be synchronized to received MIDI clocks when the System/MIDI

ClockSource parameter is set to ÒMIDI.Ó

Normal, various rhythmic divisions of the current sequence tempo or received MIDI clocks

Determines the speed of the stepped and smooth modulators (see ÒThe ASR-X Pro Modulators" earlier in this section).

Tip: When this parameter is set to 0, the noise modulators will choose new random values only upon new note-ons, and will not further modulate already-sounding notes.

Enables/disables synchronization of the stepped and smooth noise modulators to the currently selected sequence, by providing rhythmic divisions of its pulse. The

LFO may be also be synchronized to received MIDI clocks when the System/MIDI ClockSource parameter is set to

ÒMIDI.Ó

3ÑPads

The MISCÑfor ÒmiscellaneousÓÑparameters are a small assortment of parameters and a sound-renaming facility.

Sustain Pedal

Key Group Assign

SoundFinder

FinderPref

Rename Sound?

Off, On

Off, 1 to 16 all SoundFinder categories

None, DEMO-

SND, USER-SND,

USER&DEMO

(see description)

Enables or disables the soundÕs response to sustain pedal presses.

Allows assignment of the sound to one of 16 monophonic key groups. Key groups are used when youÕd like two or more sounds to cut each other off, particularly helpful when emulating real-world situations where two sounds would be mutually exclusive. For example, when programming hi-hat sounds, you can assign your open hihat sound and your closed hi-hat sound to the same key group. When these two sounds are played as part of a RAM kit, the last one played will silence the other, as it would in a real hi-hat.

Determines the SoundFinder category for the sound.

Enables inclusion of the sound in the DEMO-SND and

USER-SND SoundFinder sound type categories. The USER-

SND category provides easy access to sounds youÕve created yourself.

When this display is visible, pressing the Yes button will cause the sound naming page to appear. The top line of the display shows the soundÕs current name. You can re-name the selected sound by turning the Parameter knob or pressing the Select Track buttons to choose any of the 11 character positions, and turning the Value knob to dial in the desired character for each position.

ENSONIQ ASR-X Pro Reference Manual 35

3ÑPads

When a pad contains a sound based on an ASR-X Pro-created wavesample, or Òwave,Ó the Pad Process button provides access to a number of tools for processing the soundÕs wave. In addition, whether or not the pad contains a sound based on a wave. the Pad Process button provides access to Stomper, a unique synthesis algorithm that lets you to create your own new sounds.

Sound

Pad

Edit

Loop / Filter

Since these tools modify and create wave data, when you perform one of the pad processes:

Process

Stomp !

¥ the ASR-X Pro makes a copy of the wave

¥ it performs the selected operation

¥ it places the processed copy on the Scratch Pad. You can then play the scratch pad to audition the results of the process youÕve performed.

If youÕre pleased with the your pad-processing results, you can send the contents of the Scratch Pad to a pad in your kit (the procedure for sending to pads is described in Chapter 5).

the nature of the currently selected pad sound. ItÕs described at the end of this chapter.

The processes accessed by pressing the Pad Process button share a common display:

The pad being edited ÒPROCÓ for ÒprocessÓ The padÕs sound l n n

D2 PROC SMPL1_01

Normalize gain?

i

The process to be performed

This display asks you if youÕd like to perform the process shown. For some of these questionsÑNormalize gain?; Invert Sample data?; Truncate length?Ña press of the Yes button initiates the displayed procedure. For the others, pressing the Yes button leads you to further settings that you may want to adjust before performing the procedure. You can cancel the selected process whenever the red/green No/Yes LEDs are flashing by pressing the No button.

As each process takes place, the ASR-X Pro display informs you of its progress.

36

The ASR-X Pro can normalize the selected wave to digitally boost its volume to its loudest level short of clipping. This allows the wave to take the fullest possible advantage of the 16 bits available for its reproduction, and helps ensure that you wonÕt have to over-boost its volume for it to be heard.

Normalization seeks out the waveÕs loudest sample, multiplies it to the highest acceptable level, and then uses the same multiplication value on the rest of the waveÕs samples.

Since the process requires no user input, pressing the Yes button in response to ÒNormalize gain?Ó executes the normalization operation.

SSSSccccaaaalllleeee lllloooouuuuddddnnnneeeessssssss????

The ASR-X Pro lets you lower or raise the overall volume of a wave by percentage you set through the use of its scaling facility. When you press the Yes button in response to ÒScale loudness?Ó two settings

ENSONIQ ASR-X Pro Reference Manual

3ÑPads become available that allow you to set the manner in which the wave will be scaled. To view these two settings, turn the Parameter knob; to adjust them, turn the Value knob.

¥ Scale factorÑlets you set the percentage by which your waveÕs volume will be raised or lowered, from 1% to 200%. A setting of 100% will leave the wave at its present volume. Values lower than

100% will reduce its volume, and values over 100% will increase it.

¥ Clip MethodÑIf the volume of a wave is scaled to a level that requires more than the available 16 bits, the sound will clip. The Clip Method provides two settingsÑNormal or WarpÑ that allow you to determine what will happen to such waves:

When youÕve set the two scaling parameters to your liking, press the Yes button to scale the wave.

The ASR-X Pro samples audio at a resolution of 16 bits. While this resolution produces excellent sound,

16-bit data can use up significant amounts of the ASR-X ProÕs RAM. If you lower the resolution of a selected wave, you can free up RAM for more sampling. In addition, there may be times when youÕd like a rougher-sounding sample. Reducing sample bits is an excellent way to deliberately ÒtrashÓ a wave.

When you press the Yes button in response to ÒReduce sample bits?Ó the ASR-X Pro presents a display that allows you to set the desired bit resolution of your wave.

Reduce SMPL1_01

Number of bits= 12 i

Turn the Value knob to change this value

When youÕve selected the desired resolution, press the Yes button to reduce the waveÕs resolution.

The ASR-X Pro can invert a waveÕs data, essentially turning it upside-down, in order to make it easier to loop. Inverting a wave does not change its sound.

Answering the ÒInvert sample data?Ó by pressing the Yes button initiates the inversion operation.

ENSONIQ ASR-X Pro Reference Manual 37

3ÑPads

In order to make most efficient use of you ASR-X ProÕs memory, you should trim and discard those portions of your waveÕs data that you donÕt intend to use, freeing up the memory space they occupy.

When you press the Yes button in response to ÒTruncate length?Ó the ASR-X Pro deletes all data in your wave that occurs before the Sample Start point and after the Loop End point.

The ASR-X Pro allows you to copy the selected wave to other pads in the currently selected RAM kit.

When you press the Yes button in response to ÒCopy sound?Ó the CopyMode display appears, where you can turn the Value knob to select one of two copy modes:

¥ ParamsÑThis copy mode will only copy the selected waveÕs parameter values without copying the wave itself.

¥ Params+DataÑThis copy mode will copy both the wave and its parameters.

The original wave's Start/Loop, Sample Start, Loop Start and Loop End parameters are not duplicated along with its other parameter settings so that copies are created ready for re-looping.

When youÕve selected the desired copy mode, press the Yes button to perform the copy procedure. The

ASR-X Pro will show:

The octave that the pads are currently playing m

C2...0oct..C3 CopyTo

X Pads?

i

The pad from which youÕre copying

The display top line shows the octave currently selected for playing by the pads. You can press the

Octave Transpose buttons to select a different octaveÕs worth of pads to which to copy the selected wave and/or its parameters. The ÒXÓ shows you the pad thatÕs currently selectedÑthe pad that contains the data youÕre about to copy. When the desired octave is displayed, press the pad or pads to which you want to copy your dataÑa corresponding pad emblem will appear in the display for each pad you press.

When youÕve selected your destination(s), press the Yes button to complete the copy procedure.

38

The ÒScale time?Ó command alters the duration of a wave without altering its pitch, allowing you to stretch or shrink a wave to fit a particular tempoÑsuch as when you want to re-size rhythms for use as loops. When you press the ÒYesÓ button in response to ÒScale time?Ó the following parameters can be accessed by turning the Parameter knob:

¥ AmountÑThis parameter sets the percentage by which the waveÕs duration will be made longer or shorter. A value of 100% will leave the wave at its current length; values lower than 100% will

ENSONIQ ASR-X Pro Reference Manual

3ÑPads shrink the duration of the wave, while values higher than 100% will increase it. Try different values for this parameter to establish the percentage of time scaling required for your situation.

¥ QualityÑsets the fidelity of the time-scaled wave. The High(slow) value produces cleaner-sounding waves, but will take a greater amount of time to process. When experimenting with the Amount parameter to determine its correct value for your timing needs, set the Quality parameter to

Low(fast) to save time. Once youÕve settled on an Amount value, set Quality to the desired setting and re-scale the wave.

SSSSttttooo m p!!!!

Stomper is an non-real-time algorithm created by HŒkan ÒZapÓ Andersson that allows you to construct your own vintage-synth-style sounds using the ASR-X ProÕs processor. You create a Stomper sound by setting parameters that describe the soundÕs characteristics, and then hit the Yes button to instruct

Stomper to build the sound and place it in the Scratch PadÑfrom there it can be assigned to pads a RAM kit sound in the same manner as any other wave. Stomper allows you to select the soundÕs waveform content, its filteringÑincluding resonant filteringÑand volume, or amplitude, characteristics. Since

Stomper creates your sound right in the ASR-X Pro, the resulting 16-bit sound is terrific.

To learn more about Stomper, visit its Web site at http://www.Master-Zap.com.stomper

Stomper is accessed by pressing the Pad Process button. When the currently selected pad uses a sound thatÕs not based on a loaded wave,

ÒSynthesize Stomper sound?Ó is displayed. When the sound on the pad

is based on a wave, scroll all the way clockwise after pressing the Pad

Sound

Pad

Edit

Loop / Filter

Process

Stomp !

Process button to reveal ÒSynthesize sound?Ó In either case, the displayed question provides access to StomperÕs parameters. As you move through the Stomper parameters, the Yes and No LEDs will flash to indicate that you can build you sound at any time by pressing the Yes button, or leave Stomper by pressing the No/Exit button. As the sound is being created, a progress indicator will be displayed.

SSSSooo unnn Tyyyyppp e

Stomper provides a set of presets that can be used as is, or as a starting point for your own sounds. Turn the Value knob to select any of the following presets:

KICK1 KICK2 SNARE TOM CRASH HAT

When you change the value of any parameters, an additional USER preset is created.

Each Stomper sound can contain up to four active oscillators, each of which has its own set of parameters and can be configured to function as a waveform oscillator or as a low-pass resonant filter. Before setting up an oscillator, you must first select it by turning the Value knob when the Oscillator # display is visible.

M deee

The Mode display allows you to set the currently selected oscillator as you wish. An oscillator can be set to Off, Oscillator or Filter. Turn the Value knob to the desired setting.

N e:::: The ASR-X Pro presents only those parameters relevant to the selected oscillatorÕs mode. As a result, the remaining Stomper displays youÕll see depends on the selected oscillatorÕs mode.

ENSONIQ ASR-X Pro Reference Manual 39

3ÑPads

The following Stomper parameters are available when the selected oscillator is set to oscillator mode.

Parameter:

Waveform

Noise Factor

Noise Rate

Start Time

End Time

Start Freq

End Freq

FreqCurveShape

Start Amp Scale

End Amp Scale

AmpCurveShape

Tone CurveShape

What it does:

Selects the waveform to be used by the oscillator. Choices are: Sine, Saw, Square, Triangle

Controls the amount of random frequency deviation applied to the oscillator from 0.00 to

1.00 in 1/100ths steps.

Sets the rate of the random frequency deviation. A value of 0 is off; a value of 1 means that noise will be applied every sample; 2 would be every second sample, and so on.

Sets the oscillatorÕs start time in the final sound in milliseconds. A typical setting would be

0; increasing the value delays the sounding of the oscillator.

Determines the duration of the oscillator by setting its end point, in milliseconds.

Sets the starting frequency, or pitch, of the oscillator, from 0 to 20,000Hz in steps of 10.

Sets the final frequency, or pitch, of the oscillator, from 0 to 20,000Hz in steps of 10.

Sets the shape of the curve as the oscillator travels from its start frequency to its end frequencyÑthis can be set from 0.01 to 10.00 in .01 steps and from 10 to 100 in steps of 1.

Sets the starting amplitude, or volume, of the oscillator, from 0% to 100%.

Sets the ending amplitude, or volume, of the oscillator, from 0% to 100%.

Sets the shape of the curve as the oscillator travels from its start amplitude to its end amplitudeÑthis can be set from 0.01 to 10.00 in .01 steps and from 10 to 100 in steps of 1.

Sets the amount of distortion added to the shape of the oscillatorÕs waveform, from 0.01 to

10.00 in .01 steps and from 10 to 100 in steps of 1.

These Stomper parameters are available when the selected oscillator is set to low-pass filter mode.

Parameter:

Start Cutoff

End Cutoff

Start Resonance

End Resonance

What it does:

Sets the starting cutoff frequency, determining the point above which frequencies will be attenuated at the beginning of the sound. Parameter can be set from 0Hz to 20,000Hz.

Sets the ending cutoff frequency, determining the point above which frequencies will be attenuated at the end of the sound. Parameter can be set from 0Hz to 20,000Hz.

Sets the amount of resonance (Q) at the start of the sound, from 0.00 to 0.99 in steps of .1.

Sets the amount of resonance (Q) at the end of the sound, from 0.00 to 0.99 in steps of .1.

40 ENSONIQ ASR-X Pro Reference Manual

4ÑEffects

44 EEEEffffffffeeeeccccttttssss

The ASR-X Pro contains an ENSONIQ ESP2 digital signal processing chip that simultaneously provides two effects for each sequence: an insert effect and a global reverb. One track in each sequenceÑcalled the insert control trackÑcan be endowed with some special abilities relating to the sequence's insert effect.

These concepts are explained in this overview. Each of the 16 tracks in a sequence can be routed to either of these effects, left un-processedÑor dryÑor sent to one of the auxiliary outputs that are available when an X-8 output expansion board has been installed in the ASR-X Pro. The procedures for taking advantage of these features appear elsewhere in this chapter, unless otherwise noted.

Effects

Select Edit

Bypass

IIIInnnnsssseeeerrrrtttt EEEEffffffffeeeeccccttttssss

Insert effects are powerful, highly programmable effects. There are 40 insert effects in the ASR-X Pro, any one of which can be selected for use with any sequence:

01 Parametric EQ

02 Hall Reverb

03 Large Room

04 Small Room

05 Large Plate

06 Small Plate

07 NonLinReverb1

08 NonLinReverb2

09 Gated Reverb

10 Stereo Chorus

11 8-VoiceChorus

12 Rev→Chorus

13 Rev→Flanger

14 Rev→Phaser

15 Chorus→Rev

16 Flanger→Rev

17 Phaser→Rev

18 EQ→Reverb

19 Spinner→Rev

20 DDL→Chorus

21 DDL→Flanger

22 DDL→Phaser

24 Multi-Tap DDL

25 Dist→Chorus

26 Dist→Flanger

27 Dist→Phaser

28 Dist→Auto Wah

29 ResVCF→DDL

30 Dist→VCF→DDL

31 Pitch Detuner

32 Chatter Box

33 Formant Morph

34 RotarySpeaker

35 Tunable Spkr

36 Guitar Amp

38 Comp→Dist→DDL

39 EQ→Comp→Gate

40 EQ→Chorus→DDL

Insert effects can be manipulated in real time, allowing exceptionally musical control of their behavior

(see "Insert Effect Real-Time Modulation Parameters" later in this chapter).

effectÕs parameters.

In each sequence, one track can be designated as the insert control track. The insert control track has some special properties:

¥ Any sound that has been programmed to use an insert effect will automatically install that insert effect into the sequence when the sound is selected for use by the insert control track.

¥ The insert control track can be used to manipulate the sequence's insert effect in real time. In addition, when an external MIDI device is being used with the ASR-X Pro, MIDI messages received on the insert control track's MIDI channel can also manipulate the insert effect.

ENSONIQ ASR-X Pro Reference Manual 41

4ÑEffects

Global reverbs are top-quality programmable reverb effects. There are eight global reverbs, any of which can be selected for use in any sequence:

01 SmoothPlate

02 Large Hall

03 Small Hall

04 Big Room

05 Small Room

06 Reflections

07 Bright

08 Huge Place

Each track and each pad in the ASR-X Pro has its own FX Bus parameter for assigning its sound to one of the FX busses (for Òeffect bussesÓ). The FX busses are the means by which sounds travel to an effect.

There are five FX busses in an ASR-X Pro as it's shipped from the factory:

¥ the insert FX bus

¥ the light reverb FX bus

¥ the medium reverb FX bus

¥ the wet reverb FX bus

¥ the dry FX bus

The insert FX bus directs a sound to the sequence's insert effect.

The light reverb, medium reverb and wet reverb busses all direct a sound to the global reverb.

Three busses are provided for this purpose so that each can be set to send a different amount of sound into the global reverb, resulting in three different degrees of reverb available for each sound.

A sound assigned to the dry FX bus will remain un-processed.

There is a sixth option available when assigning a sound to an FX bus, though it's not an FX bus. A "Prog" value is provided that allows the different keys in an ASR-X Pro drum kit to retain their individual FX bus routings.

Chapter 2 describes the method for editing track parameters such as the FX Bus parameter. Chapter 3 describes how to edit the FX Bus parameter for a pad.

bussesÑAuxOut1, AuxOut2, AuxOut3 and AuxOut4Ñare available. These busses send a track and its sound directly to one of the auxiliary outputs. You can also use these stereo busses as eight mono busses by panning tracks hard left or right (see Chapter 2).

See Chapter 7.

The ASR-X Pro can automatically select an appropriate effect for a sound when itÕs selected for a track by reading the setting of the soundÕs Alt Bus parameterÑsee Chapter 7 to learn about the AutoSelect FXBus parameter, which enables this feature. See Chapter 3 to learn about setting the Alt Bus parameter. The Alt

Bus is also used by standard sounds on tracks or pads whose FX Bus parameter is set to ÒProg.Ó

42 ENSONIQ ASR-X Pro Reference Manual

4ÑEffects

Selecting and editing a sequence's insert effect or global reverb involves the same simple pair of techniques, regardless of the effect being edited.

1.

Press the Select button in the Effects section of the ASR-X Pro front panel.

Effects

Select Edit

Bypass

2.

To select an insert effect, turn the Parameter knob so that the Insert Effect display appears:

This shows that you're on the insert effect selection display m

Insert Effect=

33 Formant Morph i

The currently selected insert effect

To select a global reverb, turn the Parameter knob so that the Global Reverb display appears:

This shows that you're on the global reverb selection display m

Global Reverb=

01 User Settings i

This reflects the current global reverb settings

3.

Turn the Value knob to select the insert effect or global reverb you desire.

1.

Press the Edit button in the Effects section of the ASR-X Pro front panel.

Effects

Select Edit

Bypass

2.

To edit the insert effect, turn the Parameter knob until the display shows:

Effects:

Edit insert effect?

To edit the global reverb, turn the Parameter knob until the display shows:

Effects:

Edit global reverb?

3.

When you've selected the type of effect you'd like to edit, press the Yes button.

4.

Turn the Parameter knob to select any of the parameters available for the effect you're editing.

ENSONIQ ASR-X Pro Reference Manual 43

4ÑEffects

The left-most parameters provide settings that determine the context in which the effect operates

(see "Insert Effect and Global Reverb Context Parameters" below). These are followed by parameters relating to the effect itselfÑthe top line of each of these displays shows the name of the effect being edited:

The effect being edited m

Insert:Stereo Chorus

Chorus Depth= 0.8ms

i

The currently selected parameter i

The parameter's value

At the end of the parameter list for each insert effect is a set of parameters that enable and control real-time modulation for the effect. See ÒInsert Effect Real-Time Modulation ParametersÓ below.

5.

Turn the Value knob to change the setting of any parameter .

In addition to the parameters provided for sound sculpting, each insert effect and global reverb also contains parameters that allow you to determine how the effect will fit into the sequence in which it's being used.

Each insert effect contains these context parameters:

¥ Insert FX Bus: Input MixÑThis parameter allows you to establish the amount of insert effect you want to apply to any sounds routed to the insert FX bus. This is expressed as a wet/dry balance, with "dry" describing sounds prior to being processed by the insert effect, and "wet" describing the output of the insert effect. This parameter can be set anywhere from "Full Dry" to "Full Wet."

¥ Insert FX Bus: GlobalReverb AmtÑThe insert FX bus mix (described above) can be fed into the global reverb, so that reverb can be added to sounds processed by the insert effect. This parameter determines the amount of insert FX bus signal sent to the global reverb, and can be set anywhere from 0 to 127.

Each global reverb contains these context parameters:

¥ LightReverb FX Bus: Global Reverb AmtÑThis parameter sets the amount of signal sent to the global reverb from the light reverb FX bus. This parameter may be set anywhere from 0 to 63.

¥ MediumReverb FX Bus: Global Reverb AmtÑThis parameter sets the amount of signal sent to the global reverb from the medium reverb FX bus. This parameter may be set anywhere from 32 to 95.

¥ WetReverb FX Bus: Global Reverb AmtÑThis parameter sets the amount of signal sent to the global reverb from the wet reverb FX bus. This parameter may be set anywhere from 64 to 127.

¥ Reverb: (selected reverb's name) Return LevelÑThis parameter sets the level of the global reverb output. This can be used as an overall global reverb control that simultaneously raises or lowers the reverb volume for all of the reverb FX busses. Settings from 0 to 127 are available.

The ASR-X Pro insert effects can be manipulated in real time, providing the opportunity for animated, expressive effect processing. This manipulation is achieved through the modulation of insert effect parameter settings, using a control device of your choosing on the selected sequence's insert control track.

Each insert effect provides a set of parameters that allow you to set up real-time control of the effect.

44 modulation of an insert effect, the changes made to the insert effect will be applied to any sounds routed to the insert FX bus.

ENSONIQ ASR-X Pro Reference Manual

4ÑEffects

¥ Insert: Mod SrcÑThis parameter allows you to select a device with which the insert effect will be controlled. A wide range of devices is supported:

Off

FullModAmt

Velocity

Vel+Pressure

+PosMIDIkey#

-NegMIDIkey#

Pressure

PitchWheel

ModWheel

Wheel+Press

FootPedal

Sustain

Sostenuto

SysCTRL1-4

There will be no effect modulation.

The parameter being modulated will be set to its maximum amount.

The parameter being modulated will respond to the quickness, or hardness, of keystrikes from the pads or received via MIDI.

The parameter being modulated will respond to the quickness, or hardness, of keystrikes from the pads or received via MIDI, combined with received MIDI poly or channel pressure messages.

The parameter being modulated will use the MIDI note number from the most recently struck pad or most recently received MIDI keystrike as its value setting, with 0 being interpreted as the lowest note of the MIDI range and 127 as the highest .

The parameter being modulated will use the MIDI note number from the most recently struck pad or most recently received MIDI keystrike as its value setting, with 127 being interpreted as the lowest note of the MIDI range and 0 as the highest.

The parameter being modulated will respond to received MIDI poly or channel pressure values.

The parameter being modulated will respond to received MIDI pitch bend values.

The parameter being modulated will respond to received MIDI mod wheel (MIDI controller #1) values.

The parameter being modulated will respond to a combination of received MIDI mod wheel and poly or channel pressure values

The parameter being modulated will respond to received MIDI foot pedal (MIDI controller

#4) values.

The parameter being modulated will respond to sustain pedal presses produced by a foot switch connected to the ASR-X Pro or received via MIDI.

The parameter being modulated will respond to sostenuto pedal presses produced by a foot switch connected to the ASR-X Pro or received via MIDI.

System Controllers 1-4 are system-wide user-designated real-time modulators (see Chapter

7 for further information).

¥ Insert: Mod Src Min and Insert: Mod Src MaxÑThese two parameters allow you to establish a range of values from the control device to which the insert effect will respond. Each of these may be set anywhere from 000% to 100%.

¥ Insert: Mod DestÑThis parameter allows you to choose the insert effect parameter you'd like to manipulate.

¥ Insert: Mod Dest Min and Insert: Mod Dest MaxÑThese two parameters allow you to set limits for the amount of change that can be made to the setting of the parameter being modulated. If the Mod

Dest Min value is set above than the Mod Dest Max value, response to the control device will be inverted: lower control device values will raise the parameter's setting, and vice versa.

external control device to the same MIDI channel as the sequence's insert control track.

ENSONIQ ASR-X Pro Reference Manual 45

4ÑEffects

You can designate any of a sequence's 16 tracks as the Insert Control Track, or you can turn the Insert

Control Track feature off for the selected sequence.

1.

Press the Edit button in the Effects section of the ASR-X Pro front panel.

Effects

Select Edit

Bypass

2.

Turn the Parameter knob until the display shows:

Effects:

InsertCntrlTrack= 01 i

The number you see here may be different

3.

Turn the Value knob to select an insert control track for the currently selected sequence, or select

"off" to disable the feature.

There may be times at which you'll find it useful to temporarily silence a sequence's insert effect or global reverb in order to hear a soundÑor soundsÑwithout the effect with which they're associated. This is accomplished by bypassing the effects. The ASR-X Pro provides three methods of achieving this:

¥ You can quickly bypass both the insert effect and global reverb by rapidly double-clicking on the

Effect section's Edit button.

¥ If either "Edit insert effect?" or "Edit global reverb?" are displayed, you can press the Edit Effect button a second time to bypass the displayed effect.

¥ You can use the Bypass parameter to bypass the insert effect, the global reverb, or both.

When an effect is bypassed, *BYPD* appears on all of the displays with which the effect is associated. If both effects are bypassed Ò*ALL-BYPASS*Ó is shown.

46

1.

Press the Edit button in the Effects section of the ASR-X Pro front panel.

Effects

Select Edit

Bypass

2.

Turn the Parameter knob until the display shows:

Effects:

Bypass= None i

The setting you see here may be different

3.

Turn the Value knob to select the effect, or effects, you'd like to silence.

ENSONIQ ASR-X Pro Reference Manual

4ÑEffects

Many insert effects have an LFO Shape parameter that determines how the LFO signal will rise or fall.

There are eight possible values:

Many distortion-based insert effects have a Dist Curve parameter that determines the type of clipping produced by the distortion. There are five possible distortion curves:

ENSONIQ ASR-X Pro Reference Manual 47

5ÑSampling/Resampling

55 m

Sampling is the process of digitally recording sound. Digital recording captures sound by taking many brief snapshots of the soundÑ44,100 snapshots per second in the ASR-X ProÑand storing each of these as numerical data. Each of these snapshots is each called a sample. When a sampler plays back the recording the spaces between such quickly occurring samples are imperceivable, and the original sound is faithfully reproduced. In the ASR-X Pro, a digital recording is called a wave. In fact, ÒwaveÓ refers to either a mono wave or a stereo wave, even though a mono wave is comprised of a single digital recording, while a stereo wave is actually made up of two such recordings panned left and right. Waves in the ASR-X Pro are AIF (for ÒApple Interchange FormatÓ) files.

Resampling is, as its name implies, simply sampling something again. The importance of resampling in the ASR-X Pro should not be underestimated, though, since you can resample any sound the ASR-X Pro produces and use the resampled material in your grooves, or as the basis for even more resampling. Used together with the ASR-X ProÕs built in effects and editing tools, resampling is the key to getting the most out of your ASR-X Pro. ItÕs for this reason that the sampling and resampling section and buttons on the

ASR-X Pro front panel are labeled ÒResampling.Ó

When you sample audio on your ASR-X Pro, the newly created wave is stored invisibly in RAM and becomes playable from the Scratch Pad.

This pad can be played in the same manner as any other pad. The Scratch Pad is unique, however, in that itÕs only a temporary means of playing a wave. To make fullest use of a wave, it must be assigned to one or more pads in a RAM kit. Sending to pads is described in detail later in this chapter.

directly to disk along with a sound that will play them. The procedure is described in Chapter 7.

Setup

Resampling

Send

To Pad(s)

Start

Stop Scratch Pad™

The ASR-X Pro can create stereo or mono waves from:

¥ its own outputs, letting you easily resample new sounds from its sounds and sequences, taking full advantage of the ASR-X Pro effects.

¥ the two Audio Input jacks on its rear panel that let you sample anything from a mic, turntable or CD player. You can make these samples with or without adding effects.

¥ the ASR-X Pro outputs and the audio inputs at the same time.

ÒSelecting a Source,Ó later in this chapter describes how to select your audio source.

ENSONIQ ASR-X Pro Reference Manual 49

5ÑSampling/Resampling

The rear panel of the ASR-X Pro provides two 1/4Ó input jacks to which you can connect line-level audio sourcesÑsuch as a turntable or CD playerÑor a low impedance microphone. YouÕll also find a Mic/Line switch and an Input Level adjustment knob whose uses are described below.

Audio Input

Right Left

Input Level

Mic

Line

You can send audio into the ASR-X Pro through either or both of the Audio Input jacks. If youÕre using a microphone, or microphone-level device, flip the Mic/Line toggle switch upward for the best results.

When using a line-level device, flip the switch to its downward position.

The volume of audio being sent into the ASR-X ProÕs Audio Inputs is shown in the frontpanel Sampling Level LED array. When the ASR-X Pro detects incoming audio, the lower green LED flashes. When the audio is in danger of being too loud, causing clipping, the red

LED flashes. In the ASR-X Pro, the red LED does not necessarily mean that your input signal is too loudÑit means only that you should listen to it carefully to make sure that itÕs not undesirably clipping or distorting. The red LED lights at -6dB.

Sampling

Level

Peak

Signal

To adjust the volume of the signal being sent into the Audio Inputs, slowly turn the rear-panel Input

Level knob to achieve the best setting. You can also turn up or down the actual source of the audio.

This section describes the first steps of the sampling/resampling process: setting up. All of the features described in this section are accessed by pressing the Resampling Setup button.

Once youÕve pressed the Setup button, you can turn the Parameter knob to select the parameter youÕd like to adjust and turn the Value knob to set the selected parameter. The factory defaults for these parameters are listed in each description in case you want to restore them after using the

ÒSave these settings?Ó command (Chapter 7).

Setup

Send

Resampling

To Pad(s)

Start

All of the sampling/resampling setup parametersÑwith the exception of the Trig (for ÒtriggerÓ) parameter and meterÑshare a common display format in which the phrase ÒResampling SetupÓ appears on the top line, and the parameter being adjusted appears on the bottom line:

Stop Scratch Pad™

50

Resampling Setup:

Source= MainOut i

The parameter selected for editing

SSSSoooouuuurrrrcccceeee factory default value: MainOut

The first item to determine when you want to sample or resample is the source of the audio to be sampled. When the Resampling Setup Source parameter is displayed, you can set it to:

¥ MainOutÑto resample audio being produced by the ASR-X Pro, including sounds or sequences.

¥ Input+MainOutÑto capture audio being produced by the ASR-X Pro, combined with audio being sent into its Audio Inputs. When this value is selected, an additional In Bus parameter is available

ENSONIQ ASR-X Pro Reference Manual

5ÑSampling/Resampling that allows you to send the Audio InputsÕ signal into the desired ASR-X Pro effect (see ÒSelecting an

FX Bus when Sampling a Mix of the Audio Inputs and the ASR-X Pro OutputÓ below).

¥ Input+InsertÑto sample the Audio InputsÕ signal after itÕs been processed through the currently selected insert effect.

¥ Input DryÑto sample the Audio InputsÕ signal without any ASR-X Pro effects added.

factory default value: Insert

When Resampling Setup Source parameter is set to ÒInput+MainOut,Ó you select the effect, if any, through which the Audio InputsÕ signal will be sampled. The In Bus parameter can be set to:

¥ OffÑto silence the Audio InputsÕ signal.

¥ Insert, LightReverb, MediumReverb, WetReverbÑto route the Audio InputÕs signal into the ASR-X

Pro effects (see Chapter 4 to learn more about ASR-X Pro effects).

¥ DryÑto apply no effects to the Audio InputÕs signal.

factory default value: Stereo

The Rec Mode parameter allows you to determine whether youÕll be recording a mono or stereo wave.

You can set this parameter to:

¥ StereoÑso that a stereo wave (really a pair of waves panned left and right) will be created from audio produced by the selected source. When the Source parameter is set to ÒMainOut,Ó the entire stereo image produced by playing the ASR-X ProÕs pads or sequencer will be captured. When the

Audio Inputs are being used, the incoming audioÕs stereo image is retained; if only the left or right

Audio Input jack is being used, the signal will remain only on the left or right, respectively.

¥ Left MonoÑso that a mono wave will be created from the left side of the selected audio source. The left side of the source will be panned to the center for monitoring purposes and for being sent into the effect and for being routed into the effects when theyÕre being sampled (the left output of the effects will be captured in the wave).

¥ Right MonoÑthis functions in the same manner as Left mono, except that it uses the right side of the stereo.

factory default value: Off

The ASR-X Pro can automatically normalize your wave when you create it. Normalizing digitally boosts the wave to its loudest volume short of clipping or distortion in order to achieve the best fidelity and signal-to-noise ratio. The Auto-Normalize parameter turns this automatic volume correction on or off.

normalization feature (see Chapter 3).

factory default value: [maximum time in stereo]

Each wave occupies a portion of the ASR-X ProÕs sample memory for as long as the ASR-X Pro is turned on, or until you erase the wave. The longer the duration of the wave, the more memory is required, and stereo waves, since they actually contain two mono waves, take up twice as much memory as mono waves do. If you create stereo waves, youÕll consume the available memory twice as fast. The ASR-X ProÕs sample memory can be easily expanded to 34 megabytes through the installation of SIMM chips (see

Chapter 7).

Manager. See Chapter 7.

The ASR-X Pro provides the Record Time parameter to let you limit the amount of sample time youÕre willing to commit to a wave youÕre about to sample. You may choose to do this to hold a chunk of memory aside for later sampling, or simply to limit the length of the wave for musical reasons. Record

ENSONIQ ASR-X Pro Reference Manual 51

5ÑSampling/Resampling

Time can be set anywhere from 0.5 secÑfor ÒsecondsÓÑto the maximum amount of sampling time remaining in your ASR-X Pro. The parameter shows you the amount of memory available for the type of samplingÑstereo or monoÑthat youÕve selected with the Rec Mode parameter, described above.

factory default value: 3ms

The ASR-X Pro will automatically begin sampling/resampling whenever it detects audio of a specified loudness when its Trig mode parameter (see below) is set to ÒThresholdÓ or ÒNote Event.Ó Pre-triggering allows you to grab audio that occurs during a specified period of time just before your source reaches a volume loud enough to cause sampling to begin. This is possible since the ASR-X Pro continually captures audio into its sample memory behind the scenes once sampling is enabled. Pre-triggering can help ensure that the front of whatever youÕre sampling isnÕt chopped off before it reaches the threshold volume (see ÒSetting the Trigger ThresholdÓ below to learn about setting this threshold). You can set the length of pre-trigger time anywhere from 0ms (for ÒmillisecondsÕ) to 99ms.

factory default value: Threshold

There are three ways that the ASR-X Pro can begin sampling/resampling what it hears. Each of these choices is represented by a value that can be selected for the Trig (Trigger) Mode parameter:

¥ ManualÑWith this setting, the ASR-X Pro will only begin sampling when you press the Sample

Start/Stop button.

¥ ThresholdÑWith this setting the ASR-X Pro will begin sampling when it detects audio from the selected source that reaches the threshold set with the Trig parameter, described below.

¥ Note EventÑWith this setting, the ASR-X Pro will begin sampling when a pad is played or a MIDI note (note-on) message is received form an external MIDI device on any MIDI channel. This is especially handy when youÕre resampling sounds in the ASR-X Pro.

Each of these modes is activated by pressing the Sample Start/Stop button, and de-activated by pressing the Start/Stop button a second time (see ÒHow to Start and Stop Sampling a WaveÓ below).

The Trig parameter allows you to set a volume threshold at which the ASR-X Pro will begin sampling/resampling its source when the Trigger Mode parameter (described above) is set to

ÒThreshold.Ó This parameter is presented in a special display that makes it easy to select a useful volume:

The top line is a meter that shows the volume of notes as you play m

Meter: §§§§§

Trig= ¼ j

The pad symbol shows the current threshold setting

By playing some notes on a pad or via MIDI that represent what you intend to sample, you can see the volume of your audio on the displayÕs top line. By turning the Value knob, you can move the pad symbol to match the level at which you expect to play the audio youÕll be sampling.

may begin too early; if you set it too high, sampling may not begin when you want it to if you play a pad or key too softly.

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5ÑSampling/Resampling

The Start/Stop button is the device that turns sampling/resampling in the ASR-X Pro on and off. When the ASR-X Pro is not sampling, pressing the Start/Stop button engages the sampling function in a manner determined by the setting of the Trig Mode parameter (described above):

¥ When Trig Mode is set to ÒManual,Ó the ASR-X Pro begins sampling at the moment you press the Start/Stop button.

¥ When Trig Mode is set to ÒThreshold,Ó pressing the Start/Stop button causes the ASR-X Pro to begin listening for a source signal loud enough to trigger the beginning of sampling.

¥ When Trig Mode is set to ÒNote Event,Ó pressing the Start/Stop button causes the ASR-X Pro to wait for a pad to be played, or a

MIDI Note message to trigger the beginning of sampling.

Setup

Resampling

Send

To Pad(s)

Start

Stop Scratch Pad™

Event,Ó the display will show waiting for ÒWaiting For Trigger.Ó Press Start/Stop a second time to begin sampling without triggering. To disable trigger sampling, press the Exit/No button.

Once sampling begins, the ASR-X Pro display shows you its progress:

Sampling In Progress

======* i

This graphically shows the amount of sampling time being used

The bottom line of the display becomes a meter that shows how much of the sampling time allotted with the Record Time parameter (see above) has been consumed by the wave youÕre creating.

resampling the sequencer or when tweaking sounds or effects in real-time. ÒSampling In

ProgressÓ flashes on the displayÕs top line in alternation with the display pertaining to the nonsampling area of the ASR-X Pro youÕve selected.

When sampling is in progress, pressing the Start/Stop button stops sampling. When sampling is complete, the ÒSendTo Pads?Ó display appears (see below to learn about sending a wave to pads). You can audition your new wave at this point by playing it on the Scratch Pad.

When youÕve finished sampling/resampling, the new wave is playable from the Scratch Pad. To make the wave truly usable, however, youÕll want to send it to one or more pads in the currently selected RAM kit.

Setup

Resampling you begin sampling, the ASR-X Pro will convert the trackÕs sound into a RAM kit for you, so that youÕll have somewhere to send your wave. The new kitÑwhich will be named after the original sound with a number added to its endÑcan be found in the USER-SND and DRUM-KIT SoundFinder categories.

ENSONIQ ASR-X Pro Reference Manual

Send

To Pad(s)

Start

Stop Scratch Pad™

53

5ÑSampling/Resampling the ROM sound called ÒSilenceÓ before you sample. This will be converted into a RAM kit that will play only your wave. You can assign any sounds you like to its pads after youÕve finished sampling and sending your wave to the desired pad or pads.

When you press the Resampling Start/Stop button to finish sampling, the ÒSendToPads?Ó display automatically appears:

The top line shows the octave to which the pads are currently pointing m

C2...0oct..C3 SendTo

Pads?

If youÕd like to send the wave to a pad in an octave other than the one currently being played by the pads, you can select the desired octave using the Octave Transpose button (see Chapter 3 to learn more about using the Octave Transpose buttons). The display will always show you the octave currently being played by the pads.

After selecting the desired octave, press each pad to which youÕd like to send your wave. (You can use the Octave Transpose buttons at any time during the SendTo Pads procedure, allowing you to send your wave to any pads in any octaves.) The display will graphically show which pads have been selected.

C2...0oct..C3 SendTo

» ¼¼ Pads?

This shows the second, fifth and sixth pads in the selected octave as having been pressed

If youÕve selected a pad, but would like to un-select it, press it againÑand wave wonÕt be sent to the pad.

When youÕve selected all of the pads to which you want to send your wave, press the Yes button. If youÕd like to cancel the procedure, press the No button.

something else or turn the ASR-X Pro off. You can send the contents of the Scratch Pad to a pad in a RAM kit at any time by pressing the Resampling Send To Pad(s) button.

When you send a wave to a pad in the selected trackÕs RAM kit, the ASR-X Pro creates a standard RAM sound that plays the wave (see Chapter 3 to learn more about ASR-X Pro standard and kit sounds). The sound is named ÒSMPLÓ followed by a numberÑwhen you power up, the ASR-X Pro starts back at

SMPL1 and raises the SMPL number value each time you sample something new and send it to pads. The

SMPL sound is not actually played by any of the padsÑitÕs created as a safety copy of the sound that can be selected from SoundFinder and assigned to a track or pad at any time.

When you send your wave to pads, the ASR-X Pro creates copies of the SMPL soundÑone for each pad.

Each of these will be named similarly to the sound, but will have an additional underscore and number following its name. For each pad you send the wave to, the number increases by one. This allows you to be able to tell which sound is played by each pad. You can change the name of any of these sounds using the Memory Manager if you like (see Chapter 7).

54 ENSONIQ ASR-X Pro Reference Manual

5ÑSampling/Resampling

Having each pad play the wave using its own sound allows you to edit each padÕs sound separately while keeping the wave on which itÕs based intact (to learn more about editing pad sounds, see Chapter

3). These sounds are normal ASR-X Pro standard sounds and are stored in the lowest-numbered empty locations in RAM. They can be selected for use by a pad in any RAM kit or by any track in the sequencer.

There may be times when youÕd like to spread your wave across all the pads, with each one playing it at a different pitch. To do this, press the Track Sound button, dial in the *CUSTOM SoundFinder category, and select the original SMPL sound (SMPL1, for example). As a standard sound, it will be played by all the pads. To hear the wave at its original pitch and speed, use the Octave Transpose button to aim one of the pads at Middle C (C4). Middle C is always the root key for a wave.

ENSONIQ ASR-X Pro Reference Manual 55

6ÑSequencing

66 quuuueeeennnncccciiiinnnngggg

The ASR-X Pro contains a potent 16-track sequencer for the construction of groovesÑor any other kind of music. This chapter describes the concepts behind the ASR-X Pro sequencer and how to harness its power. All of the sequence recording, playback and mixing controls are found grouped together on the

ASR-X Pro front panel.

Select

Sequence

Edit Process

New Tap / Tempo Undo

Record

Transport

Stop Play

Scoop

Rew

Locate

F Fwd

Top

There are two sets of sequencing buttons. They are:

¥ the Sequence buttonsÑwhich provide sequence settings as well as sequence and track tools. These are described in ÒThe Sequence Select Button,Ó ÒThe Sequence Edit ButtonÓ and ÒThe Sequence

Process ButtonÓ later in this chapter.

¥ the Transport buttonsÑprovide the controls for operating the sequencer. These are described in

ÒOperating the SequencerÓ later in this chapter.

The ASR-X Pro sequencer records the MIDI information generated by the ASR-X Pro pads or by MIDI data received from an external MIDI device. When the sequencer plays this data back, it sends it to the areas within the ASR-X Pro that produce its sounds and effects, and your music is faithfully reproduced.

The sequencer can also be synchronized to an external MIDI timing source, such as a computer or standalone sequencer (see Chapter 7Õs ÒEdit MIDI Settings?Ó).

Each musical event the sequencer records takes up space in the ASR-X ProÕs memory. Unlike conventional recording media such as tape, when thereÕs no musical activityÑduring rests between notes, for example, or when youÕre holding a long noteÑno data is required and no memory is used.

A sequence is a piece of music recorded by the ASR-X Pro using MIDI technology. Each sequence can contain the separate, synchronized recordings of up to 16 performances, each using its own soundÑeach of these is called a track. Each sequence also has its own insert effect and global reverb to which its tracks can be routed (Chapter 4 explains the ASR-X Pro effects in detail). ASR-X Pro sequences are Standard

MIDI Files (SMFs) that can be read from floppy by any Macintosh or PC-compatible computerÑwhen you load an ASR-X Pro sequence into your computer sequencer, you can still use the ASR-X ProÕs sounds by accessing them via MIDI.

sequence (see Chapter 2 to learn about tracks, including how to select tracks, how to assign sounds to tracks and how to edit them).

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6ÑSequencing

There is always a sequence active in the ASR-X Pro, even if you havenÕt recorded on any of its tracks yet.

The ASR-X Pro can hold up to 128 sequences, each of which can be selected in turn (see ÒThe Sequence

Select ButtonÓ later in this chapter to learn how to select sequences).

Each sequence can be renamed, copied or deleted from memory. Controls are provided that allow you to determine the behavior of a sequence, from its tempo to the nature of its pre-recording countoff, and so on. These sequence settings are described in ÒThe Sequence Edit ButtonÓ later in this chapter. The performances contained on the tracks in a sequence can be edited and perfected through the use of various onboard processes, described later in this chapter in ÒThe Sequence Process button.Ó

The Transport buttons are the means by which most sequencer recording and playback operations are performed.

Record

Transport

Stop Play

Scoop

Rew

Locate

F Fwd

Top

In general, the Transport controls function in a manner similarly to the controls on any cassette or CD player, tape recorder or VCR.

Play a sequence

Stop playback of a sequence

Press the Play button.

Press the Stop button.

Jump back to the beginning of a sequence Press the Play button twice.

Rewind to the top of the sequence Hold down the Record button and press the Stop button.

Rewind bar by bar

Fast forward bar by bar

Hold down the Record and Stop buttons.

Hold down the Stop and Play buttons.

Record a track

To punch in on a track manually.

Hold down the Record button and press Play.

Press the Play button to start playback. Hold down the Record button and press the Play button at the location at which you want to start recording. Note: You can punch in using a foot switchÑsee Chapter 7. In addition, the sequencer Region feature provides automated punching-inÑsee ÒUsing RegionsÓ later in this chapter.

Start from any location within a sequence Hold down the Stop button, and while continuing to hold it, turn the Parameter knob to select the desired measure or type in the measureÕs number using the Essentials buttons as a numeric keypad. Press the arrow buttons to select a beat, and turn the

Value knob to select a clock. When youÕve selected a location, let go of the Stop button and press the Play button.

Scoop all instances of a pitch from a track Select the track from which youÕd like to scoop the note. Hold down the Record button and while holding down Record, press the pad, or key on an external MIDI keyboard, for the note you want to remove. The ASR-X Pro will offer to remove all instances of the note. Press the Yes button to complete the procedure.

Scoop out notes as the track plays In Add mode, select the desired track and hold down the Record button (see ÒRecordModeÓ later in this chapter). While continuing to hold down Record, press the Play button . Let go of both buttons. Re-press and hold the Record button, play the pad, or key on an external MIDI keyboard, for the note that you want to remove. As long as you hold down the Record button and the noteÕs pad/key, all occurrences of the note will be removed from the track.

58 ENSONIQ ASR-X Pro Reference Manual

6ÑSequencing

The Play and Record button contain LEDs that provide information about what the sequencer is doing:

¥ The green LED in the Play button lights whenever the sequencer is playing.

¥ The red Record LED lights when recording is taking place in the currently selected track.

¥ The red Record LED flashes when the sequencer is waiting to record, or to scoop notes from a track.

When operating the sequencer Transport controls, one of two displays will always appear, except when youÕre adjusting the sequence setting accessed by pressing the Sequence Edit button. In all other cases:

¥ When the sequencer is playing, the sequencer track page is displayed. This display tells you what track is currently selected, where you are in the sequence, and the name and SoundFinder category of the trackÕs sound. If a track has not yet been recorded, the display will show the word ÒEmptyÓ in the special information area shown below. If the track is muted or soloed (see Chapter 2), this area of the display will show ÒmuteÓ or Òsolo.Ó

The currently selected track Special information The bar and beat of the current location in the sequence l m m

¦01 1.01

KEYS :LOOKIT THIS i i

The SoundFinder category and name of the trackÕs sound

¥ When you are moving within a sequence in a non-play modeÑsuch as when youÕre fast forwarding, rewinding or selecting a location within the sequenceÑthe locate display appears.

The current location of the sequence m

Locate: 2.03

Go To= 2.03.001

j i p

The bar, beat and clock where playback will begin clock is 1/384th of a quarter note. This 384 ppqn (pulse-per-quarter-note) resolution means that the ASR-X Pro sequencer can capture the most subtle of rhythmic nuances. When an SMF recorded at some ppqn other than 384 is loaded into the ASR-X Pro, the ASR-X Pro adjusts its playback timing resolution so that the SMF plays as intended. When additional tracks are recorded in the sequence, theyÕre recorded at the SMFÕs ppqn.

Select

Sequence

Edit Process

New Tap / Tempo Undo

The Sequence Select button provides access to sequence selection and creation tools. Each time the

Sequence Select button is pressed, one of two displays appears, allowing you to create a new sequence or select one thatÕs currently in the ASR-X ProÕs memory.

ENSONIQ ASR-X Pro Reference Manual 59

6ÑSequencing

When the sequence-creation display appears you can press the flashing Yes button to create a new sequence. The new sequence will be assigned a default name and number that tells you which empty sequence location it will occupy.

Create new sequence?

SEQ00002 i p

The sequenceÕs default name This number shows the new sequence will be the second one in memory

When the ASR-X Pro shows its sequence selection display, you can turn the Value knob to select any of the sequences currently in the ASR-X ProÕs memory. You can also select the desired sequence by typing its number using the Essentials buttons as a numeric keypad.

The selected sequence is the first one in memory l

The number of sequences in memory m

Sequence 1 of 4:

Grand Slam i

The name of the selected sequence

When youÕve selected the desired sequence, press the Enter button to load it into the sequencer, where it can be played or edited.

Select

Sequence

Edit Process

New Tap / Tempo Undo

The Sequence Edit button provides access to sequence settings. When you press the Sequence Edit button, the ASR-X Pro displays one of the settings for the currently selected sequence in the form of a parameter.

Turn the Parameter knob to access each of these, and turn the Value knob to select the desired value for the displayed parameter.

60

Each sequence has a basic tempo setting that determines how fast it will play, expressed in BPM (Òbeats per minuteÓ). You can set the current sequenceÕs tempo manually, by selecting the whole-integer or fractional area of the Tempo parameter display and dialing in the desired value, or by tapping out the beat you want at any time on the Sequence Edit buttonÑwhen you do so, the ASR-X Pro will jump to the

Tempo display to let you see the tempo youÕre playing.

tempo changesÑfractional changes are not recorded.

ENSONIQ ASR-X Pro Reference Manual

6ÑSequencing

The ASR-X Pro sequencer provides several different recording modes, each of which allows you to perform a different type of recording or mixing task:

¥ ReplaceÑThis is the most basic recording mode, where newly recorded material replaces anything that was previously recorded on the selected track. In Replace mode, the length of a sequence is defined by its longest track.

¥ AddÑIn Add mode, newly recorded material is combined with anything previously recorded on a track, so that both the new and old material is heard on playback. In Add mode, the length of a sequence is defined by the length of the first track.

¥ StepÑThe Step mode allows you to use the ASR-X Pro sequencer as a non-real time recording device, where each note or chord is entered one at a time. See ÒStep RecordingÓ below for details.

¥ Track MixÑTrack mix mode allows you to record real-time track parameter changes onto a track.

See ÒRecording Track Parameter ChangesÓ later in this section.

¥ Final MixÑFinal Mix mode allows you to record whole-sequence volume and tempo changes. See

ÒRecording Sequence Volume and Tempo ChangesÓ later in this section.

Step recording lets you record notes and chords on a track while the sequencer only moves forward when you instruct it to do so. During playback, a step-recorded track plays at the sequenceÕs normal tempo, causing all the notes and pedal presses youÕve entered to sound as if they were performed normally. Step recording is ideal for impossible-to-play passages, or for times when a not-quite-human-sounding performance is desired.

In step recording, each track is divided up into divisions of a beat, called steps.

With the sequence at rest, you enter notes and sustain/sostenuto pedal presses at their desired locations.

ENSONIQ ASR-X Pro Reference Manual 61

6ÑSequencing

62

The sequence is then advanced, step-by-step, through the track, as you place the desired notes, chords or sustain/sostenuto pedal presses where you want them. Notes are recorded at the velocity with which theyÕre played on the keyboard. By paying attention to the velocities at which you play your notes, you can help simulate a natural sound.

The ASR-X Pro provides a suite of step-recording parameters. Turn the Parameter knob to select each parameter, and the Value knob to change the selected parameterÕs setting. ItÕs best to set up all of the step parameters as youÕd like before you play notes on the ASR-X Pro pads or send notes to the ASR-X Pro via

MIDI. All of the step recording parameters share a common display format:

The selected track m

The selected Step value m

Trk01 Step: 1/4

Time= 1.01.001

i

The bottom line shows each step recording parameter and its value

Time

Step Size

Gate Time

Shows your current location in the sequence. Notes played on the pads or received via MIDI will be places at the displayed location..

Sets the division of the beat at which notes will be placed. This may be set to:

1/1, 1/1T, 1/2D, 1/2, 1/2T, 1/4D, 1/4, 1/4T, 1/8D, 1/8, 1/8T,

1/16D, 1/16, 1/16T, 1/32D, 1/32, 1/32T, 1/64D, 1/64 and 1/64T.

Note: ÒDÓ=Òdotted valueÓ; ÒTÓ= ÒtripletÓ

Sets the length of each recorded note. This can be set to:

1/1, 1/1T, 1/2D, 1/2, 1/2T, 1/4D, 1/4, 1/4T, 1/8D, 1/8, 1/8T,

1/16D, 1/16, 1/16T, 1/32D, 1/32, 1/32T, 1/64D, 1/64, 1/64T,

Step and Held.

Note: ÒDÓ=Òdotted valueÓ; ÒTÓ= Òtriplet.Ó

When the parameter is set to ÒStep,Ò the duration of each note will equal the Step size.

When the parameter is set to ÒHeld,Ò the duration of each note is set by holding down the noteÕs pad, or key on an external MIDI keyboard, and advancing the Time value, letting go of the pad or key where you want the note to end.

ENSONIQ ASR-X Pro Reference Manual

6ÑSequencing

Gate Percentage

Auto-Step

When Gate Time is set to any value other than ÒHeld,Ó the Gate

Percentage parameter lets you to shorten the length of recorded notes by reducing the selected Gate Time value by a percentage.

Tip: Try a Gate Percentage setting of 80% to approximate a realtime performance.

Allows you to set the manner in which the sequencer will advance through the track. When Auto-Step is set to ÒOn,Ó each note played (see tip below about chords) will cause the sequencer to advance to the next step. When itÕs set to ÒOff,Ó the track will advance to the next step each time you press the Enter button.

Tip: You can move to next step using a foot switch, if you like.

See Chapter 7Õs ÒSet system prefs?Ó

Tip: The sequencer interprets notes played closely togetherÑwithin 100 milliseconds of each otherÑas being a chord. When Auto-Step is on, only notes played further apart will advance the track to the next step. If youÕd like to play the notes in a chord one-by-one, turn Auto-Step off.

To begin step recording, turn the Parameter knob counter-clockwise to return to the Time display, hold down the Record button and press the Play button. To end recording, press the Stop button.

When you hold down the Record button and press the Play button to begin recording in Track Mix mode, the ASR-X Pro shows the Track Mix display for one of the trackÕs parameters (see in Chapter 2).

Trk01 Mixdown 1.01

Mix (Expression)=127

Using Track Mix mode, you can record real-time changes for the following parameters, each of which can be altered via a standard MIDI controller:

¥ Mix (Expression)Ñcontroller #11

¥ Track PanÑcontroller #10

¥ Glide TimeÑcontroller #84

¥ Normal LFO RatesÑcontroller #75

¥

¥

¥

¥

Amp Env DecayÑcontroller #76

Amp Env ReleaseÑcontroller #72

Filter CutoffÑcontroller #74

Filter ResonanceÑcontroller #77

¥ Amp Env AttackÑcontroller #73

To move among the available parameters, while recording in Track Mix mode, turn the Parameter knob or press either the Exit or Enter button. When the desired parameter is shown, you can turn the Value knob to change its settingÑall changes you make will be recorded.

When you hold down the Record button and press the Play button to begin recording in Final Mix mode, the ASR-X Pro shows one of two Final Mix displays: one for the sequenceÕs overall volume...

Trk01 Mixdown 1.01

Final Mix= 100%

...and one for its tempo.

Trk01 Mixdown 1.01

Final Tempo= ¤:120

To move between the two displays, turn the Parameter knob or press either the Exit or Enter button.

When the desired parameter is shown, you can turn the Value knob to increase the sequenceÕs track mix settingsÑwhich rise and fall as a single entityÑ or its tempo setting. The rate of increase or decrease to the mix setting is expressed as a percentage of its original value.

ENSONIQ ASR-X Pro Reference Manual 63

6ÑSequencing of your work to disk firstÑsince there is no undo available for Final Mix volume changes.

sequenceÕs other tracks. Final Mix will only affect the un-muted tracks.

A sequence can be programmed to play through once to the end and stop, or to loop back to its beginning over and over again until you press the Stop button. The value selected for the Loop Playback parameter

Ñeither ÒNoÓ or ÒYesÓÑdetermines whether or not the sequence will loop.

The time signature of an ASR-X Pro sequence can be changed whenever the sequence is not playing, either before or after recording has taken place. If you change the time signature after recording, your music will not changeÑit will merely be interpreted by the sequencer as being at the new time signature.

The name of the selected sequence m

OohYeah 1.01

Time Signature= 4/4

The time signature numerator j p

The time signature denominator

When Time signature is displayed, you can turn the Parameter knob to select the numerator or denominatorÑthe selected item will flash to show itÕs selectedÑand turn the Value knob to dial in the desired value. The numerator can be set from 1 to 99; the denominator can be set to 1, 2, 4, 8, 16, 32 or 64.

the sequenceÕs metronome click is set to match the new denominator (see ÒClick TimingÓ below).

The ASR-X Pro sequencer allows you to define a section of the currently selected sequence as a region. A region can have several uses. It can be:

¥ the only section of the sequence thatÕs heard when you play the sequence.

¥ the portion of the sequence that gets re-recorded during automated punching in.

¥ a section of the sequence or of a track upon which you perform one of the sequence processes (see

ÒThe Sequence Process ButtonÓ later in this chapter.)

A region is defined by setting and turning on the Region FromPoint and/or Region ToPoint. The

FromPoint sets the beginning of the region, while the ToPoint sets its end.

After recording a sequenceÕs first track, Region To is automatically turned on, defining the length of the sequence. To override thisÑin order to lengthen the sequenceÑ you can turn Region To off.

64 end or beginning , respectively, as the end or beginning of the region.

ENSONIQ ASR-X Pro Reference Manual

6ÑSequencing

To turn on and set the Region FromPoint, set the Region FromPoint parameter to ÒOn,Ó and turn the

Parameter knob to display the From= parameter:

The name of the selected sequence m

OohYeah 1.01

From= 1.01.001

j i p

Bar beat and clock

Turn the Parameter knob to select the bar number, beat number and clock number youÕd like to set, and turn the Value knob to dial in the desired value. The Region ToPoint is set in the same way, using the

Region ToPoint and To= parameters.

Play only a specific section of a sequence

Set up an automated punch-in

Define a section of the sequence a portion of a track for processing.

Use the region parameters to define the section of the sequence you want to play. The standard play, rewind and fast forward functions will operate within the region youÕve defined.

Use the region parameters to define the section of the sequence you want to record. Hold down the Stop button and turn the

Parameter knob all the way counter-clockwise to set the Locate point to 1.01.001. Hold down the Record button and press the

Play button. As the sequence plays, the Record LED will flash.

When the sequence reaches the Region FromPoint, recording will begin.

Use the region parameters to define the section of the sequence you want to process. Each of the processes that can be performed on a sequence or trackÑexcept UndoÑwill offer a Òwithin regionÓ option that allows you to process only the defined region

(see ÒThe Sequence Process buttonÓ later in this chapter).

The RecordQuantize feature allows you to correct the timing of your performances as you record them in the ASR-X Pro sequencer. Quantizing while you record saves you time by eliminating the need to perform standard post-recording quantization. The RecordQuantize parameter must be set prior to recording. It can be set to any of the following values:

¥ OFFÑto disengage input quantization

¥ 1/2 ¥ 1/8

¥ 1/2T

¥ 1/4

¥ 1/4T

¥

¥

¥

1/8T

1/16

1/16T

¥

¥

¥

¥

1/32

1/32T

1/64

1/64T

When ÒEdit Click/Countoff?Ó is displayed, responding by pressing the Yes button will call up a collection of parameters that let you to set the nature of the metronome click that can be used as a rhythmic reference while recording or listening to the selected sequence. Also available are parameters that allow you to customize the countoff, if any, that will be heard before the selected sequence plays during recording or playback.. The factory defaults for these parameters are listed in each description in case you want to restore them after using the ÒSave these settings?Ó command (Chapter 7).

displays as negative values climbing upward to the first beat of the sequence.

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6ÑSequencing factory default value: Record Only

The Click parameter determines in what circumstances, if any, the sequenceÕs reference metronome will be heard. It can be set to:

¥ OffÑso that there will be no metronome heard during recording or playback.

¥ Record OnlyÑso that the metronome will only be heard during recording.

¥ Play OnlyÑso that the metronome will only be heard during playback.

¥ Record/PlayÑso that the metronome will be heard during recording and playback.

C factory default value: Click

The Click Sound parameter determines the sound that will be used for the sequenceÕs reference metronome click. It can be set to:

¥ ClickÑso that the metronome sound will be a mechanical click.

¥ StickÑso that the metronome sound will be two drumsticks hitting together.

The click Volume parameter sets the loudness of the sequenceÕs metronome click.

factory default value: 100 factory default value: Center 00

The click Pan parameter value sets the stereo position of the metronome click.

factory default value: Dry

The click FX Bus parameter allows you to send the metronome click through one of the ASR-X Pro effects by routing it to:

¥ InsertÑso that the metronome will be heard through the sequenceÕs insert effect.

¥ LightReverbÑso that the metronome will be heard with a small amount of reverb.

¥ MediumReverbÑso that the metronome will be heard with an average amount of reverb.

¥ WetReverbÑso that the metronome will be heard with a large amount of reverb.

¥ DryÑso that the metronome will not be routed through the ASR-X Pro effects.

¥ AuxOut1, AuxOut2, AuxOut3, AuxOut4Ñso that the metronome will be routed to one of the ASR-X

ProÕs auxiliary outputs and removed from the main mix.

66 factory default value: 1/4

The Click Timing parameter sets the division of the beat to be played by the metronome, and may be set to 1/2, 1/4, 1/8, 1/16 and 1/32 notes, as well as their triplet values (shown with a ÒT.Ó) factory default value: Record Only

The Countoff parameter determines in what circumstances, if ever, a countoff will be heard before the sequence begins. It can be set to:

¥ OffÑso that there will be no countoff heard during recording or playback.

¥ Record OnlyÑso that the countoff will be heard at the beginning of the sequence prior to recording.

¥ Play OnlyÑso that the countoff will be heard at the beginning of the sequence during playback.

¥ Record/PlayÑso that the countoff will be heard before recording or playing back the sequence.

factory default value: Click

The Countoff Sound parameter sets the sound to be played as the countoff rhythmic reference. It can be set to:

¥ QuietÑso that there will be nothing heard during the countoff.

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¥ ClickÑso that the countoff sound will be a mechanical click.

¥ StickÑso that the countoff sound will be two drumsticks hitting together.

factory default value: 1

The Countoff Bars parameter sets the length of the countoff in measures; it can be set to anywhere from 1 to 16 measures.

The Sequence Process button provides access to various track and sequence editing tools. Each of these performs a particular process on the selected track or sequence, and each is presented as a top-level question that can be answered by pressing the No or Yes button. Pressing No

Select

Sequence

Edit Process

New Tap / Tempo Undo takes you to the sequence selection display described in ÒThe Sequence

Select ButtonÓ earlier in this chapter. Pressing the Yes button either executes the process or brings you to relevant parameters presented on sub-displays that allow you to determine exactly how the process will be performed. Once youÕve defined the process to be performed by adjusting the parameters offered on these sub-displays, pressing the Yes button will execute the selected process.

as depicted in the following descriptionsÑon the display, they include the number of the selected track or sequence where appropriate.

chapter), the sequences processes will conveniently offer ÒWithin RegionÓ values where applicable.

The ASR-X Pro allows you to undo your last recording or process. Pressing the Yes button in response to this displayed question restores your track to the state it was in before you last recorded on it, or processed it.

Process button.

The ASR-X Pro provides a powerful set of tools for correcting or altering the timing of recorded notes.

These processes are described by the general term quantizing. When you quantize notes, you shift them in time to line up with specified divisions of the sequenceÕs tempo, as in this simplified illustration:

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The various ASR-X Pro quantization tools are sophisticated, but simple to use. By using them in combination with each other, you can set up some quite elaborate quantizing processes. Each is presented as a parameter on a quantizing sub-display.

quantize displays is visibleÑthe current settings for all of the quantize parameters will be used.

The ASR-X Pro provides complete quantization setups as templates. These templates set all of the quantize parameters to sensible settings for the task after which theyÕre namedÑfor a complete list of the quantization templates, see Chapter 9. You can a template to use as is, or as a starting point for your quantization programming. When a template has been edited, this will show Ò**EDITED**.Ó re-use. The first four templatesÑUSER TEMP 1 through 4Ñare memory locations in which you can store your favorite quantization settings. See ÒSave quantize as?Ó later in this section.

The Quantize To parameter sets the division of a beat to which notes will be aligned during the quantization process.

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The parameter can be set to:

¥ 1/1Ñwhole notes ¥ 1/4TÑquarter-note triplets ¥ 1/32Ñthirty-second notes

¥ 1/1TÑwhole-note triplets ¥ 1/8Ñeight notes ¥ 1/32TÑthirty-second-note triplets

¥ 1/2Ñhalf notes ¥ 1/8TÑeight-note triplets ¥ 1/64Ñsixty-fourth notes

¥ 1/2TÑhalf-note triplets ¥ 1/16Ñsixteenth notes ¥ 1/64TÑsixty-fourth-note triplets

¥ 1/4Ñquarter notes ¥ 1/16TÑsixteenth-note triplets

The ASR-X Pro offers two ways to quantize your music. You can set the Method parameter to:

¥ NormalÑto quantize the notes in the selected track using the traditional quantization method: moving the beginning of each note to the nearest occurrence of the Quantize To value.

¥ DeltaÑto use a revolutionary ENSONIQ method of quantization first introduced in the MR-61 and

MR-76 that preserveÕs the playerÕs musical intent in a way that normal quantization canÕt. With delta quantization, if what youÕve recorded drifts out of time with the sequence, as long as it makes rhythmic sense internally, you can quantize it to perfection.

Delta quantization examines the spaceÑor deltaÑbetween the beginning of the sequence and the first note and resizes the space to match the nearest multiple of the quantize To value, shifting all of the later notes in the track so that they retain their original relationship to the first note. This process is then repeated for the space between the first and second note, and so on, until all of the notes in the track have been correctly quantized.

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Quantize To.

SSSSttttrrrreeeennnnggggtttthhhh

The Strength parameter determines to what degree the notes in the track will be aligned to the Quantize

To value. This parameter allows you to correct the timing of the music on a track to the extent that you desire, without necessarily making it absolutelyÑsome might say ÒunnaturallyÓÑperfect. Sometimes, a little quantizing help is all that a performance needs. The Strength parameter is expressed in percentages.

A value of 100% will line up the beginning of the notes in the track exactly to the division of the beat chosen with the Quantize To value. A Strength setting of 0% will leave the notes unaffected.

This parameter allows you to add a ÒswingÓ feel to your quantized tracks. Every other occurrence of the type of note set by the Quantize To parameter is altered to sit slightly behind the beat. When the notes in your track are aligned to the resulting combination of even and slightly lagging notes, a swing feel is achieved.

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The Swing parameter can be set from 50%Ñfor no swingÑwhere each of the Quantize To notes occurs precisely halfway between the note before it and the note after, to 74%, where every other note is pushed nearly halfway towards the following note.

The Random parameter allows you to add aesthetically pleasing timing irregularities to a track as you quantize it. This can help simulate the small rhythmic fluctuations likely to be present in a naturally occurring performance. The irregularities provided by the ASR-X ProÕs randomizing function are intelligently created. They donÕt jump erratically ahead of or behind the beat note by noteÑinstead, randomized notes occur in slightly rushed or lagging groups, as would be the case with a real musician playing around a rigid tempo. The Random parameter can be set from 0%Ñfor no randomizationÑto

50%, where randomized notes may be as much as half of the Quantize To value ahead of or behind the beat.

SSSShhhhiiiifffftttt

The Shift parameter allows you to move all of the music recorded on a track ahead in time, or back, by as much as the Quantize To value. Shift can be set anywhere from -100% to +100%. A Shift setting of 0% will not shift the music. A setting of -100% will make move it earlier in time by the amount set with the

Quantize To parameter +100% will move it later by the same amount.

The Low Key and High Key parameters allow you to select a note range to be quantized. All notes outside of this range will be left unaltered when you execute the quantize command. The Low Key parameter determines the lowest note that will be quantized, and the high Key parameter determines the highest.

The Window Minimum and Window Maximum parameters allow you to determine by how much notes must deviate from the Quantize To value before theyÕre subjected to quantization. This allows you to correct only the notes in a track that are clearly off, without affecting other unobjectionably placed notes.

These parameters are expressed as percentages of deviation from the Quantize To value, and may be set from 0%Ñno deviationÑto 50%, or halfway to the next occurrence of the value selected with the

Quantize To parameter. The window created applies to notes that fall both ahead of and behind each occurrence of the value set with the Quantize To parameter. This is shown in the following illustration.

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Quantizing typically affects the beginning of each noteÑthe note-on. In the ASR-X Pro, you can also quantize the ends of notes to the value set with the Quantize To parameter. This has the effect of changing the durations of the notes on the track to the length set with the Quantize To parameter. The

QuantizeNoteOffs parameter may be switched on or off.

When you quantize the notes on a track, the beginning of each note is lined up to the Quantize To value.

If the Move Note Offs parameter is set to On, the entire note will be moved according to the various quantizing parametersÑand will remain the same length. If this parameter is switched off, only the beginning of the notes will be moved. The ends of the notes will be unchanged, and, therefore, the length of quantized notes will likely change as only their beginnings are moved to new positions.

The ASR-X Pro allows you to save your current quantization settings as a re-usable quantization template. To do this, select USER TEMP 1, 2 3 or 4 and press the Yes button. To use one of your templates, return to the first quantizing sub-displayÑTemplate=Ñand select the desired template.

SYSTEMSETUP fileÑsee Chapter 7 for details.

The ASR-X Pro offers the opportunity to copy a track, or elements of the track, in a variety of ways to an assortment of destinations. The variety of tasks accomplished using the track copy process utilize a shared set of parameters presented on this processÕs sub-displays. As you set each of the parameters, the

ASR-X Pro offers you additional options based on the values youÕve already selected.

72 wish and then turn the Parameter knob clockwise to see if any other parameters are offered. At the point at which no additional parameters appear, press the Yes button to execute the process.

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The Scope parameter is always provided when copying tracks. By setting its value, you determine what will be copied. You can select:

¥ Entire TrackÑto copy the whole track, including its track settings and all recorded data.

¥ TrkParams OnlyÑto copy only the settings for the sequenceÕs tracks, but no recorded data.

¥ TrkData OnlyÑto copy the recorded data, but not the settings for the sequenceÕs tracks.

¥ Within RegionÑto copy only the recorded data within the defined region. This value is available only when the Region FromPoint and/or ToPoint parameter is set to ÒOnÓ (see ÒUsing RegionsÓ earlier in this chapter).

The Paste parameter determines how the copied material will be interact with the data already present in the location to which youÕll be copying it. This parameter is not available when Scope=TrkParams Only.

The Paste parameter can be set to:

¥ AppendÑto append the beginning of the current track to the end of the destination track.

¥ ReplaceÑto replace any data already present at the destination with the copied material.

¥ MergeÑto combine the copied material with anything already present at the destination.

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The Seq parameter allows you to choose a sequence other than the currently selected sequence as a destination for your copied material when Paste=Replace or Append. Turn the Value knob to select any of the sequences in the ASR-X ProÕs memory.

The Destination Track parameter allows you to select the track to which the track elements youÕve chosen will be copied. Turn the value knob to select the desired track in the sequence chosen with the

(destination) Seq parameter above, or in the currently selected sequence if Paste=Merge.

When Paste=Append, the DestTime parameter allows you to select a location within the destination track after the end of its data. The track youÕre copying will be placed in the destination track at this location.

Turn the Parameter knob to selectÑand the Value knob to setÑthe desired bar, beat and clock value.

EEEErrrraaaasssseeee ttttrrrraaaacccckkkk????

The ASR-X Pro offers the opportunity to erase a track, or elements of the track, with great specificity. As you set each of the parameters provided on this processÕs sub-displays, the ASR-X Pro offers you additional choices based on the values youÕve already selected.

Erase all data on the track

Erase a specific MIDI controllerÕs data

Erase a specific note range

Erase any other type of data

Set Scope to ÒEntire TrackÓ and press the Yes button.

Set Scope to ÒTrk Data Only.Ó Turn the Parameter knob clockwise and set Event to ÒController.Ó Turn the Parameter knob clockwise and set Cntrl to the desired controller. Press the Yes button.

Set Scope to ÒTrk Data Only.Ó Turn the Parameter knob clockwise and set Event to ÒNote Range.Ó Turn the Parameter knob clockwise and set Lo Key to the lowest note you want to erase. Turn the Parameter knob clockwise and set High Key to the highest note you want to erase. Press the Yes button.

Set Scope to ÒTrk Data Only.Ó Turn the Parameter knob clockwise and set Event to the type of data you want to erase.

Press the Yes button.

process also offers a ÒWithin RegionÓ value for its Scope parameter. Use this value to perform all of the above-listed tasksÑwith the exception of erasing the whole trackÑon only the portion of the track that falls within the current region From and To points.

74 response to the top-level question, set the first parameter displayed as you wish and then turn the

Parameter knob clockwise to see if any other parameters are offered. At the point at which no additional parameters appear, press the Yes button to execute the process.

EEEErrrraaaasssseeee ttttrrrrkkkk ttttoooo eeeennnndddd????

Answering ÒYesÓ to this question provides a quick way to clear unwanted music from the end of the selected sequence. This process will erase everything recorded in the sequence that occurs after the currently selected location in the sequence. ItÕs a good idea to hold down the Stop button and verify that youÕve got the desired location selected before answering Yes to this question. If it isnÕt, press the Stop button, and while holding it down, turn the Parameter knob to select the desired measure, press the arrow buttons to select a beat, and turn the Value knob to select the desired clock. When you let go of the

Stop button, the sequence will go to the location youÕve dialed in.

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Any sequence can be renamed at any time by pressing the Yes button in response to this question. Turn the value knob to select each character position and turn the Value knob to dial in the desired character.

on the ASR-X Pro will not typically show all 20 of these characters. The extended name will be visible if you transport your ASR-X Pro sequenceÑsince itÕs a Standard MIDI FileÑvia floppy to a computer. To view all 20 characters of a sequenceÕs name on the ASR-X Pro, hold down the

Sequence Select button. You can turn the Value knob to view the long names of all onboard sequences.

The ASR-X Pro allows you to attach the currently selected sequence to the end of another sequence in memory. You can construct songs by appending the sections of the song to each other in the correct order. This process offers two sub-displays.

The number of the currently selected sequence m

Append seq 2 to?

Seq= 1: Shortie i i

The number and name of the target sequence

This display allows you to select the sequence to which the currently selected sequence will be attached.

The name of the selected sequence m

Append seq 2 at?

DestTime= 1.01.001

j i p

Bar beat and clock

When this display is visible, you can at what point after the target sequence the currently selected sequence will be heard. This parameter defaults to attaching the selected sequence at the beginning of the measure following the target sequenceÕs last recorded data. to change this setting, turn the Parameter knob to select the value youÕd like to reset, and turn the Value knob to do so.

append process, both of their time signatures and/or tempos are retained.

destination sequence is used.

The ASR-X Pro allows you to copy the currently selected sequence to the next empty sequence location.

You can choose to copy:

¥ Entire SeqÑWhen this value is selected, everything in the sequence, including all of its tracksÕ settings and note data, will be copied.

¥ SeqParams OnlyÑWith this value, only the settings for the sequenceÕs tracks will be copied.

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The ÒErase this sequence?Ó process allows you to delete the currently selected sequence from memory. It also providesÑwhen the Region FromPoint or Region ToPoint parameters are on (see ÒUsing RegionsÓ earlier in this chapter)Ñthe opportunity to clear unwanted materials from the ends of the sequence. Two choices are offered when either of the above region parameters are set to ÒOnÓ:

¥ Entire SeqÑWith this value, the entire sequence will be erased when you press the Yes button.

¥ Outside RegionÑWith this value selected, only recorded data that occurs earlier than the region

From point (if the Region FromPoint parameter is set to ÒOnÓ) and/or after the region To point (if the Region ToPoint parameter is set to ÒOnÓ) will be erased.

This question offer to clear your ASR-X Pro sequencer memory. Press the Yes button to perform this processÑa second display will ask you to confirm your decision. Press the Yes button again to erase all sequences currently in the ASR-X ProÕs memory.

Pattern mode allows you to chain sequences, one after the other, in real time. This can be handy when jamming, in performance, or when trying out song structures. (If youÕre ready to actually create a song, use song mode, described below.) You can play along on the pads, and use the Octave Transpose buttons and Patch Selects (the Patch Selects will be reset at the start of each sequence). When you press the Yes button in response to ÒEnter pattern mode?Ó the ASR-X Pro will scan the contents of its sequencer memory, and show the pattern mode sequence selection display:

The sequence cued up to play next m

Nxt 001: Groove

Groove 1.01

i

The sequence currently being played i

The bar/beat location in the current sequence

Turn the Value knob or type the desired sequenceÕs number using the Essentials buttons as a numeric keypad to select the first sequence you want to hearÑyour selection will be shown on the displayÕs top line. Press the Enter button to lock in your choice, and press the Play button to start playback.

Using any of the methods described above, select the next sequence you want to hearÑits name will be shown on the top line of the displayÑand press the Enter button to lock in your choice. When the currently playing sequence reaches the end, the sequence selected on the top line will start to play. Repeat this process for the next sequence, and so on.

76 sequence loop for a while before proceeding to the next sequence. To do this, select the desired next sequence without hitting the Yes button. When youÕre ready to hear the next sequence, hit the buttonÑthe currently playing sequence will play to its end, and the next sequence will play.

prevent it from playing. This allows you to change your next-sequence selection, and will cause the sequence shown on the bottom line to loop.

To exit pattern mode, hit the Sequence Stop button and then proceed with normal ASR-X Pro operations.

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Pressing the Yes button in response to ÒCreate a new song?Ó places the ASR-X Pro in song mode, in which you can chain sequences together to play as songs. This is achieved by creating a playlist made up of song stepsÑthere can be up to 200 steps in a song. Each step plays one of the sequences currently in the ASR-X Pro. While listening to a song, you can play the pads, and use the Octave Transpose buttons and Patch Selects (the Patch Selects will be reset at the start of each new song step).

effect associated with its sequence is used.

When you enter song mode, the song-creation display is presented:

The currently selected song step m

Add Song Step 001?

Seq 001: Intro j

The location of the stepÕs sequence p

The name of the stepÕs sequence

A song is comprised of steps that will be played back one after the other. The currently selected step is shown on the top line of the display. Turn the Value knob or type the desired sequenceÕs number using the Essentials buttons as a numeric keypad to select the sequence that you want played at the displayed step, and press the Yes button to lock in your setting and advance to the next step.

In song mode, press the Sequence Play button to cause the ASR-X Pro to build (if necessary) and play the song. As the song plays, the display shows you the step in its playlist thatÕs currently being heard.

The song step being played m

Song Step 1 of 2

Intro 1.01

j

The name of the stepÕs sequence i

The current bar/beat location within the stepÕs sequence

When the song isnÕt playing, turn the Parameter knob to select any of the songÕs steps or type the stepÕs number using the Essentials buttonsÑand press the Play button to start playback from the selected step.

You can leave song modeÑrestoring the ASR-X Pro to its normal sequence modeÑby pressing the

Sequence Select button. To return to your song, press the Sequence Process button and dial all the way clockwise to select the ÒEnter song mode?Ó When this question is displayed, press the Yes button.

EEEEddddiiiittttiiiinnnngggg aaaa SSSSoooonnnngggg

In song mode, press the Sequence Edit button to cause the main song editing display to appear:

The currently selected song step m

Edit Song Step 001?

Seq 001: Intro j

The location of the stepÕs sequence p

The name of the stepÕs sequence

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When this display is visible, turn the Parameter knob to select the step to be editedÑthe bottom line of the display shows the stepsÕ sequence. You can choose a different sequence to be played at the step by turning the Value knob or typing its number on the Essentials buttons and then pressing the Yes button.

To add a step to the end of a song, turn the Parameter knob one tick past the songÕs last stepÑthe ASR-X

Pro will offer to add a new song step. Turn the Value knob or type the desired sequenceÕs number using the Essentials buttons as a numeric keypad to select the desired sequence and press the Yes button.

You can add or remove steps in the middle of its playlist. When the main song editing display is visible, press the Sequence Process button to toggle between the insert and erase song step displays.

The song step at which a new step will be added m

Insrt Song Step 001?

Seq 001: Intro j p

The location of the new stepÕs sequence The name of the new stepÕs sequence

When you insert a step, a new step is added to the playlist at the selected locationÑthe sequence displayed on the lower line of the display will be played by the inserted step. Select the desired location for your new step, select the sequence you want it to play and press the Yes button to insert the step.

The song step to be removed from the playlist m

Erase Song Step 001?

Seq 001: Intro j

The location of the stepÕs sequence p

The name of the stepÕs sequence

When you erase a song step, the selected step is removed from the playlist. Select the song step youÕd like to remove and press the Yes button to erase it.

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The ASR-X Pro sequencer is always ready for recording from an external MIDI controller. Each of the 16 tracks in the sequencer receives data on the MIDI channel of the same number.

To record incoming MIDI data, use the same techniques as when recording from the ASR-X Pro pads.

on which data is received, keep in mind that the track thatÕs currently selected on the ASR-X Pro has nothing to do with which track(s) will be recorded. Set your incoming MIDI channels/tracks carefully so that you donÕt inadvertently end up recording over tracks you intend to keep.

recorded and the track was also selected on the ASR-X Pro.

MIDI transmission from the each of the ASR-X ProÕs tracks is enabled or disabled by assigning a MIDI-

OUT sound to the track and via the setting of the TrackMIDIOut track parameter. See Chapter 2.

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77 D

The Disk/Global area of the ASR-X Pro front panel contains two groups of controls that share the common goal of performing operations that affect the entire ASR-X Pro.

Load

Disk / Global

Save System

All Notes Off

The Disk-related buttonsÑLoad and SaveÑare used for:

¥ loading files from disk into RAM or FLASH.

¥ saving files from RAM to disk.

Save All MIDI

Operation of the Disk controls is described later in this chapter in ÒThe Disk Buttons.Ó

The System/MIDI button provides access to tools for:

¥ customizing the system-wide behavior of the ASR-X Pro to suit the way you create music.

¥ setting up the overall MIDI functionality of the ASR-X Pro.

¥ getting the most out of the ASR-X Pro RAM.

¥ performing various disk-file management functions.

The System/MIDI tools are described later in this chapter in ÒThe System/MIDI Button.Ó

The ASR-X Pro allows the loading and saving of data using:

¥ a built-in floppy disk drive ¥ a SCSI interface for connection to external SCSI devices

Floppy disk and SCSI storage both have their own advantages and disadvantages:

¥ Floppy disk storage offers the ease and cost-effectiveness of a built-in drive. In addition, you can automatically load a system set-up file or update to your operating system from floppy at boot-up.

On the other hand, saving and loading data can be slow, especially with large files.

¥ SCSI hard and removable drives are fast and can greatly enhance the ASR-X Pro experience. SCSI

CD-ROM drives allow you to load sounds from ENSONIQ, Akai and Roland CD-ROMsÑyou can also load .wav and AIF files from ISO-9660-format CD-ROMs. On the other hand, SCSI devices must be purchased separately. In addition, SCSI devices can be finicky, and may require troubleshooting.

The ASR-X Pro contains a built-in floppy disk drive. The ASR-X Pro floppy drive can read or write to any

3.5-inch high-density or double-density floppy disk. Floppy disks can be write-protected so that the files they contain cannot be accidentally written over. If you plan to save ASR-X Pro files to a floppy, make sure that itÕs write-protect feature is not engaged. You can tell if a disk is write-protected by flipping it over (so that itÕs label-side down) and examining the small window in its lower right-hand corner.

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7ÑDisk/Global

A disk is inserted into the driveÑlabel-side up, with its shutter window to the rightÑby sliding the floppy into the driveÕs slot until the drive grabs the disk and seats it in the drive mechanism.

Disk are removed from the floppy drive by pressing on the button on the face of the driveÑthis causes the floppy to pop out far enough from the drive mechanism that it can be grasped and removed.

approached with a measure of care. See ÒThe Care and Feeding of the Floppy Disk DriveÓ at the front of this manual to learn the proper way to treat a floppy drive.

82

SCSI is circuitry that allows for the high-speed transfer of data between computers and computer peripherals, including CD-ROM drives, scanners, storage devices and musical instruments such as the

ASR-X Pro. The word ÒSCSIÓÑpronounced ÒscuzzyÓÑstands for ÒSmall Computer Systems Interface.Ó

In addition to internal circuitry, SCSI utilizes its own cables. These cables typically have 25- or 50-pin connectors on one or both ends. SCSI devices are equipped with SCSI jacks to which SCSI cables can be connected.

Up to eight SCSI devices can be interconnectedÑdaisy-chaining one after anotherÑin this manner at any given time. The data conduit created by the cabling that connects a SCSI systemÕs devices is referred to as a ÒSCSI bus.Ó

Most SCSI data is saved to a disk of some sort. Even removable SCSI cartridges contain a disk on which data is stored. Some SCSI devicesÑsuch as CD-ROM playersÑuse disks whose contents canÕt be changed. These are referred to as Òread-onlyÓ devices. Other SCSI devicesÑsuch as fixed and removable drivesÑcontain writable disks to which you can save your data.

The ASR-X Pro is a SCSI II deviceÑSCSI II is a faster, second-generation version of the original SCSI protocol. If your SCSI cables donÕt match the ASR-X ProÕs SCSI interface's jack, you can purchase the necessary adapter at any computer supply outlet. SCSI II devices are compatible with SCSI and SCSI III devices. This manual refers to SCSI II as ÒSCSIÓ for simplicityÕs sake.

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Device IDsÓ below. All users should read ÒPreparing for SCSIÓ in this chapter before proceeding.

Each SCSI device in a SCSI systemÑincluding the ASR-X ProÑmust be assigned a number from 0 to 7, with the number representing one of the eight possible positions in a SCSI chain. These numbers, called

ÒSCSI device IDs,Ó allow you to identifyÑand targetÑthe desired device when saving or loading data.

ItÕs very important that no two devices are set to the same ID numberÑif this occurs, the SCSI bus wonÕt be able to distinguish between the devices. This can cause your entire SCSI system to misbehave.

Some common SCSI devices are pre-configured to use certain SCSI ID numbers. If youÕll be connecting your ASR-X Pro to any of these devices, be sure to avoid using these already-taken SCSI device IDs:

Macintosh internal hard drives

ASR-10/88, TS-10/12, EPS16 PLUS

Macintosh internal CD-ROM drives

ENSONIQ CD-ROM drives

Iomega Zip drives

PC and Macintosh CPUs

0

3

3

4

5 or 6

7 m m unchangeable unchangeable can be reset internally can be reset via hardware switch unchangeable unchangeable

ENSONIQ ASR-X Pro Reference Manual 83

7ÑDisk/Global good idea to set the CD-ROM drive to ID #4, allowing the ASR-10/88 take advantage of

ENSONIQÕs DirectMacroª feature, and to set the ASR-X Pro to some other unused ID number.

The ASR-X ProÕs SCSI Device ID parameter can be set to any number, as described later in this chapter.

The SCSI bus in any SCSI system is a circuit through which power flows from the first device in the chain to the last. Such a circuit requires a resistor at each of its ends. These resistors, which supply termination to the bus, prevent electricity from colliding with either end of the circuit and bouncing back, causing all sorts of problems. Extra termination supplied by devices other than the first and last in the chain is also problematic, since it impedes the easy flow of power up and down the bus. Therefore, the rule is: A SCSI bus requires termination on either end and nowhere else.

orÉ

84

Termination can be applied to the first and last device in a SCSI system through the use of:

¥ jumper connectors installed inside a SCSI device,

¥ a terminator plug externally installed in a deviceÕs spare SCSI jack

¥ software-switchable termination, as found in the ASR-X Pro.

The ASR-X Pro can supply termination or not, as your setup requires. This is controlled by the SCSI

Termination parameter described later in this chapter.

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7ÑDisk/Global

Fixed and removable SCSI disks, CD-ROMs and floppies provide open expanses of memory to which data can be stored, and from which itÕs retrieved. In an effort to aid the organization of all that data, it can be useful to create smaller sub-divisions of memory into which related chunks of data can be stored and from which they can be easily accessed. These sub-divisions are commonly called ÒdirectoriesÓ orÑas in the ASR-X ProÑÒfolders.Ó Many CD-ROMs organize their files into such folders. Each folder can contain other folders and on and on and on. The ASR-X Pro provides a simple method for digging down through the folders on your SCSI disks to get to the locations and files you seekÑsee ÒSCSI Folder NavigationÓ later in this chapter. See ÒCreating a New Folder on a SCSI Device Using the ASR-X ProÓ and ÒCreating a

New Folder on a SCSI Device Using a ComputerÓ later in this chapter to learn to create your own folders.

When the ASR-X Pro saves files to a SCSI disk, it creates a set of folders into which files are automatically saved. These folders are not visible when loading, saving, erasing or renaming disk files on the ASR-X

Pro since theyÕre used by the ASR-X ProÕs internal automatic filing system. The folders can be seen when an ASR-X Pro disk is viewed on a computer. The names of the invisible folders are:

BANKS SEQUENCE SESSION SOUNDS WAVES

In addition, whenever the ASR-X Pro saves a file to a folder where the default folders donÕt already exist, it will create a new set of invisible folders into which files can be saved.

Since the ASR-X Pro provides convenient software-switchable SCSI device ID and termination settings, the following sequence of events must take place in order when setting up the ASR-X Pro for SCSI.

1.

Prior to being connected to other SCSI device, the ASR-X Pro must be powered on and its SCSI ID and SCSI Termination system preferences set to their desired values. These parameters are described in ÒSetting and Saving SCSI System PrefsÓ later in this chapter.

3.

The SCSI ID and Termination parameter setting must be saved to a floppy disk as part of a

SYSTEMSETUP file. This procedure is described in ÒThe Save ButtonÓ later in this chapter.

4.

The ASR-X Pro must be powered off, and then connected to any relevant SCSI devices. See

ÒAttaching SCSI Cables,Ó later in this chapter. Some common SCSI configurations are shown in

ÒIntroduction to SCSIÓ above.

5.

Your ASR-X Pro Ñwith the floppy containing the SYSTEMSETUP file already in the floppy driveÑmust be powered up for use. See ÒPowering Up SCSI DevicesÓ later in this chapter.

only when the power is turned off to all devices on the SCSI bus.

The connectors at the end of SCSI cables are shaped in such a way that they can only be plugged into SCSI jacks in the proper direction.

The order in which SCSI devices should be turned on varies from setup to setup. A general rule of thumb is to power up your terminated devices firstÑthe devices on either end of your SCSI daisy-chainÑand then power up the devices in-between. If the devices in your SCSI system fail to start up properly, or if some devices are not being recognized by other devices, experiment with different power-up sequences.

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7ÑDisk/Global

If your SCSI devices are not working properly, start by ensuring that the following items have been properly set up, since these are the most common causes of SCSI trouble:

¥ Make sure that you have termination at either end of your SCSI daisy-chain, and only at its ends.

¥ Make sure that no devices are sharing a SCSI device ID number.

¥ Try turning on your devices in different orders.

¥ Make sure all of your devices are turned on.

The ASR-X Pro provides a Reset SCSI Bus command that can help straighten out a SCSI bus thatÕs gotten confused for some reason. Its use is described later in this chapter.

If problems persist, try unconnecting your cables and re-connecting them; occasionally, cables that appear to be seated correctly are not. ItÕs also possible that one or more of your SCSI cables have become unreliable. ItÕs a good idea to have some spare SCSI cables around for troubleshooting purposes.

If you need further assistance, contact ENSONIQ customer Service at (610) 647-3930 Monday through

Friday 9:30 a.m. to 12:15 p.m. and 1:15 p.m. to 6:30 p.m. Eastern Time.

M

D

SMDI is a protocol that allows the transfer of sounds and samples from one SMDI-compliant program or product to another via SCSI. The ASR-X Pro can passively receive and transmit sounds via SMDIÑthere are no actions to be performed on the ASR-X Pro itself when performing a SMDI transfer. Once a sound has been sent to the ASR-X Pro, it can be saved to disk as a standard sound. To avoid competition for its resources, avoid performing SMDI transfers during sampling or sequencing on the ASR-X Pro.

Everything you do on the ASR-X Pro can be stored to disk and loaded back into the ASR-X Pro whenever you wish. ASR-X Pro floppy and SCSI disks use a standard DOS format, so ASR-X Pro sequence and wave files can be loaded into a Macintosh or PC-compatible computer for further work. Most disk operations are performed after pressing the Disk/Global Save or Load buttons. The System/MIDI button provides access to a collection of disk utilitiesÑsee ÒAccess disk utils?Ó later in this chapter.

be accomplished on a computer or on the ASR-X Pro. To learn how to format a disk on the ASR-X

Pro, see ÒAccess disk utils?Ó later in this chapter.

86

Since the ASR-X Pro can be connected to a large array of SCSI devicesÑas well as its floppy driveÑa system is provided that allows you to select the desired device for any disk-related activity.

1.

A load device can be selected from which data can be loaded.

2.

A save device can be selected to which ASR-X Pro data can be saved.

3.

A device can be selected as the subject of disk utility operations described later in this chapter.

Until power-down, the ASR-X Pro retains the device thatÕs been selected for each of these roles. This spares you from having to re-select devices when you want to load a file from one device and save it to anotherÑthe ASR-X Pro remembers the last load device, save device, and so on.

The device-selection process is essentially the same for each activity. When you press the Disk/Global

Load or Save buttons, or answer the System/MIDI ÒAccess disk utils?Ó question by pressing the Yes button, the ÒSelect Device?Ó display appears. (If it doesnÕt, you can turn the Parameter knob all the way

ENSONIQ ASR-X Pro Reference Manual

7ÑDisk/Global counter-clockwise to access the display.) The procedures for selecting a device and navigating through the directories/folders of a SCSI device are described below.

When the Load or Save buttons are pressedÑor the disk utilities are accessedÑthe ÒSelect Device?Ó display appears after power-up with the floppy disk selected for use, and looking something like this:

This may also read ÒSelect load device?Ó or ÒSelect save device?Ó m

Select device?

Floppy Disk i

The currently selected storage device

The device shown on the bottom line of the display is the device selected for the current task. To select the floppy drive, turn the Parameter knob to select ÒFloppy DiskÓ is itÕs not already displayed.

To choose a connected SCSI device for use, turn the Value knob clockwise one tick to the right of ÒFloppy

Disk.Ó The first time that this occurs after power-up, the ASR-X Pro will scan the SCSI bus to learn what devices are connected. The display will show the ASR-X Pro checking each of the seven SCSI IDs to see if they represent connected devices (the ASR-X Pro is already using one of the eight possible SCSI IDs).

When the ASR-X Pro has finished, the SCSI device with the lowest ID number will be selected.

Select device?

SCSI 4:CDR-016 i

The currently selected storage device p

The disk in the device

You can turn the Value knob counterclockwise to select any of the other connected SCSI devices.

player or removable drive and its CD-ROM or cartridge is not currently installed.

Once youÕve selected a device, turn the Parameter knob clockwise by one tickÑthe ASR-X Pro will read the contents of the disk in the selected device. To jump directly to the files on the disk, hit Enter instead.

If you change something in your SCSI systemÑif youÕve switched CD-ROMs or removable cartridges, for exampleÑyouÕll need to re-scan the SCSI bus so that the ASR-X Pro can see the changes. To do so, turn the Value knob all the way clockwise until you see ÒScan SCSI devices?Ó and press the Yes button.

When youÕve chosen a SCSI device, turn the Parameter knob one tick to the right to view the outer-most folders on the selected deviceÕs disk. The display will look something like this:

This may also say ÒSaveÓ or UtilsÓ The selected ID# The currently selected disk l n n

Load 6:ENSONIQDISK

Folder:GRUVZ » i

The name of the currently selected folder p

ÒDownÓ symbol

The upper left-hand area of the display shows the type of operation being performed and the ID number of the selected device.

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7ÑDisk/Global

Turn the Value knob to view the names of the other folders available in this location on the selected disk.

The down symbol in the lower right-hand corner of the display indicates that the currently displayed folder can be opened by pressing the Enter button. To close the folder youÕre in, and to move back upward in the folder hierarchy, press the Exit button.

Turn the Parameter knob clockwise at any time to show the files types available in the selected location.

Turn the Value knob to choose individual files of the selected type.

When youÕve navigated to the folder or file you seek, standard ASR-X Pro loading, saving, erasing and renaming procedures can be used. These procedures are detailed later in this chapter.

When saving disk files or using the disk utilities, you can create new folders. To do this:

1.

While viewing the currently selected SCSI deviceÕs name on the ÒSelect Device? display, turn the

Parameter knob so that ÒFolderÓ appears in the lower left portion of the display.

2.

Turn the Value knob all the way clockwise so that the display shows ÒCreate new?Ó

3.

Press the Yes button.

4.

Spell out the new folderÕs name by using the Parameter knob or left/right arrow buttons to select each character position in turn, and the Value knob to dial in the desired character for each position.

the invisible default folders (described in ÒInvisible FoldersÓ earlier in this chapter).

5.

When youÕve finished, press the Yes button to complete the creation of your new folder.

conveniently accessible at the outermost level of the diskÕs folder hierarchy.

You can use a computer to create folders on an ASR-X Pro disk. When doing so, there are a couple of things to bear in mind to help ensure that the disk will be easy to use with the ASR-X Pro:

¥ Avoid using the names assigned to the invisible folders so as not to conflict with the ASR-X ProÕs automatic filing system.

¥ ItÕs best not to create a folder within any of the invisible default folders (these folders can be seen on a computer), since the ASR-X Pro will make such a folder visible to provide you access to any folders within itÑthis may create unnecessary confusion when viewing the diskÕs contents.

To save an ASR-X Pro file to disk, you:

1.

press the Disk/Global Save button.

2.

navigate to the desired floppy or SCSI disk and folder.

3.

select the type of file to be saved.

4.

name the file.

6.

press the Yes button to finish saving the file.

Load

Disk / Global

Save System

All Notes Off Save All MIDI

88

ASR-X Pro will ask if youÕre ready to proceed, and ask you to supply additional disks as needed.

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7ÑDisk/Global

When you press the Disk/Global Save button, the ASR-X Pro reads the directory of the disk in the drive, and presents you with a list of the types of files that can be saved to disk.

Save to disk?

ALL-SESSION: i

The type of file to be saved

ESSION

To choose a type of file to save, turn the Parameter knob to choose:

¥ ALL-SESSIONÑThe ALL-SESSION file saves everything currently in RAM as files with a common name. An ALL-SESSION file saves:

¥ an ALL-SOUNDS file (see below).

¥ all of the waves currently in RAM as separate 1-AIF WAVE files.

¥ an ALL-SEQS file (see below).

¥ a SYSTEMSETUP file (see below).

¥ ALL-SEQSÑAn ALL-SEQS file saves all of the sequences currently in RAM as a single disk file.

¥ 1-SEQUENCEÑA 1-SEQUENCE file saves the selected sequence to disk as a Standard MIDI File

(SMF). Each track contains SysEx data that allows the trackÕs parameter settings to be reloaded from disk or transmitted to the ASR-X Pro via MIDI from an external sequencer.

¥ ALL-SOUNDS ÑAn ALL-SOUNDS file saves all of the sounds currently in RAM. The ALL-

SOUNDS file type also saves any waves currently in memory as 1-AIF WAVE files.

¥ 1-SOUNDÑThe 1-SOUND file type saves the currently selected sound to disk. If the sound is playing a wave currently in RAM, the wave is saved to disk as well, as an 1-AIF WAVE file.

¥ SYSTEMSETUPÑA SYSTEMSETUP file saves the current System/MIDI, Resampling Setup and sequencer Click settings, as well as your current USER quantization templates.

¥ ESSENTIALSÑAn ESSENTIALS file saves your current Essentials buttons assignments.

when stored on a floppy inserted in the ASR-X ProÕs drive at power-up. To do this, name the desired SYSTEMSETUP file ÒSYSSETUPÓ and/or the desired ALL-SESSION file ÒAUTOLOAD.Ó

Each file type has its own 3-character DOS extension. As in any DOS-based system, the ASR-X Pro identifies disk files by this extension. Each file is automatically saved into the appropriate folder.

SESSION

BANKS

SEQUENCE

SOUNDS

WAVES

(current folder)

Naaaam W

ALL-SESSION files

SYSTEMSETUP files

ALL-SOUNDS files sequence banks files associated with ALL-SESSION files

1-SEQUENCE files

1-SOUND files

1-AIF WAVE files alias files that prevent duplicate saving of 1-AIF WAVE files

ESSENTIALS

FFFFiiiilllleeee EEEExxxxtttteeeennnnssssiiiioooonnnnssss

.ssx

.spb

.sbx

.mfb

.mid

.sou

.aif

.als

.fav

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7ÑDisk/Global

ÒseeÓ and load files from anywhere on a disk.

After youÕve pressed the Save button and the ASR-X Pro has read your diskÕs directory, you can save the contents of the Scratch Pad to disk by pressing the Scratch PadÑthe ASR-X Pro will create a sound that plays the wave(s) in the Scratch Pad and that you can save to disk.

Each file you save to disk should be given a unique name. The ASR-X Pro will not allow two files with the same name on a single diskÑif you save a file that has the same name as a file on the disk, the older file will be replaced by the new one. This allows you to easily update files by resaving them to disk without re-naming themÑit also means that you can unintentionally erase a file you meant to keep.

Save to disk?

S i

The character currently selected for editing is underlined

To name a disk file youÕre saving, press the left and right Select Track buttons to select each of its eight character locations. Turn the Value knob to choose the desired character for each location. If youÕre naming an ALL-SESSION file, each of its component files will share the name you designate.

When youÕve finished naming your file, press the Yes button to save the file to disk.

90

To load a file from disk into the ASR-X Pro, you:

1.

press the Disk/Global Load button.

2.

navigate to the desired floppy or SCSI disk and folder.

3.

select the type of file to be loaded.

4.

select the specific file to be loaded.

Load

Disk / Global

Save System

All Notes Off Save All MIDI

5.

if youÕre loading a 1-SOUND file, select the RAM location into which you want to load the sound.

6.

press the Yes button to load the file.

disksÑthe ASR-X Pro will ask for each disk as it needs it.

When you press the Disk/Global Load button, the ASR-X Pro reads the directory of the disk in the drive, and presents you with a list of the types of files that can be loaded from disk.

Load from disk?

i

The type of file to be loaded

ENSONIQ ASR-X Pro Reference Manual

7ÑDisk/Global

To choose a type of file to load, turn the Parameter knob to choose:

¥ ALL-SESSIONÑThe ALL-SESSION file type restores all of the items that were in RAM when the file was saved. It loads:

¥ an ALL-SOUNDS bank.

¥ the 1-AIF WAVE files played by sounds in the ALL-SOUNDS bank.

¥ an ALL-SEQS file.

¥ a SYSTEMSETUP file.

¥ ALL-SEQSÑAn ALL-SEQS file loads the sequences that were in RAM when the file was saved.

¥ 1-SEQUENCEÑThe 1-SEQUENCE file loads a Standard MIDI File (SMF) created on the ASR-X Pro or any SMF-compliant sequencer.

¥ ALL-SOUNDS ÑAn ALL-SOUNDS file restores all of the sounds that were in RAM when the file was saved, as well as any 1-AIF WAVE files required to produce the sounds.

¥ 1-SOUNDÑThe 1-SOUND file type loads a single sound, as well as any 1-AIF WAVE files required to produce the sound.

¥ 1-WAV WAVEÑA 1-WAV WAVE file loads a .wav-format wave file created on an external device.

1-WAV WAVE files are loaded directly into the Scratch Pad, from where they can be sent to pads and incorporated into ASR-X Pro sounds.

¥ 1-AIF WAVEÑ A 1-AIF WAVE file loads an AIF-format wave file created on the ASR-X Pro or an external device. 1-AIF WAVE files are loaded directly into the Scratch Pad, from where they can be sent to pads and incorporated into ASR-X Pro sounds.

¥ SYSTEMSETUPÑThe SYSTEMSETUP loads the System/MIDI, Resampling Setup and sequencer

Click parameter settings, and USERS quantization templates in place when the file was saved.

¥ ASR-SNDÑAn ASR-SND file loads a sound saved to a single high-density (HD) or double-density

(DD) floppy, or SCSI drive, from an ENSONIQ ASR-10, ASR-88, EPS 16 PLUS or EPS. The ASR-X

Pro can also load such sounds stored on disk in Giebler EnterprisesÕ popular .efe and .efa format (to contact Giebler Enterprises, visit their Web site at http://www.giebler.com).

¥ AKAISNDÑAn AKAISND file imports a sound from an AKAI S-1000 SCSI disk.

¥ SNDÑA SND file imports a sound from a Roland S-770 SCSI disk.

The ASR-X Pro, ASR-10/88, EPS 16 PLUS, EPS, AKAI S-1000 samplers and Roland S-770 samplers each have their own distinctive voice architecture, with their own set of parameters. You may experience some changes in such sounds when theyÕre played on your ASR-X Pro Ña direct translation of every parameter in an imported sound to the ASR-X ProÕs architecture is not always possible.

Most ASR-10/88, EPS 16 PLUS and EPS features have counterparts in the ASR-X Pro voice architecture that are translated when a sound is imported. A few features lack such a counterpart, however:

¥ A-B FADE IN-TO, C-D FADEOUT-TO, and FADECURVE parameters settings are not imported.

¥ ASR-10/88, EPS 16 PLUS and EPS pitch tables are not imported.

¥ Only the START, LPSTRT-X and TRANSWAV loop modulators are translated.

¥ All ASR-10 and ASR-88 sounds are set to the MediumReverb FX Bus when theyÕre imported.

¥ The ASR-X Pro VelLevels Amount settings for Envelopes 1, 2 and 3 are derived by averaging the

HARD VEL LEVELs 1 and 2 and the SOFT VEL LEVELS 1 and 2 for each envelope in the original

ASR-10/88 sound.

¥ When a layerÕs LYR GLIDEMODE parameter is set to any value other than ÒOFFÓ in an ASR-10/88 sound, the layerÕs Glide Mode is set to ÒOnÓ and its Voice Mode to ÒMonoÓ when itÕs imported.

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7ÑDisk/Global

The amount of time that it takes to import a sound depends on the number of wavesamples in the sound, since each waveÕs parameters must be translated to the ASR-X Pro architectureÑthe process can take several minutes to complete. Once imported, a sound becomes a ASR-X Pro standard sound: it can be played, converted to a RAM kit and edited using the PAD parameters, and saved to floppy or SCSI disk.

Once youÕve selected the type of file to be loaded, turn the Value knob to select a specific file. Once youÕve chosen the file you want to load, press the Yes button, and the ASR-X Pro will load the file.

characters supported by DOS, the fileÕs name will be truncated according to the following rules: if the file was named on a Macintosh, an exclamation point will appear at the beginning of its name; if it was created on a PC-compatible, the last two characters will be an arrow and a digit.

When loading a 1-SOUND file, an additional display appears when you press the Yes button after selecting the file to be loaded.

The currently selected RAM bank and program number l m

Load into RAM00:000

RAM-SND :Hot 2 Touch i

The name of the sound currently in the selected location

When this display appears, you can turn the Value knob to select any location in either of the ASR-X ProÕs two RAM sound banksÑRAM 00 and RAM01. If you select a location that already contains a sound, the sound youÕre loading will replace the one currently in the location. Unused locations show **EMPTY.**

When youÕve selected a location, press the Yes button to load the sound.

92

Load

Disk / Global

Save System

All Notes Off Save All MIDI

The System/MIDI button provides access to parameters and tools for setting up your overall ASR-X Pro environment and for memory and disk file management. These various items are grouped into several broader categories, each of which is accessed by pressing the System/MIDI button, turning the Parameter knob to view and then pressing the Yes button to respond to a displayed question. The questions are:

¥ Set system prefs?ÑPressing the Yes button in response to this question reveals parameters that control the response of the pads, what occurs when you select new track sounds, SCSI ID and termination, the Patch Select buttons and foot switches, and the zero-cross loop-finding feature.

¥ Alter system pitch?ÑPressing the Yes button in response to this question causes the ASR-X Pro to display parameters that determine its response to received MIDI pitch bend messages, that allow you to fine-tune the overall pitch of the ASR-X Pro, and set the ASR-X ProÕs tuning table.

¥ Edit MIDI settings?ÑPress the Yes button in response to this question to display parameters that set the base MIDI channel for the ASR-X Pro, its response to and transmission of sequencer synchronization data, its response to several types of received MIDI messages, its System Exclusive

ID number and allows you to define four special system-wide real-time MIDI controllers.

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7ÑDisk/Global

¥ Access disk utils?ÑPressing the Yes button in response to this question causes the ASR-X Pro to display an assortment of utilities for formatting disks, copying and optimizing SCSI disks, resetting a SCSI bus, erasing disk files, renaming disk files, determining how files will be displayed, and also provides a read-out of the free space available on the currently select disk.

¥ Enter MemoryManager?ÑPress the Yes button in response to this to display informational displays showing how much free memory is currently available and the name of an installed expansion board, as well as a set of tools for onboard memory management that provide the ability to clear the onboard memory banks, erase or rename a sound and change a soundÕs SoundFinder category.

¥ Save these settings?ÑPressing the Yes button saves your current System/MIDI, Resampling Setup and sequencer Click settings, as well as USER quantization templates, to FLASH memory.

Some of these parameters are accessed by responding ÒYesÓ to questions posed on sub-displays under the top-level question. To exit from a sub-display or from the System/MIDI displays altogether, press the

Exit button each time you want to move up a level back out to the ASR-X Pro front panel. The factory default value for each parameter is listed with its description in case you want to restore the default after using the ÒSave these settings?Ó command described later in this chapter.

factory default value: Table-2

The ASR-X Pro pads are velocity-sensitive, responding with tremendous accuracy to how hard or soft you play. The Touch Curve parameter allows you to adjust the velocity response of the pads to match your playing style and technique. There are six available Touch Curve settings:

¥ Table-1ÑWith this setting, the pads offer an easily controllable, compressed dynamic response.

Table-1 is optimized for players with a light touch.

¥ Table-2ÑThis setting is similar to Table-1, but designed for players who play hard.

¥ Table-3ÑWith this setting, the pads offer a full dynamic range for musicians with a high degree of control over the force with which they play. Table-3 is optimized for players with a light touch.

¥ Table-4ÑThis setting is similar to Table-3, but designed for players who play hard.

¥ Fixed 64ÑThis setting causes the pads to always respond as if youÕve hit them precisely half as hard as they can be hit. This can be useful in simulating vintage synthesizers with no velocity control.

¥ Fixed127ÑThis causes the pads to always respond as if youÕve hit them as absolutely hard as they can be hit. This is good for drum/percussion parts in which you donÕt want dynamic changes.

factory default value: Live

The ASR-X Pro Patch Select buttons can be set to operate in one of two modes, each of which is invoked by one of two values for the Patch Selects parameter:

¥ LiveÑWith this setting, the Patch Select buttons are momentary switches. This means that the sound changes caused by pressing either, or both, of the Patch Select buttons lasts for only as long as the button is physically held down.

¥ HeldÑWith this setting, playing a note from the pads or via MIDI locks in the Patch Select button or buttons being held when the note is played. To release the button(s), tap either of the Patch Select button; subsequent notes will sound as they should when no Patch Select buttons are being pressed.

factory default values: FtSwl=Unused; FtSwR=Sustain

The ASR-X Pro can accommodate either a dual foot switch with two pedalsÑsuch as the ENSONIQ SW-

10Ñor a single foot switch with one pedalÑsuch as the ENSONIQ SW-2 or SW-6. The FtSw L and FtSw R parameters allow you to assign a broad range of functions to any pedals youÕre using. When a dual foot switch is connect, both the FtSw L and FtSw R parameters are active, controlling the behavior of the left and right pedals, respectively. When a single foot switch is connected, FtSw R controls its behavior.

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7ÑDisk/Global

FtSw L and FtSw R can be set to any of the following values:

¥ UnusedÑpressing the pedal will have no effect.

¥ SustainÑholding the pedal will cause notes to continue sounding after the key is released.

¥ SostenutoÑany keys that are held down when you press the pedal will sustain until you release the pedal; keys pressed down after you press the pedal will not sustain.

¥ SysCTRL1Ñpressing the pedal down will send a value of 127 to any aspect of a sound or effect thatÕs modulated by the controller designated as CTRL1; releasing the pedal will send a value of 0 to any aspect of a sound or effect that is modulated by the controller designated as CTRL1. (For details on setting the CTRL1 parameter and descriptions of CTRL1 settings, see ÒCTRL1, CTRL2, CTRL3 and CTRL4Ó later in this chapter.)

¥ SysCTRL2ÑThis functions in the same manner as the SysCTRL1 value described above, except that it applies to CTRL2 instead of CTRL 1.

¥ SysCTRL3Ñ This functions in the same manner as the SysCTRL1 value described above, except that it applies to CTRL3 instead of CTRL 1.

¥ SysCTRL4Ñ This functions in the same manner as the SysCTRL1 value described above, except that it applies to CTRL4 instead of CTRL 1.

¥ Play/StopÑpressing the pedal will have the same effect as pressing the Stop button if a sequence is playing; it will have the same effect as pressing the Play button if a sequence isnÕt playing.

¥ PlayTop/StopÑpressing the pedal once will have the same effect as double-clicking the sequencer

Play button; pressing it twice will stop the sequence if itÕs playing.

¥ RecPlay/StopÑpressing the pedal will start recording on the currently selected track. If the sequencer is already recording, pressing the pedal down will stop recording. This setting can be used for punching ins on a track.

¥ RecordÑpressing the pedal will have the same effect as pressing the sequencer Record button.

¥ StopÑpressing the pedal will have the same effect as pressing the sequencer Stop button.

¥ RewindÑpressing the pedal acts like pressing the sequencer Stop and Record buttons together.

¥ FastForwardÑpressing the pedal acts like pressing the sequencer Stop and Play buttons together.

¥ MuteÑpressing the pedal will have the same effect as pressing the track Mute button.

¥ Step AdvanceÑpressing the pedal will advance a track currently being step-recorded by one step.

¥ PrevEssntialÑpressing the pedal will select the previous Essential sound. When the first Essential is selected, tapping the pedal once will select the last Essential sound.

¥ NextEssntialÑpressing the pedal will select the next Essential sound. When the last Essential is selected, tapping the pedal once will select the first Essential sound.

94

AuuuuttttooooSSSSeeeelllleeeecccctttt FFFFXXX Buuuussss factory default value: On

The AutoSelect FXBus parameter allows you to program the ASR-X Pro to assign an appropriate effect to a sound when itÕs chosen for use by a track. Each sound in the ASR-X Pro has a parameter called the Alt

Bus that assigns it to a non-insert effect routing. If AutoSelect FXBus is set to ÒOnÓ:

¥ when you select a sound that contains an insert effect for use by a track other than the Insert Control

Track, the sound is routed to the FX bus designated by its Alt Bus value.

¥ when you select a sound that doesnÕt contain an insert effect for use by any track, the sound is routed to the FX bus designated by its Alt Bus value.

When the AutoSelect FXBus parameter is set to ÒOff,Ó the trackÕs FX Bus routing is unchanged when a new sound is selected for the track.

for sounds youÕve sampled, see Chapter 3.

ENSONIQ ASR-X Pro Reference Manual

7ÑDisk/Global m

Reeeesssseeeetttt factory default value: On

The Track ParamReset parameter determines whether or not certain track parameters will be reset to their default values when a new sound is selected for a track. This helps ensure that each sound will be heard as its programmers intended when itÕs selected for a track; on the other hand, if youÕve set a trackÕs parameters just so, you may want them to remain in place when a new sound is selected. A list of the affected track parametersÑand their default valuesÑcan be found in Chapter 9. When Track ParamReset is set to ÒOn,Ó these parameters will be reset whenever a new sound is selected for a track; when itÕs set to

ÒOff,Ó each trackÕs parameters will be unaffected by the selection of a new sound for the track.

factory default value: Off

The Auto-Zero Cross parameter enables or disables the ASR-X ProÕs zero-crossing search feature. This feature automatically offers locations within waves that are most likely to produce trouble-free loops when the Loop Start and Loop End Pad parameters (see Chapter 3) are adjusted.

factory default value: 2

Each device in a SCSI system must be assigned its own SCSI device ID number so that it can identified by the other devices in the system. The ASR-X Pro can be set to any of the eight possible SCSI device IDs, numbered as 0 through 7. Some ID numbers should be avoided in certain circumstancesÑsee ÒAbout

SCSI Device IDsÓ earlier in this chapter for more information. The default ASR-X Pro SCSI Device ID is 2.

factory default value: On

A SCSI system is an electrical circuit that requires resistors on either end that supply termination to the

SCSI bus. The ASR-X Pro can be set to provide termination according to the setting of its SCSI

Termination parameter. The parameterÕs default settingÑfor situations where the ASR-X Pro is at either end of your SCSI chainÑis On. The parameter should be set to ÒOffÓ only when the ASR-X Pro is placed in the middle of a SCSI chain through the use of a SCSI splitter connector.

automatically on power-up. See ÒFile Types that can be SavedÓ earlier in this chapter.

A Pitch Bend Wheel is a spring-loaded wheel typically located to the far left of a MIDI keyboard. ItÕs most commonly used to bend the pitch of notes up or down by pushing the wheel forward (up) or pulling it back (down). Some manufacturers employ a left/right scheme.

ASR-X Pro sounds are programmed to respond to MIDI Pitch Bend messages in ways appropriate to the sound. The ASR-X Pro also offers a system pitch bend setup that can be accessed by setting any trackÕs

Pitch Bend Up and Pitch Bend Down parameters to the ÒSysÓ setting (see Chapter 2). There are three parameters that determine the behavior of the system pitch bend setup.

The system Pitch Bend Up parameter can be set to:

¥ 1-12dn or 1-12upÑthe pitch of any sound on a track whose Pitch Bend Up parameter is set to ÒSysÓ will be lowered or raised by the number of equal-temper semitones set here when a Pitch Bend value of 127 is received. The factory default setting is 2up.

¥ OffÑthe pitch of any sound on a track whose Pitch Bend Up parameter is set to ÒSysÓ will ignore

MIDI messages received from a Pitch Bend Wheel pushed forward.

The system Pitch Bend Down parameter can be set to:

¥ 1-12dn or 1-12upÑthe pitch of any sound on a track whose Pitch Bend Down parameter is set to

ÒSysÓ will be lowered or raised by the number of equal-temper semitones set here when a Pitch

Bend value of 0 is received. The factory default setting is 2dn.

ENSONIQ ASR-X Pro Reference Manual 95

7ÑDisk/Global

¥ OffÑthe pitch of any sound on a track whose Pitch Bend Down parameter is set to ÒSysÓ will ignore

MIDI messages received from a Pitch Bend Wheel pulled all the way back.

The PitchBendMode parameter unlocks a powerful feature that allows you to decide which notes will be affected by received Pitch Bend messages. It can be set to one of three values:

¥ NormalÑreceived Pitch Bend messages will affect all notes currently sounding.

¥ HeldÑreceived Pitch Bend messages will affect only those notes sounding from keys which are being physically held down. Notes held with the sustain pedal or in their release stage will remain at their original pitch.

¥ ProgÑthe system Pitch Bend will respect the Normal/Held settings programmed into sounds using the system pitch bend set-up. This is the factory default setting.

pitch, leaving different notes sustaining at different pitches.

factory default value: 0cents

The Fine Tuning parameter allows you to raise or lower the overall pitch of sounds in centsÑ100ths of a semitone. This parameter can lower pitch by as much as -50 cents or raise it by up to +49 cents.

factory default value: EqualTemper

The intervals (or relationships) between notes in a scale can be altered to create special pitch tables. The

ASR-X Pro pitch tables have a tuning resolution of 256 cents per semitone. You can select from a large assortment of traditional, modern, ethnic, and exotic pitch tables in the ASR-X Pro. A detailed list of these pitch tables can be found in Chapter 9.

The ASR-X Pro also provides a RAM location for a custom pitch table, and supports the MIDI pitch table

Bulk Tuning Dump and Single Note Tuning Change standards. If youÕve got the appropriate computer program, you can create your own pitch tables, and transmit them to the ASR-X Pro via SysEx. This feature is described in detail in Chapter 9.

The ASR-X Pro provides a system pitch table that can be accessed by setting a trackÕs PtchTbl parameter to the ÒSysÓ setting (see Chapter 2). The System/MIDI parameter allows you to select the tuning that will be used by the system pitch table. Any built-in pitch table or the RAM pitch table can be selected.

96

The Pads Play Local and Local Off Channel parameters allow you to disable the ASR-X ProÕs response to its pads, Patch Select buttons and foot switch while using them to send data to an external MIDI sequencerÑthe external sequencer can then send the data back to the ASR-X Pro sounds via MIDI.

Turning off the ASR-X ProÕs response to the pads when working with an external sequencer ensures that what you hear is being correctly captured and played by the external sequencer; it also prevents the accidental simultaneous playing of ASR-X Pro sounds from two MIDI sources.

The Pads Play Local parameter enables or disables the ASR-X ProÕs response to the pads, Patch Select buttons and foot switch. It can be set to:

¥ OnÑcausing the pads, Patch Select buttons and foot switch to function normally in the playing, creation and editing of sounds. MIDI data can be sent on a track using a MIDI-OUT sound, according to the setting of the TrackMIDIOut parameter (see Chapter 2). This is the default setting.

¥ OffÑthe pads, Patch Select buttons and foot switch function only as MIDI controllers transmitting data on the MIDI channel determined by the Local Off Channel parameter.

The Local Off Channel parameter sets the MIDI channel on which the ASR-X Pro will transmit data from the pads, Patch Select buttons and foot switch when the Pads Play Local parameter is set to ÒOff.Ó The factory default setting is 01.

ENSONIQ ASR-X Pro Reference Manual

7ÑDisk/Global factory default value: Internal

Various activities in the ASR-X Pro depend on a timing source, or clock. Obviously, the sequencer needs such a reference; in addition, synchronized LFOs and noise generators within sounds, and certain effects such as delays, also depend on a timing reference. The ASR-X Pro contains its own internal clockÑit can also use timing information received from an external MIDI device that transmits MIDI clocks. The

ClockSource parameter determines which timing reference will be used. The parameter can be set to:

¥ InternalÑso that ASR-X ProÕs internal clock is used. When this is the case, the sequencer tempo sets the timing of synchronized LFOs, noise generators and effects.

¥ MIDIÑso that received MIDI clocks control the timing of the sequencer, LFOs, noise generators and effects. With this setting, the ASR-X Pro responds to Song Position Pointer messages.

XXX m factory default value: Off

The ASR-X Pro can generate MIDI clocks to provide a timing reference for external MIDI devices, allowing them to be synchronized to its sequencer. The XMit MIDI Clocks parameter enables or disables transmission of MIDI clocks when the ASR-X Pro is running. The parameter also enables or disables transmission of MIDI Song Position Pointer messages from the ASR-X Pro sequencer.

factory default value: On

Each track has parameters that allow you to enable or disable the trackÕs response to Bank Select and

Program Change messages. The Bank&ProgChgRecv parameter provides a master switch for this feature, simultaneously enabling or disabling all 16 tracksÕ response to Bank Select and Program Change messages. The parameter may be set to ÒOffÓ or ÒOn.Ó factory default value: On

The ResetControlRecv System parameter allows you to determine how the ASR-X Pro will respond to

Reset All Controllers MIDI messages. When the parameter is set to ÒOn,Ó and the ASR-X Pro receives a

Reset All Controllers message, it will return all of its real-time controllers and any parameters that respond to MIDI controllers to their default values, clearing up any hung values or unexpected settings.

When ResetControlRecv is set to Off, the ASR-X Pro will not respond to Reset All Controllers messages.

For more information on the ASR-X ProÕs response to Reset All Controllers messages, see ÒReset All

Controllers (MIDI controller 121) Reception BehaviorÓ in Chapter 9.

factory default value: On

The ASR-X Pro can respond to All Notes Off (controller 123) and All Sounds Off (controller 120) MIDI control messages. When the ASR-X Pro receives either of these messages, any notes that are currently sounding are silenced. When the AllNotesOff Recv parameter is set to ÒOn,Ó the ASR-X Pro will respond to these messagesÑwhen itÕs set to ÒOff,Ó it will ignore them.

factory default value: 000

When sending System Exclusive messages to the ASR-X Pro in a MIDI system that contains more than one ASR-X Pro, itÕs vital to have a way of distinguishing one ASR-X Pro from another. To accomplish this, each ASR-X Pro should be set to its own SysEx ID number. The SyEx Device ID parameter may be set from 000 to 127.

The ASR-X Pro responds to the following real-time MIDI controllers and messages:

¥

¥

Data Entry Slider

Pitch Bend Wheel

¥ Mod Wheel

¥

¥

¥

Foot Pedal

Sustain/Sostenuto pedals

MIDI Volume messages

¥ MIDI Pan messages

¥ MIDI Expression messages

In addition, you can define four additional real-time MIDI controllers: CTRL1, CTRL2, CTRL3 and

CTRL4. These can be assigned to any MIDI controller number, and can used to modulate the ASR-X Pro

ENSONIQ ASR-X Pro Reference Manual 97

7ÑDisk/Global sounds or effects. (see Chapters 3 and 4, respectively, to learn about modulation). Each track offers parameters for enabling or disabling the trackÕs response to any of the four CTRLs. See Chapter 2.

When the ASR-X Pro is shipped from the factory, the CTRLs are set to the following default values:

¥ CTRL1 is assigned to Breath Controller (MIDI controller #002).

¥ CTRL2 is assigned to FXControl1 (MIDI controller #012). This is the controller transmitted by the

FX-SW modulator on ENSONIQÕs TS-10 and TS-12.

¥ CTRL3 is assigned to PatchSelct (MIDI controller #070). The Patch Select buttons can be used for real-time modulation when you select CTRL3 as a sound or effect modulator.

¥ CTRL4 is assigned to Timbre (MIDI controller #071).

by which they respond to the front-panel Patch Select buttons. If youÕd like to use an external

MIDI controllerÑsuch as a continuous controllerÑinstead of the Patch Select buttons, you can change CTRL3 to any controller number thatÕs convenient. Remember, however, that this will have the effect of disabling the Patch Select buttons on the ASR-X Pro for these sounds.

Before a disk can be used by the ASR-X Pro to store data, it must be in DOS format. You can use the ASR-

X Pro to format any HD (high-density) floppy disk thatÕs been properly inserted into its drive, or any writable SCSI disk. When you press the Yes button in response to ÒFormat disk?Ó the ASR-X Pro presents a second display as a safety feature to make sure youÕre prepared to erase the selected disk. The formatting process can take anywhere from a few to 20 minutes (or longer with a very high-capacity SCSI disk). As formatting occurs, ÒFormatting disk. Please wait...Ó will be displayed. (When certain SCSI devicesÑsuch as Iomega's Zip and Jaz drivesÑare being formatted, a percentage display will appear, showing the progress of the formatting procedure.)

All data on a disk will be lost when the disk is formatted.

You can format DD floppy disks on any device capable of DOS formatting using the DOS command

Òformat (the letter designator of your floppy drive): /F:720Ó.

98

ÓThe ÒCopy [disk name] disk?Ó utility allows to you to copy a SCSI disk using one or more drives. You can copy all files between two DOS-formatted disks of different sizes, or perform a sector-by-sector copy between any two disks of the same size. Each method has its advantages and disadvantages.

When copying a DOS-formatted disk to another DOS-formatted disk of a different size, the ASR-X Pro copies the data from the source disk file-by-file. This has the advantage of allowing you to copy the data on your source disk to a destination disk that already contains files; this can be handy when compiling archive disks containing important files. It may be that you have files on your destination disk that have the same names as files on the source diskÑthe ASR-X Pro will offer you a choice of whether or not you want to replace such files with copied files, or leave them intact.

The only disadvantage to a file-by-file copy is that, since it uses DOS, only file names of up to eight characters are supported. If youÕve created long folder or file names on a computer, those names will be truncated during the copying procedure.

formatting it prior to performing the disk copy.

ENSONIQ ASR-X Pro Reference Manual

7ÑDisk/Global

When copying a disk of any format to another disk of the same size, the ASR-X Pro copies the source disk sector-by-sector. The resulting copy is an exact duplicate of the original source disk. This method has the advantage of supporting any disk format, and of preserving long file names. The disadvantage is that the copying procedure causes all files on the destination disk to be completely erased.

The formatting and relative sizes of the disk being copied and the disk to which the copy is being made determine the nature of the copy to be made. The ASR-X Pro refers to the disk being copied as the source

(abbreviated as ÒsrcÓ) and the disk on which the copy will be made as the destination (ÒdestÓ).

To copy a SCSI disk:

1.

After accessing the disk utilities and selecting the SCSI device containing the disk you want to copy, turn the Parameter knob until ÒCopy [the name of the selected device] disk?Ó is displayed.

2.

Press the Yes buttonÑthe ASR-X Pro will present a display that allows you to select the SCSI device that will contain the new copy of your disk.

3.

Turn the Value knob to select the desired SCSI device.

¥ If you want to copy a disk from one DOS-formatted SCSI device to another, select the SCSI device on which you want to make the copy.

¥ If you want to make a copy of a removable disk using a single SCSI device by swapping disks during the copying procedure, select the same SCSI device you selected in Step 1.

4.

Press the Yes button to make the disk copy. The ASR-X Pro will offer you a confirmation question verifying that you want to proceed with the copying procedure.

5.

If youÕre copying a removable disk using a single SCSI device, the ASR-X Pro:

¥ will tell you how many times youÕll need to swap the source and destination disks to complete the copying procedure and ask if you want to proceed. The number of swaps depends on the size of the disk being copied and the amount of free RAM that you have in your ASR-X Pro.

¥ will ask you to insert each disk as itÕs needed.

During normal usage, a SCSI diskÕs files become scattered across the diskÕs surface as files are written, edited and re-written to disk. When a disk becomes fragmented in this manner, loading its data takes more time. The ÒOptimize [disk name] disk?Ó utility de-fragments the selected SCSI disk to the degree possible given the available amount of free space remaining on the disk, thus optimizing its performance.

To perform an optimization, read ÒA Note About the SCSI Copy and Optimize UtilitiesÓ below, and then press the Yes button when ÒOptimize [disk name] disk?Ó is visible. The process can take a while, depending on the size of your disk and the amount of RAM available in the ASR-X Pro.

The copy and optimize utilities are available only when there is at least one writeable SCSI device active on your SCSI bus, since the procedures require such a device. If your writeable device uses a removable disk, a disk must be present in the drive for the ASR-X Pro to recognize it as a write-capable device. Also, the ASR-X Pro uses available RAM as it shuffles disk data during these proceduresÑitÕs recommended that you clear your RAM of all waves and sounds before using the utilities. This will allow the ASR-X Pro to perform these operations more quickly, since it will be able to hold larger chunks of disk data in RAM.

SCSI busses handle large chunks of data flowing in between complex computer-based devices.

Sometimes the bus itself becomes confused as a result of minor malfunctions, power fluctuations, or unstable connections. Symptoms of a scrambled SCSI bus would include the inability to access a SCSI device, failed data-saving operations, failed loading operations, SCSI devices that appear to be ÒstuckÓ in some mode of operation, or failed attempts at ejecting removable cartridges. These symptoms donÕt

ENSONIQ ASR-X Pro Reference Manual 99

7ÑDisk/Global necessarily mean that thereÕs anything wrong with your dataÑresetting the bus will often solve the problems youÕre experiencing. When you press the Yes button in response to ÒReset SCSI bus?Ó a second display will be presented as a safety feature to make sure you want to do this.

writing operations. Doing so could result in damage to your data and/or SCSI devices.

Some devices may need to rescan the SCSI bus after itÕs been reset by the ASR-X Pro.

Some SCSI devicesÑsuch as IomegaÕs Zip and Jaz drivesÑsupport software write-protection, a software parameter that will prevent the accidental writing of data to the selected disk. If the currently selected

SCSI device supports this feature, the Write Protect parameter will be available. Set the parameter to

ÒYesÓ to ensure that you wonÕt over-write important data on the currently selected disk.

EEEErrrraaaasssseeee ddddiiiisssskkkk ffffiiiilllleeeessss????

The ÒErase disk files?Ó feature lets you permanently delete any file from the currently selected disk.

When you answer the question by pressing the Yes button, the following display appears:

Erase this file?

SESSION :APRIL24 i

The type of file selected i

The file to be erased

Turn the Parameter knob to select the type of file you want to erase, and then the Value knob to select a specific file. When youÕve selected the file you want to delete from the disk, press the Yes button. A display will appear asking you if youÕre sureÑpress the Yes button to erase the file.

The ASR-X Pro allows you to rename any files youÕve already saved to disk by pressing the Yes button in response to ÒRename disk files?Ó When youÕve done this, the display will show:

Rename this file?

SESSION :APRIL24 i

The type of file selected i

The file to be renamed

Turn the Parameter knob to select the type of file you want to re-name, the Value knob to select a specific file, and press the Yes button. The ASR-X Pro will present the file-naming display:

The fileÕs current name m

Rename HITSTUFF as?

i

Spell the fileÕs new name here

Turn the Parameter knob to select each character location in turnÑthe selected character will be underlinedÑand then turn the Value knob to select the desired character for that location. When youÕve finished spelling out the new name for the file, press the Yes button to write the name to disk.

100 the ASR-X Pro will not be able to locate renamed files when the SESSION file is reloaded.

ENSONIQ ASR-X Pro Reference Manual

7ÑDisk/Global

The Directory Sorted parameter allows you to display files on the selected disk in alphabetical order.

When the parameter is set to ÒOff,Ó files are displayed in the order in which they were saved to disk.

FFFFrrrreeeeeeee

The Free display shows how much free spaceÑin bytesÑis available on the currently selected disk.

The ASR-X Pro Memory Manager provides a handy way to keep track of how much RAM is available for sequences and waves. Pressing the Yes button in response to ÒShow free memory?Ó reveals two read-only sub-displays:

¥ Sound & Wave RAMÑThis shows the amount of free RAM currently available for sounds and waves. The amount displayed will depend on the amount of memory installed in your ASR-X Pro. A stock ASR-X Pro will show 37,778 bytes free when all of its memory is available.

¥ Sequencer RAMÑThis shows the amount of free memory currently available for sequencing.

The ASR-X Pro Memory Manager allows you to easily clear the sound and wave RAM, or the sequencer

RAM. Pressing the Yes button in response to ÒErase memory banks?Ó reveals the following sub-display, from which you can turn the Value knob to select either ÒAll Sounds&WavesÓ or ÒAll SequencesÓ:

Erase memory banks?

* All Sounds&Waves * i

What will be erased is shown here

When youÕve selected the type of RAM youÕd like to erase, press the Yes button.

EEEErrrraaaasssseeee ssssoooouuuunnnndddd????

The ASR-X Pro allows you to erase any sound from RAM by pressing the Yes button in response to

ÒErase sound?Ó When you do so, the display will show:

The amount of memory allocated to the selected sound l

The soundÕs bank and program number n n

Erase 0.4k? 00:000

SOUND :Garbage Kit i

The sound to be erased

Turn the Value knob to select the sound youÕd like to delete, and press the Yes button to erase it.

To rename a sound in RAM, select ÒRename sound?Ó and press the Yes button. The display will show:

The soundÕs bank and program number n n

Rename ? 00:000

SOUND :Rock Kit_01 i

The sound to be renamed

ENSONIQ ASR-X Pro Reference Manual 101

7ÑDisk/Global

Turn the Value knob to select the sound youÕd like to rename, and then press the Yes button to invoke the sound-renaming display:

The soundÕs current name m

Old Name:Rock Kit_01

R i

The new name will be spelled out here

Turn the Parameter knob to select each character location in turnÑthe selected character will be underlinedÑand then turn the Value knob to select the desired character for that location. When youÕve finished spelling out the new name for the sound, press the Yes button to finish renaming it.

The MemoryManager allows you to change the SoundFinder category to which a sound is assigned. Press the Yes button is response to ÒChange sound type?Ó and the following display appears:

Change sound type?

SOUND :Rock Kit_01 i

The sound you want to assign to a different SoundFinder category

Turn the value knob to select the sound whose category youÕd like to change, and press the Yes button.

The displays shows:

Change Rock Kit_01?

SoundFinder= *CUSTOM i

The SoundFinder category to which the sound is currently assigned

Turn the Parameter knob clockwise to reveal the FinderPref parameter, which allows you to assign the selected sound to the USER-SND and/or DEMO-SND SoundFinder types. Turn the Value knob to select:

¥ NoneÑto assign the selected sound to neither the USER-SND or DEMO-SND category.

¥ DEMO-SNDÑto assign the selected sound to the DEMO-SND category.

¥ USER-SNDÑto assign the selected sound to the USER-SND category.

¥ USER+DEMOÑto assign the selected sound to both USER-SND and DEMO-SND categories.

Turn the Value knob to select the desired SoundFinder designations, and press the Yes button to re-assign the sound to the new categories.

The EXP Name is a read-only display that shows the name of the ENSONIQ EXP Series Wave Expansion

Board youÕve installed in your ASR-X Pro.

Memory Manager:

Exp Name:Dance:EXP-3

102

SSSSaaaavvvveeee tttthhhheeeesssseeee sssseeeettttttttiiiinnnnggggssss????

Pressing the Yes button in response to ÒSave these settings?Ó stores the current System/MIDI,

Resampling Setup and sequencer Click settings, as well as USER quantization templates, to FLASH memory, where they will remain in place permanently, or until you save new settings.

ENSONIQ ASR-X Pro Reference Manual

8ÑExpanding the ASR-X Pro

88 paaaannnnddddiiiinnnngggg tttthhhheeee AA

The ASR-X Pro provides some exciting opportunities for expansion, described in this chapterÑfollow all of the instructions provided carefully, to ensure that you donÕt injure your ASR-X Pro, or yourself.

Many of the internal components in the ASR-X Pro and areas of its expansion boards are susceptible to

Electro Static Discharge (ESD), commonly known as Òstatic.Ó Electro static discharge can damage or destroy electronic devices. Here are some procedures you can follow when handling electronic devices in order to minimize the possibility of causing ESD damage:

¥ Before opening your ASR-X Pro or handling the expansion boards you should be grounded. Use a ground strap to discharge any static electric charge built up on your body. The ground strap attaches to your wrist and any unpainted metal surface within the ASR-X Pro.

¥ Avoid any unnecessary movement, such as scuffing your feet when handling electronic devices, since most movement can generate additional charges of static electricity.

¥ Minimize the handling of the expansion boards. Keep them in their static-free packages until needed. Transport or store the expansion boards only in their protective packages.

¥ When handling the expansion boards, avoid touching the connector pins. Try to handle the expansion boards by the edges only.

If you have any questions concerning the installation of ASR-X Pro expansion options, or for additional technical support, please contact your authorized ENSONIQ dealer or ENSONIQ Customer Service at

(610) 647-3930 Monday through Friday 9:30 a.m. to 12:15 p.m. and 1:15 p.m. to 6:30 p.m. Eastern Time.

1.

Turn of the ASR-X ProÕs power and unplug the AC cable from its rear-panel jack.

2.

Place your ASR-X Pro on a flat surface, normal-side up, leaving an empty space on the surface to the left of the ASR-X Pro left equal to the width of the ASR-X Pro.

3.

Locate the ten hex screws along the left, right and lower edges of the ASR-X ProÕs upper panel.

4.

Using the hex wrench supplied in your ASR-X Pro accessory kit, remove the ten screws. Put the screws in a safe locationÑyouÕll need them again when you close up the ASR-X Pro.

ENSONIQ ASR-X Pro Reference Manual 103

8ÑExpanding the ASR-X Pro

5.

Turn the ASR-X Pro around so that its rear panel is facing you, and locate the four Phillips-head screws along its top edge.

6.

Remove the four screws, and place them with the first ten.

7.

Rotate the ASR-X Pro back to its original position.

8.

Gently lift the right-hand edge of the ASR-X ProÕs lid, opening it out and towards the left as you would a book. Be carefulÑthe lid is not hinged to the chassis of the ASR-X ProÑtake care not to break or damage the ribbon connector connecting the lid to the ASR-X ProÕs main board.

9.

Rest the lid, display-side-down, on the surface to the left of the ASR-X Pro.

The ASR-X Pro ships from the factory with 2 MB (megabytes) of memory in which you can store sampled/resampled waves and sequencer data. You can install up to 64 additional MB of memory (for a total of 66 MB) by installing standard 4, 8, 16 or 32 megabyte SIMM chips.

A m

2 MB (as shipped from the factory) mpppplllliiiinnnngggg ttttiiiim ppppprrrrooooxxxx.... sssstttteeeerrrreeeeoooo ssssaaaam

15 seconds 7 seconds

6 MB (with 4-MB SIMM installed)

10 MB (with 8-MB SIMM installed)

18 MB (with 16-MB SIMM installed)

34 MB (with 32-MB SIMM installed)

50 MB (with a 32 and 16 MB SIMM installed)

66 MB (with two 32 MB SIMMs installed)

63 seconds

107 seconds

202 seconds

392 seconds

583 seconds

773 seconds

31 seconds

53 seconds

101 seconds

196 seconds

291 seconds

386 seconds

104 expanded to 512 kilobytes.

ENSONIQ ASR-X Pro Reference Manual

8ÑExpanding the ASR-X Pro

M

M C

ÒSIMMÓ is an acronym for ÒSingle In-line Memory Module.Ó A SIMM is a small circuit boards onto which have been placed smaller DRAMÑfor Òdynamic random access memoryÓÑchips.

M M

The ASR-X Pro accepts any standard 72-pin SIMM that meets these standards:

¥ The SIMM is 70ns (nanoseconds) or faster.

¥ The SIMM is a 5-volt chip (3-volt SIMMs will not properly fit the ASR-X Pro SIMM socket).

¥ Either extended data output (EDO) or non-EDO SIMMs can be used.

¥ The SIMM is either a x32 or x36 chip.

in the Proper SIMM Sockets" later in this chapter.

M M IIIInnnnssssttttaaaallllllllaaaattttiiiioooonnnn PPPPrrrroooocccceeeedddduuuurrrreeee youÕll know what to expect along the way. DonÕt forget to follow the guidelines in ÒAn Important

Note About Electro Static DischargeÓ at the beginning of this chapter.

M

M

Before proceeding, follow the instructions in ÒOpening the ASR-X Pro,Ó earlier in this chapter.

1.

Looking down into the ASR-X Pro with the pads towards you, the SIMM sockets are located as shown by the arrow in the illustration below:

2.

Viewed from the front, each SIMM socket looks something like this:

ENSONIQ ASR-X Pro Reference Manual 105

8ÑExpanding the ASR-X Pro

M

M

To increase your ASR-X Pro's memory up to 34 MB, use only the lower socketÑthis socket can accommodate 4, 8, 16 and 32 MB SIMMs. When the lower socket contains a 32 MB SIMM, you can install a 16 or 32 MB SIMM in the upper socket to increase the ASR-X Pro's memory to 50 or 66 MB.

M M

M M

Before proceeding, see ÒOpening the ASR-X Pro,Ó and ÒLocating the SIMM Sockets on the ASR-X Pro Main Board.Ó

1.

Orient your SIMM chip so that its edge connector is downward, and its alignment notch is facing to the left, as shown.

2.

Approaching the SIMM socket from its back sideÑthe side closest to the ASR-X ProÕs rear-panel connectorsÑplace your chipÕs edge connector in the slot in the center of the socket.

106

3.

Using two hands, gently press the upper edge of the back of your chip so that it tilts forward between the two metal clips on the socket.

4.

Continue pressing forward until both socket clips snap into place against the front edge of the chip

ÑyouÕll hear a click when this occurs.

5.

Replace the ASR-X ProÕs lid and eight screws removed in Steps 3-6 of ÒOpening the ASR-X Pro,Ó earlier in this section.

6.

Reconnect the ASR-X ProÕs AC power.

When you turn your ASR-X Pro back on, your new memory will be available for use.

M M RRRReeeem

Before proceeding, youÕll need to open your ASR-X Pro. Follow the instructions in ÒOpening the ASR-X Pro,Ó earlier in this chapter. ÒLocating the SIMM Sockets on the ASR-X Pro Main BoardÓ tells you how to find the SIMM socket.

1.

Gently pull outward each of the SIMM socketÕs metal clips, one at a timeÑyouÕll be able to hear or feel when each clip lets go of the chipÕs edge.

2.

When both clips have let go of the SIMMÕs edges, you can lift the chip out of the socket.

3.

Replace the ASR-X ProÕs lid and eight screws removed in Steps 3-6 of ÒOpening the ASR-X Pro.Ó

4.

Reconnect the ASR-X ProÕs AC power.

O Q

The ASR-X Pro can accommodate an ENSONIQ EXP expansion board. These boards add new wave data and sounds to the ASR-X Pro. For more information on the EXP-Series Wave Expansion boards, call

ENSONIQ at 610-647-3930 or visit the ENSONIQ World Wide Web site at http://www.ensoniq.com.

ENSONIQ ASR-X Pro Reference Manual

8ÑExpanding the ASR-X Pro performing them, so youÕll know what to expect along the way. Follow the guidelines in ÒAn

Important Note About Electro Static DischargeÓ at the beginning of this chapter.

Before proceeding, youÕll need to open your ASR-X Pro.

Follow the instructions in ÒOpening the ASR-X Pro,Ó earlier in this chapter.

1.

Looking down into the ASR-X Pro with the pads towards you, the expansion board sockets are located as shown by the arrow in the illustration below:

Before proceeding, youÕll need to open your ASR-X Pro by following the instructions in ÒOpening the ASR-X Pro,Ó earlier in this chapter. ÒLocating the Wave Expansion Board Sockets on the ASR-

X Pro Main Board,Ó above, tells you how to find the EXP board sockets.

1.

Examine your expansion board. Notice that it has a 50-pin and a 40-pin connector.

When you turn the expansion board over, connector-side-down, its connectors will line up with the sockets in the ASR-X Pro. ItÕs in this position that the board is installed.

2.

Align your expansion board above the sockets on the ASR-X Pro main board.

4.

Press the expansion board down firmly into the main board sockets so that it makes a physical (and electrical) connection with your ASR-X Pro. The expansion boardÕs connectors must be inserted into both of the main boardÕs sockets in order to work properly.

5.

Replace the ASR-X ProÕs lid and screws, reconnect its power cord, power up and follow the instructions in ÒTo Identify an Installed Expansion Board,Ó below, to verify that the ASR-X Pro is properly recognizing the expansion board.

ENSONIQ ASR-X Pro Reference Manual 107

8ÑExpanding the ASR-X Pro

1.

Press the System/MIDI button.

Load

Disk / Global

Save System

All Notes Off Save All MIDI

2.

Turn the Parameter knob until the display shows:

System/MIDI:

Enter MemoryManager?

3.

Press the Yes button.

2.

Turn the Parameter knob until the display shows:

MemoryManager:

Exp Name:Dance:EXP-3 i

The name of the board youÕve installed

This will show the name of the installed expansion board.

repeat the instructions in ÒInstalling an EXP-Series Wave Expansion Board.Ó If the ASR-X Pro still doesnÕt recognize the expansion board, call your authorized ENSONIQ dealer or ENSONIQ

Customer Service at 610-647-3930.

With most electronic devices, operating system (O.S.) upgrades have become common. For ENSONIQ products, an operating system upgrade provides system enhancements, and often, additional features.

The ASR-X Pro O.S. is stored in its FLASH memory, and can be updated by loading a new version of the

O.S. from a floppy disk. The contents of FLASH are retained even when the ASR-X Pro is turned off.

You can find information aboutÑand downloadÑthe latest version of the ASR-X Pro operating system from ENSONIQ's World Wide Web site at http://www.ensoniq.com.

contact your authorized ENSONIQ dealer. An up-to-date O.S. list for all ENSONIQ products can also be found in the Transoniq Hacker, a third-party monthly publication (for more information, call 1-503-227-6848).

108

1.

Press the Disk/Global Save and hold it down.

2.

While continuing to hold down the Save button, press the

System/MIDI button.

Load

Disk / Global

Save System

All Notes Off Save All MIDI

ENSONIQ ASR-X Pro Reference Manual

8ÑExpanding the ASR-X Pro

The display briefly shows you the version number of the operating system in your ASR-X Pro:

ENSONIQ ASR-X Pro

O.S. Version: 1.00

1.

Download the operating system update from the ENSONIQ Web site (URL).

2.

On your computer, DOS-format an HD floppy disk, naming the floppy ÒASRXOSDISK.Ó

3.

Copy the downloaded O.S. file to the floppy.

1.

Power down the ASR-X Pro.

2.

Insert the floppy containing the O.S. into the ASR-X ProÕs floppy drive.

3.

Turn on the ASR-X ProÑwhen it detects an operating system version different than the one currently written to FLASH it will present this display:

Load OS from disk?

Press YES or NO

4.

Press the Enter/Yes buttonÑthe process of loading the O.S. will take about a minute.

message, but donÕt wish to change your operating system version, press the Exit/No button.

ENSONIQ ASR-X Pro Reference Manual 109

9ÑSupplemental Information

99 ppppplllleeeem

LLLLiiiisssstttt ooooffff RRR O W

KEEEEYYYYBBB

O

ELEC PIANO

PERC ORGAN

BBB RAA

N

DRAWBAR

ORGAN

PAD SYNTH

N G O U N D

STRING HIT

MUTE GUITAR

D

+ H

BBB A O U N D

MUTE GUITARWF

GTR-SLIDE

HORN HIT

BARI SAX HIT

UPRIGHT BASS

BS HARMONICS

FM BASS

ANALOG BASS 1

D RU M O U N D

ANALOG BASS 2

FRETLESS BASS

MUTE BASS

SLAP BASS

2001 KICK

808 KICK

AMBIENT KICK

BAM KICK

BANG KICK

BBM KICK

BOOM KICK

COSMO KICK

ELECTRO KICK

MUFF KICK

PZ KICK

SNICK KICK

THUMP KICK

TITE KICK

WILD KICK

WOLF KICK

WOO BOX KICK

808 SNARE

808 RIMSHOT

909 SNARE

BANG SNARE

BIG ROCK SNAR

CHILL SNARE

CLASSIC SNARE

CLEAN SNARE

COSMO SNARE

GATED SNARE

HOUSE SNR 1

HOUSE SNR 2

HOUSE SNR 3

ENSONIQ ASR-X Pro Reference Manual

M

BAA

PEEEERRR

C U

O

N

JAMM SNARE

LIVE SNARE

LUDWIG SNARE

MUTT SNARE

REAL SNARE

RIMSHOT

SLANG SNARE

SPAK SNARE

WOLF SNARE

ZEE SNARE

BRUSH SLAP

SIDE STICK 1

SIDE STICK 2

STICKS

STUDIO TOM

ROCK TOM

909 TOM

SYNTH DRUM

808 CLOSED HT

808 OPEN HAT

909 CLOSED HT

909 OPEN HAT

HOUSE CL HAT

PEDAL HAT

PZ CL HAT

R&B CL HAT

SMACK CL HAT

SNICK CL HAT

STUDIO CL HAT

STUDIO OPHAT1

STUDIO OPHAT2

TECHNO HAT

TIGHT CL HAT

TRANCE CL HAT

CR78 OPENHAT

COMPRESS OPHT

CRASH CYMBAL

CRASH LOOP

RIDE CYMBAL

RIDE BELL

CHINA CRASH

808 CLAP

808 CLAVE

808 COWBELL

AGOGO

BONGO

CABASA

CLAVE

CONGA HIGH

CONGA LOW

CONGA MUTE

CONGA SLAP

CUICA

ETHNO COWBELL

GUIRO

MARACAS

SHAKER

SHEKERE DN

SHEKERE UP

SLAP CLAP

TAMBOURINE DN

TAMBOURINE UP

TIMBALE HI

TIMBALE LO

TIMBALE RIM

TRIANGLE HIT

VIBRASLAP

WHISTLE

WOODBLOCK

TTT U N

D----PPPPEEEERRR

C

U BIG BELL

SMALL BELL

GAMELAN BELL

MARIMBA

MARIMBA WF

O U N D

SCRATCH 1

SCRATCH 2

W

N

TTT

A

H

RAA

A

N

O

MO

W

RM

N

VEEEE

SCRATCH 3

SCRATCH 4

SCRATCH 5

SCRATCH 6

SCRATCH LOOP

SAWTOOTH

SQUARE WAVE

TRIANGLE WAV

SQR+SAW WF

SINE WAVE

ESQ BELL WF

BELL WF

DIGITAL WF

E PIANO WF

DIG VOCAL WF

DEEP PAD WF

HISS

NOIZZZ

TEXTURE

BROKEN TWF

111

9ÑSupplemental Information

112

LOOPGRUV

MALLET

ORCHSTRA

ORGAN-A

ORGAN-E

ORGANLYR

PERC-KIT

PERCSOLO

PIANO-A

PNOLYR-A

PIANO-E

PNOLYR-E

PLUCKED

SAX-SOLO

SOUND-FX

SPLITS

STRGSECT

STRGSOLO

SYN-COMP

SYN-LEAD

SYN-PAD

SYN-VINT

SYNOTHER

VOCALS

USER-SND

DEMO-SND

EXP-SND

DRM-SND

ROM-SND

RAM-SND

ALL-SND

BASS

BASS-SYN

BELL

BRASSECT

BRASSOLO

DRUM-KIT

DRMKITGM

GUITAR-A

GUITAR-E

HITS

KEYS

LAYERS

If there are no sounds of a particular type in the ASR-X Pro memory, the type will not be displayed:

This special category is ideal for storing the sounds you createÑsounds will also appear in their appropriate SoundFinder musical instrument type list. All RAM kits are designated as USER-SNDs.

Demo sounds are designed to demonstrate the scope of sounds in the ASR-X Pro. Whenever this is selected, the first sound in the type will be selected; the ASR-X Pro will not reselect the last sound selected in the DEMO-SND type. Demo sounds also appear in their appropriate Sound Type list.

Expansion board sounds.

ROM drum key sounds.

All sounds in ROM.

All sounds in RAM.

All sounds.

Acoustic and electric basses.

Synth basses, and processed electric basses with a ÒsynthyÓ quality.

Acoustic and synth bell sounds, both pitched (e.g., glockenspiel, celesta). and non-pitched (e.g., church bells).

Trumpet, trombone, tuba, French horn, saxophone, and mixed brass sections (including sampled sections) and small ensembles

(with more than one distinct pitch/ÒplayerÓ on a single key).

Solo brass (e.g., trumpet, trombone, tuba, French horns).

Drum kits that use the ENSONIQ drum map.

Drum kits that use the General MIDI drum map.

Steel, nylon, and gut-stringed acoustic guitars.

Clean electric guitars and distortion guitars.

Hits of all kinds.

Other stringed keyboard sounds (e.g., harpsichord and clavinet).

Unnatural layered combinations of acoustic elements (e.g., a bass harmonic layered with a string section), excluding pianos/electric-pianos/organs layered with other sounds in which the piano/electric-piano/organ element is dominant. Also excludes multi-instrumental orchestral layers.

Looped, repeating musical passages and drum rhythm loops (sampled or wave-sequenced) that play on one key.

Tuned mallet-struck percussion instruments (e.g., marimba, xylophone, timpani, steel drum, log drum).

Multi-instrumental orchestral Sounds (e.g., mixed strings/brass/woodwinds/reeds/orchestral percussion) layered with one another.

Acoustic pipe and pump organs.

Electric and electronic organs.

Any organs layered with other sounds in which the organ element is dominant.

Percussion kits that use either the ENSONIQ or General MIDI percussion maps.

Solo untuned percussion (e.g., taiko, synth-tom) includes most drum key sounds.

Acoustic pianos, honky-tonk, toy pianos, and piano forte.

Acoustic pianos layered with other sounds in which the acoustic piano element is dominant.

Electric and electronic piano sounds, and electric pianos layered with acoustic pianos.

Electric pianos layered with other sounds in which the electric piano element is dominant.

Plucked strings (e.g., harps, banjo, dulcimer, sitar), pizzicato strings, and other plucked instruments (e.g., kalimba).

Solo saxophones.

Realistic sound effects (e.g., broken glass, animal sounds, record scratches) and entirely non-pitched fantasy and chaos sound effects.(e.g., spacecraft, environments)

Combination keyboard splits of two or more different types of sounds. Also includes splits of similar sounds that have discontiguous key ranges (e.g., a bassoon/oboe split that covers the natural ranges of both instruments).

Bowed string sections (including sampled sections) and small string ensembles (with more than one distinct pitch/ÒplayerÓ on a single key).

Bowed solo strings (e.g., violin, viola, cello).

Non-vintage, sustaining and non-sustaining, polyphonic synth sounds with a pitched or non-pitched, highly obtrusive attack component that lend themselves toward comping (i.e., you can always play successive 1/8 note chords with these funky sounds).

Monophonic lead synth sounds (excluding monophonic synth basses).

Non-vintage, sustaining, polyphonic synth sounds with a pitched, less obtrusive attack component, and an appropriate release, that lend themselves toward pad playing.

Polyphonic, signature vintage ÒanalogÓ synth sounds (excluding monophonic vintage synth leads and synth basses). Normally these are named after the synth that they evoke.

Other types of pitched, polyphonic, hybrid synth sounds with sustaining, disparate components (e.g., sample & hold sync sounds).

Vocal sounds (e.g., choirs, synth-vox).

ENSONIQ ASR-X Pro Reference Manual

WINDREED

*UTILITY

*CUSTOM

9ÑSupplemental Information

Solo woodwinds/reeds (e.g., flute, oboe, bassoon, clarinet, recorder, English horn, ocarina, bandoneon, shakuhachi, bagpipes, harmonica, accordion, melodica, didjeridoo).

Utility resources (e.g., default template sounds used for programming and other special non-musical purposes).

The category in which the sounds that play waves are stored. When you send waves to pads, the pad sounds that play the waves are stored in this category.

O

N

ZZZ O N

1

(6 keys)

2

(10 keys)

3

(10 keys)

4

(9 keys)

5

(9 keys)

6

(7 keys)

7

(6 keys)

8

(7 keys)

KEEEEYYYY RRRRAA

N G

B1 to E2

KICK

F2 to D3

SNARE

D#3 to C4

HATS

C#4 to A4

CYMBL

A#4 to F#5

TOMS

G5 to C#6

PERC1

D6 to G6

PERC2

G#6 to D7

PERC3

O NIIIIQ

ZZZ O

1

(6 keys)

2

(10 keys)

3

(10 keys)

KEEEEYYYY RRR A N GEEEE

B1 to E2

F2 to D3

D#3 to C4

4

(9 keys)

C#4 to A4

5

(9 keys)

6

(7 keys)

7

(6 keys)

8

(7 keys)

A#4 to F#5

G5 to C#6

D6 to G6

G#6 to D7

ENSONIQ ASR-X Pro Reference Manual

O N

The key C#2 allows for non-finish envelope sounds.

Includes sidestickÑthe keys from A2-C3 allow for non-finish envelope sounds (Snare rolls, brush swirls, etc.)

The keys G#3 and B3 allow for non-finish envelope sounds (closed hats first, opens on A#3 and B3; foot closed on C4).

The key A4 allows for non-finish envelope sounds (rides C#4 to E4; followed by crashes).

All keys in finish envelope mode.

Shaken or small hitsÑtambourine (G5 to A5); shaker, cabasa, or maracas (A#5 to C6); claps (C#6); snap; woodblock

Latin non-pitched PercussionÑbongo; conga slap; low conga; high conga; timbale

Pitched and Bell-like PercussionÑTriangle (A6 closed, A#6 long); cowbell

(G#6); high agogo: low agogo; claves (B6, or at D#6 if there are no congas); vinyl surface noise (C7). The keys from B6-D7 allow for non-finish envelope sounds.

C O N

Low DrumsÑthe key C#2 allows for non-finish envelope sounds.

Medium drums such as Conga, Tabla, UduÑthe keys from A2-C3 allow for non-finish envelope sounds.

Small things that keep time (shakers, small drums, etc) Clave (G#3); sleighbells, castanets (C4). The keys G#3 and B3 allow for non-finish envelope sounds.

Small time-keeping instruments including ride cymbals and instruments like

Guiro (C#4 to E4);. crash cymbals, or other accent instruments like windchime, vibraslap, gong (F4 to A4). The key A4 allows for non-finish envelope sounds.

Things struck that play fillsÑlike timbali, woodblocks, log drums, small pitched drums.

Tambourines or similar shaken instruments (G5-A5); small high-pitched shakers like maraccas, egg shakes (A#5 - C6); claps, clave (C#6)

Multi hits of bongos, high drums, cuica, guiro (D6-E6); multi hits of agogo, or other metallic inst. (F6-G6)

Cowbell (G#6); Triangle (A6 closed, A#6 long); Long sounds like rainsticks

(B6-D7) The keys from B6-D7 allow for non-finish envelope sounds.

113

9ÑSupplemental Information

G M KKK

74

____

76

77

____

79

____

81

____

67

____

69

____

71

72

____

____

83

84

____

86

____

____

____

59

60

____

62

____

64

65

50

____

52

53

____

55

____

57

____

43

____

45

____

47

48

____

35

36

____

38

____

40

41

37

39

42

44

46

49

51

54

56

58

61

63

66

68

70

73

75

78

80

82

85

87

114

D5

D#5

E5

F5

F#5

G5

G#5

A5

F#4

G4

G#4

A4

A#4

B4

C5

C#5

A#5

B5

C6

C#6

D6

D#6

E6

A#3

B3

C4

C#4

D4

D#4

E4

F4

D3

D#3

E3

F3

F#3

G3

G#3

A3

F#2

G2

G#2

A2

A#2

B2

C3

C#3

B1

C2

C#2

D2

D#2

E2

F2

Conga Low

Timbali

Timbali

Agogo

Agogo

Cabasa

Maracas

Whistle B

Whistle A

Guiro Short

Guiro Long

Clave

Woodblock 1

Woodblock 1

Cuica 1

Cuica 5

Tri Mute-GM

Tri Open-GM

Shaker

Sleighbell

WindchimeGM

Castanets 1

Mt Surdo-GM

Op Surdo-GM

Silence

Dry Tom 1

Crash 1-GM

Dry Tom 1

Ride 1-GM

China 1-GM

RideBell-GM

Tambourine

Splash1-GM

Cowbell

Crash 1-GM

Vibraslap

Ride 1-GM

Bongo

Bongo

Conga Mute

Conga High

G M KKK

AcoustcKick

Bright Kick

SideStick 1

Snare-GM

HouseClap1

Rock Snare

Dry Tom 1

4xCl Hat3

Dry Tom 1

Pedal Hat

Dry Tom 1

OpenHat-GM

Dry Tom 1

ENSONIQ ASR-X Pro Reference Manual

9ÑSupplemental Information

The following is a list of all the quantize parameters and their settings for the available quantize templates (there is no data recorded for High Key and Low Key):

Strict 1/4

Strict 1/8

Strict 1/16

Strict 1/8T

Tighten 1

Tighten 2

Tighten 3

Tighten 4

Tighten 5

Tighten 6

Tighten 7

Tighten 8

Randomize 1

Randomize 2

Randomize 3

Randomize 4

Note Offs 1

Note Offs 2

Swing 1

Swing 2

Swing 2

Humanize 1

Delta 1/8

1/16

1/16

1/16

1/16

1/8

1/8

1/16

1/16

1/4

1/8

1/16

1/8T

1/8

1/8

1/8

1/8

1/8

1/16

1/16

1/16

1/16

1/16

1/8 off off off off off off off off off off off off off off off off off off off on on off off

50

50

50

50

50

50

50

50

50

50

50

50

50

50

50

50

50

50

50

50

50

50

50

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

3

15

3

15

0

0

0

0

0

0

0

0

0

0

0

0

0

2

0

0

1

0

0

50

50

50

50

50

50

50

50

50

50

50

50

50

50

50

50

63

51

50

50

50

55

57

70

50

60

50

70

5

20

50

SSSSttttrrrreeeennnnggggtttthhhh

100

100

100

100

5

20

50

92

100

75

100

60

100

100

90

0

0

0

0

0

0

0

0

0

0

0

0

SSSShhhhiiiifffftttt

0

0

0

0

0

0

0

0

0

0

0 on on on on on on on on on on on on on on on on on on on on on on on off off off off off off off off off off off off off off off off off off on off off off off

Musical instrument and computer manufacturers have agreed upon a set of standards that allows their products to communicate with each other. ItÕs called ÒMIDI,Ó an acronym for ÒMusical Instrument Digital

Interface.Ó There are two basic aspects to the MIDI standards: the kind of wiring to be used for connecting MIDI devices, and the nature of messages that will be sent through those wires.

MIDI has opened up incredible possibilities for musicians and music lovers alike. Here are some of the things MIDI has made possible:

¥ Musicians can record their performances into MIDI recordersÑcalled sequencersÑwhich are found in keyboard workstations, groovestations such as the ASR-X Pro, in stand-alone boxes, and in computers. Once recorded, MIDI-recorded performances can be tweaked and nudged to perfection.

Musical arrangements can be re-orchestrated after theyÕve been recorded. Full-blown multiinstrument recordings can be easily created.

¥ Keyboardists can connect their instruments to a myriad of sound-producing MIDI boxes. MIDI allows a conventional-looking keyboard, to control a number of such devices at the same time, providing for the creation of new, complex timbres. Keyboardists can also set up specific areas on their keyboards to control specific external MIDI devices. These same capabilities are available to computer users. Actually, pretty much any musical instrument can be outfitted to control MIDI devices.

ENSONIQ ASR-X Pro Reference Manual 115

9ÑSupplemental Information

¥ Musicians can benefit from the communication possible between MIDI instruments and computers to program sounds for their instruments on their computers, taking advantage of the computersÕ large graphic displays.

¥ Internal data from one MIDI device can be transmitted to another for storage.

¥ Recording engineers can control mixing consoles and effects devices with MIDI.

The architects of MIDI had to settle, first of all, on the MIDI hardware: the wires. All MIDI cables have the same kind of plug on either end. There are three MIDI sockets, or jacks, on the back of most MIDI instruments. The MIDI Thru jack is for MIDI data that passes through the instrument unchanged, on its way to some other MIDI device. The instrument sends out its own MIDI information through the MIDI

Out jack. The MIDI In jack is for MIDI information coming into the instrument.

MIDI Thru MIDI Out MIDI In k

The MIDI cable itself can carry 16 independent channels of MIDI information that travel together through the wire. This means that you can have 16 separate MIDI conversations going on at once among instruments and/or computers connected together with MIDI cables.

MIDI instruments can be set up to listen to specific channels and ignore everything else thatÕs going on.

This allows a central device such as a keyboard or your personal computer to control each instrument individually. Some instrumentsÑsuch as the ASR-X ProÑare capable of responding to as many as 16 channels at once. Such instruments are referred to as being multi-timbralÑitÕs as if there are up to 16 musical instruments in one box, and MIDI allows you to control each sound separately.

116

MIDI rigs can also combine both possibilities, with some instruments programmed to respond to one

MIDI channel or another, and multi-timbral devices set up to receive up to 16 channels at once.

ENSONIQ ASR-X Pro Reference Manual

9ÑSupplemental Information

MIDI messages travel up and down all these channels, and these constitute the second major component of the MIDI Spec.

MIDI works in a manner reminiscent of the old player pianos, whose sheets of hole-punched paper told the keyboard mechanism which keys to press down and when. ItÕs not sound thatÕs sent through MIDI cables; itÕs instructions from one MIDI deviceÑcalled the ÒcontrollerÓÑto another. Of course, MIDI generally doesnÕt cause any keys to physically move.

Suppose a keyboardist presses a note on a keyboard which is controlling some sound-producing MIDI box. The controller would send out a Key Down (or Ònote-onÓ) message for that note. The MIDI box receiving such a message would play the note. When the keyboardist lets go, the controller would send out a Key Up message, and the receiving device would stop sounding the note. ItÕs as simple at that.

MIDI captures the expressive nuances in a performance by sending out other kinds of messages.

Controllers can sense how hard a musician playsÑreferred to in the MIDI world as velocityÑand can instruct other devices to respond accordingly. Sustain and sostenuto foot pedals also send out MIDI messages. There are many tools for expression that can be transmitted and responded to via MIDI.

To tell a MIDI instrument which sound program you want to hear, you would send a MIDI Program

Change.

MIDI can also send messages that have the same effect as pushing buttons and twirling knobs on a receiving device. To make sure that only the intended instrument listens to such instructions, MIDI sends it a special greeting in a language only it can understand. Every MIDI device has such a language, and these Òhey thereÓ messages are referred to as ÒSystem Exclusive headers.Ó System Exclusive data is often referred to as SysEx data.

In MIDI recording, all of the messages that a controller produces are sent to a sequencer. Most sequencers have Record, Stop and Play buttons, since theyÕre usually designed to resemble tape recorders. When the

Record button is pressed, the sequencer captures incoming MIDI information. Pressing Stop tells the sequencer to store that information in its memory. When Play is pressed, it sends it back out.

The fact that MIDI is so simple to use is a testament to the cleverness of its designers. Its true magic, however, lies in MIDIÕs power as a tool in the creative process, and in the imaginations of those artists who wield it.

ENSONIQ ASR-X Pro Reference Manual 117

9ÑSupplemental Information

Bank Select #000 - Bank Select

Mod Wheel #001 - Mod Wheel or Lever

Breath #002 - Breath Controller

MIDIContrl#003 - UNDEFINED

FootContrl#004 - Foot Controller

Glide Time#005 - Portamento Time

Data Entry#006 - Data Entry MSB

Volume #007 - Volume

Balance #008 - Balance

MIDIContrl#009 - UNDEFINED

Pan #010 - Pan

Expression#011 - Expression

FX Control1#012 - Effect Control 1

FX Control2#013 - Effect Control 2

MIDIContrl#014 - UNDEFINED

MIDIContrl#015 - UNDEFINED

GenPurpse1#016 - General Purpose 1

GenPurpse2#017 - General Purpose 2

GenPurpse3#018 - General Purpose 3

GenPurpse4#019 - General Purpose 4

MIDIContrl#020 - UNDEFINED

MIDIContrl#021 - UNDEFINED

MIDIContrl#022 - UNDEFINED

MIDIContrl#023 - UNDEFINED

MIDIContrl#024 - UNDEFINED

MIDIContrl#025 - UNDEFINED

MIDIContrl#026 - UNDEFINED

MIDIContrl#027 - UNDEFINED

MIDIContrl#028 - UNDEFINED

MIDIContrl#029 - UNDEFINED

MIDIContrl#030 - UNDEFINED

MIDIContrl#031 - UNDEFINED

BankSelect#032 - Bank Select LSB

Mod Wheel #033 - Mod Wheel LSB

Breath #034 - Breath Controller LSB

MIDIContrl#035 - UNDEFINED

FootContrl#036 - Foot Controller LSB

Glide Time#037 - Portamento Time LSB

Data Entry#038 - Data Entry LSB

Volume #039 - Volume LSB

Balance #040 - Balance LSB

MIDIContrl#041 - UNDEFINED

Pan #042 - Pan LSB

Expression#043 - Expression LSB

FXControl1#044 - Effect Control 1 LSB

FXControl2#045 - Effect Control 2 LSB

MIDIContrl#046 - UNDEFINED

MIDIContrl#047 - UNDEFINED

GenPurpse1#048 - UNDEFINED

GenPurpse2#049 - General Purpose 1 LSB

GenPurpse3#050 - General Purpose 2 LSB

GenPurpse4#051 - General Purpose 3 LSB

MIDIContrl#052 - General Purpose 4 LSB

MIDIContrl#053 - UNDEFINED

MIDIContrl#054 - UNDEFINED

MIDIContrl#055 - UNDEFINED

MIDIContrl#056 - UNDEFINED

MIDIContrl#057 - UNDEFINED

MIDIContrl#058 - UNDEFINED

MIDIContrl#059 - UNDEFINED

MIDIContrl#060 - UNDEFINED

MIDIContrl#061 - UNDEFINED

MIDIContrl#062 - UNDEFINED

MIDIContrl#063 - UNDEFINED

Sustain #064 - Sustain

PortOn/Off#065 - Portamento On/Off

Sostenuto #066 - Sostenuto

Soft Pedal#067 - Soft Pedal

LegatoFtsw#068 - Legato Ftsw

Hold 2 #069 - Hold 2

PatchSelct#070 - Snd Variation (Patch Select)

Timbre #071 - Harmonic Content (Timbre)

Release #072 - Release

Attack #073 - Attack

Brightness#074 - Brightness

SoundCntl6#075 - Sound Controller 6

SoundCntl7#076 - Sound Controller 7

SoundCntl8#077 - Sound Controller 8

SoundCntl9#078 - Sound Controller 9

SoundCtl10#079 - Sound Controller 10

GenPurpse5#080 - General Purpose 5

GenPurpse6#081 - General Purpose 6

GenPurpse7#082 - General Purpose 7

GenPurpse8#083 - General Purpose 8

Portamento#084 - Portamento Control

MIDIContrl#085 - UNDEFINED

MIDIContrl#086 - UNDEFINED

MIDIContrl#087 - UNDEFINED

MIDIContrl#088 - UNDEFINED

MIDIContrl#089 - UNDEFINED

MIDIContrl#090 - UNDEFINED

FX Depth 1#091 - Effects Depth 1

FX Depth 2#092 - Effects Depth 2

FX Depth 3#093 - Effects Depth 3

FX Depth 4#094 - Effects Depth 4

FX Depth 5#095 - Effects Depth 5

Data Inc #096 - Data Inc

Data Dec #097 - Data Dec

NonRgPmLSB#098 - Non-Reg param Num LSB

NonRgPmMSB#099 - Non-Reg param Num

MSB

RgParamLSB#100 - Reg param Num LSB

RgParamMSB#101 - Reg param Num MSB

MIDIContrl#102 - UNDEFINED

MIDIContrl#103 - UNDEFINED

MIDIContrl#104 - UNDEFINED

MIDIContrl#105 - UNDEFINED

MIDIContrl#106 - UNDEFINED

MIDIContrl#107 - UNDEFINED

MIDIContrl#108 - UNDEFINED

MIDIContrl#109 - UNDEFINED

MIDIContrl#110 - UNDEFINED

MIDIContrl#111 - UNDEFINED

MIDIContrl#112 - UNDEFINED

MIDIContrl#113 - UNDEFINED

MIDIContrl#114 - UNDEFINED

MIDIContrl#115 - UNDEFINED

MIDIContrl#116 - UNDEFINED

MIDIContrl#117 - UNDEFINED

MIDIContrl#118 - UNDEFINED

MIDIContrl#119 - UNDEFINED

118 ENSONIQ ASR-X Pro Reference Manual

9ÑSupplemental Information

The ASR-X Pro features an extensive MIDI (Musical Instrument Digital Interface) implementation. For most applications, you will find all the information you need regarding the ASR-X ProÕs MIDI functions in this manualÑadditional information is supplied in the following MIDI Implementation Chart.

1....000

0

FFFFuuuunnnnccccttttiiiioooonnnn............

m m

Default

Changed

Default

Messages

Altered

True voice

1

1-16

POLY

X

X

36-96

1-16

1-16

MULTI

X

X

21-108

Note On

Note Off

0

0

0

0

0

0

0

0-119

Note reception is filtered by Key Lo and Key High track parameters

Note On velocity reception is filtered by

VelocityRange Lo and

VelocityRange Hi track parameters

Transmitted Note Off velocity is always 64

Sounds and sequencer only

Key

Channel

0

0

X

0-119 supports held mode see ÒMIDI Controllers

Reception BehaviorÓ below select sounds from the currently selected bank

True#

0-127

0-127

0-127

0-127

0 0 see ASR-X Pro SysEx

Specification recognizes MIDI Tuning

Dump Standard and

Single-Note Tuning

Change messages

Song Position

Song Select

Tune Request

Clock

Commands

0

X

X

0

X

0

X

X

0

X

Local On/Off

All Notes Off

Active

Sensing

System Reset

X

0

X

X

X

0

X

X

Response to received Controllers varies depending on the nature of the ASR-X Pro parameter affectedÑsee parameter descriptions for details.

Mode 1: Omni On, Poly

Mode 3: Omni Off, Poly

Mode 2: Omni On, Mono

Mode 4: Omni Off, Mono

O : Yes

X: No

ENSONIQ ASR-X Pro Reference Manual 119

9ÑSupplemental Information

120

99

100

101

119

76

77

91

98

72

73

74

75

32

64

65

66

7

10

11

4

5

6

0-119

0

1

SysCTRL 1-4

Bank Select MSB

Mod Wheel

Foot (Pedal)

Portamento Time

Data Entry MSB

Volume

Pan

Expression Controller

Bank Select LSB

Sustain

Portamento On/Off

Sustenuto

Release Time

Attack Time

Brightness

Sound Controller 6

Sound Controller 7

Resonance

Effects 1 Depth

Non-Reg. Param. Select LSB

Non-Reg. Param. Select MSB

Reg. Param. Select LSB

Reg. Param. Select MSB

Mute assignable controllers always 0 for editing of registered and non-registered parameters only, after registered or non-registered parameter MSB and LSB are received

Amp Env Release

Amp Env Attack

Filter Cutoff

Normal LFO Rate

Amp Env Decay

Filter Resonance

FX Bus Select, described in Chapter 2.

Track parameter descriptions in Chapter 2 list track parametersÕ Non-Registered parameter LSB values always 0 always 0, 1 or 2 only always 0 values mute or un-mute track corresponding to MIDI channel: 127=mute track;

000=un-mute track; 064=remove track from group solo

#

2111

When the system ResetControlRecv=Off, the reset all controllers message will be ignored.

When system ResetControlRecv=On, the following MIDI messages and parameters on all tracks assigned to the MIDI channel on which the message was received will be reset to the following values:

Assignable SysCtrl1-4=000

Pitch Bend=center

Channel Pressure=000

Polyphonic Pressure=000 for all 88 keys

Controllers 001 to 004=000

Controller 005=064

Controller 006=000

Controller 007=127

Controller 008=064

Controller 009=000

Controller 010=064

Controller 011=127

Controllers 012 to 031=000

Controllers 033 to 064=000

Controller 065=000

Controllers 066 to 069=000

Controller 070 to 071=000

Controller 072 to 079=064

Controllers 080 to 097=000

Controller 098 to 101=cleared

Controllers 102 to 119=000

Controllers 120 to 127=left unchanged m Reeeesssseeeetttt= Offffffff::::

Controllers 005, and 070 to 079 will be left unchanged.

m Reeeesssseeeetttt= Onnnn::::

Controllers 005, and 070 to 079 will be reset to the values listed above.

ENSONIQ ASR-X Pro Reference Manual

9ÑSupplemental Information m

Beeeehhhhaaaavvvviiiioooorrrr

When the System/MIDI Track ParamReset parameter is set to ÒOn,Ó selecting a new sound for a track causes certain parameters on the track to reset to default values. The following details the behavior of all of the track parameters in this regard.

Track Volume

Mix (Expression)

Vol/MixPolarity

Track Pan

FX Bus

Pitch Bend Up

Pitch Bend Down

Octave Shift

Semitone Shift

Fine Tuning

PitchTbl

Glide Mode

Glide Time

Delay Offset

SyncLFO&Noise

Normal LFO Rates

LFO Depth

LFO Delay Time

Amp Env Attack

AmpEnv Decay

AmpEnv Release

Filter Cutoff

Filter Resonance

FiltEnv Attack

FiltEnvDecay

FiltEnvRelease

Amp&Filt Env Vel

Key Range Lo

Key Range Hi

VelocityRange Lo

VelocityRange Hi

VelocityMode

PressureMode

ProgramChngeRecv

Bank Select Recv

Data Entry Recv

Pitch Bend Recv

Mod Wheel (1) Recv

FootPedal (4) Recv

Volume (7) Recv

Pan (10) Recv

Expressn (11) Recv

Sustain/SostRecv

SysCtrl1 Recv

SysCtrl2 Recv

SysCtrl3 Recv

SysCtrl4 Recv no no no no yes yes yes no yes yes yes yes yes yes yes yes no no no no see ÒAutoSelect FXBus Ò yes yes yes yes yes yes yes yes yes yes yes no no no no no no no no no no no yes no no no n/a n/a n/a n/a

0

0

0 n/a

0

0

0

0

0

0

0

0

0st

0cents

Prog

Prog

Prog

0ms

Prog

0 n/a n/a n/a n/a n/a

Prog

Prog

0oct n/a n/a n/a n/a n/a n/a n/a

Auto n/a n/a n/a n/a n/a n/a n/a

ENSONIQ ASR-X Pro Reference Manual 121

9ÑSupplemental Information

N N

MIDI allows for a special category of controllers called RPNs (for ÒRegistered Parameter NumbersÓ) and

NRPNs (for ÒNon-Registered Parameter NumbersÓ). Many sound parameters can be edited via RPNs and

NRPNs. If this is the case, the parameterÕs description found in this chapter will list the appropriate RPN or NRPN. If a parameter is displayed while being edited via MIDI, the display will reflect the changes you make.

RPN MIDI messages must adhere to a specific structure in order to be properly understood by receiving devices such as the ASR-X Pro. They must include the following components:

¥ A continuous controller status byte for the appropriate MIDI channelÑthis will be the MIDI channel of the selected track (see Chapter 2)

¥ MIDI controller 101Ñthe RPN MSBÑwith a value of 000

¥ MIDI controller 100Ñthe RPN LSBÑwith the RPN value listed in the description of the relevant parameter

¥ MIDI controller 006ÑData EntryÑwith the value to which youÕd like to set the parameter. The values displayed for each parameter correspond to one of 128 possible MIDI values (which run from

000 up to 127). You can count the parameter values displayed on the ASR-X Pro, beginning from

000, to locate the corresponding Data Entry value youÕll want to send to the ASR-X Pro.

NRPN MIDI messages must also adhere to a specific structure in order to be properly understood by receiving devices such as the ASR-X Pro. They must include the following components:

¥ A continuous controller status byte for the appropriate MIDI channelÑthis will be the MIDI channel of the selected track (see Chapter 2)

¥ MIDI controller 099Ñthe NRPN MSBÑwith a value of 000

¥ MIDI Controller 098Ñthe NRPN LSBÑwith the NRPN value listed in the description of the relevant parameter

¥ MIDI Controller 006ÑData EntryÑwith the value to which youÕd like to set the parameter. The values displayed for each parameter correspond to one of 128 possible MIDI values (which run from

000 up to 127). You can count the parameter values displayed on the ASR-X Pro, beginning from

000, to locate the corresponding Data Entry value.

Registered parameters 0, 1 and 2 are received multi-timbrally by the ASR-X Pro. When received on a track's MIDI channel, RPN 0 affects the track's pitch bend up and down simultaneously: Pitch bend up is raised and pitch bend down is lowered by the same RPN value. RPNs 1 and 2 edit Semitone Shift and

Fine Tuning parameters, respectively, when received on the track's MIDI channel.

Registered parameters must be transmitted to the ASR-X Pro as a continuous controller status byte followed by three consecutive continuous controller messages: The registered parameter MSB and LSB values select the track parameter to be edited, and a Data Entry value invokes the parameterÕs setting.

101

100

6

Registered Parameter Select MSB (Most Significant

Byte)

Registered Parameter Select LSB (Least Significant

Byte)

Data Entry MSB always 0

00, 01 or 02 (see below)

0-127, desired track parameter setting

122

00

01

02

Pitch Bend Range

Fine Tuning

Coarse Tuning

0-12 (displayed as Pitch Bend Up =0-12 up; raises pitch; Pitch Bend Down=0-12 down

0-127 (displayed as -50 cents to +49 cents)

0-127 (displayed as -64st to +63st)

ENSONIQ ASR-X Pro Reference Manual

9ÑSupplemental Information

99

98

6

Non-registered parameters are received multi-timbrally by the ASR-X Pro, affecting track parameters when received on the trackÕs MIDI channel.

Non-registered parameters must be transmitted to the ASR-X Pro as a continuous controller status byte followed by three consecutive continuous controller messages. The non-registered parameter MSB and

LSB select the track parameter, and a data entry value invokes the track parameterÕs desired setting.

Non-Registered Parameter Select MSB (Most

Significant Byte)

Non-Registered Parameter Select LSB (Least

Significant Byte)

Data Entry MSB always 0 see track parameter descriptions in Chapter 2 for each parameterÕs Non-Registered parameter LSB value

0-127, desired track parameter setting

Expression

FX Bus assignment (Insert, LightReverb, MediumReverb,

WetReverb, Dry)

Pitch Bend Up

Pitch Bend Down

Octave Shift (-4oct to +4oct)

Semitone Shift

Fine Tuning

Pitch Table

Glide Mode

Glide Time

Delay Offset (positive-only)

SyncLFO&Noise (system tempo time division)

Normal LFO Rates

LFO Depth

LFO Delay Time

Amplitude Envelope Attack time

Amplitude Envelope Decay time

Amplitude Envelope Release time

Filter Cutoff (lo-pass & hi-pass)

Filter Resonance

Filter Envelope Attack time

Filter Envelope Decay time

Filter Envelope Release time

Amp & Filter Envelope Velocity sensitivity

Key Range Low limit

Key Range High limit

Velocity Range Low limit

Velocity Range High limit

VelocityMode

Pressure Mode

Mute button

Responds to MIDI controller 011 and NRPN LSB 034.

Responds to MIDI NRPN LSB 033.

Responds to MIDI NRPN LSB 022 (also responds to RPN LSB 000).

Responds to MIDI NRPN LSB 023 (also responds to RPN LSB 000).

Responds to MIDI NRPN LSB 011.

Responds to MIDI RPN LSB 002.

Responds to MIDI RPN LSB 001.

Responds to MIDI NRPN LSB 021.

Responds to MIDI controller 065 (see below) and NRPN LSB 031. When a value of 64 or greater for MIDI controller 065 is received, glide will be enabled for the part; values below 64 will not disable glide.

Responds to MIDI controller 005 and NRPN LSB 032.

Responds to MIDI NRPN LSB 024.

Responds to MIDI NRPN LSB 025.

Responds to MIDI controller 075 and NRPN LSB 008.

Responds to MIDI NRPN LSB 009.

Responds to MIDI NRPN LSB 010.

Responds to MIDI controller 073 and NRPN LSB 014.

Responds to MIDI controller 076 and NRPN LSB 015.

Responds to MIDI controller 072 and NRPN LSB 016.

Responds to MIDI controller 074 and NRPN LSB 012.

Responds to MIDI controller 077 and NRPN LSB 013

Responds to MIDI NRPN LSB 017.

Responds to MIDI NRPN LSB 018.

Responds to MIDI NRPN LSB 019.

Responds to MIDI NRPN LSB 020.

Responds to MIDI NRPN LSB 026.

Responds to MIDI NRPN LSB 027.

Responds to MIDI NRPN LSB 028.

Responds to MIDI NRPN LSB 029.

Responds to MIDI NRPN LSB 035.

Responds to MIDI NRPN LSB 030.

Responds to MIDI NRPN LSB 036 (0=normal muted, 1=unmuted, 2=solo muted, 3=solo, 4-127=solo).

ENSONIQ ASR-X Pro Reference Manual 123

9ÑSupplemental Information

124

Pitch tables created using an external computer can be downloaded into the ASR-X ProÕs RAM pitch table using the

MIDI Tuning Standard format. The ASR-X Pro can accommodate one user-defined RAM pitch table in addition to the many alternate pitch tables stored in ROM. The ASR-X ProÕs pitch tables can be accessed by any of its 16 tracks through the setting of the trackÕs PitchTbl parameter, or via NRPN LSB 021 values sent on the trackÕs MIDI channel.

You can also select a system-wide special pitch table by selecting the desired table with the PitchTbl System parameter.

The MIDI Tuning Standard is comprised of two kinds of messages: the MIDI Tuning Dump, a SysEx bulk dump which transmits tunings for all keys, and a Single-Note Tuning Change, which alters the tuning of a specific note. The

SysEx bulk dump format is supported by several tuning editors for the Apple Macintosh and Microsoft Windows 95.

It is anticipated that the Single-Note Tuning Change message will be employed by third-party tuning controllers to achieve Middle-Eastern music scales.

The ASR-X ProÕs response to the Single-Note Tuning Change message has been extended to allow users to apply a single tuning change to the ASR-X ProÕs entire pitch range. If a Single-Note Tuning Change message is sent to usertuning number 7F (127), and if the note is between Middle C and an octave above (note numbers 60 to 71 inclusive), the tuning change will be applied to all notes in the current RAM pitch table. In all other cases, the note-change message only changes the tuning for the note specified. If a Single-Note Tuning Change message is received during playback of a note (between the key-down and key-up messages), the tuning change takes effect on the next note.

It is suggested that third-party tuning controllers should send a zero-pitch-detune message for each of the twelve notes supported by the Single-Note Tuning Change message and also select the RAM tuning for the receiving channel. The zero-pitch messages need only be sent once before sending their note-change messages.

For more information on the MIDI Tuning Standard, contact:

MIDI Manufacturer's Association c/o Tom White, President

P.O. Box 3173

La Habra, CA 90632-3173

Phone/FAX: (310) 947-4569 email: [email protected]

Just Intonation Network

535 Stevenson Street

San Francisco, CA 94103

Phone: (415) 824-5325

FAX: (415) 864-8726

WWW: http://www.dnai.com/~jinetwk

LLLLiiiisssstttt ooooffff RRR OM

EqualTemper

Pythagrn-C

Just Int-C

Meantone-C

Wrkmeistr-C

Vallotti-C

Grk-Diatonc

Grk-Chromat

Grk-Enharm

Turkish-A

Arabic-1

The Western 12-tone equal-temperament tuning is used for the default pitch table.

Early tuning derived by calculating 12 perfect fifths and adjusting the octaves downward as necessary. Leaves all fifths except the one between G# and D# very pure. The entire mathematical anomaly encountered by tuning up 12 perfect fifths (called the

Pythagorean comma) is accounted for in the interval between G# and D#.

Designed so that the major intervals in any scale are very pure, especially the third and fifth.

One of the earliest attempts to derive a tuning which would accommodate music played in a variety of keys. The major third interval is very pure.

Derived by Andreas Werkmeister, a contemporary of Bach, this is a further attempt to create a temperament which would accommodate music played in any key.

A variation of Pythagorean tuning in which the first 6 fifths in the circle of fifths are flat by 1/6 of the Pythagorean Comma. This is probably close to the tuning used by Bach for his Well-Tempered Clavier.

The basic building block of ancient Greek music (in which most modern Western music has its roots) was the tetra chord - four notes and three intervals spanning a perfect fourth. The placement of the two inner notes of the tetra chord determined its genus Ñ diatonic, chromatic or enharmonic. This pitch table is derived from two diatonic tetra chords, combined to form a seven-note scale similar to the modern diatonic scale. It is to be played only on the white keys. Tone center is E.

This pitch table is derived from two chromatic tetra chords (the intervals are, roughly, quarter-tone, half-step, major third), combined to form a seven-note scale. It is meant to be played on the white keys. Tone center is E.

This pitch table is derived from two enharmonic tetra chords (the intervals are, more or less, two quarter-tones followed by a major third), combined to form a seven-note scale. It is meant to be played on the white keys. Tone center is E.

This is a typical Turkish octave-based scale using only one quarter tone. The second note in the scale is tuned 40 cents flat from the equal-tempered equivalent. In this tuning B is 40 cents flatter from B natural. The scale rises from A.

The intervals in this table form the basis for much Middle Eastern music. Here the octave is divided into 17 intervals, corresponding to the fret intervals of some stringed instruments used in this area. The scale rises from the base pitch of C4 in a series of three repeating intervals (in cents) of 90, 90, 24 and so on. From C4 to F5 represents an octave.

ENSONIQ ASR-X Pro Reference Manual

Arabic-2

Arabic-3

Arabic-4

Java-Pelog1

Java-Pelog2

Java-Pelog3

Java-Slndro

Java-Combi

Indian-Raga

Tibetan

Chinese-1

Chinese-2

Thailand

24-Tone-Equ

19-Tone-Equ

31-Tone-Equ

53-Tone-Equ

Harmonic

CarlosAlpha

Carlos-Beta

CarlosGamma

Partch-43

Reverse

Bagpipe

ShonaMbira1

ShonaMbira2

SuperJust

88CET

Pierce-Bohl

WS1

WS2

WS3

Stretch

RandomDetun

RAM

9ÑSupplemental Information

Similar to Arabic 1, except that here the octave is divided into 24 intervals. This makes one pitch octave cover two keyboard octaves, meaning that the fingering will be the same in any octave. This scale rises from the base pitch of C4 in a series of four repeating intervals (in cents) of 24, 66, 24, 90 and so on.

This is a 12-tone scale using quarter tones (notes tuned sharp or flat by 50 cents from their equal-tempered equivalents) on the

C#, E, G# and B keys.

Another octave-based scale with an Arabic flavor. In this case the Òquarter tonesÓ are not perfectly equal, imparting a distinctive character to the notes.

One of the two main scales of the gamelan orchestras of Java and Bali is the seven-tone scale called Pelog. The notes C, D, F , G, and A (which are reproduced on the black keys) are considered primary, with E and B used for grace notes. The octaves are stretched (tuned a little sharp) due to the harmonic content of the instruments in the gamelan. (There are many variations of these tunings, almost as many as there are gamelan ensembles. These tunings are to be considered typical, not definitive.)

Another version of the seven-tone Pelog scale used in gamelan music. The notes C, D, F , G, and A (which are reproduced on the black keys) are considered primary, with E and B used for grace notes. The octaves are stretched (tuned a little sharp) due to the harmonic content of the instruments in the gamelan.

A third version of the seven-tone Pelog scale used in gamelan music. The notes C, D, F , G, and A (which are reproduced on the black keys) are considered primary, with E and B used for grace notes.

A 15-tone equal tempered tuning from Java. Playing every third note (as in a diminished chord) yields a typical 5-tone scale of the gamelan. Other notes can be used as passing tones.

This is actually two pitch tables in one. The white keys play the seven-tone Pelog scale, same as the table JAVA-PELOG1. The black keys play a five-tone scale called Slendro, which is close to a five-tone equi-tempered scale. Both tunings have their octaves stretched (tuned a little sharp) due to the harmonic content of the instruments in the gamelan.

Indian scale used to play ragas, based on 22 pure intervals called Srutis. This pitch table uses two keyboard octaves to play one octave in pitch. The 22 Srutis are mapped to keys in this two-octave range omitting the A#s, which play the same pitch as the adjacent A.

This tuning is based on a pentatonic scale from Tibet. Notice that playing the black keys yield a scale similar to the 5-tone

Slendro tuning from Indonesia.

This is a seven-tone scale used widely in China. It is meant to be played on the white keys.

A seven-tone scale based on an ancient Chinese lute tuning. It is meant to be played on the white keys.

This is a seven-tone equi-tempered scale from Thailand. It is meant to be played on the white keys.

Centered on C4, this scale has an even quarter tone (50 cents) between each keyboard note, and each pitch octave covers 2 keyboard octaves. This tuning has been used by many contemporary composers and can be used in some Middle Eastern music.

Centered on C4, this scale divides the octave into 19 equal steps. From C4 to G5 forms an octave. This scale yields very pure thirds and sixths, but not fifths. Like the 24-tone scale, this has been used by some modern composers.

Centered on C4, this scale divides the octave into 31 equal steps. From C4 to G6 forms an octave. Similar to 19-tone in the purity of its intervals.

This scale divides the octave into 53 equal steps. From C2 to F6 forms an octave. It yields very pure thirds, fourths and fifths.

This is a mathematically generated scale based on the relationships of the partials in the harmonics of the fifth octave of the linear harmonic spectrum. It is interesting mostly from a theoretical standpoint.

Derived mathematically by Wendy Carlos in the search for scales with the maximum purity of primary intervals, This is based on the division of the octave into 15.385 equal steps (78 cents per key). One pitch ÒoctaveÓ covers 16 keys, though because the

Carlos scales are asymmetric (not based on whole number divisions of the octave) they do not yield pure octaves.

Wendy CarlosÕ Beta scale is based on the division of the octave into 18.809 equal steps 63.8 cents per key. One pitch ÒoctaveÓ covers 19 keys; though, being asymmetric, it yields no pure octaves.

Wendy CarlosÕ Gamma scale is based on the division of the octave into 34.188 equal steps (35.1 cents per key). This scale has essentially perfect major thirds, fourths and fifths. One pitch ÒoctaveÓ covers 35 keys, though, again, being asymmetric it yields no pure octaves.

Harry Partch was a pioneer of micro-tonality in the early 20th century. He developed this 43-tone-per-octave scale of pure intervals, and even designed an entire orchestra of instruments using this scale. The tonal center is found on key D2 (the low D on the 76-note keyboard). This pitch table has been transposed up an octave to bring the notes into a more usable range.

This pitch table simply reverses the pitch-tracking of the keyboard, putting the highest notes at the bottom of the keyboard and the highest notes at the top. Hours of fun.

This is the tuning of a traditional Scottish bagpipe.

One tuning of the African Mbira, similar to the Kalimba or thumb-piano. Each Mbira player uses his own ÒtuningÓ which is his signature.

Another Mbira tuning.

This is a Just Intonation scale created by Wendy Carlos.

88CET is a scale with a constant interval of 88 cents. It features three different thirds and close approximations to many just intervals. This keyboard mapping omits the G#/Ab key from the system.

An octave-repeating stretched scale invented by John Pierce which is derived from a pure twelfth divided into thirteen steps.

The WS scales are for single samples which span the entire keyboard. WS1 maintains 12 tones per octave for two octaves centered on middle C, then continues to high and low ends of the keyboard with 1/4 of a semitone or 48 tones per octave.

WS2 maintains 12 tones per octave for three octaves centered on middle C from G to G.

WS2 maintains 12 tones per octave for four octaves centered on middle C.

A stretch tuning, in which the middle C is at unity, C1 is detuned flat 40 cents and C8 is detuned sharp 40 cents. The stretch is a linear ramp between these two offsets.

Each note has been ÒtweakedÓ by + or - up to 10 cents, giving chords a chorused effect which is different for each note.

Selects pitch tables that can be downloaded via MIDI. See earlier for more information about RAM pitch tables.

ENSONIQ ASR-X Pro Reference Manual 125

Index

IIIInnnnddddeeeexxxx

.wav files, 91

1-AIF WAVE, 91

1-SEQUENCE, 89, 91

1-SOUND, 89, 91

1-WAV WAVE, 91

8-VoiceChorus. See UserÕs Guide

AC power, 2

Access disks utils?, 98

Accessories in box, 1 optional, 6

Add, 61

Adding memory, 104

AIF, 49, 89

AKAI S-1000 sounds loading, 91 translation, 91

AKAISND, 91

All Notes Off button, 6

All Notes Off, enabling reception, 97

All Sounds Off, enabling reception, 97

ALL-BYPASS, 46

Allocating memory, 6

ALL-SEQS, 89, 91

ALL-SESSION, 89, 91 automatic loading of, 89

ALL-SND, 8

ALL-SOUNDS, 89, 91 als, 89

Alt Bus, 34, 42

Alter system pitch?, 95

Amp Env Attack, 16

Amp Env Decay, 16

Amp Env Release, 16

Amp&Filt Env Vel, 17

Analog synth sounds. See Stomper

Append sequence?, 75

Architecture overview, 4Ð6

Arrow, downward-pointing, 87

ASR-10 and ASR-88 sounds loading, 91 translation, 91

ASR-SND, 91

ASR-X Pro UserÕs Guide, 1

Assignable controllers, setting up, 97

Attack Level (1), 31

Attack Time (1), 31

Audio Inputs using, 50

Audio Outputs, 1

Auto-locating, 58

Automatic loading of settings, 89

Auto-punching, 65

AutoSelect FXBus, 94

Auto-Step, 63

Auto-Zero Cross, 95

Aux Out jacks, 1

Auxiliary outs overview, 42 routing sounds to from pads, 27 from tracks, 13

AuxOut1-4, 13, 27, 42

Bank Select Recv, 18

Bank&ProgChgRecv, 97

Banks, defined, 8

Bypassing effects, 46

BYPD, 46

Categories. See SoundFinder

CD-ROM drive, using. See SCSI

Chaining sequences. See Pattern mode

Change sound type?, 102

Chatter Box. See UserÕs Guide

Chorus→Rev. See UserÕs Guide

ENSONIQ ASR-X Pro Reference Manual

Clearing RAM, 101

Click, 66 adding an effect, 66 and time signatures, 64 choosing its sound, 66 saving settings to FLASH, 102 sending it to the Aux Outs, 66 setting its beat, 66 setting its loudness, 66 setting its panning, 66 turning on and off, 66

Click Timing, 66

ClockSource, 97

Comp→Dist→DDL. See UserÕs Guide

Connecting SCSI cables, 85

Controllers list, 118

Controlling an external sequencer, 97

Copy [disk name] disk?. See

Copy sound?, 38

Copy this sequence?, 75

Copy track?, 72

Copying a SCSI disk. See

Copying tracks

(Destination) Seq, 74

Destination Track, 74

DestTime, 74 overview, 72

Paste

Append, 73

Merge, 73

Replace, 73

Scope, 73

Countoff choosing its sound, 66 setting its length, 67 setting when it occurs, 66

Countoff, 66

Countoff Bars, 67

Countoff Sound, 66

Create a new song?, 77

Create new sequence?, 60

Creating a New Sequence, 60

CTRL1, CTRL2, CTRL3 and CTRL4, 97

CTRL3 and Patch Select buttons, 98

CUSTOM category quick selection, 9

Cut ModSrc, 33

Cutoff ModAmt, 33

Data Entry Recv, 18

DDL→Chorus. See UserÕs Guide

DDL→EQ. See UserÕs Guide

DDL→Flanger. See UserÕs Guide

DDL→Phaser. See UserÕs Guide

Decay Time (4), 31

Defragmenting. See Optimizing a SCSI disk

Delay Offset, 15

Delta quantizing, 69Ð70

Demo, playing, 4

DEMO-SND, 102

Destination Track, 74

DestTime, 74, 75

Device ID. See SCSI device IDs

Directories. See Folders

Directory Sorted, 101

Disk storage copying SCSI disks, 98 de-fragmenting SCSI disks, 99 erasing disk files, 100

Floppy overview, 81 formatting disks, 98 free space on disk, 101 loading files computer files with long names, 92 procedure, 90 selecting a file, 92 selecting a memory location, 92 types of files, 90 overview of options, 81 renaming disk files, 100 resetting SCSI bus, 99 saving files naming files, 90 procedure, 88 types of files, 89

SCSI bus defined, 82 resetting, 99 connecting cables, 85 device IDs explained, 83 setting the ASR-X ProÕs, 95 folders creating new, 88 default, 85 explained, 85 invisible, 85 navigating, 87 overview, 82Ð85 powering up, 85 preparing for, 85 scanning SCSI bus, 87 termination explained, 84 setting the ASR-X ProÕs, 95 troubleshooting, 86 selecting device, 86Ð87 write-protecting SCSI disks, 100

Disk utilities checking free space, 101 copying SCSI disks, 98 de-fragmenting SCSI disks, 99 erasing disk files, 100 formatting disks, 98 renaming disk files, 100 resetting SCSI bus, 99 write-protecting a SCSI disk, 100

Dist→Auto Wah. See UserÕs Guide

Dist→Chorus. See UserÕs Guide

Dist→DDL→Trem. See UserÕs Guide

Dist→Flanger. See UserÕs Guide

Dist→Phaser. See UserÕs Guide

Dist→VCF→DDL. See UserÕs Guide

Distortion curves in effects, 47

Down arrow symbol, 87

DpthModSrc, 34

Drum mapping, 23, 113

Dry, 13

Dry, defined, 41

EEEE

Edit Click/Countoff?, 65

Edit global reverb?, 43

Edit insert effect?, 43

Edit MIDI settings?, 96

Editing any parameter, 3 any value, 3

EDM sounds, loading, 91 efa, 91 efe, 91

Effect bus. See FX Bus

Effects adding to pad sounds changing busses, 27 adding to track sounds changing busses from front panel, 13 via MIDI, 13 bypassing, 46 distortion curves, 47 editing, 43

LFO waveshapes, 47 overview, 41Ð42 global reverb, defined, 42 insert control track, 41 insert effects

127

Index defined, 41 list, 41 real-time modulation, 44 modulators list, 44 selecting, 43 setting the insert control track, 46

Effects Edit button, 43, 46

Effects Select button, 43

Electro Static Discharge, 103

ENSONIQ Drum Map, 113

ENSONIQ Percussion Map, 113

ENSONIQDISK, 87

Enter button, 3

Enter MemoryManager?, 101

Enter pattern mode?, 76

Env1PitchModAmt, 31

Env2CutoffModAmt, 33

Envelope Mode, 31

EPS and EPS 16 PLUS sounds loading, 91 translation, 91

EQ→Chorus→DDL. See UserÕs Guide

EQ→Comp→Gate. See UserÕs Guide

EQ→Reverb. See UserÕs Guide

Erase all sequences?, 76

Erase disk files?, 100

Erase memory banks?, 101

Erase sound?, 101

Erase this sequence?, 76

Erase track?, 74

Erase trk to end?, 74

Erasing ASR-X Pro RAM, 101

Erasing tracks a MIDI controller, 74 a note range, 74 all recorded data, 74 assorted data, 74 only within a region, 74

ESD, 103

ESP2, 41

ESSENTIALS, 89

Essentials buttons assigning favorite sounds to, 9 default sound assignments, 9 in sound selection, 9 saving sound assignments to disk, 89 to FLASH, 102

Exit button, 3

EXP Expansion Boards, 6

Exp Name, 102

Expansion options, 103

Expressn(11) Recv, 18

EXP-SND, 8

FFFF

Fast-forwarding in a sequence, 58 fav, 89

FDX-100, 1

Filt Env Attack, 16

Filt Env Decay, 16

Filt Env Release, 17

Filter Cutoff, 16, 33

Filter Resonance, 16

Final Mix mode, 63

FinderPref, 35

Fine Tuning (global), 96

Fine Tuning (sound), 30

Fine Tuning (track), 14

Flanger→Rev. See UserÕs Guide

FLASH saving settings to, 102

FLASH, defined, 6

Floppy disk selecting for use, 86

Floppy disks advantages/disadvantages, 81 formatting, 98 inserting in drive, 82 removing from drive, 82 write-protection, 81

Folders creating new

128 using ASR-X Pro, 88 using computer, 88 explained, 85 invisible folders, 85 navigation, 87 where disk files are saved, 89

Foot switch assigning functions, 93 connecting, 2

FootPedal(4) Recv, 18

Formant Morph. See UserÕs Guide

Format disk?. See

Free, 101

Free space in RAM, 101 on disk, 101

From= parameter, 65

FtSw L and FtSw R, 93

FX Bus defined, 42 pad parameter, 27 track parameter, 13

FX Bus (click), 66

Gate Percentage, 63

Gate Time, 62

Gated Reverb. See UserÕs Guide

Glide Mode, 15, 30 changing via MIDI, 15

Glide Time, 15, 30

Global pitch bend, 95

Global pitch table, 96

Global reverb defined, 42 editing, 43

Light, Medium, Wet, 42 list, 42 selecting, 43

Global Reverb=, 43

GM Kit Map, 114

Group solo, 19

Guitar Amp. See UserÕs Guide

IIII

Hall Reverb. See UserÕs Guide

Hard disk. See SCSI

Held pitch bend, 96

Hex wrench, 103

In Bus, 51

Index ModAmt, 29

IndxModSrc, 29

Input Level knob, 50

Insert, 13

Insert control track defined, 41 setting, 46

Insert effect parameters. See UserÕs Guide

Insert Effect=, 43

Insert effects adding to pad sounds, 27 adding to track sounds, 13 defined, 41 editing, 43 in song mode, 77 list, 41 real-time modulation, 44 modulators list, 44 selecting, 43

Insert FX Bus

GlobalReverb Amt, 44

Input Mix, 44

Insert: Mod Dest, 45

Insert: Mod Dest Min and Max, 45

Insert: Mod Src, 45

Insert: Mod Src Min and Max, 45

Installing additional sample memory, 104Ð6 an EXP wave expansion board, 106Ð8

Installing expansion options, 103

Invert sample data?, 37

Invisible folders. See Folders

Key Group Assign, 35

Key Range Hi, 17

Key Range Lo, 17

Keybd TimeScaling, 32

Keybd Track, 33

KeybdTrack, 30

Kit Mapper, 23

Knobs

Parameter and Value, 3

Sound Type and Sound Name, 3

LLLL

Large Plate. See UserÕs Guide

Large Room. See UserÕs Guide

Layers, in sounds, 22

LEDs flashing

Exit/No and Enter/Yes, 3

Mute/Solo, 19

Play and Record buttons, 59

Sampling Level, 50

LFO Delay Time, 16, 34

LFO Depth, 16, 34

LFO Key Restart, 35

LFO Pitch ModAmt, 30

LFO Rate, 34

LFO Rate ModAmt, 34

LFO Shape, 34

LFO Start Phase, 34

LFO Sync, 35

LFODepth ModAmt, 34

LFOs in effects, 47

LightReverb, 13

LightReverb FX Bus, 44

Lights. See LEDs

Link, 32

Load button, 90

Load from disk?, 90

Loading .wav files, 91

Local Off Channel, 96

Locating within a sequence, 58

Location in sequence, 59

Loop End, 29

Loop Playback, 64

Loop Start, 29

Looping waves, 29, 95

Low Key/High Key, 71

Main Out jacks, 1

Make a RAM kit from...?, 24

Making a new sequence, 60

Maximum number of notes, 6

MediumReverb, 13

MediumReverb FX Bus, 44

Memory. See Sample memory

Memory Manager, 101

Change sound type?, 102

Erase memory banks?, 101

Erase sound?, 101

EXP Name, 102

Show free memory?, 101

Method, 69

Metronome. See Click mfb, 89

Mic/Line switch, 50 mid, 89

Middle C, 17

MIDI

All Notes Off, 97

All Sounds Off, 97

ASR-X Pro note range, 21

Bank Selects numbers, 8, 10 changing FX bus, 13 changing Glide Mode, 15 channels, described, 116 controllers list, 118 reception behavior, 120

ENSONIQ ASR-X Pro Reference Manual

editing track parameters, 12 enabling track reception of Bank Selects, 18 of CTRL1-4 messages, 18 of Data Entry messages, 18 of Expression messages, 18 of Foot Pedal messages, 18 of Mod Wheel messages, 18 of Pan messages, 18 of Pitch Bend messages, 18 of Program Changes, 18 of Sustain/Sostenuto messages, 18 of Volume messages, 18 enabling transmission of data, 13 hardware, 116 implementation, 119 implementation chart, 119 jacks, 2

Local-off operation, 96 muting tracks, 19 note names/numbers, 21 playing sounds from, 10

Program Changes numbers, 8, 10 recording to external sequencer, 96

Reset All Controllers, 97, 120 selecting sounds, 10

Song Position Pointer receiving and transmitting, 97 synchronizing to external sequencer, 97

Tuning Standard further info, 124 using, 124 using RPNs and NRPNs, 122

MIDI-OUT sounds programming and using, 10

Mix (Expression), 12

Mixdown, 63

Mod Wheel(1) Recv, 18

Mode, 32

Modulators sound modulators list, 27

Mono, using the ASR-X Pro in, 1

Move Note Offs, 72

Multiple ASR-X Pros, using, 97

Multi-Tap DDL. See UserÕs Guide

Multi-timbral, defined, 116 mute, 19

Mute/Solo button, 19

Muting a track using Mute/Solo button, 19 via MIDI, 19

No button, 3

Noise Sync, 35

NoiseSourceRate, 35

NonLinReverb1. See UserÕs Guide

NonLinReverb2. See UserÕs Guide

Non-Registered Parameters. See NRPNs

Normal LFO Rates, 15

Normalize gain?, 36

Normalizing, defined, 51

NRPNs defined, 122 list, 123 using, 123

Octave Shift, 14

Octave Transpose buttons using, 23 what they do, 23 when sending to pads, 54

Offset, defined, 11

On switch, 2

Opening the ASR-X Pro, 103

Operating system defined, 108 upgrading, 108Ð9

What version am I using?, 108

What's the most recent version?, 108

Optimize [disk name] disk?, 99

ENSONIQ ASR-X Pro Reference Manual

Optimizing a SCSI disk, 99

OS. See Operating system

Outputs, 1

Override, defined, 11

Pad Edit button, 25

Pad Pan, 26

Pad Process button, 36

Pad Sound button, 25

Pad Volume, 26

Pad Xpose, 23

Pads editing, 24

PAD parameters, 26 editing pad sounds, 27

AMP parameters, 33

ENV1 parameters, 31

ENV2 parameters, 33

ENV3 parameters, 34

FILT parameters, 32

FLT1 & FLT2 parameters, 33

MISC parameters, 35

MOD parameters, 34 modulators, 27

PTCH parameters, 30

WAVE parameters, 29 processing waves copying waves, 38 inverting data, 37 normalizing, 36 overview, 36 reducing sample bits, 37 time-scaling waves, 38 truncating, 38 volume scaling, 36 selecting sounds, 25 what pads play, 21 a whole kit at once, 23 resetting, 23

Pads Play Local, 96

Pan (click), 66

Pan ModAmt, 33

Pan ModSrc, 33

Pan(10) Recv, 18

Parameter knob, 3

Parameter, defined, 3

Parameters editing track parameters, 11

Parametric EQ. See UserÕs Guide

Paste, 73

Patch Select buttons and CTRL3, 98 and MIDI, 24 as modulation devices, 98 modes

Live or Held, 93 what they do, 23

Patch Selects, 93

Pattern mode. See Pattern mode

Patterns. See Pattern mode

Pedals. See Foot switch

Percussion mapping, 113

Phaser→Rev. See UserÕs Guide

Phones jack, 1

Pitch Bend Down, 30

Pitch Bend Recv, 18

Pitch Bend Up, 30

Pitch Bend Up, Pitch Bend Down (global), 95

Pitch Bend Up, Pitch Bend Down (track), 14

Pitch bend wheel, described, 95

Pitch Detuner. See UserÕs Guide

Pitch ModAmt, 30

Pitch ModRange, 30

Pitch tables creating, 124 list, 124

PitchBendMode, 30, 96

PitchTbl (global), 96

PitchTbl (sound), 30

PitchTbl (track), 14

Play/Top button, 58

Playing a sequence, 58

Index

Playing the ASR-X Pro Demo, 4

PlayMode, 29

Polyphony, 6

Powering up ASR-X Pro, 2 when using SCSI, 85 ppqn, 59

Pre-quantization, 65

PressureMode, 17

Pre-Trigger, 52

PROC, 36

Prog, 12, 13, 27, 42

ProgramChngeRecv, 18

Protecting a SCSI disk, 100

PtchModSrc, 30

Punching in manually, 58 with a foot switch, 94

Q, 32

Quantize To, 68

Quantize track?, 67

QuantizeNoteOffs, 72

Quantizing tracks adding randomness, 71 adding swing, 70 as you record, 65 in a specific key range, 71 method

Normal or Delta, 69 moving the ends of notes, 72 overview, 67 setting the quantization value, 68 setting the strength, 70 setting which notes are quantized, 71 shifting the whole track, 71 templates described, 68 list of templates, 115 saving your own, 72 to FLASH, 102 the lengths of notes, 72

RAM kit defined, 24 how it's named, 25 where it goes, 24

RAM pitch table, 124

RAM, defined, 5

Ramp Level (2), 31

Ramp Level (3), 31

Ramp Time (2), 31

Ramp Time (3), 31

RAM-SND, 8

Random, 71

Rate ModSrc, 34

Real-time modulation, 44

Rec Mode (sampling/resampling), 51

Record Mode, 61

Record Time, 51

Record/Scoop button, 58

Recording. See Sequencing

RecordQuantize, 65

Reduce sample bits?, 37

Region FromPoint, 65

Region ToPoint, 65

Regions defined, 64 end

To=, 65

ToPoint, 65 start

From=, 65

FromPoint, 65

Registered Parameters. See RPNs

Release Time (5), 32

Removable drive. See SCSI

Rename disk files?, 100

Rename sequence?, 75

Rename Sound?, 35, 101

Renaming a sound, 101

Replace, 61

129

Index

Resampling. See Sampling/Resampling

Resampling Setup button, 50

Reset All Controllers enabling reception, 97 reception behavior, 120

Reset SCSI bus?, 100

ResetControlRecv, 97

Resolution of sequencer, 59

Resonance (Q), 32

ResVCF→DDL. See UserÕs Guide

Retro synth sounds. See Stomper

Rev→Chorus. See UserÕs Guide

Rev→Flanger. See UserÕs Guide

Rev→Phaser. See UserÕs Guide

Reverb. See Global reverb adding to pad sound, 27 adding to track sound, 13

Reverb Return Level, 44

Rewinding to the beginning of a sequence, 58

Roland S-770 sounds loading, 91 translation, 91

Roll Breakpoint, 33

Roll Slope, 33

Rolloff Mode, 33

ROM Pitch Tables list, 124

ROM sounds list. See UserÕs Guide

ROM waves list, 111

ROM, defined, 5

ROM-SND, 8

RotarySpeaker. See UserÕs Guide

RPNs defined, 122 using, 122

SSSS

Sample memory as shipped from factory, 104 expansion options for the ASR-X Pro,

104

Sample Start, 29

Sample, defined, 49

Samples. See Waves

Sampling In Progress, 53

Sampling Level LEDs, 50

Sampling/Resampling available sampling time, 104 building your own kit, 54 how sounds are named, 54 making a sample, 53 overview

Audio Inputs, 50 audio sources, 49 resampling, defined, 49 sampling, defined, 49

Scratch Pad, 49 wave, defined, 49 sending to pads explained, 54Ð55 process, 53Ð54 setting up, 50Ð52 automatic normalization, 51 saving setup to FLASH, 102 selecting a source, 50 selecting an effect bus, 51 setting sampling time, 51 setting the pre-trigger time, 52 setting the trigger level, 52 setting the trigger mode, 52 stereo or mono?, 51 where sounds go, 54

Save button, 89

Save quantize as?, 72

Save these settings?, 102

Save to disk?, 89

Saving your own quantizing template, 72 sbx, 89

Scale loudness?, 36

Scale time?, 38

Scan SCSI devices?, 87

Scoop, 58

Scope, 73

Scratch Pad

130 described, 49 playing, 53 saving contents to disk, 90 when it's erased, 54

SCSI advantages/disadvantages, 81 bus explained, 82 not functioning, 99 terminating correctly, 84, 95 unscrambling, 99 cables using proper device IDs, 83, 95 connecting, 85 device Ids explained, 83 setting the ASR-X ProÕs, 95 disk selecting for use, 86 scanning SCSI bus, 87 disks formatting, 98 folders creating new using ASR-X Pro, 88 using computer, 88 explained, 85 default, 85 invisible, 85 navigating, 87 powering up system, 85 preparing for, 85 termination explained. See setting the ASR-X ProÕs. See troubleshooting, 86 utilities disk copying, 98 disk formatting, 98 disk optimization, 99 re-setting SCSI bus, 99 write-Protection, 100

What is SCSI?, 82

SCSI Device ID, 95

SCSI II. See SCSI

SCSI Termination, 95

Select Device?, 87

Select Track buttons, 7

Selecting Sequences, 60

Semitone Shift, 14

SemitoneTuning, 30

Send to Pads button, 54

Sending to pads, 53Ð55

Seq parameter, 74

Sequence banks, 89, 91

Sequence Edit button, 60

Sequence length, 64

Sequence names, 75

Sequence Process button, 67

Sequence Select button, 59

Sequencing chaining sequences, 76 changing time signatures, 64 creating a new sequence, 60 creating songs, 77Ð78 looping a sequence, 64 metronome click and countoff, 65Ð67 operating the transport controls, 58 overview, 57Ð58 playing part of a sequence, 65 processing part of a track, 65 processing sequences appending, 75 copying, 75 erasing all sequences, 76 erasing current sequence, 76 overview, 67 renaming, 75 processing tracks copying, 72Ð74 erasing, 74 overview, 67 quantizing, 67Ð72 undoing, 67 quantizing as you record, 65 recording fade-outs, etc., 63 recording from MIDI, 79 undoing tracks, 79 recording modes, 61 recording tempo changes, 63 recording track parameter changes, 63 resolution, 59 selecting a sequence, 60 setting tempo by tapping, 60 with parameter, 60 step recording, 61 using regions, 64

Sequencing overview

What's a sequence?, 58

What's a sequencer?, 57

Set system prefs?, 93

Shift, 71

Show free memory?, 101

Shrinking samples. See Scale time?

SIMM chips installation procedure, 104Ð6 overview, 105 requirements, 105

Small Plate. See UserÕs Guide

Small Room. See UserÕs Guide

SMDI, 86

SMF, 89

SND, 91 solo, 19

Soloing a track using Mute/Solo button, 19

Song mode, 77 creating a song, 77 editing a song, 77Ð78 exiting, 77 playing a song, 77

Song Position Pointer transmission and reception, 97 sou, 89

Sound Name knob, 3

Sound Type knob, 3

SoundFinder, 8, 35 changing a soundÕs type;sound is assigned. Press the Yes button is response to, 102 list of sound types, 112

SoundFinder parameter, 102

Sounds changing SoundFinder type, 102

USER-SND and DEMO-SND, 102 erasing all sounds, 101 erasing from a pad shortcut, 25 erasing from a track shortcut, 11 using the Memory Manager, 101 listing of ROM sounds. See UserÕs Guide renaming a sound, 101 selecting for a pad, 25 for a track via MIDI, 10 selecting for a track from front panel, 8Ð9 structures illustration, 22 kit sounds, defined, 22 standard sounds, defined, 22 types, 8 list, 112

Source, 50 spb, 89

Spinner→Rev. See UserÕs Guide ssx, 89

Standard MIDI File, 89

Standard sounds, 22

Start demo playback?, 4

Start/Loop, 29

Start/Stop button, 53

ENSONIQ ASR-X Pro Reference Manual

Index

StartToEndIndex, 29

Static warning, 103

Step recording, 61 chords, 63 overview, 61

Step Size, 62

Stereo panning a pad sound, 26 panning a track sound, 13

Stereo Chorus. See UserÕs Guide

Stomp!, 39

Stomper, 39Ð40

Stop/Locate button, 58

Stopping a sequence, 58

Storage device selection, 86

Strength, 70

Stretching samples. See Scale time?

Sustain Level (4), 32

Sustain Pedal, 35

Sustain/SostRecv, 18

SW-10 foot switch, 6

SW-2 foot switch, 6

SW-6 foot switch, 6

Swing, 70

SyEx Device ID, 97

Synchronizing effects, 97

LFOs and noise generators, 97 to external sequencer, 97

SyncLFO&Noise, 15

Synthesize sound?, 39

Synthesize Stomper sound?, 39

SysCTRL1-4 Recv, 18

SysCtrls setup, 97

SysEx data on SMF tracks, 89

System pitch bend, 95

System pitch table, 96

System/MIDI button, 92

System/MIDI parameters overview, 92

SYSTEMSETUP, 89, 91 automatic loading of, 89

Template, 68

Templates list, 115

Termination. See SCSI Termination

Threshold, defined, 52

Time, 62

Time compression/stretching. See Scale time?

Time Signature, 64

Timing correction. See Quantizing tracks

TK symbol, 7

To= parameter, 65

Touch Curve, 93

Track Edit/Mix/FX Bus button, 11

Track Mix mode, 63

Track Pan, 13

Track ParamReset, 95

Track ParamReset Behavior, 121

Track Sound button, 7

Track Undo, 67

Track Volume, 12

TrackBreakpoint, 33

TrackMIDIOut, 13

Tracks introduction, 7 parameters editing, 11 resetting, 8 selecting, 7

Tracks and Track Param Reset, 121 and Track ParamReset, 95 parameters recording changes, 63 resetting, 121 selecting sounds, 8Ð11

Transfers via SMDI, 86

Transport buttons, 58

Trig Mode, 52

Trigger, 52

ENSONIQ ASR-X Pro Reference Manual

Truncate length?, 38

Tunable Spkr. See UserÕs Guide

Tuning Shift, 27

Tuning Tables creating, 124

Turning click on or off, 66

Turning on ASR-X Pro, 2

Undo track ?, 67

USER TEMP, 72

USER-SND, 102 quick selection, 9

Using RPNs, NRPNs to Edit Parameters, 122

Value knob, 3

Value, defined, 3

Vel Curve, 32

Vel Levels ModAmt, 32

VelAtckTimeModAmt, 32

Velocity Mode, 17

VelocityRange Hi, 17

VelocityRange Lo, 17

VelRelTimModAmt, 32

Voice Mode, 30

Vol ModSrc, 33

Vol/MixPolarity, 13

Volume, 2 of a pad, 26 of a track, 12

Volume (click), 66

Volume knob, 2

Volume ModAmt, 33

Volume(7) Recv, 18

Waiting For Trigger., 53 wav files, 91

Wave expansion board installation procedure, 106Ð8 name, 102

Waves copying, 38 defined, 49 inverting, 37 list of built-in, 111 normalizing automatically, 51 manually, 36 playing a wave on all pads, 55 processing, 36Ð39 reducing sample bits, 37 scaling loudness, 36 time-scaling, 38 truncating, 38

WetReverb, 13

WetReverb FX Bus, 44

What can be sampled?, 49

What Is MIDI?, 115

Where did my track settings go?, 8

Why do I only hear a few drum sounds?, 23

Why don't the pads do anything?, 96

Why is my edit doing nothing?, 12

Why won't my SCSI drive work?, 86

Window Minimum and Maximum, 71

World Wide Web, 1

Wrench, 103

Writable disks, explained, 82

Write-Protect, 100

X-8 output expander, 6

X-Audio audio CDs, 6

XMit MIDI Clocks, 97

YYYY

Yes button, 3

131

L

EADING THE

W

ORLD IN

S

OUND

I

NNOVATION

TM

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