Issue #80 - Buchty.net

Issue #80 - Buchty.net
.
The Independent News
Magazine for Ensoniq Users
In this issue
The Nine Most Often-Asked
Questions
About the SQ-l
(and one surprise)
(& 2)
Pat Finnigan
but you only have to do it once! It's a
navigational technique Clark Salisbury's
mentioned previously, so spend a little
more time during SQ-l operations; you'll
save tons of precious time and lost creative moments by pressing the right buttons
the FIRST time. So anyway, here goes...
Q: How do I get card sounds on a track
without first o~erwriting a ROM sound?
So after living with the SQ-l for almost
eight months now, I've grown to realize
what power this keyboard offers, how
slick it sounds, how little I've scratched its
surface, and how complicated it can be to
use sometimes. Most (if not all) of the information in this article is, in fact, in the
manual, but there are parallel menu pages
for many operations which can be a bit
confusing to the first-time workstation
user. As a resource person for TransoniqNet concerning SQ-l questions I typically
field from three to eight calls a day, and
the degree of devotion of Ensoniq users
never ceases to amaze me (subject of
another article). Since we SQirtles don't
have the luxury of the Vixie's BIG display, we powerusers memorize the "direct
dial" approach of "ScreenlBank" menu
pagination to get from operation A to
process B. So, here's your first assignment: If you haven't yet memorized the
"direct dialing" approach, take the time to
do it! Sure, you'll lose a few brain cells,
ISSUENUMBER80, $2.50
:II
A: Press the "Select Sequence" button and
select the track/voice you wish to replace.
Press the "Sounds" button, and while
holding it down, press "Card A" or "Card
B" buttons to access the card banks. While
still holding the "Sounds" button down,
select the voice you wish to drop onto the
selected track by pressing the appropriate
bank and screen buttons. WHen the display indicates the selected voice you're
looking for, release the "Sounds" button.
Viola!
Articles:
SQ-l & 2 Questions and Answers
Pat Finnigan
Cover
Recording a Complete Vocal Track on EPSs
Robert Schulze Lutum
9
Key Shifting on the EPS
William Pont
12
Wave Mutilation on the SQs
Jack Stephen Tolin
- Part II
16
Reviews:
Basement Tapes: Carmen Caramanica
Daniel Mandel
Valhala's Classic Synth Library
StevenFox
-
7
EPSs
11
Arnold Mathes SQ-80 Sounds
Leonard Crockett
13
Quadraverb for ESQ-l/SQ-80
Charles R. Fischer
14
Ensoniq's British Collection for SD & VFX
Jeffrey P. Fisher
15
ESQuizit Patch Librarian
Brian Rost
- ESQ/SQ-80
18
Q: Every time I changefrom one preset to
another, I lose the changes I made in the
previous preset; what gives? Is my SQ-]
screwed up or have I done something to
mangle its memory?
NightWind EPS Samples
Barry Carson
A: Save your edits! Any changes you
make to your presets are ignored if you
don't answer "Yes" to the "Save Changes?" prompt that comes up when you
select a different Preset/Sequence locationl This is not a bug! The menu page
"Prompt to Save Changes" (Bank I,
Screen 5) may have been shut off or other-
Random Notes
Current O.S.
Hard Drives List
Classifieds
Hackerpatches
Sam Mims & Jeffrey Rhoads
The Interface
Hacker Booteeq
19
Regular Stuff:
3
3
3
20
"
21
24
31
FEBRUARY,1992
wise accidentally disabled by a user so that, you got it, the "Save
Changes?" prompt doesn't display when you change locations. If
this particular menu page is disabled, the SQ-I ignores all edits
and will recall the previously saved voice/track assignments
when that location is recalled.
this. If anyone has any ideas on this one, please write me or call,
as I'd like to be able to recommend a software fix for all the
IBM users (perhaps Cakewalk Version 3.x?)...
Q: Why can't I edit the Drum kits? I get to the drum pages and
try to remap a drum kit to Roland drum map defaults, but as
soon as I assign the sidestick to C#2, snare to D2, and then go
back one page, the C#2 reverts back to kick. Why is this?
A: Sure you can! Press Bank I, Screen 4 (in Control mode), and
select "Sequence" instead of "Song." Again, remember to save
your changes or the SQ-I will ignore your edits.
Q: Why can't I edit Sequence tracks in Song Mode?
Q: Why can't I use the Data Entry slider as a "Timbre" modulator?
A: This question has both an answer and an explanation. First,
the answer. Yes, you can edit the drum map in the SQI, but it
will not allow you to overwrite ROM locations. Since the drum
kits "apparently" reside in both "Internal" and "ROM" locations,
you'd think you could pull the snare down a bit and overwrite
the patch. No Can Do. The drum waves are ROM-based (as is
the entire instrument, for that matter). Simply select an internal
patch location less than #80 (where the drum kits start), and
copy the particular drum kit you wish to work with into it. Then
edit to your heart's content and rewrite over this internal patch
location. This took me a little while to figure out myself. If you
do it properly, you can write differing drum maps to bounce
other sequences into the SQ-I without resequencing the drum
part, but there is a caveat. The "Default Drum Map" allows a
maximum of 17 resident drum sounds (see the chart on 6-6 of
the Blue Book). So there is no way (at least, that I know of) to
force 61 drum sounds into a patch which only has room for 17.
You could write 7 other "Sounds" composed of 3 drum waves
both low and high key limited for range and drop those into a
preset with one of the default kits to give a total of 38 assigned
drum sounds if you're a drummer with enough architecture to
play more than 17 drums at once, you're on the road with
Samantha Fox, or in a jar at Harvard medical school.
A: The "Timbre" modulator, as defined in the Musician's Manual, is a programmable and mappable controller, but only via
MIDI. You assign it a continuous controller parameter # to
respond to an alternate inbound MIDI controller message, such
as breath control (#2), or any other continuous controller. If this
sounds confusing, just remember that "Timbre" only responds to
inbound MIDI data from another source (sequencer, keyboard,
wind instrument, MIDI guitar, or other alternate controller.
Q: How do I change the amplitude envelopes? I press "Yes" to
the "Select defaults" window, but the different envelopes have
no effect.
A: You must press the "Enter" button again after you have the
desired envelope in the display. Sometimes you'll get the infamous display "Sorry! Current voice is muted" and so you'll
have to go the Wave page and select "All" or unmute/solo the
particular wave you wish to edit (1-1 for d-d'ers). There's a lot
more going on in this box than the 16 x 2 display can indicate...
Q: I can't get the SQ-] to receive external sequencer tracks on
any tracks other than track #1.
Q: I can save SQ-1 sysex data to my computer, but I can't reload
it into the SQ-1. Why?
A: Set the MIDI In mode to "Multi." I think this was the most
frequently asked question of Malvern back in 1988 when
everyone was bouncing their ESQ-I sequences into their new
EPS. And make sure the Base Channel is set to MIDI Channel
#1, or you'll offset track numbers equivalent to the sum of the
track MIDI channel added to the Base Channel.
A: This one took a little time. First of all, most of these calls
came from SQ-I users running an IBM clone under Cakewalk.
The sysex transmission from the SQ-I is a header block, followed by a 100 ms pause, followed by the data burst of sequence
of voice parameter data. Cakewalk 2.0 has no adjustment features to insert a pause between the header block and data, so
depending upon the speed of the particular computer and the free
memory available, it mayor may not work. If you've got the
SQX-70 expander installed, forget it! An expanded SQ-I dumps
177K of sequence memory via sysex; Cakewalk's sysex buffer
only supports 32K (64K for Cakewalk 3.0 owners), so when you
try to save the file, the red dialog box jumps out and says "Buffer Overflow; Discarding Sysex Data" and you're out of luck (it's
not very noticeable to monochrome users). I tried to record the
sysex data as note data in a track; no luck. I understand that
Voyetra's SP3 software will work, but you gotta have LlM or
EMS in your Config.sys file, and at least 384K of free memory
(above the 640K "Protected"limit) or it'll crash. Many so-called
"Librarian" utilities only reserve around 15K for sysex buffering, so the only way I know of to resolve the problem with
MS-DOS'ers is to save one sequence at a time. Personally, instead of saving the Sysex data to my AT, I switch to a Mac Plus
running Performer 3.42; no problems there. I hear Opcode's
Vision will save a Sysex file of that size, although I can't verify
Q: When I select an organ soundfrom a preset I've assigned, the
Leslie effect doesn't work.
A: The effects of the SQ-I are global for all sounds of a preset
or sequence. If the current effect of the preset that "Organl" or
"Organ2" was a reverb, chorus, or something other than
"Rotary," you won't get the Leslie effect until you edit the Preset effect to "Rotary" and route the mod source to the modulation wheel. It's kind of confusing because there are two effect
busses which many people read to mean "Two Effects." Even
more confusing is the fact that the SQ-I had 3 effect busses
(counting the "Dry" bus). Not to worry, the Big Blue Book explains it very well, but with a section that reads "Combined Effects" (3-13), it's easy to think that you can mix any and all
effects in the FX programming. Not so! Unless specifically
stated in that particular effect algorithm, what you see is what
you get. If you want Leslie on a track, you get Leslie on all
(Continued on page 6)
2
.
.
.
.
Front.
Panel
SEQUENCING - Larry Church, Dantar Music, 503-692-3663. Call anytime.
RND(J'J'J-)
SQ-80 QUESTIONS - Michael Mortilla, 805-966-7252 weekends and after
5 pm Pacific Time.
Ensonlq News
EPS & EPS-!6 PLUS QUESTIONS - Garth Hjelte. Rubber Chicken Software. Pacific Time (WA). Call anytime. If message, 24-hour callback. (206)
467-5668.
Well, we haven't received the official press release yet, but we
have heard from Ensoniq that they've become the U.S. distributor
for C-Lab - the developers of Notator and other popular music
software. More news next month.
ESQ.! AND SQ.80 QUESTIONS - Tom McCaffrey. ESQUPA.215830-0241, before 11 pm Eastem Time.
ESQ-! QUESTIONS
Time (OR).
Hacker News
SAMPLING
MIRAGE
ESQ-!,
zone.
Slater, (404) 925-7929. Eastem time
2.49
2.49
1.1
2.0
3.2
3.5
1.2
1.8
MANUFACTURER
Dynatek
Frontera
PS Systems
Eltekon
Rodime
Microtech
PL1
Mass Micro
All of the individuals listed below are volunteers! Please take that
into consideration when calling. If you get a recording and leave a
message, let 'em know if it's okay to call back collect (this will
greatly increase your chances of getting a return call).
ALL ENSONIQ GEAR - EnsoniqCustomerService. 9:30 am to noon,
1:15 pm to 6:30pm EST Monday to Friday. 215-647-3930.
't
-Joe
VFX
VFX-SD
SO-1
SO-R
SO-1 PLUS
SO-2
SD-1
2.1
2.1
1.01
1.02
1.1
1.2
3.00
Tested and Approved Hard Drives for the EPSs
TRANSONIQ-NET
-
Eastem time zone
The drives listed below are known to be compatible with the EPS and
EPS-16 PLUSat the time of testing. Changes in firmware or hardware by
drive manufacturers may make later versions incompatible (with the exception of PS Systems, Eltekon, and Frontera whose drives are configured to work specifically with Ensoniq products). Drives not included on
this list may also work just fine. For up-te-date information about specific
drives call Ensoniq Customer Service: 215-647-3930.
HELP WITH QUESTIONS
HARD DRIVES & DRIVE SYSTEM
963-5818. 11 am - 3 pm EST.
Mark Wyar, (216) 323-1205.
Current Ensoniq O.S.
Don't forget - if you're making money while you're making
music, a subscription to the Hacker is a tax-deductible business
expense(at least in the U.S.).
"
-
MIDI & COMPUTERS
EPS
EPS-M
EPS-16PLUS
MASOS
MIRAGE
ESO
ESO-M
SO-80
- in Issue #79, in Basement Tapes, we gave the
wrong zip code for Jack Tolin. It should be Quincy, MA 02170.
And he insists he's using a Boss BX-800. (The Box BX-800s never
really got all that popular.)
Romano, 607-533-7878.
SAMPLING
SQ-! QUESTIONS - Pat Finnigan, 317-357-3225. 8:00 am to 10:00 pm
EST.
And finally
-Robert
- "Mr.Wavesample"- Jack
Eastem Time (N.J.). Call after 6:00 pm.
(OH). Calls between 6 pm and 11 pm.
get a ROM upgrade.
SQ.80 QUESTIONS
212-465-
MIDI USERS - Eric Baragar, Canadian MIDI Users Group, (613) 392-6296
during business hours, Eastem Time (Toronto, ONT) or call MIDILINE BBS
at (613) 966-682324 hours.
Also, in that same issue, in the hard disk article by Dave P. Worth,
he mentions that setting the drive to SCSI address 0 precludes
booting from the drive. Rob Feiner informs us that this is only true
with very early EPS ROM O.S.s. If you really want to boot from
-
& MOVING SAMPLES
Loesch, (201) 264-3512.
Oops - Record-BreakingErrata Dept.: In Issue #78 in the review
for SyntaurSoundset4, we gave an old phonenumber.The correct
numberfor Syntauris 818-769-4395(just like the ads say...).
0
8 am to 5 pm Pacific
3430. Leave name, number, address. 24-hr Callback.
HEY! Well, now in addition to needing some SQ-l & 2 and VFX
& SD-l Hackerpatches, we're also looking for writers for VFX &
SD-l articles.
drive
Jim Johnson, (503) 684-0942.
EPS/MIRAGE/ESQ!SQ.80 M.U.G. 24.HOUR HOTLINE -
So far, we've received about a dozen reponses to Clark's Worldwide Hard Drive Info Contest (Issue #77). We're going to have
to call it quits here pretty soon before it takes over the Interface.
(Plus, someone should actually win this thing before too long.) So,
if you want to be included in this please get your entry in by the
end of February. We'll have our drawing shortly thereafter.
..
-
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All Models
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45plus, 60plus, 100plus, 140plus
R45, N20,N40,N80, N100, N150
45 Meg Removable
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The following drives have been reported to work satisfactorily with
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Rob Feiner, Cinetunes. 914-
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PowerDrive44
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Tech Data Model 60e
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SQ-l & 2: Q & A (Continuedfrompage 2)
kinda shorthand? A water-cooled pen? Not to get on a soapbox
and do my best Rush Limbaugh, but that's the reason we've seen
so few articles on programming these new Malvern widgets;
how can we steer anyone through 700+ parameters in under 500
words? We would all welcome any shortcuts to the eyestrain and
difficulty of reading parameters into sounds. We learned these
shortcuts on EPS operations; we need to continue, rather than
forget, these same methods on these new instruments with such
control over sound it's downright frightening. Frightening
enough for other instrument manufacturers to run backwards and
put knobs and faders on last year's technology.
tracks, just as if you were running the outputs of an SQ-l
through a Quadraverb. If this sounds confusing, just remember:
Effects are global in a sequence or preset. Look at the picture on
7-2 of the Blue Book; says it all...
Q: When sending program changes from a computer sequencer,
the SQ-I changes all track programs, even when sending a
single program change on the base channel. Why?
A: The SQ-I has the unusual problem of having more sounds
available than MIDI numbers (340 sounds to be selected by 127
control codes). So program changes 124-127 are reserved as
bank selector program changes (see 7-9 of Big Blue). If you
want to select a sound from a bank other than the current one
selected, you gotta send a bank select program change before the
actual program change #, or you'll select the program # of the
same bank you've previously selected. Also, if you change
presets via MIDI, don't forget the "Smart MIDI" function of the
SQ-l which transmits program changes per track/instrument:
selecting a new preset transmits program changes to all receiving
instruments on their respective MIDI channel #'s (when track
status is set to "MIDI"). Look at this function of the SQ-l as a
built in MIDI event processor (Yamaha's MEP-4 or Digital
Music Corporation's MS-8) which, upon receiving a program
change, sends up to 8 other program changes. Send one program
change, and the SQ-l will send eight (one per sequence track per
MIDI channel per track status per... whew! A lot going on under
the hood.), so keep patch listings handy for your outboard MIDI
gear.
Thanks for staying with me and reading through all of this; for
your patience, here's an undocumented feature you SQirtles may
not have discovered yet. In Song Edit Mode, if you select the
number of reps of a given sequence to uFS" in the display (max
the data entry slider), every time you press the sustain pedal, the
particular sequence will repeat! So if you've gotten outside a little too near the end of a solo, press the sustain pedal and return
next lap! Who said we were stuck in static arrangements with sequencers?
Just everybodyelse...
-
Rio: Pat Finnigan is a service tech turned musician who writes
secret messages in sequences on his EPSs, wondering how much
harder he can push this Malvern silicon before it reverts back to
sand. His latest composition, The Ensoniq Suite, has been
banned by Hans Solo, but is available on EPS disk since it isn't
an audio medium and violates no community standards.
,
Q: When 1 change certain sequences, some notes drop out.
What's the deal?
A: The sequences use different effects. WHen the effect is the
same for both sequences, it's a seamless transition from one to
the other; when the effect of one is different from the next, the
FX chip mutes the audio momentarily while it changes the effects parameters of/to the new sequence. Remember, the "Dry"
bus is muted along with the two "effect" busses when preset effects are changed, so all audio is muted in this instance. Using
outboard effects will allow you to change effects without muting
the dry signal, but then you lose the dynamic range of the SQ-l
(not to mention the effects modulation routings).
'"
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This raised the question "How do other manufacturers change
effects without muting the outputs?" Just to confirm my
suspicions, I auditioned nearly all of the new DSP boxes on the
market to try and find one that didn't mute its outputs when
changing effects; couldn't find one! Not one of those newfangled magic boxes leaves its outputs unmuted when changing
effects. So don't think that your SQ-I had a bug or something if
you experience this.
P.O. Box 261, Clifton Heights, PA 19018-0261
215-626-8890/215-533-7122 (Technical Support)
So there they are, the most common SQ-l questions and answers. Can you imagine trying to describe these button presses
over long distance lines at 11:30 PM? Can you see the immense
need for "direct dialing" when describing SQ-l operations? You
certainly will once you start voice programming this beast.
How're you gonna describe all the button pushes without some
[
VISA
VFX/SD. SD/1. EPS/EPS-16+
KORG T -1-2-3 . YAMAHA SY77
ALES IS DATA DISK. PROTEUS
DEDICATED SEQUENCERS
\...
6
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HACKER BASEMENT TAPES
What
is the
Point?
Daniel Mandel
The music on this second tape is much like the Audio Environments tape with vocals and recognizable tunes added here and
there. As the announcer does his thing we hear a pleasant upbeat
jazz intro (with that good sax solo playing I mentioned earlier).
The vocals are well recorded. In advertising, especially, the vocals
should cut through very clearly.
Demo Tapes: AUDIO ENVIRONMENTS For Film and Video and Advertising Jingle Demo.
Artist: Carmen Caramanica/Executive
Producer.
Contact Info: CARMAL Productions, Inc., 453 Lerchmont Ave., Utica
New York, 13502.
Equipment Used: 2 SQ-80's (with disks full of sound programs...), Korg Mi-R, E-Mu Proteus I, Alesis HR-16, Digitech
DSP 128 Effects processor, ART Pro-Verb, Furman compressor/limiter, Fostex E-8 eight track, Sony DTC-700 DAT, Revox
A-77 2 track, Peavey SCR421-24 24 channel mixing console, In
Line Effects SM8000 line mixer, 2 EV 757 microphones, and other
various equipment.
This is followed by some currently successful ad campaigns that
CARMAL Productions has produced. Then the announcer
describes CARMAL Productions, the history, the equipment and
finally Carmen Caramanica's qualifications. Carmen does have
quite a professional background in music and television as a
guitarist in some jazz bands, bassist, arranger, conductor - working with Lou Rawls, Tony Orlando, Raquel Welch. Besides live
performance and advertising, he's also worked on recording projects and motion picture soundtracks.
This was a refreshing take on the demo tape scene. Carmen uses a
Whitman Sampler approach to the display of songwriting, playing,
recording and equipment capabilities. AUDIO ENVIRONMENTS is
just that
a series of snipits from, well... you decide. Maybe you
could use them as openers for news spots, or possibly a commercial intro, or perhaps a segue from the host to the man on the
street. That's the point, you decide. Most of the segments are not
longer than a minute. There is a wide variety of styles and sounds
displayed rather quickly. There are symphonic sounds, jazz big
bands, a banjo tune, a bird chirping string section, some synthetic
sounds, some sampled sounds. I even heard that characteristic
ESQ-l bell I miss so much. Some very nice percussion pieces.
There is a very dark piece that begins with a plinky percussion
sample. There is no focus on anyone thing. That's the pointCARMAL Productions can do all of these and more for the client.
-
Carmen wrote about his background and how he first heard the
ESQ-l. "A fellow guitarist had just purchased a new ESQ and I
dropped by to see it. I was instantly impressed and decided then
and there to get one. Shortly thereafter, I was asked to produce a
radio/IV commercial for a city-sponsored event, which I did all on
the ESQ! This experience led to the creation of CARMAL Productions, Inc and since then we have been happily building up our
own production studio, doing advertising jingles, music for film
and video, children's songs, songwriter's demos, and all that other
good stuff! While we're continually growing, the heart of our
studio consists of two SQ-80's... Ensoniq still has the best onboard
sequencers around, and as a central controller it's tops.
"By the way, this is an interesting aside... when I first subscribed
to the Hacker (a free copy came with my ESQ) I answered an ad in
the classifieds by a man seeking "sequences" for possible use in a
film. I sent a tape to him and I got the contract to do the entire
film!"
There were some excellent examples of playing on this tape as
well. As much as I've said about sax patches, Carmen did a very
good job making the sax patch sound like a sax. Part of this was
due to the shortness of the demo of the song, but the few phrases
that were put together sounded very well executed. This was also
true of a couple other instruments which are traditionally difficult
guitars and muted horn solos.
to play on a keyboard
-
So if you've been wondering how to market your work, you may
want to try the Whitman Sampler idea. But whatever you do when
you put together a demo or an actual collection of songs, make
sure you do it well, because it's going to represent you. After all,
that's the point, isn't it? -
In order to give you an idea of how these are marketed by CARMAL Productions, they included an info sheet which gives the title
of each piece, the time and the style/description. Just a partial list
from the style/description category reads like this: Upbeat, Spanish
(Overture), Theme in 7/8 time, Radio Stingers, Goodtime Pickin',
TV/Movie Mood, EFX Track (spooky), Perky Theme.
"
'"
If you want your tape run through the ringer, err, Hacker, just mail
it off to: Basement Tapes, Transoniq
Hacker, 1402 SW Upland Dr., Portland
OR 97221.
The second tape, Advertising Jingle Demo, uses an announcer who
talks us through advertising examples. He tells us the psychology
behind radio advertising. This pleasant low male voice explains
how logical it is to go with CARMAL Productions for our advertising needs. He tells us "When your message is spoken over the
music bed, the desired affect is achieved. The listener associates
your business with the music he has just enjoyed. So when he
needs the product or service you sell, he is much more likely to
think of you... and that's the point isn't it?"
Bio: Daniel Mandel is a songwriter,
sound designer, and has sold pro audio
and keyboard equipment and produced
demo tapes for local bands.
7
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.
I
III
Recording a Complete Vocal
Track on the EPS
Robert Schulze Lutum
"'
Until it was demonstrated to me at Germany's Frankfurt Music
Fair, I hadn't realized that I was already the owner of an especially flexible, if somewhat cumbersome, hard disk recording
system.
VOC." Sample the segment "Old MacDonald had a farm." You
will need less memory if you use a lower sampling rate. I used
22kHz and found it to be okay. Make E3 the root key, regardless of the song's key. Edit the sample, that is, cut away the
silence at the beginning and at the end of the segment 311;dsave
as an instrument called "Old Mac." That will be file #1 in the
directory, "OLDMACVOC."
Now to do this trick, you will need the following ingredients:
1 regular sized Ensoniq EPS or EPS-16 Plus with SCSI
installed
Now sample the part where you sing "Heeya heeya ho!" from
the tape recorder. Repeat the process above, and save as "Heeya
Ho," file #2, into the directory "OLDMACVOC."
1 hard disk drive
1 song, preferably your own song. Familiarity with that
time honored nursery school favorite "Old MacDonald
Had a Farm" will be helpful too, since I am going to
use that for demonstration purposes.
Write onto a sheet of paper what segments contain what lyrics
and in which file # they are to be found.
Continue this process with the whole vocal track. Keep the segments fairly short, but not too short. Two seconds are fine.
Don't sample the rests! Silence is a waveform that is already
built into the EPS in the Malvern factory. You load it by switching the unit off. You can also skip sampling repetitions, such as
"Old MacDonald had a farm," with which every new verse
starts, more than once. The same goes for "Heeya heeya ho."
1 tape recorder (DAT recorders will yield the best
results.) Not absolutely necessary.
At this time: an external sequencer. The EPS cannot
lead instruments from the hard disk while the built-in
sequencer is running (yet.) It's my understanding that
this will be possible in the future. I use the C-Lab
Notator with an Atari ST computer.
The end result is a directory on your hard disk labeled "OLDMACVOC" containing all the segments of your song saved as
instruments. If you have more than 38 segments, you must save
those into a new directory, because a directory can't hold more
than 38 files.
A microphone.
Now compose a song. If you have already composed a song,
compose another one. With lyrics. If you don't have the time to
do this, use "Old MacDonald." Or wait for the someday update
with the autocomposefeature - whatever.
Now for the playback. Slam your EPS into MIDI Multi mode.
Set the base channel to 1. Load file #1 of the "OLDMAC VOC"
directory, that will be the instrument called "Old Mac," into
Track 1. Load file #2 of the "OLDMAC VOC" directory into
track 2. Set track 1 to receive incoming MIDI data on channell,
track 2 of channel 2. Tracks 3 through 8 can be used for the instrumental accompaniment.
Play all the instrumental parts for your song into the external sequencer. Decide on the tempo and the key for that song and
stick wlth that.
The EPS can load instruments from the hard disk into a track
while still playing on the other tracks. This is the much-praised
Load-while-Play function. These loading operations can be controlled from an external sequencer by means of program change
commands sent to the EPS. So we are going to make the EPS
load and play the segments as they are needed. You don't need
the whole vocal part taking up all the memory. You load the
parts you need at a given time and then load the next part.
Take the tape recorder and sing the lyrics onto tape while
listening to the sequencer playing the accompaniment via
headphones, resulting in your voice on the tape without accompaniment. No kidding. Add an effect to your voice if you like
with an effects processor. Avoid long reverbs. Don't forget, if
you have the 16 Plus, you will be able to process your voice
with its built-in DSP.
Now sample the vocals from the tape recorder. Obviously, you
won't be able to sample the whole vocal in one fell swoop.
Let's assume that the directory "OLDMAC VOC" is file #3 in
the hard disk's root directory. Our intention is to load file #1 of
that directory into track 1. This is what we have to do: Send
program change #4 on channell from the sequencer to the EPS.
This will open the directory "OLDMAC VOC." Send program
change #2 on channell
from the sequencer to the EPS. This
will load file #1 of the directory "OLDMAC VOC," namely the
instrument "OldMac."
,:!
01
What we are going to do is cut the vocal track into smaller segments which can be sampled using only a small portion of the
EPS's memory at one time, leaving free RAM for the other instruments to use.
Create a new directory on the hard disk labeled "OLDMAC9
.
,
'>.,.
.
,..-"
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I
So there you are. Sending the "NOTE ON E3" command should
play the sample of your voice singing "Old MacDonald." It
should play at the beginning of the verse, bar 1.
Meanwhile, back at track 2, the commands Program Change #4
followed by Program Change #3 are loading the instrument file
#2, "Heeya ho" into the EPS's memory. Upon receiving the
"NOTE ON E3" command on channel 2, the EPS will play
"Heeya heeya ho!"
Here's how it works: A program change with the number x will
open or load the file with the number x+1. Example: You want
to open the directory with the file number 1. Send the EPS the
Program Change #2 (1+1) You want to load the instrument with
the file number 15. Send the EPS the Program Change #16
(15+1). Remember, it's the file number that's important, not the
file type. Types other than directories or instruments simply
won't respond to program changes. Receiving Program Change
#1 will make the EPS close the current directory.
Caution: Some sequencers (like C-LAB's Notator) number the
128 possible program changes differently. Ensoniq numbers
them from 1 to 128. Others number them from 0 to 127. Check
your sequencer for this. This may cause confusion. If your sequencer numbers program changes from 0 to 127, program
change #1 will load or open file #1. In this case you close a
directory with program change #0.
Don't forget: The EPS can only load one instrument at a time.
Before you make it load "Heeya Ho" on track 2, make sure it's
finished-loading "Old Mac" on track 1. It can't load file #1
while loading file #2!
While playing "Heeya Ho" on track 2, the trusty EPS should be
busy loading "And on his farm" on track 1. See what I'm driving at? I could hardly believe it myself! And it really works!
Only a hard disk can load fast enough, though. It's really worth
giving a thought to buying the EPS a hard disk. Imagine real
duck samples when the part comes" ...and on his farm he had
some ducks!" Real goat samples, real Digi-Whales! "Heeya
heeya ho" sung by a choir with heavy flanging while bdng giddily panned hard left to hard right by the LFO!
This is much the shape of things to come. Our favorite
musicians will someday be available on media such as hard
disks, where you can change the music yourself if you so desire.
Even the vocals! You won't believe this, but I liked the demos
on the VFX/sd and Scott Frankfurt's Club Scene Demo for the
EPS-16 PLUS so much that I recorded them on tape so I could
listen to them in my car! I would buy the CD, but alas, that's
not available.
Send a cassette recording of your "Old Macdonald" hard disk
recording to the author, c/o Transoniq Hacker. Fabulous prizes
could be won! [Ed. -But only if Robert provides them!]-
"~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~.
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10
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RevieY/: Valhala's Keel Classic
Synth Library
Steven Fox
MIDl'd together so that playing one note will create a huge
sound. Again these are quite good, and they all are quite
different from one another. In fact it's hard to say I preferred
anyone sound over another. Hey, I liked them all.
For: BPS, BPS-M, BPS-16 PLUS.
Product: Keel "Classic
Synth" Library.
Price: $10 to $15 per disk depending
special
sale (until February
on quantity
ordered.
Currently
on
29, 1992) at $7 to $9 per disk. Demo $6
(US), $10 (non-US).
From: Valhala, Box 20157, Femdale,
M148220
All of these Classic Synth sounds use up to three multi-samples
across the keyboard, and the split points and loops are in
general, very good. Envelopes and patch selects are, likewise,
very good. However the "MS" set could have used a little more
work with velocity levels and variety in the patch selects.
Block counts average from 300ish to 900ish, and some of the
larger sounds can be made smaller by converting the sample
rate with minimal loss in sound quality.
(313) 548-9360.
As a musician I've quite often wished I had an old Oberheim or
Moog synth as well as all my fancy digital gear. Not having the
room or the spare cash, I've had to settle for some so-so public
domain samples of same on my EPS. This review show what
one talented individual in Canada has been up to with his EPS
and old analog synths.
Overall, this Classic Synth Library provides an excellent
alternative to the real thing for those of us who don't have the
original. I found so many of these sounds musically inspiring
that I don't know where to start!
The Classic Synth Library consists of 20 disks in all, available
individually, but organized within sets. Each of the five sets is
devoted to a particular synth or synthesis technique. I was only
able to review a few disks from each set but it was quite an ear
opening experience.
-
Bio: Steven Fox has temporarily given up the material world,
and his EPS, and is currently touring Southeast Asia. If he
owes you any money, good luckfinding him!
Set "OM" contains samples from a Moog Prodigy, Minimoog,
and an OBX Expander. Some of these even impressed an older
friend of mine who has forever claimed digital just couldn't cut
it when it came to imitating that classic analog sound. "OB-X
STRINGS" and "RIPPER" are particularly impressive although
with each at around 1000 blocks they are a little memory consuming.
Set "AD" consists of samples created using additive synthesis
via the TurboSynth computer software. These were much more
impressive than I would have imagined. The sounds ranged
from very lush to very brash to very bright and sparkly, but all
were quite original and usable sounds.
Set "FM" is fairly obvious, samples from various DX type
synths. This set was the least impressive to me. I was
discouraged because to me the sounds chosen for this set were
perhaps too representative of the sounds you would expect
from PM, which is not to say they are bad. In fact they are quite
good. But I would have preferred to have some of the more
complex or unusual sounds. I suppose this is because, like a lot
of folks, I've had JUST ABOUT ENOUGH FM to last a
lifetime. It's worn out its novelty on me.
Set "VS" consists of Prophet VS samples. All these sounds are
extremely colorful and fat and cover a broad range of the VS' s
capabilities. "BRASS TACKS," for example, has now become
a favorite brass patch in my library. I've also often wished I
had a VS, and I imagine this is about as close as I'll ever get to
it.
CASSETTE PACKAGING
22 N. Main St, St8 323
New City, N. Y. 10956
PHONE: 914 638 6310
FAX: 914 639 1542
Set "MS" are samples of MIDI stacks, that is, many synths
11
,£-~... "
I
III
Key Shifting
on the'EPS
William Pont
This installment of the Never Ending Saga of Sample Mania
will be devoted to a skill used after sampling, namely the art of
using samples on different sections of the keyboard without
them sounding like chipmunks. This technique could be called
Pitch shifting, but I prefer to call it KEY SHIFrING. PITCH
SHIFTING relates to a technique of raising or lowering the
pitch of a sound while its duration remains the same.
During my sampling sessions using the D-50, SQ-80 and of late
the VFX-SD2, I noticed that certain sound waves can quite
easily be transposed up or down by one or even two octaves,
just by using the root key in the pitch page. Other sounds,
however, notably vocal waveforms and transients of real instruments adopted decidedly different personalities. Especially the
vocals. It sounded like Uncle Donald was lurking around every
digital zero crossing.
Oh yes, I could press the "keyboard-range" while in the LOAD
MODE and transpose by an octave but the problem with that
was that the entire instrument with all eight layers would be
transposed. My all-male choir would have instantaneous
sex-changes with the higher keys possessing distinctive rodent
characteristics while conversely my ladies ensemble would
sound like a bunch of heavy breathers one octave lower.
The big question is: How do we transpose a few layers only instead of the whole instrument? Well, boys and girls, read on
and rejoice; relief is near...
find that most of them are centered around one key at which
they play back at the original pitch. In the VFX this is C4.
I have a whole bunch of prerecorded ROM waves from a selection of keyboards and when preparing the VFX-to-EPS Resynthesis disk, found that to really get a killer bass sound,
Ensoniq's programmers would bring down the octave settings
by one or two. The effect of this was a general shift of the
wavesamples from C4 to C3 or C2 respectively. I tried to emulate this by using the root key in the pitch page of the EPS and
the result was truly awful. It just wouldn't sound the same as
the host keyboard. After much frustration and several ERROR
#512 - REBOOT - messages I decided to copy the protocol
of the synths literally and guess what? It worked!!!
How It Works
Suppose you have a well sampled clav wave consisting of four
samples each occupying a quarter of the keyboard. Sample l's
keyrange stretches from AO - B2, sample 2 from C3 B4,
sample 3 from C5 - B6 and sample 4 stretches from C7 C8.
-
-
This clav sound lends itself well for making harpsichords but
needs to get transposed up by one octave for that purpose.
Using the rootkey yields anything BUT a harpsichord so that is
not the way to do it. Press EDIT.
Welcome to the Layer/Wavesample
page.
The technique for this is used extensively in instruments like
the SQ-80 and VFX but remains somewhat shrouded for
samplers. There is a simple rule of thumb to remember:
The display shows: LYR=1 WS=XX. Underline WS=XX. If
you sampled properly in consecutive order then hitting C2 on
the keyboard should produce WS=1. Great! Next, press 'KBD
Range' the button right next to the 'Sample' button on the EPS.
If you want to shift a wavesample originally recorded on
middle-C (C4) to C5, one octave higher, then remember that:
The display shows LO
AO I HI B2. Observe that the underline (the cursor) is positioned under LO
AO. Before you start
=
=
=
fiddling with the keyboard it may be prudent to remember that
doing so without thinking will mess up the keyrange of that
sample, so be careful. I've done it myself with a 20 sample
piano once, and it was in layer 6 where the sample number is
already 3 digits long... Guess how long it took to restore a careless tap on the keyboard.
To key-sbln up: Rootkey of wavesample goes down same amount.
To key-sbln down: Rootkey of wavesample goes up same amount.
This doesn't make sense, does it? Let me explain.
Suppose you wanted to create a multi-instrument that contains
three totally different sounds, eg, a bass, a female choir and a
flute. As can already be seen in this layout, we have conflict of
pitch. The bass requires low frequency samples and the flute is
predominantly high. The easiest solution is, of course, to record
the samples of each sound into this single instrument and the
pitch will be right from the start. But sometimes you have a
whole batch of stock samples, previously recorded and all of
them have a rootkey of C4...
As we're about to raise the clav wave by one octave, we have
to bring down each individual wavesample's keyrange by that
same amount, so press the right arrow key. The cursor moves
underneath HI =B2. (The first wavesample always has AOas
its lowest value and thus needs no adjustment.) Now use either
the down arrow to bring the HI value down to B 1 or press the
corresponding note on the keyboard. What did you say? No B 1
on the keyboard? Dam those 5 octave monsters! Oh well, Use
the down arrow then, and at the same time you know the principle of this new generation keyboard's transposing abilities;
some master keyboard with 88 keys can address your EPS from
Remember that when sampling keyboard ROM waves you'll
12
.
,.
AO all the way up to C8, so that first wavesample is not wasted
after all despite it being inaccessible from the EPS keyboard...
But we're drifting from our subject.
Press EDIT again and hit C2. If you followed this article exactly you should now get WS=ALL. That's right! It means that
your first sample (WS1) was shifted down correctly or disappeared. To make sure it didn't; press the up or down arrow a
few times until WS=1. It's still there! Now press C3 and the
display shows LYR=l WS=2. Press KBD Range and change
the LO =C3 to LO =C2. Then proceed to reduce the HI =B4
to Hi B3. Do this with the remaining two samples as well except that the Hi value of the last sample must remain at C8.
=
We have now key-shifted all four samples and I bet that playing the keyboard now yields quite a different sound from what
you had before. This is the time where the real pitch shifting
comes to the fore. Press EDIT. Underline LYR=1. Now Press
PITCH. The display shows: ROOTKEY=XX FINE=OO.Since
we've underlined the Layer in the previous page, changing the
Avant Garde
Sounds
Price: $20 for diskette and sound listing.
Ave # 320, Brooklyn,
-
Bio: William Pont runs Phoenix Audio which specializes in
sound re-synthesis. Also a Co-founder of the South African
user's group EMMA (Ensoniq Musicians and MIDI Association) which distributes and maintains all Ensoniq gear in
Southern Africa. Current project: African Sounds. Anyone interested can reach him at 0112711 (11) 792-5996. Remember
the time difference: 9 hours at the West coast and 6 hours at
the East Coast. You may also write to: Phoenix Audio, PO Box
68950, Bryanston, 2021 Rep. of South Africa. Or PO Box 534,
Moorpark, CA 93021.
Leonard Crockett
Product: 80 voices.
Phone:
so can you...
and Mindblovving
For: SQ-80.
From: Arnold Mathes, 2750 Homecrest
rootkey will affect all four samples which is just what we want.
Underline ROOTKEY=XX. A strange quirk of the EPS design
demands that we press the UP arrow to drop the rootkey value
and the DOWN arrow to raise it. For now press the Down
arrow until the value is one octave higher. Press EDIT again to
leave the Pitch page and play the keyboard. There is your Clav
wave again. One octave up. Now start tweaking your parameters until it really sounds like a harpsichord. I've done it and
NY 11235.
(718) 646-3214.
When I first became interested in electronic music back in the
mid '70s I was amazed at the different textures and sounds that
synthesizers could make. My first introduction to synths came
in high school when our music department was awarded the use
of an EML 500 and 101. I spent many, many hours with those
two units learning as much as I could about their capabilities
and becoming familiar with electronic sound generation.
After receiving Arnold Mathes' disk containing 80 original
sounds for the SQ-80 it's clear to me that he too spent long
hours working with gear that goes back to the days before
programmability was a standard feature. In fact, some of that
vintage gear is shown and listed with the sound disk.
If you're searching for pop/rock patches or string pads, forget
it. You will not find those in this group. Instead, what you'll
find is some of the most interesting and complex program
patches I have ever heard for the SQ-80. There are a few
sounds with names like "Moog$" and "AMMoog" but these are
the exception and not the rule. The majority of the sounds are
very electronic sounding in nature and remind me of special effects for movie usage. If you've ever seen old science fiction
movies, you'll surely recognize some of the sounds here.
Good use is made of the SQ-80's excellent modulation routings
and many have different shadings and colorations added to
them by simply moving the mod wheel or by using pressure. I
especially like the "'50s FX" and "'60s FX," both very reminiscent of the SF movies of that era, each offering the kind of
animation you expect with these types of sounds. Pressing any
key on the keyboard will usually send the sounds into a flurry
of motion and some even have complex fade-in, fade-out type
effects.
Almost all of the sounds sustain for a fair amount of time, so
make sure your sustain pedal is handy to get the full effect. The
sounds themselves have an almost impish nature to them, as if
Arnold wanted us to have just a little fun working with his
creations. Maybe it has more to do with the programmer himself, rather than the sounds, as judging from the photo that accompanied his package, Arnold looks to be quite an interesting
specie.
If you are tired of listening to the strings, brass and piano
patches coming out of your SQ-80, try these patches on for
size. They're a welcome change from the familiar sampled
sounds we've all become accustomed to. And if you are into
this kind of music, they could be all you've lusted for. In any
case, for those of us who remember, they make you yearn for
those times gone by when synthesizers meant boxes with lots of
switches, knobs and patch cords.
-
Bio: Leonard Crockett attended Berklee College of Music and
currently produces demos for Triad Productions. He is an active writer and arranger in the Hartford, Connecticut area.
13
I
Life Extension
ESQ- 1/SQ-80
for the
Charles R. Fischer
quality. For example, by boosting the extreme highs and lows
of a digital-type patch, you'll probably find the results more
akin to the D-50 sound (according to a Hacker article). Or add a
tad of low midrange to fatten up a synth bass, or roll off some
of the grunge from your acoustic piano patches; you can dedicate a separate EQ response to 100 of the 128 internal patches.
Product: Quadraverb
For: ESQ-l/SQ-80
Price: $499 list
From: Alesis Corp., 3630 Holdredge
836-7924
Ave, Los Angeles, CA 90016 (213)
Once upon a time, a group of assorted misfits and other hardcore losers known to us today as the Alchemists earned themselves a footnote in the pages of history, thanks to their bizarre
search for a quick buck. They spent several centuries trying to
find the ultimate in free lunches (Le., potions that would assure
e.ternalyouth, grandiose flying machines that neve~ flew, and
last, but not least
a magic formula that would transform
cheap metals like lead into pure gold. We might laugh at their
foolishness - but there's still a lesson that we can learn from
them today whenever we suffer the agony of owning a socalled "obsolete" instrument!
Then, there's still more goodies: add stereo or mono delay for
spaciousness, or dial up a reverb patch to provide exactly the
ambience that you need. The "pitch" box is especially useful;
the stereo and mono flangers have a deeper bite than anything
but the original MXR flanger (minus the hiss and distortion).
The chorusing effects do what you might expect, and there's
even a phase shifter for your electric piano patches. My
favorite is the "pitch detune" mode - while it's not a true harmonizer (you can't use it to obtain tracking harmonies), it will
shift the original pitch just enough to fatten up your analog
patches beyond belief (try it for yourself if you dare).
-
Say what? Yes, it seems that even the most sophisticated of
MIDlots will carry a similar silly dream in his or her head. For
example, some ESQ-l owners are still awaiting a hundred dollar kit that might convert their board into a VFX-SD, while a
few Mirage users covet an imaginary OS that gives it the sound
quality of a Synclavier. With all those miracles of technology
available, you reason, maybe someone will work out such a
thing, and save our machines from the horrors of depreciation...
The MIDI implementation of the Quadraverb is terrific, as up
to 8 external controllers may be set to modulate various
parameters in real time. This allows the 'verb to do a better
than average job of reproducing a Leslie speaker (are you listening, Ensoniq B-3 hopefuls?); one patch uses aftertouch to
speed up and slow down the rate of rotation, while another uses
the sustain pedal to do the same thing! Rest assured
-
if
you're one of those people who can't abide the cheapo Leslie
imitations found on the ESQ-l, you'll be in seventh heaven
with a Quadraverb.
Well, folks, guess what! There is something out on the marketplace that will enable you to improve the audio quality of
your ESQ-l or SQ-80; better yet, no modifications are necessary. It's not a plug-in circuit card, but a (by now) well-known
digital effects processor known as the Alesis Quadraverb.
But don't take my word for it. Run, don't walk, to your nearest
Alesis dealer, and plug in your ESQ/SQ (or those ancient
samplers, too) just to see what I mean. It's really capable of enhancing those old timbres, and making your axe sound better
than you thought possible.
The Alesis is noteworthy for its high performance and low cost
($499). It contains the digital equivalent of up to 4 signal
processors working simultaneously,
including equalization
(graphic or parametric), delay (stereo or mono), reverb, and
"pitch," which either acts as a flanger, chorus, phaser, or a
"pitch-detune" (a slight pitch shift). Even better, each patch can
be programed to allow external controllers to modify the effects in real time: on one patch, the number of echo repeats is
determined by how hard you slam the keyboard (i.e., velocity
control). All 100 programs may be user-programmed if desired,
and believe me, there's a lot of things lurking beneath the surface here.
Still, one serious drawback remains; since both the ESQ-l and
SQ-80 are multitimbral, and only have one pair of audio outputs, all parts that use internal voices are going to end up with
the same effects on them, no matter if they asked for it or not.
You might be able to EQ a patch so that your bass line stays
free of unwanted echoes; then again, you might not. The best
solution is to use external tone modules to produce any parts
that must stay dry, or learn to live with the results.
I'm especially impressed with the Quadraverb, and I think that
you'll find it worth checking out. I bought mine for use with
another synth, and now I'm saving up my money so that each
instrument will have one! Now if I could just turn some of
these empty beer cans into gold, I'd be able to buy 'em today!
What makes this little box so invaluable to the ESQ-l or SQ-80
owner? First, the variety and quality of the effects. Both the
ESQ and SQ-80 lack any son of onboard signal processing, and
any synth hipster will tell you that both the infamous D-50 and
M-l have 'em in bulk (some folks say this is because they'd
sound pretty plain without it). Second, the onboard EQ allows
you to tune up otherwise lackluster patches to a new level of
Htnm
-
Bio: Charles R. Fischer can never just use his gear "as-is."
14
::>~:.-. ~~J'-C-c.
A Bit of All Right
Jeffrey P. Fisher
For: VFX/sd, SD-I.
Product: The British Collection (ISD-4)
-60 Sound Programs
themselves, which liberally use transwaves, custom pitch tables
and other nifty tricks. Most of the patches lean toward the atmospheric, modem film score sound. This is not surprising as
Thomas's background is sound design for composer, George
Fenton. My first impression here reminded me of Jan Hammer
from his "Miami Vice" days. Though nothing sounds exactly
like Jan, there are plenty of thick pads and steel-cold sounds
loaded with movement; it's his (and my) kind of thing.
and 20
Presets on disk.
Price: $19.95.
From: Ensoniq Corp., 155 Great Valley Parkway,
Malvem,
PA 19355 or
contact your local Ensoniq dealer.
First The Facts
These patches are why I bought my board in the first place.
Rich, warm, airy and plenty of character. If you're after imitative sounds, stop reading now and save your twenty bucks. This
is a collection for those who like painting pictures.
Ensoniq's "British Collection" is the fourth in their series of
International Sound collections. For $19.95 you get 60 sound
programs and 20 presets on a 3.5" disk. And Ensoniq even
throws in a Sound Manual that profiles the sound developer and
the originating country, its music "scene" and the obligatory
sound descriptions for those of us who appreciate a bit of verbal clarification. It's a distinctive booklet that adds a human
touch to the package.
Sound developer Adrian Thomas
-
What You Get
DREAMFIELD is a muted, dark pad with a nice swish courtesy
of a shimmering crash cymbal. DEEP-VOICE has an organish
sound with vocal-pad rushes that swirl around in stereo. This is
great for long sustained chords: SHERWOOD is another pad,
but with a velocity-sensitive
whistle that falls in pitch.
LEA YES is simply a warm, romantic sound that I positively
adore.
no stranger to the Ensoniq
product line - has a clear understanding of the VFX-sd/SD architecture. He not only makes good sounds, his design and application of them make them versatile and usable.
Still, the British Collection is somewhat, shall we say, eclectic.
There are a couple of truly great, original sounds, a few tallyho-hums and one definite huh? Which brings me to my main
gripe about Ensoniq's International sound collections.
PROUD-BRASS, THE-MARQUEE, BASS-SPEAK, CIMBALON, WOODEN-BELL, TREAT-GUITAR and HITCHCOCK are the usual filler, offering nothing particularly new.
BOHEE-1978 has an acoustic guitar attack followed by a
swelling brass/string thing that quickly disappears and then
swells again about 5(!) seconds later. I use this sound to build a
Robert Fripp-like loop. It's unpredictable and fun.
Why No Sequences?
Some of these sound programs are easy to figure out and
others, of course, take some patience and investigation. If the
sound developers included a few sequences to demonstrate the
sounds in action, much of the initial noodling around time
might be eliminated. A few bars would go a long way toward
explaining certain sounds and how the developer intended them
to be used. Even if it upped the price a bit, I think many people
would be happier. Perhaps a case can be made for the "limiting" factor sequences may be seen to inflict. Can the use of a
sound in a particular way be seen to limit its application to
some degree to some buyers? Of course, Ensoniq's intention
might be: Here are the sounds, now go make them your own.
It's a noble philosophy. But with certain sounds like FIRE+
STEEL, a short sequence might suggest what good can come
from a patch like this.
SIEPTOE+SON uses custom pitch tables to create the definitive barroom honky-tonk piano. OSCAR-BASS is a big- bottomed analog bass named for the popular synth. BASEVALUES provides some nice patch select versatility. With both
these bass patches, I write the part then go back in overdub
mode and add some random patch selects to really humanize
the bass.
SNAKE-CHARM
is a cliched but kind of cool reed sound in
fifths. Wedding bands will like it as an alternative to stripper
music during the inevitable garter removal ceremony. Just add
some finger cymbals and you're ready for an authentic simulated harem dance.
And Now Back to the Review
COURTNEY, another sax. SIX-STRINGS, more guitars.
BLACK-PIANO is electric piano #9,471. Foxes will run in fear
from the HUNT -HORNS. And LA TINISH adds the much
needed cabasa and a convincing guiro to the library. OUTOF-TOWN is one of those overused flute sounds, but with a
These sounds are not grouped into any coherent order. Similar
sounds are scattered about, making finding the right ones somewhat tedious. This rather anarchistic approach to the ordering
of the sounds is, however, more than made up for by the sounds
15
=>.:"~0:2~::;~J:.
-
twist
one of the patch selects introduces a pressure-sensitive
trill effect Very playable.
~///~,.
Samples
for the EPS 16+
Which brings me to the best patch I've heard in years: THECHASE. If you score to picture like I do, you need this patch!
It uses custom pitch tables with two string voices unison at
F4+, but as one voice descends the scale the other ascends.
Each key, up or down from F4+, creates some very modem
orchestral effects and intervals. THE-CHASE is Bernard
Hermann in a box. Time to play the score from "North By
Northwest."
. SR-16 Drums
. Percussion 1+2 ONLY
. HR 16B Drums
. Akai S-1000 Drums
. Fat Analog
. Strings
. Wall Bass
. Alto Sax
The Bottom Une
There are a few imitative sounds that might have been better
left at home, a coupla outright head-shakers, lots of atmosphere
(both analog warm and digital cold) and sufficient WOW!! to
easily justify this investment. It's a diverse blend which follows Ensoniq's philosophy: "...both traditional and exotic
[sounds] that are popular in other regions of the globe."
. MuchMore
,
Call or write for
complete list
Most of the British collection is not for breakfast, lunch AND
dinner but rather, perhaps, for tempting taste treats. High tea, as
MasterCard and Visa
itwere.
-
Accepted
All Disks contain
Demo sequences
and are extensively
programmed
Bio: Jeffrey P. Fisher is a composer and sound designer for
commercials, industrials andfilm.
Wave Mutilation
$1 O~o
PERDISK
~
----"'--- --------- -- - ------ -- - --------
"-'1LJSIC,
INC.
1280 Terminal Way, Suite 3
Reno, Nevada 89502
(702) 333-5979
FAX (702) 329-0852
101
Part II: Waveform Warfare
Jack Stephen Tolin
Ever since the beginning of sound synthesis, people have
probably always wanted to do as much as they could by pressing one key. You know, playa four-oscillator sound, switch
on stage lights, operate video playback, run the vacuum
cleaner. Technology is pretty much catching up to our fanatical desires with MIDI. In fact, the only thing we can't do yet
IS run the vacuum cleaner (although you could have it trigger
it...). Fortunately, Ensoniq has made up for this short-coming
by providing poly-key pressure. This particular real-time
modulation controller, along with all the others, contributes
quite a bit to the potential of what I refer to as "waveform
warfare," that is, bringing dynamically different waves into
audible range using real-time controllers while a key is
depressed.
Wave 1 is the thunderous background noise/sound/pain that
makes a very striking attack, somewhat like thunder when
lightning strikes, followed by a sound more like classical
thunder (some say airplanes). The key to hearing this wave is
that you must roll the mod wheel forward. Because the Glide
is on and set to 50, you can make this wave *move* to a certain extent by pressing another key while the first key remains
depressed. This technique is useful when playing in the lowest
octave where the wave is a little sparse.
Wave 2 is the infamous "electric razor" which may actually
sound more like a buzz-saw. My favorite place to play this
wave is on middle or higher C. Though this is also the *touch*
sound you hear when depressing any key, to hear the razor,
apply pressure after key-down.
In keeping with my extreme personality, I decided to use an
extreme example to exemplify my extreme view of extremeties. Translation: if you want to really blow your mind,
type "Electric Razor +" into your SQ-R.
Wave 3 is basically extra movement noise provided by All
Waves. The key to hearing it is pushing your CV pedal forward. The fun aspect of this particular wave comes in as a
result of the Legato Glide Time of 50. Some interesting effects can be achieved by holding down a lower octave key
And now, let's begin.
16
AMP
SQ-l
& 2 prog:
WAVE
123
On
Multiwave
AIiWaves
000
Backwrd
72
loop
001
01
Select Voice
Wave Class
Wave
Delay Time
Wave Direction
Start Index
MODSCR
MODAMT
Restrk Decay
PITCH
Octave
Semltone
Fine
ENV1
lFO
MODSCR
MODAMT
KBD Ptch Track
Giide
Giide Time
ENV1
Initial
Peak
Break
Sustain
Attack
Decay 1
Decay 2
Release
Vel-level
Vel-Attack
Vel Curve
Mode
KBD Track
1
Electric
Razor
+
LFO
On
On
Multiwave Multiwave
AIiWaves AIiWaves
Backwrd
53
loop
001
01
Forwrd
03
loop
0
01
2-
3
+0
+00
+00
+00
+00
Off
On
Off
-4
-11
-99
+00
-99
Timbre
+99
On
legato
+0
+00
+00
+00
+99
Timbre
+99
On
MiniMode
50
-
1
2
By:
Jack
1
lFO Speed
Noise Rate
level
Delay
MODSRC
Wave
Restart
FILTER
Filter 1
Filter 2
FC1 Cutoff
ENV 2
FC1 KBD
MODSCR
MODAMT
FC2 Cutoff
ENV2
FC2 KBD
FC1MOD-FC2
Stephen Tolin
2
3
99
99
25
06
Off
Pos/Sine
On
38
93
15
86
Off
PoslTrl
On
1
2
3
2lo
2HI
24
+99
+00
Timbre
+99
000
+00
+00
Off
3lo
1HI
20
+00
+00
Pressr
+73
020
+00
+00
Off
2lo
2HI
127
+00
+00
Env1
-13
000
+00
+00
Off
1
99
52
36
00
00
22
55
09
99
99
linear
Normal
+00
2
3
50
3
00
99
00
00
19
21
00
50
00
00
Repeat
+00
ENV2
Initial
Peak
Break
Sustain
A!tack
Decay 1
Decay 2
Release
Vel-level
Vel-Attack
Vel Curve
Mode
KBD Track
while pressing and releasing a higher octave key from time to
time.
Initial
Peak
Break
Sustain
Attack
Decay 1
Decay 2
Release
Vel-level
Vel-Attack
Vel Curve
Mode
KBD Track
OUTPUT
VOL
Boost
MODSRC
MODAMT
KBD Scale
Key Range
Output Bus
Priority
Pan
Vel window
1
2
3
99
99
99
99
15
00
00
00
00
33
linear
Normal
+00
99
99
99
99
00
00
00
21
00
00
Normal
+14
99
99
99
99
00
00
00
00
00
00
1
2
-
3-
99
On
Wheel
+99
+00
AO C8
FX1
Med
+00
000
94
On
Off
99
Off
Pedal
+99
+00
AO C6
FX2
Med
+00
000
-
+00
AOC8
FX1
Med
+00
000
CMPRSS & DIST & VERB
FX-1
FX-2
Decay Time
HF Damping
Flange Rate
Compression
Dist level In
Dlst level Out
Revb-Cmprss Fdbk
HIPass Cutoff
lopass Cutoff
MOD (Dest)
BY (MODSRC)
MODAMT
-
Normal
-98
99
99
75
53
07
66
02
07
+00
00
99
FX1-Mlx
Pltchwhl
-99
SCSI HARD DRIVES
ENSONIQ/MACINTOSH
What we've done in all this is made a battlefield of sound
where you choose which wave attacks at what time. Fade each
wave in or out whenever you choose. If this isn't enough, note
that the pitch wheel controls the FXI-Mix which shoves the
razor either into your face or into the background.
COMP ATmLE
All drives in 7 x 9 x 2 cases
External SCSI I.D., SCSI Cable
45 Meg
105 Meg
210 Meg
44 Meg Syquest Removable
with 1 Cartridge
Again, this is probably more extreme than anything you would
actually eve! use, but it reveals the technique of using realtime controllers as much as possible. You can even consider
this as an alternative to patch select buttons for those of you
who do not own such luxuries.
$379.00
$479.00
$760.00
$535.00
Rack Mount Versions AvaDable
-
2x (1 Meg) Memory
Expander with SCSI Port
$245.00
Flash Bank Memory AvaDable
Bio: Jack Tolin is currently a
Psychology major at Eastern
Nazarene College in Quincy,
Massachusetts and thoroughly
enjoys mutilating his waveforms.
It is said that his sense of humor
leaves much to be desired.
ATARII040STE Computers
$425.00
Atari Style 52 Meg Drives
120Meg Drives
$479.00
$645.00
TECH WARE HOUSE
13 YOUNG RD
FOXBORO, MA 02035
1-508-543-7141
17
--c.:c~-~':.e~
-::"'~D-::'
ESQuizit Patch Librarian
Brian Rost
Product: ESQuizit,
For: ESQ-l,
Sequence files can also be moved between disk and the ESQ but
there is no equivalent visual tool to organize sequences within a
bank. You may copy single sequences or all sequences. In the
latter case, all the internal patches are also copied. The
all-sequence feature will not work with the SQ-80. I suspect this
program was written before the SQ-80 came out and cannot
handle the differences in the sequence bank structure.
V1.2.
SQ-80, Atari ST computer.
Price: free, (public domain software).
From: see text.
Sometimes the best things in life really are free, or at least available at the cost of a blank floppy disk. ESQuizit is a public
domain patch/sequence librarian for the ESQ-l and SQ-80 that
runs on any Atari ST computer. It's a bare bones program for the
most part, but has one very desirable feature that will be appreciated by those using the ESQ-l in live performance.
The Performance mode is a feature that I haven't seen done in a
librarian program before. If you select Performance mode from
the main menu, ESQuizit displays a menu which allows you to
create a new performance or load one from disk. A performance
consists of up to forty "all sequence/internal patch" files. Once
the performance is created by specifying which files to access
for each entry, you can save it off to disk. Loading a performance automatically brings up a screen showing the forty file
names and the cursor blinking on the first entry. This file is also
already loaded into the computer memory. Hitting any key other
than the arrow keys will dump the file to the ESQ-1. As soon as
the file is dumped, the second file is loaded into memory. You
may skip files by using the arrow keys to select another file,
which is then loaded into memory.
ESQuizit is not a GEM program and not mouse driven.
However, all the menus are selected by single keystrokes which
makes getting around pretty easy. On booting the program you
get a welcoming page listing the name and address of the author,
Rick Koch. Too bad all mail sent to the address came back "addressee unknown." If anyone out there knows the whereabouts
of Mr. Koch, let me know!
Hit a carriage return and you're at the top level menu. From here
you can choose to get data from the ESQ or from a disk, dump
data back to the ESQ or disk, view the disk directory (in case
you forgot what you named your files), setup the default disk
drive, set the MIDI channel to use, go to Performance mode
(more on this later) or "other."
It turns out that "other" is a bad name since this is where the
meat of the program is. This is where you manipulate the patch
banks. The bank last loaded from disk or synth is displayed as
BANK. You may bring up a second bank which is called AUX.
The 40 patch names of each bank are visible at all times. You
may do a few things on this screen: rename a patch in BANK,
dump a patch in BANK to the ESQ for audition, clear out
BANK, transfer any single patch from AUX to BANK or copy
AUX to BANK.
The idea is to organize your sequence files into the order you
need for a live performance and then when you need a new bank
of sequences you need only slap at the computer keyboard, since
hitting any key will load the file. There is no need to go back to
the computer to load up the next file you need. Using Performance mode is almost as fast as using the disk drive on the
SQ-80 to transfer sequences into memory. SQ-80 owners can't
use Performance mode, though, since ESQuizit cannot deal with
the all sequence transfers. ESQ-l users who use the sequencer
live will find this feature a real godsend, although you will have
to bring your Atari to the gig.
Documentation is nonexistent. The DOC file included with the
software makes mention of changes since rev 1.0 but doesn't tell
you how to use the program. Once you realize that "other" is
where you manipulate patch banks and how the Performance
mode works, though, it's smooth sailing. I suspect the program
will work with the ESQ-M but couldn't get my hands on one to
verify this.
Copying single patches requires at most five keystrokes. If I
wanted to move patch 2 of AUX to patch 8 of BANK, I would
type the following: TO 2 0 8. No carriage returns are needed if
you type numbers below ten with a leading zero, but if you want
to type only the single digit, you must follow it with a return.
Notice that copying only goes in the one direction, from AUX to
BANK. In any case, you can easily take archived patch banks
and by loading them into AUX build up custom banks in BANK
quickly. If you load single patches into BANK or AUX, they always show up in location 1 and the other 39 locations are blank.
Where do you find ESQuizit? Many private bulletin boards dealing with music and MIDI have copies on line, and many Atari
and MIDI user groups have copies as well. If you don't belong
to a user group or have access to a bulletin board, the usual solution would be to contact the author, but as I said earlier, Mr.
Koch's current address is unknown. As a favor to Hacker readers
Patch files are stored in a format unique to this program and are
given an ...ESQ" suffix when written to disk. Files in the
in the US, I will be willing to provide a copy of the program if
provided with a formatted 3.5" floppy and $1.50 for return
postage. You may contact me at: Brian Rost, 45 Sunset Drive,
Northboro, MA 01532.-
MIDIEX format, which is used in many other public domain
librarian programs, including some for the mM-PC, can be read
into ESQuizit.
18
=-~'-4~
s-~~c
Review:
NightWind EPS Samples
Barry Carson
Proteus 2 sound sampled on the EPS. It reminds me of the flock
of EPS disks that Ensoniq released right after the EPS came
out; it is a swirly kind of synthetic percussion sound that could
be a cool effect in a new age film score or something. I can't
imagine anyone using it all the time, but if you like this kind of
sound, it's a good one.
Product: Samples.
For: BPSs.
Price: $10 per disk, demo cassette $6, write for disk listing.
From: NightWind
Sound, 170 Mar Monte Ave., La Selva, CA 95076.
Last time, we looked at some of the NightWind Sound samples
for the Mirage; now it's time to listen to some of their EPS
samples. If you remember, the Mirage offerings were quite
good. The EPS samples are also good, but I have to say that
I'm less excited about them than the Mirage samples. To
clarify, I need to invoke the pesky but unavoidable law of
relativity. As Einstein surely would've agreed were he a Hacker, making a good sample on the Mirage is a labor which is
neither easy nor quick, while one can fall onto one's EPS
clutching one's Stradivarius and make a pretty good sample in
the process. As the man said, "It's all relative." EPS users have
become accustomed to a wide selection of excellent samples
for that instrument. Good samples may (or may not) be good
enough. That said, let's delve into the matter of Jim Newton's
NightWind Sound Samples.
The second disk I had a chance to listen to contains Ancient
Greek String samples. The Kithara (368 blocks), Kitharas
(486 blocks) and Kitharis (237 blocks) are all plucked instruments. Although I am pretty familiar with medieval instruments, these fall outside my experience. All three are different
and all sound very good. The Kithara is a strong, single string
plucked sound, the Kitharas is more delicate, like a multistringed instrument. It has a very nice sound, but since only one
sample covers the keyboard, it becomes too short to be useful
at the top of its range. This brings up my only complaint about
these sounds. They are not multi-sampled. I feel that with any
acoustic instrument, multi-sampling
greatly enhances the
realism of that instrument. In spite of this, the Kathara and
Katharis sound excellent for most of the keyboard and the
Katharas sounds great at the bottom of its range. The last sound
on this disk is the Monochordon (371 blocks). The Monochord
is a truly ancient instrument which, according to legend, was
invented by Pythagoras (c.550 BC), and was, at least, surely
known to him. The sound is haunting, with very interesting
swelling envelopes. Again, the lack of multi-sampling makes
the extreme ends of the instrument's range less than useful.
The first disk I played has samples from the Yamaha DX-21
and the Emu Proteus 2. The DX-21 was one of Yamaha's early
four operator FM synthesizers and, like the DX-9, it never
reached the the level of popularity of its six operator brothers.
DX Pan Flute (133 blocks) has a flutelike sound; it is
programed too loud so, unless the software instrument volume
is turned down, a few low notes can cause some distortion.
True to the DX-21, keyboard velocity has no control over the
sound, although if I remember correctly, the DX-21 would
respond to velocity received via MIDI. Since velocity can add
such an expressive element, it's too bad this kind of control
wasn't offered in one of the patch selections. The Second
Release parameter adds some pseudo reverb which together
with the default reverb setting on the 16+ can clutter up the
sound. This is a nice effect on the EPS Classic, and simply
turning the reverb off on the 16+ takes care of this problem.
This is a nice digital flute/organ sound that, while not unique,
is well done and very pleasant.
I like these sounds; anyone doing any kind of ethnic or folk
music should find these a welcome addition to their library.
The only odd thing I found in these samples is when listening
to the raw material (the sample with the filter opened up, no envelope decay, no loop, etc.) I heard little popping and crackling
noises. This makes me wonder if these sounds were possibly
taken from a recording. When the samples are played in a normal way, these artifacts are quite unnoticeable.
The next disk I came across contains some percussion sounds.
Orchestral Percussion 2 (1054 blocks) contains some small
muted gongs, a couple of vibraslaps, a belltree and two sets of
wood blocks. These are clean samples that sound just like
they're supposed to. They sound like they were recorded in a
large space and the room reverb is sampled along with the
sounds. If you want to enlarge your percussion library, these
could be just what you need. Also on this disk are some
Chinese Opera Gongs (507 blocks). These are also good, high
fidelity sounds. This sample only takes up about half the keyboard, but it has some very nice velocity controlled sample
switching making it a very expressive sound.
Huff Talk (259 blocks) is one of those FM human voice type
sounds that, while they don't really sound like voices, I always
kind of like. The sample isn't bad but it suffers (as many of
these sounds do) from not being multi-sampled across the keyboard. This makes the low and high end fairly useless; the low
end especially becomes very metallic and harsh sounding. As in
DX Pan Flute, stereo layers add a de tuned effect. The patch
select switches alter the attack envelope.
Timporine
(936 blocks) is evidently an original NightWind
19
'~L'
..
I
AJttj
The last NightWind disk, Eastern Europe, starts out with the
most intriguing sound of the bunch. Choir Armenia (595
blocks) is a group of men singing. It's a great sample; one can
almost smell the sweat, the tobacco, the strong red wine. Unfortunately, it is also a very frustrating sound. Instead of singing a
single note, these guys sing an interval of a fourth that slides up
to a fifth. In itself pretty neat, but really limited as to how it
could become part of any music you might happen to be playing. Once again, this sound is not multi-sampled. Human voices
quickly transpose out of a realistic range and this sample only
sounds good on a handful of keys. If Mr. Newton ever decides
to multisample these men singing single notes across the keyboard, I sure hope I find out about it because I would buy that
disk in a minute. Even as it is, this sound can be used as a great
effect; the mod wheel takes half the guys on a roller coaster
ride that just about reaches the stratosphere.
Edit Instrument in order to playa huge frame drum.
As I mentioned, these are good samples. Some, like DX Pan
Flute, are fairly typical sounding samples of fairly typical
sounding synthesizer patches. Others, like the Greek instruments and the Choir Armenia, are pretty exotic and most
sample collections have nothing like them. NightWind offers a
large EPS library which includes many unusual sounds. A good
place to start may be their demo tape which is a rather pleasant
new age piece of music and not the typical parade of sounds in
no musical context. I have always found the most exciting
aspect of sampling to be the ability to "play" instruments that
normally most people would never even see. Jim Newton seems
to have the same idea here. If you are looking for unusual or intriguing sounds, some of the NightWind collection may well be
one of best places to look. These are good samples, in some
cases very good. I hope NightWind and Jim Newton keep
working on these because when they come up with some excellent EPS samples, I want to hear them!
-
The Syrinx (282 blocks) was a herdsman's instrument not unlike the panpipe, and this is an incredibly breathy flute/pipe
sound. I really like this one and, again, for new age, ethnic or
film work, this could be a welcome addition to your library.
Jawharp (475 blocks) sounds pretty much like a jawharp playing a rhythmic pattern; by playing with the loop points, you can
create some other patterns. Frame Drum (217 blocks) is a
primitive sounding drum that sounds pretty good. Some of the
patch select switches call up rhythmic patterns created by the
sample loops. I like these kinds of drum sounds transposed
down quite a bit, so I changed the Instrument Range page under
i
.:p
~.
// . .
l\
")
~
~i" "~'?
I';
'
~, 'I iJ I)
m
I'
',!!
Ii
Classifieds
SAMPLES
Trade sounds by mail. I have over 1,000,000 blk
library I Many killer homemade and PD samples.
Send your list. Craig, PO Box 83164, Los Angeles,
CA 90083. Phone: 213-645-4181.
3D SOUNDS. EPSI16Plus, TX16W, Mirage,
SI0/220/ MKS-I00, S-50/330/550/770/W-30 &
S-900. Only $5 per disk. Demo Disk $3. 1200
Sound
Drum
Sample
CD
- $401
Popular
Synths
in-
cluding VFX & SD-l. P.O. Box 114, Station C,
Kitchener, Ontario, Canada, N2G 3W9.
ECCENfRIC SAMPLES for Mirage and BPS. Ethnic and Ancient Greek instruments; Harry Patch
creations; Industrial Percussion; Proteus 2; DX21;
Synclavier and more. Mirage demo cassette: $3.
EPS demo cassette: $6. Demo tapes include disk
list. For lists alone, send SASE to: Jim Newton,
NIGHTWIND Sound, 170 Mar Monte Ave., La
Selva, CA 95076. (No layered synths. Electric
Piano or Basses. Enough, already II)
Bio: Barry Carson plays the Mirage and
the EPS-16 PLUS and writesfor the Transoniq Hacker. That's it - that's his whole
life.
'
$1.00. Demo tape: $6.00 (includes listings). Mr.
Wavesample, 162 Maple Place, Keyport, NJ 07735.
908-264-3512. Make checks payable to Jack C.
Loesch.
WANTED
Wanted: Yamaha MCS-2; MIDI control station,
working or not. Leslie organ spk. (mod.145). Call
Ed: 912-439-1345.
EQUIPMENT
EPS-16 PLUS/Turbo Keyboard, 106MB SCSI hard
drive, 2 Meg of memory, 1 Meg of Flashbank, disks
and various manuals: $2350. 106 MB SCSI hard
drive, PS and case: $325. Rick, 603-885-0628.
Minimoog, excellent condition, just tuned and
calibrated, only $750 or best offer. Here's your
chance to sample the real thingl Call Chuck at
510-724-0804 for details.
Mirage DMS-8 with disks/MASOS, $495. Oasis ST
waveform editor for Atari ST and Mirage, $85.
Input Sampling Filter ISF-l for Mirage, $65. All
excellent condition. Dave, (913) 782-7481.
ROLAND
TR.909
& ROLAND
TR.808
Wanted: Casio MG510 MIDI guitar (prefer black).
Mine was stolen and I'd like to replace it with one
in good condition. Will pay $350. 616-223-4327,
Bob Higgins, 861 6th Ave., Suite 411, San Diego,
CA 92101.
Wanted: VFX-sd and SQ-80 patches for trade.
(708)
427-1615.
Wanted: VFX programmers
to trade their
ORIGINAL VFX PATCHES. (I have 105 HI-FI
sounds, wide variety). No tweaks / copyrighted
sounds please! Send VFX-SD-l or Alesis DataDisk
format to: Brad Kaufman, 11-26 Saddle River
Road, Fair Lawn, NJ 07410.
both ex-
cellent condition w/manuaIs. $600 each. ESQ~M
SOUND EFFECTS for EPS-16 Plus and BPS, very
high fidelity, ideal for studio and post-production
work. All effects are original digital recordings
sampled at 16 bit, 44.6 kHz, with mono and stereo
patch selects. Disks are $5.95 each, or $5.45 each
for six or more. Send SASE for free listing to: Syntaur Productions, 11116 Aqua Vista #2, North Hollywood, CA 91602, or call (818) 769-4395.
Mirage samples: Plus moving wavesamples all
over. 7 sounds in one bank, much more. Listings:
SOFTWARE
excellent condition w/1ibrary of over 1,000 sounds,
manual, and original box - $500. Contact Ever,
(312)
878-8960.
EPS w/2X expander. Anvil case, extra pedals &
cords, and lots of disks included. Mint condition.
$790. James Werning, (719) 578-5315.
EPS with 4X Expander + over 200 sound disks for
$1650. Will pay shipping. Call (509) 786-2323,
after 6 p.m. PST, ask for CESAR.
Midicaster
is still available. The way-cool operating system that turns your Mirage into a very
capable
System
Exclusive
data librarian,
a
20,000-note sequence player, a disk copier/formatter, and wave-draw synthesizer is still available for
a limited time. For more information, or to order,
contact Tim Martin, 1510 S 5th W, Missoula, MT
59801. Phone: 406-542-0280
And thank you for
your support.
20
.
I
PATCHES/SOUNDS
,.
patches
on disk, with 22-page
booklet
of
programming notes and performance tips, $17.95.
Syntaur Productions, 11116 Aqua Vista #2, North
Hollywood, CA 91602, (818) 769-4395.
80 new SQ-l sounds from Mark Clifton. Past
Hackerpatches plus a multitude of solid usable
sounds. CV pedal required. Send $95 for RAM
card or send own card and $15 to: Mark Clifton,
11972 Homeguard Dr., Woodbridge, VA 22192.
FREE SOUNDS with expander
orders,
EPS/EPS-16+, VFX-sd/SD-l,
SQ-l, SQ-2,
ESQ/SQ-80. EPS-16+ FLASHBANK and Sequencer expansion available. Also expanders for
AKAI, CASIO, ROLAND, PEAVEY, and
YAMAHA. EPSIEPS-16+ Vol. I Sampling Made
Easy & Vol. II Advanced Sampling videos: $30
each or both for $50. 100 Drum Patterns for
EPSIEPS-16+, VFX-sd/SD-l, SRI6/HRI6: $12.
Best Prices. Wildwood Sounds, 4726 Pebble
Creek Terr., Pensacola, FL 32526. Phone: (904)
944-6012, Tony, after 6 pm.
I
I
60 VFX-sd patches created by Jim Grote. Wide
variety of sounds with complete documentation.
Call for free Information Packet, or send $30 for
VFX-sd disk to: Jim Grote, 3721 Frances Ave.,
Cincinnati, OH 45211. Phone: 513-661-8885.
A lot of songs & styles for Bachmann keyboards.
More than 52 disks plus new ones as they arrive.
Call or write to: C. Sansilvestri, Via Origoni, 9
21020
Barasso
(Varese)
Italy.
Phone:
0332-746060.
OUT-OF-PRINT
NEW SQ-80 SOUNDS from the Hacker's Sam
Mims! Soundset 4 takes full advantage of the
SQ-80's unique waveforms, and brings "hidden
waveforms" to the SQ-80 for the first time. Forty
ESQ Be SQ-80
BACK ISSUES
M.U.G. will provide Out-of-Print issues for cost
of materials
and postage.
M.U.G. Hotline:
212-465- 3430 or write: G-4 Productions, PO Box
615TH, Yonkers, NY 10703. Attn: TH Back Issues. Phone: (212) 465-3430.
Photocopies of out-of-print past issues of the
Hacker can be obtained by calling Jack Loesch,
201- 264-3512 after 6 pm EST.
Folks in the New York City area can get copies of
unavailable
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issues
of the Hacker
- call
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FREE CLASSIFIEDSI
Well,-within
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for your sampled sounds or patches. Additional
words, or ads for other products or services, are
25 cents per word per issue (BOLD type: 45
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copyrighted material will not be accepted.
Hackerpatch
By Sam
Mims
ESQ Patch: HANBL4
Hackerpatch is intended to be a place where patch vendors can show their
wares and musicians can share their goodies and impress their friends.
Patches designated "ESQ-l" will also work on the SQ-80. The reverse is not
always true. Once something's published here, it's free for all. Please don't
submit patches that you know to be minor tweaks on copyrighted commercial patches unless you have permission from the copyright owner. All submitted patches are subject to consideration for mutilation and comments by
Sam Mims-our resident patch analyst. IT you send in a patch, please include
your phone number. Requests for particular patches are al.o very welcome.
Malaga, NJ
by Cyrus Dinshah,
Thispatch is an imitation of a typical English handbell, made quite
popular in some churches for playing holiday music. The patch
might be better an octave higher. An interesting keyboard variation
can be had by setting all the oscillators to the PIANO wave.
The Hack
ESQ-1 PROG: HANBl 4
BY: Cyrus Dlnshah
OSC1
OCT SEMI FINE WAVE MOD#1 DEPTH MOD#2 DEPTH
0
0
0
BELL LFO1
+1
'OFF'
OSC2
OSC3
0
0
0
0
4
8
DCA2
DCA 3
FILTERI
63
59
ON
ON
'OFF'
'OFF'
55
ON
'OFF'
I
ENV3
ENV4
OFF
-
'OFF'
DEPTH
MOD#2
64
0
18
LFO1
+10
'OFF'
PAN
PAN MOD
8
63
2
[;:
-
RESET
HUMAN
WAY
OFF
TRI
L1
0
DELAY
0
L2
MOD
32
L3
LV
T1V
T1
~HEEL I
T2
T3
T4
TK
30
48
35
10
-
[
+63
I
+45
OFF
AM
MONO
GLIDE
VC
ENV OSC CYC
OFF
OFF
0
OFF
OFF
-
.
I
DEPTH
OFF
L2
On Cyrus' original patch, you may want to sneak in a bit of vibrato
as the bell decays; simply change the DELAY of LFO 1 to 15, and
this will do the job nicely.
DEPTH
'OFF'
SPUT/LAYER S/L PRG LAYER L PRG SPUT
I
-
-
'OFF'
'OFF'
MOD#1
SYNC
MODES
-
KEYBD
L1
ENV 1
ENV2
-
'OFF'
'OFF'
Q
FREQ
LFO2
LFO3
+2
+3
FREQ
FINAL VOL
LFO1
LFOl
LFOl
LEVEL OUTPUT MOD#1 DEPTH MOD#2 DEPTH
DCA1
DCA4
BELL
BELL
This is a nice bell patch, but I also had fun turning it into a pad.
First, smooth out ENV 4 a bit by setting L3=+38, Tl=26, and
T1 V=26. On the filter page, try darkening the sound by changing
FREQ to 51 or so. Alternatively, try setting FREQ=90 and RES=31.
I threw in some stereo motion by setting up LFO 2 as follows:
FREQ=ll,
WA V=TRI, Ll=OO, DELA Y=32, L2=63, all
others=OFF. Then, on the DCA 4 page, I set PAN MOD=LFO 2
with a depth of +63.
OFF
-
OFF
-
Bio: Sam Mims
is a studio session player
and programmer in Los Angeles, and is
keyboardist for Richard Elliot. He owns
Syntaur Productions,
a company that
produces music for film and TV and
markets soundsfor Ensoniq keyboards.
OFF
S PRG SPUT KEY
OFF
21
.
~_J
a
f
SD & VFX
Hackerpatch
SD & VFX prog: STAR-TREK-1
By: Kirk Slinkard, Lakewood,
NOTES: This program has six sounds spread out across the keyboard, and is based on
the SQ-80 article in the August 1990 issue. Some of the sounds are more realistic with
the VFX waveforms. All of the real-time modulators and patch selects are disabled.
Octave Iplays two different background sounds, octave 2 plays a boatswain's whistle,
octave 3 plays a red alert Idaxon, octave 4 plays the main viewscreen sound, and octave
5 provides the sound of a spectro-analysis view.
CO
sustain as long as the note is held down. On Voice 3, change the ENV
3 DECAY 3 to 99, and change the envelope mode to NORMAL to accomplish this. You may also want to speed up the Idaxon somewhat; do
this by changing ENV )'s DECAY 1 to 45, and ENV 3's DECAY 3 to
28 on Voice 4. These two parameters are intertwined such that only
certain combinations work correctly.
- Sam Mims
THE HACK: These are great effects sounds, even for non- Trekkies (or Trekkers) like
myself. The boatswain's whistle seemed to cut off somewhat abruptly, so I altered it to
WAVES
1
2
Wave
Sinewave Sinewave
Wave Class
Waveform Waveform
000
Delay
Start
Vel-Start-Mod
Direction,
3
4
5
6
Triangle
Waveform
0
MOD MIXER
SRC-1
SRC-2
SRC-2 Scale
ShaPe
1
PITCH
Octave
Semltone
Fine
Pitch Table
1
0
-10
-26
AII-C4
!
~
+2
+11
0
AII-C4
!.+2
+3
+55
AII-C4
~
+3
+4
0
AII-C4
!..
+1
+5
0
AII-C4
PITCH MODS
1
2
3
4
5
6
LFO
+25
Mono
0
0
LFO
+49
Mono
0
0
Noise
+5
Mono
+24
0
Off
Mono
+94
0
LFO
+44
Mono
0
0
LFO
+57
Mono
0
0
1
2
3
4
5
6
LP2
64
0
Off
LP2
45
0
Off
LP2
127
0
Off
LP2
92
0
Env1
LP2
127
0
Off
+10
-
LP2
127
0
Off
0
0
0
MODSRC
MODAMT
Glide
ENV1
LF01
FILTER 1
Mode
Cutoff
KBD
MODSCR
MODAMT
ENV2
FILTER 2
Mode
Cutoff
KBD
MODSCR
MODAMT
ENV2
OUTPUT
VOL
MODSRC
MODAMT
KBD Scale
~~~L~e~
-
4
5
6
LP2
127
0
Off
+10
-
LP2
90
0
Off
-
~~
Initial
Peak
Break 1
Break 2
Sustain
0
0
0
0
0
0
Attack
1
70
LFO
-13
2
77
LFO
-16
3
48
Off
4
95
Off
5
62
LFO
-20
.L
40
Off
Zon
Zon
Zon
Zon
Zon
Zon
--~I~~
Waveshape
Restart
NoiseSRCRT
Dry
99
Off
Dry
21
Off
Dry
78
Off
FX1
50
Off
FX1
99
Off
Off
()jf
6ff
Off
6ff
Off-----
Med
0
Med
0
Med
0
Med
0
Med
0
Med
0
1
!..
69
Off
3
4
45
Off
.L
37
Off
.L
34
Off
99
99
-
Off
Off
0
Env1
99
Off
Q
Sine
On
00
9
Sine.
On
00
~
Sine
Off
00
Q-----Sine
Off
00
-
~
99
-
6
37
7
34
52
0
0
0
4
99
0
0
LInear
Finish
0
0
LInear LInear
Repeat Finish
0
0
0
0
3
4
O
1
1
94
99
94
99
94
2
o
O
fo--------
O---------
5
6
-
EFFECTS (2)
Flanger Rate
Mln
Max
Feedback
3
0
99
99
99
99
4
0
99
99
0
0
5
99
45
45
45
45
6
99
99
99
99
99
45
43
45
43
45430
15
10
0
42
0
0
6
40
0
440
0
0
0
0
0
0
O
O
O
O
O----
43---S
O
o
LInear LInear LInear
Repeat Repeat Finish
0
0
0
0
0
0
PGM CONTROL
Pitch Table
Bend Range
Delay
Restrike
Glide Time
2
93
99
93
99
93
4S
Decay 1
Decay 2
Decay 3
Release
-KBl5frack
Vel Curve
Mode
Vel-Level
Vel-Attack
9g~~___£E~~~___~~~~---q4~~~---~~~§___9~~CJ---
-
6
Vel Curve
Mode
Vel-Level
Vel-Attack
-
HP2
77
0
Env1
-
5
0
0
99
99
99
KBDTrack-------------------------------------
LP2
127
0
Off
-
4
0
0
99
99
99
Decay 1
Decay 2
Decay 3
Release
3
-
3
0
0
99
99
0
Attack----------------------------------------
LP2
45
0
Off
-
2
10
ENV2
Initial
Peak
Break 1
Break 2
Sustain
2
.
1
Vel Curve
Mode
Vel-Level
Vel-Attack
LP2
64
0
Off
.
$
$
$
$
11
-KBDfffick
1
Voice Prior
MODSRC
-
~
~
~
~
11
0
Pre-Ga~
LFO
Rate
MODSRC
MODAMT
Level
-
-
~
~
~
~
.0
0
Dry
0
Off
Vel Thresh
0
+2
0
AII-C4
33
33
33
33
11
ENV1
Initial
Peak
Break 1
Break 2
Sustain
Attack
Decay 1
Decay 2
Decay 3
Release
6
11
~
~
~
~
00
O'
0
Dest Bus
Pan
MODSRC
~~MT
2
5
Sinewave
Waveform
0
0
0
Forward
4
UnI-Brass
Brass
0
50
0
Forward
3
Chllflute
Breath
SELECT VOICE
ia---o----
LInear LInear
Repeat Finish
0
0
0
0
EFFECTS
Off
0
X1
0
0
30
40
60
-50
(1
Flange+Dly+Rev.1
Decay Time
50
FX1
25
FX2
25
Effect
EFFECTS (3
Time
Regen
Mix
Reverb HF-Cut
0
0
50
Off
PERFORMANCE
Timbre
0
Release
0
22
-:;0
~~:c;~
~
LInear
Normal
0
0
SQ-l
& 2 Hackerpatch
Jeffrey Rhoads
prog: Gretchen's Question
By: Yours truly (Jeffrey Rhoads)
Notes: Gretchen is a lovely lady who asks serious questions in a playful way. Hence this patch - a lilting soprano rises above
darker, more ominous strings. Gretchen's Question is a combination of Soprano Sax (something not found in the SQs ROM or
current SC collections) and Strings.
WAVE
Select Voice
Wave Class
Wave
Delay Time
Wave Direction
Start Index
MODSCR
MODAMT
Restrk Decay
PITCH
1
1
Octave
Semltone
Fine
ENV1
LFO
MODSCR
+20
On
Off
KBD Ptch Track
Glide
Glide Time
Initial
Peak
Break
Sustain
Attack
Decay 1
Decay 2
Release
Vel-Level
Vel-Attack
Vel Curve
Mode
KBD Track
2
-1
00
+02
-09
+02
Keybd
MODAMT
ENV1
2
3
On
On
StrlngwaveWaveform
StrlngEns Woodwind
000
000
Fwd
00
LFO
+04
20
20
1
3+1
00
+02
-20
+01
-
On
Off
-
-
2
-
3-
26
99
99
99
34
20
16
60
40
33
Convex
Norm
00
00
23
22
19
08
12
00
00
19
19
Concave
Norm
00
LFO
1
LFO Speed
Noise Rate
Level
Delay
MODSRC
Wave
Restart
FILTER
1
Filter 1
Filter 2
FC1 Cutoff
ENV 2
FC1 KBD
MODSCR
MODAMT
FC2 Cutoff
ENV2
FC2 KBD
FC1MOD-FC2
ENV2
1
Initial
Peak
Break
Sustain
Attack
Decay 1
Decay 2
Release
Vel-Level
Vel-Attack
Vel Curve
Mode
KBD Track
2
3
40
20
+08
46
Wheel
Sine/Tri
Off
30
00
60
48
Wheel
Pos/Slne
On
2
3
2Lo
2HI
069
+07
+16
Keybd
3Lo
1Lo
088
+70
+30
+34
-
000
00
00
00
097
+38
+36
Off
-2
12
99
99
79
33
30
23
20
13
19
Convex
Norm
-70
300
36
65
66
00
10
06
10
26
19
Convex
Norm
+28
AMP
1
Initial
Peak
Break
Sustain
Attack
Decay 1
Decay 2
Release
Vel-Level
Vel-Attack
Vel Curve
Mode
KBD Track
OUTPUT
1
VOL
Boost
MODSRC
MODAMT
KBD Scale
Key Range
Output Bus
Priority
Pan
Vel window
2
-
3
42
99
57
00
56
80
91
50
13
00
Convex
Norm
-42
79
99
99
99
25
00
00
10
19
33
Convex
Norm
00
2
3
99
Off
Wheel
+82
+00
AO-C8
FX1
Med
-70
000
75
Off
Veloc
+24
00
AO-C8
FX1
High
+70
000
Standard'
Sound
Programming
Effects Programming
The Hack: The strings are slightly detuned and swell in under the horn with
(To save space, only those
effects utilized are listed. A
complete blank form was
published in Issue #68.)
the mod wheel. This patch was designed as a sort of pad, however, some may
want to use the Soprano on its own in a slightly more "aggressive" context.
Here's what to do: Disable the Strings by turning Voice 2 off. In the Output Section for Voice 3, set Pan to 00. Also in the Output Section, change VOL to 99 and
use BOOST if you like. You'll want to change and balance the LFO for Voice 3
reduce LFO LEVEL to 35 and change LFO SPEED to 36. In the Pitch Section
adjust LFO amount to LFO=3. You can also "tame" the Soprano's pitch shift if
you like: In the Pitch Section for Voice 3 set ENVl to -07. And, if you'd like a
faster "blowing style," in the Envelope 2 Section for
Voice 3 adjust LEVV to 13 and ATCKV to 06.
HALL REVERB
FX-1
FX-2
Decay Time
Diffusion
Detune Rate
Detune Depth
HF Damping
HF Bandwidth
LF Decay
MOD (Dest)
BY (MODSRC)
MODAMT
-
35
25
25
40
40
12
33
93
+07
FX1 Mix
ModPed
99
Bio: Jeffrey Rhoads has been a keyboardist/composer on
the Philadelphia Jazz and R + B scene for a period of
time resembling forever. He has an interest in cinema
and has developed some film courses. Jeff still believes
in magic and longs for city lights.
SQ-l & 2 Hackerpatches are published with the same constraints and understandings as the ESQ. SQ-80, and VFX patches. The hacking and mutilating part is
being handled by Jeffrey Rhoads.
23
I
I
The Interface
Letters for The Interlace may be sent to any of the following addresses:
U.S. Mail- The Interlace, Transoniq Hacker, 1402 SW Upland Dr., Portland,OR
97221
Electronic mail- GEnie Network: TRANSONlQ, CompuServe: 73260,3353, PAN: TRANSONlQ,lntemet
(via CS): [email protected]
This is probably one of the most open forums in the music industry. Letter writers are asked to please keep the vitriol to a minimum. Readers
reminded to take everything with a grain of salt. Resident answer-man is Clark Salisbury (CS). Letter publication is subject to space considerations.
new one on me. You may want to contact En-
Dear Hackers,
soniq at 215-647-3930.
First let me thank Ensoniq for finally releasing
the new OS 2.49 for the original EPS. It seems
to have solved the "misplaced, quantized note"
problem that used to pop up at the end of some
sequences. Thanks again, Ensoniq, and all the
hackers who begged and pleaded until we
finally got it!! Now on to new business...
Here are some recent problems I have come
across while working with various clients using
the EPS.16+ rack.
1. I don't know if anyone else has encountered
this one but if you have a sequence on a 3.5
inch disk that was recorded on the original EPS
using one track or more for MIDI instruments,
when you load it into the EPS-16+, the MIDI
tracks are all AN OCT AVE LOW!!!
2. How many fellow hackers are running
out of
patience while they are running out of memory
on the 16+ rack? I had done some sequence
work on my EPS for a client working with the
16+ rack in St Maartin in the Carribean. I gave
her the disks with the sequences
and instrument bank and the bank alone would not fit in
her 16+! (By the way, two of the tracks were
MIDI instruments!)
So we knocked out the
smallest instrument
,
possible,
If you have discovered
a bona fide bug, I'm sure they'd
in knowing about it.
As far as the difficulty you're having when
selecting tracks from the Edit/Track pages, I've
tried it out on my EPS-16 PLUS, and have
found no problems. Is it possible that you have
the effects section set to an instrument, rather
than bank or ROM, effect? If this is the case,
the output of the EPS-16 PLUS will shut off
briefly whenever a new instrument is selected
to allow the ESP chip to gracefully load the
new effect. This might be perceived as a slight
"hesitation" when different instruments/tracks
are selected.]
[Ensoniq - 2) One of the main reasons we offer
the Turbo version(s) of the EPS-16 PLUS is to
allow more of our users to get the benefits of
having the extended RAM memory, FLASHBANK and SCSI capabilities at an attractive
price. You get 3 Meg of sound/sequence memory and the chance to get involved with the
benefits of using hard drives. We know that no
one has ever complained about a sampler
having too much memory, but many of our
users don't seem to take full advantage of the
options we do offer.
got the rest of the
bank to load but there was no room left for any
sequences due to the memory sharing. What's
a perlormer to do?
3. Have you switched to the Edit Track screen
while a sequence is running to tweak a mix?
Did you notice the slight hesitation in the sequence each time you changed tracks (pressed
an instrument button)?
4. Finally, while I'm not using a 16+ myself, I
thought I would speak out for 16+ owners. One
of the big selling points was the ability to have
disk access while the sequencer was running.
Are 16+ owners going to have to wait as long
as we original EPS owners did for the next OS
update? I hope not.
4 ) We are currently working on and testing
new Operating Systems for both the original
EPS and the EPS-16 PLUS. Rest assured that
we will deliver on our promise.]
Dear Hacker,
In response to your request to hard drive users
and their successes/failures:
I started using a Syquest drive, put together by
a local computer dealer here in Canada for me
(Whitecap Computers in Vancouver, BC), but
found it to be too noisy for my tolerance (more
noisy than my MEGA2 STE and my PC together) so he replaced it for a basic 210 meg Quantum with a quiet fan (read
Good natured bitching aside, let me once again
compliment Ensoniq on their otherwise very
fine products and the Hacker for giving the
user such an excellent forum to voice opinions
and get feedback.
Daryl F. Jeffords
MIDI-Evil Music + "AUDIOSYNCRASY"
Lake George, NY
[CS
- Your problem
be interested
with having MIDI tracks
show up an octave lower than they should is a
- disconnected
fan).
are
Because I was one of the ex-VFX/sd owners
who made so much noise when I had so many
problems with that box, I would like to also
counterbalance
all my previous whining by
saying, "For the Record:"
This EPS-16+ of mine is a beautiful piece of
gear. It is rock solid and has worked perlectly
ever since my purchase over seven months ago.
Definitely the right choice for spectacular sound
quality at a reasonable price.
Hoping for a fast backup quick fix of the week.
Merry Xmas, hackers,
Orion Engar, M.H.
Dorion Research Corporation
British Columbia, Canada
[CS - The next OS release for the EPS-16 PLUS
will include copy/backup/restore routines which
should make backing up your hard drive a bit
more painless. Last I heard, the new OS was in
the beta test stage and should be available
before too long. And thanks for the hard disk
info.]
- no
great
problems
so far. I've had it
about three months and have filled it up about
one third of the way. Am I correct that there is
no fast, easy way to back this beast up through
my EPS-16+? I don't think I'll be too ambitious to reload all floppies if it crashes at
some point it's a painfully slow process. I'll
scour the manuals again and keep an eager eye
out for a good work in the Hacker.
-
I
I'::
I1
~
;Ii
""
II
I
i
II
;
I!
.
i,
,
..
[Ensoniq - Orion, thanks for the kind words
and for your loyalty to Ensoniq. We remember
your problems and letters and are very pleased
that we were able to help you and retain your
loyalty. Happy New Year!]
TH/Ensoniq/The Interlace/Fellow Hackers,
Re: Hard drives...Yes, I agree with Semih Firincioglu (Nov, 91 issue) about certain weaknesses
in the Ensoniq manual...and hard drive testing.
But, hey, as far as the hard drive testing, that's
why we're all together like this, right?
In response to Setnih, Ensoniq and Interlace...
let me begin.
First - my system revolves around the MC500
Mk II Sequencer. I have a 16 PLUS rackmount
Turbo along with a U-20, U-220, 7S MIDI
mixer, effects and, well you know, most of the
regular goodies.
I use the Ensoniq SCSI and a six-foot cable.
Works
I
Like most of us handy guys using this'equipment, shock mounting requires a bit of foam or
rubber and some brackets that you can get at
most hardware stores. So no problem.
So a Syquest mechanism is a Syquest mechanism. In most cases, the only difference IS the
cases. So when I'm transporting my rig, I always remove the cartridges first. Then, with a
good shock absorbing mount, I feel pretty safe
24
I
,
i,
I
~,.gse
~
C.sesIII,
Ess"si" E",,;"_IIIII
Now available direct from factory (except in current dealer
areas) our full line of ATA cases Category I and II
Keyboards:
Module rack cases:
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.
3-space, 4-space, 5-space, 6-space.
(2-space racks available with surface
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Shown: 4-space rack with EPS-16 PLUS module,
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Mention the (TH) code number 839 when inquiring to
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I:
25
')...,
II
v-I
VISA
J
about things...
So, after finding a dual Syquest 44Meg SCSI
drive with external termination and address
selection switches MacUser (Mac 'n More
ETC Dual Syquest, $799.) I thought I'd take a
chance. It came with two Syquest cartridges
and Mac 'n More's price for more cartridges
was only $63 each. This was as low-priced as I
could find. Such a deal. (Why a dual? For archiving and easy backing up...the price was
still lower than most other single units...)
I did experience some problems related to mail
order...but eventually I did get the parcel (with
NO manual-later they finally sent me one).
At first, I had a problem formatting the drive
because I was working from a backup copy of
the Ensoniq V1.10 OS. USE THE ORIGINAL
FLOPPY III The Ensoniq manual didn't point
that out. The drive camewith a three-foot SCSI
cable. I needed more so I connected a 5-foot
25D/26D shielded cable with no problems.
I've been running this drive for 1 1/2 months
now with no problems.
However,I did want to correct a problem that
seems to be Ensoniq related. Let me explain.
Bank loading, to me, seemed the way to go. I
simply title the bank the same as the song title
on my MC500 Sequencer and put in the instruments I want. Then I call it up just before I
play the sequence. This seems to work okay
until I load the next bank with different instruments in different tracks. What happens is if
you don't write over an instrument, it will still
be there, left over and still in the new bank.
Hey, maybe I don't want it to be there.
So, for every instrument/track I wanted left
QUIET I put, into the bank, a Null Instrument,
a 30 block instrument with all the selects shut
off and renamed Null Inst. This gets rid of any
unwanted previously entered instruments.
Trouble was that sometimes the EPS would
lock up (crash) when I went from a certain
bank to a certain bank. It acted like the drive
was answering too fast for the system to be
ready. So after reformatting to slower interleaves didn't work, I tried writing 8 Null Instruments titled Null Inst I, Null Inst 2, etc. By
doing this, the hard drive had to look for
another instrument to load thus slowing down
things enough to be 100% reliable. Put Null
Inst 1 in track 1, Null Inst 2 in track 2 and so
on through to track 8. What we're trying to do
here is quiet the unused tracks. This does work
and works very well. It's what I had to do to
work around Ensoniq's architecture.
loading instruments one by one because it's so
hard keeping track of all those program changes.
Well, I've said mine. Hope this is of some help
to anyone else out there.
Happy MIDI fun to all,
Michael Shaw
Livermore,
-
[CS Michael, I use the EPS-16 PLUS live, as
well, and I've encountered the same difficulty
when using banks. My solution is similar to
yours, except that I use a MIDI instrument (an
instrument that's been created from scratch,
with no layers or wavesamples) as my "null instrument." This takes up only 5 blocks of
memory. Additionally, I don't load a separate
"null instrument" into each instrument/track
location that I want kept blank -I simply load
it into one of the tracks, and then copy it to the
others before finally saving the bank. In this
way the "null instrument" need only be loaded
from disk once the EPS will then copy it into
the same locations that it occupied when the
bank was saved.
-
By the way, there's no reason why a copy of
your os can't be used to boot the EPS-16
PLUS when you intend to format a hard drive
I've done it on my system. If you think that
-
you may have discovered
some kind of obscure
bug, you might want to contact Ensoniq
215-647-3930,
and let them know about it.)
at
If anyone else has run into this problem, I have
figured out a remedy for it. The trick is to basically rewrite the song or sequences on the 16+.
For instance, if you have a an eight bar sequence on an EPS disk and you load it into
your 16+ the first step would be to create a
blank eight bar sequence with the 16+. Then
with the Copy Track function you can copy all
the tracks from your old sequence to your new
one. If you want to do it with a whole song
then each sequence will have to be done
separately and then the new sequences will
have to replace all your old ones in the song
(Edit song steps).
This process is somewhat tedious but at least
you can still play your old tunes. If Ensoniq
could address this problem I'd sure be interested in their comments. Other than that, the
16+ is still a killer keyboard and newly written
songs work fine.
Sincerely,
Joe Farbrook
Seattle, WA
Dear TH,
In response to your request for hard drive info
- I have an EPS, a Roland 505 and a Jasmine
100 MB hard drive. (Now we know what company stole the ex-Ensoniq employee who
named the Mirage.)
- This is another new one on me. I have to
admit, though, that I haven't transferred that
many large sequences from the EPS to the
EPS-16 PLUS. I'd definitely recommend get-
[CS
ting in touch with Ensoniq
I've used the Jasmine for about 3 years without
a hint of a problem. I got the hard drive before
I found out about rack mounted drives and was
very nervous for the first year taking it to gigs,
but nothing seems to hurt it. In fact on one of
our summer cruise ship jobs, the ship's electri-
cal system fried our poor EPS - blue smoke,
sparks and all but it didn't bother the Jas-
-
mine. Except for the hell of going from a 20
piece orchestra to a 4 piece duo, it was almost
worth it for the response I got when I told the
LA repair shop I was calling from Acapulco.
Dave Caygill
La Quinta, CA
[CS
Now, If only Ensoniq would modify their system so that you could load banks remotely via
program change, then you might have a
machine that would be nice 'n fast on the
bandstand. Some of us don't use the built-in
sequencer. That would be a lot better than
CA
songs that I've written on myoid EPS and
now, when I load these disks into the 16+ the
tempo gets screwy as the sequences change
within the songs. This is especially noticeable
when I MIDI my drum machine (Alesis SRI6)
to it. The song on the 16+ and the sequences
on the drum machine will slowly wander out of
time. Has anyone else noticed this problem? It
seems like the 16+ just doesn't quite translate
the sequence data from the old EPS disks correctly. Either that or it's time to take my 16+ to
the shop. I have a feeling that the problem is in
the OS.
- So,
do they make house calls?)
Dear Transoniq
Hacker,
I think I've discovered a fairly serious bug in
the EPS.16 PLUS OS 1.10. I have a number of
your problem
can qualify
get it fixed.)
[Ensoniq - We haven't encountered this timing
problem, but our Customer Service reps will
look into it. Stay tuned...)
Sirs,
In the '60s I played a B-3, wood varnish, black
white and brown keys, 2 Leslies, drawbars and
click and percussion (attack). I had full control
on the tremolo and vibrato. Has anyone made a
B-3 for the EPS? Instrument buttons 1 to 8
could each be a drawbar and the volume of
each could represent the "draw" on the drawbar, percussion by the attack on the keys. An
inverted parallel fifth could be punched in
(remember Jimmy Smith?). I'm looking for
some large block, everything type of B-3. If
anyone remembers Jimmy, Booker T and the
MGs or Procol Harem's "Lighter Shade of
Pale" I'd really like to hear from you. If this
26
..
- if they
they can probably
a
I
takes the ENTIRE 4x on the EPS that will be
okay.
And if we have any amateur radio ops out there
who just feel like talking general music and
theory/MIDI/EPS my call's K5MZG. I operate
around 28.75 MHZ +/- 10% SSB.
Thank you,
AI Trautman
Lydia, LA
[CS -I just got a chance to hear the new Joey
DeFrancesco set of Signature Series sounds
from Ensoniq (ESS-XX), and I really liked
them. While these are not the nastiest rock
organ sounds /' ve ever heard (after all,
DeFrancesco is known as a jazz player) they
really do the noble B-3 justice, in my opinion.
Check' em out.}
Dear Hacker,
Hi, it's me again with a couple more wishes for
the new yearl To Ensoniq:
1. In the future how about shipping your
samplers with drives that can take advantage
[Ensoniq -1) We would certainly consider
using HD disks, now that they have come down
sufficiently in price. We do seriously consider
the issue of compatibility, and are concerned
about releasing new sounds on a format that
all our current owners could not use.
2) Syncing oscillators is a hardware function,
and could not be developed as a software update.}
[TH - While we've toyed with the idea of a
BBS, just getting the Hacker out seems to take
up all of our time. There are several BBSs out
there that do serve as the type of electronic
watering hole that you describe. The ones
we've heard of that may be most relevant are
the Mirage-Net at Internet: mirage-request
@hpdsojk.cup.hp.com
and Sound Management BBS at 708-949-MIDI. Keep in mind,
though, that BBSs come and go while the
Hacker plods steadily onward...)]
of
HD disks. Having that extra disk space sure
wouldbe nicel
2. For future OS's for the EPS.16 PLUS, I'd
really like to have sync function like my
SQ-80 has. The ability to sync two layers
would open up some great-sounding possibilities.
And to the Hacker:
1. How about a Hacker BBS for those of us
with computers and modems? Users would pay
a subscription fee to belong to it and it would
be toll.free to allow everyone to make use of
it. The subscription fee would pay for this and
other costs. There could be IBM/MAC file
areas with public domain Ensoniq-specific
software, an area for users to upload and trade
original samples and patches, a message area
allowing users to contact one another/get questions answered/post classifieds and even an
area that would allow users to download past
articles from the Hacker. Whatdaya say,
readers? If enough of us bug these guys about
it, maybe they'll break down and grant our
wish.
Sincerely,
Tom Shear
Lyme, NH
-
you just have to reach out and digitally touch
us, you can do so via a number of electronic
services, including GEnie, CompuServe, PAN,
and Internet. Check the masthead at the beginning of the Interface for more details.}
[CS Because of the tremendous amount of
work involved in running and maintaining a
full-fledged BBS, and because of the Hacker's
steadfast opposition to extra work no matter
what insidious form it takes, I think that seeing
a TH-sponsored BBS become a reality is about
as likely as Prince touring with Zamfir. Still, if
Dear Clark,
This letter is in response to your request for
EPS hard drive experiences. I began my EPS
hard drive journey as a complete novice. I
started with an old model EPS and a 4x expander from PS Systems. I then added the
SCSI kit from PS Systems as well. I initially
tried a Jasmine Portable l2-MB drive (small
size - price) but it didn't work "drive not
responding." After talking to several people I
ordered an 80 MB Power Drive (Seagate
mechanism)
and a 105 MB Power Drive
(Toshiba mechanism) for Hard Drives International in Tempe, Arizona. The Toshiba didn't
work but the Seagate did, albeit with an oddity
-
- it
only responded
to the EPS when its (the
hard drive's) I.D. number was set to 3. Of
course, 3 is the EPS's I.D. number, so you're
supposed to set the hard drive number to anything but 3. Well, by this time I was wary of
malfunctions, so I kept the 80 MB Seagateand
enteredhard drive heaven, albeit warily.
My EPS had the 2.0 EPROM chip and I was
using OS 2.4. My main use of my set-up was
as a member of a live top 40 rock band. I had
been using floppies for about a year and it was
killing me. In addition I'm the bassist in the
band who also doubles as a keyboardist and I
have all the sampling and sequencing chores as
well.
I started using my hard drive live in May of
'91. I was very careful to avoid fragmenting as
much as possible and I only loaded the sounds
I needed for the gig into my drive (not my
whole library) to avoid problems. My hard
27
"
':>~;,:,:~--~;:~~
--
drive, happily, survived the summer outdoor
dance season (almost 50 gigs), but about 3
months ago I started having problems with it.
It would lock-up (load light would stay on
forever) when I tried to save certain sounds.
Plus the load time was noticeably slower. Well,
it finally crashed about a month ago during a
gig, of course. After a few more inquiries (Ensoniq, PS Systems) I learned that I should update my EPS to the 2.4 EPROM and OS 2.49.
Things have running smoothly since - knock
wood. I still encounter a few problems with the
EPS because of a MIDI loop that it's part of
but I'm working on that too. Any suggestions
here or info would be appreciated. Now, if Ensoniq could find a way to squeeze a couple
more meg of RAM into the EPS or 16+ I'd
truly be in heaven.
Hope my experiences are useful in compiling
your survey. Now let's hope I'm lucky for a
change and win the prize.
Yeah, and one more thing. I got the EPS.16
PLUS Signature Series featuring "The System"
and a couple of the synth bass sounds don't
work right on the original EPS but do on my
dealer's 16+. I get a small click on the EPS for
one sound and a real thin sound for the other. I
tried tweaking them but nothing helped. Any
answers?
Todd E. Henseler
Omaha, NE
[CS - There can be some problems en.
countered when trying to play back EPS 16+
sounds on a standard EPS. The first thing to
check out is filter cutoff. On the EPS 16+,filter
cutoff goes from 0 to 150, whereas on the EPS
it ranges from 0 to 127. Consequently, iffilter
cutoff is set higher than 127, the EPS may have
trouble interpreting the numbers. On the EPS
classic, try moving the filter cutoff point all the
way to 0, then back up to a setting that sounds
good.
The other problem has to do with the fact that
the EPS 16+ has a new gain boost parameter.
If a programmer uses this parameter to get a
bit more volume out of a sound, you may have
trouble getting the sound to play back at the
correct volume on the EPS classic. The solution is simply to check and make sure that the
volume for any wavesample that seems to quiet
is turned up.
As far as the click in the sound goes, I'm not
really sure what the problem could be. The
click couid be the result of the envelope(s)
resetting
rather quickly
have you tried
changing attack and/or release times? Some
problems with clicks at the end of a sound can
be resolved by setting the AMP envelope to a
fairly long release time, and using the filter en.
velope to actually control the sound's final
decay. The idea is that if the filter cutoff point
-
1
is set pretty low, you can use an envelope to
"close down" the filter to turn a voice off. Be
careful not to set the amp envelope too long,
though, or you might encounter some problems
with voice stealing
the EPS might think that
-
the voices you've filtered out are still sounding, since their AMP envelopes are still decaying.
"~
.~
u
"'
~
ml\ll ATOONSTM
And thanks for sharing you hard drive story.
Wish 1 could provide some help with your
Acollectionof act-enhancingsequences,authenticallyrecreated
from America'sbest-lovedTVshows.
-E
j
~
LEAVEIT TO BEAVER
PETER GUNNTHEME
PERRY MASONTHEME
THREE STOOGESTHEME
JAMESBOND THEME
THEME FROM ROUTE 66
~
LOONEYTUNES I (BUGS)
FRACTUREDFAIRYTALES
OUR GANGTHEME
S:
ALFRED HITCHCOCKTHEME
THE HONEYMOONERS
"
LOONEYTUNES II (PORKY)
TWILIGHT ZONE THEME
THEME FROM 2001
I LOVELUCYTHEME
s;-
~a
BULLWINKLE I
STARTREK THEME
MY FAVORITEMARTIAN
20TH CENTURYFOXFANFARE
g
;S
TONIGHT SHOWTHEME
SUPERMAN(TV SHOW)
MISSION IMPOSSIBLE
THE JETSONSTHEME
AMERICAN BANDSTAND
~
MIDlloop
problem, but I'm afraid 1 need a bit
more specific information. Feel free to write
again, though.]
Choose any 5 sequences/or
only
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(Or, choose 10 and get 2 FREE.)
ToLISTENto an automated DEMOCall:215-889-9746(24
hrs)
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Available immediately for VFX-SD*(versions 1 &2), and the SD-l*
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Introducing - clean samples for the EPS and the EPS l6-Plus! We've been in
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controllers such as mod wheel, footpedal, and Ensoniq's exclusive polyphonic
aftertouch keyboard! Call for your free catalog - we'll get it out to you within
a couple of days.We accept Mastercard and Visa; please leave on voice mail.
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1-800-8-PRO-EPS
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1.206.467-5668
TheNEW...
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SOFTWARECO.
Box 428 . Renton,
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WA
98057-0428
Dear TH Interface,
After reading Mr. Cicchinelli's letter in the
November issue about noise generated by his
hard disk drive, I've decided to contribute my
solution, which hasn't generated any noise on
the outputs or ever hung up on the keyboard.
I own an EPS.16 PLUS Turbo which comes
standard with 2 megabytes RAM, 1 meg Flashbank and a SCSI port. I added a 10S MB Quantum LPS drive, purchased as a Mac external
drive from Wholesale S4 for $379. After
verifying that everything worked properly I
then removed the disk drive and power supply
from the external case and mounted them
COMPLETELY INSIDE the 16+ case. The
drive is only 1 inch high and fit in the area
under the 16+ logo and the power supply fit
between the Mod/Pitch wheels and the floppy
drive. I added LED's for power and read/write
and a power switch for the drive.
I had to build my own SCSI cable because the
connectors are too large on the cable that
comes with the drive. I ran ribbon cable from
the SO-pin drive connector to a 2S-pin D connector. I then replaced the 24-wire internal Ensoniq SCSI cable with a longer one and added
an additional 2S-pin D-connector inside the
case for the drive to plug into. This leaves the
Ensoniq external SCSI connector free so
another drive can be attached externally.
From the outside you can't tell there is a drive
inside except for the additional power switch
and everything works flawlessly. I wouldn't
recommend that the modification be made unless you are VERY comfortable with what you
are doing, but everyone who owns an EPS
should have an external hard disk drive. It
tremendously increases the functionality. For
example, loading the 1971-block Steinway
Grand takes less than 3 seconds.
Sincerely,
Daryl Daughters
Alta Lorna,CA
[CS
- Kids,
don't try this one at home
least not until your warranty
@1991 Rubber Chicken Software Co.
28
II
.
has run out.
- at
i
Actually, the procedure for adding an internal
hard drive to a rack mount EPS isn't all that
difficult, as should be evident from Mr. Daughters' letter. However, do not even CONSIDER
performing this sort of operation if you have
the least doubt about your ability to bring it to
successful completion.]
new EM magazine and I found this little ad for
hard drives. "Tech Warehouse 20 meg $289,
45 meg $379, 105 meg #479 compatible with
Ensoniq." I flew to the phone. I couldn't believe it. Oh, one more thing - a 44 meg removable with cartridge is $525. I wanted to share
this with all the hackers.
[Ensoniq - Whatever you do, don't try to
power a hard drive from the built-in EPS
power supply. You will definitely overload it.]
Don Suite
Salt Lake City, UT
Transoniq
[CS -I haven't heard anything about built-in
hard drives for the EPS or EPS-16 PLUS, or
seen anything to that effect advertised or
Hacker,
Re hard drives
- this is like finding
-
-
a tire for
your car.
My friend has the EPS and he's using a Burnuelli 44 meg removable. He has one problem.
He has to have the cartridge formatted at the
computer lab. Other than that it works great.
I've tried it and can't hit the load button fast
enough to beat the drive.
Another thing same subject. He said he saw a
show on TV that had a guy showing the EPS
with a built-in hard drive. Built right into the
EPS. I wonder if you could find out who it was
and if you can buy the video.
I own a brand new EPS-16 PLUS Turbo and
am searching for a hard drive. I just got my
shown on TV unless Daryl Daughters (see
letter above) has his own show somewhere.
"This Old Sampler," maybe? Thanks for sharing the hard drive info.]
S11OO/S10008 MegMemory Card
S11O0/S1000 2 MegMemory Card
S11O0/SI000 SCSI Interface Card
S950750KMemory Card
Mpc60 750K MemoryCard
FZIKeyboard
I MegMemoryCard
Dear TH, CS and Hackers,
Today I received my copy of Transoniq Hacker #77, November 1991. In the Random Notes
section there is an announcement that Ensoniq
has decided to stop including a copy of TH
with each new keyboard/module.
I would like to voice my support for TH and
say that I am appalled by Ensoniq's decision. I
understand that Ensoniq has agreed to continue
placing a "flyer" from TH. However, how long
will it be before even that is terminated? If
ENSONIQ
EpS162XMemorvCard
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EPSI61/2MegFlashbank
EpSI6I MegFlashbank
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EPSTerm.SCSI2
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VFX-SD/SD-I
75KNoteSeqXpndr
SQ-I/SQ2 58KNoteSeqXpndr
VFX/VFX-SD/SD-I
60120RAMCard
ESQ-I20KNoteSeqXpndr
ESQ-I/M/SQ-80
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HARD DRIVES
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"Keith has proven to be one of the
true masters of the art of sampling."
[THreview, June '91]
KeyboardMagazinesays"Beautifully recorded... incredibly
smooth... rich... soulful... crisp and
seamlesslymulti-sampled."
[JimAiken, Keyboard, Oct. '91]
Demo Package (includes t,
disk, and catalog)
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ROM...Wehavean
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in themarketplace.
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Peavey
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Memory
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YAMAHA
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2 MegMemoryCard
C-I Computer
4 MegMemoryCard
DX7/5/1,RX-1l128VoiceRAMCard
DX7-11(FD/D/S),
TX802,DXll, DMP7
1'1'2000,
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256VoiceRAMCard
DX7-11(FD/D/S),
TX802,DXll, DMP7
1'1'2000
1024VoiceRAMCard
TX16-w1.5MegMemoryCard
SALES& SUPPORT
CustomerService:
DealerService:
Maartists Incorporated,
2180 PleasantHill Rd,
Suite 189,Duluth, GA
30136 USA
Tel (404) 623-1559
Fax: (404) 623-1293
1-800-832-2737
1-800-338-3635
.
N5
Phon
29
~--I
they are making the decision to terminate TH
placement for financial reasons I would suggest that it is a very short-sighted and unwise
solution for the reasons I point out below.
Department of Psychology
University of Western Australia
-
[TH We appreciate the words of support, but
(so far, anyway) this change from Ensoniq has
not really caused the problems that we thought
it might. Our advertisers have been very understanding and supportive and seem to be
happy with the solution of being included on
our flyer. While it's still a little early to judge,
the number of new subscriptions coming in has
not changed much. Ensoniq may wish to give
their reasoning behind their decision, but in
any case it's probably not going to change and
it's a decision we can live with.)
I would like to state unequivocally that it has
been TH that has maintained my loyalty to Ensoniq products. Over the years I have purchased a Mirage, EPS and EPS-16 PLUS and
sold, by encouragement to friends, many other
Ensoniq keyboards. The point I always stress
to any Ensoniq user is that TH is an essential
accessory to their instrument. I even encouraged my local Ensoniq dealer to subscribe
to TH and they now use this publication in
their customer service. Most of the knowledge
I have about Ensoniq products and how to deal
with/use them is directly from TH or from
people I have met through TH. Here in Australia I have endured poor after-sales service
and a total lack of useful information through
the distribution network. It was the information
and encouragement I received from TH that
gave me the incentive to persist with Ensoniq
equipment.
[Ensoniq - Dear Scott,
I wouldn't be quite so concerned. We are (and
have been) very loyal supporters of the Transoniq Hacker and Jane and Eric can testify to
the great lengths we go to to help their magazine.
The main objective is to provide our customers
exposure to the Hacker, which we still do
through the use of a nicely designedflyer. The
Hacker is the only third-party company that we
provide this direct and extensive method of exposure to every Ensoniq customer.
The friendly, informative, and open forum that
is TH has created what I can only describe as
an "Ensoniq Subculture." TH is performing a
public relations service for Ensoniq that cannot
be replicated by any other means, and in my
opinion has generated more Ensoniq support
than any amount of advertising could.
Your concern seems based on the fact that customers will no longer be able to get the
valuable information and support that the
Hacker provides, since we don't provide an actual issue in the box. But the truth of the matter
is that a customer must subscribe to the Hacker
to get its benefits. They don't buy a new Ensoniq product each month just to read the Interface!
I am now in my 4th year of subscription. In the
preceding years I have moved from just using
its services (sending letters to the Interface
section) to authoring articles. TH has allowed
Bnsoniq users such as myself to convey useful
tips and novel uses for your technology to
countless others, hopefully inspiring those who
read the articles to more fully explore the creative potential of your instruments. Indeed, that
was the case with me. I would urge Ensoniq to
reconsider their decision in the strongest possible way. Let this not turn out to be another
blunder the magnitude of the "keyboard inductor" saga.
[To the readers - As mentioned in last month's
Interface, an unfortunate series of events led to
our not receiving Ensoniq' s responses in time
SUBSCRIPTION INFORMATION
OR 97221
CHANGE OF ADDRESS
Please let us know at least four weeks in advance to avoid missing any
issues. The Post Office really will NOT reliably forward this type of
mail. (Believe us, not them I) We need to know both your old and your
new address. (Issues missed due to late or no change notification are
mailed
This is a perfect opportunity for us to remind
readers of our views on copying sounds as
well. We do not allow or condone the copying
of any of our after-market libraries, the VPC
and IPC cartridges or the VSD or ISD disk collections. There are many very talented sound
developers who are paid royalties on the sales
of these collections and deserve to be compensated for their work. Without the ability to
make some money from developing sounds, the
third-party market would go away, and you
would be left with little support for your instrument.
Think about this the next time you are considering copying any company's (manufacturer
or third-party) sounds, be it for a synth or a
sampler.]
Bob Henderson commented on a recent Ensoniq seminar that he went to and had some
questionsabout possiblefuture developments:
- We're
sorry that you couldn't
stay
until the end of the seminar. Our representative would have been glad to answer all your
questions (without the jokes!).
1) While it is technically possible to build a
synth (or sampler) that could load a sequence
while playing another there would be major
problems because of the need to shuffle memory. Our Direct Memory Access technology
would allow the data to transfer fine, but if the
Back issues are $2.50 each. (Overseas: $3 each.) Issues 1-9, II,
13-23,27,29,30,35,36,37,38
and 68 are no longer available. Subscriptions will be extended an equal number of issues for any issues
ordered that are not available at the time we receive your order.
ESQ-1 coverage started with Issue Number 13. SQ-80 coverage
started with Number 29, (although most ESQ-1 coverage also applies
to the SQ-80). EPS coverage started with Number 30. (But didn't
really get going till Number 35.) VFX coverage got started in Number
48. Permission has been given to photocopy issues that we no longer
have available - check the classifieds for people offering them.
Reprints in our "Quick and Dirty Reprint Series" are available:
MIRAGE OPERA nONS, for $5, and MIRAGE SAMPLE REVIEWS
for $4. Each contains material from the first 17 issues.
US: $23/year. All others: $30/year. (Please use International Money Order,
payable in US funds.) Please make payable and mail to:
- we
-
[Ensoniq
The sounds that come on the O.S.
diskfor the SD-l are not available in another
collection or format. As a current Ensoniq
owner you can visit your dealer and copy the
files (sounds or demos) that you like from that
disk only!
BACKISSUES
12 MONTHLY ISSUES
your own dumb fault
Scott Pease asked about the possibility of obtaining SD-I ROM patches for use in VFXs:
[Ensoniq
That awareness and opportunity
has not
changed, and after the initial shock of any
change, it seems that life will go on just fine
for the Hacker and you loyal readers.]
Regards,
Scott Fisher [[email protected]]
TRANSONIQ HACKER
1402 SW UPLAND DR., PORTLAND,
to be included in the January issue. Whatfollows are the anxiously awaited replies.]
them I)
30
.
a
new sequence is larger than the old one it
might have to become fragmented across the
open RAM, or the synth would have to shuffle
the internal memory to make a free continuous
block of RAM to load it into. This would result
in a "shuffling memory" prompt (EPS owners
are familiar with that!) and could cause timing
problems in the currently playing sequence.
2) Read/write CDs are still a way off, and to
replace a 3.5" disk drive would have to become
affordable enough (both the drive and the
disks) to become the base machine's method of
data storage. The newer formats, such as the
floptical that Clark mentioned as well as
higher density formats like the 128 Meg 3.5"
optical disks are still likely to be secondary
devices for a long time, with the 3.5" disk as
the main device.
4) It is not possible for a user to combine effects, but we could create a new algorithm to
combine- rotary speaker with reverb. The
problem is that there's a set number of instructions that can be used for an effects algorithm,
and to combine two effects you have to reduce
the number of instructions for each effect. This
would result in a more limited and poorquality rotary speaker simulation, combined
with a poorer quality reverb. We have to consider whether you would be happy with the
functionality
of the two but with reduced
quality .J
Patrick Voes mentioned
HACKER BOOTEEQ
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Featuring Vector Synthesis
60 sounds, 20 presets
3 Demo sequences and documentation
"Percussion & Bass" Volume I thru 10
"Synth & Keys" Volume I thru 10
$40 disks
VolumeI for theSQ-1/2/R/PLUS
$50 disks
Each volume contains 30 disks. Each volume
is only $45. Yes, we have the lowest prices in
the world. But don't let that fool you
LATTER SOUND
PRODUCTIONS
2617 Ridgeway St.
Tallahassee, FL 32304
(904) 575-5561
Berkeley,
ALL DIGITAL SAMPLES
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-
Ensonlq
Disks on
Transfer Sequences to and fromStandard
Midi Files. Each package (VFXSMF for
VFX-SD and SD-1 or EPSSMF for EPS
and EPS-16+) includes EDM and only
costs $44.
Convert SQ-SO sequences
and songs to
VFX-SD or SMF with our SQSOVFX software ($44).
FIRST GENERATION
Giebler Enterprises
8038 Morgan Road
Liverpool, NY 13090
(315) 652-5741
P.O. Box 748
Cocoa, FL 32923
t'
~pV
O'JV~'£RS
It doesn't have he expensive to get Puhlic
Domain samples. You can get the same
samples those expensive outlets otTer for
a fraction of the cost. We're NOT like
those other companies; flexiblity, service
and low cost is the norm with us.
For a free list of products and services
for the EPS, send name and address to:
NEANDERTHAL ORGANIZATION TECHNIQUES
PO Box 1238
HILLSBORO, OR
[Ensoniq
It is not possible to upgrade the
original EPS to 96 PPQ through an OS
release. The design of the EPS doesn't allow
the memory to be reallocatedfor sounds.J
(510) BEAT -808.
Manager (EDM) software ($22).
We offer the only 16 bit computer
synthesized
samples available for
your EPS or EPS16+. "A great idea,
and some great sounds...veryclean...
wildly exotic." -Jim Aikin, Keyboard
Julyl91. Get a demo disk with seven
complete instruments for $6.00, or
write for our catalog.
low temperature you shouldn't have a problem.
The drive, like all disk drives, is only rated to
operate down to 40 degrees Fahrenheit, and
there is also a chance of condensation if the
unit is brought from a cold area to a warm
area, without being allowed time to reach
room temperature. If this is not the case, you
should contact your dealer/distributor for service.
Daniel Merrill asked about upgrading his EPS
to the EPS-16 PLUS's clock resolution and
reallocating some unused sequencer memory:
Phone:
Read/Write/Format
some hard drive
).J
check
IBM-PC's with our Ensoniq Diskette
exxxxxxXXXXXXXXXXXXX)
[Ensoniq - 4) Unless you store your EPS at a
letter
-
out what you're getting! Each sample is PreEffected (harmonized, reverbed, EQed, sonic
maximized, in true stereo, and for the first time
ever on sampled disks...3-D Space Surround
Sounded!!!
Customized sources like JD800,
SY99, D4~ Ol/W, MPS, etc., etc.,... And, oh yea,
100% Money-Back Guarantee. Credit Cards,
MO, Checks: Radio Ready, PO Box 677,
Florida residents add sales tax
warm-up problems and asked about simultaneous effects combinations:
5) It is possible to give you two effects on the
same BUS, with the panning of the wavesample
determining which effect is used. The bigger
problem is having enough instructions per effect to do a good job (see response to previous
Ready
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31
I
-...
BULK RATE
U.S. POSTAGE
PAID
PORTLAND, OR
PERMIT NO. 11
TRANSONIQ HACKER
1402 SW UPLAND,DR., PORTLAND, OR 97221, (503) 227-6848
SUBSCRIPTION MATERIAL
DATED MATERIAL. TIME VALUE
ADDRESS CORRECTION REQUESTED
The
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