Issue #158 -
The Independent
Newsletter for Ensoniq Users
Two of the strongest names in the music industry join forces
teams have started sharing technologies and
EMU of Scotts Valley, CA has announced
concepts and the results of these creative
that as of July 6, 1998, they have officially
collaborations will start to appear in the
joined forces with ENSONIQ Corp. of Malmarketplace early next year.
vern, PA. The combined organizations will
now be doing business as EMU-ENSONIQ
Carl Bader, Vice-President of ENSONIQ
- a merger between two of the strongest
Musical Products, says, "Our new Company,
names in the music business. EMUENSONIQ's approach will be to merge both
EMU-ENSONIQ, will be a dynamic force in
the marketplace, leveraging the strengths
EMU and ENSONIQ's unique capabilities
and experience which both firms have acinto one very competitive and powerful
quired in their history as inn~vators in the
company. The ultimate objective is to offer
products that leverage
perspectives of both
EMU - Founded in
1972, EMU is the
leading developer of
operainnovative digital-audio products based on
tions into a single, highly effective, creative,
responsive, and competitive business un it.
digital sampling technology for the music
and multimedia markets. EMU audio
products are used by professional musicians,
Dave Bristow, Vice-President of Marketing
sound designers, and audio engineers
for EMU-ENSONIQ, states, "By combining
worldwide. The company is based in Scotts
forces the new company will enjoy a larger
Valley, California and employs around 200
collective customer base and a broader
product range." He continues, "This means
that we can now apply the best of our joint
ENSONIQ - Founded in 1982, ENSONIQ
technologies over more products. And with
Corporation is a leading producer of audio
our new sales and marketing efforts we can
and sound technology products. Well known
ensure that all customers, new and old, EMU
and ENSONIQ, can benefit."
in the professional music industry for its
production of keyboards, synthesizers, effects processors, and digital recording
EMU-ENSONIQ looks forward to building
systems, ENSONIQ's custom IC design
on the strong, successful relationships that
both EMU and ENSONIQ enjoy with their
expertise has made the company a technology and manufacturing leader in sound soluexisting customers. Because of this,
tions for OEMs. ENSONIQ is located in
EMU-ENSONIQ will continue to offer
audio and music products, with different feaMalvern, PA, and employs about 200
tures and prices, under separate brand
names. In addition, EMU-ENSONIQ's EnBoth EMU and ENSONIQ are wholly owned
gineering, Production, Sales, and Marketing
ISSUE NUMBER 158, $2.50
In This Issue ...
E-mu and Ensoniq Merge
EMU- ENSONIQ ................................ cover
External Sequencers and Ensoniq Keyboards
Eric Montgomery ....................................... 3
DP/4: A Via Musictone
Tom Tracy ................................................. 4
Hacker G*L*I*T*Z
Interview with Bill Champlin - Part II
John R. Bolles ............................................ 5
Basement Tapes: CBIRD
Steve Vincent ............................................. 7
Regular Stuff:
Random Notes ........................................... 2
Hypersoniq ................................................ 2
The Interface ............................................. 9
Classifieds .......................... ..................... 13
Hacker Booteeq ............... ........................ 15
subsidiaries of Creative Technology, Ltd.
[email protected], [email protected], the EMU-ENSONIQ
logo. and Audio [email protected] trademarks owned
or licensed by EMU-ENSONIQ. registered
in the United States as indicated by @ and in
numerous other countries worldwide. All
other trademarks are property of their
respective holders.
AUGUST, 1998 )
Front Panel
(I)i )
Interesting Times - Part II
As you might imagine, 1998 has been a
"holding-our-breath" kinda year here at the
Hacker. After Creative Technology's acquisition of Ensoniq (TH, January, 1998),
we've been wondering how all this was
going to unfold. Well, some of the eggs have
started to hatch - and it turns out they're
Emus! (See cover story.) The integration of
these two companies should be good news
for both of their worlds.
Ever since'Mirage users started sharing these
pages with ESQ users, you folks out there in
Hackerland hav~ been pretty understanding
about th~Hacker' s need to change with the
times - or disappear. Well, we're going to
have to ask you to expand on that a little bit
'cause we're planning on starting to cover
the Emu line of instruments over the next
few issues. (And we're rarely ever in a posi-
tion of not printing articles on certain instruments in favor of other instruments anyway
- we're just about always out there scratching for material. The mix you see is a direct
reflection of what people choose to write
about.) This really should breathe some
much-needed new life into the Hacker. The
last couple years has seen this operation go
from a shoestring to a half-shoestring and we
really see this as a very good shot at reversing this trend and building things back up to
the old glory days.
Scotts Valley, California, July 1, 1998.
EMU is proud to announce that this month it
will ship the Audio Production Studio - a
sampling/audio system consisting of a Windows 95® PCI card (the E-Card), a unique
Audio Access Bay front panel called the
E-Drive, and a powerful suite of EMU and
third party application software. The Audio
Production Studio provides high-quality
sampling, 64-voice/32-channel MIDI synthesizer support, digital mixing, hard disk
recording, and unmatched real-time effects
for audio processing . .The Audio Production
Studio also supports the SoundF [email protected] file format, the most popular form of downloadable
sounds in the world. Designed for musicians,
sound, designers, 'and multimedia content
developers, the Audio Production Studio allows the user to deliver legendary EMU
sound direct from their desktop. The Audio
Production Studio will begin shipping on
July 31st at a suggested retail price of $699.
"The Audio Production Studio is reflective
of our commitment to the development of
new technology for high-quality and affordable PC audio," says Bill Snow, EMU's
And things have been awfully quiet from the
East Coast Gang the last few months - we
suspect things are going to start jumping
there pretty soon too. So stay tuned for Part
We've included a couple recent Emu New
Product Releases in our Hypersoniq section
so you can get a feel for what's going on
with our new cousins.
And, yes, this is probably going to lead to a
name change. We've got some ideas in mind
but we're open to suggestions - but they
better come fast. We do want to keep the
"Transoniq" part of our name since that's
the name that we're doing business under
and it's the name of our web site. We're still
pretty attached to the "Hacker" portion too
EMU ships Audio Production Studio
Digital sampling, wavetab1e synthesis, and
sound design hardware for Windows®
- but the popular media has managed to
tum this into a slur instead of the point of
honor it once was. (And we're getting tired
of getting e-mail asking about cracking the
phone system .. .) Whatever we end up with,
we'll always answer to the Hacker name
from those who know our history. (That's
you guys.)
Usually about this time we start our annual
whining about how the whole world grinds
to a halt in the middle of summer and we
start making empty threats about cutting
page count or special summer combo issues
and the like. Well, more good news - this
time around we're letting this lull manifest
itself in larger (readable!) print in the Interface. Enjoy! And happy summer.
New Product Announcements
Vice-President of Business Development. He
continues, "Our goal is to provide our customers with a world-class product while at
the same time furthering the success of computer produced audio for music and multimedia projects."
Features: The Audio Production Studio
consists of a main PCI card with S/PDIF and
balanced analog I/O, the E-Drive which
brings additional S/PDIF, selectable mic/line
inputs, and a headphone output to the front
of the computer for easy access. Also included is a powerful software suite which
was developed by EMU and third-party vendors for playback, recording, and sound
design. In addition, it features 64 hardware
voices supporting SoundFont sounds (wavetable samples/synthesis) and/or streaming
audio, as well as a unique patch able effects
architecture with multiple effects from the
EMU library.
EMU ships EMU8710 PS
Portable studio for Windows 95 laptop computers
Scotts Valley, California, July 1, 1998.
EMU is pleased to announce that this month
it will ship the EMU8710 PS, EMU's second
generation PCMCIA card for Windows 95
laptop computers. EMU8710 PS differs from
EMU's first generation PCMCIA card in
three key areas: an added microphone input,
an increase in SoundFont RAM from .5MB
to 2MB, and an increase in wavetable ROM
from 2MB to 4MB. EMU8710 PS consists of
an Audio PC Card (PCMCIA Type II), a
MABOX cable (MIDI! Audio Breakout Box)
- which allows access to all the features of
the EMU8710 PS, and a powerful suite of
EMU® and third-party application software.
EMU8710 PS provides streaming audio,
high-quality wavetable synthesis, and Creative Labs [email protected] compatibility to
musicians and audio producers worldwide.
EMU8710 PS is currently available direct
from EMU for $395 (
Portable audio solution - EMU8710 is for
musicians and audio producers who need a
portable solution for high-quality audio and
MIDI production. "EMU871O PS represents
the latest accomplishment in EMU's line of
computer products," says Alan Grattan,
EMU8710 Product Manager. He continues,
"EMU's strength and experience in digitalaudio technology has enabled us to create a
portable, inexpensive, audio solution with a
huge array of professional features.
EMU8710 PS is truly a portable studio for
your laptop."
External Sequencers
and Ensoniq Keyboards
Eric Montgomery
Trying to be the "tech guru" to some friends,
I seem to run into the same question each
time they get a new piece of gear. "How can I
make it work with my computer based sequencer?" Well, here it is. Years of experience (and tears wondering why I can't get
it to work) right here for you in the Hacker.
In most cases people want to set their keyboard up to be a "controller" and "multitimbral sound module" to their external
sequencers. Once the settings we are going to
discuss are complete, you can send from your
computer software (or external hardware sequencer a la the ASR-X or Akai MPC series
etc) MIDI bank (controller 32) and program
changes to get to all of the sounds in the unit.
You can also send pan (controller #10) and
volume (controller #7) messages to adjust the
mix of your sequence. Refer to the owner's
manual and/or the manufacturer of the software for details on how to accomplish this.
Different companies call them different
names, but I will stick with the Cakewalk
name for now - Instrument Definition List.
This list contains the names of all of the
sounds in the unit. Those names are needed
to be able to put the correct bank and program changes with them to get to the right
sound. Ensoniq does not provide these lists in
the format of your computer-based sequencer. It is the responsibility of the software
manufacturer. Ensoniq does have some of the
instrument/program change lists posted on
their website at Let's do
the ZR/MR family first and work backwards
to other products.
ZR/MR Family
To set the ZR/MR up is as simple as pressing
the Select button in the SoundFinder section,
then turning the Parameter knob to get to the
MIDI OUT instrument. You are done. This
simple setting throws the ZR/MR into multi
mode and turns keyboard local control off.
The X is always in multi mode. There are
only a few necessary settings. Press System,
then go to Edit MIDI Settings and set Pads
Play Local to the OFF setting. Go to Track
Edit and set Track MIDI Out = to Enable on
each track. I would also suggest saving that
sequence to a disk or hard drive as a template
setup for future use. You see, effortless!
The first step is to go to MIDI Control and be
sure that Mode = Multi. The next step is to
create a sequence location. Maybe name it
"computer" so that you can save it to disk
and load it later as a setup template. If you
press the Track MIDI button you will see
"ST AT" short for status on the upper left of
your screen (if it is not displayed on your
screen, continue pressing the track MIDI button until it is on your screen). Set the MIDI
status of tracks 2 through 12 to SEND/
RECV. Track l's status should be set to
LOCAL OFF. Select track I and you are set.
First, press the Edit button. Second, press the
System/MIDI button. Use the left or right
arrow buttons to get to the page that displays
"MIDI IN MODE =" and set OMNI to
MULTI. If you want this setting to always
stay this way, save it to disk or your hard
drive. Press the Command button and then
System/MIDI. Go to "SAVE GLOBAL PARAMETERS" and press Enter. By the way, it
must be saved to the disk or hard drive that
has the operating system on it. Remember,
you have to load an instrument into the ASR
to be able to edit its MIDI status.
SQ Family
Press the Edit button above the Select Sounds
button. Press the top row #9 button. Use your
arrow buttons to go to MIDI Mode = and set
it to MULTI. Now we have to do the same
thing as with the KS/KT family and create a
sequence/preset location. Press the Select Sequences/Preset button. Now use the top and
bottom row 0-9 buttons to choose a blank
location between 00 to 69. If it is empty it
will display "EMPTY SEQ/PSET*" on your
screen. Press Enter 4 times. You will then see
New Name =. Change the name to Computer
so you can keep track of this setup. At this
point we need to set the track MIDI status of
each track to BOTH. To do this, press the
Edit/Copy Sound button. Press the Track!
Param (top row #6) button. If you use your
left and right arrow buttons, you can go to
Status =, then set the track s.tatus to Both. It
is important to make this setting for tracks
2-8. Track l's status shou ld be set to MIDI.
Stay on track 1.
KS/KT Family
Press the System/MIDI button and use your
arrow buttons to get to Mode = and set it for
Multi. Just like in the SQ family, create a sequence location and name it "computer" to
keep track of this setup. Set the MIDI status
of each track the same as with the SQ family.
To get to MIDI status, press the Edit Track
button. Now press the bottom row number 5
button. Use your arrow buttons to move
around on the screen.
VFX/SO and SO-l
First we have to go to MIDI Control and be
sure that "Mode =" Multi. Next, create a sequence location. Name it "computer" so that
you can keep track of the setup. It would be
good to save it to disk so it can later be used
as a setup template. If you press the MIDI
button that is located just above the Track 1-6
button, (if it is not displayed on your screen,
continue pressing the MIDI button until it is
on your screen) you will see "STAT," short
for status, in the upper left of your screen. Set
the MIDI status of tracks 2 through 12 to
Both. Track I's status should be set to MIDI.
Select track 1 and you are ready to work.
Press the MIDI button. Go to "Mode =" and
change it to Multi. To create a sequence
(page 124 of the manual) you have to press
the Create/Erase button. Press "New Seq."
and answer "yes" to all of the questions. Now
you have a blank sequence location. Go to
the Mix/MIDI page and set the MIDI status
of tracks 2-8 to Both. This is explained in
more detail on pages 105-115 of the ESQ
manual. Set the status of track 1 to MIDI.
I mentioned earlier that it would be a good
idea to store these setups to floppy. Obvious-
Call For Writers!
In spite of their current god-like ~tatus,
writers for the Hacker were once mere
mortals - just like you! If you're
noodling around with Ensoniq gear,
you too can ·join their elite ranks.
We're always looking for new writers,
and yes, there is actual payment
involved. If you're toying with an idea
for an article, how about giving
Editrix Jane a call at 1-503-227-6848
and listening to her soothing words of
Iy some of the fore -mentioned products do
not have disk drives (SQ family, ESQ-I,
VFX, KS-32, KT-76/88 do not have disk
drives). They use two other means of storage,
RAM cards/cartridges or Sysex. RAM cards
and cartridges are becoming more and more
scarce because of the age of this technology.
They can still be purchased through Syntaur,
500 West Prairie Ave., Eagle Lake, TX
77434. Phone: 409-234-2700, 800-334-1288.
Net: http//
The advantage of using RAM cards is that the
transfer is very fast and they allow you to access an additional bank of sounds.
It may be better to use Sysex for storage if
you have to save a lot of fi les or very large
files. There are products on the market such
as the Yamaha MDF-2 which will allow you
to send and receive data via Sysex and save
the data to a standard floppy disk. You can
also do a Sysex dump to a computer,
provided you have a MIDI interface and software installed on the computer.
As you already know this, consider it a
reminder. Sysex is short for System Exclusive. Before anyone asks, no, you cannot
transfer Sysex info to or from two different
model units, like from the SQ-80 to a SQ-l.
Tom Tracy
One of the benefits of being an Ensoniq
employee (specifically the in-house technical
writer) is that you often get to try new
products before anybody else does. That was
the case with the DP/4. As it was being
developed, many people in-house (as well as
"the chosen few" out of house) were involved in the testing, troubleshooting and
critiquing of the DP/4. Not only did I get to
write about how this great processor works,
but I got to make suggestions (some that
were implemented) in regard to the architecture, the ease of use, and I got to create
many presets that were actually released in
the final product! Obviously, since it was a
complete departure from any other Ensoniq
product, there was no other Ensoniq product
to base this one on, and there were little to
no presets in the alpha units (most locations
said *BLANK*).
As you can imagine, knowing that the DP/4
needed 400 killer presets before it could be
released, everybody involved worked
diligently to create what they thought were
the "ultimate" DP/4 presets. In order to
create guitar-based presets for this new effects processor, I decided to first build a
"generic" guitar for beta testing, and writing
I hope this will help when you are trying to
use your keyboard with an external sequencer. In each case you can see that this is a
simple procedure and does not require you to
have a degree in phisiomiscaboobalation. _
Bio: Eric Montgomery's work has appeared
in Ensoniq products and videos and in
projects from Integrity Music and Salt
Making the Preset
A Via Musictone
This DP/4 preset, for the perspiring guitarist,
pays tribute to Eric Johnson. That is not to
say that Eric uses this DP/4 preset. To the
best of my knowledge, Eric does not use or
endorse any Ensoniq products. This was
created as a way to recreate his "sound."
Thanks, Eric, for the inspiration.
It does not work that way. The data is "exclusive" to that particular product. Keep in
mind though that it will work between two of
the same product (ESQ-I to another ESQ).
Avoiding all the usage of data entry controls
(and press this, press that verbiage) to keep
this article concise. Press Edit, and then set
the following parameters:
presets. The in-house "code" for the DP/4
was "Quaker." Every new product needed a
code-name in case there were "spies" just
waiting to steal information (which is always
a possibility in th is industry). Therefore, the
guitar was affectionately called the "Quakercaster," and at one time, it was for sale exclusively through the pages of the Transoniq
Hacker - but alas, nobody wanted it, so I
still own it. Many presets that still existing in
the DP/4 (and DP/4+) were designed using
this very guitar.
Unit A= Parametric EQ
Volume= 99
Bass Fc= 506 Hz
Gain= -25 dB LoShv
MidlFc= 778 Hz
Gain= -01 dB
Q= 05
Mid2Fc= 1450 Hz
Gain= -15 dB
TrebleFc= II kHz
Gain= +10 dB HiShv
EQ Input Level Attenuation= +00
Because everyone involved in the DP/ 4 beta
program loved this product and worked hard
to present it in its best light, Ensoniq's
Sound Development was SWAMPED with
presets - many of which were never used
(there were just too many). This 4-unit preset
falls into that category. Fortunately, I found
that I had archived it via Sys-Ex to a TS-IO
floppy and was glad I saved it. Here it is, for
the first time in public - a bit of Ensoniq
All modulation is disabled. For all four units,
set the modulation parameters this way:
Mod I Src=OFF
Modi Destination Parameter=OFF
Modi Param Range Min=OO%
Mod 1 Param Range Max=99%
Mod2 Src=OFF
Mod2 Destination Parameter=OFF
Mod2 Param Range Min=OO%
Mod2 Param Range Max=99%
The Tone Thing
As a guitarist striving to improve my chops,
I borrowed an Eric Johnson instructional
video from a fellow employee. Eric had (has)
a unique tone that I thought would be a challenge to try and capture as a preset on the
DP/4. When he played his Strat delicately,
his sound was sweetly chorused; as he dug
in, it was harder, with more guts and sustain.
I think I came mighty close to capturing this
sound (I'm still working on the technique,
Unit B= Guitar Amp 4
Mix= 99
Volume= 43
Amp PreAmp Gain= + 15 dB
Amp Output Level= 66
Amp Level Detect Attack= 1 ms
Amp Level Detect Release= 800 ms
Amp Tube Bias= 06
PreEQ Input Level Trim= +00 dB
PreEQ HighPass Cutoff= 150 Hz
Pre-EQ Fc= 600 Hz
Gain= +20 dB
Noise Gate Off Below= -70dB
Gate Release Time= 40 ms
Speaker High Pass Cutoff= 26 Hz
OutEQI Fc= I20 Hz
Gain= +00 dB
Q= 05
OutEQ2 Fc=2500 Hz
Gain= +00 dB
Speaker LowPass Cutoff= 2.0 kHz
Hall Predelay Time= 10
Hall LF Decay Time= + 15
Hall HF Damping= 18
Hall HF Bandwidth= 99
Hall Diffusionl = 71
Hall Diffusion2= 64
Hall Decay Definition= 25
Hall Detune Rate= 25
Detune Depth= 15
Hall Primary Send= +50
Ref! Time= 105 ms
Level= 00
Send= 00
Ref2 Time= 120 ms
LeveI= 00
Send= 00
Position Balance= +94 -17 + 12
Unit C= EQ-Chorus-DDL
LFO Rate= 24
Width= 23
Chorus Center= 99
Left/Right LFO= In-Phase
Chorus Left Delay Time= 600 ms
Chorus Right Delay Time= 300 ms
Chorus Delay Regen= + 14
Chorus Left Echo Time= 1000 ms
Chorus Right Echo Time= 750 ms
Chorus Echo Level= 00
Bass Fc=506 Hz
EQ Gain= +00 dB
Treble Fc= 11 kHz
EQ Gain= +10 dB
EQ Input Level Trim= +00 dB
using the big silver knob. Press Write again,
and use the arrows and silver knob to name
the preset. I named mine "Ah Via Musictone." Press Write once more. You've just
saved the best guitar preset ever.
The Conclusion
The key to the best sound is that the Input
Level knob is set properly. Make sure that
when you play hard, it only occasionally
goes into the red. If I may paraphrase Jack
Nicholson from the film As Good as it Gets,
"(this preset) makes me want to be a better
player." Thanks for reading. If you've got
any improvements or suggestions, please
drop me a line (through the Hacker).
Config Parameters
I Source Config 1,2 > ABCD
AB Input Select= (1) Mono
AB Unit Routing= [A->B] serial
CD Unit Routing= [C->D] serial
AB-CD Routing= AB->CD serial
Dry Path Around AB Amt= 00
Dry Path Around CD Amt= 00
(b)ypass (k)ill= A=b B=b C=b D=b
Save It
Unit D= Hall Reverb
Mix= 47
Volume= 99
Hall Decay= 2.81 sec
If you like this preset, name it and claim it
(save it as explained in the musician's
manual). Press Write and select a location
Bio: Tom Tracy is weathering the journey,
taking the path less traveled. To Fehrion,
wherever you are.
Hacker G*L *I*T*Z
Intervie\N \Nith
Bill Champlin
Part II
John R. Bolles
Where we left off last month ...
]B: The Ensoniq equipment has always been
pretty intuitive and easy to use.
BC: I think, of all the instruments I've got in
my studio, the TS-IO is probably the only
axe that I really know. You never really
know it, but I sure use it an awful lot. I know
everybody in Chicago uses their Ensoniq
stuff quite a bit. Everybody's pretty adept at
getting in and out of the sequencer section.
We did that Signature Series for them and
they gave us a whole mess of equipment.
And rather than go, "Well, here's another
free axe sittin' in the corner," our Ensoniq
stuff gets used. I think I've used my TS-IO
so much that I've somehow screwed up the
ability to change octaves on it. I gotta find
out what's going on. I think I actually might
have finally overused the instrument, and it's
starting to go.
]B: The chips starting to revert to sand?
BC: Something. I'm sure I just hit something
wrong somewhere. Usually I do demos on it,
and then for records I access a lot of sounds.
Have you heard "He Started to Sing" at all?
]B: Yes. Excellent CD.
BC: There's one or two songs on that album
where I used almost all factory sounds from
Ensoniq stuff. The sounds are great. When
these guys handed me a TS-lO, I guess the
SD-l was out right before that. Jason Scheff,
the bass player in Chicago, had been going,
"Hey, man, this SD-l is pretty cool. You can
actually work up stuff on the road and it's
pretty nice." Then the TS-IO came out, and it
was like one step up from the SD-I. I was
doing an album with Peter Wolfe, and he had
a Synclavier, and racks and racks of synthesizers lying around. We ended up using
mostly the Ensoniq stuff, mainly because it ·
was easily accessible.
]B: And it sounds good.
BC: Yeah. There's one called AIR VENTURE that, I swear to God, I load it down
every time. It's warm ·and fat and it's got a
whole bunch of different oomph on it. My
only problem with the TS-lO is that I just get
so far into it - I overuse the memory and
the polyphony so quick - then all of a sudden voices start borrowing from each other
and throwing the drums out of whack.
'Cause my voicings - there's gotta be ten
voices in every chord, you know ...
JB: So do you use it mostly for a scratch pad
to figure out arrangements and to write
Be: Yeah. What's so wonderful about it is:
The TS-IO and a set of cans, and I'm on the
road. The problem with the road is that it's
the last place in the world that you can really
be musical - when you have the most spare
time. I've got a 24-track studio here where I
really do most of my work. But when I'm on
the road, after about a week of playing the
same 12 songs over and over again, you start
really wanting to come up with something
new. And the TS-IO is just perfect to have
there. You get a day off, you got a whole
bunch of time, you put down a towel on a
desk in a hotel room, set it up, and you're
ready to go. You basically have everything
you need right there. Lately, what I've been
doing is taking a year and a half's worth of
songs I've done on the TS-IO and dumping
them into the Macintosh. I got hold of Gary
over at the company who was really helpful
in teaching us how to offload all the information and dump it all into the Macintosh,
which has tons of memory. He was really a
nice guy, helped me out no end. All I have to
do is build up banks of the most important
sounds. I still have two songs to go.
JB: What are you using, Performer?
Be: Yeah, I'm using Digital Performer. My
programmer and kind of musical partner,
Tom Saviano, is a wiz with quantizing and
shifting and stuff like that. So any problems
I got myself in, like overkicking the polyphony on the TS-IO, once you start sending
some of the MIDI information to different
boxes, all those voice-borrowing problems
are gone. What I'm using most out of the
TS-IO are the factory drums; they ' re really
cool. I've hardly even scratched the surface
of what that thing can do. What I like about
it is its 96 ticks per quarter note, which is
very similar to the old Linn 9000. If I still
have a lot of memory, there's just something
about the groove of the TS-IO that's very
cool. The Macintosh has got, what, 496 ppq
or something? It's way more high-resolution.
There's something about the "old-fashioned"
one that's got a groove to it that I almost like
JB: Elton John said that he used the Linn
drum machine when it first came out, and it
had more soul than the human drummer they
were using.
Be: Sometimes, yeah. I think it has something to do with where the microprocessor is
when you start. When Jay Graydon goes to
tape with a 9000, or even with a Macintosh,
he cuts it three times. I say, "What are you
trying to do, use up tape?" And he says, "No,
man, just let me put it down three different
times, and then I'm going to play the first
four bars of each one back to you." And you
swear to God there's a difference. It's just
random as to how the microprocessor behaves. Of course, Jay is a guy who can hear
nanoseconds, OK? He'll get you listening
too closely. But, listen to his records; they're
A lot of times when I do a demo, I'll just
take the TS-IO and put it on two tracks of a
24-track. You look at the track sheet and it'll
say: "Tracks 1 and 2: Band." (Laughs). So
I'll take up five or six minutes of tape and
have four demos on it. I love the TS-IO, I do
a lot with it. To say nothing of the DP-4 they
gave me. The thing sat in a box for about six
months. Finally my engineer said, "Let me
check this out." He had it up and running in
about five minutes, and he was going, "My
God! This is the best piece of gear you've
got in the building!"
JB: I haven't heard any bad things about it.
BC: I actually got a call for a guitar date for
an Italian record the other day. I just used the
DP-4, didn't even bother with an amplifier.
And they were totally diggin' the sound ...
'cause I wasn't going with a hard amplifier
sound. For any clean or chorused or delayed
sound, the DP-4 is as good a guitar box as
anything I've ever had. And I've had numerous guitar processors.
JB: What about the Signature Series CD
Chicago did for Ensoniq?
BC: Basically, for the organ samples, I sat
there and played one note after another all
the way from the bottom to the top on Peter
Wolfe's B3, and they recorded it. Apparently, a lot of people have used the organ
sounds. We also had fun putting together
some vocal things.
JB: Chicago is keeping you busy, but the
band definitely has its own musical tradition.
What's motivating you to pursue your solo
career, and now your work with the Sons,
more and more?
BC: If, for some reason, my stuff was being
recorded by Chicago, I probably wouldn't do
it. But I don't think it's ever going to be, so I
JB: I see you stepping out more in Chicago
- bringing a couple songs in, I hear some
vocal arrangement things that are definitely
your touches.
BC: Yeah, they pretty much just hand the
background vocals to me. I at least have
made a name for myself as a background arranger. There are very few arguments in
terms of what to do with backgrounds. As far
as lead vocals are concerned, it's a pretty
rare thing for me to be doing leads. I just
recorded one.
JB: I've noticed that lately it seems the ones
you sing on are the ones that become hits:
"Look Away," "Here in My Heart." But,
moving right along, in general, how do you
feel digital technology has helped you realize
your music?
Be: I did an album called "Through II All,"
and I really needed to bring the album in at a
low price, plus I didn't want a lot of people
in my face telling me what to do. It was the
first album where I pretty much produced it
myself. I used drum machine the whole
record. All during the time I was making my
first solo albums and doing all kinds of other
records, everybody was using drum machines, and I was using real drummers. Then,
when I released "Through It All," the fad
was to use real drummers, and I got a lot of
flack for using drum machine! "Wrong Way
Champlin" shows up again .. .
JB: Who cares? It's kickin'. Is your studio,
Gold Mine, analog or digital?
BC: Analog. Sony Mel machine and an old
Trident 75 that my tech, Steve Furlong, kind
of modded up. He's got it sounding pretty
good. Everybody's saying hard disk is next,
and there won' t be any tape soon. But you
better back up, because there's always a
chance of dumpage. Graydon is way into the
ADAT - he was involved in R&D-ing the
ADAT, and helped design the BRC. But he's
still got two of the sweetest Sony MCl's
you've ever heard sitting in the studio.
There 's something about analog tape compression on the bottom end that you just
can't get from anything else.
JB: Well, you're basically right, but the only
~ay I was able to have my own studio was
because of affordable gear like the ADAT
and the Ensoniq keyboards.
BC: And there's about 2 or 3 million people
right there with you. I understand what you
mean. I've got a DA-88 in the studio - I've
mixed to the DA-88. It's amazing. Seamless
punching. So, yeah, I have to admit, there's
something really good about the digital
domain. But there's also something a little
bit transparent. We had to really fight to
keep some of that analog bottom end. I don't
mind a little hiss if it's gonna slam. The
thing is, when you're dealing with digital,
and your final resting place is CD, you don't
have the problems that you would with
analog; you've just got to make sure you
don't go into the red. So it seems to me that
you ought to be able to get more bass. But
- - - - lhe problem -is that the bass that you do get
doesn't have that slappage. Guys are working on that all the time, trying to figure out a
way to get that same king of... I guess it's
square wave versus sin wave or some kind of
scientific .stuff...
JB: Another part of the digital picture is all
the stuff you can do with your keyboard.
Being able to rough out finished demo tracks
is definitely a convenience over the old approach.
BC: Absolutely. It's funny, usually when
musIcians have been given free stuff from
companies, it ends up sitting in a corner. But
Ensoniq gave me this TS-IO and the DP-4,
and I swear to God, they're the two pieces of
gear that I use virtually every day. I'm real
happy with the equipment. I understand that
there are limitations, but everything's got
limitations. The TS-IO goes everywhere with
me. I wish I was as adept at Performer as I
am with the TS-I0.
Bill Champlin's CDs are being sold through
Thoughtscape Sounds. Find them on the internet at or call the
order line at (800) 435-6185.
At low or high volumes, this mood-setting
aspect of Christopher's work is highly successful for a number of reasons: first and
foremost, he is consistent from track to
track; there are no jarring leaps from one
style or tempo to the next. In fact, his "formula" is so similar on every track that it
pushes the envelope of redundancy. But the
actual result is a constant acoustic "space" in
which the same mood is suspended and held
Bio: John Bolles, acting on the advice of his
peers, has not quit his day job. He has,
however, built his own studio; recorded some
stuff, and set up a recording company in his
spare time. Visit his website at
sion with solo parts modified using stereo effects and enhancement. The structure of each piece uses a 'build method' so that parts are
added one at a time to form a cohesive entity."
Christopher Bird describes his music as "ambient electronic instrumental," an accurate
moniker. More than anything, this fullypacked CD (total time 73:26) evokes a
general mood, sets the background ambience
of a room. Although it has many interesting
features that reward a close listen using
headphones, it is what I think of as "room"
music, that is, music to play late in the evening with the lights low to create .an atmosphere.
To get more into Bill and his music, the Bill
Champlin fan club website is at, or
e-mail [email protected] _
Steve Vincent
Extended Logic
CD: CBIRD - Extended Logic (c) 1998
Studio 1057
Artist: Christopher Bird
Contact Info: Studio 1057, P.O. Box
4901, Greenwich, CT 06831-0418,
Phone: (203) 353-1129, Email:
[email protected]
Equipment: Ensoniq EPS 16+, Yamaha
SY synthesizers, Alesis Microverb III,
To hear audio clips, go to the Champlin
Records website at:
for a long time. Which brings me to the
second reason this CD works so well: it is
long. A pet peeve of mine is short CD's,
which I would describe as less than about 55
minutes. A CD will hold over 70 minutes of
music, so I feel short-changed if I get much
less, especially with ambient music. If you ' re
going to sustain a mood, at least keep it
going for as long as you can! Extended Logic
is a mood marathon.
The CD insert is fairly sparse - a list of the
track titles with a very cool digitally tweaked
cover photo showing seven boulders suspended above an endless ocean. Christopher
included a postcard bio and explanation of
his music. From his bio:
" ... Christopher Bird, a professional artist
who has experimented with various musical
venues during his career. His ambient electronic instrumental pieces embody a structured approach to composition and form,
while random processes lend the music an
improvised feeling . The use of synthesized
instruments and effects is evident in his
work, as well as progressions that build into
powerfully sweeping sequences and layerings.
"Extended Logic is a suite of eleven pieces
that consists of variations on a central theme
grouped into two parts. The instrumentation
uses extended chord structures and percus-
When it comes to reflecting on compositional strengths, I often emphasize two aspects of
composition that make for strong tunes:
memorable melody lines and poetic or impacting lyrics. Extended Logic has very little
in the way of up-front melodies and is sans
lyrics. However, Christopher's compositions
shine in the area of harmonics: his main
compositional formula is to alternate between two extended chords and bounce arpeggios around the chord structures. Heavy
yet judicious use of ping-ponging stereo
delay adds motion and interest to these
two-chord oscillations.
Another strength of this project is Christopher's choice of synth sounds: airy string
pads sustain the lush chords measure after
measure, with regal brass emulations and
chromatic mallet sounds bouncing the arpeggiating "melodies" in a dance around the percussion tracks. There is nary a cheesy sound
in the entire CD.
The eleven tracks on Extended Logic share
so many similarities that a track-by-track
description would be redundant, so I'll highlight some of the many bright spots instead:
Sublime Realization - Anyone who reads
this column regularly is familiar with my
dread of sampled sax. Well, Christopher uses
a sax emulation on this track that has the
timbre of a sax, but he doesn't play it like a
sax: he fades this soloing line in and out of
the mix, and washes it with generous
amounts of stereo reverb, delay, and chorus.
It sounds like some of the solo sounds used
by Enigma. Excellent work!
Precious Sharing - Christopher brings an
acoustic piano sound into the mix here,
pounding out a ping-ponging alternating
chord structure. Over this foundation he
plays a brass part using open fifths . Blending
in a human vocal tossing in some delayenhanced "oh's" adds a wonderfully organic
The Thaw - The most striking element of
this track is its wonderfully lush chords, sustained measure after measure. If you've ever
listened to the "Emerson, Lake and Powell"
album (one of my favorite ELP's), you hear
this kind of chord structure in the brass part
of the opening song.
"trance quotient." I'm on my third listen as I
type this, with my mouth hanging open,
slack-jawed and drooling like someone who
falls asleep on the couch on a Sunday afternoon. I would say CBIRD has an excellent
trance quotient. _
would be lame. But Christopher produced it
Plateau Dub - Use of the shakuhachi in
ambient music is a close contender with
sampled sax for the Cheesy Cliche Award. I
point out Christopher's use of a shaku
sample on this track because it is an outstanding example of extracting and using the
beauty of an instrument but molding it carefully and lovingly into a different style. In
this case, he downplays the "hiccuping"
yodel effect that most people emphasize
when bastardizing the shakuhachi and instead emphasizes the wonderful wooden
timbre with sustaining notes sweetened with
generous amounts of digital delay.
The Storm - Like "Precious Sharing,"
Christopher uses an acoustic piano patch to
lay the chordal and percussive foundation for
the song, but like his use of sax earlier, he
extracts music from the acoustic piano in an
unorthodox way, ping-ponging the chords
with a perfectly-clocked fast (16th note)
delay. The result is almost like someone
frenetically strumming an acoustic guitar. If
this were not produced perfectly, the result
If you want your tape run through the
wringer, err, Hacker, just mail it off to: Basement Tapes, Transoniq Hacker , 1402 SW
Upland Dr., Portland OR 97221. Please include your e-mail address!
My only "raised eyebrow" is over some of
the song endings: the tunes quickly peter out
on a number of occasions, making me
wonder what happened. It's actually not that
jarring, and is not much different from a fast
fade. If the music is playing in the background for some room ambience, this complaint would never surface. A mild nitpick
on an otherwise superbly produced CD.
With ambient or New Age (can we stop
using that term now?) CD 's, I assess my enjoyment of the music on the basis of its
Bio: Steve Vincent produces demos and CDs
at his home- based Portent Music, and can
be reached via email at [email protected] com, or at his website at http://www.kspace. com/vincent.
ltlSIIS IlIr
OPTI-CASE, like the great pyramids, built to last and protect.
Now available direct from factory (except in current dealer
areas) our full line of ATA cases Category I and II
Models available for all Ensoniq
keyboards and racks!
Shown: 4-space rack with EPS-16 PLUS module,
2-space rack, Eagle-I VFX-sd case
Mention the (TH) code number 839 when inquiring to
receive our special factory direct pricing.
CALL US AT 1-800-637-6635
8:00 am to 4:30 pm CT, Mon. - Fri.
We accept: COD, Visa, Mastercard, American Express.
Dealer Inquiries Welcome!
OPTI-CASE • 1175 CR 481 West, Henderson, TX 75654 • FAX: 903-657-6030
The I nterfoce
Letters for The Interface may be sent to any of the following addresses:
U.S. Mail - The Interface, Transoniq Hacker, 1402 SW Upland Dr., Portland, OR 97221
Electronic mail - Internet: [email protected] In many cases a quick answer can be obtained by posting to our interactive, on-line Interface at our Web site
( Ensoniq CS at 610-647-3930.
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 Pat Finnigan (PF). Letter publication in the printed version of TH is subject to space considerations.
I just recently purchased a used Ensoniq EPS
Classic. At first all seemed well, but soon it
started to give me some trouble. The problem is
that after booting and tuning the keyboard,
anytime you access the floppy drive the
machine engages the floppy drive but just spins
it without reading the disk. When in this state
the machine won't do anything else and there is
nothing you can do but tum the machine off.
·I've tried different O.S. disks and different instrument disks to no avail. Another thing is that
it doesn't do this all the time, although 90% of
the time it does. Sometimes it works just fine.
Do you know what's wrong? What can I do?
Thanks in advance for your help.
[email protected]
[PF - Tony: Could be a multitude of things, but
I'd suggest cleaning the floppy drive first . Any
commercially available 3.5" disk cleaning kit
from a computer store (Best Buy. Radio Shack,
etc) will work fine. Old and venerable as the
EPS Classic is, chances are it' s just dirty heads
on the floppy drive. Make sure you feed it 800k
(720k DSDD) disks and NOT the 1.4 Mb DSHD
disks. If you can't find any 800k disks you may
have to tape the shutter on the right-hand side
of 1.4 Mb floppies closed with tape .. .
If this behavior persists, ping us back and we ' II
get the next bigger hammer .. .]
[Anthony - Cleaning the drive didn't work, it
still does the same thing. Next bigger hammer
please. Thanh·.]
[PF - Tony: Techzam. 805.520.9845. They
rebuild floppy drives for $40, but I'd call to
verify this, as one reader pinged in saying they
raised their rates ... }
Dear everyone,
My O.S. floppy sits in my EPS drive - I tum it
on, it works a few seconds and then freezes
saying "loading system." Once in a while it ac tually gets through the boot-routine and then
works just fine, but most of the time it doesn't.
A friend of mine reports the same of his
Does the drive need replacement? Cleaning'?
Halfdan E ([email protected]
[PF - 112Dan: Is the drive LED lit while the
"Loading System" prompt is displayed? I ran
across an old stubborn EPS Classic (one of
mine, actually) that behaved the EXACT same
way. I couldn't figure it out, and my wife said
"Pat, the light ain't on: I'II bet nobody's
home." And sure enough, [' d get the "Loading
System" prompt but the LED on the drive was
off. Turns out the power cable to the drive was
intermittent .. .
So I popped the hood open, removed the drive
carrierlleft cheekblocklpitchlmodlwheel assembly (4 screws hold it down; 2 from underneath the instrument and two at the back ledge),
and snooped around. Turned the instrument
back on and pulled down on the drive power
cable enough to ensure it was getting power,
and bingo, the light came on and the instrument
It could be as simple as dirty heads on the
drive, however. I'd recommend (just like the
previous post) a 3.5" head cleaning kit from an
electronics/computer store like Best Buy, Radio
Shack. of the like. Be sure to try thatfirst.
But if the light comes on and nobody's home,
take your 16+ to an Authorized Ensoniq Service
Center to ensure it gets professional help (especially if you're the least bit worried about popping the hood on it). And don't trust anyone
BUT an Authorized Service Center, ' cause parts
don't exist for this thing anymore ...
And if the floppy drive turns out to be defective,
see our "related links" page for Techzam's #:
they rebuild drives for around $40.}
THI've just purchased an EPS sampling work station and I'm in search of a video tutorial. The
people at Rubber Chicken Software said they
heard of an EVS video but, didn't know where
to locate one.
. Does anybody out there know where to get an
EPS tutorial video?
[Garth Hjelte ([email protected]) And thanks to good '01 Marilyn who owns the
Covert videos, they are unavailable, destined to
die in some basement, without being a help to
anyone. Blame her.}
[TH - I believe Marilyn acquired Covert as part
of a divorce settlement, never was an "Ensoniq-person" and probably has no real interest
in even thinking about the videlis. Unfortunate .
but that's the way these things go ...}
[Jimmy ([email protected]) - I have a video
that I got with my ASR years ago. It shows you
around the board a bit like sequencing and
stuff. Like I said, it's for the ASR. But the ASR
and the EPS are very, very alike.}
[PF - Jim: True. Are they still available?}
[Timothy 9lightI [email protected]) - I would
also be interested in seeing that ASR video, as
well as a four-times expander for my EPS classic. Any leads for the expander or the video
would be appreciated. Thank you in advance.}
[PF - Tim: So would about a thousand EPS
owners. Check with Syntaur Productions (www.
fatsnake.comlsyntaur). 0[' Sam was crowing he
had access to the original EPS expanders.
Seriously, he might have one in stock. Ping that
[[email protected] - Hello Guys:
I' m writing this because a friend of mine in
D.C. told me that this "event" was unfolding
again. My name is Rick Parent and I made
those tapes known as "Covert Videos." My mistake was thinking that Marilyn, my ex wife,
would continue the business or sell it. So much
for the nice RUY crap. I will once again try to
acquire the masters as 1 can see there are still
those with a need and no source.}
THIf someone has schematics or PCB layout (and
component layout) for the OEX, I'd be very interested about them. You can send me email to
[email protected]
ACOUNTR Y [email protected]
[PF - AC: Nope: EVS folded years ago. You
might find an old one on a dealer's shelf if you
post to enough newsgroups. Covert Video
started doing videos of the wave table synth line
(KS-32 , SD-I, etc.), but the only sampler they
did a video of was the ASR-IO .. .}
Janne Miettinen
[PF - Janne: Ensoniq only. Authorized Service
Centers who purchased the $150 set of discontinued (read vintage) keyboard schematics
might have a schematic of the OEX-8 (EPS
Classic-specific only), but I'd doubt it. And
since it's not compatible with the 16+ and ASR
(OEX-6 only), it mayor may not do you any
good anyway. Good luck in prying one out of
Ensoniq .. .j
[Garth Hjelte ([email protected]) _- -There is a (reverse engineered) schematic of the
OEX-8 for the Original EPS at http://www. keyboard/ ensoniq/
[PF - Gang: There weren't many like Dick
Lord: the guy reverse-engineered the workings
of the EPS in a single evening. Ensoniq brought
him into the fold (possibly to shut him up - ever
see the 2nd installment of "Inside the EPS?").
Haven't seen that level of work since Martin
Luther found 100 discrepancies in the Bible
overnight and nailed it to the Pope's door back
in the 1600s. Is Dick still doing cardio-pulmonary hardware repair/calibration/etc?]
THI am trying (unsuccessfully) to have my EPS
read the MID, time clock messages being outputted on my Roland VS-840, so when I begin
playing the VS-840, the EPS begins simultaneously and locks in to the time clock messages.
tern? For example, scan the music in using
Midiscan and send it to another music software
program (or even send it to the Ensoniq)? If so,
during weekends and vacations over a 3 year
span since I'm a home studio nut - not a professional programmer. I've never put out shareware before!
Anxiously hoping for help,
Lois C. Boso
[email protected]
If you want to take a look at it, the URL is
[PF - Lois: Answers, in o";der:·s pretty comprehensive: Visual config editor that redraws
itself to show the current configuration; 41 different algorithm layouts; all drag & drop etc.
(A) Yes. Save your MR-76 file as a (ta-da!)
Standard MIDI File (SMF) and then open it in
Anyways, if you have any suggestions or advice
on how to get the word out on this, please let
me know!
(B) Yes. Open the (ta -daf) Standard MIDI File
in Cakewalk and edit each track to taste.
Rob Martin
[email protected]
(C) Yes. Save as a (ta-da!) Standard MIDI File
in Cakewalk, copy to a PC-formatted floppy,
and load it into your MR.
(D) Yes. If you haven't guessed the answer by
now, save it as a Standard MIDI File and open
it in any application that supports SMF's (just
about every app out there) ...
All of the above requires a gameport-to-MIDI
adapter (available at most computer stores for
around $15) ...]
THCan anyone help?
[email protected]
[PF - ACOUNTRY: The EPS sequencer was
48ppqn, so if you've slaved the EPS to follow
MIDI clock, that's about all we can do here.
Make sure the EPS is set to follow MIDI (or external) clock/sync, and make sure the VS is
sending MIDI clock. That's about all you have
to do from the Ensoniq end.]
[Garth Hjelte ([email protected]) And the VS-840 needs to send a MIDI Start
command also, obviously. We work with a
VS-880 from time to time, and it synchs rather
well, except for the semi-frequent crashing of
the EPSIASR from some errant bytes from the
THI've been receiving Transoniq Hacker for about
a year now. I enjoy sorting through it although
it is mostly "Greek" to me. I'm a new Ensoniq
MR-76 user. I'm trying to combine the Ensoniq
with a Midwest Micro computer using a
SoundBlaster AWE 32 Wavetable sound card.
Is it possible to send tracks to a program such as
Cakewalk (3.1), clean up the player mistakes,
and send the track back to the Ensoniq? If so,
how is this accomplished? (Keep it simple,
please! As you can tell, I know very little.)
Also, is it possible to send MIDI data from one
program to another within the computer sys-
I recently experienced a main system board
failure on my EPS. Who can replace this since
Ensoniq discontinued support? Also - am looking for a replacement SCSI board as it was also
Tony Crow
[email protected]
[PF - Crow: Good luck. The SCSI board can
probably be repaired, as there are no proprietary Ensoniq VLSI's on it. Can't say the
same for your EPS logic board. I'd call around
to locate an Authorized Ensoniq Service Center
that has the schematics for the EPS and see if
it's something that can be repaired. If there's
an Ensoniq chip that's kaput, you're hosed...
Sorry I don't have better news for you, but
that's the deal when it dies. Definitely pursue
an Ensoniq Service Facility that has the
schematics and let a GOOD Ensoniq tech check
it out, 'cause it might be something as simple as
a 7805 or other regulator (might just be the
power supply) causing all the problem. Better
see a specialist before parking it in the closet ... ]
[TH - Well, this should help. We'll also be
looking into doing a review of your program.]
I was wondering if anyone had any information
regarding getting an ESQ-! to tum on again
after changing the internal battery.
A few years ago, my ESQ-l would give the
low-battery warning when I turned it on. I ignored it since I store the sequences and sounds
via MIDI. However, it stood unused for about 6
months, and when I went to use it again, it
would not tum on.
I replaced the internal Lithium battery, but
when I tum on the power switch, nothing happens. The display is completely blank. Pushing
the Record and upper left soft button do not
have any effect.
Does anyone know of some other "reboot" procedure which needs to be done?
Peter Eggleston
[email protected]
[PF - Pete: Check all internal connections,
ESPECIALLY the one to the display board. If
your ESQ-I sat dormant for awhile chances are
most of the contact points are oxidized and need
to be cleaned. Recommend a zero residue
cleaner (Blue Shower, etc.) to clean these connectors.
If that doesn't bring it back, check the power
supply. Lookfor +5, +12, +28V (to the display
board), and their negative counterparts. If the
power supply checks out, time to visit an
authorized Ensoniq Service Center for professional diagnostics ...
I just finished writing an Editor/Librarian for
the DP/4 for the PowerMac. I talked to Ensoniq,
and they suggested that I let you know about it.
I really don't know the form here - I wrote this
[PF - Pete: This just in from an Ensoniq service tech. Turn off your ESQ-l, unplug the AC
cord, flip the lid/open the hood, and with a
piece of wire, short the lithium battery terminals together for about 5 seconds. This is the
"hard" reset Ensoniq didn't want us to know
about. Note: this only works on the ESQ rev's
with the two connectors on the one end of the
display board, and not on the rev with cables, at
each end.
Also, if your ESQ-1 has two sets of cables C [)nnecting it to the logic board, disconnect the
4-wire connector and power up your ESQ-1 .
When you press program, edit, and other buttons on the panel, you should see numbers,
character, and other things pop up on the display. This indicates the display board is junctional and the logic board is defective.}
[PF - Rick: I pinged there last night and all I
found was the current ROM revision in the
archives. You may have to call them at
610.647.3930 (vox) and order a manual from
them to get any more of the skinny on this
[Eric Montgomery, Ensoniq Technical Support
- Just wanted to let you know that we no longer
have OS chips for the KMX family. We have not
had those for afew years now.}
TH I have an EPS-16T Turbo, still running 1.1
I. I have a KS-32 that recently gave me an error
code and re-initialized by itself. I guess I need
to replace the battery. How is this done? I have
electronics experience, but would like the procedure. Does the battery have to be jumped,
etc .....
2. When I MIDI to my SQR, for some reason
the first of the eight tracks keeps changing the
MIDI Channel. I need Program change "ON"
because I want it to respond to them. Any
3. I have an old Ensoniq Midi Merger. It has
eight channels. Anybody have any info on this
little item?
Thanx for any help you can give.
[email protected]
O.S. It is not midied or SCSIed to anything, but
it is sick. It crashes (with "ERROR 129REBOOT?") after being on and played for
about an hour. I downloaded EPSm and O.S.
1.3 to my Mac G3 and have been unable to successfully load the new O.S. without it going to
the same "ERROR 129" message. I erased the
flashbank where the original 1.1 O.S. and
several samples resided thinking the 1.3
wouldn't load on top of 1.1. Still no luck.
[PF - Gary: Lotta people don't believe it, but
reseating the connectors on the older Ensoniq
boards DOES result in a 80% success rate. Zip
drives are cool, and I've heard that the new Zip
Plus drives (that autosense a SCSI port or a
parallel port and configure accordingly) now
work properly as well. They require termination
power (which the 16+ does NOT provide) so
you need to add a SCSI Sentry or other device
to supply termination power ...
Other than that, internally-mounted Zip drives
are wonderfuL Having 100 Mb at your disposal
in cartridges is quite the boon. The only caveat
involved is you can no longer format cartridges
on the EPS-16+: remember, when it boots from
u SCSI drive the "Format SCSI Drive" commands are unavailable. So unless you have a
computer, a second Zip drive, and an Ensoniqformat utility program to massage your ZipCarts into Ensoniq format, better to leave the
floppy in there. If you've got all of that, see
RCS's internal Zip kit as well as their wares to
let you do that...
Gary Coots
[email protected]
No further expansion of FlashRAM is available.
I suppose someone could build one up to the
theoretical max of 4096 blocks, but since you
have to "Change Storage Device" to get to
Flash anyway, it's really only useful for the OS
and a coupla frequently used instruments. And
at the price of PSRAM back when it was made,
a 4096-block FlashRam module would've set
you back around $900, so Ensoniq didn't pursue it any further ... }
[PF - Gary: Here's where I'd start sniffing
[Derek ([email protected]) - Here's a little
Check your firmware to ensure the ROMs are V.
1.00F. If this is the case, I'd try to find another
source for V. 1.3 software. Try a dealer or other
manner other than the net to get it just to ensure
it's not corrupted. If it reports the error right
after "Tuning Keyboard-Hands Off' you may
have a connector problem. Pop the hood of
your 16+ (if you feel comfortable doing the following) and, with the unit unplugged from the
wall, wiggle the cable connectors/unplug and
reconnect the cables in sid/the 16+. The culprit
may be the keyboard connector to the logic
board, but you have to remove the keyboard assembly to get at it. If you're the least bit leery of
trying this yourself, take your pet to an
Authorized Ensoniq Service Center and have a
tech clean all the connectors inside the 16+.
Better than 90% of all Ensoniq-related failures
revolve around interconnection points (I guess
they didn't expect these things to live this long,
eh?). Attacking the problem from that aspect
results in better than an 80% success rate ... }
"Format SCSI Drive" is disabled if you boot
from hd, but not "Copy SCSI drive." If you're
on the road or just want a simple solution, just
use this command to format a disk. Just put in
an existing Ensoniq disk and copy (i.e. from
SCSI 5 to SCSI 5). Then put in wi unformatted
disk as destination disk, and it will get formatted. The only disadvantage is that you'll
have to go through the 100mb copy process, but
it's done pretty fast.}
I've been a subscriber since I bought my
EPS-16+ new and think your publication is
wonderful. Thanks for any advice anyone might
[PF - Rick: Answers, in order:
(A) The KS-32 reinitializing itself is not cause
to replace the internal battery. The battery
maintains patch and sequence data, and has
nothing to do with error codes. One day you'll
turn on your KS and it will tell you "Battery
Low" in the display - THAT's when to replace
the EEPROM battery. The error code was, for
lack of technical terms, a "brain fart" that
scrambled the contents of your KS-32 so weirdly the only way to recover was to reinitialize itself My SQ-1 used to do that on a regular basis
until I installed the grounding kit (only for the
first 100 or so SQ-1' s) ...
(B) Set the MIDI IN mode of your KS to
"Multi," then select the sequencer mode. This
way, all 8 tracks will respond to inbound MIDI
data, program change, CC#' s, on their respective track.
(C) What you have there is a KMX-8. Ensoniq
still provides ROM upgrades for them at a
nominal charge. They might have some info on
it at their website ( ...
[Rick Beck - Thanx for the help, reassuring to
know there's actually humans out there. I've
check Ensoniq's website, unle~'s I'm looking in
the wrong place, 1 haven't been able to find
anything on the KMX-8.)
[Gary Coots - Thanks, Pat. I re-plugged all
connectors that I could reach and it works fine
now. I was able to load the 1.3 O.S. that I had
downloaded and put it in the Flashbank with a
couple of samples. Is there any way to increase
the Flashbank memory? Have you gotten any
feedback on the internal Zip drives? I'm considering going that route. Gracias.]
[PF - Derek: Yes. very cool trick ... }
I'm interested in programming for the EPS16+. There are two things I would like to do:
* Program an operating system. There are heaps
I could improve on (I guess everyone has their
ideas - and thus this has probably been
answered ... ) and from what I gather of how the
operating system works, it should be possible to
program it to do what I want it to do. What I
would need to do such stuff is either an
EPS-16+ assembler (i guess only Ensoniq
would have these) or the specifications for
byte-code of the system (I have much experience in intel-asm programming so doing it
bytewise would be no problem).
* Programming effects for the EPS-16+. I
would like to program effects as Waveboy does,
for the EPS- 16+. If nothing else, I would like to
change the parameters in effects which are
modulatable. Only being able to change the mix
of an effect with a modu lator is annoying (as is
not being able to do so anyway with LFO - as is
not being able to modulate any parameters at
If someone could get me some information
walk, Studio Vision, etc. Best of all, the Ensoniq
Sysex documentation is free ... }
System software B I - 7.1
Syquest EZflyer 230 MB External SCSI removable cartridge hard drive.
Over the years I have built up a considerable
library of EPS floppies and am starting to worry
about their shelf-life. Is there any hardware or
software that would allow me to back them up
on my EZflier, either directly or (preferably) by
allowing my Mac to read the disks and storing
the result? I gather there is some software that
allows the disks to be read by PCs.
I have a KT -76. Is there such thing as an adapter for the SRAM drive? The last time I checked
those blank cards cost over $100. Wouldn't it
be nice if we could save sounds and sequences
on a zip drive? Is that possible?
regarding this stuff, that would be very cool.
Danke - alex
[email protected]
[PF - Alex: Aside from a ~pellchecker, you'll
need quite a bit of stuff to do an as rev for the
16+ .
First , you HAVE to know assembler (ASM or
MASM) and be comfortable in that environment
(that's the hard part). Secondly you'll need a
ROM burner with a software interface/interrogator to siphon the existing code out of the
as ROM hi and as ROM low. Thirdly, you' ll
have to reverse-engineer this code to come up
with the (a) environment under which this code
is invoked (both how, where, and why) and (b)
establish a working knowledge of what calls
and logic states these ROMs invoke of the CPU.
Fourth, you'll need a working knowledge of the
Motorola MC68000, and a fluent vocabulary of
the internal address registers of that particular
CPU. Then you've got to figure out how all of
this fits together ...
A nd finally , you'll need one helluva lawyer for
hacking copy written intellectual Ensoniq
property by doing any of the above. Ensoniq
vociferously prosecutes any hacks of the as,
ESPECIALLY FX code (only Bill Mauchley of
Waveboy gets to play the FX card, kloans).
They've VanSmacked a couple of European
companies, that tried into another dimension:
oblivion. Sadly, with Ensoniq itself (a) discontinuing tech support on the 16+ since September 11 of last year, and (b) not providing spares
in ANY form, I'm afraid you're merely rearranging the deck chairs on the Titanic. Out.. ']
Hi Hackers Can anyone recommend where to start reading
about Sysex? It's staled mysterious to me for a
long time, but the idea of changing parameters
on the fly from a sequencer, etc., appeals to me
- any suggestions?
Thanks for a great service,
Peter Heim
[email protected]
[PF - Peter: Start with the Sysex documentation from Ensoniq for your particular flavor of
Ensoniq Keyboard. Once you know what commands to send, it's pretty straightforward to
enter those strings into your computer from a
sysex message dialog box in Performer, Cake-
David & Krista Moses
[email protected]
[PF - David: Nope. Been there, done that,
burned that T-shirt. I tried an HP 235 Mb
PCMCIA drive in a KS-32 , a KT-88, even the
SQ-series - wouldn't even recognize it as a
flash card, let alone a disk drive. And it seems
NONE of these above instruments recognize a
FlashCard bigger than 512K, so it wouldn' t
matter if a PCMCIA drive WERE recognized,
the instrument would still only recognize the
first 5 I 2K anyway .. .]
[Eric Montgomery, Ensoniq Technical Support
- 1 usually suggest that any KT/SQ-l /SQ-2 or
non disk drive Ensoniq product owner go with a
MIDI disk drive. That is the only other means of
storage besides the cards. Yamaha makes the
MDF-2 (maybe up to MDF-3 now), Alesis made
the Datadisk and I believe Peavey made one
also. One of these drives is probably around the
price of 3 or 4 of those cards, but has paid for
itself the first time you saved more that 2 dumps
to the 3.5 floppy disks it uses.}
[PF - Eric: An EPS, a 16+, an ASR, and their
rack variants offer Sysex storage for little more
than the price of one of these dedicated boxes,
not to mention another musical instrument you
get in the process. I used to use my Mirage as
the Sysex device (running MASOS) for my
ESQ-l, and it, also, worked flawlessly . I
wouldn't recommend Alesis to anybody (90 day
labor warranty and factory service only) unless
they started remanufacturing logic and display
boards for all the discontinued Ensoniq equipment people are trying to get fIXed . Peavey,
well, at least parts for everything they ever
made are STILL available. You can still find
IVM (Indian Valley Marketing) disk drives
boxes for around $100: this is what the Datadisk was patterned after. And the Alesis
NanoSequencer does Sysex to PSRAM cards (up
to 32 Mb) if you don't mind that 90 day warranty ...
No , gimme an old discarded and forgotten
EPSIl6+IASR, press "Command" and "System" and remember when Sysex was this easy.}
I have a fairly ancient EPS (SIN: EPS500322-F date: 04112/88). Also the following:
Macintosh Quadra 650, 24MB memory.
Best wishes,
Patrick Gowers
[email protected]
[PF - Pat: Yes there is, but I'd still check those
floppies: I've had way too many unreadable
floppies even after boxing them up, putting them
in a firebox and trying to read them (from a
two-year hiatus). And these were backups of my
work copies .. .
Yes, a bunch of apps are available for archiving
Ensoniq media to PC format; there are only a
f ew for the Mac. EPSm from Terje Norstad
(http://fysmac-elgOI is the recommended - less than $30. scEPSi is OK but
buggy. 1 wouldn't trust my data too long in this
format. Recommend EPSmfor Ensoniq disk images (both floppy AND SCSI) to Mac format ... }
THI keep seeing all these people with conflicts between their Mac CD-ROM and ASR-IO in the
Interface, and the advice is to change the SCSI
ID of the CD-ROM drive, but do you know
anyone who has actually tried to do this? If not,
now you do. Unfortunately, it seems that the internal CD-ROM is recognized by the operating
system ONLY at SCSI ID 3. I tried all manner
of shareware and professional SCSI mounting
utilities to recognize my lost drive to no avail.
Of course, this was a couple years ago under
System 7.5.5. It may be different under OS 8. If
anyone knows differently, I'd love to be proved
Garth Robin Van Meter
[email protected]
[PF - Van Meter: Horsefeathers. You move the
jumper on the back of your Apple CDR OM,
make it ID 1, 2, 4, 5, or 6, insert your startup/restoration CD, hold down the "C" key and
start your Mac and watch it BOOT from the
CDR OM. True for System 7.1 .1 (System 7 Pro)
and later as revs ...
If your Mac is giving you grief with a change in
CDROM SCSI ID#, zap the PRAM (commandoption-P-R- on startup) to nuke the ID#3 fixa tion. As an Authorized Apple Specialist (as well
as a tier 5 Apple tech), 1 assure you the Mac
Plus and the Mac SE represent the only Macs
that can' t boot from a CDROM (ROM code issues) ...
The caveat? Only an Apple-branded CDROM is
a bootable CDR OM. The only exception is a
Sony 8X running an FWB toolkit driver in the
Daystar Genesis MP series, and they're so rare
I've only seen one .. .]
TH My name is Luciano and I have an Ensoniq
MR-76. I wonder if there are any PC programs
that allow me to listen to .MF3 files. I'm waiting for your answer.
Thank you.
Luciano Leaes,
Porto Alegre, Brazil
[email protected]
Doc, so there's a name to drop ... ]
Dear Hackers,
Here's a tip on rudimentary program hacking,
from someone who barely knows what he's
I have been playing a TS-12 (and reading TH)
for several years. I often use keyboard sounds
such as ELEC-KEYS and CRYSTAL-EP along
with a couple organ sounds, such as JAZZY -B3
(from Syntaur Productions TS-Set I) , and an
acoustic Yamaha grand. I hacked a patch using
voices 3, 4, 5, & 6 in ELEC-KEYS (the 4 used
in the 00 patch select) and voices 1 & 6 from
JAZZY-B3 . It ended up like this:
[PF - Luciano: Nope - simply save your MR
files in SMF format and then play them from
your Pc. (And stop waiting - get busy .. . )]
00 = ELEC-KEYS 00
0* = JAZZY-B3 00
*0 = JAZZY-B3 00 + part ofELEC-KEYS 00
** = one voice from each of the above patches.
I used effect # 04 ROTOSPKR + CHORUS +
REV and tried to optimize the parameters for
the two sounds. (By the way, if you playa TS
and don't have TS-Set-I and TS-Set-2, go visit
the Hacker BOOTEQ right away.)
Say it isn't so! Is there really no way to change
the patch settings on the ASR-IO Rack model?
If anyone knows a way, please tell me. Makes
for some serious programming snags.
Thanks for all your help,
Peter Heim
[email protected]
[PF - Peter: It ain' t so.
The ASR-JO indeed responds to patch select
CC# changes. I apologize for not knowing exactly what RPN is involved, but Ensoniq
wouldn't throw down like that. I'm sure it's
referenced in the ASR-I0 Sysex Specification we
recommended last letter (and that you've
procured from Ensoniq as ordered last month ,
right? ). I'll get the details and post them tomorrow.]
[PF - Pete: Sorry for the delay! Send CC#70
values of 0, 32, 64, and 128for 00, OX, XO and
XX respectively ... ]
[Peter C Heim - Thanks. Yep, CC 70 is the only
way I've found. I was hoping someone knew
another way. So it means you can't just change
the patch while you're programming - I'd vote
for a button.
BTW, I went to the Ensoniq home page, looking
for sysex documentation for the ASR-10, and
couldn' t find it. I emailed their tech dept., but
like often in the past, they haven't responded.
Any suggestions?]
[PF - Petey: You have to request the ASR-JO
Sysex documentation either by snail mail (with
your mailing address) or calling them directly
at 610.647.3930. Play menu-drive time warp to
the Musical Instrument Tech Support Di~ision
and request it verbally from a phone tech. 1
spoke with Craig yesterday for the TS-12 Sysex
Well, I told that story to tell this one. The above
patch is pretty good, but the electric piano is not
quite as punchy as the original ELEC-KEYS,
and the organ is not quite as delicious as
JAZZY-B3, or REBOPPIN. Sooooo, I picked
up a used MR-Rack (advertised in TH) to get
more effects busses and more polyphony. The
sounds of the MR are rich and pleasing, but I
miss some of the really punchy keyboard
sounds that are my bread and butter on the TS,
especially ELEC-KEYS and CRYSTAL-EP, for
example. I also haven ' t found enough variety in
the organ sounds; there are a couple I really
like, but they represent one sound each, not 4
sounds as on the TS with patch selects. I've
read in the MR specs that there are 8 different
ROM organ waveforms, but it doesn ' t seem that
my Rack has that much variety of organ sounds.
Maybe part of the problem is that I haven't
learned how to do layers of sounds yet.
I found some sounds for the MR on the internet,
but not enough in the above categories, and I
have yet to find a percussive, bright EP sound
such as CRYSTAL-EP from the TS. So now
I'm trying to recreate CRYST AL-EP on the
MR. The 00 patch uses 4 voices, so I'm
programming 4 layers on the MR using Unisyn.
After looking at the monitor for a couple hours,
trying to find the equivalent parameters in the
envelopes, filters, and output, my eyes go all
glassy and I have to go lie down for a while.
I guess I'm more into performance than
programming, and would prefer to get some
killer keyboard sounds out of a can. Do any
readers have experience translating programs
from the TS to the MR? What's on the market
so far in the way of electric piano and organ
sounds, and pads, for the MR?
Dave Simenson
[email protected]
Enjoyed Pat Finnigan's article in Issue #156 on
studio recording. Right on! Nothing wrong with
touching reality once in a while is there?
EPS Classic for Sale! Very Heavy-Duty ATA
flight case. PS Systems 4X expander. 250+
floppies, with printed listing, of sounds. Home
seldom used only - Never useillive or in studio.
Excellent condition! $ 1000
Will separate
w/case. Finale 3 - Notation Software. In box.
Full documentation. $75 obo. Keith Mullin,
217-221-7267 days, 217-224-4036 nights, [email protected]
firm -
WANTED! New or good used EPS - mine
dit;d. Merle Hilbrich, Trinity Baptist Church,
319 E. Mulberry, San Antonio, Texas 78212.
Fax: 210-738-7797 or phone: 210-733-6201.
ASR-IOR, 16 Meg/SCSI/8-0ut: $2100. ESQ-I,
new battery: $450. TX81Z: $150. Phone:
ASR-X for sale, with SCSI, 34 meg Ram, barely
used, $1700 or best offer. E-mail [email protected] or call (519) 271-7964.
EPS-Classic keyboard, 4x memory exp+SCSI,
8xOut expander - very good shape, 900 USD +
shipping. SyQuest 44 MB drive with 5 carts
(with a few sounds/tunings) and cables. 200
USD + shipping. European 220 volts versions!!!
Jorgen Teller, Copenhagen, Denmark. e-mail:
[email protected],
For Sale: EPS-16+ Turbo, gig bag, cover,
hard-drive, lots of sounds $850. Korg M3r
w/sound card $250. Matt Savard, [email protected]
Well - within limits. We 're offering free classified advertising (up to 40 words) for your
sampled sounds or patches. Additional words,
or ads for other products or services, are $0.25/
word per issue (BOLD type: $0.45/ word). Unless renewed, freebie ads are removed after 2
issues. While you 're welcome to resell copyrighted sounds and programs that you no longer
have any use for, ads for copies of copyrighted
material will not be accepted. Sorry - we can't
(we won't!) take ad dictation over the phone!
Well. let me say this. I have been reading the
Hacker for about four years now and I must say
the questions sure have changed. Questions
like, "How do I record program changes on the
same MIDI channel in real time?" to questions
on Mac software and ZIP drives. I'm not sure I
want to get into the computer sequencing just
yet, but I'm getting close.
However, I have been bitten by the SYSEX
bug. I've been using an external sequencer in
conjunction with my TS- 12 and I've sent many
panel button messages using the sysex charts.
The examples at the beginning of the text were
very helpful for button messages but I want to
go a little deeper. Would you please post an example of an sysex message for, let's say, changing the effects output on track #6 from "voice"
to "aux 1." Let us assume we're already in sequence mode and that track #6 is already
selected. An example of this message would be
extremely helpful.
I hope you can answer this question in the next
issue of the Hacker.
Thank you in advance,
Deane Seelhorst
Chalfont, P A
[PF - Deane: I don't have a TS-12 or the Sysex
Spec at this time, but Craig at Ensoniq tech
support is sending me the Sysex Spec, so I
should have an answer for you in a few days
(upon receipt of the Sysex docs). Seems to me
you simpLy send the sysex string for FX change
down the same MIDI channel that corresponds
to the track you wish to change the FX algorithm on (if the FX chip can be controlled by
sysex messages) ...)
[PF - Deane: This just in - Craig sent me the
Sysex docs for ALL Ensoniq keyboards, but
here's the skinny. When you're in sequence
mode, the effect is gLobal for all tracks with the
exception of certain algorithms like "Chorus &
Reverb" which you can assign routings thru
Buss 1 (dedicated Chorus) or Buss 2 (dedicated
Reverb). To change the FX assignment of Track
#6 from "voice" to "Auxl" (as outlined in the
Sysex doc) you have to send FO (start Sysex
message), THEN send offset 205 (track #6
parameters), offset 17 (Effect buss), and
eeeessss (where e=fx buss 4-byte MSB message
and s=MIDI status 4-byte MSB message). If this
doesn't work, replace the offset 17 with offset
10 (Pan message) Pppppppp, where P is the
pan mode switch on/off, and p is placement in
the stereo field/aux out assignments. And of
course end with an F7 (end of exclusive
(EOX)) ...
Reason 1 say replace 17 with 10 is from previous experience with an EPS!l6+/ASR. If an
output expander is present, when you panned
full right you could send the next 8 higher message #' s to select outputs 1-8 on the OEX box.
May be different for a TS since it's a wavetabLe
box as well as a sample playback device, but try
both just to see ...
And good luck! If this gives you more grief than
satisfaction simpLy set up a duplicate track assigned to the AUXI output and mute whatever
sequences/notes you don't want playing out of
that rear paneL jack. And of course, mute the
parent track when AUXI info is active so you
don't doubLe the part (and eat up polyphony).
Helluva lot easier than doing the above, but if
you must have a computer sequencer tell an Ensoniq sequencer what to do, wear your propeller-head beanie when doing this or wear a
NASA cap just for good luck ...
PS: BTW, thanx to Craig at Ensoniq TSEfor the
Sysex docs! Priceless ... }
THI have a SCSI 3 fast and wide drive. Will the
EDM allow me to Read, Write, and Format my
drive for use with my EPS Classic or do I have
to use a SCSI 1 or 2?
Thank you in advance,
[email protected]
confounds most users. It's best to "Save Session" so that you capture ALL sound data, sequence data, Flash, etc. That way the snapshot
you take of your ZR can be completely loaded
into the MR (with the exception of the
"Favorites" sounds that the MR doesn't have
buttons for) ...
Hope this helps!)
I have a 7-year old SQ-! that needs a new battery. I thought it would be no problem, but I
can't seem to get the bugger out. It looks like
it's attached to the connectors and I don't want
to pull them out. How .do I get the old one out
and the new one in?
[email protected]
[PF - Chris: Take a soldering iron to unsolder
the 2/3AA battery out and put the new one in.
Recommend you pay a dealer to do this, as
parts are no longer available if you nuke it.
Otherwise, back up all your sound and sequence data, remove the logic board, unsolder
the old battery and solder in the new one.]
[PF - Tim: You can use your SCSI-3 drive with
the EP S, but you'll need a 68-pin to 50-pin
adapter to make it work. And by doing so,
you're throttling the drive back to SCSI-I,
which is all the EPS understands anyway, so
you'll be fine .. .}
[Eric Montgomery, Ensoniq Technical Support
- Pat is right about the service center recommendation. I do want to add though that the
SQ-lISQ-2 parts are scarce but still availabLe.}
TH -
I play an MR-76 at church - I just purchased a
ZR-76 for home use. On the ZR, I created a
layer using Guitar-A (Sprucetop) and Vocals
(Ahhhs) and saved it as a single sound. I sent
the sound to Track 1 of the 16 track recorder,
recorded a song, when back, sent Legato Strings
to Track 2 of the 16 track recorder and recorded
on top of the Sprucetop sound, saved the song
to disk, loaded the song on disk on the MR-76
(I also created the exact layer and saved it as a
single sound on the MR as I had done on the
ZR), but when I play back my song on the MR,
only the Legato Strings play from Track 2.
What am I doing wrong?
How do I get to my Expander on my EPS Classic? I have a 2x Expander (no SCSI plug in) in
my EPS classic. What type of memory does the
EPS understand, work with? Would it be possible to get 4 times the base memory with a different than original expander, as well as SCSI
plug in?
Thanks bunches for your help.
Brenda Bates
[email protected]
[PF - Brenda: You don't mention saving the
layer sound on Track 1 of your ZR to DISK. You
need to save the layered sound, THEN load it
into the MR in the same location it resides in
your ZR. Otherwise, the track is trying to locate
a sound that doesn't exist...
Or are the channeL assignments the same on the
MR as your ZR? Typically, this is the issue that
Thank you in advance,
[email protected]
[PF - Tim: Answers, in order:
(A) by removing the four allen screws that hold
the fascia (lid) down. Pop the hood: you'll see
the expander directly in the middle of the instrument connected to the logic board by an
edge-card connector.
(B) The EPS understands the 2X and the 4X expanders only. No SIMM slots or anything
remotely similar.
(C) See wwwfatsnake.comlsyntaur for obtaining a 4X expander, and
-chickeneps for a 4X SCSI interface ...}
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Low-cost sequences for
The EPS/EPS-16+, SO-80, ESO-1,
VFX-sd, SD-1, Roland, IBM/DOS
Designed explicitly for hip-hop, rap,
and R&B productions, this CD-ROM
contains 123 kick drums and 175
snare samples, the deepest basses
around, smooth keyboard sounds, 99
nasty loops, and lots morel $169.95.
Music Magic
500 W. Prairie Ave., Eagle Lake, TX 77434
10541 EARL AVE.
[409J 234-2700
[BooJ 334-12BB
- -..I
Use Ensoniq Disks on your IBM-PC
Read/Write/FormatlCopy and more.
Supports all Ensoniq Disk Formats.
Looking for _1IjX ilCifo
Samples on .thefntemet?
** Loolt no further **
Send or Receive Data through MIDI
to your PC for these keyboards:
KS-32 VFX SO-1 SO-2 ESO-1
Convert Standard MIDI Files tolfrom
Sequences for these keyboards:
50-1 TO TS-1 0/12 CONVERTER
for VFX-sd or SD-1 sequences & songs.
Call now to order or for more information
on these and other software packages.
Giebler Enterprises
26 Crestview Drive
Phoenixville, PA 19460
(610) 933-0332
Fax: 933-0395
PO Box 463236, Mt Clemens, MI 48046
Soniq Demolition Effects
Destroy audio on purpose
Resonant Filter Disk
Sweepable live analog filters
Vocal fonnant synthesis
Paralle Effects Disk
$39 .95
4 Different effects at once
44kHz Compressor
Hi-fi stereo limiter
Tempo Sync'd Delays
Delay time locks to song tempo
Transwave Sound Library
Modulation Synthesis Assortment
Call, write or fax for more info.
VISA/MC accepted.
Big phat basses for techno, hip hop,
electronica, and all other dance styles. Each
layer of the patch selects contains a different
sample of the analog sound with the knobs
slighly turned to give you a different texture
of the sound. With the 32 bass sounds on
these disks you're actually getting 96. What a
deal! 3 HD disks for ASRITS or 6 DO disks
for EPS's. Shipping: USA: $3 International: $5
'C.O.D. orders excluded
Call or Write - Any time, 24 Hours :
.a:JBIl3fIP3C1I' I R• "
Tasty Bass ................$29.95
CD-ROMs are in Ensoniq ASR-l 0/EPS-16
formal. All major credit cards accepted.
Mention this ad and get
Rock (,50s, '60s, '705, '80s)
Big Band - Top 40 Country
''th. "-Mo ~oWld from downlOllllingl"
L. B. Music Sequences
We Support Ensoniq • Roland
Korg • Yamaha' SMF-GS/GM Formats
Why not give L. B. Music a try and see
why so many people love our sequences
- and keep coming back for more!!
Toll Free Orderline: 1-800-3LB·MUSIC
Visa, Mastercard, Amex, Discover Accepted
LB Music Technologies, Inc.
51 Charter Oak Drive
Newtown Square, PA 19073-3044
610-356-7255 / Fax: 610-356-6737
CompuServe: 76255,3713
PO Box 233, Paoli, PA 19301
Tel: 610-251-9562,
Fax: 610-408-8078
Publisher: Eric Geislinger
Editrix: Jane Talisman
Advertising rates: Please send for rate card.
Rates for authors: Please send for writer-info card .
Our (somewhat regular) illusirious bevy of writers includes: Craig Anderton, Robby
Berman, Br itton Beisenherz, Mark Clifton, Steve Curtin, Anthony Ferrara, Pat
Finnigan, Jeffrey Fisher, Frank Fortu nato, Duane Frybarger, Garth Hjelte, Jeff
Jetton, Dara Jones, Johnny Klonaris, Ray Legnini, Bob Lang , Sam Mims, Eric
Montgomery, Dan Rohde , J. D. Ryan, Tom Shear, Kirk Slinkard, Jack Tolin, Tom
Tracy, Joe Travo, Steve Vincent and Garry Wasyliw.
Subscriptions: 12 monthly issues. US: $25/year, All others: $34/year.
E-mail version: $19/yea r. Payable in US fund s.
Copy right 1998, Transoniq Hacker, 1402 SW Upland Drive, Portland, OR
9722 1. Phone: (503) 227-6848 (8 am to 9 pm Pacific West Coast Time).
Rubber Chicken Software Co.
Transoniq Hacker is the independent user's news magazine for Ensoniq
products. Transoniq Hacker is not affiliated in any way with Ensoniq Corp.
Ensoniq and the names of their various products are registered trademarks of
the Ensoniq Corp. Opinions expressed are tho se of the authors and do not
necessarily reflect those of the publisher or Ensoniq Corp . Printed in the
United States.
Check out our Web Site at:
ASR-X ToolsTM!
The only available computer editor
Release the full capability of your ASR-X - eqjt~L
the parameters your X has to off
custom your own sound files , anct.ffl $1
• COmPIler Tools lor Windows •
Management Programs for your PC and Ensoniq®! Turn your
computer into a sampling/editing/utility powerhouse!
Control and edit all parameters remotely through MIDI
Convert .WAV, AlFF, and AudirrTracks to/from Ensonirf format
Use the SampleVue to view and edit waveforms
Full Floppy/SCSI file management!
Special Unformattel" recovers formatted-over files
Use your favorite Sample Editor to work on Ensoniq wavesamples
Special Unformattel" recovers formatted-over files
Works in native Windows enviroment - no DOS
EnsoniQ® .....isIl TooIs™...................... $59.951
Chicken CD-ROM Drives
MIDI parameter and disk editing - has everything listed above!
EnsoniQ® Disk ToolSTM
.............................. $39.951
Open your world to DOZENS of sounds our drives are the best in value and price
Floppy/SCSI disk editing and INstrument building
EAVESTM(for MaCOS™L ............................. $59.951
MIDI parameter editing and sample viewing for the Macintosh
All drives include power & SCSI callie, installation instructions, and caddy (if applicable).
RePlacement ROppy Drives for Ibe EPS/ASR!
Do it yourself and save the m oney AND TIME spent w ith your keyboard
in a service center - works great with EPS/ASR!
by phone or fax: 1-800-8-PRQ.EPS, 1-320-235-9798
by mail: 7145thStreetSE.Willmar.MN 56201-4543
by Internet: [email protected]
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