Basics of Expressive Synthesis
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The independent News
Magazine for Ensoniq Users
Basics of Expressive Synthesis
Purl I
Craig Anderlon
Basics of Expressive Synthesis
Craig Anrlerton
ing experience — then it's time to tweak
your keyboard into being the most
expressive musical instrument it cart
possibly be. Unforttmately, a lot of
musicians are reluctant to program their
own sounds, so to make things easier
we‘ll cover ways to edit ezisting sotmds
to obtain more ezpressiveness. After
you get past the basics described here,
you’ll hopefully come to the conclusion
that synth programming isn‘t all that
complicated (however, sometimes it can
be tediousl), and forge ahead on your
own.
One of the beauties of acoustic instruments is that they offer so many ways to
vary a sound: the changing embouehttre
of a sari player, a guitarist's various
picking and whammy bar techniques, or
a violinist’s use of vibrato all make
drastic changes in the overall timbre.
Synthesizers used to suffer from a lack
of comparable options, but times have
changed. Ensoniq's synthesizers in particular include a lot of parameters that
allow for increasing expressiveness;
what you need to do is find and use
them, which is what this article is all
about.
Sure, you can just let your synthesizer
respond like an electric organ, with dull
dynamics and static sonorities. But if
you want to stand out from the crowd —
as well as have a more satisfying play-
There are seven main ways to add czpressiveness:
1. Velocity. This causes the sound to
respond to the dynamics of your play-
Another Look at the VFX-sdl'SD-1
Franl: Fortnnaro
T
Transwaves for the EPSIASR
Joel: Sclrlejjfer
9
SQIKS Sounds — Part XI: ‘violins
Marl: Clifton
11
Getting the Most out of Your TS-1lll12
Anthony Ferraro . .................................... 13
DP,-"4 I-lackerpatches
Dave Kelly . ........................................... .. 13
Soviet Synths from Syntaur - samples
Jeremy Ryan
4
Latter Daze - TSs
Robby Barman ........................................ .. 6
Nightwind Sounds - Mirage, EPS
Pal Finrtigan ........................................ .. 15
ing.
2. Pressure. Pressure lets you influence
a sound‘s character while a key is down;
just press on the keyis). Most Ensoniq
synths offer both channel presstne (the
amount corresponds to the average of all
keys being held down) and Poly-Key
pressure {each key sends out its own
pressure data).
3. Mod wheel. This is optimized to add
modulation variations with your left
hand and is therefore most often used
with single-note, right-hand solos. (For
two-handed parts, using pressure instead
of the rnod wheel might be a better
.
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I1-F
cover
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B asement Tapes: Reesa
Daniel Mandel ...................................... .. 1’?
Rartdorn Notes . ....................................... .. 3
Hypersoniq
3
Classifieds ............................................ .. 19
I-Iacl-ter-patches - Mirna & Rhonda
SQ,-‘KS: Ice Castle, Dan Richards .......... 20
ESQ: ‘ilhalen, Carlos Macias ................ 21
KFFXISD: Key Rhythm, Waller Cooper .. 22
Transoniq-Net
21
The Interface ........................................ .. 23
Hacker Eooteeq ................................... .. 3U
choice since you can keep both hands on the keys.)
downward from the programmed value. In this case, initially
4. Footpedal. Not only can the pedal control the overall
volume, but it offers another way to add modulation without
taking your hands off the keys.
5. Data entry slider. The Program Control page on synths
such as the TS-ll) allows you to vary a particular parameter,
such as brightness, attack, timbre, etc., for all voices within a
program (assuming the parameters have been programmed to
respond to the slider).
_
6. Pitch bend wheel. Of course, this is good for “string bending" effects, but it can also contribute to the ezpressiveness
of wind, vocal, and other sounds.
7. Patch select buttons. These let you choose up to four
variations of a program, such as adding in a layer or doubling
a voice, in real time.
set the output level for the highest desired level. Make the
Modamt more negative until ma:-timum velocity gives the
lowest desired level.
Why would you want a voice to get softer when you play
louder? One application with two voices is crossfading between them: have one become louder as you play more forcefully, while the other gets softer.
Also note that envelope levels interact with pre-progratnmed
levels, which can be confusing at first but leads to faster programming in the long run. For eitample, suppose you're using
velocity to control the Envelope 2 (filter cutoff] level. After
setting up the envelope, you jtunp over to the filter page and
start playing with the cutoff. If you find the envelope has too
much effect on the sound, you don’t need to return to the envelope level parameters and lower them; you can tweak the
filter cutoff (to set the lowest end of the filter ettcursion) and
envelope amotmt to set the maitimum envelope eitcursion.
Let’s investigate some ways to ettploit these options.
Basic Modulation Rules
Many parameters can be modulated (i.e., altered ht a predictable way} by assigning parameters such as filter cutoff, LFO
amplitude, etc. to a modulation source such as mod wheel,
velocity, pressure, etc. Furthermore, the same modulation
source can control multiple parameters. For ezarnple, velocity
can affect the output level and filter cutoff simultaneously so
that as you play harder, the sound gets both louder and
brighter. Multiple modulation assignments such as these can
produce more dramatic effects than single assignments.
velocity and Dynamics
Speaking of filter control, remember that there’s more to
dynamics than just level changes. Programming the filter so
that it gets brighter with increasing velocity gives a more
“acoustic” sound, and accentuates any dynamics-based level
changes.
The fact that each voice has its own output level parameter is
also very useful for creating complen dynamic effects- For
ezarnple, for a sweet electric piano sound, set one voice to
give a constant amount of looped piano sound (sum as
El-Pianofi wave]. Now assign a second voice to a percnmivc
sound {such as Crystal), then set this voice‘s Envelope 3's
‘v'el-Lev parameter to 99. The ltarder you play, the more it
brings in the Crystal wave, thus producing a more pertv;.ssive
sound. —
There are two main ways to control level with velocity: at the
output page (lvfodsrc=‘v"eloc) or by controlling the Envelope 3
Bio.‘ Craig Anderton is a lturnanoid biped who really liter
levels with velocity (lfel-Lev parameter; the harder you play,
the greater the envelope amplitude). With a Vel-Lev value of
U0, the envelope level values remain as progrannned. increasing the Vel-Lev value lowers the envelope levels for low
velocities, with higher velocities giving the programmed en-
playing with synthesizers. Gratuitous plug: starring in
January, check out “Craig Andorran’: Soto-.d. Stage. and
Studio" area on America On-Line t'l:.—3j.~-nerd." .&.‘l-'lIIERTrSl."~',l
for articles, samples, industry news. an.-.:l .’o:r r-..ore.
velope level values.
{TH — In Part ll, Craig’ll give some usejid and kinda dif-
The output page level modulation parameter offers the option
of negative scalings, where higher velocities drive the levels
ferent tricks you can do with you.’ .-eodwheel and pressuresensitivity.1
$UBSCRlPTlON INFORMATION
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Every month we mail out thousands oi issues end every month
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2:2?-B-B48,
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HND (tn)
Ensonlq News
And, fmally from Johnny Klonaris: I got my TH and read the
article. Looks fine except for a mistake — my fault all the
way (l HATE when that happens). The correction would go
something like: The two references to the bit format are
From Ensoniq — We want to wish everybody out in "Hacker-
wrong. instead of “dOnnnnn" they should be "dfilnnnnnn."
larui“ a Happy New 1"ear, and hope you had a happy holiday
celebration.
The previous paragraph is correct about adding 8 for clockwise, and the example is correct.
Special thanks to Clark Salisbury for his involvement in the
Interface, and to Jane and Eric for being so patient each
month, awaiting our responses! [TH - No prob. Tharrksl]
i
i
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Anthony Ferrara didn't quite make it in time with the actual
nuts ht bolts of direct-to-disk recording this month. It should
What Have You Sampled Lately?
be here in February's issue.
Ensoniq is collecting material for its first Public Domain CDROM. Ensonia Public Domain CD-RDM Voiurne l {PDCDUlll for short) will be a huge compendiutn of sampled sounds
for use with the ASR-10 and TS series products.
We're still holdhtg off on publishing the KT patch sheet. If
you need a copy, just give us a call.
The sounds on this CD-RUM are being gathered from a broad
assortment of ASR owners, sampling enthusiasts, Ensoniq
users groups, Authorized Ensoniq dealers — in short, anyone
who has created ASR-lll (or EPSIEPS-16PLUS) samples that
he or she would like to share with other Ensoniq owners is invited to submit sounds for inclusion on the Ensonio Public
Domain CD-ROM.
If you are interested in receiving more info, submission
guidelines, and a Sound submission agreement, send your
name and return address info to: Ensoniq Corp, attn. Public
Domain CD-RUM, 155 Great Valley Parkway, lvlalvern, PA
19355.
Hacker News
Error it'll:-$& - Reboot! Well, just to start the new year off
right, we‘ve got a few little corrections for last month’s issue.
First, and most important, in Tom Shear‘s frisky little comments in his review of Pro-Rec's Analogue Collection sampling CD he mentioned sampling a btntch of wonderful
sounds from it. We should make it clear that this is okay with
What with increases in postage (and just about everything
else) and trying to keep the price of the Hacker from going
up, we'd like to announce the following — and encourage
everyone who can, to check it out, and everyone who can't,
to link up so they can:
Transelectroniq-Hac k;ejr?t I p
We---are in the process of smtmtg an
sosiq
If you are at all
please
an e»mail‘messa"ge mm an
version of
-ht.
Yssii
ssttaifis as
ticu1ars(mtdtllepecol'iars}. Weiss-times-naraes""'
" .
"
Third-Party News
Syntaur Productions, vendor of just about everything for the
Ensoniq owner, has a new address: 5402 West 43rd St., Houston, TX 'l'?[l92. Phone: T13-682-1960. Fan: 713-682-ZUTZ.
Their BUD-number remains the same: 1-800-334-1233. [TI-I And there's a shot of the suave lvlr. Syntaur his own self
(Sam lvlims) in the January issue of Keyboard]
Pro-Rec. Vendors usually (but not always) allow reviewers to
HYPEFISONIQ
keep sounds sent in for review. We certainly don't wartt to
NEW PRODUCTS
give the impression that we condone sample piracy. Sound
vendors have enough problems with that as it is.
We also just got this in from Robby Berman: Chopsticks in
F# correction! Ooh, am I embarrasssed. in last month's article on the KT sy'nths' Transpose button, l made a crack
about users needing to be able to count to 6 (and about
Spinal Top drummers’ ability to reach 4}. Only five paragraphs later, I go on and on about the distance between Fit
and Eb being 2 semitones, when, of course, urn, that would
actually be 3 semitones. l wonder if math skills are necessary
to be a Tap roadie. Sorrysorrysorrysorry.
.com
crew-t
Third-party sound company MIDI lvlarlt Productions has a new
CD Rtlnvi called "Powerhouse, the bomb CD RDM.“ It contains
illlll megabytes of sounds in 1,162 instruments for dance and rap
music. Sounds include digital and analog synths, basses, pads,
leads, strings, pianos, electronic pianos, organs, bells, wind insu'uments, techno sounds, orchestra hits, electronic and teal effects,
science fiction, trance, guitars, guitar loops, street series drums,
drum machines, drum loops, percussion, live percussion loops, and
vocals. Compatible with the EP5-16+, AER-Ill and T5 Series keyboards. Price: $29‘9 + $3 shipping. For further information, contact:
MIDI Mark Productions, PD. Eon 21?, Whittier, CA Qllfiiifl. Phone:
3 lb-5919-U095 .
Soviet Synths From Syntciur
Jeremy Ryan
Product: Soviet Syeths, Sample Set .i'.
For: EPSIASRFFS.
Price: $29.95 for the four-disk set.
From: Syntaur Productions, 5-1-D2 W 43rd SL, Houston T1 TTUFZ. Phone:
EDD-334-1233, fax: {T13} 632-ZUTZ.
Unable to suppress my curiosity as to what monster and
novel sounds may have linked in strange Slavic lands and
technology. I finally broke down and availed myself of this
surprising set of analog synth samples.
rich sustain. Reminds me of my old Prophet. Very responsive touch sensitivity. X0 patch: A "B-3" key click in left
ear and a corresponding volume swell in right, sustaining in
a panning, swelling sine wave. Check the wheel and hold
the key down! XX patch: A muting filter. OX: The B-3 with
the wild sine wave.
File 3: *Darl-t Synth Pad* (408) U0 patch: Subtle. quiet
sawtooth. Less touch sense. Xi]: Smoothing filter. XX
patch: More smoothing. OX: Less reverh than U0 patch with
a brassy inflection. Minor loop repeating may be detected
by nit-pickers in triads and greater..
Let me preface my aural explorations as it were to report
my modus operandi: Beyond observing the seven criteria as
reported by lvir. Steve Vincent in his exemplary review in
Issue # 109, I also insist on using earphones (the simpler the
better) plugged directly into the repro circuitry. In my case,
only.
an EPS-16+, thus bypassing any chance of degradation of
enhancement from outboard amps, mixers, speakers, interaural delay, etc. I find also that the cheap stereophones are
absolutely unforgiving when it comes to their transparent
File 5: *Triangle Wave Solo"‘ (129) 00 patch: You city
dweliers may have heard the "whooping" sirens so popular
on police vehicles. This is that kind of voice. A slight
delivery of any pops, clicks. aliasing and other artifacts. I
realize that there is a downside to this but I opt for the
sanitixed approach where reviews are concerned. Critical
listening was conducted through Sony MDR-24 “dynamic
stereo headphones" for this review.
Soviet Synths arrived sealed in plastic, on four Russian-red
DSIDD disks bearing laser-printed labels. Accompanying
File 4: *Warn1 Fifths* (213) ill} patch: l-Iere again that
delicious touch programming. a fanfare brass sound. XE}:
Deep reverh. XX: More chorus with reverb. OX: Chorus
key-off crackle may be heard in this patch. X0 patch: Yielm
a more gradual attack sustaining into a ringing seamiess
loop. XX patch: Evol-tes the tonic accompaniment. E-‘X
patch: Sounds the same as U0.
Disk #2
documentation was a list of all Sample Sets by Syntaur that
includes a listing of all disk files and block consumption.
File 1: "'Soviet Staci-1* (378) [ii]: Powerful voice-is,1 in
rewarding touch sensitive programming. A bright energy
organ monster. Had me playing the theme for the Manrrerr.
X0 patch: The wheel controls the brightness with a bit more
Disk #1
reverb. XX: The lower voices are dominant, wheel is active.
File one: *Sn:ooth Rea* [1-I3) 00 patch: A thick wet attack in the Ethereal Wash variation of the chorus+reverb effect, decaying into a faultless and warm loop. This voice is
instant in glissando. I detected very minor reflections or
aliasing above F4. An earthy "being" with a smooth evolution to sustained drone. X0 patch: A thinner, more reedy
OX patch: The “biggest” synth alone.
File 2: "'Resonant Punch* (393) {til patch: Wet and hurry
resonant saw tooth. Xi} patch: Oh oh... a dirty little crackle
ponctuates the attack to get the wet hues, programmed into
tench. Sassy. XX patch: Major muting... highs filtered? -EX
patch: Detuned at one output a bit‘?
rendition. XX patch: As above in deep reverh. Quite useful
musically. OX patch: Same as 00 patch with added presence
File 3: *Rcsonant Saws* {E95} 00 patch: Smooth, he
and a lush ersatz 3-D effect via shift in azimuth (panning).
Synta.ur‘s pronounced programming effort shines.
sawtooth in the ethereal wash variation. X0: Adds the Eth
above. XX: Adds one octave down.
File 2: "'Industrial Rex‘ (555) 00 patch: Deep, heavy,
File 4: *Zap Synth* [ 221) 00: A somewhat metallic click
attack in reverb. X0: Even fatter rendition of this commuti-
kind of malevolent voice, seamless loop evolving to a clean
ing voice, one octave up added. XX: Click eliminated. Dry
transparent tone. Cli pedal modulates choms FX. 0X: Adds
the upper fifth. Vibrato affected via mod wheel.
File 5: *Soviet Organ"‘ (122) 00: Big theatre organ sound,
rotor speed on wheel. Yes! X0: Fun, brilliant organ, sounds
like baseball park organ. XX: Adds octave above. 0X: A
diapason sound. Brilliant, 8 ft pitch. I like this instrument!
Disk 3
File 1: *Sawteeth"' (277) 00: The exquisitely done touch
programming yields a complex set of variables with a hard
keying adding a brassy ring. X0 patch: A hard keying
produces a wet, almost acoustic sounding string-brass voice.
XX patch: Adds lower octave (detect minor loop point noise
in triad.) X0 patch: Heavy reverh, left channel dominant
chonis, very warm voicings.
File 2: *Square Di"' (222) 00 patch: These programmers at
Syntaur have gotten a convincing Leslie effect out of the
chorus+reverb effect (ethereal wash variation). lt’s a novel
sound, a whistling buss in a can. X0: Puts it out front
without the can. XX: Adds reverb (00 plus the X0 patch?)
File 3: *Synbass ll: Puls"" 00 patch: Uses the ClvlP+
DlST+REV fx (304) A slap bass with a trailing decay. X0
patch: Somewhat larger, deeper bass thump (555). 00: I've
heard better wind but no better Sputnik, which is available
above E4. X0: A fascinating patch distributes two different
Sputnil-cs across all keys. One has a chirp effect on key up.
XX patch: lvly cat went bonkers searching for the chirpy little birdies on the top section of the keys. 0X: A really scary
wind and wind with chirp on E4-G4. These are fun and
uovelsounds.
File 5: *Three Phasrs* (466) no patch: Fun and silly...
perfect for game sound producers. X0 patch: Even more
stellar variations. XX: Wow! Try F4. 0X patch: Phazers in
super stair-e-air-e-o.
Conclusions
These are the general, strong kinds of voices that could become a real standard in your library. The few little pops or
ssss's would be unnoticeable in performance or across any
PA system. It is the high attention to detail in programming
that makes this set commercially useful and musically satisfying.
0X: RtoL panning.
Guidance documentation that comes with the sets lists each
File 3: *Pulsatr + Busx"' (577) 00 patch: The “Buss” has
an electronic ringing sing to it, laser-like. The “Pulsa|r,“
which happens on keys below A2, is heavy and musically
useful. X0 patch: Softens the attack on the buzz and installs
reverb. XX patch: Highlights the whistle in the buzz and in-
stalls a release (end) in the Pulsatr. 0X: Adds the fifth on
the buss, loop and release on the Pulsatr.
File 4: *Soviet Ramp* (341) 00 patch: A BIG chorused
swell wave. X0: A dryer rendering adds one octave above
accompaniment. XX: Adds lower fifth, wet, BIGTIME! 0X
patch: Adds one octave above accompaniment.
File 5: *Tr-iway Flute" (73) 00 patch: A breathy, bell-like
mbe amp kind of sound. You may detect an occasional
“pop” here...I did. X0: Deeper reverb, softened attack. XX:
One octave up accompaniment. 0X: Less wind, more tone.
Disk 4
patch select variation and the CV pedal is active as another
strategic modulator in every file. This makes these instruments extremely dynamic by themselves or in combination
with other elements. One is immediately gratified by the
touchjvelocity sensitivity that these boards can deliver and
the depth and power that advanced and imaginative programming bring to the otherwise uninspired.
There are no “U-do-it“ or “sing along" cop outs here... lt‘s
all done, fine-tuned and polished and I will be using this set
to program my patch selects as I continue to build and
polish my sample compositions. In
Bio: Jeremy D. Ryan, or “.I.lJ." as he prefers to he called,
left his day job as a long-time condo and apartment manager, determined to advance his I?-years composing _ex:perience to market. His fondest hope is that he one day sells
something that appears on television. JD. is 44 years old
and when not working, is nsttaiiy tooIin' around on his '?2
Triumph Daytona or trying to find his clients.
File 1: "‘Zap Organ‘ (34) 00 patch: A drippy wet key click
on a parlor organ. X0 patch: Dry, adds the upper fifth. XX:
As 00 with added fifth. 0X: As 00 without the key click.
File 2: *Mr. Spilteyl‘ (75) 00 patch: A spongy lvlellotronic
tone with the upper fifth accompanying. X0 patch: Adds the
lower octave. XX: The bass tone in light reverb. 0X: A low
tone with accompaniment.
I
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Change of Address
Please let us know at least four weeks in advance to avoid milsing any
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mail. [Believe us, not them!) We need to know both your old and your
new address. {Issues missed due to late or no change notification are
your own dumb fault - we mailed them!)
Latter Daze
Robby Berman
Product: TS-I0-ls-I01 collection for the TS synths
From: Latter Sounds, 1341 Westheaven CL, Tallahassee, FL 32310-
3629. Phone: (904) 5'i'5-5561.
Price: $40.
Fen TSs.
Select button is depressed, the resulting variation will remain
in effect until you tap one of them little gray buttons a
second time to release the Sound hack to its 00 (no button
depressed) state. While the HELD setting has its uses, the
documentation should wam the user when it’s engaged and
when it's not, so that it doesn’t cause confusion. As it cur-
rently stands — with a seemingly random assortment of
Latter Sound Productions, out of Tallahassee, Florida has
patches set to HELD and others set to LIVE — the only way
released the catchily titled TS-10-is-I01, a set of 60 Sounds
to know what's up with a particular Sound is to press the
and 60 Presets for the TS series synths. There are also three
demo sequences provided.
Performance Options button to look at the PSEL setting.
According to its accompanying documentation, the basic
thrust of this collection is “...creating better patches, particularly brass and string." Better, I'm assuming, than the
sounds shipped with the TS synths. The problem here is that
the Latter Sounds don't particularly stand out as being very
different from the Ensoniq-supplied sounds. I continually
found that, in order to gauge them, I had to keep cross-
Okay, at long last, the sounds themselves. The set opens with
six simulations of solo brass instruments, all of which offer
slight improvements over the factory versions, with the exception of one of two Frenchhorn patches. FRENCHHORN
tries to emulate what the documentation refers to as “the
characteristic shrill produced by the horn player's embouchure.“ It’s a tad overdone here. FRENCHHORN2, on
the other hand, is very nice.
referencing with the former.
Let me start by saying that there are a couple of oddities here
that may throw you if you're not prepared for them.
Let's start at the top — the first Sound is TRUMPET. Every
few notes that I play, there's only silence when I press the
key down. is my TS sick‘? Well, look at this: The velocity
window on the Output page of both of the waves in TRUMPET is sct from 20 to 127. That means that with softer keystrokes I get, yes, silence. Further investigation shows that
many of Latter’s Sounds are set up this way. Setting a
wave's velocity values to anything other than 000-12? only
makes sense if there’s some other wave set up to take over
when the wave goes silent. It's pointless when all the waves
in a Sound are set only to play at a certain velocity.
Some of the patches do have waves that continue to play
when other waves go away, but the effect is sometimes
surprising. With ASK 4 BRASS, for example, softer keystrikes below lvliddle C leave only a synth component to the
Sound. This leaves you with what sounds like a synth bass
when you started with a brass Sound. The whole velocity
switching thang throughout the collection seems a little out
of control.
Another bit of weirdness is that many — but not all — of the
sounds have their Patch Selects set to HELD instead of
LIVE. This means that if you play a note while a Patch
Next up are a bunch of brass sections, none of which are
really too convincing, with the exception of BRASS STAB, a
light and clear trumpet section Sound. and NEWAGEBRASS, a warm Frenchhorn-like thing. The other sections
combine synth waves in with the horns to create patches that
are interesting but not very brass-like. Also. Latter's attempt
to get the horns to ramp up to pitch -— like players getting
their oxygen together makes all the Sounds bend into nine
a bit too obviouslyfpainfully.
Most of the solo reed and wind emulations are either so
similar to what TS owners get from Ensoniq that one wonders why they're included. There are a few keepers, though.
The ALTO SAX sounds more like the real thing titan Ensoniq’s version, FLUTE is a bit more natural than Malvern's,
and the ACCORDION Sound is just plain old very good.
I found Latter‘s bass Sounds to be pretty uniformly unmemorable, with only -PRETS+SI.AP (an effective rendition
of what its name implies) and AhiALOG BASS (a staccato
synth bass Sound) standing out. I did find that a little editing
and wave-swapping led to some pleasing results. Most of the
synth bass patches click when you let go of the key — setting Env 3's release time higher than 00 fixes the problem.
One experiment I really enjoyed was copying the AIR-LOOP
component from the Sound SPRAY BASS and recalling it
into the conventional Moog bass DAT SYNBASS — now
we’ve got something new and interesting. And therels an ex-
cellent standup bass hidden in the Patch Select variations of
UPRIGHT HAS. The 00 setting is marred by the presence of
required, you may find these improvements disappointingly
subtle. And $40 for 60 Soundsr'Presets is a bit steep. Latter
gets my compliments for utilis-
a prominent electric guitar wave.
The collection winds up with solo stringed instruments and
sning sections, none of which really demanded to be pressed
into service, with the ertception of HARP, which is easily the
best TS harp I’ve heard yet.
As far as the Presets go, they're, of course, a bit biggersounding than the individual patches and there are some
amusing combinations.
$'
.-:-flIl-\.-.-
'
.,
ing the Timbre slider throughout these programs, and for
some of the little touches attempted — I suspect they'd
meet with greater creative
success creating some truly
original sounds. -
sit
Bio: Robby Hermon is n hipedoi, carbon-hosed orgonisvn
living in New York's Hudson
Volley. His most recent oibron
is “Rings and Rings."
Overall, if you feel like the TS factory emulations are close
but not quite there, Latter Sound’s collection may be what
you’re looking for. If you think major reprogramming is
Another Look ot the
VFX-sd/SD-1 Workstotions
Frank Fortunoto
Having used several Ensoniq keyboards over the years I eontinue to appreciate their great ease of use and great sound. {I
currently use an SD-1 on the road, and a TS-12 in my home
studio). Despite their user friendliness, I still meet some
from time to time who have difficulty or lack the time to sort
out even some of the basic things. Not seeing so many articles on the SD-1 family of synths I decided to pass along
several things I learned in the content of my work doing
music in churches and overseas.
1. Pedals
I have found great use for the double pedal with its
multi-functions. I always use the FS2 (right side) for sustain,
and use the FSI (left side) for patch select or for triggering
the stop and go (on-off) of the sequencer in live settings. In
the patch select setting this has added some wonderful variations to live playing.
A. Sitllate Six Octayes: I am able to simulate a si:-t- octave
keyboard by having patches that drop or raise an octave
using the F-S1 patch select feature. (I found sounds like
“Dynamic Piano" that moved down the octave and “StudioGrnd" (rom 1 bank 2) that moved up the octave in their patch
variations. I then started programming sounds to do that as
well using the pitch paranteter in the programming section.
B. Adding Layers: Using other sounds, I set up presets
where depressing the FS pedal would add strings, or add
brass layering but would not sound when the pedal was not
used. Here's one advantage of that: On many presets I set up
keyboard splits for bassfpiano types of sounds. But sometimes this leaves too little room for piano (rhythm) parts. So
with the above mentioned presets all five octaves of piano
are ALWAYS available, and when I need that punchy brass
added in I have presets set up to respond only when the FS1
pedal is depressed. ‘With the proper volume setting it comes
in strongly on top of the piano part.
C. Duo Playing: Still another useful feature is to have two
totally different instrument sounds (strings and woodwinds,
for instance) stored as one sound. This became very useful
after I read an article in the Hacker on the copy feature and
also got some SD-I voices that Steve lviugglin had for sale.
(His sounds — the SD-1 Adventure — were also reviewed in
the Hooker). Now I have voices that allow me to change
quickly from solo violin to solo oboe sound just by depressing the FS1 pedal, and I go back and forth between the two
sounds effortlessly.
2. Sounds
I have found it useful to arrange the intemal and cartridge
sound banks to correspond to the ROM banks that Ensoniq
built into the keyboard. (Unfortunately the TS series did not
follow similar sounds organisation between their ROM
banks and instead uses that wonderful sound finder feature)
By categorizing I have all the sounds of one type all in the
same bank number which saves much time locating similar
sounds for sequencing. For instance if I'm on bank 2 (acoustic piano sounds) repeated dressing of the bankset button
walks me through oil the pianos in ROM, internal, and
cartridge. There's no hunting whatsoeverl! For my use I have
key sounds without altering the pad or ertotie sounds that
the following categories based on the majority of the SD
ROM settings:
often derive their uniqueness from their special effect algorithm. (On the TS-I2 I have to find which FX bus is routed
directly to the reverh and then I route my piano or main
bank O = synth and pad
bank 1 = electric keyboard
bank 2 = acoustic keyboard
band 3 = woodwinds
bank 4 = brass
bank 5 = bass
bank ti = organ
bank 'l' = strings
bank S = guitar/plucked
bank 9 = drumsfpercussion
sound there).
5. Presets
'
lvlany of the presets thatI use are layers with strings. Sometimes I want the so-ing sound to crescendo or diminish in real
time. By storing the preset with the volume setting selected
(underlined) to the strings, I can always go to the volume
page in performance and let my data entry slider act as a vol-
ume control adding more or less strings to the mixed sound.
3. The Cartridge
Clue of the oest uses of the cartridge is having a second set of
I50 sounds instantly available. I never have to worry about
these sounds being erased when I add different internal
sound banks. Every so often I find it valuable to refresh my
One problem with the VFXISD (that is solved with the TS
series) is that only one preset can be seen at a time on the
screen. It is hard to remember all 20 presets from Bank A
and B. I have made a pad of sheets the length of the bank
buttons (0-9) and tape down a new sheet as needed with the
memory of the hundreds of sounds available so I play
listing of the 20 presets.
through many banks of sounds. Sounds that might have had
no usefulness at first may sound great the neat time around.
When doing a major demo-ing of sound banks to add new
sounds to the internal I have found the use of the cartridge
very valuable. (I ended up getting a spare cartridge for this
purpose). I save my master internal bank to disk and also to
this spare cartridge. When I am demoing banks of sounds
this second cartridge allows me to hear my mast set for comparison. Of course, if only one cart is available, the process
would work by first saving the cart sounds to disk, and then
saving the internal to cart. When finished sorting through
sounds, simply reload the cart sounds to internal and then
from internal to cart.
4. Effects
In my work as a church musician I often need to transition
very smoothly from one sound to another without a break in
the sound. One useful way to do that is to always have voice
muting set to off in the System Master setting. I then try to
find a useful effect that works for several sounds. (For my
purposes, Warrn Hall Reverb works very well). Wlren
switching from preset to preset there is usually a seamless
carpet of sound that I can sustain as long as the volume settings (especially of the layered sounds like strings) are
generally similar.
Also, when using the more erotic sounding pad sounds
layered to piano or split with bass, often the effect setting to
get these great pad sounds will distort the piano, bass or
other sound that I am using. This is easily overcome by setting the main sound(s) to "dry" effect, or routing the sound I
don’t want effected too much to the FX1 or FX2 bus. For my
use this means also lowering the reverh setting of F-X1 or 2
way down. This adds just the right touch of reverh to certain
A way around the naming problem of the sequences is to
store them in the sequencer. So when I only have limited
need for sequenced music, I use only half the sequencer (30
seq) for my sequenced songs and the other half I use for
presets that I can name.
6. Sequencing
Simulating the Drum lrlachine: In my church work I have
had to lead youth meetings using upbeat contemporary
music. One of the most useful features of the Emoniq keyboards is the ability to have sis; different scum available
on the screen at any one time. To take advantage of that I use
the sequencer to simulate a drum machine. 1) I first nuke silt
different rhythm patterns of one bar each, and loop each. I
make three variations of the basic beat for I-can and
choruses, two different fills, and one crash cyfiltl h’ the
ending. 2} Neat I set up the same preset for elti agate.
For my purposes I use either a split bassfpiano pact. tn" I
keyboard brass layer. 3) I then double check thr k fla
settings and the tempo settings are the same for not sequence. (In actual fact I set the fills a beat or two 1-hrs!’
which to my taste sounds more realistic, and the oath cynbal ending 10 or so beats slower to simulate a ritmd L.)
At that point'I‘m ready to gig.
It was a little nicky at first, but with some practice I Ii ii:
to go back and forth through the various one-rnr:%: http-
ing rhythm sequences and simulate live dnui I I
played through the song.
I then copied all silt sequences several times, and III H'ferent tempo settings for each set of sir. sequencer. 1 Illowing me to have songs in different tempos.
7. Using All Four Audio Outs
The rack I use (also on wheels of course) has a I2-chamtel
mizer along with the modules, affects unit, etc.. This allows
me to maintain control of the individual parts in the sequences mentioned above, (especially bass and drums) by using
all four audio outs and sending them to the patchbay that is
wired to the mizer in the rack. I start by sending some of the
SD-1 sounds to the auz out, and also pan them. Because each
church or hall is different, I can have varying control not
only of the EO but of the volume of the bass, the drums, and
the other music parts by quickly adjusting them at the rack
miner. In this way I don't have to go in and redo the para-
I then tweak the sequences for my use. 1) The first step is to
reset the proper instruments to the proper MIDI channels to
correspond to the Band in a Box settings. 2) I then mute out
the piano part, so that I can play live piano with my newly
created Ensoniq sequenceisong.
If the song is not a solo, but is to be used in congregational
use, I pot the sequence through the wonderful editing features of the sequencer and brake the scquencefsong into its
component parts. 3) I copy the sequence several times, and
then 4) delete bars from the various sequences to come up
with one sequence for the intro, another sequence for the
verse, another for the chorus, etc.
meters of each individual track in the sequence.
B. Sofiware Programs
It's been mentioned before, but it is worth repeating, that a
great help to Ensoniq users is the Giebler software programs
to change standard MIDI files to your Ensoniq sequencer,
convert sequences from one Ensoniq keyboard to another,
make backup of your disks, etc.
Tweaking Standard MIDI Files: When I have little time to
get full sequenced arrangements prepared I turn to Band in a
Box software and quickly make complete an-angements. I
then save these as standard MIDI files. After a few keystrokes with the help of Giehler they are transformed into
Ensoniq format and loaded into the SD-1 sequencer.
This procedure became a variation of the above feature
where I used the sequencer as a thorn machine. The result
was the same, in having full control of the song, and adding
verses or choruses as needed in a live setting.
Hopefully a few of these ideas might keep some of you czcited about using these great Ensoniq keyboards. I would he
very interested in any feedback or ideas to start a possible
users group for the SD-1 or the TS. I can be reached at
Operation Mobilization, tel. 404-631-0432, faz: 404-631U439, Internet e-mail: [email protected] -r
Bio: Frank has been a college music theory teacher, and has
spent 15 years directing music on ocean liner mission ships.
He is currently music directorfor Operation Mobilization.
Trctnswoves For The EPS/ASR
Jack Schiefier
fi
I
L,‘
__
Has this happened to you? You're relazing on the couch,
flipping through your EPS manual for a little light reading.
Suddenly, you come across something you never noticed
before. “Transwaves,” you say to yourself, “Sounds cool. I
wonder what they do."
satne length. Synthsr already have carefully measured
Transwaves in their ROM, but our beloved samplers don't
have any ROM. And, as we saw earlier, using samples not
designed for use as Transwaves can get ugly.
'
The manual tells you it moves the loop in increments of one
loop length. So, you load up a sample for a little ezperimen-
Transwave on your EPSIASR. We will also investigate some
applications for our new toy.
This article will show you how to set up a nicely tweaked
tation. Sadly, the results are somewhat less than amazing.
“Well, this sucks!" you muse. "Let's go back to that cool Resample ‘With Effects command..."
Creating Your Transwave
Despite your first impression, Transwaves can open up some
interesting sotmd-programming possibilities for your BPS!
ASR. Owners of Ensoniq synths have used Transwaves for
some time, but they havenlt caught on with the sampling
ATE NEW INSTRUMENT using Cmd-Inst-ll. Choose INST
=1. Neat, CREATE NEW LAYER using Cmd-Layer-D. Now,
CREATE NEW WAEFESAMPLE with Cmd-Wave-0. This
creates a squarewave that we will use as the basis for om‘
crowd. For one thing, setting up a good Transwave can be
ezperiment. _
difficult on a sampler. A transwave is really a bunch of
smaller waves lined up end-to-end and all having ezactly the
2. We now want to modify a few parameters. Choose Edit-
1. First, we need to set up a place for our Transwave. CRE-
123 (You may have to temporarily change SAMPLE END to
ing of seven smaller waves. This should be somewhat similar
to the pulse-type Transwaves fotmd on Ensoniq synths. The
nezt step is to make some ezciting new sounds using our
creation.
129 before you can move LOOP END all the way to 128).
Make sure LOOP POSITION is set to U.
Using Your Transwave
Wave. Select WS=l. Scroll to MODE and change it to LOOP
FORWARD. Now, scroll to LOOP START and change it
from 32 to ll. Scroll to LOOP END and change it from 96 to
3. Nezt, we want to use COPY LAYER (Cmd-Layer-1) to
copy layer 1 into layers 2 thru ‘I. For each layer, make sure to
choose PARAMS + DATA. Go to the Edit-Instrument page
and set the patch select so that only Layer 1 will play.
4. Now, we are going to mess with the shape of our wavesamples. For each layer, make sure that the layer and its
wavesample are selected for editing, then INYERT DATA
(Cmd-LFO-4) on the following addresses:
Layer Start
2
65
3
65
65
65
- 1~‘-'.I'\U't-l
65
65
End
T2
80
SB
96
104
112
wave in a manner that imitates the pulse-width modulation
(PWM) type of synthesis. Diagram #1 shows what our waves
look like at this point.
Diagram #1
5. The final step in creating our Transwave is to lay our eight
wavesamples end-to-end to create one long wavesample. We
will use the COPY DATA function (Cmd-LFO-1). Start with
layer 2 and add it and each subsequent layer to the end of
layer 1.
Layer Start End Layer 1 Dost
2
ll
128
129
U
- JCl"t'- -l"t-l5-
CDIZI GZ
I23
I23
I28
123
123
|
I
With a little ezperimentation, you can turn this basic
transwave into some cool new sounds with lots of timbral
motion. Try using different mod sources for the loop position. Try layering your transwave with other samples. For
more ideas, look through VFX and SD Hackerpatches for
sotmds that use transwaves (usually marked by an -X on the
wave name).
These start and end addresses refer to the sample nmnber (not
the number in parentheses). At this point, you might want to
save your work. Wlaat we have done is altered each square-
3
Now that you've spent all this time making a transwave, what
will it do? The key lies in the WAVE MOD parameters.
Select Layer = 1, WS = 1 and choose Edit-Wave . Set WAVE
MOD TYPE to TRANSWAV. For now, set the SOURCE to
WI-IEEL. (Be sure to set LFO AMOUNT = D on the EditPitch page). This lets us control the loop position with the
mod wheel. Set WAVE MOD AMOUNT to 5. Now hold
down a note while moving the mod wheel back and forth.
You should hear the timbre change as the loop moves from
one position to the another.
25'?
335
513
641
769
Congratulations! You have just created a Transwave consist-
Here's one ezample of a transwave patch. Change mrv 3 to
the Slow String pattern. Change the WAYE MOD SOURCE
to LFO. Change the LFO SPEED to 15 and DEPTH to 50. Set
the LFO WAVE to TRIANOLE. Set DELAY to 0. Now, copy
the layer. Change the tuning +4 cents for one layer and -4
cents for the other. Change the LFO SPEED to 1'? for one of
the layers. Make sure both Layers 1 and 2 are enabled on the
Edit-Inst page. The layering helps smooth out the abrupt
jumps of the transwave and also fills out the sound. You can
even add filter modulation for real timbral movement.
where To Get More Transwaves
Once you've got the basic idea, you can use this method to
create your own unique transwaves. Just take your squarewave (or other wave) and manipulate the data to create a
series of equal-length waves.
If you have access to a VFX or SD synth, you might try sampling their transwaves. Make sure all filters, modulation, envelopes, etc. are tumed off so you are getting just the raw
wave. After you sample the transwave, you will have to czperirnent a bit to fmd the right loop settings. I haven't tried
this myself, but it seems like it should work. Bio: Jack Schiefifer plays music and practices law in Dallas,
Texas. He is currently composing the world’: first reggae
opera. Rigoletto the Rastafarian.
_
-I1
How Sounds Work
Port XI: G|'t‘JlLlilOtl$ Violins
Mark Clifton
No doubt about it, synthesis technology and its ability to
realistically imitate organic instruments has come a long
as for timbral effect. The violin has no frets, so a wide
variety of portamentos and slides can be employed, adding
to the difficulty of translating it to the keyboard. It is usual-
way in recent years, especially since the advent of sample
playback technology. Some sounds — pianos, organs, percussion, orchestral ensembles — have nearly been perfected, at least as far as current technology will allow, and
ly played with a horsehair bow covered with rosin (called
for in scores as arco) or plucked with the fingers (pizaicato), though special effects can be achieved through dif-
the introduction of physical modeling promises to carry the
expressivity and realism of these sounds yet another step
fmther. Still, there are those little pesky sounds -— saxophones, trumpets, guitars — mostly solo instruments, that
ferent placements and variations on these techniques (if you
plan on doing a lot of work writing for and with strings and
string patches you should try to keep handy a list of stylistic
terms, as well as a fingering chart to help with realistically
have defied exact duplication, mainly because of the great
seeing how passages will be carried out by a real performer).
‘
deal of complex expressive input employed by the performers that just can’t be duplicated by conventional keyboard controllers. Solo strings also fall into this category of
hard-to-synthesise instruments, though they seem to get a
lot less attention than the others because of their relatively
lower demand by programmers and composers.
The majority of sound collections offered today deal mainly
in all-purpose popfrock sounds and not the detailed and ex-
pressive timbres needed for most classical applications.
This means that when a violin or cello is included in a collection it is usually programmed in the same slick, generic,
instantly-easy-to-play-by-anyone manner that a new age pad
or fusion bass sound is. This may be good for some people
who don‘t want to spend a lot of time mastering complex
acoustical concepts and performance techniques for each
separate patch that they own just to get a good sound, but
for programmers who focus on serious classical composition and sequencing the results to be obtained by using
these sounds are usually disappointing.
This month we’ll look at the patch “Solo Violin*“ — which
I use as the basic all-purpose solo voice in all of my orchestral sequences. This patch uses the expansion wave
The close placement of the strings allows up to four notes to
be played at once with the bow (called multiple stops),
though a fingering chart should be used to "check their
feasibility. Mules can also be placed over the strings for
quieter playing. Almost all of these techniques change the
character of the instrument's sound in some way, a fact
which makes a single universal string patch nearly impossible to create. The programmer must be content with creating several different patches, each specialising in a separate
playing technique. “Solo Violin*’"’s a basic all-purpose
patch that should be adequate in most compositional situations calling for bowed solo violin. As I mentioned earlier,
it uses the SOLO VIOLIN expansion wave, a logical
enough choice. The patch is polyphonic, allowing for multiple stops and ensemble work, though this may not be the
best arrangement for legato work or particularly fast passages where overlapping notes can destroy the realism of
the sound. If a piece calls for this kind of playing and
doesn't use any multiple stops, set the Glide parameter,
under the Pitch page, to RETRIGGER with a Glide Time of
U-U. This will slur together legato notes in a more realistic
manner, rather than overlapping them.
SOLO VIOLIN, so it can only he used by 32-voice SQ and
KS synths, though owners of unexpanded instruments can
use the tips in this article to experiment with creating string
sounds using alternate waveforms.
The vibrato is, as usual, supplied by the LFO and routed
only to pitch. lfibrato on the violin is created by wiggling
the finger up and down on the string, producing a true
Before we start on the nuts and bolts of programming this
sound, a quick lesson on just how violins (and other bowed
pitch-only modulation of the sound. The Wave parameter is
set to SINE with a Speed of 36, though different players
will vary their vibrato speeds slightly. It‘s up to you to
string instruments in general) are constructed and how they
make sound. The violin, like all other members of its instrumental family, has four strings, all tuned to fifths in the
order GD:-RE starting on G3. lvlodern compositions some-
decide which value works best for your particular application. Because of the great variation between the vibratos of
different players and in different musical styles, the LFO is
controlled by the lvlodwheel only, leaving its control com-
times call for alternate tunings for technical reasons as well
pletely at the discretion of the performer. Wlrile this allows
for more expressive playing, it ties up both hands and
makes playing multiple parts at once nearly impossible. If
you desire for the vibrato to kick in automatically, you can
mess around with increasing the LFO Level and Delay
drawn across the strings.
parameters until you get a sound that suits your needs. This
is a highly subjective area, but a Level of 3’? combined with
a Delay of T2 seems to work best for me. The only major
problem with this approach that Ild point out is that it will
The AMP envelope actually has a fairly dull attack of SB.
This decreases the sharp bowed attack of the waveform at
lower velocities, where softer bowing is the norm. The high
set to a sharp attack, to get that bowed sound at the beginning of the SOLO VIOLIN wave, but dies away slightly,
dulling the sound over time as it would if a bow were being
Attack Velocity value of 46, however, brings in the bowed
attack at medium-to-high velocities. A mistake of many
add vibrato to the low G note, which is an open string on
the violin and which can‘t be applied with vibrato in normal
playing. If you use the lvlodwheel as your only modulation
source you can solve this problem simply by refraining
from adding it to notes which land on open strings.
programmers is to keep this value too low, creating a
squishy, obviously synthy attack. There should always be at
least a little of that sound of the bow hitting the strings,
The filter is set to a 2Lo-2LoPass configuration. The
medium FCI Cutoff adds guts and resonance to the sound,
while the FC2 Cutoff adds brightness and a bit of rosin.
Both have Keyboard scale amounts in the plus region, in-
even at the softest velocities. Since the strings have the
widest dynamic range of any instruments in the orchestra
next to the percussion, the Velocity Level is set to a high
46, allowing wide variations in volume without the need to
touch the volume slider. Envelope 1 has also been routed as
an Output Mod, with a value of +36. This further sculpts the
characteristics of the sound by adding a slight dip and
gradual swell after the initial bowed attack. This simulates
the natural evolution of the violin’s timbre as the bow is
drawn across the strings. “Solo Violin*" usesthe same cus-
creasing the brightness of the sound the farther up you play
on the keyboard. Different strings on the violin have very
different timbral qualities, another wrench in the works for
realistic programming, but basically the rule is the lower
you go the darker and fuller, the higher the more bright and
piercing. Velocity is chosen as the filter modulator, making
the sound brighter the harder you play. There is also a little
Envelope 2 modulation applied to Filter 1. The envelope is
tom Hall Reverb setting that I use on all my other orchestral
sounds, with the wetness controlled by the modpedal. If it
seems a bit too “large” for your tastes you can rethrze the
PTO-Q: SOLD V|OL|N*
WAVE
Seieet voice
Wave C-lass
Wave
Delay Time
Wave Direction
Start Index
MDDSGH
MDDAMT
Fie_st_r_it Dpcey
PJIEH
Dctave
1
2
I On
Expansion
Solo violin
3
Fwd
DD
DH‘
Restart
1
MODSGH
-1-‘D2
DH‘
"'
.2.
. FILTEH
3
‘ D-'iDDAiviT
KBD Ptch Track Dn
Glide
Dfl‘
Glide Time I __Eil'J
Initial
Peak
Break
Sustain
Attack
Decay 1
Decay 2
Fieiease
Vei-Level
Kiel-Attack
vel Curve
‘Mode
_KED Tfilfllt
1
SS
Dd
Eitl
DD
Wheel
Sine
Dn
_2 _
J 1
as
ea
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as
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-ts
so
so
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45
Sonv
Norm
+14
1
"Filter if
Filter 2
F61 Dutofi
EH'v' 2
FD1 KBD
MDDSC-H
MDDAMT
FC-2 Dutofi
Ei~i‘*.-'2
F62 P-TED
FS1_iviDD-fE2
2
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_____,;§ _,___ 2
Peak
99
Break
SS
Sustain
?B
44
SS
EB
as
,1.-‘Eli GUNS
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3
1“?5.T!‘E°“
OUTPUT
+45
+35
‘tieioc
+22
SSE
+i'JD
+55
On
i
UDL
E!-oost
MDDSHD
MDDAMT
I-t‘.ElD Scale
Hey Flange
Output Bus
Priority
Pan
vel window
1_
SS
vel-Level
ES
SD
;_
3
I-?.Lo
2Lo
SS2
initial
Peak
Break
Sustain
Attack
Decay 1
Decay 2
Fieiease
‘del-Attach
‘v‘e| C-urve
Mode
BLED Track
"~';'||_:_i,]_
Alta-ei-t
Decay 1
Decay 2
Hei ease
' 'v'ei-Level
i 'v'ei-Artaeit
_
15
+0
+ilD
+£'if.i
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Elil'lf1
LFO
__
LFO Speed
Heise Hate
Level
Delay
MDDSHG
Wave
U00
Semitone
Fine
EHV1
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By:r‘i-fork Clifton
2
?5
so
53
SS
so
5e
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Sonv
Norm
:55 _
12
3
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r
45
4-S
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1
99
2
Dn
Envi
+5-IS
+0-D
ADDS
Fllii
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+iJi}
eflfifl
EFFECTS — HALL FlEV'EFlB
Flt-1
F.‘-it-2
Decay Time
_ Diffusion
- Detune Hate
Detune Depth
HF Damping
' HF Bandwidth
LF Decay
MUD {Desi}
B‘? ii-.-1DDSFiD}
MDDAMT
s__
4S
25
42
4-ti
-to
12
1t-‘I
SS
+02
Fifi-Li-x
Modped
+35
ll
I
Decay parameter. I like to keep the FX amounts, though,
fairly high, as it helps add realism to the vibrato (to see
fingerings and special effects keep a music dictionary or
composition book handy. My favorite is The Technique of
what I mean, just try listening tn it with the F-‘X Bus amount
Orchestration by Kent Wheeler Kennan, the main textbook
set to DRY).
used by most college composition classes. I found it to be a
great overview of the basics of composition, not just for
strings but for the entire orchestra.
This patch should be pretty good raw material to work with
in your compositions, but a lot of the realism in these kinds
of sounds lies in the playing technique. Try to listen to
some recordings of professional violin players. Study their
phrasing, dynamics and vibrato techniques. If you need tn,
adjust the characteristics of your sounds to match the style
that you want to achieve. For technical information on
Next time we‘ll continue on this basic, um, string of
thought and sit down for a revealing tell-all with the
violin‘s enigmatic brother, the cello. -|
Bio: Mari: Clifton exists rind his existence is ubsurd.
n.
Getiing the Most Out of Your TS-I0/12
in the Recording $lLldiO —- TheTopTenLlsi
Anthony Ferraro
The impetus behind this article was my recent experience
using a TS-lfl in a time-crunching mixing session. I was
completing my cassette e.p. entitled "Long After Midnight,”
which I mixed and mastered in two different Philadelphiaarea professional studios. In preparation for the studio mix, I
had spent a good amount of time in my home studio working
strictly on my guitar tracks, recording them live direct to hard
disk through the ASR-10. When I took my hardware into the
production studio for final mixdown, I was able to complete
my work in the allotted time by sticking to an organised,
structured schedule.
Prior to my current solo efforts, I had spent a good amount of
time in the recording environment working strictly as a
sidernan (guitarist), which gave me plenty of opportunity to
observe what went into a successful and efficient session. As
my own abilities increased, I began to expand my for-hire
studio skills to include such activities as sequencing and
demo project production. I discovered, the hard way, that
some organised preparation goes a long way in helping your
first session go smoothly with Mr. LocalRecordProducer
Who Has Major Label Contacts in Nasbvilleflilew YorkfLos
Angeles.
I-lere is the situation you want to avoid. You bring your TS
into his studio to lay down tracks before the vocalist comes
in, and be asks you to audition different Rhodes sounds for
your piano track; you fumble around in your gig bag and then
realise that you left the disks at the drummer‘s house where
your band rehearses. “Okay, let's work with the drurn tracks
instead,” says Mr. Producer. He then asks you to solo the
drum tracks so that you can work on outboard effects processing. You then have to go through each of the sequences
in the impression that you and your group are yet another disorganised bunch of wannabees.
"
On the other hand, going through the checklist that follows
will at least keep you in the race. In the end, this will give the
quality of your musical material a chance to be heard, rather
than being ignored due to a lack of production values. Here is
my TS-IOHZ Top Ten Studio List, with the suggestions in no
particular order:
l. Select and tweak your programs and samples for each track
at home in the pre-production phase, as you will have plenty
to contend with during the actual production and mix-down
stages. For quick access to a huge variety of professionally
programmed samples, you should have the SCSI option installed on your TS. There is a continually expanding library
of affordable, high-quality CD-ROM disks, offered by both
Ensoniq and third-party sound companies. To make the most
of the TS‘s SCSI capability, you will also want to expand
your unit's sample ram capacity to the full 8 meg available.
2.Wl1ile still in the pre-production phase, I urge you to think
about sending your drum tracks out dry by assigning them to
the TS-llJ!12*s Aux Out jacks. You are probably going to
want to give the engineer as much to work with as possible as
far as drum signal processing and separation, and the Aux
Out‘s are the best way. You can then use a separate outboard
effects processor (like the DPI4) to process the entire drum
kit, in order to give your drum and percussion tracks a sense
of aural cohesion and unity. Also, it is obviously much easier
to edit and solo drum tracks if they are each on separate sequencer tracks.
3. 'I'he recording engineer is inevitably going to ask you to
send a discrete signal out with total separation of each inst.m-
9. If you plan to augment your TS sounds by layering tracks
with another synth or sampler, try to rent the expansion
ment track; since you can not exactly do this, you would want
module at least the day before. If you already own a second
to mute tracks and send instruments to an individual FX bus
and then pan it hard left or right; in that way you will have
total separation from your drum kit and other pitched instrument. Send dmms in a stereo image out the Amt Out; electric
or synth bass hard left and keys hard right through the Main
tone generator, you're in luck, as you can do your edits and
tweaks well ahead of time. If the studio that you plan to lay
down your tracks in has a sound source that you are interested in using, you might ask to include a day's rental of the
unit in question as a part of the overall production costs. If
they don't go for the idea of your removing the unit from
their facility for a day, ask instead for a couple of hours of
Out jacks.
4. Make sure to set the track channel and MIDI status of each
sequence in your song or songs ahead of time; the effort
spent in planning ahead in this area will save you plenty in
the way of time and money in the studio later on. For instance, if you have already decided that you are happy with
the TS drums that you have programmed and plan to use the
pre-production time {if necessary, without the engineer pre-
on-board sounds (as opposed to an estemal sound source) ,
1[l.This last step is extremely important, although it doesn't
necessarily relate to the TS specifically: min your entire pro-
you may want to send all drum tracks to Auit Out as detailed
below in #3. Also, be prepared to shift your clock source
from INT to EXT, as the engineer who you are working with
might decide that the TS needs to be slaved to an eaternal
clock source for any one of a variety of reasons. This can be
done by going to the Sequencer Control page and changing
the Clock setting found on the upper left of the screen. Also
along this line, bring your rnannal to the session! This is in
the event that the engineer has any specific technical questions about your TS that you carutot answer immediately.
5. When it comes to track editing, such as quantization, shift,
filter, etc., sec #4 above. Once again, this is really a pre-production issue, and is probably something that you will want
to be done with long before you find yourself paying an bour-
ly rate in a studio. In order to critique your work to determine
whether it is studic- ready, try suggestion #10 below.
6. Make sure to save all programs and sample banks with
your 60-SEQ,lSONGS file so that the correct programs load
with the specific song. This obviously saves you the effort of
trying to find the correct sample disk or single sotmd program
by shuffiing through an essorunent of disks.
‘F. As always, make backup copies of your sample disks
(using the TS copy floppy function) and sequencer files and
bring both sets with you to the session, Individual floppy
disks (and even hard drives) can decide to fail at the worst
time, and a simple precaution like this will save you tons of
aggravation. ‘Nuff said about this one.
8. If you want to use the TS as yotn' only sound source, be
prepared to solo tracks. You might even want to consider appending sequences in order to reconstruct the steps of your
original song form, so that you can quickly and instantly edit
an individual track's status, track volume, etc. After you append all seqfsteps you can then put the Song-length sequence
into Song mode with one step so that you can do panlvolume
changes.
sent) to be included in your package. Make sure to write
down the name and bank locations of any programs that you
plan to use, so that you can quickly locate them during actual
production.
ject to analog cassette at home well ahead of time so that you
have an adequate chance to preview and revise your work;
live with your rough ruin for at least a few days in order to
determine whether you (and whomever else is working with
you on the project) are happy with the various elements that
are still under your control: the song form, sound and sample
programming, effects programming., etc. Try to listen carefully and objectively to your work, and make a list of areas
that could stand some improvement. Also, bounce your work
off anyone who you may know who is actually a member of
the music industry in any way, particularly in the area of
record production. Listen to their suggestions and see if any
of their ideas or input will help in generally inrzreasirtg the
quality of your production; also, make sure to thank them for
taking the time to listen to your unpolished work, as you may
want to run the final mis. past them as well.
People undertake studio recording projects for a vmiery of
reasons, all of which require them to invest their hard-eamed
time, money, and energy. I11 numerous cases, the efiort put
into this type of project could result in a more representative
and better quality master if the points articulated above are
generally (or even rigorously) adhered to. If you me planning
to pitch your tape to members of Artist and Repertoire departments at record labels, keep in mind that these people
generally receive demos of eatremely high production
quality. Structuring the work that you are doing with your TS
so that you are best able to budget your time during the conly
recording phase will help to insure that your demo will
represents your work positively. Best wishes, and don't forget to back up your files!
Special thanks to Bert Neikirk and Brian Hmtoo for their
helpful suggestions and wry humor. Bio.‘ Anthony Ferrara is an Ensoniq corporate citieeat and
his latest cassette e.p. entitled “Long After Midnight“ has
been released and distributed by WATT Products-
Eccentric Ethnic Ethos for the
Ecrrlier Ensoniq
Pat Finnigan
Product: Nighlvlrind Sound Samples.
For: Mirage, EPS.
Price: $3 per disk, call for more information.
From: Nightwind Sounds, ITO Mar Monte Avenue, La Selva, CA 95{l’i'l5.
Phone: {-illli) 464-U446, 1351 (days), (403) 634-1609 {eves.).
Well, hi again! Long time no see, but I've been buried in
ROM for the past coupla weeks, what with System 7.5,
QuickTimc 2.0, Quickdraw GX dz PowerTaIk landing on
the Macintosh (6.: PowerMac) porch this last week. So I was
quite relieved to receive something not quite so high-techlow-touch from the HackerStaff this month. Seems like
some folks are still out there speaking fluent hex on their
Mirages and this month we get six representative disks from
Nightwind Sound. Just the thing I need as a vent from Code
Warrior C+, native compilers and propagation delay. So I
eagerly dusted off O1‘ Yeller (the original black-case
Mirage with the yellow stripe across the front panel), and
fired it up: Sad to say I hadn’t torqued it up in about 6
months, and it was a little slow to start. Fortunately, the
care and feeding of the Mirage is not as critical as her
children, so after the “.21” prompt, I fed her a 123k file.
Yes, all better now, barking in full and throaty 8-bit voice...
The Hoses
k
from the mindset of this collection. A more diverse set of
samples would be hard to find, difficult to describe, and
even harder to market. Jim Newton deserves a lot of credit
for bagging these sormds, let alone cataloging them in a
library, and for offering them for public consumption.
The Thorns
Well, again, these are Mirage samples, so you simply ain't
gonna get those 12k glimmering wavefront sheens or glittery motional sweeps outta last decade‘s technology. In
fact, being a veteran DSK-o-phile, I can hear that these
samples were in fact sampled on a Mirage, and without the
ISF (that's the optional Input Sampling Filter @ $199.95
list, for all you ntrbees who just push a button and go), so
there really ain‘t a whole lotta spectra above 4k. The L1-L4
Er U1-U4 variations are filter sweep, squashed Fc envelope,
VCA rise, & VCAIFC x-mod (patch selects in 1990-speak).
I tried the Mirage-to-EPS conversion to jack up the sample
rates, but the same sonic results occurred at whatever
sample rate I tried to extrapolate.
I tried washing them through Samplelfision a couple times;
not much help. I scrubbed them to death in Alchemy and
not much more to report there, either. I gave up in Sound
Tools when I discovered there wasn’t really much going on
thodox chants. For instance, Disk ll] gives you French Bag-
above 3k, so it's no wonder the Mirage is still hungry half
an hour later: it appears that the more I tried to process
these samples the more nutrients I washed out of them. And
did I mention the loops? Magnetic scissors and quarter-inch
pipes, Dijeridou Bullroarers and Tibetian Choir. How about
Bali chants, choruses and phrases in the upper half, followed by Big Aboriginal Tubes, Tjak choral drones and
tape come to mind...No really serious ticking going on, but
not seamed very well. Then again, ever work in hex for
longer than three hours‘? Don't sell your ASR-ll} just yet.
Peliatan Ritual chanting? Sound like the stuff you‘ve got‘?
“Been there, did it, doin‘ it tomorrow, boring“‘l I don't
think so. How about Masai II, Quan Ho Vocal samples in
Oddly enough, the one useful massage was in the EPS: normalizing gain helped hide the noise floor, Ported back to the
DSK via Alchemy, the Mirage spoke louder and seemed
less granular in voice. But still, unmistakably Mirage.
There's a lot of diverse ethnic stuff going on here: from
Russian vocal stabs to Laotian mouth organs to Antioch Or-
the upper half along with Vietnamese phrases in the lower
half of YOUR Mirage? Lorestrani loop, anyone‘? Goes
along famously with the “Russian Singer“ I mentioned earlier. And yes, of course, there's the obligatory synth
samples, vocorder and pad disks to round out this eval set.
The demo tape is hardly indicative of these Mirage disks
than it is of the effects processor. I could take any sampled
guitar power chords and dive bombs, wash it tl'n'u a DP3 to
A VFX “Orchesu'al“ sample is included, along with “Manic
Orch,“ some JP-8 synth rises and “Space Guitar,“ although I
make it sound like Stevie Vai with tapped panned delays
underneath a hall reverb splash: I would be less than honest
don‘t know where in space this guitar hails from. No delicate or newage stuff here, although it could be argued that
newage is an infinite melodic anything (or everything) so
to say that this is what your Mirage will sound like with
these disks. Although that would be true, unless you had the
same FX processor to record these sounds to tape, these
disks wouldn‘t sound anything like the sounds on tape. The
demo tape is more of an exercise in how to mix these
rather than start another Haiti, let‘s just say these aren’t, uh,
tender (yeah, that's it) samples. And that's not detractory
sounds thru a DSP than an indicative snapshot of what these
case here: Jim has poured countless man-hours doing the
disks actually sound like mw. Hey, like I said, these are
3-bit samples: I guess Jim thought they needed help. These
were all Mirage disks I received, so I can only assume the
EPS disks are 8-bit ports since you can't export EPS files to
Mirage fonnat (smells like the read-only SCSI card for the
upper-to-lower sample shuffle timewarp just to get these
sounds on disk. This collection does remind me of where I
once was when the DSK was the sampler, but that's not an
objective point of review. Sonic reflections come to mind,
TSxx), but Gary Giebler would argue that point with me...
The Deal
even if the dreams and illusion were only in S-bit splendor.
I'll bet some of these samples take you back to that first
month of Mirage hacking: so is Nightwind Sound.
If you use the Mirage as a Foley machine, these samples
can really bend your mix, or as your case may be, distort it.
That's the beauty of OI‘ Yeller; that's also her primary
fault. Still, the gnashing and aliasing of 8-bits to the wall is
But I'm afraid too many of you would just as soon forget.
Most of you readers weren't even aware of sample manipulation in the early-to-mid '80s when people could actually
hack away at the Mirage OS when Ensoniq hardware was,
shall we say, more “a-commodore-ating." Still, these arcin-
the substance of gangsta' rap, so it's refreshing to see someone actually using the technology rather than abusing it. It
ain't clean, it ain't pretty, but it ain't something you're
deed eccentric samples, and not for all of us eccentrics, at
that. And these sounds are looking for a home, so if you
still have O1‘ Yeller starving in an unused section of your
gonna hear very often. Not something you're gonna use
every day.
music room, adopt a coupla these disks. She'll thank you
These are Mirage ports, so don't expect any more sonic
fidelity than Mirage fidelity. We've grown so accustomed
to the current level of Ensoniq sampling technology, it's
Bio: When not answering broadcast NTSCIPAL videocapture questions for Truelfision, Pat Finnigan is a tech
support person for Rasterfips, a company that makes video
boards and monitors for Mac and IBM platforms. He still
uses a B-3 for a keyboard stand and watches the alpha
channel
difficult to explain the labor poured into the old 8-bit
machine just to get a single sample to sound musical and
transpose S octaves within a quarter tone. And such is the
for the newfound variety of diet... -
coverhuidees
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HACKER easement TAPES
Lettmg GO
Tape: REESA: Mnsic for Moderns.
Artist: Reesa Lasltey.
Contact info: RD #1, Boa BQAA, Glassboro, NJ D3023.
Equipment: Ensoniq SDI-32, Tascam Syncasset E-Track, Hi-fi VCR
for mirtdown, Alesis power amp, JHL control monitors, BEE Sonic
Manirniner, Alesis lvlidiverb ll, Stereo 32-band EQ, 1622 Miner,
lvlicrofiate, IvlicroLimiter, ].L. Cooper, PPS—1 Sync, Shure Beta
SM53, Guide D-5U, Telecaster,iPeavey Bandit amp.
Reesa‘s music seems to stem directly from a '50s time and
space. Modern sounds and modern (read abstruse) ideas
rooted in a definite 1950s and early ‘fills feel. Reesa sent
her picture along. She presents herself as a biker-mama with
a beauty make-over, complete with Billy Idol sneer.
Palette of Sounds: No real finesse in ambiance. Most
backing sounds are relatively dry. Reesa uses all the basic
sounds you’d want with a backing rock band. She has
spiced things up with a few specialty sounds, but not
enough to mark this tape as interesting in that area. The
mines were all adequate but perhaps more could have been
achieved with each song. ‘Vocals, in general, were well
recorded and sound wonderful. However, in the big picture,
middle. The ending, though, is a bit awkward. Too abrupt.
YOUNG BOY: This is the best esample of ‘SOs style songwriting on the cassette. It is a rock-ballad. Here the ending
is tight, but not too tight.
{WISH YOU COULD) LIVE WITH ME: Nice piano ballad.
Reesa has some unique ways of eapressing herself. Her
lyrics go the estra mile in asking you to consider her point
of view. A case in point: “Even if you were my bicycle
thiefior a spider in my shower stall.l'you‘d never see any
more of meithan at this moment, now i am showing all."
The ending, complete with bird chirps, was interesting.
BIG BLACK BUMBLEBEE.' This romping rockabilly has an
interesting police whistle sound running throughout. The
guitar work here is fast, furious and hot. The min could
have "featured" the guitar a bit better.
HITCHHIKE {TO THE END OF THE WORLD}: This has a
real Chrissy I-Iincle,FPretenders feel to it, but not as polished,
not as glossy. The song ends with a bell-like patch that
bends off into infinity.
in my opinion the vocals are too present. There is not
enough of a feeling that Reesa is singing amongst a band of
musicians. It is a subtle but pervasive feel.
This tape shows a lot of potential. I would be very interested to hear a more rela:-ted, open version of these songs or
new ones that would allow Reesa to really let go. I get the
impression that Reesa has been a bit constrained coloring
The sequences on Reesa‘s tape are never a problem. There
is usually enough going on to distract the listener from the
background tracks, and there are no gross mistakes to call
inside the dotted lines, or playing “inside” the sequences.
One wonders what will happen when Reesa lets go. -
our attention to poor sequences. Song endings seemed more
like a way to escape from the song than to say, “This is
If you want your tape run through the ringer, err, Hacker,
done."
just mail it off to: Basement Tapes, Trnnsoniq Hacker, 1402
SW Upland Dr., Portland OR W221.
TRANSOM!C: There is an odd reference in this song to
James Brown. I say odd because this sounds nothing like
James Brown. As if in response, in the middle we hear
Reesa say, “She said it was a dream!" Then in the middle
there is a nasty modulation that just doesn't work. This is
made worse by the tendency Reesa has with scooping, or
actually over-scooping her notes. While much can be
forgiven in this genre, she really does tend to lose her tonal
anchor point and fly off-key. Quite a good vocal presence,
however.
ROLLER e.-taro There are some good guitar riffs in the
Bio: Doniei Mandel is n songwriter,
sonnd designer, and has sold pro
ondio and keyboard equipment and
produced demo ropes for local’
bonds.
DP/4 Hackerpcrfches
Dove Kelly
I've had my DP!-4 for a couple years now. I was probably
one of the first to own one. Knowing that the DPJ4 can do
many things was a bonus but I purchased it primarily for its
a lead vocal. Try it on a ballad that has sparse insn1.unenta-
reverb and the ability to be able to get almost any sound out
of the DPI4 that was in my head. I feel that the quality of
reverb is what separates okay effects processors from truly
excellent units. The DPI4 doesn't have to take a back seat to
The other patch, “The Room“ combines moderate decay
times with pre delay and a good amount of room detuning
to produce a very smooth sounding room reverb.
anything near its price range when it comes to reverb
quality. I've used some of the better ‘verbs including the
Dynacord DRPZU which I love and most of the high end
Most of my patches are designed for vocal use. One thing I
do is use the room detune parameters of the hall and room
tion and see how it widens the feel of the entire mix.
algorithms to really smooth out the decay. These parameters
can be used to create a pitch shift type of effect if not over
used. Be careful, because if you detune too much it becomes very hard to use the patch on a guitar or other instrument. I've found that using the detune parameters work best
on vocals and snares. I've reprogrammed every RAM patch
in my DPI4. I think the factory reverbs tend to be very ge-
Lexicon gear. The DPI4 can more than hold its own with
these units. In fact I can get sounds from the DPI4 that I
can't get with any other processor.
I'm including two patches that have been developed the past
couple of years in recording sessions. My favorite is
"Birds." It's a 4-unit, l-source reverb that has Iremendous
neric sounding and don't really show what the unit can do.
stereo spread and creates a ghost like vocal effect. It's not
fer use on every song but will add a very haunting effect to
The DP!-1 is a programmer's dream. I don't have any real
Name: Birds
Use: ‘Vocals
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ill?) b {I13} b {U9} b {lll} b
1s
I
$2000+ reverb sounds like.... go out and buy a DP!-4. You
won't be disappointed! -
secret to programming. I just start with an idea while tracking or mixing and just keep tweaking the parameters 'til it
sounds the way I like it. There're few things more musically
pleasing to an engineer than a smooth decaying, warm
Bio: Dave owns and operates Luna Recording in Glen Burnie Md, a 24-track studio. His band is PASSIOHFJX. He's
been doing music since he was 5 (3? now but don't tell) and
reverb. I've listened to most of the newer mid-priced
reverbs out there and they just don't compare. I have a few
things I wish Ensoniq would have built into the unit like
has engineering seriously for something like I0-i2 years.
He spends most of my conscious hours and even many of the
unconscious ones thinking about ways to improve sound.
better meters and balanced insiouts but this would have increased the price quite a bit. If you want to hear what a
Classifieds
EQUIPMENT
Ensoniq EPS-16 Plus turbo rack sampler
module. Like new in box, fully loaded with
SCSI and Flashbanlt #2. 135 samples in-
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ORIGINAL SAMPLES: For the ASR-10:’
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94552.
MICROTUNINGS for the EPSIASR contains
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|
L enough to be L
r selling your
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seesaw
iemijhcs;-
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ttsstv- 1
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_
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-t.
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-_:_ _. .-
_
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I
pg ‘Br;
.
::___.-
.
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19
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dictation over the phonel
SQ-1/2 8: KS-32 Hockerpoich
Jeffrey Rheocls
Preg: ICE CASTLE
By: Dan Richards, Canton, Ohio
Notes: I used the Synthbell waveform to create the primary "icy" sound of this patch. The Organ Variation 2 waveform is
used to make a soft background without sounding “organy."
1
WARE
Select Voice
Wave Oiass
Wave
Ooiay Time
-Wave Direction
Start index
On
'tN.Form
Orgiiari
0
2
On
ini‘.Form
Bynthholi
0
-P-'D~I: CI‘
CiICil'
-hlflflflfiD
1
PITCH
gm _L_
Glide
'_Gjd_e Time _
EIIW1
i
1
Q
LFO Speed
Noise Fiata
Level
Delay
MODS BC
Wave
g_
jtrnrsn
rust 1
3
nit
Octave
Somitono
Fine
ENV1
LFO
NIODBCFI
ruoonsn
HBO Ptch Track
LFO
Fiestart
NIODSGFI
MODANIT
LFies tri-tL Decay
3
on
Filter 2
FO1 Cutoff
EN‘! 2
FO1 RED
MODSGH
MODAHIT
FOE Cutoff
EHV2
FC-2 HBO
FC1 iiiiO|.'.'i'- FO2
_a
395+
0
LFO
40
Cirl
Cifi
genome- :2
0L
On
Oil
o
1
2
S___
_ _ E,IiI\I2
initial
initial
Peak
Break
Sustain
Attack
Peak
Break
Sustain
‘vat-Laval
‘val-Attack
‘vet Gunrc
iviocio
kao Track
_
L
1
2
+09
+99
0
Oil
0
0
+99
0
Oil
as
as
gg
B0
B0
T0
5
40
40
output
vct.
Boost
MODSHO
MOOA MT
HBO Scale
Key Flange
Output Bus
i Priority
1; keo Track
o
Convex
Norm
The H301-(I This entry really stands up all on its own. It's
a fine example of what can happen when you use a
Pan
,‘r'E'| ‘*"e‘.l!'.'.Fl'l1!'-"_\'.
B0
E0
5
40
50
50
2E
0
Lin
Norm
o
50
55
10
0
Convex
Norm
0
'
2 j __s
1 7
as
on
on
e
-1s
no cs
|=x1
SB
Oit
Off
0
-so
so cs
Fkt
Med
0
Med
0
9
...
Ht!
. ___'3l _
—|—
—|II_-
—|I|-
EFFECTS — CHOHUS AND HEVERB
Flt-2
Fit-t
10
re
HF Damping
40
Decay time
Chorus Hate
Chorus Cantor
Feedback
Chorus Level
MOD {Dost}
av {iv'iOOSHC]
MODAMT
55
13
0
Convex
Norm
_0
Zeta an 3
so
rs
as
as
rs
so
so
'v'e| Curve
Mode
HBO Track
2 __ _ L
1s
o
_ 1_
' val-Attack
2LP
ZLP
0
-10
Ofi
0
0
+99
-‘I0
Ofi
-
initial
Peak
I Break
Sustain
Attack
Decay 1
Decay 2
Fieieaso
val-Level
DOD
ELF
2LP
0
! vet-Level
I val-Attack
vet Curve
. Mode
.T,,,,3, Aiiii
_F.
Tri
O11‘
|" Hcleaae
Decay 2
Fieieaso
M
0
C-"if
Tri
O11
B5
T5
20
50
50
B0
Attack
Decay 1
Decay t
Decay 2
L
so
e
1a
o
on
S1
20
Chorus cape so
50
0
53
Fkt -lviix
iviodpedal
0
which, in Voice 1's Output Section, raise Vol to 65 to help
balance the overall mix.
waveform out of context — the organ variation makes a
nice compliment to the Synth-Bell. Also, the patch doesn't
Jefirey Rhoads
rely on effects to justify its existence. Still... a little more
chorus and a little bit more reverh won't hurt. In the Effects
Section, mise FX1 to 20 and FX2 to 22. Let Chorus Depth
= 22 and Chorus Level = 66. Modulate Depth by Modpedal,
Bio: Jejfrey Rhoads has been a keyboardistlcomposer on the Philadel-
+10.
phia Jase and R ti». B scene for a
.
period of time resembling forever.
Use the modwheel to modulate the filter for Voice 2. In the
Filter Section for that voice, the Ivlod should = Wheel, *-35.
Thus pushing the modwheel up will deaden Voice 2 some,
He has an interest in cinema and
has developed some film courses.
.le)j" still believes in magic and
longs for city lights.
causing the organ to stand out more. And, speaking of
1
ill‘
1
III
I
I-I
Iii
IIIII-It
1
|I—II—lI—uI-|-
i
Haciterpaich is intended to be a place where patch vendors can show their wares and musicians can share their goodies and impress their
friends. Once something's published here, it's free for all. Please don't submit patches that you know to be minor tweaks of copyrighted
commercial patches unless you have permission from the copyright owner. All submitted patches are subject to consideration for mutilation
and comrrmrtts by Sam Iviirns and Ieffrey Rhoads — our resident patch analysts. If you send in a patch, please include your phone number.
Requests for particular patches are also very welcome.
E
20
m
T
i
ESE-1 PHDG: TFHALEH
D5111
DSPD2
D5133
DDT
SEMI
-1
-1
[>1
o
WAVE
s""'sr.n
MDD#1
D
2
SAW
OFF
-
D
D
SAW
OFF
-
LEVEL OUTPUT
Dill. 1 [Test “T "Bit
E3
DIN
DOA 2
E3
DH
DOE 3
_
FILTEH
FRED“
s-i
D
e
FRED
-
PAH
a
RESET
oss
oss
oss
L1L2
EHV 1
EH? 2
EHV 3
EHV 4
+5
+§5
+tt
+63
+2
+53
STHC
|,~|t‘J|JE5l orr
1
L3
+25
+63
ItlDD#2
DEPTH
EFF
-
ssvt
ENE’? .
+63
+63
UFF
-
OFF
-
hlDD#'l
euvs
DEPTH
+ss
PAH MOD
ors
Whit‘
EFF
-
OFF
-
UFF
-
Lit
T1 '5“
fl"|l—"D'E La-1
GEEIEI
Mt'.l'D#2
oss
DEPTH
-
HUMAN
+1
SPLITILATEH 5tL PHG
oss _
_;
Named after ‘Van Halen, the is my recreation of the sound used
in the popular song "J'ur.n,o." Try using tl1e bottom two and the
top two octaves fer best results. Also, I found the “Medium
Room" effect on the Alesis Quadraverb to be very helpful.
+63
+45
Md
oss
MODE DEPTH
save '"_ "its"
osr
oss
-
D
+20
+53
-
ESQ Patch: VHALEN by Curios Mucius, Ft. Luuderttote, FL
MDD#1
slit 1..-1-or "
KEYED
c
Fll’~lhL'u"DL
fiche | ea
LFD1
LFD2
LFD3
DEPTH
FIHE
53" 55'1"! Mam“!
T1
1'-t
s
e
e
L1
DEPTH
|
lows: FRE-Q='23, RESET=UN, HUTviAN=Cl'FF, WAV=TRI,
tv[DD=WHEEL, ether parameters={l. Then I applied this to
each of the three USCillators by setting MOD=LFO1 * +05. I
made the patch a little wider by spreading it out in stereo a bit.
Do this on the DCA 4 page, by setting the pan modulator to
KBD2, with a depth of +25. I also
like the smoothing effect that a hit of
filter resonance adds; try setting
RES to U4 on the Filter page to hear
this subtle but effective difference.
l
DE LAT
T2
ET:
so
ts
e
MONO GLIDE ‘JD EH‘!
ElF'F— _' ti "' ' '_ou__ ou
LATEFI
err
The Haclt: You can never have too many bunny synth brass
patches. This one does work well for Jump-ing, but when I
tried some .la1ntLewis type things, I found the mod wheel to be
vibrato-deficient. Can't have that! So I set up LFO l as fol-
L2
T3
cs
as
e
sa
T4
as
as
as
1
DEC
ors
LPHG SPLIT EPHG
_u osr
-
MUD
TIC
Bio: Sorn Mons is o professions!
keyboardist and programmer, and
the owner of Syntuur Productions in
Houston. He currently works with
Motoyston pop stur Zoinoi Abidin,
E¢\fl\fl
OTB
o_s_s_ _
SPLIT KEY
-
....____‘.
and tours throughout the world.
Transonicl-Net
HELP WITH QUE TIONS
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ousn
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430-5933.
ii ‘i]@2
3MQeQ
I
..
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=_s-ea-;
Q
-ti
so-1 Questions - Philip Magnotta, sot -46'?-435?, 4 prn - teas ssr.
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To onoese
,_
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_
%t
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301(mI£:
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Tirne (Toronto, DNT} or call l'dIDIl_.lNE BBS at {E13} 9665323 24 hours.
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..
.. _
I
;__
._._ ..., ,_._._.__...._ ...,
- .l_
:
-- -
- _. -ii __
'. ._-_+_: .. _\_
tsslsstitnisssutlill
3101399-0095
21
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:§E;.:E:EE,
k
SD 81 VFX Hockerpotch
$D&VFXP
:K
Flh I1
Sons tvtrms
.
yt m By: Waiter Cooper, Latter Sounds
[via key pressure) dist is too fast. Also, rolling the mod wheel forward
while pressing down makes the LFO rate go into the stratosphere. Dn
Voice 3, set the Rate to 25, and the Rate lviodsrc to Press, with a lviodamt I
HUTES: I call this a '55's typo of one-man-band sound. ‘Velocity controls the timbre and
attack. Sustain adds rhythm.
+55. To get a bit more vibrato effect, I also bump-ed the LFCI amount [on
the Pitch Mod page} up to +52. Do these sarno tweaks to Voices 2, 4, 5.
and ti. The mod wheel. adds a subtle chorusing to the sound. Since the CV
THE HACK: The "Key" part of this sound is socially done with a bass waveform, which
pedal was not used, I used it to remove the rhythmic cymbal from the
sound. To do this, select Voice 1, go to the Dutput page, and set the
rug
BY
worits quite nicely. The "Rhythm" portion is a ride cymbal waveform, with the rhythmic
pulse created by Envelope 2. It is sot to Repeat mode, and it is used to control the filterings
Volutne litiodsrc to Pedal, with Modems I -95.
of this voice. If you wan to change the rhythm, therefore, play around with Envelope 2':
parameters. Try setting Break 2 to 9'9. for instance, to add another hit in the rhythm, effectively douhling its tempo. The LFD needed a bit of tweaking, I thought, as it adds a vibrato
5
VQEE
ac
.a.
a
DI
3
4
5
1
2
c
Ftidatiymb Square ' ' Pick]!-aaa Eu iT'v‘ar2
WHVE5
at-s
Da iay
Dire etion
Start
‘D
c
D
Forward
25
Forsrard
Q
-.-
B
ass
D
D
Forward
5
Forward
25
'a
15.
PlTGi'1i_
Data-.-a
Samito no
Flna
Pitch Tabla
PITCH MODS
MUDSHC
HDDAHT
Gilda
EH51
LFD1
2
1
-
4
3
EH51
Initial
Peak
Break 1
Break 2
. Sustain
Dflfllai
GU4-
Uflfl
Cflfiflflh
System
System
System
IHDDD {(81551
Syata m
1
Hoiaa
+1’
Nona
5
5
2
3
4
5
Git
D11
Of!
on
B
otr
Hone
D
+1
Nona
5
Hons
5
+1
+1
Hone
1
Mods
Dutch‘
KBD
MDDSHD
2LF
121'
MUDAHT
D
Ehiva
-55
D
‘D11’
VUL
MD DSHG
MD DAHT
RED Scale
2
3LF
54
+21
Timbr
+35
+55
1..__3
2HF
5
a
rorr
s
+55
__ 1
55
3
4
2LP
ti
+15
2LP
D
+1 E
Tlmhr
Timbr
+35
+55
+33
+55
3
1 HP
35
2HP
B
D
+14
Timur
+22
Tim hr
+22
+55
+45
g
5
2HP
B
D
B
2HP
B
D
Tlm ‘er
+22
+22
+43
+22
Timer
as
55
MODS FIG
GIT
__!“_-"'|.'§"_l.3'.!'~!~'|_'|'........: ____ ..- ‘
Pro-Gain
voica Prlor
,ve| Thrash
Dn
Cifl’
lvlsoium
Hfldiflm
D
D
_|_‘.' “
LE5
Tliiata
MDDSHG
MD DAMT
Laval
MD D5 Fit}
._ __
I
45
‘italoc
siii. .. .. - ...
+1 3
Dtt
orr
Medium
Medium
D
U
4 _
as
-
Wheat
Whaal
Whoa!
Wh aal
+55
D
+55
D
+55
-
+55
D
5
+55
D
-
Praas
Press
Froaa
Press
Press
'
5_
Ea. ..
-5-‘
.
B
a
as
ZILIKKHUHI
_.
so
veloc
2
as
...,5ete1t._.._--Wave-shape
Ftastart
Noise sac or e.
m
lufii
1
-
L..-
_F.iv.te=ss.. -
55
l
i
attack
Decay 1
Decay 2
Decay 5
34
Wheel
P..... - .5_____ _ .5. _ _
J1 _____ -5 - ..-
on
-
. on
-
Elna
Eih-5
TI_
orr
-
E155
o11
-
:'-T
RED Track
‘ital Curve
Ivioda
‘ital-Laval
‘val-attack
a
D
diitti5___ 55512- _ _ _
F21
F311
iraioe
italoc
_+_15___ _ .115. _ _ _
D11
Off
leiadlum Iviadium
5
c
Dfi
satanic. _ _
5
55
'Ciii""
'o11*
‘ctr
'-orr
‘Of?’
D
e
e
e
_i-15‘-i’i;|Liter____ -5555- _ _ sses_ -.. _sese- -.1!~.ii.t-iii.-F:-:1
too
Daat Bus
F111
Fiti
45
45
Fan
so
so
EH53
Initial
Peal-t
Break 1
Break 2
Elna
l
*T_'
Eina
‘L
'
F
Pitch Tobin
Band Hangs
Delay
Fiaatril-to
Gilda Time
EEEECTS EL
Hats H
'til?--'
Depth
Dalay
Hats Ivlo-ti
Depth Hod
Mia
on
-
i_
22
‘I-
-1-
-
E
l
I
-.
n
H
-I-
-
-
-
-—
I-
.-
-
--
-
*fi
-
-
I
-
-
_
ll
-Fl
2
as
as
rs
as
55555_ ..
1 _______ _ .6
HI{I'llIt
ED -ICI-lfl fl fl
I'll
23
-41
U2
55
55
54
E2
e
1
44
35
35
_ag'
D
"T
L.
1 1 1 Q -1 -1
4-4
35
33
532 5 53
55553
1_9____?I__....?_‘.. .__?_'.‘.._.._i‘_..__
11
11
11
11
11
Dkflisa C-nevi Gncvi Cncvt Ghcvt C‘.-ncv1
Hap-sat Horm Norm Norm Norm Norm
T5
1'5
25
TB
D
25
D
D
5
.P_
5__,_ D
'v'al-Lavai
'v'a|-Attack
+45
4
-I1
II
Attack
Decay 1
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Letters for The Interface may be sent to any of the following addresses:
U.S. Mail - The Interface, Transoniq Hacker, 1402 SW Upland Dr., Portland, UR El'l22l
Electronic mail - Gfinie Network: TRANSDNIQ, CompuServe: 'l'32~l5ll,3353, Intemet: [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 are
reminded to take everything with a grain of salt. Resident answer-man is Clark Salisbury (CS). Letter publication is subject to space considerations.
Hello,
I am wondering if I have rmched the correct
address for general Ensoniq equipment
questions'll'l If so, then here we go... I own
an Ensoniq KS-32 which I am generally
very happy with but I have recently become
aware of the fact that the effects processor
lacks the ability to create a digital delay effect. I was wondering if somebody could
give me some assistance in emulating this
effect, as I a have had little success. Any
help appreciated...
-I-I
' II
static
-type noise together with the sam-
ples thus rendering the samples unusable.
So, ok, I don't sample longer than 2i]
seconds. And don't get anymore problems...
fine... wonder what happens to the rest of
the RAM memory tl'tough'l'll!
So, recently, I bought another 3 Megs of
RAM to fill the AER to the brim to lblvlegs.
TH:
Now I can't even sample more than 10
seconds without the'“static" noise coming
again and after switching it off and leaving
it for 10 hours or so, I decided to try again
only to find that the ASH won't even boot
Looking for patch for Ensoniq SD-1 for
Ryan Tweedie
[email protected]
in OS 2.5, 2.0 or L6!!! I keep getting "Error
125}-Reboot?"
ICS - While it's true that there is no delay
efiect per se in the KS-32, the chorus algo-
A little more on my ASR system: I use a
Quantum 30-Meg HD with CIJ3l}[l+ Drive
thru SCSI with it. The US version 2.5 is installed in the HD so I tried disconnecting
the SCSI connector and booted the ASE
rithm can produce some short delay e_fit'ects.
Select the S-VOICE CHORUS efiect, and set
Chorus Depth to tlll. Set Chorus Center to
99 for the longest delay times, and use the
Feedback parameter to control the number
from floppies... neither the 2.5, 2.0 nor 1.6
could boot at alil!
of repeats.j
{Ensoniq - Another method fto be used
when you need another effect firom the ef-
fects processor besides chorusing} can be to
use the voice delay function. This is a bit
more complicated to set up, as it requires
new voice programming. Basically you program Voice 2 and 3 to be identical to Voice
l, and then set Voice Delay {found under
WAVE, screen 2,} to delay the triggering of
the second and third voices. You can only
get two distinct repeats, but this will work
in a pinch._,l
TH,
I've subscribed to TI-l for almost a year now
and am very happy to read it from cover to
cover. I've got to note its punctuality tool!
Every beginning of the month without fail
touch wood the mailman drops it off. Yes!
Even though it's all the way over here in
Singapore! Great newsletter to help us Ensoniq users all over the world to keep in
touch.
Okay, now the problem (bet you knew that
was coming eh'll). I've been using my
AER-Ill for a year and have had it packed
with lfllltleg of RAM initially. The machine
works but whenever I do samples of more
than EU seconds the samples get this
fine — is this only a problem when recording
your own samples? At any rate, contact us
directly for more help. You can call us at
{dill} 64?-3930 or fax us at (dill)
dd?-Silll-3.}
So the question is: What's wrong? Is it a
bug? Is it my SIMMS? {they're the E chip
ones) What's wrong'l'l I-lELP!l
Windows or Band In The Boa.
Claude Robitsille
CS: ['l55'l'4,2.535]
{CS - l'm afraid l"rn not quite sttre l understand what it is you're looking for. Dne
guess is that you're looking for a General
MIDI-compatible setup for the SD-l,‘ the is
the case, the answer is that the SD-l was not
designed to be GM-compatible. if this isn't
your question, perhaps you could write
again, and give a bit more info.)
ITH - There was a patch 1'published in issue
#.l.l£lj for Cakewalk for Windows. if there's
any chance that that's what you're thinking
of, it was to add SysxDelayA_herF?=l, SysaSendDelayMsecs=2fi‘fl, and SysxSendPacketSise=65535 to your TTSSEQ.l'.hllflle.,l
Thanks!
Khew
[email protected]
Calling All lvlicrotonal Hackers!
ICS - First, make sure that the jurnper {located near the Slldld sockets on the main
board) is correctly situated; it should be set
to the EXPANSIDN position [for more information, refer to your owner's manual}. if
that's correctly set, it's a pretty good bet
that you have some kind of hardware problem - either bad memory chips, or something wrong with the AER itself. ln either
case, .l'd suggest contacting Ensoniq Customer Service {til ll-64 ?-3930) directly._l
{Ensoniq - lt certainly sounds like you have
a problem with your RAM. Definitely check
out what Clark mentions about the EXPANSIDN jumper. Since there are many types
and qualities of Sltldhfs out there your chips
may be the culprit. Dar Customer Service
department could help you more, or call our
FAX retrieval system at Sill]-25 17- I439 to request document lllllld for more information
about Slh-fhds.
You also don't mention whether simply
loading sounds from floppies or SCSI works
23
Here's a follow-on to my earlier letter answering a request for an EPSU-LSR disk of
microtonal tunings. I've heard some latebteaking news in that regard.
Bill Sethares, who is probably most famous
for custom tailoring timbres to sound best in
a given tuning, has also recently introduced
an EPSIASR tunings disk. It too is very
reasonably priced ($15).
He took a very different approach to the
topic from what I did. fiur disks have some
tunings in common, but each has quite a few
that the other does not. Also, most of the
tunings that are in common, he mapped to
the keyboard differently. You might find one
mapping more comfortable than the other.
If you're interested in his disk, you can write
to him at: 522 H. Henry Street; Madison, "WI
53703. (By the way, in case you're curious,
Hill's name is pronounced kinda like "thesaurus" with the "s" and "th" reversed.)
Enjoy!
Gary M_orrison
Austin, Tenas
CS: [T-'ll'i'll],25'lli]
time for this issue. 1’ We are getting an awful
lot ofthese critters...)j'
modules, you let Dpcode know. if enough
people request editors and so forth, Gpcode
will be more inclined to invest the efiort required to create them.j‘
Subject: Support
ICS — Thanks for the info, Garylj
To: [email protected]
cc: [email protected]
To: hiterface(o'_.‘»n'ansoniq.com
Subject: Masimum vitriol!
Was wondering, since oak.oakland.edu has
such active and suong support on
I'm still mad as heck, and this is the THIRD
TIME I'm writing to you about this (once
by letter and once by e-mail). Why no ack-
Ensoniq-wares, couldn't ensoniq.com {or
whateverllj support this by having their
latest 0S's in here so that the users can
download them'l Comments, Ensoniq'?'l
nowledgement? Did I take a detour on the
Internet‘? This is really a very simple matter
Khew Sin Sun
and I can't believe that neither you nor
Daniel Mandel has ever responded to me
[email protected]
about it.
{Ensoniq - To do this you need to be able to
write the downloaded DS to an Ensoniq forTo recap: In August of 1993, I mailed a
tape to Basement Tapes. As I never saw a
review, two months later, I sent a re-mist
and a postcard for Daniel to return to me.
All he had to do was check off "Yes" or
"No," where I had written "I received your
tape." Still no response.
Yes, I'm very angry, that after all this time,
I have never received an acknowledgement
or a review. Although I already have a ton
matted diskette. Since we're not familiar
with all the possible applications out there
on the 'l‘\let. can you do this? if so, we have
no problem with allowing users to upload
our GS. We do not t’repeat DD NDT) support the uploading of any of our sound
releases. We owe it to the developers to pay
them their hard-earned royalties. (Sorry,
bttt we get carried away when discussing
sound pirating - but you didn't ask about
that did you Pll]
of reviews from publications throughout the
{Ensoniq - Actually you've gotten some
mired-up information. We did not develop
the ESQ editor, it was written by the fine
folks at Dpcode. What they probably told
you {or meant to_,'l was that we have written
all the Galaxy Librarian modules for our
product since the VFX. We use Galaxy as a
development tool when creating new products, and so write the custom librarians
very early in our development cycle. We
then give them to Gpcode to release to better support our products. We also have
worked with MDTU and other third-party
companies, but the editors have been written by the individual companies. We continue to try to persuade these companies to
write editors wherever possible, but we
don't have the internal resources to create
them ourselves for these companies.
You don't mention, which of our products
do you have that you want editors for?
There may an editor available from some
other company besides Opcode.j'
Dear Transoniq Hacker,
world, being critiqued by fellow musicians
using the same gear still would mean a lot
to me. At the very least, I don't think
To the Hackers [and Ensoniq) —
Being new to the Internet I have no idea
there's any escuse for Daniel not dropping
that postcard in the mail.
Anyone out there using Ensoniq gear with
Galasy Plus Editors‘? To date the only Ensoniq product for which an editor module
has been developed is the ESQ-1(1).
where to search for valuable information
about the ASR-Ill and related subjects. I
would be most grateful if any of you could
give me addresses of ftp-sites, www or
mosaic-homepages, or names of news-
As I suggested in my last two letters, if
Daniel is so pressed for time, maybe he
should consider doing shorter reviews of
more tapes. I would be much happier to see
a paragraph -written about my music than
nothing at all.
I can no longer keep the viuiol to a minimum. Please have the decency to respond!
Thanks in advance...
...CUol Mfither
Intemet: [email protected]
(Reesa Marchetti)
{TH — Well, actually, this is the first that
we've heard of it. We always respond to our
mail. if we didn't respond, then we didn't
get it. Gr we did respond and you didn't get
it. t’ We sure got this one. _,l it's more than a
little dwicult to figure out what might have
happened to a particular post card over a
year ago — but wherever it missed connec-
I've spoken with the Gpcode folks and they
told me that the ESQ editor was developed
by Ensoniq. I know that more Ensoniq products are supported by MDTU's editorlibrarian software, in particular the DPt'4.
So... Are there any plans to develop editor
modules for Galaxy‘? If there are no current
plans then I would like to publicly request
groups dealing with the subject.
Urs.
INTERNET:[email protected]*re.uni-karlsn1he.de
{Tl-l - Actually, Garth's article in issue
#.ll2 covered quite a bit of this. if you
missed that issue, you can contact him at:
ch.icke[email protected]'
Ensoniq to consider developing editors for
the DP,t‘4 and for their complete line of
synths.
Howdy Hackeros [and Ensoniq)!
Any other Galaxy users please feel free to
I have an enhancement suggestion about enhancement suggestions, and an enhancement suggestion.
chime in.
Paul Heitsch
c,lo ‘Williams Electronic Games
[email protected]
I have periodically put enhancement suggestions into these pages in hopes that
others will read it and "second the motion"
to Ensoniq.
ICS — Ensoniq continues to evangelise D'p-
tions, you can be sure our i's were dotted
code {as well as other companies} to sup-
and our hearts were pure. in any case,
Daniel's review of yottr tape showed up in
port Ensoniq products. My best advice is
that if you want to see specific Galaxy
24
I often am working away on my Ensoniq
gear (often sequencing on my Mac), when a
neat product enhancement suggestion
Wonder if you can help out with a problem
comes to mind. It sure would be great if I
could just quickly tip-tap type it up and
send it up to an E-mail enhancement hotline
over the modem waves, and be done with it.
tunately the ASH-lil t’and our previous
samplers} are the only products in our line
that don't ojjfer this mode. We'll keep it in
mind for the future.I
A full-blown CompuServe fomm wouldn't
be necessary - a response of "Got it;
thanks" {assuming that it really does go into
Ensoniq's database of customer suggestions) is fine.
To: [email protected]
Subject: Dld Issues
Hello,
different channels on say, u'ack 1, 2 lit. 3,
whatever is on track I will continue to play
when you select other than channel 1. Initially it would appear that the KT is not
All in favor say "aye"!
I subscribe to the Hacker for the second
If you set the KT to use its intemal sounds
year now and I am a passionate reader, It's
great to reach you now through Internet. A
and likewise set Cakewalk to use the KT's
that I have discovered with a KT-'l'ti and
General MIDI. I am using the KT-'l‘l'.i with
Cakewalk [Windows version 3.ll}. If I set
the KT-'lt'i to GM and set Cakewalk to three
receiving a MIDI program change message.
Such a case just now came up, and since I
don't know of such an E-mail address, well,
I'll try to make it quick: It would be great if
there were an Edit:System (or possibly even
Edit:Layer) parameter - I'm thinking ASH,
but it could apply to all of your instruments
— to put the sustain into what I'll call "latch
mode." Here's how it would work {to see
the value in this, imagine using it on a sus-
- Can I access or ftp old issues of the Interface or the Hacker per Intemet?
intemal sounds, there is no problem — i.e.
change the Cakewalk channel and instrument and the KT receives the proper message and plays the correct instrument. I
visited my dealer and their setup also has
I 'W!1at else than E-mail can I access on
the same problem and he is just as confused.
few questions:
transoniq.com‘?
I have contacted Ensoniq but tech support
taining instrument sound - perhaps a
clarinet or pipe organ):
- Is it possible to connect a CD-3!]-ll Apple
Cd-Rom to the TS-12?
- Pedal up: No change; notes sustain as long
r Is there a list of CD-RUMs working with
TS, ASR or EPS?
states that they are not having this problem.
I even took the KT to Ensoniq and had the
firmware upgraded from l.l]1 to 1.62. This
as the key is down.
- Pedal goes down: No change; keys down
at the time the pedal goes down sustain
until the pedal goes up.
Thanks for your help
- Key goes down while pedal is down:
Here's the difference. In latch mode, these
notes would NDT sustain; they sound for as
{TH — Right now, about all you can do with
transoniq.com is to send mail to it. We're
planning on making an e-version of the
Hacker - but that's going to take a little
time (and worklj. We're starting to collect
long as their keys are down, just as if the
pedal were still up. {You computer hardware wcenies like me will probably see the
analogy to a trartsparent latch chip.)
‘Why is this "latch mode" interesting? Consider uying to lay down a big, fat, accompaniment chord on a sustaining instrument,
and then play a melody on top of it. Dn a
nonsustaining instrument like a piano, that's
not much of a problem because the notes
you add on die out fairly quickly. Dn a sustaining insuument sound, however, you end
up with a horrendous muddle as every note
of the melody sustains until you release the
pedal.
Peter Meier, Nice-France
[email protected]
is a relatively new rig on the market and I
can't believe a major problem like this
could be overlooked.
I have checked all the obvious settings both
in Cakewalk and on the KT - even to the
Maybe your question
nterface .
names and feedback on this. See our an-
nouncement in the Front Panel of this
issue.)
On A -Disk
locking for that reference
-- saatewhsra in the letters column? Hy using
the Back Issue -index
-ttmally
find the I
article yea:-as
dlf‘.deresst. Well,
utilising NEC mechanisms
last
that 33'}
(Iesues #55 .-t #66}, 5'1-his
|"d l ll-lid?-393i},l directly to get the scoop on
whether or not that drive will work.j‘
{Ensoniq - Clark states that NEC mechanisms "have generally not been recommended." What he really meant to say was
{Ensoniq - Regarding the Compttserve
Forum, we are currently looking into get-
they are NDT recommended - they don't
work. Period. See, we know better than
Clark what he means to saylj
ting "on-line" more in '95. Stay tuned for
more information.
[TH - Clark was just being diplomatic.I
Your "latch mode" is actually available on
most of our products - it's called Sostenuto,
and can be set on the System page. Unfor-
Subj: KTTE — GM — Multitimbral
25
.are I
youth‘ north of
-- all
aearclted.
' for whate'ver_
' you
can contact Ensoniq Customer Service
Gary Morrison
Austin, Tesas
ta -.-at but
yo_u_,,_ here's your solu-
tion --- electronic that of "raw rest-man the
have generally not been recommended. The
Apple CD-Silil is highly recommended, but
if you are considering another drive, you
. 19?! (1% #6?=-.-.#il.3}._3'l_Bk
1992} {llmues #'l§’ -—' #99}, fififik
H93 {lsauea ;#91--#'lll2ls 4-ldlr
19% {Issues #1133. -.-. klldl, S-flk.
Pleasy-weeey?
Thanks for listening!
'
Iirar- hunt through that old stack of Hackem
ICS - CD-RDM drives that utilise either the
Sony, Chinon, or Toshiba mechanisms
should perform fine with your TS-l2 |’these
would include the Apple CD-Stlllj. CDRGM drives
already
barn answered
disk:
$3. any 2:, .$T1#$,-any 3: $13.
l
I
R
as-4; sea at s
ea
Ttmtaoniq Hacker
lsfiklfiil
hum
on
was
tr-sazt-as-aasraatm as o=.s.-.3 and
mews with sswllbsas
niauto; h address, and yearta}. wanted.
_
|
point of re-installing Cakewalk to its
original defaults and rebooting the KT to its
ii-ii-I
Dear Hacker,
factory settings. Also, I am connected to the
MPU port on a Soundblaster lb and took
out the card and put in an genuine Roland
MPU4tll card and the problem persists.
Again — only with GM and not with the
l(T's internal or RUM sound banks.
Any advice or direction would he appreciated.
Iohn I. Mitiello, Ir.
CS: ['I33U'[l,3t]5ti]
[CS - I'm afraid I don't reatty have a handte on what coutd be going on. Even though
you state you’ve contacted Ensoniq once atready, I'd suggest catting them again. Ifyou
can, get your phone near your sequencing
I love my AER-Ill, BUTII
1. This new US (2.[i"I} bothers me in one
way and that is that I can no longer mute
tflunassign} the audio tracks on the fly like I
used to. Small gripe but couldn't Ensoniq
find a way to allow us to mute the audio
tracks during sequence to do live mining,
soloing‘?
2. Also the very first sequence edit of any
kind that I attempt after booting up or loading a hank either throws the whole sequence
out of sync or the system crashes so I have
to choose "OLD" and then ettecute the edit
cess with them, step by step, white you've
got them on the phone. Otherwise, the best I
can do is throw your question out to our
readers; perhaps one of them with a setup
simitar to yours might have an idea of what
coutd be going on.j'
stacfing three instruments to create a new
{Ensoniq - Dur Customer Service department catted information to get Mr. MirieIto's phone number and spohe to him on
December Idth to better quatify his situation. It ends up that he didn't have his system configured correctty, which he
corrected by setting MIDI Loop ON in
Cakewati: {found on the page catted MIDI
TI-IRUIMAPPINGJ and setting MIDI LOOP
DN in the KT-F6, found under SYSTEM!
MIDI.
never goes out and the LET'I'ERING IS
their computer sequencer white in Generat
What to do? Simpte, just send MIDI votume
tit? to the channet you want to ptay on fwe
suggest channet I 6 to stay out of the way of
your parts_}, which ejtectivety turns ofi’ that
voice, and then the other channets witt ptay
bact: fine. Most sequencers ofier some type
of channet votume setting, or stider to
achieve this worIcarota:d.j
status once the sequencer was started.
Sorry.
2. We’re not sure about this one, but
upgrading your -US is deflnitety the first
step. Each retease does fix some "bugs" as
wett as add new features.
3. You can definitety resampte stacked
sounds, we think you simpty pressed a
wrong button atong the way. I-Iere's a brief
tutoriat to hetp you:
I) Load in the three sounds you want to use
3. I tried to sample from the Main Outs by
MIDI mode. They want to teave the TSIKT
on a singte MIDI channet and use the computer to re-channetize the data upon input,
remapping to the correct MIDI channet and
re-sending it back to the keyboard. When
they do this they find that the tocat sound
atways ptays in addition to the re-mapped
information. They toot: for a Locat Dfi’ mode
in GM anddon'tfind it.
Dishtrachs. Because of this we toched out
the abitity to change the Audio Track button
again to get it to take properly.
setup so that you can go through the pro-
Your question atso brings up a point that
has come up on occasion here regarding
using our TS and KT products in their GM
mode with a computer. Some users want to
enter parts fiom the Ensoniq keyboard into
created new probtems for determining what
you woutd be muting — tive audio, the
ptaybacit status of recorded ItAt"dIDisktrachr or the process of recording IIAMI
one but when I went to sample it, it
wouldn't trigger.
4. This is more of a gripe than a problem
but whose idea was it to use the lettering on
the ASRT My AER is a studio unit that
JUST CIIMING OFF! Thank God the ar-
2 ) Setect the first sound and then
doubte-ctich to stact: the other two sounds
3) make any votume ad_iustments you want
to each sound to get the btend you want
4] Press the SAMPLE button, and setect
REC SOIIRCE=MAII1I DIIT IL+R ifstereoj,
then press ENTER
chitecture of Ensoniq gear is so ergonomic
or else I'd be lost. Just the sarne it looks
rather tacky with dangling ends of lettering
all over the place. Has anyone else esperienced this? Is there anything Ensoniq is
doing about it?
5. Personal request:
It. Can we get a 44-kHz compressor with
aural esciter so I can rnisdown to DAT and
get a radio-ready master?
B. Can we get an update on the analog Itfis
to Pro balanced [IDs with Pro quality input
preamp? I'm a bit surprised that on a pro
piece of equipment, where the sound quality
of the inputs is of the utmost importance
that the highest quality inputs available are
not used.
Sincerely yours,
Tracy L. Crum
Iamtrak Productions
St. Albans, New York
[Ensoniq - I. We changed this after finding
that mutingtunmuting Audio Tracks coutd
cause some noise probtems when sampiing
the Main Dutputs with the sequencer running and when doing RAM and Disirtrach
recording. When we added the recording of
digitat audio to the ASE it changed what
using those Audio Tract: buttons meant, and
25
5) Setect the INSTRUMENT bin that you
want to sampte into
6) At this point your same three Instruments
shoutd be Iit andflashing yettow, the Instrument bin that you setected to sampte into
witt be tit red.
F’) Press ENTERIFES to begin sampiing and
ptay on the Iceyboard. You witt hear your
stashed sound as you ptay, and the screen
witt show RECDRDING, and count down
remaining sampte time.
We thinh you may have pressed your destination Instrument bin Ithe Instrument you
were going to sampte into_} again sometime
afler step 5 and before step 5’. This woutd
have dc-setected the three Instruments you
had stacked and made the Ireyboard inactive, since it was trying to trigger the new
Instrument, which didn’t have any sound in
it {yet}. With a sampiing threshotd set at
any tevet above the Iowest setting, sampiing
wouIdn’t even begin after pressing ENTERI
YES, since no signat was coming in. Try it
again, we think you’tt have better Iucic.
4'. This is not common, the tottering is
painted on and we have not ever seen it fatt
ojj’. Catt Customer Service so we can arrange to hetp you.
SA. We have no plans for it at this time, but
thanhs for the suggestion.
Paul Adams
Fresno, California
$3. This is not possible, but you might try
{CS — IJ First, don't assume that any par-
using the DI-Ill SIFDIF Digital lit? option
ticular voice is doing any specific thing just
by toolting at what wave might be used.
With the Jase Piano sound, for example, try
soloing each voice in the patch to matte
sure you hnow which voices produce which
components in the overall sound. It may be
that the thump you're hearing is not
produced by the piano thump wave at all.
- this is the highest quality possible for
input sampling and output to DATJ
Dear Hackers,
HELPII
I've had a real education horn you on my
keyboard and how to use it and I really appreciate it. You do a great job. Doe suggestion: I gradually found that articles on other
keyboards and the DPI4 had things in them
that helped me understand things in my
SD-1 32-Voice (which I still drink is the
best for the basic sounds and sequencing).
You might point out to new readers that
many things apply to many units.
noticeable in a song. I make sure that the
sample plays at a volume of 12'? or both
Also, one reason that a voice might produce
one sound in one patch and another sound
{CS - I J There are a couple of things that
supposed to do, checlc out the efiects. You
might even want to try copying the eyfects
from your source sound to the one you're
trying to tweak, just to see if that improves
2) The pitch table is used to "map" dij"ferent pitches to the keyboard than what
would normally be found. In the example
you've given, any voice using this par-
ping me right now.
mally found on B3 when the D4 key is
actually played.
ticular pitch table will sound the note nor-
1. fin piano patches some have a “piano
rt custom pitch table, though, might not be
applied to all voices in a patch. You can
check out which voices are using a custom
pitch table by hitting the PITCH button;
voices using a custom pitch table will show
PITCH-TAIlLE=CUSTDM.j
2. I finally noted a Pitch Table in the Chis.
Piano but] can't figure out what it is doing
and how to read it. D4 = B3 for en-
Dear Transoniq Hacker,
might be going on. fine is that if one note
overlaps the next in your sequence, either
because it’s held for more than four beats
or because it has a tong-ish release time
setting, you can get phasing effects. It's
also possible that you're playing back a
stereo sample, but you have the STERED
LAYER LINK parameter set to ofil
rllso, I've found that loops often work better
in sequences if they aren't actually looped.
In other words, turn the loop off in your
4'-measure pattern. Since you're triggering
the pattern every four measures, it should
play just fine anyway.
2) Yes, it's true. ASH OS 3.0 allows you to
load Altai and Roland samples fiom a SCSI
device (typically, a CD-RUM} into your
ASH-Ill. Not only are loops and hey mappings preserved, but it will attempt to
recreate the patch parameters as nearly as
possible within the ASH-I0 framework. I've
tried it and it worlcs greatl Contact your
local dealer or Ensoniq Customer Service
First, I would like to say how much I enjoy
your magazine. It's an invaluable source of
info, itspecially since some of the larger
monthly mags tend to stay away from the
ASH-lll.
this. And I imagine it is also applicable to
other synths.
I have two questions regarding my ASR-ltl
(16 meg, SCSI. US 2.51):
I'm always looking for a bit better piano to
my ears and I think I have a pretty good
variation on the Chis Piano but it is not
quite there. It's close though. Yesterday I
visited my music store and was able to play
three of the piano modules through an SD-1
and so was able to toggle between the Chis
and the lvlodules. I thought the SD-1 held
its own very very well.
1. I have been working on some Hipll-lop
tunes that incorporate sampled loops that I
sample myself. For ertample I make a 4-bar
Thanks. Keep up the good work.
Al-La.I and Roland samples into the AS11ltl. Is this true‘? If so, will this just be
sample data or will it include keygroups,
loops, ctc.?
one sound to another isn't doing what it's
answered locally. I am at long last getting
into sound tweaking and have been entering
in some of your old I-Iackcrpatches and
rereading Sam Mime‘ articles and finally
understanding them. I-lerc is what is stop-
sart or trumpet? Maybe Ensoniq or Sam or
one of your other writers can demystify
on a new US that will allow loading of
Sincerely,
‘Winston lvl Walker
West NY, NI ~[l'll}93
the situation.
ample.....what does that mean? Sam Ivlinrs,
some time ago, wrote on using it to detune
by a few cents a second voice and I understand that and I understand putting in old
tunings, etc. But what eitactly can I do with
a pitch table to improve an existing piano or
2. I have been told that Ensoniq is working
in another patch could be related to the effects setup you are using. Efects can have a
pronounced efiect on a sound. Before you
conclude that a voice you've copied from
Now my problems which I can't get
thump“ but when I solo the voice I hear
nothing unless I turn the volume way way
up. I added the Jase Piano thump to the
Chin Piano but it doesn't seem to be doing
anything. What am I doing wrong?
triggers, but this does not seem to help. Itny
ideas? I have spoken to Ensoniq tech support on Nov. lbth but they have had no eitperience regarding this problem.
drum loop and trigger it in an B-bar se-
quence. The triggers are at bar 1 and bar 5.
The problem is that when the loop relriggers it sounds “out of phase." That happens
sporadically. Even when I play the loop
manually from the keyboard this happens.
Sometimes the loop plays perfectly, sometimes it screws up. This problem is very
2?’
Idlfl-64?-3936'} to receive a free copy.j
{Ensoniq - I. The only thing we can thinl:
of is if you have actually set the sample to
loop forward and have a fractional loop
point set, using the Loop End values nest to
the parentheses. This is used to fine tune
pitched loops, but can cause problems with
audio loops. If this is the case, then don't
use that parameter when creating your
loops.
From your scenario we don't know why you
would be using loop points at all, as you
state that you are creating four-bar loops
which you are triggering every four bars.
Most rap and dance producers we tall: to
say that they always play the loops live,
triggering every X number of bars. They
never rely on looping their drum grooves.
it's just quicker for then: than setting ioop
points]
The Syqnest removable drive works flawlessly with several different IBM-com-
Fellow Hackers,
patihle PCs but consistently exhibits this
peculiar behavior with two separate EPS
I need your helpl
Dear TH,
Classics!
My hardware-hacking friend and I would
like to know what the difference is between
Help!
Steve Knowles
Munich, Germany
EPS Classic RUM version 2.00 and 2.40,
I recently purchased the =6-disk sound collection by I-lob Spencer based on the Triton
Soundprocess operating system for the Ensoniq Mirage from Syntaur Productions.
especially concerning SCSI capability.
At the moment we are desperately trying to
connect a SyQuest H15 removable drive to
our EPS Classics {with RUM version 2.11]-El
and original Ensoniq SCSI interface with 41
memory ertpansion) with minimal success.
After re-booting the EPS from diskette enactly 3 times and changing storage device to
SCSI we can then, and only then, access the
removable drive. This, of course, means
1'CS - This sounds iike a question for ENSDNIQSERVICEPERSGNW Try contacting
Ensoniq Customer Service {did-dd?-3930)
directly; they shouid he ahie to ferret out
the info you need on these oider Uperating
Systerns.,l
[Ensoniq - You shouid definitely be using
RUM Version 2.40 to work with Syquest
iii-'5 and 2?'ti MB drives.
that it is impossible to use the removable
drive for booting. The drive-medium in
question has of course already
been
EPS-formatted and had the US copied to it.
However, the fact that it works at all proves
that it cannot be a cabling, termination or
parity problem and once this weird procedure has been performed (taming EPS off
and on 3 times, etc.) megabytes of data can
be loaded and written without error!
I
Aiso, piease note that hecaase a SC-‘Si’
device works on a PC, or a Mac it doesn’t
have anything to do with proving that the
device witt work with our sampler. Cornpatihiiity is based on our hardware and
operating system as weii, not just the fact
that it is a SCSI device. rind it is certainty
true that not ail‘ SCSI devices that work on a
PC wiii work on a Mac, and visa verse.)
""'----"'3'
LOOK at all the CD-ROM's coniing out! Here's some deals
tap you into this ever-hicreasing pool of sounds!
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the operating system on Mr. Spencer's disks
may not enable or support sys-ea communications. It very rnuch appears that this
is the case here. I also purchased the
Soundprocess manual and tutorial, but have
as yet had no success with this aspect. My
question is this: is there a way to enable
sys-es communications with my present
_
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cannot get the Mirage to respond to the
editor via MIDI. The profile was apparently
developed with the original version of
Soundprocess which had a separate operating system disk. The help info states that
Chiclren
co-soar‘
___
wt
fir
have the capability to do so using Dr. T’s
X-UR {IBM Windows} which has a profile
and graphic editor for Soundprocess - but I
j
GO CD-ROM
_i_
-'-\.a|'|"."-.'.'
I have, however, encountered one difficulty
which I hope someone can help me with.
Specifically, I would like to be able to edit
the sounds and programs via computer. I
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sound disks and operating system? If in fact
there is no way to do so with what I have,
than can anyone tell me where I might acquire a Soundprocess system disk which
would enable sys-ex‘? I am willing to pay
any reasonable (or even slightly unreasonahle} price.
Anyone with info please call T04-299-D304
(anytime) and leave a message. I'll get back
to you as soon as possible. I hope that
someone out there can help and I very much
look forward to hearing from you.
Thank you.
unnecessary to spend much time trying to
determine when your instrument was built if
your only purpose is to estimate when you
might need to replace your battery; your instrurnent will simply tell you.)
{Ensoniq — The serial number of the unit
can help you to know when your unit was
assembled, but not when the main board
was built. Dr when the battery was manufactured - it might have stayed on the
manufacturer’s shelffor a while, or on ours
inot as likely, we work on “liust in time“ inventory and manufacturing principles to
keep stock low). For these reasons the system message is the most reliable method —
amount of compression to use to achieve a
new tempo by dividing the new tempo set-
ting by the current tempo setting. in other
words, h‘ you have a tempo of l2ll BPM,
and you want to change it to H2 RPM,
divide ll2 by l2ll ['.l.l2l.l2l.l). You end up
with the number H.933... Use this number
lyou’ll have to round it ofifl of course) to set
the compression amount.)
Dear friends,
Appreciate the newsletter. First,. because of
the number of complaints you receive about
Ensoniq products, I would like to mention
that other than a couple of insignificant scquencer display errors when the voltage
drops below ll-1 volts, I have experienced
no problems with my much adored SD-1.
Sincerely,
your instrument will test the battery when-
Dennis McCall
Swannanoa, NC
ever it wakes up to check its life for you.
Trust it.)
)TH - You might try giving MUG a call at
2l2-465-3430.)
Dear Hacker,
Now for a few questions.
I was wondering, as the owner of an ASR,
if we might ever see a RUM upgrade, new
US, etc. that would allow us to have more
gasoline powered Dnan AC generator. I
plugged in my SD-1 and noticed that the
analog-type functions, such as: resonate filters, arpeggiator (preferably digitally controlled tempo], and things of that sort. I
don't mean an effect algorithm either. My
display screen slrobes. That puzzled me sol
thought I had better find out what was
going on and if my partner was iI'l any
danger.
Wavefloy resonate filter is quite a godsend
(thanks, WaveBoy} but, since it’s an effect,
you cannot have different filter envelope
settings and cutoff control for each instru-
2. There seems to be a lot of patch swapping going on. Is it possible to have ‘board
{CS - When l mentioned "Soundprocess" to
Ensoniq, all l got was a groan. A big groan.
Go ahead and try MUG 1’the ltfirage Users
Group); in the meantime, if any of our
readers can help, perhaps they’ll get in
touch.)
{Ensoniq — The standard Mirage OS is not
capable of MIDI Sys Ex dumps. This re-
quires the MASOS operating System. Contact Syntaur Productions at 1’F13) 965-90-'-ll
to purchase a copy.)
Dear Hacker,
ment as with the intemal “nonresonate" filters. Major limitation. A lot of samplers,
such as the K2600, E-Max 11, have resonate
filters. I would think I am not nearly alone
in this hope of one day having resonance,
A question about the response to the letter
from John Allen in Issue #111: Ensoniq
said, "'...lithium batteries... last 3 - 5 years.
not to mention a Phat Arpeggiator on my
ASR.
...it is very difficult to track bow much time
has passed since the unit was manufactured
and purchased."
P.S. Is there any way to change in tempo increments on the time compression feature‘?
1. We have a motorhome equipped with a
problems from a computer virus hiding on a
strange disk?
3. There are a few guitar synthesizers on the
market. I already have the synthesizer. Is
something available so that I can just hook
my guitar up to the old SD-1?
4. ‘Why did Ensoniq stop their yearly "buy 2
get 1 free" sale on sound program disks and
carnidges? Any chance that will happen
again any time soon?
Desperately seeking resonance,
Wouldn't the serial number be an excellent
way for Ensoniq to tell when the unit was
Rick Reyes
Mesquite, TX
5. Does Ensoniq sell shares on the stock
market?
something for a thief to scratch off?
{CS - l'm afraid resonant filters are not
possible in the ASH-ll]; the hardware will
Thank you.
such, Ensoniq tends to be inclined toward
6. Is it possible on the SD-1 to separate a
sound from the effects so that, for example,
a dry piano voice is heard on the left channel and the reverh on the right‘? Dr how
about eliminating the dry voice altogether
and hearing only the reverh of that instru-
manufactured {and sold, provided it was
warranty registered)? Or is the number just
not support them. r-ls for arpeggiators and
adding specfic new features when there
Sincerely,
"
John C. Rodrigues
San Lorenzo, CA
)C-‘S - Yes, it would probably be possible to
estimate when a product was made by its
serial number. However, in terms of battery
lh'e, you’ll get a "Low Battery" message in
your instrument’s display long before your
battery goes completely south, so it’s sort of
seems to be a great enough demand for
them. I wouldn't hold my breath for the arpeggiator; we haven't seen a deluge of requests for such a feature here at Hacker
Central, so I have to assume that Ensoniq
hasn’t either.
ment?
Thanks,
Hurtruce Noveal
Dallas, Texas
There's no way to set the amou.nt of time
{CS — l) l'm by no means an AC generator
compression in tempo increments on the
ASH. However, you can determine the
expert; if you have safety concerns, you
should be in touch with the dealer who sold
E9
you the generator, or with the generator's
manufacturer. However, it scents to me that
it's probably pretty normal for your SD-l
display to flicker when powered by an AC
generator.
2} l have never {nor has anyone l know of]
heard of any virus that could afiect a synthesizer; l wouldn't worry about this one
too much.
are thousands) to start your e.:rploration.
Dear Hacker,
And look to the ads in the Hacker and other
publications for the many third-party com-
My son and I have just replaced our ‘llFXs
with two TS-12s and love them. However, I
panies that ofier sampled sounds as well.
am missing some of the sounds that I really
liked on the VFX. I am looking for a sound
like the MFX SUFT-SYNTH sounds as well
Pt-S. We enjoyed your comment about THE
CRYPT sound, but you never know, you
might find a imaginative way to incorporate
it into your service!)
as a good HARPSICHORD and a sound like
the WAY-FAT. I have gotten the TS!)ltltlll, llllli and lllllii disks and was not
greatly impressed with what I found {or
3) l believe that both Roland and Gibson
produce guitar-to-MIDI interfaces {there
may be other companies that do so as wellJ.
Roland’s is called the GM-Fill, and Gibson's
is called the Widget, I believe. Either of
these devices should allow you to hook up
your guitar to your SD-l. i do recommend,
though, that you try this out before plunking
down you dollars. Not everyone finds the
adjustment to playing style necessitated by
fat sound that can be used to do mellow
leads for slower songs. The TS-12 comes
with a lot of background voices but not
many good lead voices. We use our insn'uments for ministry purposes and the THE
CRYPT is just not what we are looking for.
Any suggestions on how to make or find the
these devices an easy one to make.
sounds we want‘)
6) There's no way to pan the ejfects output
so that an effect appears only on one of the
stereo outputs. You can, of course, achieve
I am really impressed with your magazine. I
wish that I knew about it 3.5 years ago
when I bought my ‘JFK.
an output signal which is completely wet,
with no dry signal present, by setting the effects mix level to full on 1'99).)
BTW, you may want people to know that
the TS-12 comes with a built-in hemia.
didn’t find). Another sound I would like to
find is a nice distorted electric guitar with a
Boy is that baby heavy!
[Ensoniq - l. The display is synchronised
to the AC line frequency to prevent annoying flicker under artificial lighting. if the
generator frequency is significantly above
tilllie or below Stills, the display scan may
become erratic. This won’: hurt anything, it
is just a symptom of your gasoline powered
generator source.
-Il. We haven’t run an accessory sale for a
while but plan to get one out early in '95.
Be watching your mail!
5. No, we are a private company.)
Jim Czcbiniak
Schenectady, New York
Dear Expert Guyslll
I've got a bunch of open and closed hi-hats
as a sound file on my *1ti+. My problem is
that I need some of the open hats to go a little softer in places. Can I make a couple of
these wavesamples velocity sensitive?
Thank you,
[email protected]
{CS - Any sample can be tweaked individually in any of the Ensoniq samplers.
So yes, you can make just the hi-hats
velocity sensitive if you want.
l’ou‘ll need to select the sound you want to
tweak |"hit Edit, select the layer you need to
work on, underline W5-'=, and play the note
that triggers the sound you want to work
on; if you don"t know which layer contains
the samples you want to tweak, you can
{Ensoniq - We would suggest looking into
using sampled sounds. This is an important
feature ofyour TS that it doesn’t sound like
you have explored. By loading in sampled
sounds you are getting new waveforms and
programming - it virtually guarantees that
you can find the type of sound you want.
You can call our Accessory desk at Still5$3-5l5l to request a free listing of
sampled sounds available )5-om us {there
enable and disable layers in the PATCH
page while playing the sound on the keyboard). Gnce you’ve selected the sample for
editing, you can make it more velocity sensitive be lowering the values for SOFTVEL
in the Ellilr’ 3 menu ifor more on envelopes,
see your owner's manual). Also, you'll need
to make sure that SOFT VEL CURVE falso
in the Ellll-" 3 menu) is set to something
other than OFF.)
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ENSONIG‘ MIDI MANAGER
Send or Fteceive Data through MIDI
to your PC for these keyboards:
KS-32 ‘v'FX SQ-1 SC.i~2 ESQ-1
SQ-1 Best of ‘tlotnntc 1, $25
‘Wows cracked the combimtioo on the ‘FFX
vsnltsodconvertort Bl] oftbs best YFX scund:
for the SQ-I femity. “This volume
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SEQUENCE CONVERTERS
Convert Standard MIDI Files to.-‘from
Latter Sound Productions
tact Westlieaven Gt.
Tetlfltasee, FL E-231o-B629
TS-1Di'12
SQ-1
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EPS-16
KS-32
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Tha EPSIEPS-15+. SQ-BU. ESQ-1,
VFX-sd, SD-t, Roland, IBHIDDS
Luscious Strings
oil Sonmts, GD Presets, 3 Demos. tltistcsz $4fl.
Sequences for these keyboards:
215-ass-i2ssr1=tt= 215-356-GT3?
They’re Here!
ENSONIQ DISKETTE MANAGER
Use Ensoniq Disks on your IBM-PG
Readf'v‘sfrite!Formatr‘Copy and more.
Supports all Ensoniq Disk Formats.
SD-1
EPS
SCI-2
Gall now to order or for more information
on these and other software packages.
Giebler Enterprises
26 Crestview Drive
Pnoenixville, PA1946U
10541 EERL N135.
BEHNINGTOH NE E890?
1-402-233-2875
[61U}Ei33- 332
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Slappin' Bass, Stinging Brass,
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E]
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Q3
Fnrthe Ensoniq. . -
EPS / EPS-16+ /ASR
Performance Tested ' fvfutllsound Setup Disk Included
All titles also available ll'l . . .
fBM
& A TARt *
GM-Standard wot file format
Popular requesls, Blues, Country and Classic Rcclr.
Cali or wnte for e catalog!
Husfc Labs
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Gig Harbor, WA 53335
ph. {Z05} 265-3091
rim
I
KICKIH THAT HEW 1"fiHK FLJFA...
Uh-oh.
|t‘s more T5 sounds from
Syntaur. More phunky drum
kits and nasty loops. More
s|ammin' basses. More huge
hyper-wave sounds. More
horns and pianos. Mote...
ASR + 16-PLUS
EFFECTS
The Voder synthesizes vocals out of any
sampled scund. It can soundlllte a vocoder,
bulthere‘s never been an effect like this for
any other keyboard. The lowest 1s keys of
the keyboard each trigger a different vowel
or consonant. ‘four ieft hand actually fonns
words by ‘spelling’ them. (UK, it takes some
practice to sing e whole sentence.) ‘four
right hand controls the notes and chords of
your robot choir. And how long have you
been waiting to make a big fat breathy choir
sing ‘Louie Louie?‘ Gr maybe it was a car
crash snare that you needed to say 'mcml'
Heed details? The ‘l.-‘oder is a El-band
H} dangerous patches for the T5-ll} and T5-12.
parametric E0 effect for the Ensoniq ASH-
$39.95.
'morph' between many different settings.
These different settings impose vocal
characteristics onto any sound that ls run
through the EU. It's much cooler than e
Morpheus. Audio-in is supported.
Got to have ‘em.
tit.-1.1}.-.'r.ri=o-are llliitippiltg ms
for foroigt orders). Mfilerfiasd and libs
accepted. Write or call for free catalog
. of swam for ad Ensoniq fijfbfli
‘ltl and EPS-1E PLUS. This Etll can rapidly
The Voder disk is $45.95 and comes with
sounds: a choir, a solo voice, e robot voice,
a talking rhythm loop. Order by MC?»-‘ISA by
ceiling {E151 251-9552 or send check or
money order to wavaeov Industries. P.tZl.
eoit 233, Paoli, PA 1sao1 USA. [Price
includes shipping but add $5 outside
USE.‘-anada. PA residents add Eta tax.)
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SUBSCRIPTION HATERIIIL
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Postmaster: Please return Form 354? as soon as possible so
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Publisher: Eric Geislinger
Editrlx: Jane Talisman
Advertising rates: Please send for rate card.
Flates for authors: Please send for writer-info card.
our [somewhat regular} illustrious bevy of writers includes: Graig itnderton,
Ftobby Barman, Barry Carson. Ivlarlt Clifton, Gary tlllnsmora. Anthony Ferrara, Pat
Flnnlgan, Charles Pt. Fischer, -Jeffrey Fisher, Gary Glebiar, -Jim Grote, Garth
Hielta, Bryce lnman, Brad itaufman, John Lofiinlt, Alan Macintosh, Daniel Mandel,
Sam lvllms, Gary Morrison, Jeffrey Fihosds, Brian Host, Clark Salisbury, Tom
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Copyright 1 ass, Transoniq Hacker, recs SW Upland Drive, Portland, DH
W221. Phone: {EH3} 22?-EB-'-to {B am to 9 pm Pacific West Coast Time].
Transoniq Hacker is the independent user's news magazine for Ensoniq
products. Transoniq Hacireris not affiliated in any way with Ensoniq Corp.
Ensoniq and the names of their various products are registered trademarks of
the Ensoniq Corp. Dpinlons expressed are those of the authors and do not
necessarily reflect those oi the publisher or Ensoniq Corp. Printed in the
United States.
L_
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gpt! case
Case: for
Ensoniq Eqvipmmf
Now available direct from factory (except in current dealer
areas) our full line of ATA cases Category I and II
Keyboards:
EPS, EPS-16 PLUS, ‘RFFX, ‘til-DE-sd,
SQ-30, SQ-1, SQ-1+, SQ-2
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Module rack cases: 3-space, 4-space, 5-space, I5-space.
(2-space racks available with surface
mount hardware only.)
Mention tire (TH) code nrtrnirer 839 when inquiring to
receive oar special factory direct pricing.
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Shown: 4-space rack with EPS-lti PLUS module,
2-space rack, Eagle-I VFK-sd case
CALL US AT 1-B00-637-6635
8:i]il arn to 4:30 ptn CT, Mon. — Fri.
We accept: EDD, Visa, Iviastercard, American Express.
Dealer Inquiries ‘Welcome!
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OPTI-CASE - RT. 6, BOX 235 -r HENDERSON, TX 75652 - FAX: 903-657-6030
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