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The Independent News
Magazine fer Enseniq Users
In this it-SUE
TS-12 — The Rush is Buck
Jsfi Rhee-as
In the early '?0s
the lvlini lvieeg
was the piece te
have. This edd
little thing with
its pep-up centrel panel and
_ mene keybeard
s
drew gasps ef
amazement frem players and en-leekers
alike. I remember hew lucky I felt te be
able te ewn ene. But, I'll never ferget the
feeling I get when I pewered up my first
Prephet 5. Here, beneath this leng wedge,
was the ability te de the impessible; aetually stere yeur ewn settings as "presets"
fer instant recall. Wew! And 5 veices ef
pelyphenyl Teggling thru the presets(l), I
fettnd myself in awe ef what I heard. The
seunds! I was tetally entranced. Heurs disappeared in endless pessibilities. What a
sensatien... what a rush!
I've had the chance te play a let ef synths
since then (‘cause I'm eld, see?). While
seme ef the 'beards I've sampled('i' !] have
been very impressive, even greundbreaking, they've never quite stirred my seul
the way that Prephet did....until new. The
rush has returned again. Enseniq's TS-12
has given me that same sense ef discevery.
pregrams that have been carefully reveiced. But, the TS-12 seems te be mere
than just a TS-10 with a new keybeard. It
seunds and feels like sernething independent and cemplete en its ewn.
What's mere, it may help te light that
elusive creative spark. Keep reading.
TS-12 — The Rush is Hack
Iefifiheads ...................................... .. cever
The Keybeercl
Putting the DPI4 te Werk - Rhythm Tracks
Micheetfiervsy
9
At the frent ef the TS-12 is a ‘Id-nete,
weighted piane keybeard. The actual
physical keybesrd cemes ceurtesy ef Fatar
Cerp., well knewn as the manufacturer ef
seundless centrellers. In fact, it's the
keybeard that's made their centrellers
desirable and pepular with these whe need
centrel ever ene er mere synth medules.
I wanted te see what the keybeard felt like
with ne seund. Se I switched eff the
TS-12's pewer, thus, iselating its keybeard. The actien is firmer than that ef my
aceustic piane. The keys have ne neticeable side te side mevemcnt and their
return feels natural, with a hint ef backteuch. And this keybeard is very, very
quiet. And it weighs 55 peunds.
less, gives intreductien te versien 2.0 0.5.
This chip-upgrade effers seme new additiens that make the TS-10312 platferm
easier te fathem. Versien 2.0 (2.02 as ef
this writing) alse delivers seunds and
ISSUE NUMBER 10?, $2.50
Sampling Synthesizers - Partl1I
Tern Sheer
6
The EPS 9-dB Beest Med
Jehn Lefiink ........................................... .. ‘F
Trick Shuffling
Jsjfistten
13
Senic Derivatiens: Empire Brass
Jerrtes Greta ......................................... .. 14
Synthesising the Clavinet
Kirk Stinkard ........................................ .. 1?
Reviews:
Basement Tapes: Steve Wilde
Denis! Mendel‘ ....................................... .. 4
Latter Seunds: Hardwire - KS St SQ
Pet Fimtigeit ........................................ .. 11
Reguter Stuff:
New, switch the TS-12 en again. The true
sensitivity ef the keybeard lies semewhat
deeper.
‘Why, after all this time, the T5-12'? At
first glance it's essentially a TS-10 with a
weighted piane keybeard. It alse, mere er
Articles:
Press System te see the first sub-page.
TDUCH=SYN-TEL 3 appears en the
lewer right cerner ef the display. There
are 14 velecity curves at yeur fingertips
Randem Netes .......................................... 3
Hyperseniq
3
Current 0.5.
2
Classifieds .............................................. 20
(ahe1'n!}; ti piane, 6 synth and 2 fitted. In
The Interface .......................................
22
future articles, we'll leek at these mere
clesely. Fer new, it's impertant te knew
Hacker Beeteeq ...................................
31
1
that Enseniq develeped this system seftware with the help ef different players, each with different playing styles. This, aleng
with the piane pregrams, gives the 1-teyheard a mere human feel.
Play ene ef the TS-12's enbeard pianes {try “Steree Piane" in
ROM BankSet R2.) Clese yeur eyes as yeu play. New, imagine
playing a 9—feet Grand.
geing te use the Tempe Track the mest during mi:-tdewn. Tempe
Track is a real-time adjustment se yeu can alse use it te sync up
te live instruments. Seng Track 12 gets te be the Tempe Track
by default. Unlike nermal tracks, the Tempe Track enly centains
tempe infermatien. It eannet recerd seund.
I've played different serts ef piane music using different
"pianes" and velecity curves en the TS-12. Bruce Hemsby's
"Hereer Lights," Herbie Hanceck's "Detphin Dense" and Scett
Iep1in's "The Strsnueus Life" all require separate "feels." Different velecity curves can be chesen fer each piece. Remember,
theugh, that TOUCH is a glebal parameter se yeu may net want
te change it ence yeu‘ve feund a setting yeu like. Yeu can fine
tune the upper end ef a curve using the 'v'E.L- MAX parameter
lecated te the right ef TOUCH. Take yeur time with the velecity
curves. After seme eitperimentatien using this music, I've settled
en a TOUCH value that suits my playing. The whele precess has
If yeu theught yeu ceuld survive witheut the new Aute-Lead
feature, rethink it. Aute-Lead, in effect, takes a snapshet ef yeur
TS-12 system befere pewer dewn. It then remembers system
Sampled Seunds and settings the neitt time yeu turn the TS-12
en. Fer example, using the Aute-Lead feature, Sample Seunds er
Sample Edits yeu leaded inte the TS-12 (and then turned the
pewer eff) are remembered by name, disk, file path and
(Sampled Seund) bank fer each ef the Sampled Seunds. {Sample
edits must be saved as a Sample edit file.) The Aute-Lead
prempts yeu te AUTO-LOAD ALL SAMPLED SOL1Nl]S---(*YES* er *NO*) when yeu turn the TS-12 en. Select *YES* if
yeu'll be using Sampled Seunds. The Aute-Lead prempt will
alse pep up if yeu‘ve leaded a 60-SEQISONG file that uses {and
been entirely satisfying.
was saved with) Sample Banks! Aute-Lead alse werks with
Synth and instruments played frem the TS-12's keybeard seund
as if they pessess life. Cemplett pad seunds translate very well
since each layer can have its ewn velecity attack, release and
level settings. Bass-synth seunds peund at yeur chest with each
keystrike. Yeu can feel yeur fingers hitting the strings. Leads
sizzle as yeu dig inte the keys. Trumpets seem richer, seprane
saites are mere haunting when yeu play them frem the TS-12's
keybeard. Guitar, ensemble setmds, drums...eny seund becemes
a psyche-aceustic playgreund. It suddenly seems te be bigger,
mere than just itself. Yeur hands were designed fer this. It's get
real guts te it. Yeu're playing en semething subtle yet full ef
pewer. Regular plastic weight synth ‘beards new seem implausible. And the rush centinues.
Opereting System 2.0
As I stated earlier, with the TS-112 cemes the new versien 2.0
Operating System. It's available fer a small bench fee te TS-10
ewners. Yeu guys and girls whe den't have it yet, I'd recemmend upgrading...like, yesterday. This O.S. dees way mere than
rub eut bugs. It delivers anneyance-bashing teels like Tempe
Track, Aute Lecate and SCSI suppert. Reund eut the seftware
with Seundfinder, include reveiced pre grams (en the TS D200
disk), and yeu‘ve get semething werth lusting fer.
Tempe Track werks in cenjunctien with Seng Mede. Yeu can
recerd centinueus (real time) tempe changes te any Seng. All
the ACTUAL {recerded) sequence tempes are re-cemputed by
the Seng TEMPO value using a percentage ef increase er
decrease. As an example, say the Seng TEMPO value = 00 and
the ACTUAL (recerded) value ef its sequences is 025. Set te a
value ef 00 the TEMPO has ne effect en all the ACTUAL
{recerded) sequence values that make up the Seng. All ACTUAL
sequences remain as they were eriginally recerded in the Seng.
But, a Seng TEMPO value ef 25 changes er biases the sequences
ACTUAL (recerded) value te 111. Negative TEMPO values
bring the ACTUAL value dewn. Cenfused? Okay, in ‘STEMPO-TRI-£* pushing the data slider up makes the seng ge faster.
Pushing it dewn makes the seng ge slewer. Yeu‘re prebably
varieus SCSI devices. It will ask fer and lead Sampled Seund
files frem fleppies, CD ROM, retnevable cartridges etc. And
versien 2.0 effers SCSI suppert.
A read-enly SCSI eptien is available fer the TS-lOl'l2 platferm.
An eptienal SP-4 interface must be installed. (Centact yeur
dealer fer details). (After the SP-4 is installed, new field and
status pages will be displayed allewing yeu te select the applicable sterage eptien (cheese SCSI) and SCSI I.D. number.
Each SCSI device within a netwerk cemmunicates using an I.D.
number. Yeu may use numbers 0 thru 2 and 4 thru T. I.D. Number 3 is permanently assigned te the TS-12 and can't be used fer
ether SCSI devices.) With the Read-enly SCSI eptien, the
TS-10112 can lead Sampled Seunds frem the ASR-10, EPS-16
PLUS and BPS.
The TS-10,102 has 300 pregrams and 300 presets in residence se
it's pessible te get a little lest if yeu're searching fer a particular
seuud. with that in mind, O.S. 2.0 effers Seundfinder, an ingenieus feature te make yeur search easier. Seundfinder‘s a
breeze te use and it werl-ts in Seunds, Presets, and Sequence
Medes. Each mede requires seme simple theugh specific steps
se we'll leek at Seundfinder in mere depth in later articles. —
Currentlénsehiq 0.8. (0isldEPFt0lvl)
ass
EPS-M
EPS-16 PLUS
MASOS
MIRAGE
2.-tst2.4e 1
2.4at2.41
1.3t1.00F
SO-Fl
SQ-Fl 32
SO-Fl PLUS
Si}?
st:-2 as
DJt'.I1i.flI'\J
ESE!
SO-1
swe ps
EEC!-M
SO-S0
UFK
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SO-1 32
SO-1 PLUS
ED-1 32
DPI4
|{S—32
ASH-10
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T5-10t‘12
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—l-DI"tJ—lDG‘
Front Pcsnel
RND (.I‘J*J*)
Thlrd-Party News
(EFE or EPA), let you edit Sample 3: Loop points, and set the loop
type. Seundilente is freeware but is restricted to files that are less
than 15 kilobytes. If you use it, you should register it. Samples are
MIDI Mark Productions is new having a sale on 3.5" sample disks
for the EPSIASR,-’I'S. You can get any 9 disks fer $49 plus $3 sfh.
included. Soundlfert 1.0 is a full-featured version of Sauhaiflenta allowing you to process files of any length and adds the ability to
convert Waves into Samplelfision. Anyone may obtain a copy of
They have ever 200 disks to choose from and specialize in seunds
fer dance music. For a free catalog, contact: MIDI Mark Productions, P.O. Ben 212,, ‘Whittier, CA 90003. Phone: (310) 099-0095.
Past: (310) 099-0304.
Scundflerna via modem on Cempuserve (in the MIDI section); on
Sound Management's BBS (T03) 949-0434, or CempUSA (401)
323-9250; or send $5 to Timothy Dorcas, 12 Kipling St., Prevideuce. RI 0290?. Sound‘v‘ert 1.0 is currently $15 (+$1.50 fer SH-I}.
HYPEHSONIQ
TRANSONIQ-NET
HELP wm-| ou esrteus
NEW PRODUCTS
'i‘i'AVeBOY Industries announces their fourth effects disk: The
Vader — a keyboard-controlled veceder and morphing filter bank
fer the EPS-10 PLUS and the ASR-10. Teach your sampler to talk;
synthesize and sequence a vocal chorus singing the words to your
song! Get these classic veceder sounds -— talking wind, talking
bass, talking anything; sequence elaborate EQ changes that happen
in sync to the music. The Vader effect is a bank of programmable
filters that loads into the effects processor of an EPS-I0 PLUS or an
ASP.-10. The filters are multi-band parametric equalizers (EOs) that
can be modulated in interesting ways — most notably, they can
make a seund talk or sing words. The Vader imposes the moving
resonance of speech onto any input sound. But while the conventional veceder uses a live vocal input to derive the control information, the Vader uses the keyboard or MIDI. The Vader contains a set
of up to 04 different EQ settings which are programmed to imitate
the formant structure of different phonemes. Each EQ setting is as-
signed to a different key on the keyboard. The active EQ frame is
selected by the keyboard, or by any of a list of modulation sources
including LFO and Random-Sample-and-Hold. The glide time between EQ frames is variable and can also be modulated. All EQ
frames are programmable and net restricted to speech or phonemes.
The Voder can "morph" between EQ frames, like the Emu Mer-
phcus. Unlike the Morpheus, the 'v'oder's EO frames are user
programmable. Chorus effect: a delaylchorus algorithm is available
simultaneously with the EO, on BUS1 or BUS2. Any instrument
can be sent through the Vader, creating talking drums, talking
strings, etc. The Vader comes with demo sounds fer solo and chorus
singing. The "|h"AVcBOY Vader Disk is available directly from
'WAVeBOY Industries fer $49.95 including shipping. For further
All of tbe individuals listed below are volunteers! Please take
that into consideration when calling. if you get a recerding and
leave a message, let ‘em knew if it's okay to call back collect
(this will greatly increase your chances of getting a return call).
All Ensoniq Gear - Ensoniq Customer Service. 9:30 am to no-on, 1:15 pm
to 0:30 pm EST Monday to Friday. 215-04'?-3930.
All Easoniq Gear - Electric Factory {Ensoniq's Australia distributor).
Business hours - ‘fictoria. (03) 430-5933.
Sampling — The Intemational Samplers Cooperative, 310-455-2053 or via
MusoBBS, 313-334-0T99.
SD-1 Questions - Philip Magnotta, 401-40'?-435?, 4 pm — 12:30 EST.
‘JFK Sound Programming Questions - Dara Jones, Cempuserve: T1055,
1113 or Midi-net ti: Fido-net. Local BBS: Nightfly, Dallas: 214-342-2230.
SD-1, DPI4, ASH-10 Questions - lohn Cos, 009-333-5519, (NI) Spot - 3
pm EST weekdays. Any time weekends.
SQ-30 Questions - Robert Romano, 00?-$33-T31-'3. Any ol' time.
Hard Drives 3: Drive Systems, Studios, 8: Computers - Rob Feiner,
Cinetunes. 914-903-5313. llam-3pm EST. Cempuserve: 'i‘1024,l2$5.
EPS, EPS-10 PLUS, S: ASH-I0 Questions - Garth Hjelte. Rubber Chickcn Software. Call anytime. If message, 24-hour callback. (305) T92-9231.
Compu serve: T2203 ,2303.
ESQ-I AND SQ-30 Questions - Tom McCaffrey. ESQUPA. 215-3300241, before 11 pm Eastern Time.
information, centaet:: 'lh"A‘v'eBOY Industries, P.O. Boa 233, Paoli,
PA 19301 USA. Phone: 215-251-9562.
BACK ISSUES
The Rhythm Factory announces the release of The Elite Set — 10
disks of all new samples fer all EPS's, ASR's, and TS's. Disks are
$3 each or $00 fer the entire set. To hear what you're getting befere
spending your hard earned cash, a demo cassette of all Rhythm Fac-
Back issues are $2.00 each. (Overseas: $3 each.) Issues 1- 40, 01, 0'1‘ —
T-'4, and 32 - 35 are no longer available. Subscriptions will be cittendcd
an equal number of issues for any issues paid for that are not available at
the time we receive your order. ESQ-1 coverage started with Issue #13.
tory preducts is available for just $3 ~— refundable with your first
purchase. Fer further information, contact: Bryce Inman, The
Rhythm Factory, 303 Saddle Bridge Lane, Franklin, TN 32004.
Phone: (015) 591-9375.
applies to the SQ-30). EPS coverage got going with #35 {and also ap-
SQ-30 coverage started with #29, {although most ESQ-I coverage also
plies to the ASH-10). ‘JFK coverage (which also applies to the SDa) got
started in #43. The SQE got going in #03. [SQ articles also apply to the
HS-32.) DPI4 coverage started in #33 {much of which also applies to the
ASR-10). TS-10 owners should check out sample reviews {EPSIASRJ
and SD St VFX programming tips. Permission has been given to photo-
Saundflerna, running under Windows 3.1, is an aud_io conversion
utility brought to you by Timothy Dorcas. Saandtllerna will allow
you to convert Wave 3:: Samplclfision files into Gieb1er's format
copy issues that we no longer have available — check the classifieds for
people offering them. A free back issue indeit is available which contains
the tables of content for all issues since Nurnber 43.
R
“
I
I
EPSlMIIIAGElESQlSQ-30 M.I.l.G. 24-Hour Hotline - 212-405-3430.
Leave name, number, address. 24-hr Callback.
Mirage Sampling — Mark Wyar, (210) 323-1205. Eastem time zone
(OH). Calls between 0 pm and 11 pm.
Sampling 3: Moving Samples - lack Loescir, (903) 204-3512. Eastem
SQ-1, ES-32, Sr SD-1 Questions - Pat Pinnigan, 31’?-402-3440. 3:00 am
Time (N.I.). Cali after 0:00 pm.
to 10:00 pm EST.
MIDI Users - Eric Baragar, Canadian MIDI Users Group, (013) 3920290 during business hours, Eastem Time (Toronto, ONT) or call
IviIDlI.Il*iIi'. BBS at (013) 900-0323 24 hours.
ESQ-1, MIDI S: Computers — Joe Slater, (404) 925-‘I929. EST.
7
The Good The Bcld and 1 he
Tape: Nee-Classical ti Electronic Composition.
Artist: Steve "h-‘ilde.
Contact: I320 N. Washington Avc., Clcarwatcr, Florida 34015.
Equipment: Ob-crhcim DMX and Yamaha drum machines, ESQ-1 and
EPS, Onkyo mirtdown deck, (using Dolby C).
As the functional title implies, this is Nee-Classical 3:
Electronic Composition. Side one is Nee-classical, and side
two is Electronic Composition. The nee-classical (15 pieces)
are traditional harmony, counterpoint and chord progressions
using obvious synthy sounds for the strings (even though
they were obviously synthesized, the strings still sound eitceptionally beautiful), keyboards, homs and reeds.
Side two, electronic composition, has twenty-two pieces with
names like To The Beginning or The Endf, Space Opera and
Spocl:'S Ears, Before and After Before, Drains. No More
llfarios, Klangfarhennrelodie, Ana‘ I2 Tone Variations.‘ Quartet For Strings, Flute, And Piano. The electronic composition
struck me as very free, very streamy of consciousness. Steve
uses a lot of analog, wet, moog synth patches. I-Ie uses theme
and variation in sound and tonality as much as in the musical
statements themselves. The downside is that there is not
much continuity. Much of this style of music seems inherently anti-conunercial. There are not a lot of hooks here.
On the Nee-Classical side all sequences were well e:-tecuted.
Introductions and endings were planned and natural sounding. On the Elcctronic Composition side any sequences were
transparent to the slow nature, or the abstractncss of many of
the pieces. Introductions were more interesting in general, but
endings were harder to come by. It seemed as though Steve
were looking for a way out of the piece. I often felt as if the
piece was being abandoned rather than finished.
Definitely the Nee-Classical side appealed to me more than
the Electronic Composition. I didn't feel drawn into the structure of the Electronic Composition pieces, as I did with the
Nee-Classical.
'
Wilde
i
Tape: Songs fi-orn the Wilde SidelGttitaristlcs.
Artist: Steve Wilde.
Equipment: Gibson 20th Anniversary Les Paul Custom, Obcrhcirn Dlvtltt
and Yamaha dmm machines, ESQ-1 and EPS, Onkyo mirtdown deck,
(using Dolby C).
This tape, as well, is divided into two definite sections. On
Songs from the Wilde Side Steve graces us with his voice,
which is deep and scratchy and goes well with this rock)‘jazz
music. The recording quality of the individual parts could
have been clearer. I would have been hard pressed to recognize any of the lyrics, ertcept for the song titles printed on the
J-card.
This is the second of three tapes submitted by Steve Wilde.
Listening to any one of these tapes, you might get the impression that Steve is a talented musician and songwriter. However, listening to all three of these tapes you very well might
decide that Steve is an enormously capable musical visionary
who would be equally as comfortable scoring a sound track
for a movie as recording a rock ballad or sitting in as a studio
musician utilizing his variety of styles and talents! I realize
that's a mouthful, but this is quite an amazing body of music,
and definitely worth a listcnl
Grritaristics features Steve as the guitarist (Gee Thanks,
Dani) in very small snippets of tunes ranging from two to
three minutes. Steve says that his musical influences are
Allan Holdsworth, Steve Morse and John Scofield.
Here the screaming guitar work is so fascinating, that you
might not notice the supporting work underneath. If you do
take a second listen, there are a lot of repetitive sequences, no
doubt from our friendly drum machines. Fortunately, the
main instruments are worth it. Still, a few more variations
and clever fills would have made a -profound difference.
Steve's jazzierffusion pieces have more well-planned per-
l
cussion.
i —I¢l-1-Ii
The recerding itself is clear. The min is acceptable. Here
again, the min seunds better en the jaaaicr pieces. This may
he because all the separate parts can he heard mere clearly.
On serne ef the reck pieces the effects tend te muddy up the
tnis censiderably.
This ene is the rnest fun ef the three tapes that Steve submitted.
Milli Gedeilla is a fast, frelicl-ting piece.
Of all the different slices ef music, the pieces en this side are
the easiest te listen te. Maybe even the mest cennnercial, altheugh Fm net sure I'd ge that far. Steve seems te be aware
ef the nen-cemmercial aspect ef his sengs. He cetnments that
“a recerd cenipany has te sell 200,00 units. If they den’t
think yeu'll sell that many, yeu wen’t get signed ."
Ultimately, if yeu were geing te centact Steve and request
ene ef his tapes yeu weuld have a hard time deciding which
ene, tmless yeu cheese squarely within the genre ef yetu'
cheice, and then yeu weuld ne deubt be pleased. I suspect
that these are a small sampling ef what Steve has te effer.
That is, if he hasn’t been signed er
Tape: Jungle Jassfer the One-h.lan~BandlNee-Classical Hardball.
Artist: Steve Wilde.
Equipment: Ob-erheirn D1-1X and Yamaha drum machines, ESQ-1 and
BPS, Dnkye miztdewn deck, {using Delby C).
This is the third cf three tapes that Steve submitted, and like
the ethers it features twe distinct different sides. Side ene
features Iungle Jase fer the One-Man-Band, while side twe
features Nee-Classical Hardball.
recerded since he last submitted. -
Jungle Jaesfer the One-Man-Band centinues in the Wilde
traditien ef really geed cempesitien in the reckljaazlfusien
categery. This time Steve shews eff his keybeard prewess.
Mest ef these sengs are three te feur minutes lung. This side
epens with a streng mever, E.Z. Bees lt, which quickly
develeps a funky greeve that seunds dewnright fun te jam te.
1402 SW Upland Dr., Pertland OR
9?22 l.
l
S
If yea want yeur tape run threugh the
ringer, err, Hacker, just mail it eff te:
Easement Tapes, Transeniq Hacker,
Bie: Daniel Mandel is a sengwriter, seund designer, and has
seld pre attdie and lteybeard equipment and prednced deme
tapes fer lecal bands.
1
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Sampling Synthesizers
Pelt 3 — Petting Suggestions
Tern Shear
If all has gene well since the last time, yeu prebably have a
use, this eptien allews yeu te quadruple the number ef seunds
ceuple ef disks stuffed te the brim with seme great synth
samples. Yeu've getten them leeped successfully, but new
yeu have. Te start eff, use the COPY LAYER cemmand te cepy
yeur current layer {PARAMS ONLY, er yeu‘ll drive these
what? This time areund I’ll effer seme suggestiens aheut hew
yeu can pelish them te a mere finished seund.
bleck numbers threugh the reefl). If yeur sample is resynthesiaed er uses multiple layers, cepy them as well. New is
when yeu can have seme fun.
If yeu haven't dene it already, ge threugh every wavesample
and GAIN NORMALIZE them. If the seund in questien is a
nen-sustaining seund, such as a drum er marimba, yeu sheuld
use the FADE OUT cemmand, alse en the AMP page, with a
START value ef abeut 90 and an END value ef 99. Use the
defaults fer any ether parameters. This will give the nen-sustained seund a smeeth fadeeut instead ef the tell-tale clicks
these seunds semetimes centain at their tails.
The neat part will depend largely en the setmd yeu are using, se
I can't be tee specific. Basically, yeu will want te reintreduce
any LFO, pitch effects, digital effects, etc that yeu pregrammed
eut ef the seurce synth fer smeeth sampling. This weuld be a
geed time te tweak the envelepes and filters tee, if necessary. If
pessible, listen te the criginal seund en the synth side-by-side
with yeur sample until yeu are satisfied that yeur sample dees
the eriginal seund justice.
Ne:-tt, these ef yeu with an EPS-16+ er higher sheuld decide
Press the EDIT INSTRUMENT battens and yeu sheuld see
semething that leeks like this: 00 PATCH 123-----. This is
where we put tegether eur patch selects. What yeu see new is
what layers will be playing when ne patch select buttens are
pressed. Make sine te adjust this se that enly the layers yeu
want playing are listed. In the case cf a ene-layer seund, this
sheuld read 00 PATCH 1 ------ --. The fellewing example assumes yeu’ll be using a ene-layered seund, but deing this with a
twe er three layered seund is very similar.
Te de eur first patch select, press the left hand patch select butten and the display sheuld change te read *0 PATCH SELECT
-2------. Change it se it reads *0 PATCH SELECT 12------.
Press EDIT again se that yeu see the "Name ef Instrument"
LYR= X WS=ALL. Tweak the LYR number tn read LYR=2,
eur recently cepied layer. Press pitch new and find the ROOT
KEY, FINE page. By changing the FINE value, we can make
eur sample have natural cherusing that makes a great patch
which ef the en-beard effects te use. If the seund yeu sampled
select. Any value ef +,l- 5 and abeve will give yeu pretty netice-
had effects en it, try te repreduce this as clesely as pessible.
Otherwise, yeu have a little mere freedem te use what yeu
want. Here are seme general tips I've feund te werk well (these
enly cever the eriginal 15+ algnrhythms:
able results . Obvieusiy, yeu can enly ge se highllew until this
I Fer drums, percussien, and percussive instruments, I like te
use the HALL REVERE tweaked with a DECAY TIME ef 0.
starts te seunds awful, se ettperiment until yeu find the “safe
range." Yen may even decide at this peint that yeu like this versien ef yeur seund se much that it sheuld be the default seund!
Repeat the precess abeve with ether layers and patch selects
until yeu have all three patch select slets pregrammed. Here are
seme examples ef useful patch selects yeu might want te try:
r Fer mest synths in general, the CHOR+REV+DDL werks
great. The cherusing isn't as etttreme as the CHORUS+ REVERE, se it is much mere subtle and werks en a wider variety
ef seunds.
- Adjust the SAMPLE START parameter (EDIT WAVE page)
past the attack pertien ef the seund, change the ENV3 te SLOW
STRING, cepy this layer and tweak the FINE PITCH value
mentiened abeve fer a_warm pad vsriatien.
- If fer seme reasen yeur samples are very neisy, try assigning
them te the PHASER-t-REVERE with the DEEP PHASE variatien. This werks very well te hide the neise and gives an exaggerated phasing effect that adds a very spacy seund te yeur
sample. The phases werks well en just abeut any kind ef pad as
well. Use this ene sparingly.
I On the EDIT WAVE page, change the MODE te BACKWARDS -NO LOOP.
When yeu find the effect yeu want and have adjusted its parameters te yeur liking, use the COPY CURRENT EFFECT cemmand en the COMMAND EFFECTS page te cepy the effect te
yeur imtrument.
Finally, it's time te put tegether the patch selects. This is a great
feature and virtually ne ene uses it. WH“r’l'll Threugh creative
- Tweak the ROOT KEY ef yeur cepied layer te give a higher,
lewer, er ectaved versien ef yeur seund. Try tuning it te perfect
fifths as well.
- Apply wild pitch envelepes fer tmusual seund effects.
- If yeu teek yeur samples an escillater at a time and resynthesised them, let individual layers play by themselves. In ether
werds, if yeur final seund is cemprised cf a layer cf strings and
a layer ef bells, pregram the patch selects se that just the
strings, and then just the bells cart be selected.
I Think ef the sample as just an en-beard waveferm and really
dig inte these synthesis functiens. Yeu can get just abeut any
kind ef basic seund frem a meledic sample if yeu werk hard
eneugh. ‘lllhe says a string sectien makes a leusy bell‘? Whe
says a flute can't he a human veice? ‘werk tmtil yeu‘ve mutated
as lew as 23 er se. This will save yeu a let ef time and wasted
disk space. I hepe this series has been helpful te these cf yeu
whe have been wanting te sample
e-w
the settrtd beyend recegrtitlen. It ain’t easy, but it's werth it!
Se there yeu ge. Make sure yeu save yeur werk and enjey yeur
hard-earned new creatien. As a final werd ef advice, use the
COMMAND WAVE page eptien CONVERT SAMPLE RATE
te push the sample rate dewn a little bit. Only a few seunds
such as cymbals and bells truly need the full 44.1 sampling rate.
‘fl’
Bie: Tam Shear weuld net mind it at
all Lflinseniq decided te send him a
free AER-I0.
Meet ethers sheuld seund mere er less exactly the same at rate
hit!
synths, but feund the task tee daunting. Yes, it is a let ef werk, but it sure
beats lugging yeur megaten Prephet
10 te yeur next gigl —
I
D.l.Y. Project: The EPS 9-dB Boost Mod
Jehn Lefiinlc
Recently, while mixing a piece that uses my venerable EPS
Classic, I came up against the preblem cf the lew eutput signals cf the earlier medels. In erder te get the EPS samples te a
Unless yeu're geing te de the werk ycurself, er have a friend
whe will de it au gratis, then yeu sheuld take yeur EPS te yeur
nearest Enseniq Autheriaed Service Facility, because Enseniq
suitable level at my mixer, I had te set the EPS faders te maxi-
will previde a 6-dB upgrade kit free cf charge, though yeu'll
mum and all ether insmunents te mid-level - I have a rather
still have te pay the laber charge set by the service facility.
Enseniq will net previde this kit directly te their custemers. I
medest mixer with ne trim centrels. This is net a geed situa-
tlen fer getting the eptimum signal-te-neise ratie frem a
mixer. It alse reduces the range cf levels fer the ether instruments to half cf the mixer fader’s travel. ITH — Te ye whe
venture enward: yea’re en year ewnl]
den't knew if the Enseniq med is similar te my ewn.
This medificatien will net impreve the signal-te-neise ratie ef
the EPS. Since all we're deing is beesting the gain en an
amplifier in the eutput stage, neise is beested just as much as
Since I can‘t resist tinkering inside my insnuments, I decided a
geed D.I.Y. preject was in stere fer me. ‘With ehmeter in ene
hand, screw driver in the ether, and my EPS warranty leng
since expired, I cracked epen the shell ef my EPS and began
examining its centents.
The BPS eutputs are driven by a quad cp amp (U61) lecated in
the tep right cemer cf the machine. The final stage is cenfigured as a fcllewer driven by a filter netwerk. Since there is
ne feedback resister fer this stage, there's ne way te add gain
witheut deing seme cutting en the IC er printed circuit (PC)
beard. Se I went back ene stage and feund an inverting amplifier and a single pele lew pass filter. This is where I decided
te add the gain.
the signal. The EPS eutput is net nearly as quiet as the ‘I6
Plus er later Enseniq instruments, but is cemparable te 12-bit
equipment ef that era.
If any ef the terminelegy in this article is cenfusing te yeu,
then yeu’re prebably net qualified tc de the med. The fellewing teels {and experience using them) are needed:
#2 hex allen wrench
Phillips head screw driver
Adjustable wrench
seldering statien
vacuum type deseldering statien
I dc net recemmend using deseldering braids, pumps er bulbs
Leeking back at Keyheard Magazine's sampler sheeteut
(March, 1989), I netcd that the EPS eutput was 6 te 12 dB
lewer than mest cf the samplers. The review in Keybeard
February 1991 shews that the EPS 16-Plus eutput is a full 10
dB greater than that ef the EPS Classic. Since I wanted the
EPS Classic eutput te reughly match that ef the l6-Plus, I
decided te sheet fer a 9-dB beest in the eutput level.
This med enly applies te EPS*s with serial numbers belew
16582. Later medels have a ti-dE beest in the eutput circuit.
te remeve cempenents frem the EPS multi-layer PC beard, as
these teels may damage it.
Yeu‘ll need the fellewing supplies fer the med:
selder
331-t-Ohm £22k-Ohm fer 5-dB beest) IMW 5% Reslsters — 2 each
ss pF (T5 pF fer ti-dB beest) 50? 5% Ceramic Capaciter — 2 each
miniature shrink wrap fer disc type capaciter leads
PC beard flux retriever
Don’t be tempted to use a lower or unknown tolerance capacitor if that's all you have on hand. The capacitor is part of a
low-pass filter and a +20-30% type ceramic capacitor would
seriously affect the cutoff frequency of that filter. The result
could be either a loss of high-end response or eacessive
ultrasonic frequencies.
larger 56 pF capacitor reduces the output by -1.22 dB at 20
kHz instead of -1.09 db in the original circuit. You won’t hear
the difference. If your replacement capacitors are not the artial
type then use the miniature shrink wrap to guard to leads from
contact with the PC board, as there is a feedthrough beneath
C121. After soldering, clean the PC board with isopropyl alcohol or your other favorite non-CFC cleaner.
We‘re now ready to begin the mod by disassembling the EPS.
First, remove all connectors from the rear of the EPS. (Especially the power cord!) Now, carefully flip over the EPS onto a
soft surface (a couch or bed will do fine) and remove the 10
Phillips head screws located 2-1I2 and 'i‘ inches from the front
of the instrument. Holding the keys in place, flip the instru-
ment back over. Use the adjustable wrench to remove the S
jack nuts for jacks Audio In through Footswitch. Use the #2
Hes Allen Wrench to remove the four screws from the
faceplate. You can pop open the front of the EPS with little
force by holding both ends of the faceplate, lifting it up and
back towards the rear of the instrument. Locate a connector
labeled J7 — Keyboard and carefully remove it from the PC
board. Now slide the keyboard out toward the front, underneath the two posts used for securing the faceplate. Put the
keyboard aside, keys down.
Just to the left of the Footswitch jack is a pair of transistors
with heatsinks labeled Q1 and Q2. In between those two resistors is a grounding lug for the EMI shield underneath the PC
board. Remove this screw carefully because it has a lock
washer on it that could easily come off and find its way into
some remote corner of your EPS. You need to remove all
cables going to the PC board. These connections are J2 -Disk, J6 -— Auxiliary Eztpansion {if SCSI is installed), IS -Display, J9 — Wheels and J10 — Power. Remove the seven
screws around the circumference of the PC board. You may
need to remove the memory;'SCSl espansion from the rear,
though I was able to slide it off of the connector as Ipulled out
the PC board. You can pull out the board by flipping it up
toward the front and pulling toward you until the jacks are
pulled out of their holes.
The illustration shows a component-side view of the area of
interest, oriented as if you were facing the rear of the PC board
where the jacl-rs are located. Find U61, a 14-pin DIP, which is
to the left of a daughtercard. We will be replacing R122,
R134, C121 and C136. Unfortunately, these labels are underneath the components so you'll have to use the diagram as
your guide. The resistors to be removed are the only 11 kohms
in the area, but the 15[1 pF capacitors are not. Remove the
specified resistors and capacitors-with your desoldering tool.
Verify the correct reference numbers on the PC board where
the parts were removed. There are two options with this mod.
If a 6-dB boost is sufficient for your needs, then use 22k-Ohm
resistors and T5 pF capacitors to replace the ones just
removed. If you prefer a 9-dB boost, then use 335:-Ohm resistors and S6 pF capacitors. Ideally we'd use a SD pF capacitor
to retain the enact some cutoff for the low pass filter, but no
such animal eitists. According to my rough measurements, the
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EPS PC EORRD CLUSEUP
You can new reassemble your EPS. Angle the PC board back
into place and replace the ‘I screws and 5 jack nuts. Replace
the Elvll shield grounding screw and lockwasher. Reconnect
J2, J8, J9 and J10 to their proper positions. Make sure that the
flat ribbon cables are oriented properly. The red line on the
ribbon cable denotes line 1 to mate up with the numeral 1
silk-screened on the PC board. J2 and J6 are both 34-pin
cables. J2 goes to your floppy drive and J6 goes to your SCSI
interface, if installed. Now slide the keyboard back into place
and reconnect J7. I found it easier to screw down the keyboard
assembly by propping the insmunent upright and putting in the
screws from the bottom, since it tends to not line up properly
if assembled face down. The top level on your keyboard stand
may be a good place for doing this. Replace all lil screws to
hold down the keyboard. Double check all connections before
you replace the four hert screws on the EPS faceplate.
When you reconnect your EPS and power it up, you'll notice a
definite boost in the output level. This boost is in effect
whether you use the line outs or use the left out as a headphone amp, so be careful with the volume slider, This is
probably one of the simplest mods you can make to your EPS,
and it‘s well worth it. :-
Bio: John Lofiink designs digital hardware and DSP software
for a large U.S. space agency. His home MID! studio houses a
few pieces of equipment that have never been modified.
J
Putting the DP/4 to Work
Rhythm Trucks
The first step in recording a typical pop song is to lay down
the basic rhythm tracks. With a band, the members simply
troop into the studio, pick up their instruments and play.
Depending on the quality of the performances, some of these
parts may survive to the final mix. Unless the artist and
producer are aiming for an unadulterated live feel, however,
the basic rhythm tracks are usually supplemented or even
replaced by subsequent overdubs. It is not uncommon for
every part but the drum kit to be re-recorded during the cotuse
of a typical commercial project.
Michael Harvey
these goals. Alas, paper and ink are not limitless; this article
allows space to examine only one approach: we will use the
processing group formed by units A and B (group AB) on the
DPI4 to apply cherusing and some delay to "widen" individual parts in our premix. Next time, we’l1 use group CD to
apply compression and enhancement to the entire mix.
sists of recording a premix version of a sequence to serve as a
guide for the overdubs to follow: vocals, acoustic instruments,
solos. At this point, the sequence can remain a sketch, leaving
some “creative space" allows for ideas to develop and be in-
Effect algorithms for group AB can be selected in one of two
ways: we can choose directly from existing two-tmit patches;
alternatively, we can load one-unit algorithms into each unit
individually. To save work, let's see if there are any two-tmit
patches we can use as a starting point. Press Unit button A.
The jog wheel will now scroll through all 100 two-unit presets
stored in the DP!-4. (Refer to the manual to see a complete
list.) To hear the different patches, start your sequence playing and use your mixer‘s effects loop to send signal to the
DPI4. You may want to solo a few parts to hear the effect
clearly — bass, drums and piano cover the spectrum nicely.
its you scroll through the algorithms {assuming this wasn't
the very first thing you did when you unpacked your DP,l'4l),
corporated as the project unfolds. Remember, though, once
you will be amazed at the range of possible effects.
In future articles, we will explore uses for the DPI4 in band
situations and at how to best record specific instruments. Initially, though, we’ll assume the most basic arrangement possible: a one-man-band-producer-engineer working with a
sequenced rhythm section. Rhythm tracking in this case con-
you start committing music to tape, you are locked into your
arrangement and tempos. Do your experimenting with length,
song structure, tempos, and time signatures now. (This would
correspond to “pre-production" for a band.)
Unless your sequence is already fully realiaed, it may sound
flat or sterile at this point. Perhaps not all your sound modules
have onboard effects. Ur perhaps the mix needs to be just a
little ptmchier, more in your face. Since we will be discarding
these tracks later, we don"t want to invest too much time
tweaking them. Nevertheless, there are some simple ways to
give them life, an investment that will help inspire your
vocalists and musicians {in this case, you) to deliver strong,
informed performances. It should come as no surprise that the
DPI4 is perfect for the job.
Last time [Issue #105}, we set up the DPX4 for this task: we
calibrated levels, wired it into our system, and built a
framework for the necessary patch. Since this patch essentially split the DPI4 in two - into an effects processor and a signal processor -— we called the patch “Schiaoid." Assuming
you have used your DP!-4 since the last article, go ahead and
load "Schiaoid" as the active patch. (Remember, it's a Config
patch. Hint: If you want patches to load automatically as soon
as you stop scrolling, press the SYSTEMZMIDI button and
advance to parameter #55. Use the jog wheel to toggle “AutoLoad Preset {Selectlvlodel =“ from “Off” to “On.")
Keep scrolling until you come to patch #41, “Detune 8:
Spread." If you don’t have “Auto-load" turned on, press
SELECT to load the patch. The LCD window reveals that this
algorithm applies chorus and delay to incoming signals. If you
are monitoring your sequence, you will hear the bass spread
out to occupy the entire stereo spectrum. You may also hear
some increased sibilance or even a discrete echo if you are applying this effect to drums. Let’s begin working with the
chorus algorithm. Bypass all four units by pressing the CONFIG button twice. Now press Unit button A twice to reactivate
it. Press the EDIT button to enter editing mode. (As the edits
accumulate, be sure to save your work regularly. You can toggle between the most recently saved patch and your newly
edited version by repeatedly pressing the EDIT button. This
allows you to compare the two versions before cormnitting to
the altered patch by saving it.)
Chorusing is a pitch-based effect that splits the input signal in
two, rhythmically detuning and rettming one half, then recombining the dry and effected portions. The result is a "fattening" of the original signal. The DPf4‘s “B Voice Chorus"
algorithm offers a few additional twists. Instead of splitting
the input signal in two, this algorithm effectively creates B
copies of the input (4 on the left, 4 on the right), applying individual detuning and retuning to each copy. The algorithm
also features a stereo delay that permits feedback between the
left and right portions of the signal. The possible effects
The premix can be improved both by enhancing individual
generated by this rich algorithm range from simulating an en-
parts and by enhancing the entire mix. Sounds simple. In
semble of players from a single source, to our goal: adding
reality, the DPI4 can be used in limitless ways to achieve
body to a sotmd.
As noted above, chorusing depends on a balance between the
wet and dry signals. The effect is strongest when both signals
are near the same level. Accordingly, most chorus presets on
the DP!-4 are programmed with a “Mix” setting somewhere
around 50. Since we are using our mixer's effects loop to
apply the chorusing, we will actually control the mixture between the wet and dry signals at the mixer itself, Normally,
this would imply a fully wet Mix setting of 99. Since we are
applying delay in series with the chorus, however, and since
we want the delay to affect both the chorused and unchorused
portions of the signal, we need to send a moderate amount of
the dry signal “arotmd” the chorus directly to the delay; a Mix
ments. If we set the Mix value to 99, the entire signal will be
delayed, an interesting result but not quite what we're after. A
Mix setting around 60 produces the desired effect.
The “Dual De1ay" algorithm allows us complete control of
two independent delay lines, one for the left channel and one
for the right. The two lines, furthermore, can interact, with the
output of one line feeding back into the input of the other.
With long delay times, this "cross-regeneration" can be used
to create swirling, stereo ping-pong effects. For our purposes,
we can use short delay times to simultaneously add width and
transparency to selected sotmds.
setting around T0 will do the trick.
The next parameter page lets us set the rate and depth of
detuning applied. The “Rate” determines how fast the chorus
oscillates back and forth between tunings, while “Depth”
determines how far apart those tunings are. These two
parameters comprise the heart of the chorus effect. Play with
the settings to explore their effect: a slow rate with a wide
depth produces the aural equivalent of open-ocean swells; a
fast rate with a wide depth is akin to riding a sonic roller
coaster; and so on. For subtle fattening of sounds, I find that a
moderately slow rate of about 10, combined with a moderately narrow depth of about 2.0 produces a pleasing effect across
a wide variety of instruments.
Somewhere between 15 and 30 milliseconds lies the threshold
at which a delayed sound is heard (by humans, at least) as a
distinct copy rather than part of the original signal. Delay
times tmder this threshold lead to a perceived widening of the
original sound and can actually be used to place a sound
within the stereo field much more precisely than level-based
panning. For the current patch, delay times of Zilms and Sllms
work well for the left and right channels respectively, with
"Regen" amounts of ll] and 15. Leave the "Pan" settings to
-99 and +99 for a wide, airy sound. A modest setting of 20 for
the “Cross Regen" parameter adds a barely perceptible sense
of depth. The “Regen Damping" parameter can be left at “U”
since the feedback signals our patch creates are too short to
reveal any high frequency roll-off.
Parameter “Stereo Spread” superimposes a stereo field on the
signal. The higher the setting, the wider the field. Use this
parameter to increase or decrease the amount of horizontal
space an instriunent takes up on your song's virtual sound
stage {the simulated 3D space you create by panning instruments within the stereo field). For fattening, I find that a setting around 60 produces a pleasing “heft” to bass sounds
If you haven't done so already, now is a good time to save
your work. (Be sure to save the entire patch as a Config
preset.) Since group AB also works well as a stand-alone
patch for synth pads and bass sounds, you might want to save
it as a separate two-unit preset. To do so, press Unit Button A
and then the WRITEICOPY button. Pick a revealing name
without creating a wall of mud, while giving pianos and or-
like “Punehy Bass” or the like for your new patch.
gans good presence. The remaining parameters control the behavior of the built-in delay. Since we will be applying delay
separately, moderate settings can be used within the chorus.
Try settings around 15, lilms, 20ms, and 20 for "Regen,"
“Left Regen Time,” “Right Regen Time” and “Delay Regen,"
respectively, to add interest to the chorus, without creating
distinct delays.
We are now ready for the delay algorithm. Press Unit Button
B twice in order to reactivate it. The LCD reminds us that this
is a "Dual Delay.” Since Unit B is the final stage in this processing chain, we want its output as hot as possible to maximiae our signal-to-noise ratio. Start by setting the Volume
Assuming that you are still listening to your sequence, beghi
applying small amounts of “Schisoid” to individual parts in
your mix via your mixer's effect sends. Bass, kick drum,
synths, even piano sounds, can all benefit. The adage, “All
good things in moderation," applies particularly well to effects processing, however. Be selective. Improving one or two
parts can create a surprising improvement in the entire mix.
Speaking of which, next time we'll turn the DPI4 loose on the
entire mix itself and hear how this amazing box can bring
snap and sparkle to your
Sting. —
parameter to 99. Remember that Units A and B are connected
in series. Unit B will therefore apply its algorithm to the full
Bio: Michael Harvey earns
his living as the Business
Managerfor Consumer Products for Microsoft Sweden.
He spends his living on
grown-up toys from Ensoniq
and other companies in the
military-industrial-musical
output from Unit A. Since we gave Unit A a Mix setting of
‘I0, this output is a mixture of wet (in this case, chorused) and
dry signal. For the finished patch, we are striving for a complex sonic stew consisting of chorused copies of the original
signal, delayed copies of the original signal, and delayed
copies of the chorused signal... We can use the Mix pmameter
for Unit B to control the balance between these various ele-
_
complex.
Hclrdwire Sounds IA & IB
Per Finnigon
For: All SQ Variants {including KS-32}.
Product: Hardwirs Sounds Sets IA dc LB.
From: Latter Sound Productions, 1341 ‘Westheaven Court, Tallahassee,
FL323ll]-SE-19. Phone: (RG4) 5T5-5551.
Price: $55 for "ll'PXsdISD-I Sysex disk.
Looks like everybody's jumping onto the SQ sound bandwagon. Coupla years ago you couldn't f'md a third-party company who couldfwould offer SQ sounds, and given the
quality of Enseniq SQ sound cards, there wasn't much of a
reason to consider entering that particular market niche.
Anyway, it's a given that if you've got one Enseniq key-
board, chances are you've got another Ensoniq keyboard sitting on the same keyboard stand. So the only question is what
fomiat to offer the sounds (“Excuse me, sir, what's the model
of your other Enseniq 1-:eyb0ard?"), and this year we're literally seeing an esplosion of SQ series sounds. And guess
why‘? Half of the Enseniq current keyboard line, at least the
affordable half (for those of us with mortgages) is an SQ
variant: if you factor in the 21-voice earlier series, well, all of
a sudden, it's become a market of entry: one set of patches
works with ‘I instruments.
This month we see how well the Herdwire sets work with the
SQ's. Interesting pads, a punnet square of bank and screen
sound locations, promotional sheets of other sound offerings,
OK, the usual documentation, and 5 sheets of sound description and modulation routings. Good docs, not the laser stuff
we'd ettpect for $65, but quite usable and very esplanatory.
I'll typically read the docs first just to get a handle on where
the programmer's coming from and where the sounds are
going before I load a set and begin dissection: "When all else
fails, read the owner's manual..."
Hardwire 1A:
The Roses: “Phat Boy" is a great Juno 106 anahrass pad with
a perfect low-to-mellow filter choke applied for warm fills
without taking over your mitt. “Bass-X" is a good starting
point for 21-voicers to hag a fretless sound without craving
the “fretless" espansion wave of the 32-voice siblings. “Alien
Pod" demonstrates how carefully you have to set flange
parameters (especially feedback!) in the effects section
before self-oscillation demonstrates how the dynamic range
of the SQ's is greater than your amp and speakers’ dynamic
range. This patch won't blow your speakers, as it's pretty
carefully sculpted, hut roll the mod wheel around a little bit
and you'll get some idea of the self-oscillation potential of
the effects DSP onboard. “Andromeda" is the definitive
“Forbidden Planet" sound wash: I can almost see Robby the
Robot motoring around with Leslie Nielsen in this one. The
obligatory Megawave program-as-dance-loop is represented
with “Killer Radio," although I couldn't find the 2 and 4: you
don't dance when you sit behind a B-3, so I wouldn't know.
A first: I eirtra drum kits. True, the SQ's give you 20 percussion kits, but consequently, nobody does drums. So there's
some personal interpretation of the BUS school, fusion, rock
and live kits represented. Nothing totally rad, but variations
on the top 20 programs (31-99} are welcome, as drum mapping is a bit more involved than the occasional tweaks we do
on ROM sounds.
The Thorns: “B-3 Pedals“ ain't: this is a Hammond Organ
sound again. “Real Rhodes" ain't: just another Flvl piano
tacked onto a mellow un-Rhodes wave. “Real Rhodes 2" is a
variation of “Real Rhodes"; a bit closer but no more convincing. “Studio EP" is “FM Tines" with a different reverb algorithm. “DX Ballad Split" has the telltale annoying bass tick
present when a VGA is shut down before a filter envelope
closes. The tick is desirable on certain B-3 patches for key
click: it's a pain in the arse when it shows up on other programs like “Pno,t'BassSplit" I and II, where the reverb
amplifies the annoyance to an tmusable point. Jazz Split 3"
has filter Fc so high the entire program hisses on keydown
and disappears when the envelope closes on key-up. “Additive B-3" is supposed to add an octave harmonic, but the harmonic is just flat enough that you'd bust the mod wheel
trying to get it in tune. The pianos (40-5 2} are disappointing.
Given, the original piano waveset is dated, but I've gotten
very credible piano emulations with a slow randomized
chorus to give the illusion of beating frequencies among the
2-3 strings of a single piano note. These improprieties can
certainly he edited out, but shouldn't be there in the first
place at this level of progranmting.
Hardwire IB
The Roses: “Blade Runner" is a cross between a filter sweep
and an amplitude envelope mutually complementing each
other into a muted analog string-muted brass pad. “Wind
Song" is a chiff flute with an attack tick brought in by foot
controller. “Ice Strings" is a string pad evolving into a sustained bell harmonic, “lvlartian Krybs." is a clavinet evolving
into a flute with flute volume tmder mod wheel control; the
mod wheel pulls one of the clav waves up a 5th at the same
time (“So it's not just a clever name, eh?"]. "Sail Away" with
an envelope tweak is the identifiable sound from the
songlcommercial of the same name. "Marimba" has reverb
depth under the mod wheel, “Finale Hit" is an Qrch stab with
a crash cymbal added at high velocity, lot of modulation routings for templates here.
The Thorns: The “Soprano San" still sounds like its parent
oboe wave, the “Bari San" sounds just like the “Tenor San"
without even an octave transposition to make any distinguishable difference. And as we all know, bari sakes are considerably larger (and heavier, marching band members) than
tenors, and consequently sound lower (scored a 4th lower), so
what gives? “Muted Trumpet" sotmds like a standard trtnnpet
through a constrictive HP filter, and editing filter parameters
doesn't help much (some things are only possible with eapansion waves, I guess), "Electric Violin" sounds like a loud
violin with effects. “Tympani," well, somebody change the
calfskin...
These collections represent a good starting point to hack and
tweak from, as there's good patches to use as templates.
Changing waves and simple but effective editing can give
some novel sounds: for enample, try "Martian Kryb:-t," swap
the transwaves for the clav and vocal ooohs, change the octave for the ooohs, and modulate loop points on those transwaves with the mod wheel and foot pedal, and you start to get
the picture. Not to gloss over the work that's present here,
I'm sure that quality time has been spent on this series: it's
just the sounds don't reflect it. It's hard not to hear the ticks
and hisses from some of the patches, and at $65, this is an
oversight. I loaded the collections into both my SQ-l and
SQ-2. 32-voice, and as with previous reviews of other wares,
they sounded identical.
This is a good first offering but seems a little pricey to me,
and with the time I'd spend editing out the undesirable ele-
ments, doesn't represent the value I anticipated. Still, ldll
sounds from Malvern will set you back $100, but you get to
keep the card. It's good to see the aftermarket enploding with
SQ sounds. I can't help but think this set was rushed to
market just a little bit too soon. Ensoniq has been accused of
doing that too (the VFX), so these guys are keeping very
good company.
F
#55
'C
-J.-as
-.——-
at
In the interim, I look
forward to Hardwire
HA dc IIB... —
.....
Bio: Pat Finnigan is a
service tech turned
musician who writes
secret messages in sequences on his EP.S's.
UPI‘-(RS8
Case: for
Enseniq
New available direct from factory (except in current dealer
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Trick Sh uffling
Sleight-of-Hand on the KS-32 and Others
Jefifetton
Somewhere between even eighth or sixteenth notes and even
triplets lies a rhythmic twilight zone, neither completely
straight nor completely swung. This "in-between" shuffle can
be heard on everything from Stevie Wonder's Superstition to
Lisa Stansfield's All 1-lrouna‘ the World to Dwight Yoal-tatn's it
Only Hurts Me When I Cry. Although nothing in the Enseniq
line currently offers the adjustable swing percentage found in
many drum machines, it's possible to duplicate the same effect
with a bit of editing trickery. I'll be using a KS-32 for specific
examples, but these general techniques should work on many
other Enseniq workstations. As in your owner's manual, the
"bank" and "screen" terms refer to the locations of certain editing functions, once you're in "Edit Seq,iP1'eset" mode.
If you play the sequence as it stands, you'll hear a bizarre
flanging effect on the upbeats. That's due to the original and
copy playing at once, which is a cool effect, but not what we
want. Erase the original E3 note on track one using the track
erase function (bank S, screen 3), restricting the erase range as
before.
Access the track shift function under bank 5, screen 5, and
press enter. Make sure "Track = 2" is displayed. Press enter
again and you'll be asked to set the number of clocks. Since, at
96 pulses per quarter (ppq), each 4,r'4 beat contains 96 clocks, a
sixteenth note takes up 24 clocks. To create a standard,
triplet-feel shuffle, we need to move the track ahead by B
clocks. Wily? Well, in a standard shuffle, the upbeats fall on
the third note of a sixteenth-note triplet. At 96 ppq, each triplet
note takes up 16 clocks of space, putting this third note 32
clocks from the first. Since our upbeats are currently 24 clocks
from the notes preceding them, they need 3 more clocks.
First, we'll need a simple pattern to experiment with. Find a
nice, empty sequenceipreset location, initialize it in 4,i4, and assign a drumset like “Latin Drums" (ROM 86) to track one. Set
your tempo in the vicinity of 90 beats per minute. "For sequencing drums, I find it easiest to play one or two parts at a time,
layering them on the same track as I go using the “record =
add" mode found on bank I, screen 1. For more editing
flexibility, you cart also play the parts on separate tracks, and
then merge them to one track when you're satisfied (bank 5,
screen 3). If you use this last method, be sure to erase or mute
the extra drum tracks. Play the kick drum on every quarter note
for two measures and play the snare drum on the backbeat (the
second and fourth beat of each measure). For the hi-hat part,
play straight sixteenth notes using two different keys. Start
with F3 (the third F from the left), then E3, then F3 again, and
so on, alternating notes so that the F hi-hat falls on every eighth
note, and the E hi-hat is on the "upbeats" in between. Now
quantize the whole enchilada to the nearest sixteenth note.
But we don't want a standard shuffle, so instead of +08, shift
the track by +04, which will put it smack-dab between normal
quantizing values. Technically, that's known as a swing percentage of 62.5%. You can merge this track back to track one,
and then erase track two, or, if you have room, keep the tracks
separate for later editing. You can't hurt anything by experimenting with different clock values, just remember that
shifting notes in a positive direction causes the notes to occur
later, or drag and a negative direction places the notes earlier,
or rushes them. If you shift by +06 and later wish you had
shifted by +05, just shift by -01. For an eighth-note swing feel,
just double all values.
.
It's more difficult to use this trick on kick or snare parts, since
you must identify every upbeat and play them on separate keys.
Non-dram parts are even trickier. Usually it's sufficient to only
alter the "feel" elements like hi-hat or shaker. A slightly swung
tambourine part, for instance, can do wonders to liven up a
stiff, quantized sequence.
This method of alternating the notes of the hi-hat part is useful
not only because it makes quick passages easier to play, but
also because it allows us to edit the upbeats separately. To
achieve the adjustable shuffle, all that's needed is to delay
these upbeats by whatever amount is necessary. This should be
a simple matter of accessing the track shift function and shift-
ing just that one note. But nooooool The current KS-32 operat-
This method of shifting only sections of a track can also be
ing system won't let you set a track range when shifting.
Instead we'll have to move that one note to a free track, shift
the track in time, and then merge it back to the original track.
used to lay back the snare drum for a realistic rdtb feel. Slightly
rushing the upper notes of a track while slightly dragging the
lower ones also sounds great in many situations. The same
techniques can be used to set ranges for the transpose function,
which is useful for re-mapping drums or moving notes of a bass
track so that they never fall below the low E of a real four
Access copy track (bank S, screen 1) and press enter. For this
example, we'll copy to track two. Set the track range so that
only the "upbeats" hi-hat note (E3) is copied. You could use
the arrows to set this range, but it's much simpler to use the
keyboard shortcut of playing E3 twice. Now press enter two
times to start the copying process, and then press enter again to
keep what you've done.
'
string bass. -t
Bio: Nashville-based keyboardist Jejffetton currently tours
with Liberty recording artist John Berry.
1S
Sonic Derivations - VFX-sds and SDs
Patch: Empire Bross
James Grate
Upon this occasion, I wish to divulge and possibly digress on
the topic of creating a brass ensemble within the realm of the
Enseniq SD series architecture. Let me introduce my latest
patch, EMPIRE BRASS. EMPIRE BRASS is a full blast yet
authentic sounding brass ensemble for the VFX-SD [and
SD-I). Go ahead and program it, play it, and then, if you
octave follow this pattern. There's no exact methodology in
the tuning of this table. I merely shifted each note a little up
or down, and based my decisions on how it sotmds. Once
again, the effect of this slight dc-tuning is subtle but, in my
opinion, important. You can solo just the trumpet in my patch
want, return and read the rest of this article.
by holding the Right patch select (PS) button. Play some
trumpet part and hear the authenticity gained by the custom
When I programmed EMPIRE BRASS, I was looking for a
full, distinctive brass fanfare sound that would live in a large
pitch table. The pitch table is only applied to the trurnpet, because I don't want all of the waves to be tuned exactly. In the
complete ensemble, the trumpet is not exactly in tune with
the other homs, adding another realistic edge to the sound.
concert hall. An important goal of mine was to maintain that
critical realistic edge, hence no sawtooth waveforms at all.
To obtain the basic sound was not difficult. I layered several
individual brass instruments together, i.e. a trumpet and a
French hom. Then I added the Uni-Brass wave to thicken the
sound without losing realism. Finally, I added the Planet-X
transwave to add some spit and brightness to complement the
trumpet portion of the brass ensemble.
For each of the remaining oscillators, I applied a touch of the
NOISE modulator, but with slightly different rates. In
general, almost any wind instruments should have this subtle
variation in pitch. I panned the different instruments left and
right a bit to create some stereo spread.
After piling all of these waves together, the sound I was looking for started to take shape. Still, this was only the beginning. What I needed to do was concentrate on each individual
sound and do everything I could to increase its realism. That
would further increase the realistic effect of the whole ensemble. One of the strongest components of the ensemble
As I stated at the beginning, I wanted a brass ensemble that
was in a big concert hall. Thus the choice of CONCERT
REVERB. Some people might think I'm applying too much
reverb, but I would have to disagree. It really sounds like the
instruments are being played in a hall as opposed to dry instruments having some reverb artificially added. As mentioned earlier, the Right PS selects a solo trumpet, the Left PS
sound is the trumpet, so I fhst concentrated on that element.
Soloing the trumpet wave from the crowd, I began to add
subtle inflections to it. First, I added a bit a random pitch
wavering to the sound. A human playing a trumpet will consciously or unconsciously vary the pitch a bit in the course of
sustaining a note. I accomplished this by applying a bit of the
NOISE modulation sotuce to the pitch page. This is a subtle
but important detail.
Another feature I applied to the trumpet wave was to give it a
NON-equal tempered tuning. Brass wind instruments are, by
nature, not tuned to equal temperament. The physics of
resonating a twisted metal pipe lend to what's called “pure
temperament." What this means is that there is not an "equal"
space between each of the twelve notes in an octave. Skilled
players can, with their lips, bend the pitch to approach equal
temperament as they actually play. Anyway, the point of this
is show that a realistic trumpet sound should not be perfectly
selects a solo French horn, and both select a bright trumpet
section without the French hom. Pushing the Timbre slider
up increases the brightness of the instruments.
Although there may seem to be a lot of detail and work in a
patch such as this, each detail is logically thought out and
added as I proceed from initial concept to the final patch. My
basic approach is to start with the raw waves which will be
the foundation of a sound, then slowly add more and more
subtle details to fine tune the realism of the sound. Overall,
these little details add together to form a more authentic
sound. This relatively straight forward method is what I do to
create most of my “real sound" patches. Anyway, I hope this
article gives you some ideas to create or improve upon your
own patches. Thus concludes this installment of Sonic
Derivations.
equal-tempered.
Enter this One-Octave of pitches, then select Calculator and
EXTRAPOLATE from C4 to B4, making every octave follow
this pattern. an
Therefore, I use a custom pitch table for the trumpet wave.
I've included a portion of the Pitch table that I use (see Fig.
1). On the Select Voice Page, select EDIT PIT-CH TABLE,
and enter the octave of pitches from Fig. 1. Then select Calculator and EXTRAPOLATE from C4 to B4, making every
Bio: Jim Grote offers a disk of 60 of his original lr'FJ{iSD
sounds — see classifieds. He's been programming and playing synthesiaers for years. He is fascinated equally by science
and art, thinking and feeling, programming and unbridled
jamming.
‘
Fig. 1 Custom Pitch Table
Annual
Rey
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13
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SD 6: VFX Frog: EMPIREBRASS
Actual
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Rey
F4# = Fail
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C4# = Gail
A4
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A-‘lit ='
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By: Jim Grate
and
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SS
3
NOTES:
Moving Timbre Slider up brightens sound.
Right Patch Select solos trumpet.
Left Patch Select solos French horn.
Both Patch Selects gives bright trumpet.
5E_LECT VOICE
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WAVES
Wave
Wave Class
1
2
3
4
5
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Synthesizing the Clctvinet
Kiri: Siinkard
acoustic version of the clavinet played in a period movie, so
I’ve recently started a new hobby -— collecting ancient musi-
it would seem that it's been around for a while. The Hohner
cal instruments and related devices {l960s -— 19805). Among
my recent acquisitions is a Hohner Clavinet model D6. I've
heard a lot of different clavinet patches from commercial
sources and in the Hacker, but they were all artistic interpretations — not one of them was a realistic imitative patch.
So I hooked up my Hohner and my SQ-30 and VFX-SD all
into the same amp with no equalization so that I could do
some in-depdt A.-"B type tweaking and adjusting to get a set of
imitative patches that were as accurate as possible. It was a
fairly tedious operation matching filter settings, envelope
decays, etc. across the keyboard, but I ended up with three
patches that can be substituted for the real thing, and one
reasonable facsimile. So this becomes my first attempt at a
"quadra-lingual" synthesizer article.
D6 version isn't acoustic, but electrophonic, meaning that the
physical vibrations of the strings are converted into electronic
signals by pickups (magnetic in this case, like with most
electric guitars). Very roughly, it's similar in size and shape
to most Enseniq instruments. The ones that I've seen in
music videos and in most advertisements have wood-grained
hinged top panels and four screw-in legs that can be stored
inside the instrument. Mine is a more recent model, having
four rubber feet and being covered in black vinyl panels,
black padded panels, and black-painted metal panels, making
its appearance a bit closer to that of Ensoniq instruments. Its
keyboard has one note less than the usual five-octave C-to-C
keyboards common on synthesizers and organs. The Hohner
has F as the lowest note and E as the highest.
Clavlnets and Sticks
In case you don't know, the Hohner Clavinet D6 is an electrophonic descendant of the clavichord. The clavinet is just
basically a small, portable version of the clavichord. I saw an
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Decades ago, due to its compactness, the clavinet became a
popular rock and jazz band substitute for general harpsichord-type applications, and its own unique sound also made
it popular on its own merits. As I first listened to mine, I was
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struck by how similar its sound is to The Stick —- a very
close relative of the electric guitar. I looked inside, and sure
$II—
|
enough, the strings are vibrated in almost exactly the same
way as The Stick — when a key is depressed, a small rubber
bumper attached to its bottom side pushes a string down
against a raised metal fret near the end of the string where its
timing peg is, causing the length of the string between the fret
and the bridge to vibrate. A Stick player taps the strings
SD St VFX Prog: CLAVINET D6
By: Kirk Siinkard
NOTES: For maximum authenticity, set velocity response to
"soft."
WAMES
were
'
Wave Ciaaa
against its fretboard with the tips of his fingers.
On the short length of the clavinet's strings, between the frets
and the timing pegs (undemeath the keyboard), the strings are
heavily interwoven with yarn which quickly damps the whole
strings when the keys are released (The Stick uses a piece of
felt above the first fret for this function). Unfortunately for
my purposes here, the Hohner Clavinet D6 has a four-band
equalizer with each band having its own onfoff switch, plus
two guitar-like pickup select switches to choose different
combinations of its two really long pickups. Figure 1 shows
the primary control panel, which is located to the left of the
E
m
-
Delay
I
Start
'
o|=|=
UH
T
HOHNEH
.
Carma": Q6 E
: PITCH
Semitone
Fine
Pitch Table
PITCH MODS
MODS FIC
MOOAMT
Glide
El"-I'iJ'1
LFO1
"CLAY," newer types have the "CLAY" and "CLA'v'.VAR"
waves. The “CLA'+I."v"AR" sounds brighter and more ap-
propriate for a general clavinet patch of this particular kind,
i
1
+0
+00
+00
Peak
Break 1
Break 2
51-Istslfl____ __
-Q1111 _1a___
Attack
Decay 1
Decay 2
Decay 3
-|-+.-.
_FI.'il€.a§E _ _ _ _ _
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val Curve
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DD
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Mode
Cutoff
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PERFORMANCE
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thought I would settle for four that simulate typical, some-
actual Hohner Clavinet. On the SQ-SD, this is called
1
Break 2
' FILTE El 1
Mode
Cutoff
HBO
MOOSCFI
MOOAMT
ENV2
The clavinet also has a mechanical slider knob to the right of
the keyboard which is used to apply a big macho strip of felt
to all the strings close to the bridge (like where a guitarist
would mute his strings with his hand}. When activated, this
makes all the notes very short and plucked-sounding. This
combination of switches, including the mute, actually gives
120 sotmd variations (and that's not counting the volume
control or the silence when all equalizer switches are off).
waveform that appears to be a single-cycle sample from an
___
Octave
_ ' ‘ two switches give the
user a choice of fom basic tones to send into the equalizer.
what bright settings on the Clavinet -—- the settings that most
closely match the Ensoniqs_in tone color. This way, you can
tum the filter cutoff frequency(s) up or down a little to simulate other more or less bright sounds. Enseniq has already
done the hardest part by supplying most of their synths with a
1
EHV1
SRO-2 Shape
select between the
treble pickup, the bass
pickup, or both, and
chooses whether or not
they are in phase with
each other. So these
Rather than trying to do 480 patch sheets for this article, I
'0
Di
.-I|.—I|—I|.—l.
MOO _MIIER
SHC-1
SHC-2
SFIC-2 Scale
keyboard. The volume
slider panel is next to
Waveforms
DD
D00
Initial
The pickup switches
TREBLE
SELECT VOICE
1
Clav."v'ar
Waveform
_
it, closer to the player.
BRLUANT
i
-I
--
-Ir
EFFECTS — None
|
|
sure am glad that I don't mal-ce patches for a living. Both the
filter and amplifier envelopes have short release times to
simulate the quick, but imperfect damping of the clavinet
plus it's the closest match for the SQ-80's waveform.
The SQ-B[l‘s “CLAY” waveform produces a tone comparable
to the Hohner D6 with the pickup select switches in l.he “CH”
position, and only the ”BRI]..LlANT" switch activated in the
equaliser controls. ‘The "v'FX's ”CLA‘lr'.VAR”' waveform
sounds like a Hohner with its pickup switches in the “DA”
strings upon key release.
Miscellaneous
The Hohner Clavinet has a keyboard feel that l found to be
setting and, in this case also, with only the “BRILLIANT”
surprisingly close to most organ and synthesizer keyboards.
switch on in the equaliser. If you change the VI-'*'X‘s or
SQ-1's waveform to “CLAY,” it sounds as if you have
changed the equalizer to have only the “SOFT” switch activated. On the down side, these waves don't change their
tone across the lteyboard in the quite the same manner that
The main differences are that Hohner Clavinet keys offer just
a little bit less resistance when you play them, and you can
feel a little of the string vibration when you hold a key down,
especially with the lower notes. So basically, playing one of
these patches feels and sounds very close to an actual Hohner
Clavinet D6, except that here you are missing 4 notes on the
high end of the keyboard, and you have 5 extra notes on the
bottom. Keep in mind that in many popular recordings, the
the Hohner does. Also, the Hohner has a more complex attack
that [haven't been able to exactly duplicate here. And the
Hohner changes its waveshape slightly as it is sustained (in-
dependently of brightness and amplitude decays). But don‘t
worry too much about these differences, they're not really
terribly significant. I never even realised they existed tuttil I
started doing these nit-picking AIB comparisons.
clavinet gets some treble boost. To get this sound, just tu.n1
up the filter cutoff frequency{s) tuttil it sotmds right. If you
mellow out the sound a little by lowering the filter cutoff frequency value(s), you can also use these patches in applications that call for a Stick. Since the D6 has a single output
As for the ESQs, we'll have to come up with a substitute for
jack, these patches are all panned to the middle of the stereo
the “CLAY” and “CLAV.VAR" waveforms. [figured that a
field with no pan modulation. On the SQ-1 and VFX patch
logical starting point would be a narrow pulse wave — the
real thing, not the questionable
“PULSE” waveform supplied with
this synthesizer {see pulse width
modulation article in Issue #85).
Notes: For maximum authenticity, set velocity response to “soft.”
So the “SYNC” function is applied
1
ante
1
to oscillator 2 which is set to a
‘\"*'l‘~“'E
-_-- _ _._. |_|=o
so-1:2 a KS-32 Prog: CLAVINET us
“SQUARE” waveform, which ends
Salecwulca
Wave
Glass
up giving us a real variable pulse
wave. To make it closer to an
authentic clavinet tone, here it is
combined with the “KICK” and
Wave
Delay Time
Wave Direction
‘Start Index
“V0lCEl" waveforms.
1Flestrlt Decay
Filters and Amplitude
I used the VFX,lSl)l's and newer
SQ-‘s two filter sections together
as a single 4-pole iowpass filter so
that it would be easier to mal-te all
the patches as similar as possible
(the ESQs and SQ~3lll have this
filter configuration only}. The
VFXISDI and newer SQ’s velocity
responses in the envelopes are set
to linear, not only because the
ESQs have only this type, but also
because the actual clavinet responds to velocity in a linear
fashion. Envelope decay times
were adjusted separately for high
notes and low notes, first for the
filters and then for the amplifiers. I
HOUSE Fl
MODAMT
-—-
HBD Ptch Track
Glide Tlrne
EIW1
Initial
Pealt
-
MODS FIG
_
Wave
Hestart
_
\-
Semltone
Fine
EHV1
LFO
MODSGH
MDDAIUIT
Glide
Glavfluar
tllltl
-
|=-_|rcH_
'OC1Ia"ll'E -
LFD Speed
Noise Hate
Level
Delay
Sign
S
Waveform
FILTER
S Filter‘ 1
Dfll
1
+0
+oo
+0-D
+ll-D
+iliJ
Oil
._
Filter 2
i_FC1 cures
‘ENV 2
l FG1 KBD
i MDDEGH
FOE Gutoll
ENV2
+55
FG1MClD-FG2
~04
On
‘reasen
initial
Pealt
Break
Sustain
Attaclt
Decay 1
Decay 2
Fiolease
‘hlel-Level
‘lfol-Attaclt
Vol Curve
Mode
KBD Traclt
OUTPUT
VOL
Boost
MGDS HG
MGDAlv'l‘l‘
KBD Scale
Hey Henge
ENV2
1_._..
lnltlal
Pealt
-
-h-
Break
Ifiustain
Elrealt
lllttaolt
Decay ‘E
Decay 2
Ftelease
;§Vel-Level
'il'e|-Attaelt
Val Gurue
Mode
Attael-t
Decay 1
Sustain
xao Traci-t
_
19
1
E9
E-ill
21
21
22
EB
Decay 2
Flelease
‘vial-Level
'u'el+lllltaclt
Val Curve
Mode
no
25
KBD Traclt
+16
___I
I
Q9
49
on
on
BE
BE
on
14
so
DD
Linear
Norm at
+3?
-o4
Veloc
-D4
D32
_ nlooalur
On
Dif
1
2Lo
2Lo
D32
+55
By: set Slinlcerd
DD
DU
Linear
Horrnal
_Dutput Bus
Priority
Pan
-Val window
1
H9
Elli‘
D11‘
4.
+1 T
G2-G?‘
Dry
Medium
oo
one
EFFECTS — None
sheets, notice that the outputs are routed to the dry bus and no
effects are specified. Like with a real clavinet, you have to
choose your own effects (if any). These patches are designed
to be very accurate and usable as they arc, with no modifications, but I like to think of them as a place for you to start in
making your own custom patches. lvlay you clav long and
Bio: Kiri: Slinicard hangs our near Denver, plays synthesizer,
and collects and restores vintage rock staff. His favorite
color is ultraviolet and he’ s the sarne age as Marcia Brady fa
year older than Kevin Arnold).
prosper.
Cl
a_I_w
lvlod You Later, good ‘oi Kirk. -
../ \_
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The enstmiq keyboards are the most fun keyboards on the market !
But YOU have to know all the tricks and shortcuts to havefan. When you're havin gfim you
excel at whatever you're doing! You already know that . . . . . .
So ask yourself . . . . .
writer ,,.,,-wars‘
-=~
_...... (‘Cl
F
???
mod;-decay
H edit
ASR-10
.
$119.95
TS-10
.
KS-32
.
$119.95
$119.95
$39.95
Ts-12
.
. $119.95
\
X
Herr
Hurt
M M,
Why Cram the Books‘? I-lave Fan I Watch TV !
VALUE: Even the KS-32 set is over six hotus of instruction! Ifyou follow the instructions it should take at
least ten hours to complete the tapes! Most of our customers are saying it takes 25-so hours to complete the ASR-ll) set!
That's $11.95 an hour for detailed instruction on POUR keyboard { Remember you can rewind and watch it again . . . try that
with lessons!) ASR-IBIS hours, TS-121"? hotus, TS-10!’? hours, SD-lid U2 hours. Get the most out your keyboard by really
getting to know it like a friend Each Tape set will take you from novice to expert. You'll be answering questions you couldn't
ask before! All of the videos use multiple camera shoots. You sec a concept and the goal. With the goal defined, you'll be
walked through to the solution step by step, button by button.’ With the use of analogies, charts and CLOSE UP shots . . .
you will master your keyboard (We even cover common mistakes and the workarounds!)
Of Course we say this kind of stuff but listen to some other people . . .
Music Stores After Using and Selling Our Tapes
"I had a record sales month in December and I owe a lot of it to these tapes" Scott Laythem lvfclvlurray Music St. Louis
Customers after purchasing the tapes
"I learned more in the first hour of video than I did in the first 30 days, your contmtutication skills are incredible Rick!"
Dr. Jack Fowle Science Adviser U.S. Senate [TS-ll] owner]
"If these videos hadn't helped me, my next call was to Dr. Kevorkian! "
Satisfied Customer that wishes to remain anonmous & alive! [SD-1 owner]
"In the first two hour tape I realized the real power of what I own, I can't wait to see the rest! Thanks”
Dave Mathis Liverpool, l'il.Y.. [ASR-Ill owner]
Try Our New Number . . . [800] 687-1607
Call or FAX Marifyn today to place your order !
_,_
-|.
covert videos s1s ealtl-3ilsl.tIte144 roclnvalhtexae racer [z14]rzz -|so1 fax [214]i~"22 1404
-- -
Letters fur The Interface may be sent tu any uf the fellewing addresses:
I.l.S. Ivlail - The Interface, Transuniq Hacker, I-'-lll.'?. SW Upland Dr., Pertland, UR 97121
Electrunic mail - GI-inie Netwurk: TRANSUPIIQ, Cempuflerve: 'i'3Ii'.EIl,3353, Internet {via CS}: '[email protected]
This is prebably ene ef the mest epen ferums in the music industry. Letter writers are asked tu please keep the vitriul te a minimum. Readers are
reminded te take everything with a grain ef salt. Resident answer-man is Clark Salisbury {CS}. Letter puhlieatien is subject tu space censideratiens.
T.H.:
I knew hew much yeu guys like getting ASH tips
{and I knew hew much I like reading ‘em}, se I
theught I‘d send aleng twe mere that I read en
the EPS Mailing List ef Internet. But rather than
me paraphrasing it and taking all the credit fur
the ideas, I‘m including the [edited] Intemet
message itself, aleng with its rightful auther:
“Frem: [email protected]
where I created presets and nu lunger use er want
them present [I den't want te slip and hit ene ef
these by accident while perfemting). New I can‘t
get rid ef them ether than te everwrite them with
Best regards,
Iesper Eiummesen
"safer" presets.
{CS - I'm afraid I’II have re piead ignerance en
this ene; I werit aimest entirety in the hfacintesh
werid, se I have my ewn set ufprehiems te deal‘
Luuking ferward tu the next — and every — issue.
with. {I de Itnew, however, that the ASR-Iii is perThanks!
Gerry Leune
‘iiicteria, Mlti
[email protected]
"Well since we are sharing seme tips and tricks I
theught I weuld threw in ene I just figured eut. It
"Must peeple edit sample end puints befere truncatien {sample start is usually set perfectly by the
seund exceeding the thresheid). Assume yeu
have a 4-secend seund and yeu are manually inching up the end peint te just the right peint
This takes a lung time and requires listening tu
the entire sample. I have ceme up with twe setutiens fer this. First, while helding dewn the reet
key, use the pitch bend wheel te speed up the
sample until elese te the end and then let it fail te
nermal speed. This can be used as a ferm ef
scrubbing. [I rarely use pitch bend, se have even
centemplated changing the glebal bend range te
a higher value.)
"The secend and better way ef truneatien is te
meve the start peint instead ef the end peint.
Repeatedly hit the key while siewly meving up
the start peint. When nu mere seund is heard
{make sure net tu lese any reverbs) then yeu are
at the true end peint.
Serry, I hnew ef ne way te delete presets ence
they're created. l"ett cetdd, ef cettrse, re-create
the hanhfiem scratch, then re-save it, hat I den’t
knew if yea'd find this any snicker than rewriting the presets as "safer" versiens._i
Helle Clark!
Fer the Hacker: Helle hackers!
I just received the Feb 4 External Cemmand
Sp-ecificatien fer ASH-1|] at nu chargel Thank
yeu Enseniq! The SCSI page was very interesting te read.
Pm very tired ef dealing with fleppy disks and
siew data transfers via MIDI. I'm sure all future
Advanced Sampling Recerders will have a SCSI
interface (I{2{l!Ili} has}. MIDI is tee slew te transfer all the infermatien we users require. SCSI
will be the future MIDI!
“New just arruw tu the sample end screen and
5!lMHa cemputer with le-bit Seundblaster card
drep the slider all ef the way dewn and it will
[I think (er hepe) it is teday's PC standard).
What kind (medel and brand) ef SCSI interface
adapter {ISA} de I need te cunnect te ASE-ID?
te listen te a millisecend ef the seund te see if
I'm passing year Ietter en re Enseniq - I st-tspect
se.-neene there wiII have a pertinent cumment er
twe.j
Qaestiuns: 1) Ijust heught an IBM PSI I IISEDXZ
autematically set te the start peint yeu had set.
Then gu hack tu the start peint screen and clrep
the same back te II with the data slider, then truncate. This is a quick way because yeu enly have
manentiy set tu SCSI ID 3).
{CS — Thanits fer the ceei tips!‘
pertains te sample editing and at first seems
ceunter intuitive, but werks much better.
(Intemet Email: [email protected]}
2) What SCSI address {!]~'i'] are ASR-Ii} and my
cemputer werlting en if I have this adapter?
{Enseniq - Ij Unfertanateiy the anestien is nut
what brand cf SCSI interface shut-dd yea hay, hat
what cerdd yea de I)‘ yea had a SCSI interface en
year PC. and the answer cnrrentiy is - nething
with the AER-Iii. We Itnew ef nu su_Il'ware which
sttpperts any type ef SCSI cemmanicatien with the
ASII-Iii. Sampieltisien, frem Turtle Beach, eniy
st-tpperts MIDI transfers ef wave data. Perhaps
yea readers shettid centact them and Iet them
knew that yea wetdd Iihe tu see that package stippert SCSI data transfers in the ftttare. Dues
anyune ettt there Irnew anything that we den’t
blew?
2) The ASH-Id is permansntiy set te SCSI ID #3
and yeur ether SCSI devicescan he set re any ID
number ether than that.
3) See aheve answer.
-II] Perhaps Gary wiII - he'II have te answer fer
himseI__t".
5) Unfertanateiy, flepticai drives are censiderahie
mere expensive and censttme mach mere pewer
than cenventienai fleppy drives. They are net
necessariiy ahie te suppert the Enseniq dhiz fermat, which is net IBM cempatihie. We have ehviettsiy Ieeited inte them, hat cannet suppert them
ttntii these issues are resuivedtchanged, which
seems anIiI:eIy._,I
there is an attack instead uf the entire sample
multiple times. - Matthew"
Heat tips, I think. Hcpe yeu can use ‘em in the
Hacker! I checked with Matthew and he says, “I
am glad that yeu enjeyed the tips. I myself was
quite surprised after I tried them. It seemed se
ceunter intuitive te he werking frem the frent ef
the sample if I wanted te clip the end, but it
tvurked great. Tltttnl-ts fur sending it eff tn Tran-
seniq, as new mere peeple will he able tu use it.
Regards, Matthew.“
Itnd as leng as I‘ve gut yeur ear... {hew many
times have yeu read THAT befere}, I have a
questien: dees anyune knew hew tu "uncle" er
delete presets frem a hank, etttside ef setting up a
whele new hank? Once they're set up using
“CREATE PRESET" they seem te he there
ferever. I have several live perfermance hanks
3} Will cempanies ef the “near funire" suppert
me with seftware fer this eenfiguratien? As I understand {ef the External Cemmand Specifica-
Helle Transeniq Hacker!
tien) SCSI cemmunicatien is very similar te
timateiy, satisfactiun, I have finished 'iIersiun I uf
Seundliert. Wliat dues it de'l Seund‘!-'ert is a cenversien pregraru that transfurrns Wave St. SampleMisiun files inte Ciiebler’s ferrnat and changes
MIDI. Suppert fer SCSI-MIDI sheuld be easy te
implement! Cemments by seftware cempanies,
please. [Any Sequencer vendersf}
4) I like Gary Giehler‘s Enseniq Disk Manager
very much, but fleppy disks are tee slew fer buth
me and my ASR-Iii. Hew ahuut an Enseniq
SCSI-MIDI Manager‘?
5) ‘Wlty net replace new ASE-Ii} and the new
TS-1!} fluppy disk drives with fleptical disks
{IIMB en a 3.5“ special-disks}? Dues any hacker
reading this (er Enseniq], have experience ahuut
this?
After a let ef hard werk, frustratien, and, ul-
Wave Files inte Sample‘visien‘s femiat. In cenjunctien with the Enseniq Disk Manager, yeu can
recerd and edit seunds and then create diskettes
all en yeur PEI This weuld be useful fer any
sampler ur lteybeard that reads Enseniq disks. he
a TS-Ill ewner, this has pruved especially useful
(new I can held eff purchasing a dedicated
sampler... at least fer e little while}.
Currently, I am distributing SuundDemu which is
a restricted versien ef Suundhiert. SenndDeme is
freeware while a registered versien uf Suund‘v'ert
22
l.0 is $15.00. Please feel free tn cepy and distribute SnundDeme. Initially, yeu can get cupies
ef SeundDemn en: Eagle Nest, (401)-353-3359 my faverite lncal beard; Seund Management
banks. I didn't lind any pregram buth in the
public demainlshareware and in the cemmercial
area.
Regards,
BBS, {T03}-949-E434 — my faverite audiu beard;
CempUSA, {#01}-S23-9255 — my favuritc free
heard, {except if it's a tell call).
Re tu Rebert Plutkin in TH I05: I ceuld install an
FTP site fer SQ seunds, if I get seunds te stere
If yeu have any preblems finding it, yeu can
Thanks in advance!
Martin Ilrwaleck
email me at [email protected] er leave a
message en MlDILink er MIDI-l*~!et. Happy
music making!
semewhat unlikely in this case as US vl.l5 werks
fine‘?
lee Santactece
MlDILink
and distribute.
{Enseniq - We have had ether reperts ef this hug
and have identified the prehlent. We expect tefix
it in the next release. Stay tttned.jl
[email protected] 1 .iaee.tuwien.ac.at
‘Iierma, Itustria
Dear Hacker,
Tim
II'~ITEiRl'~IET:tim.derc [email protected]—enest.cum
{CS — Again, I have te heg ignerance fI've never
tried Iecating RAM cards in Austria). I'm net tee
sure Enseniq will he jumping at the chance te
ICS—Ceel.j
tell yeu where te huy preducts that are campsit-
[Enseniq - Seundr very interesting. We'll have
tive with their ewn, hut yeu never ltnew; I'll pass
yeur letter aleng just in case.
te leg en and take a leek. Thanirs fer the sappertI,l
Dear Hacker,
I weuld leve tn hear frem sumeene whe ewns a
KS-32 and uses the Galaxy librarian with it fer
setmd sterage, preferably sumeene whe runs
Galaxy en an It'll’ Mac. I have a Centris {Quadra)
660 AV and have been degged fer menths by
I sent a tape and pestage te Clark tn hear a deme
he made en his TS-I0 abnut twe menths age. D-h,
Clark, where eh where are yeu?
Geerge Finiaie
Wiimingmn, Califernia
There are puhiic demaintshareware pregrams
fer upleading and dewnleading system exclusive
data. The pregrams I'm familiar with treat sysex
as a generic data type, se I den't Itnew if yeu'll
find anything specifically designed te allew yeu
te re-arrange SQ seunds inte new hanks. If yeu
den't mind feregeing that capahiiity, then ene
pregram yea might leek fer is semething called
"Gall!" (I helieve}. Yeu sheuld he ahle te find
this in ene ef the user greaps, er en ene ef the
{CS - Geerge, I apelegize fer the delay. We just
finished seme majer remodeling, and several
things had heen misplaced, including yeur
eriginal letter. Iiewever, I sent the tape aleng
aheut five weelts age; se if yeu haven't received
it yet, please let me Irnew, and I'll get yeu
anether cepy ASAP-I
what Spp-:31’ te be framing errers. The Opcude
and Enseniq tech lines have dune all they can!
enline services {such as CempuServe_l.,1‘
Te: Transeniq Hacker
{Enseniq - All we can e_tfi’er te help yeu is that
Recently I cuuldn't get my ASR-lll tn beet upl I
Call cellect 303-443-620'? (evenings MST) er
email (Internet) te: [email protected]
these cards are 38-pin I‘l'l'tCanen memery cards.
‘We den't ltnew ef any cempatihle cards, hut h’ a
card claims te he ITTICanen cempatihle it
sheuld werlc. The cards are as expensive as they
are hecause we are charged a high rate fer them.
believe it was "ERROR 003 REBUUT‘l" Anyway, after trying all my US disks, I tuuk the
Thanks!
Iee Islet
{CS — I've used Galaxy en a Mac llci fer quite
seme time witheut'tee many prehlems, su I'm
afraid I den't really have a let ef insight {the
enly real ditf"'tcu.lties I've experienced eccurred
when trying te u.se an elder versien ef Galaxy
with the newer Mac," since upgrading, these
We pass them en te ear users at little ta ne preflt
hecause we are sensitive te their price.j
l.__I_-_“Iii
§'1-I
Hey TH,
heard that yeu can experience prehlems if Ap-
Get my cepy uf the v2.01 US upgrade yesterday.
I haven't tried the audiu tracks feature yet, genna
de that tuday, but I did run inte semething very
pletallt is active, hut I'm net netwerized, sel have
strange yesterday.
prehlems have pretty much disappeared}. I have
1
Maybe yeur questien has already
been answered —
On A Disk
Ever hunt threugh that eld stack ef Hackers
leuking fer that reference te Berneuili drives
My main werk drive is a tzr-tau Quantum
SCSI. I beet eff ef this drive and leaded the OS
— sumewhere in the letters eelunm? By using
the Back Issue Index yeu can usually find the
article yeu're leuking fer — but letters are
different. Well, lucky yeu, here's yeur selu-
untu it. I alse use a Maxtnr 213-MB drive as a
backup enly drive. I backup the entire I2’?-MB
drive ente the 213-MB drive fer safety until
there is a Digital IID backup selutien (pleasel). I
tien — electrenie files ef raw text frem the
last feur years‘ werth uf letters culurnns — all
ready tn be pattern searched fur whatever yeu
want. (DDS fermatted, 'I20k, 3.5")
he direct experience with this.
If any ef eur readers has a clue as te what might
he geing en here, perhaps they'd he hind enettgh
te share whatever infe they may have..._l
[Enseniq - We have a hard time helieving that
Elpcede can’! help yeu, hut we will try te leuh
inte this seen. Clarlt is right - leaving IlppleTalI:
en ceuld preduce this hind ef errer. We'll call
realize that this type nf backup dees nething fer
fragmentatien, but lt is still a backup and it
1990 (Issues #55 - #615), 5181:
werks. I have had te use it.
1991 [Issues #67 - IFI3), 310k
yeu when we have set up a test.,1‘
Dear Haclterl
Here's the preblern: I attempted a new backup
with DS v1.01 and abnut 5 minutes inte the
backup it freezes every time with CREATE
De yeu knew ef any secend seurce RAM cards
fer the SQ series? The eriginal Enseniq cards
cest abnut $150 which seems rather expensive
NEWDIRECTDRY en the display. It then requires that I pewer eff and en tu rebeut the
ASR-I0. Hnwever, if I beet up with US vl.ti and
attempt the same backup, it werks perfectly fine.
-|||—i-Iii;
Interface
cempared te RILM cards advertised with ene
batik ef seunds fer $99.
What's happening here? I alse tried rebneting
fmm the OS v2.01 Flnppy, fermat the backup
SCSI drive and then ence again tried the backup.
Itnether questien: I'm leuking fer a pregram en
a PC fer up- and dewnleading seund banks.
Same results, it freezes up again.
Anuther nice feansre weuld be tn be able tu
greup seunds frem different bank files inte new
Is this seme new ubscure preblem with the new
US er am I deing semething wrung which seems
23
1992 (Issues #'IEl - #90), 356k
I993 (Issues #91 - #102), 416k
Cine disk: $10. Any 2 disks: $16.
any 3 disks: $21. All 4 disks: $25.
{Pfices include shipping]
i
Transuniq Hacker
_
I
I402 SW Upland Drive, Pertland, DR
W221 nr call I-B00-543-B925
{I-503-225-943? nutside the ILS.) and be
ready with yeur ‘v'isa ur Mastereard, name
Sc address, and yeai-(s) wanted.
ILSR-10 in fer repair... hence, my cemplaint
begins.
I teek my ASR-I0 tu Audie Electrunics in Dallas, TH. I ehuse this particular shep because it
was listed under A.utheriz.ed Enseniq Repair Statiens en the list Enseniq included with the
ASR-10. The man behind the desk prucceded tu
Silt? I werk with a beach-'RdtB band and ceuld
use a geed cellectiun ef nrgan patches fer my
SQEIB2.
D.‘iI.Ienes
PC! Hex I303
Cedar Bluff, ‘tlirginia 24605‘
cepy my sales receipt fer warranty purpeses and
ICS - Well, the beck’ s en the back burner fer
then asked me if I wanted Prierity Warranty. He
new, while I cencentrate en prejects geared
said that it weuld cest me $25 and that heught
me the right te have my ASR-10 lucked at in
tlnee days. He went en tn say that if I didn't pay
mere teward making my mertgage payments. I
will keep yeu pasted, theugh, if this status changes.
the S25, he guaranteed that ne ene weuld se
much as leek at it fer 10 days tn twe weeks. Se
even theugh sumeene might be free te inspect it
suuner, they will net, as a punishment tn me fer
net paying Audie Electrenics S25.
Everyene I've spnken tn has said that it was unfair. My brether-in-law is a lawyer and he said
that what they are deing is an unethical business
practice. I weuld like tn hear yeur cnmmcnts, but
especially cnmmcnts frem Enseniq since they
upgrade - Ijust heught my TS-I2 in January
I994. De I already have te fnrk ever anether
$99.95 fer this upgrade?
Dees this upgrade include ability te readI"W1'ite
standard MIDI files? Can't believe the TS-I2
can t de this.
Finally, why isn't the details ef the SysEx
sterage fer sequences net decumcnted?
Thanks,
Rubert I LuSasse
Chicagn IL
I knew ef ne SQ cards fecused specifically en
ergan seunds. Hewever, Enseniq recently anneunced the release ef EX-4, a card centaining
the seund set firem the KS-32. There are prebably
mach an upgrade, in my epinien, as a "sidegrade" - it will net impreve the perfermance er
20 er 30 ergans en this card, as well as a ten cf
ether keybnard-eriented stttff; yeu might want te
check it eut.)
change the specs efyeur TS-I2 in any way. What
it dees de is allew yeu te use yeur TS-I2 as a
Gill’ seund seurce; the TS can be cenfigured te
{CS - Ne, yeu den’ t. The GM upgrade is net se
respend te I I5 MIDI channels, and te select the
cerrect {GM cempatible) seund when it receives
a pregram change message frem an external sequencer.
Dear TH,
recermnended this cempany en their list.
I have an SQ-1 keybnard which I am very happy
Its yeu all can clearly see, Enseniq is net tu
blame in any way that I knew ef. As te the
ASR-I0, all equipment frem space shuttles te lit-
with, but I was wandering what upgrade paths
if yeu already have a significant library ef
are available te me and what the cests weuld be.
Grid-centpatible sequences, er are planning en
creating GM-cempatible sequences fer ene
reasen er anether, then adding GM capability te
yeur TS may make sense. Hnwever, ifyeu are net
It seems mest patches advertised fer sale in TH
tle red wagnns need repair en eccasien. I really
are best en the extended SQs [which I de net
like my ASR-I0. I really den't like unethical
business practices.
have) even if they du werk en mine. Are there
third-party venders fer the upgrade hardware and
are there arty batches ef patches fur just the erdinary SQ-1?
And what du all the errer messages mean?
Iehn Cechran
Arlingten, Texas
using GM sequences new, and have he real plans
te use them in the future, use the meney fer
semething else.
Are there many peeple still with erdinary SQ-ls
er have I missed the beat as far as upgrading
gees?
The TS will net read er write standard MIDI
files. Believe it.
ne real "meaning" that's ef any use te the mer-
Yeurs faithfully,
tal man._l
The details fer Systiix eperatien ef any Ettseniq
instrument are decumented, and available. Write
Rusanne McKinley
New Zealand
{CS - As far as the errer messages ge, they have
{Enseniq - Audie Electrenics has been an
Autheritted Enseniq Repair Statienfer almest ten
years. Their service track recerd is very geed,
and their persennel are prefessienal and
genuinely cencerned ahuut their custemers.
"Rush charges" are very cemmen in the musical
instrument repair husiness. The purpese ef a
rush charge is te meet the needs cf custemers
with rigid scheduling requirements. This special
ITH - Unfertunately, we den't knew ef any
third-party venders fer SQ hardware upgrades.
One pessible way re ge is te put a little ad in eur
classifieds - either leaking fer an upgrade er
selling yeur SQ and leaking fer a used PLUS.
The ditference between the twe sheuldn'r be tee
much diilerent than the cest ef an upgrade
te the "MIDI Speciticatien Desk," Enseniq, I55
Great Valley Parkway, Ildalvern, FA I5-"355. Request infermatien en Sysllx fer the TS-I2, and
yeu shall receive.I
{Enseniq - 2,1 It is net that we everleeked Stan-
dard li-IIDI files, er den't believe in their e_fi’ectiveness fer sharing sequence data between
devices. The plain truth is that betlt eur sequencer design and eur disk fermat weuld have had
i'hepefully...,I.,l
te be re-written re implement that feattue. Stan-
service has value and repair statiens charge accerdingly. I-Iewever, we find it unimaginable that
the service facility weuld actually tell yeu, "Even
Dear Hacker,
dard MIDI Files need te be transferred en IBM
cempatible fermat disks, which is difierent than
eur fermat. And the sequences must suppert
theugh sumeene might he fies re inspect it
Ase there any SQ-S0 users whe weuld have
seener, they will net, as a punishment..." Per-
specifics en the “anti-clack" keybnard medificatien fer the SQ-S0? I've had ne success in getting any assistance frem Enseniq techs en this
sixteen channels cf inferniatien - eur sequencer
currently supperts twelve. It was a majer seft-
haps yeu read inte what they actually said a little
bit? Anyway, we'd really be glad te talk te yeu
ahuut this further. Pie-use call did-dd?-SSSII and
askfer Steve C'etscia._l
Tu: the Interface
tnatter.
We du recegniee the value ef SI!-fFs and will net
rule eut cempatihility with them in futttre
Mt. Prespect, IL 50056
{T03} 42'?-1515
Itlalhala markets a cellectiun uf "E-3" seunds fer
Dear TH,
preducts with disk drives.
ICS - I'm afiraid I den’ t; readers ?,l
t
the Reland D series synths. De yeu er any nf
yeur readers knew ef any such effering fer the
teen channels ef inceming MIDI. Adding
cemplete recerding and editing ftmctiens fer sixteen channels is a MAIDII seflware ejfert that
we can't undertake fer the TS series.
Thank yeu,
Michael Mueney
l'I4I Chariet Ct
In the September, I992 Interface, Clark indicated
that a bunk cumpiling the series uf articles en the
SQ instruments might be effered at seme peint.
‘Where de we stand en that preject?
ware jeb te get the TS-Iilllil te "listen" te six-
Regarding the TS-12 OS versien 2.5 GM
24
3} We den't include MIDI Sysllx decumentatien
in every rnanual because it increases the
sizelcest of every manual, when enly a small
ntunher ef eur custerners actually want it, We
distribute it ferfires te anyune whe wants it._l
Dear Hacker,
it in the neat release. Until then yea ceuld keep
rising I13. versien .l.l5.l er — slay tttned._,l
Enseniq samplers are my faverite since the
playing them lracl: at ililh. This ceald happen
EPS-Iii+. Se nething tn cemplain about hut...
yea‘ re rising a -Hi: efiect while recerding, and a
I-Iaclter,
I have GS 1.-El fer the ASH-lil. The AER-10 is
c-nnnected tn a CD RUM TE1‘*iEI.. Dh-‘I 3ll'2l and
frem there it gees te an eptical drive {I23 M) DD
3{lOlIi TEAC and then te a Reland ST-’5[l. The
SCSI IDs are AER = 3,tl:te CD ROM = 2, the DD
=4-and the ST5l]=Tr'.
Everything went perfectly with D3 1.61. Httt
with US 2.[l= every time I want te save, eenfigure
tracks, save the OS, er glebal parameters I get
DISK ‘WRITE PROTECTED, even with the
physical pretectien eff.
{CS - it seunds te rne like yen nary he recerding
year arrriie tracm at a sampling rate ef -tlslti: and
I weuld lilte te start by saying what a wenderful
reseurce yeur magazine is fer Enseniq users. I
appreciate all bf the tips and help yeu have
previded me with fer my AER-lil. I have a questien that the fnlks at Enseniq were unable te
answer because they were unfamiliar with the
prehlem I am esp-eriencing. Wlten using the new
Etllt eflect while playing hack. it can alse happen
if yea try ta recerd steree at 4-till: ante a Syflnest
rernavahle drive, which ls net qtrite fast enangh
te de steree at 4'4 lr.,l
{Enseniq — Gar seftware department has been
trying te reach yea since we received these letters - if yen have net spelren ta as hy the tirne
2.0 digital recerding US I almust always have my
this is printed CALL US! While Clark’ s answer
ceald he a pessible cattse we den’! ltnew eneagh
RAM audie tracks playing back way tee slew. I
frent year letter re help yea. Getting a cepy ef a
set everything up preperly the way the manual
explains, but te ne avail. My SIMS are the cerreet ii bit type and my keybnard is expanded te
lti Meg. I have a 44 meg remevable hard drive
data file that exhihits this prelrlern weuld help as
te feel: inte it. We want ta help yer-t._,l'
(which I heught mainly fer the digital recerding
feature) that dees the same thing when using disktraclts. Enseniq techs suggested that I send my
Dear fellew AER-ID userslfinsnniqlliackerstaff;
will be able te use the new seftware.
Se what is geing wreng'l
equipment in te them, which is definitely eut bf
Sincerely yeurs,
the questien. De yeu have any idea why this
weuld be eccurring? Any help weuld he much
the Audie tracks sync te an ettternal sequencer.
appreciated.
The manual en page lb says that this is because
ef incensistent tempe in eaternal MIDI eleclts. It
Despite my preblems, I weuld alse like te thank
Enseniq fer creating a fantastic music making
feel and fer listening te censumers‘ ideas.
seems beth childish and peliticai frem Enseniq
te put the blame en the eutside wcrld: the truth is
prebably mere like that the titted preeessing
Iimew that the CID will net he fast eneugh te de
andie en the dislt. But l am afraid that I never
Adriane Censinette
Brussels, Belgium
{CS - l’m afraid l have ne infe te ejj"er; Enseniq,
theugh, says they'll leelt inte yettr prahlsrn and
see what they can cents up with.,l
{Enseniq - We have had ether reperts efthit hag
and have identified the prehlern. We expect te fa:
The mest armeying thing te me I feund this year
yet is that my AER-lllfs new 2.l] US deesn't let
capabilities cf the ASR are tee slew er simple tn
handle the SCSI stress. That anneying and everlasting "Data Shuffling" sheuld preve semething.
Thanks,
Iasen Huffman
lvlerced, Califernia
There is a saying in Helland which translates te:
Who says you have nt_)_ HESONANT FILTER?
The ASH-10 and EPS-15 PLUS can new ge "Bwaaeeww."
The HEZ FILTER algerithm is a striking re-creatien ef an analeg
synthesizer, the classic lvlinimeeg. A feur-pele lew-pass resenant
filter is ceupled te a |ightrting- fast ADSH envelepe generater. The
filter’s resenance centrel [else knewn as emphasis, bandwidth, er
Cl] gives it that distinctive analeg seund by creating a sharp peak in
the frequency respense. This peak is swept by the envelepe er any
medulatien seurce. It dees things yeu can‘t de by sampling an
analeg synth.
Te demenstrate seme applieatiens ef HEZ FILTEH, the disk cemes
he unpredictable: really crazy, really fat, and semetimes really
grungy. Like HEZ FILTEH, Flil+FJt includes chenis and reverb
which can be added te the FM eutput er used fer ether seunds en
BUS2.
The FIESOHAHT FILTEFI disk is just $39.95
direct frem Wh‘v'eBCt"r' Industries, including
shipping. Fereign erders, add $6, PA
residents add 6% tan. Use visa,
Mastereard, meney erder er
cashier check.
with a eellectien ct raw lvlinimeeg samples that ceme te life when
they hit the resenant filter. Elut what yea want te de is warp yeur
ewn seunds, and yeu can— yeu'll quickly be transfenning yeur
entire library ef clean digital samples inte tat and juicy dweeps,
bweps and darnts.
The FIEZ FILTER effect algerithm alse ineerperates seme ef
WAveBDY's trademark parallel effects: hath eherua and reverb.
Either fun features include acheice ef single er multi-trigger medes
en the envelepe generater, and a sample-and-held.
But wait... there’: rnere: this disk includes anether algerithm that
dees frequency ntedulatien [Flvti Again, an ettampie seund is
included that seunds terribly much like the Elli-T. Elut The Dirt-T
used enly sine waves—yeu can ge further. This algerithm allews
yeu te medulate any seund with any ether seund! The results can
WAVGBOY Industries
P.O. Ban 233,
Paeli, Pa1ssu1 use
erder by phene:
(215) 251-H562
*'.-cine;
..-- ,,- . ==..
;.3=i-.-ti
‘.-.;
"-|.,.:_._.I
-_.'i
ii
i"
‘F13’-
Buying cheap proves to he expensive after all.
For my work I use a video master sync generator
which controls an Audio Kinetics synchrcnlaer
which in turn conuols my Sony Umatic video
and Tascsn, S5 through SMPTE and then a
Cubasel'Atari-STe sequencer. Supposedly this is
tt bit of overkill on stability of MIDI clocks but
an Altai Sllllil slaves its hard disk recording
thing perfectly through MIDI events. Even with
the master-sync switched off. So does the Akai
DR 4d through MTC and most drum computers
The Hague, Holland
aren't even on; also I hear notes playing “out of
time" from the other ones. If I play the sequence
{Enseniq - We really don't want to argue with
you - we are not placing the blame on the outside world. The complexity of heaping the onboard sequencer and the Audio Tracks sample
accurate is a big issue. You seem to have plenty
of gear to cover your needs, so if you can't accept this design consideration we'll have to ac~
cept the fact that you won't use the digital audio
recording features.
We don'lfeel that setting your computer to exter-
I bought the ASR plus CD-RUM and hard disk
nal snot clocl: to interface it with the ASIE-ill is
such a terrible thing to have to do, but we
still respect the ASR-ltl and its inventors very
much after almost a year's use. But, alas, with
the current 2.tl came the Downer of The Year:
the ASR SCSI audio-track thing has to play in its
ovm playground and doesn't interface with the
rest of the world. I feel discriminated against and
respect your opinion.
Eiur Di-ll] costs what it does because the digital
interface chips are expensive - we have no real
control over that. The SP-3 contains hi-speed
opto-isolation couplers to eliminate SCSI noise,
which is generally undesirable, and for hard disli:
recording totally unacceptable. Removing them
would reduce the price, but destroy the accept-
I'm not even black (beautiful by the way}.
able firnctienality of the ieteijface.
Suggestions for Et1soniq's RSrD: When you compare the price to the little hardware fitted of the
The Dl-ill does support input sarnplingfrom a 43
ltlla source.-'
DI-Ill digital interface it seems very expensive.
That goes for the SCSI board for the keyboard
ASR. Maybe Maartists or some other company
will come up with a fairer priced DI-ll} hoard
and you lose business. Can't RrirD develop an
tracks? There seems to be enough empty space
too much to ask of the simple LCD display of the
ASR, but MIDI event triggers on maybe an extra
MIDI channel in the multi-setup should come in
handy, and you wouldn't need a MIDI clock.
Realtime sync to MTC tops it all.
More suggestions: Why don't you include highl
low note-priority settings in playback on certain
instruments. Basses need this. It's in the SQ's.
Please include DAT-S,-"PDlF-streaming of mem-
so Tim. If this is all completely misunderstood,
please excuse my newly found ignorance.
So I'm crying I-[ELF please. Can anybody out
there program some string sections that sound
like the ltSs32 DYNAMIC STRINGS patch?
Another sound I'd like to see duplicated is the
ENCORE electric piano patch of the KS-32. Also
the KS-32 DRY GRAND and the MELLDW
TENDRI.[sax). I'm willing to trade some of my
"tweaked" sounds for these or even to PAY for
them. Also, if you have some samples that are
under 2 meg that may be what I'm looking for
please let me know.
Dear Transforming Hackers,
Enterprise‘s programs for the KS-32. I wish I
had gotten them sooner. They are very quick and
very helpful in storing and managing f'1les -- sequencer and sounds. It enabled me to dump the
My letter is regarding the TS-12. First of all,
thanks for your mag and the help it's been for me
expanded, full memory in my IBM in a flea‘s
since SQ-St} days. After the Bil, I bought the
KS-32 because I wanted the Tb-key weighted
keyboard and the great piano sounds. But the
small display was the downside of the KS. But
then here comes the TS-12: I thought, “YES, this
L A Spencer,
French Camp, MS 39745
(Gill) 54'?-6365
is what I wanted in the first place: ‘iii keys, big
display, weighted keyboard, nice piano seund...."
IEBIT piano wave. And the STRING sections
are really hammers. Even Enseniq customer
service people agree with me. There are some
new disks coming out with new sounds and they
say that the SLT sample series is supposed to
have string sounds that are really good. I have
tried some ASR strings and they have the same
"wobble" sound to them. As far as the new disks
and the samples, I seriously doubt that the su-ings
will be that different.
Disappointment #2: The TS is supposed to have
a better effects processor, but it has the same
neise as the RS-32. It is very hissy and even has
"afterglow" of even "talk" type sounds and hueaes which are not romantic to say the least. Has
anyone else out there experienced this "effect"?
Disappointment #3: When I add or delete bars
Nout Grttpstra
PD Box 533ti3
flanged, distorted, gated pianol'?’l'?'i I don't think
If you are a KS-32 owner and are thinking about
going to the TS-I2, play on it a lot before you
decide. Also, you absolutely MUST get Giebler
are very similar to Sample Dump Standard
anyway so you might as well include it too.
Through MIDI and SCSI. Watch out for the competition, Enseniq: the Kurewell Illltllllll at least is
believe me, sample a mono-loop in stereo. The
solution I found is to switch the stereo layer link
off. Bug? Dnly in DS l.bl‘l
and they all get sent out. If it is true, what’s the
point of having different effects. I certainly
would want my drum effects to be utilised, but
Thanlrs for all your other comments - we can't
address each one in this limited space.j
Disappointment #1: HUT after purchasing itl am
disappointed. Although the operation is much
nicer with the big display, it is not at all
soundwise like the KS-32. The piano sound is
different, with a different waveform than the KS
USER TIP‘: {US LEI} When you trigger stereo
samples sometimes the playback in externally
triggered samples runs out of phase. In loops
etc., I noticed a loss of high frequencies with the
stereo outputs patmed to mono. If you don‘t
this true or does each track keep its own effect
Can anybody out there handle this challer1gel"I"l
ory content as a whole and SCSI devices through
the DI-llll. How about reading Altai Sltllltlldtliltl
format CD-RDMs,-‘hard disks through SCSI? It is
a user standard, and Akai‘s sample data protocols
dohtg really well in Europe. Reads even Roland
TDD series stuff. A pity is the 44.1 kl-la Sr DI-Ill
limitation. Most musicians own a simple HiFi
DAT which has the dreadful copy protect on $4.1
kHz and uses ll-S kHa digi~ins.
Disappointment #4: I understand that in sequence
mode only one effect controls all the tracks. Is
Stereo sample lock was fxed in GS versien 2 .
Enseniq DI-xltl board with a co-processor of
some sort to improve the syncing of the audio
on the DI-IU to double the silicon stuff. A
SMPTE {MTC'?) Q-list like Akai uses is probably
FDI this, okay‘?
not have them be applied to my piano sound. A
through MIDI cloclts.
peripherals for its musical quality of sample handling. And the then "unofficially" arutounced
audio track possibilities seemed a real winner. I
from the start it does not happen. Enseniq, please
from a sequence and then try to " go to" and edit,
I hear notes sounding from instruments that
ES
sneese. Great!
{CS - ij The piano waves in the TS are derived
from the some source as the id-bit waves in the
KS-32; the dtfibrence you hear is due to different
programming and effects parameters. it
shouldn't be too hard to take the closest piane
sound in the T.5'~l2 and edit it to be more lilre
your favorite piano firom the KS-32 {perhaps
someone at your local dealer's can help you at if
you're not too comfortable with programming).
And den’t give up on the strings - there are an
artgful lot of string sounds in the ASH library; l'
should thinl: yeu'll be able to find semething you
lilte.
2) The TS-I2 efiects processor is much ouieter
than that found in the KS-32. if you are experiencing a similar amount of noise, l'd have lo
conclude that there's something wrong. You
might wsrnt to get in touch with Enseniq Customer Service (215-dd?-3930) and see what they
have to say.
3,! l've never experienced the problem you
describe on my TS-iii; you might want to run this
one by Enseniq Customer Service as well.
4,l While it is true that you can use only one efl
fects algorithm at a time, you can get multiple ef~
facts out of the TS by selecting an algorithm that
includes more than one e,tfl'ect. For example,
using the tIllortrs+lleverb+iItDL algorithm, you
Hope that you or Ensoniq can help on the compatibility questions.
can set up a sequence in which a trumpet has
echo {DBL}, a guitar has chorusing, and a piano
has reverb]
‘With many thanks, yours sincerely,
"bevy" of writers {one has to wonder what one
must do to join this elite listingl}, if I were, I
Marcel Gtech-lvlarguetat
34 Poplar Avenue
Eedford Beds lvI"It'.-'-ll BBL
England
would protest being identified as a drunken
brawl, a female, or a quail. I can make some
sense out of the first two, but not the last.
{Enseniq - lj We’ re surprised by your reaction
to the string and piano sounds in the TS-l2, as
they use the sortie wave data as the if-5'-32, with
the addition of a few more multi-samples. Because of this fact, we expect that trying new
programs should help you to find sounds that you
like better. Your statement that, "Even Ensonia
Customer Service 'people' agree with you"
about the strings can't be right. tilur Customer
Service Reps acltnowledge that not everyone will
agree on what a good sound is, but the entire
department believes that the T5-l2 strings are
superior, mostly because they're more flexible in
their programming and expressive possibilities
than the KS-32 allows. But the main point is that
you don't lihe them. and we hope some of our
afler-rnartcet libraries will satisfy your tastes.
Z} The TS-l2 uses the same e_,fl'ects chip as the
K5-32, but runs at a higher speed with many
more instructions per algorithm, hence the
definite higher quality and more versatile e_tjl'ects
algorithms.
though I have never been included in yotu
Tltirdly, a question: For years now I have
{CS -Sofar, the results of testing NEG CD-RUM
drives with Enseniq products have not been encouraging. The newer triple speed drives have
not been checlted yet, but l'd proceed with a
great deal of caution, if l were you. Also, there
are some fairly tricky issues involved in using the
smaller optical drives with Ensonia products you'd be well advised to try before you buy, parappear on Ensonia's approved drives list.,l
{Ensonia - NEC CD-Rfihls don't worl: on the
AER-Ill and probably don't on the EPS-id PLUS
either. We don't have a Fujitsu optical so we
can't comment on that one.
in our sound development we try to take into
consideration dtferent users with difierent
memory sire needs. Both CUR-l and 2 wort: with
dtferent tracks. The three eflects busses ojfler
support both large memory sounds (6-id MB}
and smaller memory versions {under -tlMlEl,l in
future releases, for sequencing needs and the
memory limits of the TS series, which can only
load sampled sounds that ore 4MB or smaller.
Wherever possible we will lceep the memory sire
you choices of where to route each traclc in an
algorithm, you should study up on that in your
down, but we cannot promise to hold all releases
to a 2MB lbnit. We are also redesigning our AS
manual. And we developed a whole series of
parallel ejlects specifically to address your
scenario, giving you three dtferent efects in a
single algorithm for maximum mixing flexibility
(yes, l do write spec sheet and ad copyl}.
series pacltaging to better reflect memory sires
and their compatibility with various Ensonia
products._l
4] The TS-I2 does use a global efect for all
traclcs in a seauence. But we have designed it to
give you a lot offlexibility in applying ejflects to
patiently observed the first section of your "Front
I-"anal" identified as "RI‘~lD" followed by three
eighth notes in parentheses. I have no doubt that
"RND“ stands for Research abld Development,
but what in the heck are those three notes? and
why are they parenthesieed? It's time you came
out of the closet and let the rest of us in on this
insider's mystery.
ticularly with any storage device that does not
the 2 MB rnemory of your unit, and we intend to
3] We'll have to lool: into this one.
animals, as in, for example, "a murder of crows"
{popularized by Sting on The Soul Cages]. Al-
Lastly, and most seriously, I must inform you
that yeu‘ve been caught. Uh, sure, deny it if you
will - but I have incontestable proof that you are
engaging in subliminal advertising for Tom
Shear! The Hacker has woven a tapestry of
typos, anagrams and numerological sequences
throughout its March ‘94 issue, designed to keep
the name "Shear" in front of our eycsl
Exhibit A: In Tl-I‘s response to C. PegIor‘s leuer
(p. 23), we read: "...because of the shear (sic)
siae of this series..." {emphasis mine). An obviously deliberate typol
Efltibit B: On page 4, Daniel Mandel writes,
ETHEREAL POP £11
e-= PRIMARY SCHOOL
I-UK-Kfifiilt
the release of E"I'HiHEhl. lihfil dial: organiser lot die
computers. h new data base program that lets you
eaulog all your dislts andbe able to loolt up any sound I
and its location. This
way to lteep track of all I
Dear TH,
Given a little bit of time, we're confident that you
will master these ideas and be making great
music without “flanged, distorted, gated
pianos." Unless you really like that sort of
sound...)
Dear Hacker
I enclose my subscription renewal and just want
to thank you for producing such an interesting
and helpful product.
I own an EPS-16+ Rack (and SD-1} and am considering a SCSI interface upgrade. I also own a
Forget about oscillators and envelopes for a
minute, and let's clear up some important issues
that have been nagging at me for some time now.
your
-' '
1
Dar catnip-late -fibrary of Ell dislts is avafi% for $149. ]
First of all, I'm sorry, but I just can't buy your
response to Kirk SIinkard‘s letter (March '94 Interface} in which you tried to explain the meaning of "Transoniq" as having to do with "all"
t[“u'ans-"J "Ensoniq" gear. We all know intuitive-
ly {and so do our spouses} that siuing in front of
an Enseniq keyboard induces an immediate
trance. This trance comes from the blue-green
_
This contains over 2'llll' sampled syntlte Hill lilting.
h,rpfiiE,‘Ipan|:le r, IIEI It Id
to nah‘: aiew.
Whenimdering sounds, let us know il you have a
clot earn-purer, and we will send yon a catalog-of
_
onrlanrtiatls on a dish that helps you find thetypc
wantl
'
light of the display, and carmot be broken except
by {I} threat of divorce, or (2) an alI~notes-off
orsstatrsreestts
so
llrd er theentire library
ETl§lEHEl\I,Bh'SE tlislt organiser
$149
S49
SS5 DX-t-I] PC and would like to purchase a
I2B~lvIB removable cartridge drive and CD RUM
drive which I could use for both machines. The
removable drive I have in mind is the Fujitsu
lvl25ll.h I23-lv[l3 Optical. I know that the
message, which you will notice Enseniq has can—veniently left out of all its products. Therefore I
submit to you that the "Trans-" of “Transoniq"
reconunended drives for CD ROM are those
from Sony and Toshiba but these tend to be the
Secondly, I must take issue with yotu choice of
the word "bevy" to describe your writers [back
more expensive ones. NEE have recently introduced triple speed drives. Will these be suitable
alternatives and will they give any advantages?
Also are Ensoniq's CD Roms in the future only
likely to be suitable for the ASR-ID memory size
or are they worthwhile for EPS-16+ users also‘?
cover}, and, more recently, your advertisers (p. 3,
an-iterhamhaalnflaral
fll'l:lBlli.I|1.I'tIIl‘I'Ell'l.\tl!1'.Hll:I'II'll'L
Issue #105}. According to Webster's, "bevy" is
pehaatlllfli len|mn,tcnn ttfll
comes, appropriately, from the word "trance."
defined as {I} a drinking bout, {2} e group, especially of girls or women, and {3} a flock, chiefly
of quails. This last definition is supported by that
scholarly work, The 'i-"enereal Game, which
details the history of terms given to groups of
2?
Library E liTI'HEllEllLBhSE pltg Sllll
talcpbun-I
‘ll!-'t'fi-IISS-tit
-
"...you can here (sic) the jazz..." (emphasis
mine}. This glaring typo forces the reader to
mentally correct the spelling to "hear," which is,
{TH - Well, when you're right, you're right. And
__lr-tst when we were about to add you to the bevy.
Slutchs. fllh-‘D = Random l'1l'otes.,lj
2] General Mlfll is a specification that states
{among other thhngs) which sounds should be located where in terms of a GM instrument's pro-
Dear TH:
gram list. The idea is that sequences created
which adhere to the GM spec can be played back
with little or no editing on any -Gil instrument,
regardless ofmanufacturer or model.
of course, eighty percent of Tom Shear's last
name. ‘very uicky!
Exhibit C: D-n page ll, Harry Carson's fifth
paragraph has five different words beginning
with {respectively} s, h, e, a, and r. And we all
know what that spells.
Exhibit D: If you convert the letters of "Shear" to
their numerological equivalents, you get I-t, S, 5,
1 and 13. If you do the same thing with the numbers on the telephone keypad, you get 'l, 4, 3, and
{this is tricky!) Tl. Here's my point: the
Transoniq Hacker, Issue #105, has page ntunbers
corresponding each of these letters! And you
You have a great news magazine. I really enjoy
reading the Interface and many of the articles and
reviews, and of course, all of the other good
stuff. Have a couple of questions:
I. Can you recommended any literature on sound
programming that explains and illusuates each
aspect of the process? After taking apart several
programs with unusual feautres I am still unable
envelopes, etc., are being used to modulate
waveforms.
Exhibit E: The word "share" is in the Hacker-
2. Could someone explain what it means for En-
patch ditty on page I9. This is an obvious
seniq to add General MIDI to the TS Series as
announced in TH #1ll5'l ls this an entirely new
feature or an expansion of an already existing
one? I was under the impression that it was already possible to playback sequences generated
Exhibit F: You have no shame! The very title of
this esteemed magazine contains all of the letters
of the ubiquitous name of SHEAR
by computers via MIDI. So, how does my SD-1
stand in this regard?
3. Can the SD-1 be upgraded with digital outs?
I rest my case.
4. Did I read recently that the TS-ll} can convert
Steve ‘lincent
SD-1 sequences to the TS-ll} fonnat?
I Treat Yourself! ! '
. ASR-10/TS-10/EPS '
Samples from K. Thomas
upgrades for the SD-.l. The SD-i, as a product,
is {as they say} "mature." You may, however,
want to checl: out Watt Products’ TC-It'll] Tempo
Controller (reviewed, l believe, in TH l'll?-l,
March ‘ll-lj. lt's an add-on hardware product
designed to add programmable tempo changes to
IFFX-SD and SD-I series instruments ($69.95
from Watt Products, Pt‘? Box .584, Bordentown,
,{.lefi'irey Fisher responds - Yer wish is my command, Robert. if the editor of this fine publica-
5. Does Enseniq plan on releasing any new
sound program disks for the SD-I?
my best shot. Well?)
ti. Will the next 0.5. upgrade for the SD-I sup-
[TH-Gofor it.,l
port tempo changes within a sequence? {Doesn't
the TS-ll} have this feature?) While it may be
tedious, would it be possible at this time to create
tion will grant me a scant page or two, l' ll give it
llirtsoniq - -ll What you probably read is that
tempo changes on the event list page?
Giebler Enterprises has a software package for
the PC that will convert SD-l sequences to TS
format. A nifty utility that we're pleased he
‘l. I'd lilte to join Becky Dierltson {TH #94, p.3ll}
developed.
Enseniq to consider including in the next D.S.
upgrade the ability to have both cartridge
programs and their associated tracks to default to
internal RAM. I, too, listen to the seqlsong playing while searching for and auditioning programs
"Sound Quality: .5 out offi
Value: 5 out of5"
[ElPl, Ian. '92]
Keyboard Magazine says —
"Beautifully recorded... incredibly
smooth... rich... soulful... crisp and
seamlessly mulri-sampled."
[Iirn Aikin, Keyboard, Dot. '91]
Free Catalog
Demo Tape $8
K. Thomas .
P0 Box: 23056
Stratford, ONT NSA-7"lt'8
Canada
/
5} We have no new libraries in the worlts, but
there are plenty of third party companies who
support it. Checlt out the ads here in the Hacker.,l
(I can't imagine doing it any other wayl} and end
up with the same problem concerning saving and
reloading data in a simple and timely manner.
Eliminating this dilemma would make the incredible SD-I even more delightful!
I've learned how much I still have to learn about
3. In Jeffrey Fisher's article, ‘FFK-sdlSD-I Tips
the world of electronic keyboards. {Does anybody really know how to use everything on that
{TI-I #?T}, the I0-th tip concems Ivlaster Keyboard functions. any chance lvlr. Fisher would
like to go into greater detail on this subject in
another much appreciated article for the much
appreciated Transoniq Hacker?
Thanks a bunch,
Robert Johnson
Mesquite, ‘I'll
Dear Hacker,
Last August I bought a KS-32, and since than
instrument?)
I bought an hlesis Data Disk to save my files,
which seemed like a good idea at the time, considering that memory cards seem pretty expensive for their capacity. However I now realize
that I may have sacrificed a few things.
First, although it saves sequences fine on the
"nzcv MULT SYSE-ll" screen, "REC? ONE
{CS - ll Nothing springs to mind, but you might
try ll-:lix Booltshelf |'t'i-llltl Hollis EL, Suite I2,
Emeryville, Cd llddllli}; it's usually a good
Phone: 519-271-7964
or 519-273-7812
ti} .-‘ls for as l hnow, there will by no more GS
and Sylvain Lamy {TH lllllll, p. 3-ll] in asking
Electronic Musician says —
\
3 all tlj lilo.
NJ, d8.5ll.'ij.,i
Tacoma, Washington
I
will be selected and played.
5) l don't thirtlt so.
P.S. Just because you're paranoid doesn't mean
they're not out to get you.
'
ternal sequencer]. The only dtfierence is that
when playing baclr GM sequences, you'll have to
edit the program changes messages sent by the
external sequencer so that the correct sounds
to understand some of the creative ways in which
thought you could fool us.
anagram of "Shear."
The TS-ill {and every other Enseniq instrument,
for that matter] is quite capable of playing bacl:
sequences generated by a computer for other ex-
source for technical books relating to nntsic and
audio}.
S"l'.'SEl'i" screen only works for saving single
sounds. The "RECV MIDI SEQ" screen only
saves if I play a Rtth-ti or RUM sound, not fmm a
songlpreset. However, when the Data Disk plays
back the MIDI sequence, it will work through a
preset with multiple tracks lit. So I guess it does
EB
the minimum cf what Iheped it weuld.
I believe that the Data Dist: seftware fat least in
its mast recent versien) is canfigurable ta allaw
functien fer all that hassle ef getting the keybeard te the Enseniq dealer and paying $2’.-' te
Unfertturately the Data Disk dees net seem able
te dc a ceuple things that I hep-ed it weuld. It
ycu ta insert the apprapriate pause at the apprapriate time. Tau might want ta check with
Alesis ta canfirm this.
have my ASH-ID up te date made me feel like a
wen‘t receive and stere multiple files when I try
te uniead the KS-32's entire sequencer werth ef
files. The KS-32 alse will net receive multiple
files, even theugh the Data Disk has a cemrnand
that says "Send All Files." ls there seme little
trick I'm net deing? It-weuld sure be nice te lead
a bunch ef sequences and presets all at ence,
especially when I play in public. It weuld alse be
nice tc lead my ewn suped up RAM seunds a
whele bank at a time. Se far, I haven't figured
that cut. The peeple l‘ve talked te threugh cus-
temer service at buth Alesis and Enseniq weren't
much help.
By the way, has anybedy else had the esperience
cf crashing the keyheard the first time they used
the Data Disk? I'm sure glad the HS-32 was still
under warranty er I weuld have been cut E-i5DlI!
fer the cest ef a new beard fer the keybeard. Fer
seme reasen the keybeard was unable te receive
any MIDI data.
I alse have a few ether questiens and suggestiens.
l’m geing ta have ta defer ta Ensania an mast cf
yaur ether auestians, but I can tell yeu that it's
perfectly legal ta marhet yaur ewn carnpasitians
an the KS-32. l'd be careful abaut marketing ar-
resist expressing all the admiratien that a cempany deserves fer previding their users with
upgrades that net enly fir bugs but cenvert their
machines inte mere desirable enes as time passes
by and technelegy tends te make everything
rangements af ather artists capyrigluled material,
theugh. l"au ceuld expase yaurseif ta charges af
capyright infringement. If yau really want ta
marhet yaur arrangements af ather's material, it
heught befere “'DLD" stuff. I-lave ycu hackers
neticed the incredibly wenderfui seund that new
cemes eut cf the same "OLD" ASH.-ll} ‘iler.
l.Di5...? lvly ged! I really wasn’t dreaming with a
is pessible ta secure licensing ta da sa. This, af
caurse, will invalve paying same cambinatian af
fee aridrar rayalty ta the awner cf the warlc, and
perhaps ta ether entities, as well. l'd recammend
enlisting the services cf a aualtfied rrutsic altarney shauld yau decide ta praceed dawn this
path.j'
better seund, ‘cause I knew the seund was the
best, but having this kind ef rt-ii kl-ls effects
brings a new ditnensien in pewer precessing that
makes me ferget the reduetien te 23 veices cf
peiypheny. And talking abeut pregrammability,
eh guysl Wltat are yeu trying te de'l ‘What a let
cf parameters and even Expert parameters, new
I‘m just starting te realise what kind ef things
{Enseniq — We are a relatively small cempany
and we haven't seen the need ta branch aut inta
yeu can de with yeur ESP chip. New I wish I
cases and stands, which are readily available
_,fi'am a number affine cempanies. We lilce the
idea that varieus cempanies in the music industry can wart: tegether and suppert each
20 ef 44 kl-la. I was heping te have the pessibiiity ef using EQ fer sampling, but at 30 kHz
it used tc be werst. hheut the new Digital
recerding capabilities I can say nething, Ihaven‘t
used it at all because I keep en saving my hard
ather's preducts.
Why deesn’t Enseniq sell keybnard cases er
stands? "Why deesn't the KS-32 ceme with a
music rack? Wliy is the KS-32 designated as
"MIDI Studie" as eppcscd te a "Perfusmanceltlempe sitien" keybnard?
little sneb. But new that I have received fer free
the new ‘ilersien 2.01 US seftware I ceuldn‘t
The KS-32 actually uses an alder case design
{frem the EDP-J}, which didn't suppert incarparating a music rack. We are currently warhing
an a design far the TS-l2, which sheuld be avail-
ceuld change all the 5!] ROM effect Iecatiens fer
earned meney fer the day I can recerd in an
ttlesis ADAT.
2} Thank yeu very much, Garth Hjelte, fer think-
ing aheut us “butten surfers." It will be a dream
able in afew menths.
Can I buy specificatiens enly fer single seunds
listed en yeur cards instead ef buying a whele
bunch I den't need?
If I ever meve up te the TS-12, will there be any
way l can transfer all my files te its alien veice
architecture?
Dees anybedy make a werkheek te help us new
hackers en the bieck leam hew te design eur
ewn seunds en the KS-32'?
Pm alse curieus what Enseniq may upgrade en
Because we theught up Weighted Actian li~flDl
Studia befere Perjfarntancetfiampasitian Synthesizer? .lu.st kidding, we simply have given
each new product its awn descriptar, and each
ane tries ta best describe aur intended pasitian
far that praduct. One cf the mast impartant features af the KS-32 is its weighted actien, while
the TS-ll? is mare af a cemplete "warlrstatian,"
witheut the weighted actian. The TS-l2 is sa
similar ta the TS-it] that we didn’t feel the need
ta change the descrrpter ta reflect the different
lteybaard actian.
the KS-32'? Dr even what ceuld be upgraded.
llllltat are the legalities invclved if I weuld want
te market my arrangements fer the KS-32'?
In spite ef my questiens, I'm in awe ef the techuelegy yeu guys preduce. I wish I had mere time
in my day.
Years,
Dan A. Rchde
2505 Fercst Parkway
lilluscatine, Lh. $21-'61
The KS-32 and TS-I2 cannat transfer pregram
ar satauifiles in any way. rtn appartunityfar any
enterprising hackers?
We have na plans far upgrades ta the KS-32.
l"au are free ta marlret yaur arrangements far the
KS-32 as far as Enseniq i.s cencerned, but pay
attentian ta the paints that Clark niches regarding capyrights and such.f
Dear I-lacker:
{CS - Ll'l'm nat mistalcen, there are a .'i'ysEx mes-
sage ta the KS sheuld carisist af twe parts. The
first is a handshake, and the secend is the actual
data. The KS will reauire a pause af abaut
Zlltlntr between the twa, ta give it time ta respand
ta the first message. The prablem yeu're experiencing ceuld be because the Data Dtlth is nat
pausing pausing between messages, which wanlt
give the KS ssfiicient tints ta prepare far the
dump.
l’m ready te buy a micrescepe te keep en reading all the magnificent and entertaining
infcrmatien yeu all share with each ether, it's
werth the effcrt.
1} If yeu can’: spend valuable space in this peint
please pass it te Enseniq, this is semetlting I need
them te knew. ti. menth after updating the RUM
ef my ASH-l'll tc versien 1.5, and feeling a little
disappeinted getting enly the Enter Plays Key
29
:
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Quality samples fer all
U ~ EPS's, A5R‘s and TS‘:
The Elite tel ccntalns l0 disks cf all
new samples digitally recerdecl tcr
ectimum clarity
$B.iI! per disk
$60.00 fer the entire set
Still available:
‘The Garnet Set '
includes B sengs designed specifically
fer the EPS le+ and AER l0
Perfect fer cttertcrles, creludes, etc.
Each seng includes ea new seunds,
printed music and aerferrnance
and derne sequences
$l0.lZiiZi per sang
$e0.tl'.l tar the entire set
Deme audle cassette ct all preducts
and cemplete nreduct list $3.00
(Refundable with first purchase)
The l3\l3_1gthm faeterg l
303 Saddle Bridge lane
Franklin, Th! .2‘-I06-ti
starestaare
te use yeur seftware - Windews-based I hepe.
Se new I must ask yeu - hew de I get it‘? I"m
ready te send yeu a meney erder but what abeut
the shipping cests?
pregrammer and censultant. While I am currently
revamping my MIDI studie areund an IBM clene
I still rely heavily en my eriginal EPS and, until
recently, I was a leyal and patient EPS user but I
machines. lifter geing threugh the RAM and
RUM thing again, we were teld that certain
Quantum drives were tee fast te werk with the
We tried that with ne luck and were teld that
3) Regarding what Brian Rearden says in his let-
feel that the time has ceme fer me te, ence again,
climb atep my seapbex.
ter {#l05}, there is a much easier way te
autemate the leading ef instruments in yeur
My first prehiem started ever a year age {areund
.h.SR-Ill frem a SCSI drive er ileppy: with MIDI
January 1993} when I decided te upgrade my En-
PRDG CI-IhI'~IGE=DN and in MIDI IN MODE
=-MULTI er MD!“-ID H: send frem the cemputer
sequencer MIDI pregram changes 101 - 12S te
inveke Macres 0-2'? (change directery} - er I te
exit te the previeus directery - and send a pre-
seniq ex expander te a ex with SCSI.
gram change equal te the bank file number in
yeur drive te lead cemplete banks inte yeur
.h.SR-ll}. The ASR-ID manual says fltat this must
be the file number +1 but I feund that it must be
the same number.
4] l'-lew that I finally have at hand the Extemal
Cemmand Specificatien {MIDI implementatien
manual) ef the ASR-10 (Rev. .Iune 23, I993}, I
have tried te autemate with ‘vlirtual Butten Press
eemmands and even with PUT PARAMETER
messages the selectienfdeselectien and mixlpan
adjustments cf the audie tracks, and it seems tc
me that this just deesn’t werk at ail, theugh I
have been able te set the same adjustments fer
instruments in beth ways easily.
I have sent Hex: FD OF 03 00 ll 00 {I0 00 00 00
DE! III} ill U0 CID DI 2D Fir‘ te change mix ef an
audie track but...nething happens...there seems te
he an errer because in the manual Sequence track
parameter Seng Gate Step SysEx high byte is 00
and le byte {ll - the same gees te Audie Track
mitt parameter Ell} - 01 respectively. Can anyune
help?
The music stere I fermerly frequented seld me a
SCSI reuefit that they premised was 100% cempatihle and which their tech persen installed.
While I didn‘t have hard drive at the time, I have
a client in Hurlingten, VT with an SI} meg Elteken drive {and an eriginal EPS purchased abeut
the same time as my ewn}. We ceuIdn‘t be happier with the drive which, after feur years ef
smeky bars {and his drepping it 3, celmt ‘em, 3
times}, has perfermed flawlessly. Anyway, we
ean lead the largest bank cf S instruments inte
his EPS in abeut 9 secends. ‘Wlten we heck it up
te MY machine the same bank takes about Iii}
secends te lead.
I called the stere te discever they had installed a
PS Systems SCSI inte my Enseniq 4-X expander.
I called Enseniq whe said that that was the preblem - I called the stere whe called PS Systems
whe teld the stere that Enseniq was wreng and
yeu COULD mix the twe brands. ‘Well after
weeks cf calls te Enseniq, PS Systems,-tliarth
I-Ijelte at Rubber Chicken (whe was genuinely
cencemed and helpful} and the stere {in Cliften
Park, NY), the stere agreed te install an Enseniq
SCSI inte my Enseniq 4K expander {and all I
had te de was pay the difference in the eest ef
the twe SCSI retrefits as well as twe-and-a-half
ef the three different in-heuse technician bills}.
5} Hew de I get the OS versien ef the SQ-H32
with butten presses?
...SAME
beard...
FRDBLEM...back
te
the
drawing
I5} ‘When after several intents I finally sampled
my eldluseless,l'eut-ef-tunelmenepheniclilTr‘-keys
Kawai I00-F analeg synthesizer I ceuld net
"Check the Rttlvl and ROM versiens“ - net the
prebletn...
believe the amazing pewer ef the ASR-ID. I-lave
I mentiened it‘? I leve itl It teek me several heurs
ef hard werk but I leve the seunds Ihave getten.
"They sheuld have installed the ‘new chip set‘
when they installed the SCSI retrefit" - there is
ne chip set versien newer than the ene in my
Thanks a let fer yeur cutstanding magazine, and
te all the hackers whe make the Interface the
heart cf it with yeur invaluable infermatien.
Ycurs sincerely...
ltngele Zucce M.
machine...
I have had several cenversatiens with: the stere “there's i'i0t.l'ting mere we can de..."; Ramtek
[whe teek ever Elteken} whe has never heard cf
back ta yau. Please be patient.,l
this preblem and Enseniq, whese tech peeple
started eut being helpful but abeut d-S menths
age stepped returning my calls after a tech suppert persen teld me dist he weuld talk te the engineers and call me hack. Maybe I‘il have a
vldee phene by the time I hear frem him...
Dear Hackers,
ht any rate, the preblem was never fixed and ne
ene seems interested in trying te selve it - enly
Estade it 2T3
Santiage Chile
{Enseniq --{I We'll have ta laah inta this and get
Te the peint... I have twe hard driveltech suppert
preblems which I weuld like tc share with my
fellew hackers in the desperate hepe cf finding a
selutien while venting seme 14 menths cf
frustratien.
I am a self-empleyed musician whe supplements
my inceme by freelancing as a MIDI sequence
in selling us new gear. I still leve my EPS even
theugh hard disk access is enly barely faster than
a fieppy.
This ene will be shert... That same Elteken drive
which has been werking se well has begun acting
up in the last few menths. We tried te buy
anether drive frem Rarntck but their "tested and
appreved" drive weuldn‘t werk with either ef eur
Si]
eriginal EPS but the Syquest drives weuld werk.
while the SS-meg remevable weuldn't werk the
44 meg weuld. It deesn‘t, sc we decided te i:ry te
clean up the Elteken. I believe the preblems te he
primarily the result ef disk fragmentatien. I was
teld mat if I was te backup the drive ente flappies and then restere it this ceuld selve the
prehlem. But alas, the Backupfikestere cemmand
deesn‘t werk (thank yeu Enseniq fer the 2.S Ci.S.
- Feb. '94 Hacker, frem Enseniq, “We are net
currently werking en er planning any further
revisiens te the eriginal EPS Operating System."J Planned cbsclescence?
Well, my client spent weeks manually cepying
everything te fleppics and writing dewn bank
and macre infe and teday decided te take the last
act cf a desperate man (er was it the first act ef
Macbeth} and refermatted the drive. lltfl;-et' cepying the D. S. ente the drive and setting up the
directeries as per the directiens, he began releading the instruments enly te discever that that
large hank ef instrrunents that we used fer eur
bench tests new takes abeut 30 secends te lead
en HIS previeusly fast machine.
Semebedy help us please! ii
Let me just add that while I am an insignificant
nebedy in upstate New Yerk, ne less than six cf
my tetal client base use the eriginal EPS. My
client mentiened threugheut this letter was planning te upgrade te the TS-12 but the lack cf
suppert we have received {with the netable exceptien ef Garth - thank yeu again} has really
ferced us te examine ether eptiens.
My apelegies fer my negativity and lengwindedness and special kudes te the Hacker fer
previding this fcrttm and preving, at least ta
Hacker readers, that there is mere te Pertland
than the Trailblazers and Skate-Gate. By the
way, are there any eriginal EPS users left eut
there? Yeu can't all be upgrading because se few
ef us are getting rich. Se if yeu are there, let the
Hacker knew er beuer still drep me a line and
maybe we can cempare netes.
A Millien Thank Yeu‘s
Daryl I efferds
MIDI-Evil Music
RR#3 Iiex 3404
Lake Geerge, NY 12S-15
{CS - This ane's a real head-scratcher. I've
passed this infe alang ta Enseniq - maybe they
can shed same light._,l
{Enseniq - Un April 15th we cantacted Mr. Jeffards ta ayfer same suggestians that might resalve this situatian. He is geing ta get bacl: ta its
with the aualtfcatian results. When he dees,
we'll letaw mare abeut what ta da.
What we can say far naw is that it is very difficult ta trauble-shaat SCSI issues and we
apalagize far the prablerrts yau have experienced.j'
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for res, res-rs, Ass-re, rs-re s rs-12
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of samples for EPSIASH-fut
TS-10, Mirage, TX-16W 81
taco Drum Samples
on GU for eniv $40.
I
ii
YO ADVERTISERS!
Try an economical size ad in the Hacker. Our
one-twelfth page ad {the size of this adj is the
pertect size tor testing the waters, moving up
from the ctassitieds, dropping back from
larger ads. er just maintaining visieiiitv over
long periods with minimal expense.
2.25" x 2.25" Only $31]!
And new — Beeteeq Jumbo.‘
2.25" X 4.6" Only $4sr'
Hack"oa 91221
tees swTmnsflniq
Us-laaa Dr.,Port1and,
553"???-5345
Jeffrey P. Fisher Music
924 S. Lake CL, Suite 209
Westmont, IL 60559
{TUB} 971-1641
SGVIEC SYNCHS sample ta
Use Enseniq Disks on your IBM-PC
with our Enseniq Diskette Manager.
Convert Standard MIDI Files totfrom
Sequences for these kevboards:
Soviet-made analog svnths pumping out lat
blistering basses, analog svnth pads, and more.
ESE}-1
ASH-10
9
sample set
Pristine samples of a ‘famaha Recording Custom
kit, Sal;-tan cymbals, and Roland RB ro-cit ltit and
jazz brush kit. The most realistic drums around!
Gall new to order or for more information
on these and other software packages.
6
sample set
The dopest, phuni-tiest drum sounds from the TR9tIl'iJ, Tit-BUB, E-mu Pro-cussion, and even from
the Minimo-og and Dloerheim lltpander. Kicltini
0
‘Duels sampte set
Glorious animated pads from the D-50, SW9,
"v"F.iIt, its, and more. Huge and silky smooth.
6
1| sample sel
i-tiller synth sounds, analog and digital, from the
Minirno-og and Bit Cine to lhe Enseniq TS-‘rill.
$34-95 ller 4-aur set
firders must include 54 shipping rss
for‘ 'toreigd_"ordersJ. Me:-'-terCard an_d 'i»"r'sa_'
=w'ei-::ome." Write or eat! fer free catalog
;_.ef seeeds t_'er-ialt
keyboards! '
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P
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5 vv. Alabanla sis.M,
4241
Houston, Ts area?
[Tl 3] 965-9041
(BUD) 334-1 233
_r._.
31
SCI-BU SQ-1
‘UPI-ed SD-1
SD-2 KS-32
EPS EPS-16+
Giebier Enterprises
26 Crestview Drive
i%i Phoeniaviile,PA1Q-too
" —“ {s1 e} ass-ease =
_
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VFX, VFXsrl,, SD-I Owners Volume I5 - Ethereal, .rte-aesptterie, New Age and
Fttrrareeps pads face rpereting filter sweeps,
dynamic penning, nutemerphisis, etc.
fit] Sounds, 211] presets, 3 demos. Disks: Sill].
Public Domain Heaven
VFI, "v'FIlIsd, SD-1 PD ‘tfolurne 2
62 Sounds, 20 presets. Disks: $12.51!]
ESQ-1 PD Volume I. TF3 Sounds.
SQ-Ell PD "v'olumcI. 115 Sounds.
Disks: $15.5lJ each.
Letter Seund Productions
T5 llaiiiii
wasihfgiiagiecdses
@3221?-5?5_55fi1
'
Florida residents add sales tax
BULK HATE
LLB. PDSTAGE
PAID
P-DFITLAHD, DH
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