Bavarian Creme de la Creme
Iransonq
i
Hacker
The Independent News
Magazine for Ensoniq Users
In this issue
Bavarian Creme de la Creme
Articles:
Robby Berman
Stereo or Mono on the ASR-10?
harmonika (Styrian accordion), baritone and
tenor alpine horns, ocarinas tief and hoch
(low and high), a soft tenor sax, soprano sax,
Jeffrey Fisher
There's a demo for some of the sounds. The
instruments offered may not be everyone's
To m
zither. And, unexpectedly, the low ocarina is
lovely, while the soft tenor blew my little
mind.
To start with, the samples sound great. The
manual refers to the original sampling
having been done at "the highest resolution"
For: EPSs, ASR-lOs.
Price: $39. overseas (that's US, folks) addi
tional $6.
From: Dietz Tinhof, Himmelhofgasse 46,
A-1130 Vienna, Austria or call 01143-1827-0822.
Making BigBux — Part n
hackbrett (a zimbal, or dulcimer, in normal
and memory-saving versions) and a zither.
cup o' tea; personally, I'd been looking for a
really realistic accordion, dulcimer and
Product: Austrian Sound Library.
Barry Carson
(44k? 78k?), with some sampling rate reduc
tion done at a later stage to facilitate split-
point matching and file-size reduction. The
split points are usually downright invisible,
merely okay at worst, and examining the
sample rates of individual samples in rela
tion to those of their neighbors had me con
Avoiding Dullsville - Samplers
Shear
9
Waveform Mutilation for SQs & KSs
J a c k S t e p h e n To l i n
10
Miragefreq — Part 11
Johnny
Klonaris
18
Reviews:
Bavarian Sounds for Samplers
Robby Berman
.
cover
Basement Tapes: Sethares
Daniel
Mandel
4
tinually shaking my head in admiration for
the quality of the matching job.
Dr. Brad - Volume II for SDs & VFX-sds
Daniel
Mandel
6
world of underachievement, I get excited,
even moved, when I encounter excellence,
The samples are reasonably memory-effi
Power Tracks Sequences
Brian
Rost
work that's clearly the product of someone
who takes something seriously, and all the
way? Well, that's how Volume 1 of Dietz
surprise considering their fidelity. The loop
I'm impressed. Is it so weird that in this
Tinhof's Austrian Sound Library makes me
feel.
The Austrian Sound Library (ASL) consists
of a five-disk set of acoustic folk instru
ments from Austria, Switzerland and
Bavaria. The documentation is thankfully
cient, something that comes as a bit of a
ing is well done throughout.
13
Joel Simpson Ragtime and R&B Sequences
Sam
Mints
14
The patch selects, modulators and FX are
extensively, and creatively, employed. In a
very few cases, they may not be used exactly
Regular Stuff:
matter of individual taste and habit. In any
event, hacking is allowed.
Random
in the way that I'd like; that's certainly a
Notes
Hypersoniq
3
3
C l a s s i fi e d s
21
thorough, both in regard to the samples and
the instruments from which they're taken.
The careful thought that obviously went into
the sampling and programming of the
sounds is very apparent in these pages.
The instruments of Volume 1 are steirische
ISSUE NUMBER 95, $2.50
ASL 001: Steirische and AKK BASS
Hackerpatches
Sam Mims & Jeffrey Rhoads 22
STEIRISCHE and AKK BASS correspond
to the right and left hand concerns of the ac
cordion player. Taken together, my search
The
Hacker
Interface
Booteeq
25
31
for the ultimate accordion has ended.
MAY, 1993
One of the distinguishing characteristics of the entire ASL appears
to be attention to the secondary noises produced by the various in
struments, which are included for the sake of realism, and they
usually work quite well. In the case of the accordion, it's the button
noises, which are sampled separately and given their own layer.
For STEIRISCHE, the melody-playing right hand, velocity is used
to shift between soft and hard attacks. The patch selects provide you
with the button "pops and plops" alone (I'm not sure what value
there is in this), a one-layer, voice-saving steirische, and a sound
best described as a distant accordion pad.
ASL 003: SOFTENOR SAX ond SOPRAN SAX
These saxes are, of course, not traditional Alpine instruments, but I
can see why Tinhof wanted to include them. The SOFTENOR SAX
is beautiful, and hands down the best sampled sax I've heard for
slow, soulful soloing. True, it has built-in vibrato in the basic
samples, but I found that to be no problem at all in context.
It's a monophonic, crystal-clear sound, with ample breathiness, and
each note is augmented with just enough key clicking noise to make
it sound totally real. If, for some reason, you object to the key
clicks, they're in their own layer and can be 86ed easily enough.
The patch selects may be a little lacking here (they include a pitch
fall where the pitch glides down instead of falling in discrete steps
AKK BASS does double duty to simulate the accordion player's
adroit left hand, which is responsible for producing bass lines as
well as the manipulation of chord buttons. The individual bass note
samples run from C2 to A4. From Bb4 on up, every key holds a
sample of a major triad (I confess I don't know if real steirisches
have minor key buttons as well). There are no patch selects for
AKK BASS; Tinhof apparently didn't see any worthwhile use for
them.
like a real saw), but, jeez, I love this sound.
SOPRAN SAX is not as successful, with velocity switching you be
tween two sets of samples, one too soft for my taste, and one too
piercing. And, oddly, I actually found the key clicks to be annoying
here (maybe they only grate due to my letdown after the tremen
dous rush I got from the spectacular SOFTENOR).
A clever bit that the two samples share is mod wheel control of
volume to siniulate the push and pull of the bellows. You can record
your left or right hand part on a sequencer track with mod wheel
ASL 004: HACKBREH and HACKBREH 139
moves, record the other hand, without the wheel, on another track,
HACKBRETT's very pretty, offered here in full and memory-
and merge them. This way, both hands' handiwork wil get louder
saving (HACKBRETT 139) versions. If you've ever had your head
inside a dulcimer (no, even I've never accomplished that) it would
probably sound much like this: ethereal, nearly delicate. It's a sound
and softer together, like a real accordion.
One last idea: If you're a stereo junkie like me, you can keep your
with a long, long decay, which, the manual notes, is usually damped
with the palm of the player's hand. You may find it necessary to
change Envelope 3's mode to NORMAL and the last time setting to
SITEIRISCHE and AKK BASS tracks panned opposite each other to
mimic the actual stereo spread of an accordion. Of course, you'd
have to have your face right into the thing to hear it this way, an ex
something around 40.
perience only accordion players or compulsive studio idiots like me
have actually had. (To get your stereo squeezebox pushing and pull
ing together, you'l need to copy your first, mod-wheeled, track, fil
One really thoughtful technique employed here, and a mark of the
excellence evident in the ASL that I mentioned before, is that Tin
hof committed a layer to a faint harmonic, inherent in a real hack-
ter out the key events, and merge that copy with your second track.)
brett note, that would otherwise be lost in the looping. It helps
TIEF and OKARINA HOCK
create just that scent of captured overtones that one gets when the
TENOR HORN. OKARINA
high frequencies of a sound are well-recorded without the treble
I'm not too fond of the two horn sounds on this disk. BARITON
being unnaturally jacked up. Subtle, and slick.
sounds like a synthesized horn blip. TENOR HORN is a soft alpine
horn sound (coughdrops anyone?) that unfortunately contains some
Special note should be made of the ** patch select, with its hard at
HORN is meant for bass lines of the oom-pah-pah variety. It mostly
tack and short release. As the documentation points out, it's like an
organic-sounding stereo clavinet, very tasty for modern funk (with
kind of static-like noise on the keydown that would render it un
usable for me.
polypressure pitch bending, no less).
Even here, though, there's work to be appreciated. In a clever
ASL 005: ZITHER and THE THIRD MAN
programming touch, Tinhof has set up one of BARITON HORN's
This is simply a well-sampled zither, with a pleasing polykey
patch selects to play a root note on keydown and fifth on keyup,
while another one plays a root on keydown and a fourth on keyup
vibrato. I could have used a patch select with a second note strike
on the keyup, but hey, I'll make my own.
Automated oom-pah!
Included on this disk, as a "bonus," is THE THIRD MAN, a sorta
When I first espied the ocarina samples, I thought, now here's
something I could live without. Hi-fi samples of a cheesy little in
strument. Well, what a nice surprise! OKARINA TIEF is downright
sily, and probably useless, sample of the beginning of the original
recording of the famous theme from "The Third Man." The manual
refers to the song as "the world's most famous zither tune." Featur
lovely. A full-bodied monophonic (like the real thing) sound where
ing the only bad loop in the set.
pressure causes a slow vibrato, and the mod wheel gently lowers the
volume and filter frequency, for very realistic variations in breathi-
Overall, Volume 1 of ihe Austrian Sound Library series is one ex
ness. The patch selects offer a polyphonic version, another with a
citing collection (got me all hyped up about my 16+ again). Of
course, a reviewer wil always feel better suggesting that you try
sounds out in a store before plunking down your bucks. I do hope
tril at the front, and a spacy. New Agey sort of sound using the
okarina samples.
stores stock this set so you can. If not, you might want to take the
OKARINA HOCH is quite similar, though not being based on such
a deep-throated original, it's a tad shrill for my taste, certainly by
plunge anyway if you're looking for the ultimate accordion, dul
cimer, ocarina, zither and/or sax samples for a slow solo. Whew! h
comparison.
2
Front
RND
Panel
All Ensoniq Gear - Electric Factory (Ensoniq's Australia distributor).
Business hours - Victoria. (03) 4805988.
Ensoniq News
ASR-10 — Ensoniq has released a new O.S. for the ASR-10, Version
1.61. This version corrects a problem for SCSI users which could cause
a SCSI device on 1D#0 to be accidentally erased when using the COPY
FLOPPY DISK command. This O.S. version requires ROM version
1.5B, and is being shipped to all Ensoniq dealers for you to copy &ee of
charge. Be sure to bring a blank formatted disk.
SQ 32 Voice/KS-32 products — Ensoniq has released EX-02, the
second card of sounds developed to take advantage of the Expansion
waves in the SQ 32 Voice and KS-32 instruments. This card contains
160 new sounds and a sound manual. Sounds using the expansion waves
are marked with an asterisk (*) to help identify which ones won't play
correctly on a non-32 Voice SQ instrument. Suggested retail; $99.95.
Sampling - The International Samplers Cooperative, 310-455-2653 or
via MusoBBS, 818-884-6799.
SD-1 Questions - Philip Magnotta, 401-467-4357, 4 pm - 12:30 EST.
VEX Sound Programming Questions - Dara Jones, Compuserve:
71055,1113 or Midi-net and Fido-net. The local BBS is the Nightfly in
Dallas: 214-342-2286.
SD-1 Questions - John Cox, 609-888-5519, (NJ) 6 - 8 pm EST.
SQ-80 Questions - Robert Romano, 607-533-7878. Any ol' time.
Hard Drives & Drive Systems, Studios, & Computers - Rob Feiner,
Cinetunes. 914-963-5818. 11 am - 3 pmEST. Compuserve: 71024,1255.
EPS, EPS-16 PLUS, & ASR-10 Questions - Garth Hjelte. Rubber
Clinic dates — Ensoniq is hitting the road again with our Spring '93
clinic campaign. Featured products at this event wiU include the premier
Chicken Software. Pacific Time (WA). Call anytime. If message,
24-hour callback. (206) 821-5054.
of the TS-10, CD-ROM Ubraries for the ASR-10, and Notator Logic se
quencing/notation software for the Macintosh and Atari computers. Call
ESQ-1 AND SQ-80 Questions - Tom McCaffrey. ESQUPA. 215-
1-800-553-5151 for more information about a clinic nearest you.
830-0241, before 11 pm Eastern Time.
ESQ-1 Questions - Jim Johnson, (503) 684-0942. 8 am to 5 pm Pacific
Hacker News
Time (OR).
Well, we always figured this was a learning experience.... Last month's
EPS/MIRAGE/ESQ/SQ-80 M.U.G. 24-Hour Hotline - 212-465-
lesson: Give some kind of clue when you're running an April Fool's ar
3430. Leave name, number, address. 24-hr Callback.
ticle. The review of the "Wordsynth" program in our April issue might
have been a little too believable for our own good. We apologize to
anyone who wasted time trying to chase down one of these critters. (Of
Sampling & Moving Samples - Jack Loesch, (908) 264-3512. Eastern
course, now that a good chunk of the market research is done...)
Time (N.J.). Call after 6:00 pm.
We're going to start showing up once in a while on the Sound Manage
ment BBS (part of the worldwide MlDlLink network), so this provides
MIDI Users - Eric Baragar, Canadian MIDI Users Group, (613) 392-
6296 during business hours. Eastern "Time (Toronto, ONT) or call
MIDILINE BBS at (613) 966-6823 24 hours.
an additional means of getting mail and articles to us.
Mirage Sampling - Mark Wyar, (216) 323-1205. Eastern time zone
Call for writers: We're still looking for DP/4 material! (Hang in there
(OH). Calls between 6 pm and 11 pm.
DP/4 users — we're starting to get nibbles.)
SQ-1, KS-32, & SD-1 Questions - Pat Finnigan, 317-462-8446. 8:00
am to 10:00 pm EST.
Third Party News
Tom Shear's Sample Biz has moved to 706 University Drive, State Col
ESQ-1, MIDI & Computers - Joe Slater, (404) 925-7929. Eastern time
lege, PA 16801.
z o n e .
HYPERSONIQ
The International Samplers' Cooperative has joined the list of volun
teers in our Transoniq-Net. And Eric Olsen has dropped off.
NEW PRODUCTS
We'd like to welcome Perfect Loop (samples) and Aaronstotle Music
Products (hard drives) to our Hacker family of advertisers.
Startling new software makes Ensoniq go "Bowp Bowp Bwaa!"
WAVeBOY Industries announces the Resonant Filter Disk for the En
soniq ASR-10 and EPS-16 PLUS. WAVeBOY is continuing to deliver
astounding new effects algorithms for Ensoniq samplers. The latest disk
contains the RESONANT FILTER Effect, a striking re-creation of the
TRANSONIQ-NET
timeless Minimoog. A four-pole low-pass filter is coupled to a lightning
fast ADSR envelope generator. The filter resonance control gives it that
distinctive analog sound - a sound that turns the sampler into a fun,
funky, fat old synthesizer. To show its stuff, the disk comes with a col
lection of raw Minimoog samples that come to life when they hit the
HELP WITH QUESTIONS
All of the individuals listed below are volunteersl Please take that into
consideration when calling. If you get a recording and leave a message,
resonant filter. And it's so easy to program the effect that you'll quickly
let 'em know if it's okay to call back collect (this will gready increase
be transforming your entire library of clean digital samples into strange
and wonderful synth sounds. The RESONANT FILTER effect algorithm
also incorporates some of WAVeBOY's parallel effects: both chorus and
reverb. BUSl plays through the filter, with post-filter sends to the other
your chances of getting a return call).
All Ensoniq Gear - Ensoniq Customer Service. 9:30 am to noon, 1:15
pm to 6:30 pm EST Monday to Friday. 215-647-3930.
3
effects. Meanwhile other sounds can get to the chorus and reverb via
BUS2. Other fun features include a choice of single or multi-trigger
modes on the ADSR envelope generator, plus both keyboard tracking
and programmable modulation of the filter cutoff frequency. A
sample-and-hold liinction can randomly jump the filter around for that
classic ARP sound. But wait... there's more! The new WAVeBOY
FM+FX algorithm uses software inside the effects processor to syn
thesize one voice of live frequency modulation. The DX-7 used sine
waves. The first Synclavier used a sine wave and a complex waveform.
Now you can go the last step: modulate any sound with any sound! The
results are unpredictable: really crazy, reaUy fat, and someUmes leaUy
grungy. FM+FX includes chorus and reverb in the same algorithm. The
the score page, WYHIWYG (What You Hear Is What You Get) perfor
mance, and much more. A version for the Atari platforms (including the
new Falcon) should also be out by the time you read this. For more in
formation, call Ensoniq's Customer Service at 215-647- 3930.
New Sound Music announces Soundtracks For M/D/TM and Latin and
Afro Cuban Grooves. The Soundtracks for MIDI library of original
music offers writers and producers instant access to over ICQ profes
sionally arranged soundtracks that can be used for film, TV, radio, busi
ness presentations, whatever — with no license fees. Many different
styles are included and, of course, all can be easily edited. The Latin
and Afro Cuban Grooves disk includes over 70 different Latin rhythms,
lead sheets for all sequences and playing tips. The Soundtracks library
is available in SD-1, VFXsd, and EPS formats. The Latin library is
RESONANT HLTER disk, with FM, is $39.95, direct &om WAVeBOY
Industries. For further information, contact: WAVEBOY Industries
P.O. Box 233, Paoli, PA 19301. Phone: (215) 251-956Z
available in SD-1, VFXsd, EPS, and SQ-80 formats. Each disk is
$49.95. For more information, contact: New Sound Music, PC Box
Ensoniq Corp. is now shipping Notator Logic, the long awaited se
quencer/notation program for the Macintosh platform, designed by
Emagic. Notator Logic's software uniquely offers the integration of se
37363, Oak Park, MI 48237. Phone: 313-355-3643.
The Perfect Loop announces their Classic Analog Collection of
samples for the Ensoniq EPS-16+, ASR-10, and TS-10 samplers. Just a
quencing and notation, while simultaneously assisting in controlling
MIDI set-ups. The same people who were responsible for the design of
few of the sets available include: Oberheim Matrix, Moog MiniMoog,
the award-winning Notator SL (for the Atari platform) have started fresh
Yamaha CS, SCI Prophet 5, Roland Jupiter 8, Oberheim OB8, and SCI
in designing Notator Logic using the latest programming techniques.
Features include unlimited tracks (any length), unlimited sequences, un
Prophet VS. The company's engineer, Joel Bouchard, says they're com
mitted to developing studio-quality samples that are unique and fully
and a tempo range from 0.05 to 999.99 BPM. Logic also allows the user
exploit the Ensoniq features — adding new dimensions to the sounds
while keeping true to the original motif. Each set contains a minimum
limited polyphony per track, 960 PPQ resolution (auto-dynamically set)
to look at and edit sequences in real time using the event list, matrix or
of 20 sounds and costs $49.00. A sample disk is also available for $5.
hyper edit, or notation — all at the same time! In the notation depart
Dealer inquiries are invited. For more information, contact: The Perfect
ment, Logic has automatic triplet recognition, unlimited number of
Loop, 6855 Jimmy Carter Blvd., Suite 2150, Norcross, GA 30071.
staves, unlimited number of styles, unrestricted text input anywhere on
Phone: 404-448- 9243.
HACKER BASEMENT TAPES
Daniel Mandel
Greece, another uses Archytas' chromatic scales, based on
three equal tetrachords, another uses alternate temperaments.
The pictures accompanying the text appear to be, upon close in
Tape: Sequences and Consequences.
Artist: Bill Sethares.
Contact: Rivendell Studios, 622 N. Henry Street, Madison, WI53703.
Equipment: A Quantar MIDI guitar controller and an EPS as well as
spection, maps from the Tolkien books, which is where the
name Rivendell Studios came from as well.
other sound modules.
The recording quality is outstanding. Bill's voice comes
Auditory Alternatives
through with crystal clarity and all the mixes are very well
thought out. Bil really does have a good voice all by itself. The
Before we get down to business here, I have to brag and tell
you all that I just returned from Sydney, Australia — my big
engineering on this tape is among the best I've ever heard.
vacation of the decade — where I did actually hear a Dig-
eridoo! Without reservation, I recommend a visit to Sydney to
The pace of all the songs is heavy. At worst it is quirky or just
anyone thinking about a big, really big, trip outside the states!
uncoordinated. Some of the songs seem to almost trip over
But enough of these diversions...
themselves. At best they are laid back grooves. The "WHAT'S
THE MATTER WITH ANNIE?" BLUES is very listenable
TOs tape is a real mixed bag of vocals and instrumentals. It ar
rived with its own booklet and very presentable cassette labels.
piano and flute blues. EVERYTHING I SEE IS NOT FOR
SALE is a clever response to appreciating nature, JOYOUS
DAY, although it had a beautiful melody, was all but inter
However, for all of the information in the booklet, there was
not much information about the actual equipment that went into
rupted by the tempo and percussion. The sequences are ap
making this tape.
parent because the awkwardness was a repeating factor in the
What was in the booklet? Glad you asked. Without giving you
the long form. Bil has gone into some detail explaining his
song.
WHAT IS A DREAM is the song that employs the Aeolic
scale. Many of these songs require a second or third listen, be
motivations and sources for his inspirations, as well as describ
ing the type of music and intricacies of each tune. Some songs
cause our ears are not at all used to hearing alternate scalings,
arrangements. One song uses an Aeolic scale from ancient
tunings and tempos. This song ends beautifully with harmonies'.
HYSTERIA BOREALIS is a scattered affair involving timpani.
do need description, because Bil has attempted some elaborate
4
vocal patches, string bites, bells, random percussion and odd
synth sounds. Yet, here again the timpani sequence at the heart
of the song is a bit quirky and obvious as a sequence. After this
overly driving beat is established, it would have been a great
relief to hear a difference in rhythm or emphasis.
DAVID begins with a very flowing string/bell patch that car
ries the chord progression throughout the song. Here again, the
drums seem to be fighting against the flow of the song, by
entering sporadically — or emphasizing beats for too few mea
sures. Fortunately, the bass patch was very supportive to the
string/bell patch and at times meshed well with the drums.
SIGNS brings us the scale of Archytas. As far as I can tell Ar-
chytas was a blues musician who lived in ancient Greece. This
song is not awkward at all, although it is a bit slow and minimalistic. The instruments do balance well. There is much less a
LAW OF LOVE has a wonderful introduction, and Bills voice
sounds especially good with this tune.
DREAM TO THE BEAT OF YOUR HEART turned up with
the best lyrics of the bunch. Here's an example:
and I think of the shapes your body makes
Think of the way your fingers play
Think of, the one I love
I'm gonna dream to the beat of your heart
This is an ambitious work by Bill Sethares, and we hope to hear
more from him in the future! im
If you want your tape run through the ringer, err. Hacker, just
mail it off to: Basement Tapes, Transoniq Hacker, 1402 SW
Upland Dr., Portland OR 97221.
sense of paying attention to a sequence on this song. It sounds
as though musicians are playing together.
Bio: Daniel Mandel is a songwriter,
MAGENARY HORSES Bill describes as galloping piano riffs
and bucking synth lines. This is the best and most moving piece
sound designer, and has sold pro
audio and keyboard equipment and
are galloping and bucking, they are moving around the woods
produced demo tapes for local bands.
of song writing on the tape. While I am not sure that the horses
and the fields. The end is rather abrupt and it would have been
interesting to hear a different approach.
Cases for
Easoaiq
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areas) our full line of ATA cases Category I and II
Keyboards: EPS, EPS-16 PLUS, VFX, VFX-sd,
SQ-80, SQ-1, SQ-1+, SQ-2
Module rack cases: 3-space, 4-space, 5-space, 6-space.
(2-space racks available with surface
mount hardware only.)
Shown: 4-space rack with EPS-16 PLUS module,
Mention the (TH) code number 839 when inquiring to
receive our special factory direct pricing.
2-space rack, Eagle-I VFX-sd case
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We accept: COD, Visa, Mastercard, American Express.
Dealer Inquiries Welcome!
OPTI-CASE • RT. 6, BOX 235 * HENDERSON, TX 75652 « FAX: 903-657-6030
5
The Doctor Strikes Again
Daniel Mandel
tell you, I had a difficult time picking which Rhodes-like patch
was best. The synth patches are all basic, but don't get me wrong
here, they are very playable and expressive. Basic is good.
For: SDs and VFX/sd.
Product: Volume II — 60 sounds.
From: Brad Kaufman, 11-26 Saddle River Road, Fair Lawn, NJ 07410.
Price: Offered as trade (in like media) for original VFX programs — no
If you've read some of my reviews, you may have noticed that I
tweaks, copyrighted sounds, etc.
tend to harp (I couldn't resist) on sax patches because they sound
so unrealistic when they are played. Well, Dr. Brad has included
several sax patches and I have to admit that SEWERSAX sounds
Dr. B has done it again. If you weren't aware of his first volume
which I reviewed last year, you should definitely pay attention to
very realistic. But more than that I like his synthetic saxes be
cause they have the expression and guts that a sax should have,
what he has done this time around. So without further ado let's
start out with a few words from Dr. Brad:
but you don't have that guilt that comes with faking an acoustic
"ELECTRIC PIANOS are found on pages 01 and 02 and are all
saxophone.
variants on one theme. The mod wheel detunes the 2 voices
Let s talk instructive! Because these are arranged in sets of
patches you can delve in and explore how Dr. Brad put them
together by comparing them to each other. For instance, what
gives BALAD PIANO its unique sound as opposed to FENDR
(chorusing) and is especialy effective in the RODZ pianos and
TINE pianos. Many of the pianos also have a tine whose volume
is adjustable by the data entry slider.
BELL? Also as you explore and make changes and you begin to
"ORGAN SOUNDS usually have the roto-speaker effect
tweak things to your liking, exploring what potential the VFX
activated by pressure. In PLAY BALL and ROLLER RINK the
roto-speaker is toggled on and off by pressure.
and SD has for creating and modifying envelopes, you may
begin programming for yourself, and (don't tell anyone this, but)
it's sorta fun.
"BASS SOUNDS include acoustic-electric and synth varieties.
Technical note from Brad: "For reasons unknown to me, the
"ACOUSTIC EMULATIONS are on banks 03-05.
VFX has no trouble with high-output patches. The same patches
overdrive the SD-l's effects processor, causing distortion (some
"SYNTHS are spread throughout —be sure to try aftertouch on
them all. I hope some of these remind you of analog synths.
times musically desirable, sometimes offensive). So for the
SD-1, a toned-down version of the collection is present on the
disk named WIMPY. The original version is named TURBO."
"I have worked long and hard on this collection to make these
patches fun, useful and instructive for keyboard playerslpro-
I found that the TURBO was too loud and noisy and I preferred
grammers."
wimpy. Except that I felt bad that I had to choose WIMPY and
I didn't want anyone to know that the one I chose was WIMPY.
First let's talk fun. Dr. Brad scored 100 points with this collec
Now, before you release any more copies. Dr. Brad, could you
change the name to LOW CAL, or even NORMAL, but perhaps
tion, as with his last. They are very useful. When was the last
time you bought a collection of sounds and got lost for hours ex
ploring the sounds in the first two banks? [answer: When I sent
not WIMPY. You are dealing with the egos of thousands of
musicians here.
away for Dr. Brad's first collection.] If you have a special fond
ness for that standard old suitcase Rhodes electric piano with a
little bit of a bell tone and a little bit of a vibe sound, you should
If Dr. Brad could send along an audio tape explaining each one
of the patches you might be able to get a sense of the enthusiasm
check out the first two pages of patches in this collection. I also
must comment on the psyche-funk-organ patches that turn the
roto-speaker effect on and off using pressure. I had such a
he puts into each sound. Good things tend to bubble up where
you don't expect them!
wonderful time getting used to how this played that I almost ig
Finally, I would say that it is really a good idea that we fellow
Hackers support someone's efforts like Dr. Brad's, because he is
nored how great the organ sounds are all by themselves. It is this
kind of innovation that makes the SDA^FX such expressive in-
just a Hacker and he happens to have done a great job. In fact
Dr. Brad is probably a little too conservative. If he had made up
a fancy name for his sound generation company and printed up
st^ents.
I told
when
I spoke
to him
thatorgan
I thought
he
mi
ssed the
boatDr.
onBrad
namin
g a coupl
e of these
funky
sounds,
but when he created them he wasn't thinking psychedelia, he
was thinking roller rinks.
scale labels in pastel colors and named his patches with words
that could be easily pronounced by yuppies, probably more
Let's talk useful! These sounds are evolved basic patches that I
people would rush out and buy his sounds. But the bottom line
is, reward yourself and Brad Kaufman with Volume II of his
have already copied into my personalized set of INT patches,
VFX-SD/SD-1 patches, h
strategically placed in and amongst my other gems. But I gotta
6
Making BigBux Doing What You Do Best
Part 2 — How to Roy for All Your Equipment
Jeffrey P. Fisher
I'm no accountant. What I'm about to tell you reflects my
limited knowledge. You should consult a qualified tax ad
visor before skidding head first into business. I learned some
hard lessons along the way. You can minimize potential
downsides by spending a few bucks and getting some profes
much of your current lifestyle as a business expense. The
main thing to watch out for is the "hobby rule." You have to
make sure that you can show that you're really and truly in
business to make money. You don't actually have to show a
profit, but you do have to be able to show sincere efforts to
make a profit if you're ever audited. Talk to your accountant
sional advice before it's too late.
for all the details about business deductions.
When you are in business, all business related expenses are a
Don't forget — music, tapes, CDs, sounds, accessories, sub
scriptions to music-related magazines are also legitimate
tax deduction. Sometimes major equipment purchases are
depreciated rather than written off as expenses. When you ex
business deductions, too. And, they don't have to be depre
pense an item, you deduct its entire cost in the year it is
placed in service. Under IRS Section 179 you can expense up
ciated — they're expenses even if they add up to over
to $10,000 worth of equipment each year.
$10,000.
To depreciate an item, you deduct a portion of its cost over
You can get many free business and tax-related publications
several years. For most electronic equipment this is either
directly from the Internal Revenue Service by calling IRS
five or seven years. Ensoniq keyboards take about seven
PUBLICATIONS at 800-829-3676. Here are some of the
years to depreciate fully. So you have a choice of writing off
your major equipment purchases or carrying portions of its
most useful:
cost over several years.
• Tax Guide for Small Business #344
• Business Use of Your Home #587
However, let's look at how investing in your business can
• Business Expenses #535
• Self Employment Tax #533
mean substantial tax savings to you. For example, you com
• Tax Withholding and Declaration of Estimated Tax #505
pose a simple score for $2,000 gross income. If you are in the
28% tax bracket, pay the 15.3% self-employment tax, and
have a 3% state income tax, your net income, after taxes, is
Another good primer is Starting and Managing a Business
From Your Home published by the Superintendent of Docu
ments, US Government Printing Office, Washington DC
$1074 (2,000 X 46.3%). You would write the government a
check for $926!
20402. It's only $1.75!
If you spend $2,000 for a new SQ-1, you reduce your gross
There are also a bunch of super-cheap publications ($.50 to
$2.00) available through the US Small Business Administra
tion. Call your local office (in the White or Yellow Pages) or
income to zero. You pay no taxes because you can expense
the equipment purchase (under the $10,000 limit) thus of
fsetting your income. In reality, you have still spent the
money. Instead of paying the government though, you've
strengthened your business through a wise equipment pur
chase. At the same time, you've saved 46.3% (the amount
1-800-827-5722 and ask for their latest catalog.
Next time: Preparing your demo tape, m
you would have paid in taxes) and therefore acquired a new
Ensoniq synth for almost half-price!
Bio: Jeffrey P. Fisher scores, jingles, and sound designs for
documentary, drama, and business TV. He is also the author
This is just one example. I am a firm believer that there is ab
solutely no advantage to running your business secretly —
of the book: How To Make Big Money Scoring Soundtracks
the so-called underground economy. There are too many
Music.
— Your Complete Guide To Writing And Selling Original
legitimate business deductions and other advantages when
you start and run an actual business.
CHANGE OF ADDRESS
If you make $9,999.99 in a year, you can spend every last
penny on new equipment that makes your business more
profitable. If you don't need this income to live on, you can
get a decent studio together quite quickly. In other words,
your soundtrack scoring business allows you to write off
Please let us know at least four weeks In advance to avoid missing
any issues. The Post Office really will NOT reliably forward this
type of mail. (Believe us. not themi) We need to know both your
old and your new address. (Issues missed due to late or no
change notification are your own dumb fault - we mailed them I)
7
stereo
or
Mono
Sampling on ttie ASR-10
A Few Insights on Making on informed Decision
Barry Carson
Ah, yes, it's sampling time! But, before we actually begin, we
easy on the newer Ensoniq samplers. Looping with this para
meter off may bring smiles to the faces of long time Ensoniq
users who have become nostalgic about creating loops on the
Mirage, but it is not recommended for normal people (no letters
have a major consideration to think about — whether to sample
in stereo br mono. Since the ASR draws upon its rich EPS
heritage, it has more than one way to operate in stereo, in effect
giving you three ways to consider a sampled sound: true stereo,
please). With the Layer Link turned off, both halves of the
true mono and (for lack of a better phrase) pseudo stereo.
stereo sample can be looped separately using the expert- system
parameter (it may be necessary to go to the Edit System/Auto
While the first two of these may need little explanation, let me
spend a few minutes on the last; perhaps an anecdote would be
Looping page to turn it back on), but, of course it wil take you
twice as long as looping a mono sample. Copying a mono layer
that has looped samples wil copy the loops along with every
edifying.
About a year or so ago, I cooked up a set of EPS 16+ samples
thing else.
of the Yamaha SY77 for my good friend. Garth Hjelte (also
known as the Man With the Chicken of Rubber). The SY77
To summarize, if you are sampling a stereo synthesizer sound
like the one described above, you save yourself a lot of
memory and looping time if you create a pseudo stereo sample.
creates these big stereo sounds, and I had to figure out how to
get them into my * 16+ which has only one input jack. A closer
look at "typical" SY77 sounds often revealed a big FM or RCM
(similar to FM but with a sampled waveform used as a
modulator) sound parmed hard right and detuned up a notch and
Good old-fashioned mono sampling is what you want to do to
recreate those all time samplers' favorites — the MiniMoog
an identical sound panned left and detuned down a notch. This
would create a huge stereo sound that could be further en
and the DX-7 and things like that. Of course sounds like these
can also be played back in pseudo stereo (as described above)
to make them even "better" than the originals (wouldn't you
have loved a polyphonic, stereo MiniMoog back in the 1970s?).
It is also possible with the ASR-10 to play one of these mono
hanced by the onboard stereo effects. One can guess exactly
what I did. By tuming off one of those RCM sounds, I could
create a mono sound that would be pretty easy to sample and
loop. I would bypass the SY77 effects so the sound would,
instruments through the ASR's built- in stereo effects and
again, be cleaner and easier to loop. I could then sample this
sample the resulting sound in true stereo. And don't forget that,
just like on the '16+, any mono sample can be played back
mono sound into layer one, and copy it to make layer two
(using the COPY LAYER command). These two layers could
then be detuned (using the edit pitch fine page, up maybe 3 for
layer 1 and down for layer 2) and panned right and left (using
through a stereo effect creating a stereo sound.
Most of the above is stuff that EPS users have known about for
the edit amp/pan page), just like the original. Similar stereo ef
years. Now we head into new ASR territory: true stereo sam
fects could then be added by the EPS 16+'s own (and frankly,
pling. The first question may be what exactly to sample. Ob
better sounding) effects processor. Presto — a pseudo stereo
vious answers include string orchestras, symphonic bands and
choral ensembles. While these would sound real nice indeed,
sample from a mono source.
they may be a bit daunting to average sampling folk. An easy
Since many "stereo" synth sounds are actually some variation
on this theme, the creation of pseudo stereo samples can save
you lots of memory and trouble. How? Every time you make a
stereo sample on the ASR-10, you will use exactly twice the
way to start stereo sampling is with a nice, basic non-electric
instrument, like an acoustic guitar. Everybody knows some
body with a guitar lying around the house.
amount of memory that would be needed to make a mono
Because of the way the wooden body of this kind of instrument
passes the vibrations of the strings into the air, it doesn't pour
out a unified, homogeneous sound the way a loudspeaker
might. Although it is a somewhat subtle effect, playing back a
stereo sample of an instrument like an acoustic guitar gives
sample of the same length. Making a copy of a layer (para
meters only) uses very little memory.
It should also be noted that while a lot of editing can be done
with the stereo Layer Link in the on position (like setting fil
numerous auditory clues that this is the sound of a real instru
ters, creating envelops etc.), you should always loop halves of a
ment in real space as opposed to a recording of an instrument.
stereo sample separately with the Layer Link off. Since this
This vastly enhances the illusion that your sampled instrument
seems like it would take twice as long, the obvious question is
"Howcome?". Since you asked, when the stereo Layer Link is
is indeed real.
on, the ASR turns off the expert-system-auto-zero-
Now that we've picked our instrument and decided to sample in
crossing-positive-value parameter that can make looping so
stereo, let us round up our tools to do the job. We will need
8
some kind of acoustic guitar (or mandolin or something like
acoustic guitar sound into your ASR-10. We also will look at
that). We will also need a pair of matched microphones (this is
stereo, remember?). Microphones that are not matched will
work, but the tone quality of the channels will be different.
This may not create the best effect, but it will give you a
chance to get started if you can't find identical mics. Speaking
of microphones, make sure they are wired properly to avoid
and conceptual uses of stereo sampling. Prizes include actual
Mirage samples formatted for the instrument of your choice
and autographed by somebody (we're still looking for volun
teers). Details to follow — same Hacker time, same Hacker sta
your samples being out of phase. I was recently doing a quick
sampling through the effects, how stereo loops can actually
help enhance a sound, and a contest looking for some creative
tion. H
demo of the ASR. I was playing back a stereo sample I had just
made, and to show how much keener stereo is than mono, I
switched the amp to mono mode. I expected to hear the same
r i
Bio: Barry Carson has sampled
everything from lutes, violas and
krumhorns to Vox combo organs
sound without the stereo effect, but instead the sound almost
completely disappeared. Sure enough, it turns out the mics
and digital synthesizers. He has
sampled on the Mirage, EPS, EPS-
pretty sound.
Roland and Prophet samplers. He is
eagerly awaiting the 10th Anniver
Now we're ready to go — next time we actually get that stereo
sary Mirage reissue.
were wired improperly and phase cancellation devoured about
90% of my samples when they were played in mono — not a
16+, and ASR-IO — as well as the
Avoiding Dulisviiie
Tom Shear
I'm sure that I'm not the only EPS owner out there who, in an
ongoing quest for new sounds, has sampled sounds from exist
ing records, tapes, or CDs. While this practice may eventually
become illegal, at this point there have been no reported cases
of lawsuits over the use of an individual sound. As long as this
is the case, we sound junkies have plentiful, cheap (that is, un
less you get sued) sources for new sounds. I've found that
there are an average of 3-4 completely isolated sampleable
sounds for every album I buy and even more if I care to dig a
little, so it's clear how fast one's library can grow this way.
Anyway, the point here is not to encourage you to become
sound thieves, but rather to discuss a particular problem you
may encounter if you choose to do this, and the best solution I
have been able to find thus far.
What is this problem? Well, it exists if you don't have a CD
player and must sample from cassette, or if the CD you're
using is from an old recording and therefore isn't of the
highest fidelity. You hear an awfully nice snare sound on one
song, and decide you'd like to add it to your library. So you
sample it, wait, press the root key, listen, and...and well, you
sigh, because your sample sounds really dull and flabby and
for most purposes, it's totally unusable. So what do you do?
Throw away this new sound? Sure, if you're a schmuck! But
since you aren't, I'm going to suggest a trick to salvage this
puppy that's worked for me on many occasions. The technique
I am discussing is aimed specifically at non-melodic and drum
sounds.
2. Listen to your sample. It's identifiable as the original sound,
but sounds very muffled, huh? Don't worry!
3. Create a new layer and copy this new wavesample into it.
Select this newly copied wavesample for editing and press
EDIT-FILTER. Select Fl/2 LP F2/ 2 HP. This individual
wavesample should now consist only of high frequencies and
will sound almost tinny.
4. Hit EDIT-PITCH. What I suggest you do here is bump the
ROOT KEY of your copy of the original wavesample up a
note or two. This helps avoid any problems you might en
counter with unwanted phasing. Optionally, you can try shift
ing the pitch by extreme amounts to get different sounds.
5. Go to the AMP page and adjust the volume of the copy
wavesample to taste. (I usually find this isn't really necessary.)
What we've done here is to give our sample a sharper, clearer
attack and added some high frequencies that make it sound
brighter than it really is. Because most drum sounds are very
short, the attack transient is extremely important and as a
result this technique works surprisingly well. Incidentally, this
also works quite nicely if you want to transpose a drum sound
down a few notes, but don't want it to lose its punch.
So next time you're trying to take a sample of aunt Shirley
playing the triangle off your 5th generation copy of a cassette
and are having trouble making the sound punch through like
1. Sample the drum sound you want to use. Select a root key
the original, keep this technique in mind. It's saved me more
and tmncate off any unnecessary parts of your sample.
than once! b
W a v e f o r m M u t i l a t i o n f o r SQs & KSs (& SQ-SOsI)
Part 11 - Bock to the Boss (X)
Jack Stephen Tolin
Ever since the beginning of sound synthesis, people have
will come in depending upon the velocity (SQ/KS: Voices 3, 1,
wanted to create the most moving bass sounds to get the most
and 2; SQ-80: OSCs 1, 2, and 3 — both respectively). The base
waveform is a bass waveform via the identity postulate — it
comprises the basic bulk and identity of the program. The initial
attack is embellished with a blip-like sound (the "tap") that is
modulated to sound a little different every time you hit a note. It
motion out of their music. This is most evident in much of
today's dance music, R & B, and other assorted contemporary
music styles. The reason is simple: It is hard to sit still when lis
tening to the right bass line that's being provided by just the
right bass soimd.
comprises a simulation of the randomness of analog sound in
general. Hitting a note harder or faster will bring in another
For example, if you're familiar with Keith Thomas, you will
notice this all over his music for Amy Grant, Carman, and many
wave to further embellish the sound.
others. In "Holy Ghost Hop," from Carman's Addicted to Jesus
Some small adjustments you may want to make may require
being aware of certain parametric guidelines, specifically the
album, the bass sound is so stinkin' cool, I can hardly stand not
having it. Another music programmer (pardon the term) who
does excellent work with bass sounds is Michael W. Smith. Try
listening to just about anything from Change Your World or Go
following — for "SteinbergerBassX": Vel-Level and Vel-
Attack on the Amp bank for Voice 3 control the general
velocity response of the program (you may want to copy these
West Young Man.
values to their respective places on Voice 1 as well); the Vel
window parameter in the Output bank controls how easily Voice
But part of the trick with making a bass sound stick out is not
2 comes in; Modwheel controls vibrato; Modpedal controls the
Chorus Rate. For "BASS-X": Mono on the Modes page may be
just a matter of what the essential patch sounds like. With some
creative programming, you too can have bass sounds to die for
turned ON for more of a Moog feel; aftertouch opens up the fil
ter a bit; Wheel controls vibrato; Pedal emphasizes the panning
in your very own music. Though it is initially a matter of taste,
part of the trick is in the part played. How you play (or se
quence) the sound can have a major impact on how the sound
does its ultimate job. Let us now proceed to step through a com
plete example from the ground up.
motion. An important difference between the two sounds should
be noted: Voice 2 in "SteinbergerBassX" is brought in suddenly
by any velocity greater than that of the value as indicated by
Vel window in the Output bank. 0SC3 in "BASS-X" is brought
in incrementally by ENV2 which modulates DCA3. Another im
And so, without further ado, let's begin.
portant difference, and one much more obvious, is that the
SQ-80 program sounds much more analog, much more warm
The sounds we will be using this month include "Steinberger
BassX" for the SQ/KS series, and "BASS-X" for the SQ-80.
and alive.
ESQ-1 users will want to modify the wave on 0SC2: you can
Now, try playing Figure 1 with your respective bass program,
and make sure that you use a light touch. For S<3/KS users, you
can easily play this by holding down the low E; every time any
other keys are up, this note will retrigger. For SQ-80 users, you
probably try just about any wave(form) there is. This is what I
did: on 0SC2, OCT is changed from -3 to -2 and WAVE to
"SAW": on DCA2, MODI is changed from *OFF* to ENVl
with a depth of +63 and the level is reduced from 63 to 00;
may want to make sure that MONO = OFF; this will maintain
ENVl is set to look something like this:
the initial attack of the program — you people will have to
make sure you keep hitting that low E. This is a simple, no-frills
+63 +63 +00 OOL 52
00
10
02
00
bass line. It is semi-interesting but has no real variation to the
00
bass sound itself. Ho-hum. Pass the barbecue sauce, please.
This is the initial of a typical transient — it should reproduce a
Next, try playing Figure 2 with your respective bass program,
"tap" at the beginning of the sound. Adjust to suit for taste. You
may also desire to adjust the OCT value of 0SC2 depending
upon the wave(form) you choose. A wave(form) such as
PULSE, NOISE 1, 2, or 3 will yield more of a metallic initial
while something like SAW or SQUARE will yield more of an
and make sure that you include all the changes: (1) notes with a
"v" over them indicate a harder key-down (or faster velocity) so
that all three oscillators are firing at full throttle; (2) a grace
Figure 1 ^
analog analogue. You may wish to substitute Pedal for Press if
you have a CV pedal. If not, you will probably be restricted to
- ~ f — H — ,—
taking tums switching each real-time controller to Wheel.
Figure
Notice that both of these sounds have a few things in common:
a base (or bass) waveform, a waveform that constitutes a partial
2
u
—
-
^
N
of the initial attack of the entire program itself, and a wave that
10
SQ-112 & KS-32 Prog: Steinberger BassX By: Jack Stephen ToUn
S e l e c t Vo i c e
O n
O n
Wave Class
Trans
Expansion Bass
Wave
PlanetX
SynBassS PIckBass
Level
Delay Time
000
000
000
Delay
Forward
Start Index
00
Forward
00
0 0
MODSRC
Wave
MODSCR
L F O
Off
Off
MODAMT
+99
-
-
Restrk Decay
0 0
00
0 0
Wave Direction
O n
2
3 5
3 5
0 0
0 0
50
00
0 0
0 0
0 0
00
Off
Sine
Wheel
Pos/Slne
Wheel
Pos/Slne
O n
O n
1
F O
LFO Speed
WAVE
3
4 0
Noise Rate
9 9
Off
Restart
1
2
3
Filter 1
3Lo
2L0
2L0
I LT E R
AMP
Initial
7 0
9 9
9 9
9 9
9 9
Peak
Break
Sustain
0 0
9 9
7 5
0 0
0 0
Attack
00
0 0
00
Decay 1
Decay 2
1 0
5 0
50
2 0
70
Release
Ve l - L e v e l
1 6
5 0
1 6
0 0
0 0
0 6
Ve l - A t t a c k
0 0
0 0
0 6
Mode
Normal
Normal
Normal
KBD Track
+00
+00
+56
9 9
0 0
30
Linear
Ve l C u r v e
1
2
3
Filter 2
1HI
2HI
2HI
+0
+0
-1
FC1 Cutoff
0 0 0
127
100
Octave
E N V 2
+00
+00
VOL
9 9
99
+00
+00
9 9
+00
-25
Semitone
+00
+00
+00
Boost
Off
Off
MODSCR
Envl
Off
MODSRC
Off
L F O
+06
+05
+05
MODAMT
+25
Envl
+25
Off
+00
Off
+99
+00
+00
FC1 KBD
Off
+00
FC2 Cutoff
000
000
KBD Scale
Zone
Off
Zone
Off
Zone
Off
0 0 0
MODSCR
ENV2
+00
+00
+00
A 0 C 8
A 0 C 8
A 0 C 8
FC2 KBD
+00
+00
+00
FX2
FX1
FX2
O n
FC1MOD-FC2
O n
O n
Off
Key Range
Output Bus
Priority
Med
Low
Med
Pan
+00
+00
+00
Ve l w i n d o w
>000
>088
>000
1
X
+00
Fine
ENV1
MODAMT
KBD Ptch Track O n
O n
Off
Off
Retrigger
00
0 0
0 0
Glide
Glide Time
OUTPUT
MODAMT
-
ENV2
ENV1
0 0
Initial
9 9
99
Initial
9 9
Peak
6 9
9 9
Peak
0 0
Break
5 4
7 5
Break
00
Sustain
0 0
Sustain
3 4
20
Attack
0 0
Attack
0 0
2 0
Decay 1
Decay 2
3 5
Decay 1
Decay 2
15
3 4
5 5
0 0
Release
0 0
Release
0 0
0 0
Ve l - L e v e l
5 9
19
Ve l - L e v e l
0 0
Ve l - A t t a c k
00
Ve l - A t t a c k
0 0
Ve l C u n / e
Convex
Convex
Normal
Normal
+00
+56
20
Ve l C u r v e
Mode
Normal
KBD Track
+00
Mode
KBD Track
FX-1
9 9
FX-2
4 9
Chorus Rate
0 9
Chorus Depth
18
Chorus Center
5 0
Feedback
+00
MOD (Dest)
Rate
BY (MODSRC)
Modpedal
MODAMT
+99
note on D leads in to the high E in bar 1; (3) the low E after the
BY: Jack Stephen Tolin
SQ-80 PROG: BASS-X
8-VOICE CHORUS
high E in bar 1 is left out completely; (4) an ultra-high D "pop"
(aka slap or staccato) substitutes for the first low E on bar 2;
and (5) when the C is hit in bar 2, it is quickly pitch-bent up by
OCT
SEMI FINE
WAVE M0D#1 DEPTH M0D#2 DEPTH
0 S C 1
- 3
11
29
BASS
LFOl
403
OFF
0 S C 2
- 3
00
00
LOGDRM
LF03
463
OFF
two semitones and returned, and then, as it is bent down toward
0 S C 3
- 1
00
03
SQUARE LFOl
403
OFF
one semitone below, the modwheel is pushed forward and
LEVEL OUTPUT
O N
DCA1
6 3
DCA2
6 3
O N
DCA3
00
O N
M0D#1 DEPTH
M0D#2 DEPTH
O F F
O F F
ENV2
12
0 3 5
463
ENV3
07
PA N M O D
F I N A L V O L PA N
DCA4 11
0 8
ENV2
M0D#2 DEPTH
PRESS
also add passing, escape, or reaching notes as well. How about
DEUY
2 2
OFF
OFF
TRI
0 9
O F F
ON
TRI
63
00
LFO 3
00
O F F
ON
NOI
63
00
LV
T1V
just a droning E? How about a catchy rhythmic E, A, and B?
1
4 6 3
LFO 2
L3
430
DEPTH
L F 0 2
LF01
L2
63
4 6 3
00
LI
4
DEPTH
H U M A N WAV L I
RESET
FREQ
This figure is quite a bit more interesting than Figure 1. Notice
how just one (albeit synth) bass program can be used in con
junction with a little changing of some notes to make a more
catchy or — dare I say? — groovy type of bass line. One may
O F F
O F F
FREQ Q KEYED M0D#1
FILTER 1
vibrato applied.
L2
How about a walking bass line? Arpeggiation, maybe? Try any
MOD
00
20
WHEEL
20
PEDAL
63
thing you can dream up. Just keep in mind that a few extras
from the bass program itself may make the best bass line even
VEL
b e t t e r.
T1
T2
T3
T4
TK
That's all for this month. Keep those
ENV1
ENV2
4 6 3
463
463
63L
52
00
00
00
63
00
ENV3
4 6 3
418
400
63L
00
00
28
26
20
00
ENV4
4 6 3
459
455
lOL
00
0
20
63
28
0 0
ENV
OSC
SYNC
OFF
MODES| OFF
SPLIT/LAYER
1 OFF
AM
MONO
OFF
GUDE
00
S / L P R G L AY E R L P R G
-
OFF
0
V C
O N
SPLIT
O F F
ON
ON
waveforms mutilated!™
Bio: Jack Tolin is currently a psych
major, owns CrossWave Sounds (a
music production studio that markets
sounds for Ensoniq instruments), and
performs at Boston area churches with
CYC
OFF
1
SPRG SPUTKEY
1
his econo-band, "Clay in Hand."
J
11
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Power Tracks Sequences
Brian Rost
Fon Reviewed for SQ-80, available for most Ensoniq instruments.
Product: Power Tracks sequences.
Price: $14.00 per song.
From: Midwest Digital Services, PO Box 21, What Cheer, lA 50268.
seems an odd choice, especially since channel 10 was not
used for any other tracks. If you use a Roland-compatible
drum source, you must either reprogram it to respond to
channel 15 or edit the songs, sequence by sequence, to
change the MIDI channel assignment. If you should happen
to own an Alesis D4 drum module, the included sys-ex file
The use of sequenced backing continues to grow, for simple
economic reasons. One or more good vocalists plus a MIDI
rig can provide the sound of a much larger band. The problem
for these kinds of acts is building up a library of sequences.
Nature abhors a vacuum, though, so vendors offering
will configure the module to work with the drum tracks.
Owners of other drum machines not compatible with the
Roland map are on their own.
In addition to instrumental sounds, the sequences each had a
this market.
track designated "vocals." Apparently the sequence contains
data for a DigiTech VHM-5 harmonizer, so if the lead vocals
Midwest Digital Services offers a series of sequences they
be generated. I guess this is a cool idea, if you happen to own
preprogrammed sequences have been springing up to support
call Power Tracks. They support a number of formats: En
are processed through the harmonizer the harmony parts wil
a VHM-5, but it's of no interest to those that don't. One se
soniq SQ-80, EPS and SD-1, Cakewalk (IBM), Roland
quence also contained a track dedicated to a "light show" (I
for the SQ-80 is not too common these days, I sampled three
of the utility of this for the average user.
sequences in this format.
The three songs I reviewed were "Sgt. Pepper's Lonely
The SQ-80 floppy came with three sequence banks (one per
song) plus a sys-ex bank intended for an Alesis D4 drum
Hearts Club Band" (the Beatles), "Rosanna" (Toto) and
"Rocking the Paradise" (Styx). In general, all the sequences
to the Midwest Digital Services catalog, they offer lyric
Pepper's" features an extended jam section in the middle
MC-500 and Korg 01-W/FD. Bearing in mind that support
module. A track sheet for each song was provided. According
assiune a MIDI controlled light system). Again, I'm not sure
were well programmed. The only real oddity was that "Sgt.
sheets and sheet music for an additional fee.
which doesn't exist in the Beatles recording. However, the
First I should mention that these sequences require more than
desired. One possible oversight was in the last section of
an SQ-80 to play back. In particular, a drum machine or
module is required and an additional synth or sampler is also
needed. The reason is simple: With only eight-note poly
phony, it would be impossible to get a lone SQ-80 to play
sequences for this section are easily edited out of the song if
"Rosanna." The first track calls up an SQ-80 sound at loca
tion 70. This location maps to the cartridge slot, so it's un
clear what patch was intended to be used here. If no cart is
plugged into the synth, this track plays a piano sound (at
location 30) which sounded okay to me. On these three songs,
these sequences. The track sheets clearly stated which tracks
were to be played by an external module, what sound is re
the electric guitar parts and hom parts were all assigned to be
played over MIDI — for the purpose of this review I tried an
SQ-R and it worked well. Users will have to experiment to
see what patches on their gear would be best for these tracks).
The guitar parts were not 100% convincing but were not bad
as guitar emulations go. The rest of the parts seemed very
quired by that track, and what MIDI channel is used for that
track. However, the program number for the external sounds
is not provided on the track sheet, so the user must punch up
the MIX/MIDI window on the SQ-80 after loading the se
quence to get this information. In addition, the user must set
up an external synth or sampler on the appropriate MIDI
channel with the appropriate soimds at the pre-programmed
patch location. All tracks played by the SQ-80 itself are sup
ported by patches provided on the disk (with one exception
close to the original recordings.
Overall, the three Power Tracks songs I auditioned were well
done and suitable for professional use. SQ-80 users looking
for pre-programmed sequences should definitely check out
which I will mention later) so that no additional SQ-80
programming is required.
the Midwest Digital Services Catalog. ■■
Bio: Brian Rost has been spotted around the Boston area
The drum map used for all the sequences is compatible with
the map used on most Roland drum machines and synth
playing cajunlzydeco bass with Swamptone recording artists
Gator Bait. He still is trying to get their accordionist to go
modules. For some reason, the drums are assigned to charmel
M I D I .
15, although the standard Roland default is channel 10. This
13
Review: Joel Simpson's Ragtime &
New Orleans R&B Sequences
Sam Mims
From: Joel Simpson Productions, 902 Montegut St., New Orleans, LA
there, as well as a few timing inaccuracies, but nothing that
blatantly detracts from the performance. You can tighten
these things up yourself if you so desire; I'm just glad a
human played the tunes for us, rather than a step-time se
70117, (504) 943-7322.
q u e n c e r.
For: SD-1 and VFX-sd.
Product: Ragtime and New Orleans Rhythm & Blues Sequences.
Price: $30.00.
Out of necessity, the VFX-sd version relies on the CLASSIC-
The wonders of modem technology strike again! If you want
to leam to play the piano like Professor Longhair or Dr. John,
PNO patch, which is anything but a classic. If you have the
Mega-Piano in your machine, you'll certainly want to call it
into service. Or you can switch the tracks to play your EPS
piano or something. Otherwise, you're subject to the VFX's
you need no longer hang out in the smoky barrooms of New
Orleans, or transcribe scratchy records to cop their styles.
Now you can call up Joel Simpson, pop his disk into your
VFX-sd or SD-1, and have your own keyboard play the tunes
limitations.
for you. You can slow them way down, isolate tracks, loop
Charleston Rag is Eubie Blake's gem, and Joel Simpson's
just the chorus, or solo along over a rhythm bed. It's hard to
prizewinner. It made me smile big. It made me wish I could
imagine a better way of leaming — unless you hang with the
play like that — a lot.
Prof all the time, and Dr. John drops in to see your sister
every weekend.
Maple Leaf Rag also blew me away. Scott Joplin's stride
piano style is wonderfully recreated, and makes me wonder
how the stride players — Joel Simpson included — grew a
Ragtime
third hand to play this stuff.
The songs are broken up into two groups: Ragtime and R&B.
The first set of tunes is a selection of ragtime solo piano
Morton's Maple Leaf is Jelly Roll Morton's version of the
above tune. There is no printed sheet music for this version;
numbers that generally follows printed editions of the music,
and Joel does a great job on these. They are not quantized,
this is Joel's transcription from a Morton recording. It's
step-entered, robotic sequences; instead, they are played by a
another very fine rendition, much more delicate, slower, and
thoughtful than Joplin's piano blitzkrieg.
human, and they have feel, timing nuances, and all that good
stuff. Joel is a fine piano player and knows what he's doing
when it comes to the New Orleans style. The Ragtime set is
very well done throughout and highly recommended. If you
King Porter Stomp is a Jelly Roll original. It was much fun
listening and stomping.
wrong here.
New Orleans Blues, another Morton tune, really showcases
how to apply the "New Orleans" beat to solo piano: the left
hand is playing a stride style, but instead of bass-chordbass-chord on beats 1-2-3-4, Morton gives us bass-chord-bass
have any interest in playing this style of piano, you can't go
The tunes can be played individually or the song file RAGPROGRAM will play them all in sequence for a 12-minute
concert. I noticed that the first two times were slower in this
on l-(and of 2)-4, then switches later to the normal stride
medley than they played individually; this is because the in
style to end the piece. Again, Joel does a fine job, though the
timing didn't feel as smooth as in the other Ragtime pieces.
dividual sequences were recorded at one speed, then the two
songs were sped slightly up as a whole. Since you can't in
crease the tempo of just part of a song file, the RAGPROGRAM plays them at their original speed. Joel should have
Rhythm & Blues
adjusted the individual sequence tempos so that everything
The second group of tunes, called MARDI GRAS, is actually
would play correctly. In addition, the reverb used for the
two separate 60 SEQ/SONGS disk files, though if you've got
a memory expander installed, you could fit these all together.
RAGPROGRAM medley is a gymnasium from hell; just copy
the 'verb from any other song in this set to fix this. These are
(Hey — you're getting a lot of notes for your money.) There
both minor oversights that I'm sure Joel will have tightened
are some solo piano tunes here, but most are "band" arrange
ments that, unfortunately, don't work as well. They sound too
thin, too synthesized, and too sequenced. Some deviate from
the New Orleans style; there's nothing wrong with that in it-
up by the time you place your order.
If you listen closely, you can catch a clipped note here and
14
self, but I expected the whole set to follow the New Orleans
motif.
Another big problem I had with this set is that if you're pur
chasing it for use with a VFX-sd, you've got a lot of work
ahead of you, correcting problems that you should not have to
lengthy (two- and-a-half minute) section with just bass and
drums is then left open for soloing, and we are given either
the accordion or the fiddle for filling in here live.
Basin Street Blues started out pretty stiff, I felt. The intro was
just too straight, and didn't have much feel. When the band
worry about. The internal bank of patches that loads with the
sequences contains many sounds that only the SD-1 can play,
kicks in with a pretty jazzy arrangement, it gets better, and
then the spotlight is on you to solo on piano for a bit. But the
tune goes out in the same stiff way it began, and the solo sax
find reasonable substitutes on your own. You'll become par
ends up sounding pretty artificial.
and many of the tunes try to use these patches. You'll have to
ticularly annoyed when you try this with the drums, as Joel
uses SD-1 drum patches throughout that are mapped com
St. Thomas is a pretty nice sax/bass/drums/marimba combo
pletely differently from anything on the VFX-sd. And, of
version, though the drums seem a bit too heavy and contem
things should all be corrected if the product is marketed for
middle for soloing, and we're given a choice of vibes or a
course, you can't change the mapping on a VFX-sd. These
that keyboard; a user should be able to pop the disk in and
play. Period.
Jacomofeenanay kicks off the set with a percussion intro
which really establishes the New Orleans feel. An organ car
ries the melody, with a guitar doing the accompaniment. The
song is set up so that you can play along on piano, and I had a
lot of fun doing just that. (Fm not a fan of the ROM patch
BRIGHT-PN02 that is offered for this, so I turned off the oc
tave transposition and swapped it for POP-GRAND.) With
the push of a button, you can also switch to the guitar sound
porary for this jazz standard. Again, a "hole" is left in the
nice jazz guitar for this. The ending doesn't use a separate se
quence, but instead uses the regular verse sequence, so what
should be the last note isn't.
Go to the Mardi Gras is a fairly thin arrangement, which
relies on bass and drums, and TOP-BRASS for the melody.
The horn melody line, like Joel's "Basin Street Blues" arran
gement, seemed stiff and synthetic. The solo hole in the tune
can be filled with jazz guitar, vibes, organ, acoustic piano, or
an electric piano stack. The ending is quite a surprise, since it
just stops in the middle of a turnaround. Like in St. Thomas, a
for live playing.
separate end sequence is needed.
Do You Know What It Means (to Miss New Orleans) uses a
Struttin' With Some Barbeque is a samba arrangement, with
plays the melody. Strings also come in down the line to round
things out. The soft bass sound and the hard drum sounds
drums, bass, and jazz guitar. Do a cool piano solo in the hole.
Not really New Orleans flavored, but nice. It loops forever,
so you have to figure out your own ending.
ferred a softer, jazzier drum beat. And the ending seemed a
They All Asked for You is a fun New Orleans party song, but I
rock ballad beat with an acoustic bass, over which a piano
didn't seem to work together very well; I would have pre
bit abrupt.
wasn't knocked out with this version of it. There were some
Big Chief reaWy shows off Joel's agility on the black-and-
And though the rhythm felt New Orleans-ish, the jazz rhythm
guitar and the electric piano melody didn't. I didn't want to
whites. A piano intro leads into a full full band arrangement
with horns, then the piano drops out and the melody is
whistled before returning to a final round of piano. I wasn't
too big on the whistling, though, and a lot of things just
seemed way too loose. For example, in one spot a sax note is
doubled bass notes (mistakes) which were a bit too obvious.
solo on that darned accordion as long as Joel wanted me to.
Manha de Carnaval has a great feel to it, with lots of percus
sion. The melody is supposed to play on steel drums, which
sounds like a very cool idea — but that song track looks to a
bent crazily. When I soloed just that sax track to check it out,
is a bit of sloppiness here; I feel that such mistakes should be
cleaned up completely before the product is marketed.
cartridge for the sound. Again, an annoying but easily cor
rected problem. Fortunately, we're also given a muted vibes
melody track that is easily unmuted. You'll enjoy filling the
solo spot with either vibes, electric piano, or acoustic guitar.
Following the band arrangement is a solo piano version of
This one loops forever, too.
I also found that the track started with a doubled note. There
Big Chief, with some quite colorful playing, but also with
Texas Boogie is a masterpiece. It's solo piano, it's short and
some quite noticeable timing problems. The piano that is live
sweet, it's in the Dr. John style, and it's great.
on the keyboard is transposed two octaves down; not a very
usable range.
Tipitina is done in the Professor Longhair style of solo piano,
and like Joel's other piano numbers, it really is wonderful. It
will make you swear you're strolling through the French
Quarter chewing on a muffaletto (the best sandwich ever in-
Jambalaya has the melody on fiddle, and Joel does a nice job
of getting an authentic sound. The accordion, however, is not
quite so convincing, and is rather behind the beat in places. A
15
the solo piano pieces here are jewels. If solo ragtime piano is
vented). Joel demonstrates not only that he can play the
piano, but that he's absorbed mass quantities of the Crescent
City's heritage.
yoin focus, I can easily recommend this disk.
A second version of Tipitina adds upright bass and drums,
but they seem to detract from the piano. The drums are heavy
But the sequencer-band arrangements don't work nearly as
well. It's indeed hard to get a sequenced synthesized sax to
sound like a real one, so this sort of problem isn't imique to
and much too loud in the mix.
Joel's disk. But I think these tunes could be done better. The
lack of solid endings bothered me particularly; it's not that
hard to add another sequence onto the song. In addition, the
Whirlaway is an Alan Toussaint song, done in the style of Dr.
John. It didn't fire me up quite as much as the other piano
problems with the VFX-sd version will make owners of that
pieces, but it is still quite nice.
keyboard have second thoughts.
On the Smnyside of the Street is a fabulous rendition that of
I like that Joel actually played the stuff like a real musician,
fers a healthy dose of New Orleans ragtime piano. Joel plays
but he should take advantage of the editing features to pull
James Booker's version of the tune, and I really loved it.
out the obvious clipped notes and tweak up things in general.
As I mentioned earlier, there are several silly mistakes, such
as a song trying to call up a cartridge sound, but I know that
Joel will fix these pronto. When I contacted him about some
other minor problems, he immediately fixed them and sent
me a new disk. His company is not a multi-national con
In addition to the tunes, Joel provides us with a couple of
New Orleans-style drum beat sequences, which are pretty
happenin'. Use them to build your own tunes, and you'll be
ready for Bourbon Street. It's lagniappe — Louisiana-speak
for "a little bit extra."
glomerate, so these sorts of things can sneak through. But the
good part is that you get a quick response to any questions or
problems, you get a unique product, and you get more New
Orleans charm than any boardroom of executives could come
T h e Ve r d i c t
There's no simple answer here to whether you should buy
this or not. Joel is obviously a very talented piano player, and
up with. H
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M I R A e E F R E Q
A Design for a Mirage Sompiing Tooi — Port 2
Johnny Klonaris
One of the constraints of the Mirage, and all samplers, is a
finite number of sampling rates. This becomes more of an issue
with the Mirage because of the way short loops work. Wouldn't
it be great to be able to get a synth to produce just the right
pitch so that your loops would work out great? What I've done
timidating, but the math is pretty straightforward.
N = log(f/f,)-^log
Where;
N = note number (more on this later)
is to write a program to generate MIDI note and pitch bend
commands to make any synthesizer do just that.
f = frequency in Hertz of the tone in question
fr = reference frequency in Hertz of a note. Middle C=261.63
log is log base 10 (actually any base will work, so long as the
root is the same)
Last month, I roughed out the program and went over the part
of the program that fetches the sample rate from the Mirage.
^^V2 = the twelfth root of two — about 1.059463
(the logjo of this number is about 0.025086)
Now that we have that information...
Calculating the Frequency
The note number "N" above, is the distance in equal tempered
This one is actually trivial. For any given sample rate [73], the
sampling frequency is:
steps between the frequency ("f") and the note we used as a
reference ("fj"). For example, if we used middle C as the
reference and got "N" as -2.3, that would mean the frequency
Sampling frequency = I MHz / sample rate
we started with is 2.3 semitones below middle C, or about a
third of the way from Bb to A just below middle C.
Pretty tough, huh? So why was this a separate section in this ar
ticle? Well, because there are some other parameters (from
Let's take an example through. For example, let's take a fre
above, remember?) that we may also want to provide to the
quency of 280 Hz, and see what we get. Let's start with fj. equal
u s e r. T h e s e a r e a b i t l e s s t r i v i a l t o c a l c u l a t e . S o m e o f t h i s i s a
to middle C, or 261.63 Hz.
bit strange, which can also lead to creativity, so watch out.
The calculation becomes: N = log( f / f^) + log (^^V2)
= log( 280 / 261.63 ) ^ 0.025086 = 1.175
When sampling, it can be helpful to know the frequency of the
note you're sampling as well as the frequency of the input fil
ter. This allows you to make relatively informed decisions
about filter frequencies, Nyquist rates, and other things that
would impress your Mom. Maybe.
This is approximate, but the value of N tells us that the note
The following formula will calculate the Internal Filter Fre
Producing the Frequency (make some noise!)
corresponding to 280 Hz, is a C# above middle C, plus about
17.5% or 17.5 cents.
quency accurately enough that all of values match those in the
manual except one, and it is within 1 Hz. It will also calculate
the values that are not listed in the Advanced Sampler's Guide,
For the C=64, the SID chip uses a 16-bit value to determine the
but I have no way of knowing if they are correct.
frequency of its voices (we're only using one of the three
voices). This 16-bit value is found with the formula:
Internal filter frequency = e((P=™74-25)*0.05776 . 5.6868)
NTSC: n = f / 0.0609594585
PA L : n = f / 0 . 0 5 8 7 3 5 3 8 4
Where parm74 is the value of parameter [74] from above and e
is the base of the natural logarithm (approximately 2.71828) —
The difference is based on the internal crystal frequency used
by the U.S. vs. the U.K. machines (different TV's and all^
most computers have a function that will do this kind of ex
ponentiation. I basically just figured this equation out one
night. I'm not sure I want to go into how or why.
So, now the number "n" is a 16-bit number that represents the
frequency. For the C=64/128 this is a simple process of drop
ping it into two 8-bit registers, but since I've already done this
The internal frequency value is only meaningful if the external
frequency value [93] is zero. When parameter [93] is not zero,
and made it generally available, there's no sense spending any
more time on this.
then an external filter is being used (the Input Sampling Filter
or ISF) and that frequency is the one that should be reported. I
used a simple look-up table to get the frequency, and I got that
Playing it via MIDI!
from the Advanced Sampler's Guide.
For MIDI, the calculation is nearly as simple. Remember that
we computed a note number which was an integer part that
represented the equal tempered note (based on a C) and a frac
tional part that represented how close we were to that note.
Well, that's just what we need for MIDI.
You can also calculate the nearest equal tempered note and the
error in cents. This is can be useful to someone attempting to
sample an acoustic instrument. The formula might be a bit in
18
In our case, the MIDI key number is: mk = int(N + 0.5) + 64
What I settled on was to give me a simple interface, driven by a
Where:
the program to do are:
mk = MIDI key
N = note number from above
int is the integer (floor) function.
64 is the MIDI key number of the reference note — in this case
middle C.
The remaining fractional part: er = N - mk
small number of one-key commands. The functions I wanted
• Turn on and off the sampling pitch (C=64/128 SID chip)
• Turn on and off the MIDI note
• Change the number of waves per page
• Change the MIDI chaimel number
• Setting of the MIDI channel and pitch bend range.
• Increment/Decrement parameter [73] from the computer.
• Display helpful info.
Where:
er = the error, of portion of a semi-tone that thefrequency we're
trying to generate differs from the equal tempered note "mk."
The display screen I settled on looks like this:
1 M i r a g e F r e q 2 . 1 S a m p l e To n e G e n e r a t o r
I
To convert that to cents we multiply times 100. But we're not
interested in cents other than for displaying it — we want a
I
I
1
I
1
pitch bend value. Well, pitch bend is a 14-bit number, with the
value 8192 (0x2000) representing no pitch change. The formula
for calculating this 14-bit number is:
Sample Rate [73]: 54
Sampling frequency: 18518.52 Hz
Nyquist rate: 9259.26 Hz
Filter freq: 7071 Hz (Int [74])
Note freq: 144.68 Hz (D
I
I Commands:
I
I
T
To n e
Off
1
B
Bend
Range:
pb = (er * 8192) / br + 8192
Where:
I
pb = pitch bend 14-bit value
?
-
Help
E
-
2
End
Note
Off
space C
- Channel: 1
+/-
Adjust [73]
I
br = ^nd range on the target machine in semi-tones
1 Waves per page: 2
I
1
I
4
2
1
-
I
I
H
Q
-
So, we just split the pitch bend range to two 7-bit numbers:
pbh = int(pb/128) (pitch bend high)
pbl = pb - pbh*l 28 (pitch bend low)
Four waves per page
Two waves per page
One wave per page
Half wave per page
Quarter wave per page
I
I Enter command:
To make a synthesizer make the frequency that we've been
looking for you would send:
OxEO plus chaimel number (0-15) (decimal 224-239)
pbl (pitch bend low)
pbh (pitch bend high)
The commands "T" and space toggle the tones on and off and
also change what is shown on the screen, since the command
will now do the opposite. Some people find this annoying be
cause the screen says "tone off" when the tone is in fact on.
Hey, there's strength in diversity.
OxCO plus channel number (0-15) (decimal 144-159)
I added the capability with the commands to alter the
value of parameter 73 from the computer keyboard. To do this
you need to send a Mirage Command Code to the Mirage:
mk (MIDI key number)
0x40 (default velocity — 64)
If you want this program to update the pitch on the synthesizer
H e x
Dec
automatically, it will have to be smart enough to handle turning
EG
240
notes on and off.
OF
15
01
1
01
1
Mirage code
Mirage Command Code
TA L K T O M E !
SysEx start
ensoniq code
07
7
"7" parameter 73
As we all know, the user interface is the most fuimest part of
03
3
**3"
programming. Well, ok — it is, for most of us, the hardest part
OD
13
— machines seem quite content with kludged, redundant, cryp
tic interfaces, so long as the necessary rules are obeyed. With
Va l u e b u t t o n
At this point you would send either a
the rest of us, the rules aren't so clear.
OE 14 Up button
o
One rule I try to follow is to keep it simple. The simplest pro
r
OF
gram might not even need a user interface — if you don't care
15
Down
button
followed by
about setting the waves/page or other options, this program
could run continuously, producing the sampling tone as needed.
On the other hand you could write a Motif compliant window
F7 127 SysEx end.
Or, shown another way, one of the following:
based Sampling Tone Windowing System. Right.
19
But it looks a lot like one.)
up: 240, 15, 1, 1, 7, 3, 13, 14, 127
down: 240,15, 1,1, 7, 3,13, 15, 127
When you send me mail, specify if you'd like:
Finally — doing It....
• C=64/128 ruimable programs
• C=64/128 runnable programs and assembly sources
This project actually surprised me. I got the basic stuff working
• Sources in standard ASCII for non-Commodore users
in one day — but due to fun with handling spurious input from
the Mirage (like having the Mod wheel not at zero, or rebooting
the Mirage) proved to be more of a challenge. So, some things
Finally, you can send a 5-1/4" floppy disk and return postage
and I'll send you a 1541/1571 formatted 5-1/4" floppy disk
to watch out for:
with all of the C=64/128 goodies on it. Send it, and a retum
address to: Johnny Klonaris, 2151 Old Oakland Road #371,
Make sure you've received a valid Configuration Dump Para
meters message from the Mirage before you start doing math
San Jose, CA 95131. No salesman will call.
with the results, unless you like dividing by zero.
But wait, there's more....
You're going to need to do some floating point math. Writing
assembly language floating point is not on my list of "Fun
Things to do," so I wrote in Basic except for the MIDI I/O code
which is in 6502 assembler. The language(s) you choose will
depend on what you've got, how fast your computer is and all
the rest of the fun aspects of programming.
While I'm at it I'll put in another plug for the Mirage-Net. This
is an informal Intemet based mail network of Mirage owners. If
you can send and receive mail from the Intemet (this includes
CompuServe subscribers), then you can be a member of Mir
age-Net. For more information about Mirage-Net, send e-mail
to: [email protected] or, on CompuServe to:
>INTERNET:m[email protected] And ask for
I wrote my version to run on a C=64 or a C=128 (40 or 80
column display) with either a Passport or Sequential Circuits
style interface. This is six combinations and generally one or
two of them didn't work when the others did. Keep in mind
how many configurations you're likely to need your program to
more info.
Finally...
work with. Nothing wrong with just writing to whatcha got....
Hope this proves helpful — it has for me. Have fim.
I have no idea why, but I've noticed that after booting MASOS
2.0 on my Mirage, it sends out MIDI data for several seconds. I
don't recall this from previous programs I've written for it, so
it must be the phase of the moon or something. Anyway, be
prepared for handing data other than the Configuration Para
meters Dump Data message.
S-tudio &ample& -fcha-t are 100%:
/FAT /MEMOKT EFFIQENT /READY IG (3k3 v/WARM
Now, for the meat...
Version 2.1 of MIRAGEFREQ is available via the following:
EPSie+
A3R10
TS10
CompuServe: MIDIFORUM /Amiga/Other
Filename: MIRAGE.SDA
Sets Include:
•Matrix 12
•03 3
• Ya m a h a C S
•Prophet 5
Q-Link: CIN / Software Libraries / Music: MIDI and General /
MIDI: Sequencers, Libraries & Utilities / Ensoniq
Filename: miragefreq.sda
Usemame: jaw knee
•MiniMoog
•Jupiter 3
•Prophet VS
(On Q-Link you can access the file directly if you have the file
name AND the usemame above.)
Suppliee:
5.5" diskettes
D5PP .59/each
DSHD .39/each
Memory
1x5 (Imb) $49
4x5 (4mb) $175
$49/set. 20 sounds minimum per set. Sampler
diskette $5. AH ordemiglijJSi shipping (sampler
Permission is granted to distribute this freely so long as the
package is uploaded as you found it (i.e., with copyright, dis
postage paid). > SO-diskettes, call. ^
claimer, etc.).
If you are on the Intemet and on a un*x system, drop me a line
at [email protected] and I'll mail you a share file that has
everything you need for running my implementation of
»Hmmy Carter Blvd.
MIRAGEFREQ on a C=64 and/or C=128. (Note: "tm*x" is not,
4>A 30071#-
to the best of my knowledge, a registered trademark of anyone.
2 0
Loop
And now A drive for ail reasons !!
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Each unit comes complete with
CDR-Series
sounds for the EPS
CDR-CD-Rom
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C l a s s i fi e d s
EQUIPMENT
EPS: 4X/SCSI, Mint, all manuals, huge sound
library included. $999 obo. Phone: 800-776- 3199.
SD-1/32 Voice, mint condition, home use only, still
under warranty, 2000+ sounds, two cartridges,
$1395. Mike, (504) 752-9199.
VFX-sd II Mega-piano waves, expanded Seq
memory & 500-sound library. Must sacrifice $1300.
Kurzweil lOOOSX string module. Upgraded with HX
block. Pro II equivalent: $600. Alesis Micro-EQ
$75. All equipment used in studio only. Prices in
clude shipping. (708) 427-1615.
Ensoniq EPS 2X expander, $80. 303- 688-2628.
EPS-16 PLUS. Absolutely like new. Used approx
Pedal-Steel, etc. Quality not quantity. Tweaked for
15 hrs. 1.5 years old. All disks as new. $1350. Call
months. Minimal blocks. For sound list write: "Lit
Bill, 406-873-2027 or 406-873-5063, ext39.
USER GROUPS / CONTACTS
The International Samplers Cooperative is available
for all sampler users to meet and trade non-copy
righted, proprietary and non-proprietary samples.
We also offer user support via MusoBBS (818)
884-6799, Midilink, and FidoNet Check out our
newsletter, "The Loop." For details write: ISC,
20920-47 Ventura Blvd, Suite 293, Woodland Hills,
CA 91364. Voice: (310) 455-2653.
SAMPLES
I have an EPS-16+ keyboard with memory expander
Incredible 16-bit samples of Minimoog, Matrix 6,
D-5, SQ-80, VFX, Prophet VS and more. They're
and would like to trade even for an EPS-16+ rack-
cheap, but stire don't sound it! Send large SASE for
mount Interested, call George at 310-318-8294
catalog. Tom Shear, 706 University Drive, State
College, PA 16801.
(voice mail).
Desperately looking for a Mirage Input Sampling
ASR-10 owner will trade custom guitar loops for
samples. I need dance, R&B drums, other synths
(ID-800, etc!). Send me a guide disk with your se
S(J-80, latest OS, CV and sustain pedals, 80- and
160-voice RAMs, manual, box, 2000+ sotmds
(many pro sounds), VGC (church/ home only, never
on road). $750 (including shipping) obo. (804)
740-5367 after 6pm and weekends.
quence & I'll create a sute of the art guitar loop and
send it back to you. B. Presomt, 6950 NW 186th St.,
Filter. Call Garfield at (212) 681-3880.
#209, Miami, FL 33186. Phone: 305-460-5888.
Wanted: Roland JD800 samples for EPS-16 Plus,
especially stock and custom electronic piano, pad,
EPS 4X expander. Fits completely inside case. Best
offer. Call Jim, (914) 246-9047.
$999 EPS:4x/SCSI, all original accessories. (319)
242-6377.
and brass sounds. Bill Groener, 15940 SE Arista Dr,
Milwaukie, OR 97267.
EPS, EPS-16+, ASR-10 samples you can really use:
Grand Piano, B-3, Rhodes, Flute, Nylon Guitar,
21
tle Buddy Sounds," P.O. Box 254, Sandy, Utah
84091- 0254.
Blow-out sale! This is your last chance to get the
complete SoundProcess library for Mirage with the
run-time O.S. on each Disk. I have the "Lush," "X,"
"DeMity," "Addy," "Turbo," "Keyboard," and now
a 1-bank disk of "SQ-1+" sounds, normally a $160
value, for $79! Add $4 p/h. Also, used MIDI equip
ment for sale. Send a SASE for my list. Bob Spen
cer, 703 Weatherby Ln., Greensboro, NC 27406.
ECCENTRIC SAMPLES (Mirage and EPS). Ethnic,
Ancient Greek, Medieval instruments; Partch crea
tions; Industrial Percussion & more. Mirage demo
tape: $3. EPS demo upes (Vol. II or Vol. HI): $6
each. U.S. ftmds only. Demo wpes include disk list.
For lists alone, send SASE to: NIGHTWIND Sound,
170 Mar Monte Ave., La Selva, CA 95076.
MIRAGE SAMPLES. 57 new samples for $30.
Most are unusual. 5 disks, $6 each (US funds).
Demo $3. SASE for free listing. Treehouse Sound,
PO Box 18563, Boulder, CO 80308- 8563.
SUPERB EPS-16 PLUS SAMPLES of E-mu Pro-
cussion, Minimoog, K-4, and more, from the Hack
er's Sam Mims, $9.95 per disk. Post-production
quality sound effects samples for EPS-16 Plus, all
from digital source recordings, $5.95 per disk, $5.45
each for six or more. Mirage Disk 1, samples from
Minimoog, DX-7, and VFX, for $7.95. Send SASE
for free listing to: Syntaur Productions, 2315 Mid
Lane #44, Houston, TX 77027, or call (713)
965-9041.
/
PAT C H E S / S O U N D S
INSTRUCTION
SD-l Studio-endorsed sounds from programmer
Eric Olsen. Top quality sounds that can't be beat!
Get an edge with these! Volumes 1-4: $25 each.
Check or M.O. to: Eric Olsen, 6050 Adaway Cu,
Grand Rapids, MI 49546.
TALKING OWNER'S MANUALS, 90 to 120
minute lengeth cassette instructions are available for
SQ-1, SQ-2, KS-32, EPS-16 PLUS, SD-l, SD-1-32
Voice and VFXsd models. Request ordering info
f r o m TA L K I N G O W N E R ' S M A N U A L S , P O B o x
10822, Costa Mesa, CA 92627.
Wanted: VFX users wanting to trade sounds. Please
send Alesis Data Disk format to : Dave Musumeci
@ 202 Catalina Drive, Harmony Hills, Newark, DE
19711 or phone (302) 368-7324.
The Hacker's Jack Tolin presents CrossWave
Sounds: The classic drums of the HR-16 (2-disk set;
49 sounds); SYNTH-BITS! - turn your HPS-16+ or
ASR-10 into a synthesizer with these low-memory
samples - Ml Series (5-disk set; 50 sounds). All
disks are $5 each (foreign s/h - add $5.) To: Jack
Tolin, 23 E. Elm Ave., Quincy, MA 02170.
wave-draw synthesizer is still available. For more
info, or to order, contact Tim Martin, 1510 S 5th W,
Missoula, MT 59801. Phone: 406- 542-0280 And
thank you for your supporL
MUSIC
O U T- O F - P R I N T B A C K I S S U E S
The Ministry for the Absorption of Protohumans,
Androids & Cyborgs. Original New Age/retro/
synth/rock/ArtMusik. Composed and performed by
William Holt Penninger, Jr. Man/Machlne/Muslc
(1991) $6.00; The Accessible Penninger (1991,
reviewed in TH 11/92) $10.00; Fdt=mdv (1992)
$6.00. To order, contact: Computer Musician Coali
tion, 1-800-4CMC, 1024 W. Wilcox Ave., Peoria,
M.U.G. will provide Out-of-Print issues for cost of
materials and postage. M.U.G. Hotline: 212-4653430 or write: G-4 Productions, PO Box 615TH,
IL 61604.
60 VFX-sd patches created by Jim Grote. Wide
variety of sounds with complete documentation.
Call for free Information Packet, or send $30 for
VFX-sd disk to: Jim Grote, 3721 Frances Ave., CincinnaU, OH 45211. Phone: (513) 661-8885.
Mldlcaster is still available. The way-cool operat
ing system that turns your Mirage into a very
capable System Exclusive data librarian, a 20,000note sequence player, a disk copier/ formatter, and
SEQUENCES
RAGTIME AND NEW ORLEANS R&B SEQUEN
CES on SD-l, VFX-sd DISK: Joplin, Eubie Blake,
Jelly Roll Morton, Professor Longhair, James
Yonkers, NY 10703. Attn: TH Back Issues. Phone:
(212) 465-3430.
Photocopies of out-of-print past issues of the Hack
er can be obtained by calling Jack Loesch,
908-264-3512 after 6 pm EST.
Folks in the New York City area can get copies of
unavailable back issues of the Hacker - call Jordan
Scott, 718-983-2400.
FREE CLASSIFIEDS!
Booker, Dr. John. Ten for $30 + $2 P&H. Perfect
NEW SQ-80 SOUNDS from the Hacker's Sam
for gig break - or fim. Check or MO to Joel
Simpson, 902 Montegut Sl, New Orleans, LA
Mims! Soundset 4 takes full advantage of the
SQ-80's unique waveforms, and brings "hidden
waveforms" to the SQ-80 for the first time. Also
available for the ESQ and SQ-80 are Soundsets 1, 2,
and 3. Forty patches per set, each with 22-page
70117. Phone: 504- 943-7322.
SOFTWARE
booklet of programming notes and performance tips,
for $17.95. Send SASE for free literature. Syntaur
For IBM: Cakewalk 4.0 sequencer, and Dr. T's
Copyist Professional music notation program. Com
plete original programs with manuals. $75 each or
$135 for both. Steve, (206) 565-4701.
Productions, 2315 Mid Lane #44, Houston, TX
77027, or call (713) 965-9041.
ESQ & SQ-80 Hackerpatch
Well - within limits. We're offering free classified
advertising (up to 40 words) to all subscribers for
your sampled sounds or patches. Additional words,
or ads for other products or services, are 25 cents
per word per issue (BOLD type: 45 cents per word).
Unless renewed, freebie ads are removed after 2 is
sues. While you're welcome to resell copyrighted
sounds and programs that you no longer have any
use for, ads for copies of copyrighted material will
not be accepted. Sorry - we can't take ad dictation
over the phone!
G u e s i H a c k e r : To m S h e a r
B Y : To m S h e a r
SQ-80 PROG; FMORGN
SQ-80 PROG: FMORGN.
M0D#1
DEPTH
M0D#2
DEPTH
0SC1
OCT
0
SEMI
00
FINE
00
WAVE
T R I
LFOl
+ 01
L F 0 2
+ 02
OSC 2
0
00
00
T R I
LFOl
- 0 2
O F F
-
OSC 3
- 1
00
05
S I N E
LFOl
+ 01
L F 0 2
+ 01
DEPTH
The Patch
LEVEL
OUTPUT
M0D#1
M0D#2
DEPTH
DCA1
6
3
O N
ENV2
+
63
ENV2
+ 63
DCA2
5 5
O N
ENV2
+ 63
ENV2
+ 63
DCA3
4 8
ON
ENV2
+ 63
ENV2
+ 63
This is a light, jazzy Hammond-type organ sound. The LFOs
help give the sound some fullness and a very subtle Leslie ef
fect. What makes it different is that it doesn't use any of the
organ WAVEs and that it has velocity sensitivity unlike most
FRED
FILTER!1 127
Q
KEYBD
31
6 3
FINAL VOL
DCA4
DEPTH
M0D#2
• O F F *
PA N
1 63
M0D#1
organs.
1
• O F F *
PA N M O D
8
DEPTH
The Hack
DEPTH
1
* O F F *
FREQ
RESET
HUMAN
WAV
L1
L2
MOD
L F O l
24
O F F
ON
TRI
00
D E L AY
01
19
ENV4
LF0 2
22
O F F
ON
TRI
00
01
20
ENV4
ESQ owners can get a pretty close, albeit lighter sound by
changing the OSC 1 & 2 waves to SINE. If you want to add a
little distortion to your organ, change RES(Q) to 00 on the
FILT page. Increasing ENV4's LV amount increases velocity
LF0 3
L1
L2
L3
LV
5 6
63
4 3
13L
53
4 6
2
25L
T1V
T1
T2
T3
T4
TK
sensitivity while lowering it to a value of OOL eliminates
ENV1
ENV 2
00
1 8
29
63
00
09
00
00
44
63
00
00
velocity sensitivity entirely. You can get a slightly more synthy sound by turning AM on on the MODE page. If you do
this, you may want to turn RES(O) to 00 on the FILT page. To
get a new sound, simply change 0SC3's WAVE to BREATH.
ENV 3
ENV 4
SYNC
AM
9
MONO
GLIDE
MODES I OFF OFF OFF 00
VC
OFF
ENV
OFF
OSC
OFF
CYC
OFF
SPLIT/UYER S/LPRG UYER LPRG SPUT SPRG SPLIT KEY
2 2
Jeffrey Rhoads
SQ-1/2 & KS-32 Hackerpatch
Prog: BRASS-CLASS
By: Bradley Kaufman, Dr. Brad Sounds
Notes: Thanks to Dynamic Component Synthesis, here is a
faster the keys are hit. MODWHEEL opens the filter of Voices 1
punchy Brass Stab/Synth Brass ensemble. The two SAWTOOTH
& 2. Voice 3's filter is modulated via "TIMBER" (data) slider as
waves interact with subtle, continuous pitch variation due to
NOISE modulation. Also, ENVl makes Voice I's attack briefly
a Preset. SQ users without pressure-sensitive keyboards: Change
LEO MODSRC to Pedal and be sure your master page has CV
sharp and Voice 2's attack briefly flat - this effect is stronger the
pedal set to MOD instead of VOLUME.
WAVE
F O
LFO Speed
1
1
2
3
2 8
2 8
2 8
A M P
Initial
9 9
9 9
9 9
3 0
3 0
9 9
9 9
9 9
0
0
0
Peak
Break
99
9 9
0 0
Wave Class
On
O n
O n
Waveform Waveform Brass
Wave
Sawtootti
Sawtootti
F r H o r n Va r
Noise Rate
Level
Delay Time
00
0 0
001
Delay
0
0
0
Sustain
99
99
00
Forward
MODSRC
"Press*
"Press*
"Press"
Attack
2 0
2 0
0 0
00
Wave
TrI
TrI
TrI
20
20
46
Restart
Off
Off
Off
Decay 1
Decay 2
2 0
2 0
0 0
Release
15
1 5
15
S e l e c t Vo i c e
Wave Direction
Start Index
-
.
MODSCR
.
MODAMT
Restrk Decay
-
-
0
0
0
I LT E R
1
2
3
Ve l - L e v e l
19
19
19
2 L P
3Lp
ILp
Ve l - A t t a c k
0 0
0 0
0 0
ITCH
1
2
3
Filter 2
ILp
3Lp
ILp
Vel Curve
Convex
Convex
Convex
-1
-1
-1
FC1 Cutoff
000
0 0 0
0 0 0
Mode
N o r m a1
Normal
Normal
Octave
0
0
0
E N V 2
+91
+91
KBD Track
0 0
0 0
Fine
+02
-02
+01
FC1 KBD
+91
+22
0 0
Semitone
+22
+22
ENV1
+25
-25
0 0
MODSCR
Wtieel
W fi e e l
"TImbr"
LFO
+03
+03
MODAMT
FC2 Cutoff
+41
+41
+41
MODSCR
+03
Noise
0 0 0
0 0 0
0 0 0
MODAMT
KBD Ptch Track
+ 11
O n
- 11
0 0
ENV2
+78
+78
O n
FC2 KBD
N o
N o
FC1MOD-FC2
+40
Off
+ 4 0
Glide
O n
N o
+78
+40
Off
Off
Glide Time
0
0
0
Filter 1
Noise
1
2
3
VOL
9 9
9 9
77
Boost
MODSRC
Off
Off
O n
MODAMT
0
0
0
KBD Scale
-20
-20
-20
A0-C8
A0-C8
A0-C8
FX1
F x l
FX1
Med
M e d
Med
OUTPUT
-
1
2
3
Key Range
Output Bus
Priority
Initial
0 0
0 0
0 0
Pan
-25
+25
0
0
Peak
8 0
80
8 0
Ve l w i n d o w
000
000
000
0
Break
6 0
6 0
6 0
0
0
Sustain
5 5
55
5 0
0 6
0 6
Attack
0 2
02
02
0
0
1 2
35
0
Decay 1
Decay 2
1 2
0
0 3
0 3
5 4
0
0
Release
1 0
1 0
1 0
9 9
9 9
Ve l - L e v e l
16
1 6
00
Ve l - A t t a c k
0
0
Ve l - A t t a c k
9 9
9 9
06
Ve l C u r v e
Concave
Ve l C u r v e
OulkRIse
OulkRIse
Convex
Mode
Concave
Normal
Normal
Mode
Normal
Normal
Normal
KBD Track
0
0
KBD Track
+14
+14
-14
1
2
Initial
5 0
5 0
Peak
0
Break
0
Sustain
Attack
Decay 1
Decay 2
=NV1
Release
Ve l - L e v e l
3
ENV2
EFFECTS
-
CONCERT REVERB
FX-1
3 0
FX-2
0 0
Decay Time
3 5
Diffusion
4 0
Detune Rate
2 0
Detune Deptfi 4 0
HF Damping
LF Decay
BY (MODSRC)
4 0
HF Bandwidtli 6 6
2 0
MOD (Dest)
Nettling
Off
MODAMT
0 0
My thanks to Dr. Brad for making this month's Hackerpatch a
The Hack: Here's another great Dr. Brad VFX sound
adapted for the SQ family. "Brass-Class" is a warm yet biting
pleasure to enter.
Jeffrey Rhoads
brass stab that should please those of us in search of more
"usable" horn sections. Perhaps its strongest point lies in its
Bio: Jeffrey Rhoads has been a key
boardist/composer on the Philadelphia
Jazz and R + B scene for a period of
time resembling forever. He has an in
variation of tonal modulation sources (and destinations). Follow
Dr. Brad's suggestions in order to fully appreciate this patch.
The only changes really necessary here are in the conversion of
terest in cinema and has developed
some VFX software values to those of the SQ and setting the
values for the SQ Concert Reverb effect. I've made these chan
some film courses. Jeff still believes in
ges on the sheet above.
magic and longs for city lights.
Hackerpatch is intended to be a place where patch vendors can show their wares and musicians can share their goodies and impress their
friends. Once something's published here, it's free for all. Please don't submit patches that you know to be minor tweaks of copyrighted
commercial patches unless you have permission from the copyright owner. All submitted patches are subject to consideration for mutilation
and comments by Sam Mims and Jeffrey Rhoads — our resident patch analysts. If you send in a patch, please include your phone number.
Requests for particular patches are also very welcome.
Pending Hacker-Requests:
SQ-1/2 - An "Elton John" Oberheim Bass patch — like in Rocket Man.
SD/VFX - A sitar patch.
2 3
SD & VFX Hackerpatch
Sam
SD & VFX Prog: GOODOLDAYS
By: Brad Kaufman, Fair Lawn, NJ
NOTES: Be sure to try aftertouch on this synth patch.
THE HACK: This is a great sonic reminder of the Good CI' Days of fat analog
synth timbres. Dr. Brad uses a recipe of Sawtooth and Pulse transwaves for the
Mims
like the 00 upper sound. The other two patch selects are silent, so
let's give them a say by letting 0* play voices 1, 5, 3, and 6 and let
*0 play voices 3, 4, 5, and 6. Since the modwheel isn't really doing
anything, I'd change the LFO Level MODSRC to WL+PR. (When I
play analog synth patches, it just feels natural to add vibrato with
the modwheel...) Dr. Brad did a fine operation here, and I'd leave
meat of the sound, witha dash of Resonant transwave for that "Owwww" flavor in
the bass. This is a split patch, with the resonant bass on bottom, and a punchy synth
brass on top. Aftertouch adds vibrato. The ** patch select changes the patch on the
everything else alone — don't fix it if it ain't broken.
upper split. I'd pipe these two voices (l.and 4) through the FXl bus (Output page)
SELECT VOICE
0 0
2
3
- Sam Mims
8
5
© •
W A V E S
6
Pulsel X Sawtooth
Wave
Wave Class
P u l s e 2 X
Pulse2X Sawtooth
Resonant2
• 0
•
•
1
3
4
6
Transwave Waveform TranswaveTranswaveWaveform Transwave
0
Delay
0
0
0
Start
9 9
0
0
0
MODSCR
M i x e r
M i x e r
Mixer
Mixer
ModAmt
- 8 4
+ 8 4
+ 8 4
+ 9 9
0
OD MIXER
1
2
3
SRC-1
•Off*
LFO
•
S R O - 2
Envl
N o i s e
E n v l
SRO-2 Scale
1 . 0
8 . 0
SRC-2 Shape
Smoother
S m o o t h e r
0
4
:NV1
1
4
0
0
0
9 9
9 9
9 9
9 9
0
Break 1
0
0
0
5 0
Break
99
9 9
9 9
2 5
2
2
6
3
Initial
Peak
5
5
6
Sustain
0
0
0
0
L F O
E n v l
Attack
3 0
3 0
3 0
1 2
E n v l
Noise
Press
3 0
3 0
3 0
21
1 . 0
1.0
8 . 0
0 . 9
3 0
3 0
3 0
23
S m o o t h e r
Smoother Smoother
Decay 1
Decay 2
Decay 3
3 0
3 0
3 0
2 3
R e l e a s e
0 *
0 ^
0 ^
0
KBD
0
0
0
0
o
r
•
o
r
Smoother
Track
1
2
3
4
5
6
Ve l C u r v e
QkRise-
OkRise QkRise-
Octave
-1
-1
-1
-1
-1
-1
M o d e
Semitone
0
0
0
0
0
0
Repeat -
Repeat Repeat-
Repeat
Vei-Level
0
0
0
0
Fine
0
0
0
0
0
0
0
0
0
-
P i t c h Ta b l e
Ve l - A t t a c k
System
System
System
System
System
System
2
3
4
5
6
Z>M
C
1
MODSRC
TImbr
TImbr
TImbr
TImbr
TImbr
M O D A M T
+ 1 2
+ 1 2
+ 1 2
+ 1 2
- 1 2
Glide
N o n e
N o n e
N o n e
N o n e
N o n e
N o n e
ENV1
LF01
0
0
0
0
0
0
- 3
- 2
- 3
-3
+ 2
0
>rrcH
ITCH MODS
2
3LP
3
4
M o d e
1
3LP
3LP
Cutoff
0
0
KBD
0
0
M O D S R C
• o r
•
MODAMT
0
0
0
ENV2
+ 7 6
+ 7 8
I LT E R 1
F I LT E R 2
o
r
1
2
3
4
5
6
Initial
0
0
0
0
0
9 9
TImbr
Peak
9 9
9 9
9 9
9 9
9 9
75
- 1 2
Break
1
7 5
7 5
75
75
7 5
5 0
Break
2
6 5
6 5
6 5
6 5
6 5
2 5
S u s t a i n
6 5
6 5
6 5
6 5
6 5
2 0
Attack
2
2
2
2
2
1 2
Decay 1
Decay 2
Decay 3
1 0
1 0
10
1 0
1 0
21
5
5
5
5
5
2 3
5
5
5
5
5
2 0
Release
KBD Track
1 0
1 0 ^
11
11
10*
0
- 1 0
- 1 5
- 6 8
- 6 8
- 1 5
- 9 9
Ve l C u r v e
C n v x l
C n v x l
Norm
Cnvxl
Norm
C n v x l
M o d e
Cnvxl
Norm
N o r m
Norm
Cnvxl
Norm
Vei-Level
0
0
0
0
0
0
Vel-Attack
0
0
0
0
0
0
6
3UP
5
3LP
0
0
0
3 0
0
0
0
- 1 0
• O f P
•
0
0
0
+ 7 6
+ 7 6
+ 7 6
+ 4 0
•
o
r
•
o
r
C n v x l
2LP
o
r
1
2
3
4
5
6
1
2
3
4
5
6
M o d e
1LP
IMP
1 L P
1 L P
I M P
2LP
Initial
9 9
9 9
9 9
9 9
9 9
9 9
Cutoff
0
0
0
0
0
91
Peak
9 9
9 9
9 9
9 9
9 9
9 9
K B D
0
0
0
0
0
+ 5 4
Break
1
9 9
9 9
7 0
9 9
9 9
7 0
MODSRC
• o r
• o r
• o r
• o r
•OfP
• o r
Break 2
9 9
9 9
7 0
9 9
9 9
70
. 9 9
9 9
70 .
9 9
9 9
7 0
2 0
2 0
0
2 0
2 0
0
Decay 1
Decay 2
Decay 3
2 0
2 0
6 8
2 0
2 0
6 8
2 0
2 0
0
2 0
2 0
0
2 0
2 0
0
2 0
2 0
0
M O D A M T
0
E N V 2
+81
0
0
0
0
+ 8 1
0
+ 8 1
:NV3
Sustain
Attack
0
0
0
OUTPUT
V O L
9 9
8 5
9 9
• o r
• o r
•
0
0
0
Z o n e
Z o n e
Z o n e
F 4 / C 8
F4/C8
5 0
5 0
5 0
M O D S R C
•Off
M O D A M T
0
KBD
Scale
9 9
LO/HI_K^___^
DesF Bus
" D 7 y " " " '" F X l
P a n
M O D S R C
9 9
6 8
R e l e a s e
1 5
1 5 ^
5 0
5 0
1 5 *
2 8
•OfP
• O f f
KBD Track
0
0
0
0
0
0
0
0
Ve i C u r v e
Cnvxl
C n v x l
C n v x l
Cnvxl
Cnvxl
Z o n e
Zone
Z o n e
M o d e
N o r m
N o r m
N o r m
N o r m
N o r m
Cnvxl
Norm
F4/C8
F 4 / C 8
Vel-Levei
0
0
0
0
0
0
Vel-Attack
0
0
0
0
0
0
o
r
__A0/E4__
Dry
"Df^
o
'FXl
5 0
r
•
o
_Ag/E4
Dry
5 0
r
5 0
♦ o r
• O f f
Mixer
•
. _ M P PA M J _ _ _
FVe-Galn
0
+ 2 0
0
Off
Off
O n
Vo i c e P r i o r
Ve l T h r e s h
Medium
Medium
Medium
Medium
Medium
On
Medium
0
0
0
0
0
0
■ 0Off
Mixer
_-20
PGM
_g
O f f
Bend Range
Delay
Restrike
Glide Time
F O
R a t e
1
2
3
4
5
2 8
2 8
2 6
2 8
2 8
M O D S R C
W 1 + P r
W l + P r
W 1 + P r
W l + P r
W l + P r
M O D A M T
+ 2 5
+ 2 5
+ 2 5
+ 2 5
+ 2 5
0
0
0
0
0
P r e s s
P r e s s
P r e s s
P r e s s
L e v e l
MODSRC
De^lay^
Waveshape
_q
TrTangie
Restart
Noise
SRC
Off
RT
_P
triangTe
Off
5 3
__0
_J3_
Triangle friangie
Off
Off
P r e s s
EFFECTS (1)
CONTROL
P i t c h Ta b l e
O f f
•
•
Effect
Large Hall Reverb
Decay
3 0
X l
FXl
Mix
12
0
FX2 Mix
2 5
0
6
EFFECTS (3)
EFFECTS (2)
Pre-Delay
100
Early Refl Level 10
FX2
Mode
Norm
Stereo
HF Damping 40
-
PERFORMANCE
_0
Triangle'
O f f
5 3
2 4
Timbre
5 9
Release
0
Pressure
Key
Send
The
Interface
Letters for The Interface may be sent to any of the following addresses:
U.S. Mail - The Interface. Transoniq Hacker, 1402 SW Upland Dr., Poitland, OR 97221
Electronic mail - GEnie Network: TRANSONIQ, CompuServe: 73260,3353, Internet (via CS): [email protected]
This is probably one of the most open forums in the music industry. Letter writers are asked to please keep the vitriol to a minimum. Readers are
reminded to take everything with a grain of salt. Resident answer-man is Qaik Salisbury (CS). Letter publication is subject to space considerations.
[TH - Last month, Ensoniq said they would
have a more detailed answer to part 5 of Becky
Dierkson's question regarding getting both
cartridge programs and their associated tracks
to default to internal RAM on her VFX-sd.]
[CSIEnsoniq - Last month we received a ques
was very pleasantly surprised at how good it
sounded and felt. I plan on selling everything
in sight to buy one. (My little brother got real
upset when he got the bad news but I'm sure
he'll calm down after I explain to him that cer
[CS - And I'm still waiting for the drink
t a i n s a c r i fi c e s h a v e t o b e m a d e f o r m u s i c a l
holder!ashtray accessory.]
progress.)
tion from Becky Dierkson regarding the or
ganization of sounds in the VFX-SD for
sequencing purposes. After discussion with
Jerry Kovarsky of Ensoniq, we've come to the
Sincerely,
The Secret Mysterious Interfacer
Redondo Beach, CA
Knowing full well how many wall-fist im
prints (with my commerative plaque under
[Ensoniq - I, 2) Thanks for the input, but we
have no plans to add these features to the
KS-32. We believe that part of the success of
neath), broken chairs and pencils have been
the KS is the price!performance ratio, and ad
conclusion that our original answer, while
dedicated at the factory to my good name, I
ding features until we raised the price too high
technically correct, did not go far enough in
explaining some of the options for organiza
tion of sounds and sequences that the VFX-SD
felt I could not break with tradition and allow
might not allow us to reach all the musicians
this letter to go by without a few comments
out there who have to make their decisions
and suggestions.
based on a limited budget (which is most of
provides. So herewith is our improved
response, version 1.10:
us!).
1. A high density disk drive for the KS-32
would be nice (wouldn't it, Ollie!).
2.1 personally would like an 88-key version of
4) We would suggest a music stand since play
ing on the keyboard with the music on top many
times results in shaking the book off the key
the KS-32.1 mentioned this in a previous letter
board (at least the way we play).
Perhaps an easier way to accomplish what you
wish is to keep your sequenced tracks pointing
to internal RAM during the sequencing
process; this way, when the sequence is com
plete you can save the whole thing to disk as a
but thought I would run it by you one more
time before I take the final plunge.
60 SEQISONG file (or a 30 SEQ!SONG file).
If you make certain to save your programs
3. I hope someone (either programmers, en
along with your sequences (an option which is
presented when you save the aforementioned
g i n e e r s ) ( AT T E N T I O N PAT C H R E Q U E S T
COLUMN!) will develop sound equivalents
file types), all the sounds will be re-loaded
use, copy it to a specific bank of 6 sounds.
for the following sounds or patches: The beau
tiful and warm acoustic 12-string guitar in the
song "Love Is Blue." An accordion patch as
good as the sound Keith Emmerson uses with
ELF in "C'est La Vie." A punchy electric
guitar patch like the D-50's "Chorused Strat"
patch. Any good electric 12-string patch. An
acoustic guitar patch that sounds as good as
the JV-80's sensational Velo Harmonix patch
(internal preset A56). A guitar-flute and/or a
This bank can be saved to disk as a 6-PROG
guitar-vox patch.
into the correct locations when you later load
the sequence!song file.
/ know what you're going to say next - how do
you keep the sounds you're using in RAM
while loading new sound files from disk, to
look for other sounds? What Fd recommend is
that whenever you find a sound you want to
file. You can then load the next set of 60
sounds, continue the hunt, and save sounds
that you like in other 6-PROG file groupings
4. One of the problems I run into in live per
(or even as 1-PROG files, if you wish to save
only a single sound). Once you've collected all
the sounds you need, you can then load the
top of my synth (an SD-1) the book will
change a patch or parameter setting in the mid
6-PROG files (and 1-PROG files) you've
saved; the VFX-SD will allow you to specify
into which bank (or location, in the case of
single sounds) you'd like to load any of the
files. This will allow you to arrange the sounds
and banks of sounds in internal RAM in
whatever way you'd like. Save the result as a
60-PROG file, or better yet, as a 30- or
60-SEQ/SONG file. If you wish, you can then
delete all the 6-PROG files from disk to free
up the disk space.]
forming is often when I place a music book on
5) We think the new TS-IO PerformancelComposition Synthesizer should fit the bill as a new
flagship - wouldn't you agree?]
DearTH,
As I enter my 7th week of marking time until
my VFX-sd gets its SD-1 32-voice upgrade
from the factory, I realize how addicted I've
become to the instrument. I had been putting
off getting the upgrade because 1 had finally
put together my little dream studio and I
wanted to complete tracks for my first round of
songs. But when my VEX started acting tem
peramental, I decided the time was perfect. I
was later informed that I was the last person
signed up for the upgrade; they were no longer
offering it. It's really wonderful that Ensoniq
provides these update possibilities but it surely
would help if they would aimounce expiration
dle of a sound. What do you think of the idea
of a firmer push on the buttons to change the
dates as well. I would certainly have driven the
settings so it doesn't happen inadvertently.
known.
Feel free to implement these suggestions any
After week 2,1 took out my old Farfisa combo
time before I buy a KS-32. I requested a
piano-string patch as good as the D-70's in a
organ from under the basement steps. After
cleaning and tuning it I used it to practice with
the oldies band with whom I record and gig.
Except for the psychedelic numbers that we do,
they missed the cool VEX presets.
previous letter and there's an excellent chance
that the piano-string patch on the KS-32 wiU
inspire me to sell my D-70. My patch sugges
tions take nothing away from the fact that I
was highly impressed (maybe the correct term
is "floored") at how good the KS-32 internal
sounds are.
Dear Ensoniq, TH and Clark,
A few last questions: Any prospect in the near
Well, Ensoniq, you've done it again - you've
future for a new flagship synth?. Is there a
come out with another keyboard I just can't
live without. I tried out a KS-32 recently and
KS-32/SQ-1 users group out there?
55 miles to Malvern sooner, if I had only
After waiting through weeks 3 and 4,1 started
playing my acoustic piano again. Once I got
used to it, I noticed how different my style was
becoming. Next, I took out my Guild D-50
guitar - had to build up those calluses all over
again.
Finally my keyboard was ready. The upgrade is
25
even more excellent than I imagined it would
So, "Why not use the ALL 2ER0S instead of
be. I don't know whether they cleaned or
FULL ON for the default envelope?" he mut
tered. Well, try the ALL ZEROS Default for
replaced the disk drive, but it's running more
holding approximately 8000 notes that cards
will become an expensive way to store your
quietly and smoothly. The sounds are great
ENV2. Then go to the Filter. Adjust any ENV2
and they gave me so many! Hacker, your pub
parameter (with the FC set to 000). Know
what you'll hear? Nothing, nada, zilch. If you
songs. In that case, we recommend using a
MIDI disk drive that can store greater than
32k of data. Some models to look at would be
the Alesis Datadisk, the Peavey MIDI Strea
one of its type that I've seen. And, Ensoniq, I
hope you will continue to provide your first-
use full zeros, you're gonna hear full zeros.
mer, the Brother PC-100 or a computer.]
rate customer service and much-appreciated
So, no written values in the envelope para
meter window equals Default Envelope FULL
Dear Hacker,
lication has to be the most valuable and usable
upgrades.
ON.]
I'm a loyal Ensoniq customer from the PM
(post-Mirage) era. I bought an ESQ-1 when
Reesa
GlasSboro, NJ
Gents and Ladies:
To t h e I n t e r f a c e :
you had to wait months before your keyboard
Just got my KS-32. It's got incredible action
but I've a couple of problems. The first is that
In the February '93 SQl/2 Hackerpatch, Jef
frey Rhoads suggested we change the SQ
RHODES patch to "let the tone come from
I can't seem to program a decent acoustic
piano. 1 need one that uses just one voice of a
ENV 2." Under the Freedom of Information
Act, I hereby request that those ENV 2
of music holder for this board. All my pre
vious synths had one. And, last, 1 need a place
parameters no longer be kept a secret.
to get memory cards for a reasonable price.
Sam S. Mims
Hope you can help.
Syntaur Productions
Houston, TX
Sincerely,
was shipped. When the SQ-1 came out I
decided I had to have one of them too. 1 shop
ped around and 1 still think that I made a great
choice. (I jammed with a guy who plays a
Korg Ml recently - garffl)
sound. Secondly, 1 wish there were some kind
Okay, enough kudos...here're my questions
and concerns.
1. When the ESQ-1 came out there was a lot
of excitement and a flurry of third party
products. There were patches available from a
dozen different sources and competition was
healthy. I don't see the same thing with the
CarlHuU
[Jeff Rhoads - The press secretary for one (or
any) of the recent White House occupants
Fairfield, OH
might have said, "...and, information is no
[CS - A number of the factory piano sounds
SQ-1. Patches come from a few sources mainly Ensoniq and closely-affiliated third
party vendors. 1 still don't see an alternative
longer free." But, for Sam Mims and a rather
steadfast chorus of Hacker readers, the all-
that use two or three voices can easily be
vendor to the MC-32 RAM card for storing
changed to use a single voice. For example,
the sound "Dynamic Grand" uses three
patches and sequences. With the ESQ-1 you
important "cost of information" is paid-in-full
that we're all totally confused, I offer you the
voices; two which play the 16-Bit Piano wave,
and one that plays the piano "THUD" wave.
Since the two piano waves are split, though,
values for ENV2. They are: Initial=99,
(they use the waves 16 BIT PLANO-HL and 16
Peak=99, Breakpoint=99, Sustain=99, At-
BIT PLANO-LO) they only use a single voice
of polyphony, so nothing is gained by using a
by staying alert - find a mistake or, in this
case, a casual disregard for detail. So now
tack=20, Decayl=20, Decay2 = 20, and
Release=10. This is what's known as the
Default Envelope.
What's more, our Default Envelope will revert
to the first envelope on the Default En
velope list, FULL ON. In point of fact, most of
the time when we indicate NO SETTING by
leaving an envelope parameter window blank,
we actually mean, "...use Default Envelope set
to FULL ON." The FULL ON envelope has a
square shape on the x,y axis - sort of an up
side-down coffee cup. It is very simple, yield
ing but two changes over the course of the
single voice in their place. The THUD wave is
layered with the piano wave, so it uses an
could buy an EEPROM cartridge that doubled
your capacity. And, now, worst of all, I can't
bay a RAM card with patches on it. 1 have to
buy a ROM card for $100 that 1 can't modify.
1 have to use my precious internal locations or
spend another $100 for a RAM card to store
my preferences on. Isn't there a cheaper way
to distribute patches for the SQ-1 series?
additional voice. Try turning this voice off,
2. Every product that 1 get interested in for se
and see how you like the sound. If you miss the
quencing is only available for the EPS/ASR
line of samplers or the VFX/SD line of synths.
1 suppose it's easier to distribute data on
nice "thunk" it makes on the higher notes,
consider restricting this voice to a specific
zone of the keyboard by setting the "KeybdScale" parameter in the OUTPUT section to
ZONE. By so doing, the patch will end up
using two voices only when you play within
the zone that has the "THUD" wave assigned;
outside this zone, the patch will use only one
voice.]
note: Key On and Key Off. (Our Release value
synths that have disk drives. But I would love
to have some sample sequences from some
people who have more time than 1 do to play
with the SQ-1. Or how about some MIDl-
based training that would work on the SQ-1
sequencer? It just seems puzzling to me that
there aren't dozens of vendors competing for
the patch and sequence market created by the
purchase of aU those SQs.
in FULL ON is 10. This just smooths out the
return to 0 at Key Off. Technically, it's a
[Ensoniq - There is no provision for a built-in
music rack on the KS-32, but we will certainly
cheat, but some small Release value eliminates
keep that in mind for future product develop
ment. As we stated in our response to The
3. Does anyone else who used to have an
velope can also be called "The Organ En
velope" - check out ROM sound #31, Organ I.
Secret Mysterious Lnterfacer, we recommend
way the the SQ-1 cuts off sustained notes
The FULL ON envelope does not really do
much of anything exciting. In fact, it's boring.
It will respond to a level change in an ENV2
3) The MC-32 card retails for $99.95 and
dealers are likely to offer some level of dis
count from that price. When you consider that
a card holds 160 sounds the cost equates to
$0.62 per sound, not a bad price.
an audible harshness.) The FULL ON en
setting in, let's say, the Filter Section. But it is
so dull. Thus, the Amp Envelope will generate
getting a regular music stand.
any more detailed or dramatic shape for our
Wave of Choice. (How ami doing, Sam?)
If you want memory cards to hold sequence
data, you will quickly find that with each card
2 6
ESQ-1 find it hard to get accustomed to the
when you're hunting for that next patch you
want to play? Yeah, 1 know that you can have
a zillion presets that allow you to go from
patch to patch like you used to be able to do
on the ESQ-1. And 1 read the manual which
describes why the SQ-1 operates the way that
it does. But damn, 1 wish I could just hunt for
the patch I want when the guitar player says
it's your turn for a solo and you can't remem
ber where that chiffy flute sound is. How
about a master override button that kills the
effects processing or puts all onboaid patches
at the same effect so that you can transition
between sounds easier? Or, better yet, how
about a preference setting that says that you
have to punch two buttons to select the next
and the Roland cards. I was not impressed.
Please, Ensoniq, put the same amount of affordability and engineering into this market that
you did the sampler, synth and sequencer mar
ket! Keyboard Magazine says you're working
The problem in offering sounds on formats
other than cards is that there are so many dif
on one. What's up?
ferent formats and programs needed for dif
patch?
4. Before I comment about this point I want to
say that I think Ensoniq should be commended
for their policy of upgrading machines without
having to buy a whole new keyboard. And
what other company in the world allows for
you to take the samples that were made on an
instrument like the Mirage (how old is it,
anyway?) and provide an upgrade strategy to
the newest line of samplers? I'm all for it. I
have a garage fuU of keyboard dinosaurs that I
kept because I couldn't sell them for the
amount of money, time and effort that I put
into them. I've owned Yamaha and Korg gear
that were quickly obsoleted by new product
lines offering small increments of increased
function and were completely incompatible
with previous products. I'm convinced that
these companies are more concerned with
Sorry for the length but these thoughts have
been building up for a long time now. Thanks
again. Hacker and Ensoniq.
Jack Giimever
O'Fallon, MO
[CS - 1. A quick glance through the trade
publications reveals that several of the bigger
companies (Sound Source Unlimited, Eye & I,
etc.) do offer sounds for the SQ series of in
struments. Since a company that offers sounds
for these products needs to be able to offer
them on RAM or ROM cards, or else offer
them in a dozen or so disk formats, I think you
might find that the smaller companies may not
want to make the investment it would take to
support the SQ-series.
profit margins than customer satisfaction and
As I've mentioned, sounds can be distributed
long-term relationships with their clients.
on disk, and I believe some of the aforemen
tioned companies offer them this way. This is a
less expensive route, although you need to
have something (generally a computer with a
My concern is that I don't know when the best
time is for me to upgrade my SQ-1. I'm glad
that I waited for the piano samples. Now there
are new waves and 32-voice polyphony avail
able to me as upgrades. If I send my SQ-1 in
now for an upgrade what type of guarantee do
I have that there won't be another upgrade
available a month from now? My problem
isn't so much the price of the upgrade but the
hassle of doing without my main axe. Ensoniq
has been fair to the people who upgraded and
then wanted to upgrade again. I'm not worried
about that. My problem would be solved if En
soniq would adopt a policy where qualified
technicians could perform the motherboard
swap instead of me having to send my SQ-1
back to Malvern multiple times.
MIDI interface) that can read these disks and
transmit them as MIDI sysex files to your in
strument.
2. Most of the companies offering pre-pro
grammed sequences offer these as computer
files, often in the form of Standard MIDI Files.
Again, you need the appropriate hardware to
take advantage of this method of distribution.]
officially announce that there will be no more
upgrades to the SQ-1 I'll make plans for an
upgrade and send my board in. And maybe I'll
upgrade if the next upgrade is 8 months away.
And how long will the upgrade be available
when the next major new SQ machine comes
along and obsoletes the SQ-1 line? I hope En
soniq can provide some insight into this.
Please don't stop the upgrade policy though.
ferent computers that it is difficult to be able
to create, project stock, and cover all the for
mats that would be needed. If you use a com
puter you could buy ROM cards, use any one
of the many librarian programs that support
the SQ (Galaxy from Opcode, Unisyn from
Mark of The Unicorn, X-oR from Dr. T's,
MIDI Quest from Sound Quest) and create
sound sets that can be downloaded to your
RAM that can easily be organized and
changed as you need.
3) The SQ has Voice Muting which when set to
"OFF" prevents the notes from being cut off.
You will find this parameter by pressing "Edit
Sequences," then "System," then "Screen 3."
4) We don't plan on any more board-swap up
grades for the SQ family so go ahead without
fear of any new "secret" plans.
Of course you must realize that we don't
design every product planning on some secret
future upgrade, but as new possibilities pre
sent themselves, and we hear from our cus
tomers about a feature that we can add to a
product we try to do that. We can't know in
advance how that addition can be done, and
so some of these upgrades have required total
board redesigns to achieve the result. We feel
that it has been a good trade-off for you, we
continue to add value to your purchase and
offer you the chance to decide for yourself if
you want to get the new features that are
offered, rather than saying, "Buy the new
[Ensoniq -I) There is support for the SQ from
third-party companies, but it seems that the
times have changed and many of the independ
ent patch developers are being distributed by
larger companies. In the past many creative
individuals would create some sounds and
I understand that it is necessary for Ensoniq to
be secretive about future releases and products
from a competitive viewpoint. But I want En
soniq to understand our concerns too. If they
raising. And the ESQ-1 library was distributed
on ROM cartridges as well.
take out a classified ad to sell their wares -
many times to raise enough money to help buy
their next piece of gear! We have also noticed
a decline in this type of activity, perhaps be
cause of the hassle of running a home mail
order business, the economy, or the competi
tion from the bigger companies - we don't
model."
5) Our new Multi-media Division is hard at
work at making chip sets and board design for
OEM sales. The first designs will be aimed at
the SoundBlaster type user (games and simple
presentation needs) but we fully expect to offer
more advanced products in the future. Stay
tuned. We'll announce something when it is
ready.]
Dear Hacker,
really know why.
But the bottom line is how many sounds are
available for an instrument and the SQ is well
This is my first letter to you. I had a few con
cerns to discuss. To begin with, I want to say I
am the proud owner of an EPS, and EPS-16+,
I'd rather live with the dilemma than have to
supported. With SC-I through 6, ISC-l and 2,
and EX-Ol and 02 we offer 1600 sounds. With
sounds available from Eye and I, Sound
and, are you ready for this, a Mirage. I don't
think I could ever part with my Mirage, which
I think (so does my girlfriend) is the most
buy a new keyboard.
Source, and others there are probably over
handsome keyboard ever created.
3000 available sounds.
5. I just bought a new notebook 486/50MHz,
240Mb hard drive with a docking station that
supports two external plug-in boards. When
can we expect a sound/sequencer board and
software from Ensoniq? I went to the music
store and listened to the Soundblaster cards
I've been reading a lot of complaints on mem
As far as sound distribution, that is a more
ory capacity (in relation to the number of "in
complicated issue. You state that the ESQ-I
had an EEPROM cartridge that doubled your
capacity, but the MC-32 card does that for the
SQ, we don't understand the issue you are
struments" the EPS and ASR will hold) and
2 7
sequencing capability. 1 have read this within
these very pages as well as in a review of the
ASR done by Keyboard Magazine.
I have experience with many keyboards, and
DVZZZSSH
as far as the maximum number of instruments
that you can use at a time, I've never ran into
one that can use more than eight. That holds
true especially for the Korg Ml that was
received so well by the same people who
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limitation, but it is not an uncommon or un
reasonable one. After all, 1 bought my second
EPS to remedy that very problem.
Secondly, 1 am not very concerned with on
board sequencers since 1 do all of my sequenc
ing on an IBM. Don't sneer, a computer isn't
that expensive. I'm not saying sequencers are
useless, on the contrary, 1 remember the days
before my computer. 1 do think, however, that
a parallel line of Ensoniq keyboards would be
nice, available without the on-board sequencer
(for a few dollars less of course).
Last but not least, 1 was wondering why the
EPS series was discontinued. 1 realize the im
portance and advancement of the ASR, but 1
think that Ensoniq should have kept the EPS
running as well as introducing the ASR. 1 feel
a little strange about owning only discontinued
keyboards. 1 don't see the problem, since Akai
currently has at least one series of samplers
(the "S" series) and there are at least four sam
plers in that series.
1 also want to thank the people at Ensoniq for
being so patient and helpful.
Thanks for the space,
Sincerely,
J o n a t h a n P. To m a s e l l o
Matawan, N.J.
[Ensoniq — We have pointed out many times
before in the Hacker that the cost savings for
removing the sequencer is minuscule, since the
sequencer is all software, except for the Red
StoplPlay buttons and a bit of RAM. If remov
ing it saved you only about $40 it doesn't seem
to make enough difference. And since the se
quencer software is already written, removing
it is actually more work than leaving it in.
$550
Kunweit
K-SOOa
Version 2.0 allows you to load all of our
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criticize this in the EPS and ASR. Also, with
between 20 and 32 voices, how many instru
P.O. Box 1078 Anos, CA 95001-1078
Te i : 4 0 8 . 6 8 8 . 9 5 2 4 F A X : 4 0 8 . 6 6 2 . 8 1 7 2
Because we are a small company we just can't
sustain production of too many different
models. As the sales of a particular product
fall off over time, it makes sense for us to use
our limited production capacity to build the
newer products that are more in demand. And
the Akai line has just completely changed
based on new technology, with the S-950,
S-IOOO and S-1100 being discontinued and
replaced by the S-2800, S-3000, and S-3200.
The only difference is that they kept the "S".]
AMY iBaaa CD-ROM
DISC
DHn/E
dSi
CD-RDM
FDR
*333"'
Ail brand names, logos & trademarks are proprietary or
registered trademarics of their respective companies.
VISA/MASTERCARD ACCEPTED
688-9524
Dealers Welcome!
Hacker,
1 was recently making disk copies on the
EPS+ at my local dealer. I own a classic EPS
and when I tried to play some of the samples I
noticed that they were about -5dB, too^quiet to
no prob.) We try to price our sounds rea
guarantee valid also here? Maybe an agree
sonably so everyone wins. Please consider this
when you are in the market for new sounds.]
ment with MPM?
use. These must have been samples for the
2. TO UPGRADING EPS-16+ FRIENDS:
DearTH,
When using my old Syquest cartridges with
the ASR something strange happened. The
O.S. automatically overwrote the old one
Recently I have seen advertisements from
(great thing), the sounds were easily retrieved
Korg and Yamaha offering CDs which feature
from the carts BUT when I tried to save back
sequences performed on their synthesizers.
some sounds to the removable I got BAD FAT
EPS+ and not the classic EPS. This is a shame
because these are excellent samples and I am
dying to use them.
I was wondering if there were a way to manip
ulate the wave samples to get a greater vol
ume, i.e. - doubling the wave sample, without
This seems to be a great promotional idea.
A L L O C AT I O N . D o e s t h a t m e a n t h e u n i t s s a v e
I don't know how much money is make from
in different formats (therefore they're not fuUy
compatible) or is this something strange that
depends on my unit?
using a lot of memory.
Thanks for your help,
Louis Dosch
sales of the CDs, but the return is probably
made in the sale of equipment in the long run.
Lake Elsinore, CA
[CS- Before you start mucking about with the
actual wavedata, there are a couple of things
you should check. The first is filter cutoff. On
the EPS-16 PLUS and ASR-10, filter cutoff
goes from 0 to ISO, whereas on the EPS it ran
ges from 0 to 127. Consequently, if filter cutoff
is set higher than 127, the EPS may have
trouble interpreting the numbers. On the EPS
classic, try moving the filter cutoff point all
the way to 0, then back up to a setting that
sounds good.
Korg and Yamaha sequences were performed
by nationally known musicians. I think En
soniq might profit fi'om just such an item.
my purchases.
Maybe even go for 2 releases, one written and
performed by nationally known musicians and
another featuring the best sequences submitted
by any Ensoniq owner. Ensoniq would have a
tremendous promotional item which would
really show off their products.
2.1 know several people with BAD FAT AL
LOCATION, but if you mention it to them they
Worcester, MA
boost parameter not found in the original
[Ensoniq - Perhaps you have seen our 2-CD
demonstration set for the DP/4 Parallel
seem to tense up.]
bit more volume out of a sound, the sound may
not play back at the correct volume on the
EPS classic. The solution is simply to check
and make sure that the volume for any
Effects Processor, which in addition to the
wavesample that seems too quiet is turned up.
Philip Bailey, Joey DeFrancesco, Was Not
Was, Nile Rodgers, Michael Boddicker, and
demonstration disk contains a second CD with
17 tracks of music recorded by top stars such
as George Duke, Foreigner, Randy Jackson,
many others. We certainly will keep this type
of item in mind for our keyboards as well.
Thanks for the input.]
torted wave. You'll probably need to do a
SCALE DATA command first, to bring the
I'm a two-years subscriber now as a previous
original wavesample level down a bit, then
add the sample back to itself.
proud owner of an ASR-10 Rack. Keeping the
Slinkard to a minimum... (Kirk, hope you got
humour...) I'd like to point out a few strange
I'd also like to mention that Ensoniq will soon
things about this machine.
not condone the copying of our commercially
released libraries. It sounds like the dealer
owner of VFX and two EPS-16+s and a new
money back against that insurance claim.
MPM will of course fix the unit for you, at a
reasonable charge which should be billed
against the insurance claim. We're sorry to
hear that you had such a problem.
2) The file formats of the EPS-16 PLUS and
1. TO ENSONIQ: "Did you manage to do
ASR-10 are compatible with each other and
quality control on the first racks that were
shipped out? I received mine as a gift from a
you shouldn't have a problem with old media.
Our best suggestion would be to make a back-
friend in NY, the unit was shipped UPS and I
up of your cart and restore it to a new cart.
got a cracked ASR-10 shell with screws all
Contact us again directly if you keep having a
over the inside and the drive badly hit by the
problem.]
power transformer that was completely un
secured. Also the main board had lost three
screws. What is worse is that one screw went
might have been letting you copy sounds that
they shouldn't have. That would mean that the
developer of those sounds would not be com
pensated for their work. You wouldn't give
away your music for free, so why expect some
inside the drive and it took major surgery to
one to give away their "art" for free? (Of
we living in a global village? Is there anything
you guys in Malvern could do to make my
course, if these were public domain sounds -
solve the issue. In your situation the unit ar
sured the ASR and they should be able to get
be releasing an applications note dealing with
[Ensoniq - We'd like to add that Ensoniq does
in the US) we take responsibility for that
product arriving safely. If there is a problem
we would file a claim with the carrier and re
carrier was responsible for the damage and
not MPM. I would hope that your friend in
Dear Hacker,
directly from Ensoniq. You should also be able
to get them from your local dealer.]
the shipping company, and a claim should
have been filed with them right away. When
we send a product to our distributor (or dealer
damaged going from New York to Italy. That
MAND/LEO section) to get more gain, but you
run the risk of ending up with a pretty dis
believe that you can request these notes
[Ensoniq -1) The problem with your situation
is that it seems that the damage was caused by
rived safely to the dealer in New York, but was
wavesample to itself (ADD DATA in the COM
this subject in some detail, along with applica
tions notes on a number of other topics. I
Mike Delia Bella
Rome, Italy
[CS- 1. Picky,picky,picky.
Fred Bass
If neither of these edits helps, the next thing
I'd try is normalizing the gain (COM
MAND/AMP) for any offending wavesample. If
that doesn't work, you can try adding a
Once again, you're doing a great job.
Sincerely yours,
Thank you.
The other problem has to do with the fact that
the EPS-16 PLUS and ASR-10 have a gain
EPS. If this parameter has been used to get a
I kept the "thanking" and the "Great Mag!!" to
the last. I'm probably part of your 0.25%
Italian readers. I can honestly say I'm in love
with the Hacker and rely on you for most of
The Interface
recover the unit. Of course, I couldn't send the
Hi there from another reader who can't seem
rack back (very expensive task) and in Italy no
to grasp all the intricacies of getting a MIDI
studio to function properly. I recently pur
chased a 486/25 IBM-compatible (DOS 5.0 &
WINDOWS 3.1), Geibler Enterprises' VFX
Diskette Manager, and Passport's TRAX and
one will assure me servicing. I know it all
depends on the Italian distributor - but aren't
2 9
MusicTime. They are connected to my key
ICS - 1. It sounds to me as if you are doing
[CS - It seems to me that you could ac
board through a Music Quest PC MIDI card. I
things correctly, but I have no experience with
complish what you want with a sophisticated
bank.
MidiEx Mac or Bulk Sysex Utility at your
thought I understood my VFX manual con
cerning program changes, but this sure is
giving me a hard time. Less than ideal
documentation on the software hasn't helped
any, either. If anyone out there has a similar
setup and it all works, PLEASE call me collect
an help me. If you live close enough, I'll even
buy you dinner! Specifically, the areas 1 am
having problems with are as follows;
1.) Initiahzing programs on the VFX-sd to the
correct default banks when running MusicTime. 1 send the needed control code (usually
127 gets me to the ROM bank) and then send
the desired patch number. This is done from a
Music Time. In my experience, sending the
correct Program Change number to select the
bank (ROM or INT), followed by the program
change number for the sound you want to
select works fine. And any subsequent pro
gram change numbers will continue to select
sounds in the currently selected bank, unless
you specifically send one of the program
change numbers designed to select a new
Mac MIDI interface, or a good MIDI patcher
if you already have an interface you like. This
could be used to patch the MIDI ins and outs
of your SQs into the MAC, and would probab
ly be less expensive than purchasing RAM
cards for each of the SQs. Once you're
patched, you could use either of a couple of
good public domain programs to handle the
sysex dumps from the SQs. Look for either
local user group or on any of a number of on
2. Although I haven't used TRAX, I do have
experience with Passport's Pro 5 program,
and I'd assume that the two programs handle
this in a similar way. In Pro 5, the easiest way
chosen staff in MusicTime and it works. 1 then
I've found to separate tracks from a single
save the MusicTime setup with the Prefer
ences option. When 1 open the file up again,
invariably the bank has changed on my instru
ment, giving me the familiar "interestingbut-not-very-usable" results. 1 have tried set
ting the VFX to ROM sounds or INT sounds (1
don't have a sound cartridge) before opening
multi-channel track is to select the track in
the file, but this makes no difference. It seems
for each MIDI channel you want to extract to
question, choose STRIP DATA from the menu,
set the parameters in the STRIP DATA window
line telecommunications services. Also, most
Mac sequencers include sysex dump capa
bilities, so if you have a sequencer for the Mac
you could probably use that for the transfers.]
]Ensoniq - I)We have no plans for a larger
memory card for the SQ. It would be too ex
pensive to be marketable.
to CUT all data, but only on one channel
(channel 7, for example), click OK, then
PASTE the data you've just cut into an empty
track. This procedure will need to be repeated
2) See our response to the above letters from
Carl Hull and Jack Ginnever.]
one workaround might be to default all staves
to program 127 and send the desired changes
after a couple of clocks have gone by, but this
requires recording data into the staff track, and
1 am trying to set up blank templates. My VFX
a new track.
Hello at Transoniq Hacker,
3. Beats me.]
1 don't know if you get that many letters from
Switzerland, but I'll try to put my problem
is in multi mode, send channel = tracks, tempo
Dear Interface,
= ext, xpos = both, track MIDI status = both,
MIDI loop = on, cntrls = on, song sel = on,
start/stop = on, sys-ex = off, prog-chg = on.
1 am using a class set of SQ-1 Pluses to teach
music composition. My problem is storage. 1
2.) This is really a question for Passport, buy
at the end of one class and load at the the
I'll ask anyone. When running TRAX, how do
beginning of the next. Though they are expen
you filter different MIDI channels to the
desired tracks by using the strip data function
after loading a sequence into track one from
an external sequencer (i.e. my VFX-SD)?
Nothing I've tried has worked.
sive an MT-32 card for each student would be
down in just a few sentences.
need to be able to efficiently store sequences
great but they do not hold but the smallest
amounts of data.
So does any one or will any one make a larger
memory card?
Then 1 have a technical question. 1 wanted to
use my VFX-sd in concert live on stage but it
refused to work at all. Suddenly notes were
3.) 1 have set up template "combo-bands" on
my keyboard that 1 am already used to using
Otherwise what storage mediums do you sug
(as per Jeffrey P. Fisher's excellent article in
gest? We have a Mac so 1 guess we could use
a software program and repatch a bunch of
the Nov. '92 Hacker). 1 want to map these to
First, I'd like to say that 1 like your magazine
very much and it helps a lot to get all the
details and hints to my ASR-10 and VFX-sd.
It's fun to work. 1 have a question regarding
my subscription; 1 received my first issue right
away at the beginning of February and since
then I've been waiting for the March issue.
You do print and distribute at the begirming of
the month don't you?
put on hold and sometimes no sound at all was
coming out of the machine. All 1 could do was
to turn off the machine and try to restart. This
certain templates in MusicTime so that for ex
ample VFX track 3 (classic-pno in my
template) always prints on staves 2 & 3 in
MusicTime. Is it better to use the MIDI map
per functions in Windows, the maps in MusicTime, or the maps in my MIDI card? It seems
like the MIDI mapper in Windows would be
the logical choice, but 1 think 1 want to use
midi cords each load. What software would
this to map the VFX-sd to General MIDI
Sorry about starting the letter without the
synthesizers but after that disaster in concert,
protocol because of the key-mapping features.
Am 1 on the right track?
usual and deserved compliment to both the
Hacker and Ensoniq. 1 have been using En-
the band told me to give the keyboard to the...
Any help in this area would be greatly ap
soniq boards for teaching since the ESQl be
cause they let my students make music faster.
preciated. Thanks again for making a forum
available from which we may all leant and
benefit. I look forward to hearing from you!
Sincerely,
Gary Stone
Austin, Texas
(512) 266-3261
you suggest? (We do have a EPS-16 Plus but
using it for system exclusive dumps is cum
bersome and still requires lots of repatching)
Or how 'bout a dedicated MIDI filer? Again
any recommendations.
never happened in my home, where 1 usually
keep it. Is this a problem of ac-line condition
ing? Am 1 the only one having every minute
error messages? 1 have to say 1 don't use the
sequencer at all because it's normal for it to
break down. This is too bad - it sounded very
good for the sound check. 1 tried to convince
our keyboard player to buy one of Ensoniq's
you know!
Thanks for answering,
This storage problem though has really slowed
M a r k u s Ti n n e r
us down though.
Rheineck, Switzerland
Thanks for your help.
[TH - Issues get printed about one week
before the beginning of the month. The over
seas issues get shipped to an international
Brent Huber
American School in Japan
1-1-1 Nomizu, Chofu-shi, Tokyo 182 JAPAN
mailer oh the East Coast (this probably takes
about five days). They ship them (via air) to
[email protected]
30
England where they enter the mail stream. The
in at a steady rate of once a month from then
use of an international mailer makes it poss
on. If they don't, we're either dead or there's
a problem in the mail.]
ible to only charge ridiculous rates instead of
outrageous rates for overseas subs. When a
new subscription comes in we mail the first
issue directly to the new subscriber - usually
within one day. Depending on when you hap
[CS - AC problems have been the bane of
pen to hit in the monthly cycle, the time can
recommend you get in touch with your service
vary quite a bit between your first issue and
center, but I don't know where that might be
in Switzerland, so I'll leave that for Ensoniq.
Don't lose heart, though. I've been performing
live with VFX's and SD-I's for quite some
time, with very few problems. I'm sure every-
the subsequent issue. (There's also a small
possibility of error at this point when your
subscription gets entered in our computer.)
But no matter where you are they should come
many performing musicians - I wouldn't rule
that out as a possible problem. Normally, I'd
thing can be ironed out.]
[Ensoniq - Our distributor in Switzerland is
Jaques Isler Ltd. Goldbacherstrasse 8, CH8700 Kuesnacht, Zurich, Switzerland, Tel:
41-I-911-0990. They can help you, you might
need a keyboard mechanism upgrade, or simp
ly to use a surge suppressor on your gear.]
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B U L K R AT E
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PA I D
TRANSONIQ HACKER
PORTLAND, OR
1402 SW UPLAND DR., PORTLAND, OR 97221, (503) 227-6848
P E R M I T N O . 11
S U B S C R I P T I O N M AT E R I A L
ADDRESS CORRECTION REQUESTED
DATED MATERIAL - TIME VALUE
Postmaster; Please return Form 3547 as soon as possible so
we can change our records. This is a monthly publication.
Publisher: Eric Geisiinger
E d i t o r : J a n e Ta l i s m a n
Our (somewhat regular) Illustrious bevy of writers includes: Craig Anderton,
Robby Berman, Barry Carson, Mark Clifton, Gary Dinsmore, Dennie Edwards,
Rob Reiner, Anthony Ferrara, Pat Finnigan, Charles R. Fischer, Gary Glebier, Jim
Grote, Garth Hjeite, Bryce Inman, John Loffink, Alan Macintosh, Daniel Mandel,
Sam Mims, Gary Morrison, Michael Mortllla, William Pont, Jeffrey Rhoads, Brian
Rost, Clark Salisbury, Tom Shear, Joe Slater, Kirk Sllnkard, Bob Spencer, and
J a c k To l l n .
Copyright 1993, Transonlq Hacker, 1402 SW Upland Drive, Portland, OR
97221. Phone: (503) 227-6848 (8 a.m. to 9 p.m. Pacific Time).
Advertising rates; Please send for rate card.
Rates for authors: Please send for writer-Info card.
Subscriptions: 12 monthly issues. US: $23/year. All others: $32/year. Payable
in US funds.
Transoniq Hacker is the independent user's news magazine for Ensoniq
products. Transoniq Hacker is not affiliated in any way with Ensoniq Corp.
Ensoniq and the names of their various products are registered trademarks of
the Ensoniq Corp. Opinions expressed are those of the authors and do not
necessarily reflect those of the publisher or Ensoniq Corp. Printed in the
United States.
Who says you have no RESONANT FILTER?
The ASR-10 and EPS-16 PLUS can now go "Bwaaooww."
The REZ FILTER algorithm Is a striking re-creation of an analog
be unpredictable: really crazy, really fat, and sometimes really
synthesizer, the classic Minimoog. A four-pole low-pass resonant
filter is coupled to a lightning- fast ADSR envelope generator. The
which can be added to the FM output or used for other sounds on
filter's resonance control (also known as emphasis, bandwidth, or
The RESONANT FILTER disk is just $39.95
Q) gives it that distinctive analog sound by creating a sharp peak in
the frequency response. This peak is swept by the envelope or any
modulation source. It does things you can't do by sampling an
direct from WAVeBOY Industries, including
analog synth.
Mastercard, money order or
To demonstrate some applications of REZ FILTER, the disk comes
with a collection of raw Minimoog samples that come to life when
cashier check.
they hit the resonant filter. But what you want to do is warp your
own sounds, and you can— you'll quickly be transforming your
WAVe B O Y I n d u s t r i e s
entire library of clean digital samples into fat and juicy dweeps,
Paoli, PA 19301 USA
bwops and damts.
The REZ FILTER effect algorithm also incorporates some of
WAVeBOY's trademark parallel effects; both chorus and reverb.
Other fun features include a choice of single or multi-trigger modes
on the envelope generator, and a sample-and-hold.
But wait... there's more: this disk includes another algorithm that
does frequency modulation (FM.) Again, an example sound is
included that sounds terribly much like the DX-7. But The DX-7
used only sine waves—you can go further. This algorithm allows
you to modulate any sound with any other soundl The results can
grungy. Like REZ FILTER, FM+FX includes chorus and reverb
BUS2.
shipping. Foreign orders, add $6, PA
residents add 6% tax. Use Visa,
P.O. Box 233,
order by phone:
(215) 251-9562
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