Issue #120 - Buchty.net
0
l
The Independent News
Magazine for Ensoniq Users
Attctck of the TS MIDI Control (Number) Freaks
Jafi’ Rhoeds
TS MIDI Control Numbers
JajfRhonda ......................................... cover
Okay.
One
okay...
more
time: In order
for the TS-lIl.l'
12 data slider
to function as
a timbre controller. you've
so
gotta do two
things; 1} Make sure that Timbre is applied and turned on (MODAMT :>< U}
somewhere in your sotutdprogram andfor
preset and 2) make sure you’ve selected
SLIDER = TIMBRE on the first System
page. Piece of cake. right?
bets. via the dataslider. Why is this so
magical?
The Trend Of The Nanosecond seems to
be in specialised. dedicated synths and
modules. The full-featured keyboard is
out. (Hrnmm... with KTs and TSs selling
like mad. I guess somebody forgot to tell
Ensoniq buyers.) Anyway. if you buy
one these modules. you're gonna want a
full featured keyboardfcontroller to go
with it. And. if you want to he able to
access and change some of the module's
parameters. you have to send it the MIDI
controller ntunber(s) it wants. Trying to
use many of the keyboard synths and stations on the market now as MIDI con-
troller ’boards may pose a problem. See.
Maybe not.
Sample and Hold
Steve Vincent. .......................................... .. 3
Static Free Transwave Samples
John Lofiink ............................................. .. 6
The BPS and Background Vocals — Part I
Robby Herman ....................................... .. ll]
KS-32 Tips
Jafilatton .............................................. .. I3
SQIKSIKT Sounds - XIII: I-lum-Drum
Mari: Chfton .......................................... .. I4
DPI4 Part II: Reverb Parameters
Rey Legnini .............................................. I8
on most current synthhoards certain
Bert Niekirk of Ensoniq customer service says the phone still rings with that
“W11ere's the Timbre?" query. So
re-check your patches and TS System
page just one more time before adding to
your phone bill. If you‘re like me. you
However. somewhere on this very same
System page, between SLIDER =
TIMBRE and infinity. lies some real
magic; SLIDER =XCTRI... And. whoa
boy. if you're a real dyed-in-the-wool
control freak (like me?) this is going to
perk up your ears. Let me e:-tplain. The
SLIDER = XCTRL value means that you
can assign any MIDI controller number
(from 0 to 12?) to be transmitted from
the TS to another MIDI device that
recognizes and uses MIDI control num-
I
I
_
_ '
that have been pre-assigned to them. The
modwheel is set to MIDI control number
1. the Footpedal to number 4, MIDI
Volume to T. and so on. The vast
majority of synthesizer keyboards and
can’t afford the one you've got.
[
MIDI continuous controllers and control
change commands have control numbers
I
Cyhersounds Sample Bank CD-RUM
For Finnigrtn ............................................ .. 9
Easement Tapes: Shear 8:; EI‘Boyle
Daniel Mendel ....................................... .. I3
all-in-ones offer no way to change these
control numbers: think of them as being
hardwired.
So if Ralph’s Ambient Universe Rack
Mount Synth needs a MIDI control number of 16 to speed up the Yalium effect.
but your modwheel only transmits on
number 1. you are. shall we say. not
relaaed here. You do have the option of
buying a “silent” MIDI board that allows
you to change and assign MIDI control
numbers. Although prices are coming
M
Random Notes .......................................
Hypersoniq ...................................
Current 0.5. ..................................
Classifieds ..........................
BBL-.-tie
Haclterpatehes - Rhonda Jr ll-rfaggiin
SQIIKSIKT: Soniqs. Incl: Carder .......... 21
‘IJFXISII: By-The-Sea, Stave Magglin .. 22
The Interface ............................................ 23
Hacker Booteeq ..................................... .. 31
...__.+__.-
_
1
down. a weighted keyboard version still isn't cheap.
Behold the TS magic.
System Page make sine SLIDER = XCTRL. Neat, go to the
MIDI Control Page I and set XCTRL to "I5. Hit the Sounds
{or Presets) button to allow the dataslider to act as a con-
tinuous controller. Notice as you push the slider up, the rotatAmong the most popular dedicated synth-tmits to date have
been those that emulate the Harmnond organ and Leslie rotating speaker system. Now, you cart plug in one of these
modules to virtually any MIDI keyboard and do your organ
thing. Leslie and all. You can leave your TS-10112 at home
and take a beat-up DX? and organ module on the road (‘specially if you play the blues). But what if your module needs
to "see" a MIDI control number of 36 to alter. say. the Leslie's upper rotor slow speed. but your DJ-I can't transmit that
number? Give up and use the Leslie effect as is? Nah. Change
it at home using yotu TS. then use it on stage with that old
DX (or whatever}.
I've had a chance to use most of the organ uttits out there —
perhaps the most realistic simulation comes from the Voce
Micro B. The Micro B combined with its sister Spin Leslie
module sound fantastic together. The Spin unit, in particular.
offers some fine tuning options using MIDI control numbers.
but, again. they are not all standard nmnbers. No problem; the
TS-12 can handle tough cleaning jobs.
ing speaker effect becomes less pronotmced as the ntic is
being "placed" away from the Leslie's lower rotor. Go to
MIDI Control Page 1 on the TS-Ill)’ 12 again. This time let
XCTRL = 68. Press the Sounds button again. This time the
Dataslider toggles between slow and fast rotating speaker effects. As long as we "match" the TS to the control numbers in
the Spin unit, a variety of changes cart be achieved.
As more and more singulm modules become available. the
ability to assign specific MIDI control numbers to affect control changes in those units becomes almost mandatory. And
we're certainly not just concemed with controlling a Leslie
simulator. The sound of breath on a reed, the muting of a
trumpet. the pick hitting a bass string — all these nuances can
be altered and contoured using MIDI control changes.
provided the Master controller can generate the MIDI control
numbers the receiving tmit requests. The ability to generate
floating transmittable etttemal control nturrbers is usually only
found in ettpensive dedicated controllers. The TS-10.’ 12. is a
rarity: It offers this feature as standard in a full-fledged. f“..:.'.iy
complemented synthesizer.
The Spin unit allows you to change the microphone placement
on both the Leslie's lower drum and upper rotor. using MIDI
control numbers "I5 and S5 respectively. Make sure the Spin
unit and the TS are set to the same MIDI channel. On the TS
RND(au)
Ensoniq Corp. has released the ASR-S8, a weighted-action version of their ASR-Ill sampling keyboard. Featuring the same
SS-key weighted-action keyboard with channel {mono} pressure
used in the KT-33 synthesizer, the A-SR-83 offers complete
sampling workstation capabilities to the musician who desires a
true piano touch. The ASH-SB comes as a specially-priced bundle, with the following items included: I6 MB RAM, SCSI
[SP-3) interface. SW-6 damper style footswitch, a srna1i-footprint. black, double-speed CD-I{ClI'ttI"-.dt'ive, two CD-ROM
sound disks (CDR-3 and CDR-4).
This value-added bundle provides the customer with a complete
"plug-and-play" sampler. removing the hassles of installing
etttra memory and adding peripherals. The ASR-38 is compatible with the optional MS-l music stand. and cart be used with
Ensoniq's new P-ll} wood keyboard stand (optional) for attractive in-home, church. or school use.
The ASR-83 features all the same sampling, effects, sequencing. and digital audio recording features of the ASR-ll]
santpler. They include: stereo sampling, sampling through ef-
Special thanks to Bert Niekirk of Ensoniq Customer Service
and Al Alonso, president of Voce, Inc. -I
fects, 62 effects algorithms, I6-track sequencing, 2 tracks of
audio recording. importing of Akai and Roland sotmds viz
SCSI, optional SIPDIF digital sampling input and output, I-ID
disk drive, Patch Select buttons. up to eight outputs, and an ertensive library of sotmds on floppy disk and CD-ROM
The ASR-SS bundle has a suggested retail of 54495.00. It will
start shipping in the middle of May, 1995. For more infometion contact Ensoniq Corp, 155 Great Valley Parkway. Malverrt, PA 19355 (S00) 553-5151 voice. (olfl) 64?-S965 fan,
(SUD) 25?-1439 automatic fan retrieval. CompuServe — type
“GO MlENSONIQ."
New ASR O.S. — Ensoniq has another free 0.5. update for all
ASH. samplers! Version 3.53 will work with any ASR-ll} that
has ROM "version 1.5, and works with the ASR-83 as well. In
addition to allowing the ASR-S8 to work with the 38-key channel pressure keyboard, this new 0.5. fines the following items:
I) Improved phase coherence in stereo samples. even when
STEREEI LAYER LINK = OFF. Note that this should be set to
UN for the most accurate phase coherence.
2) Improved performance of the PHASER+RE'lr'ERB algoritltnt, eliminating any random pops and clicks.
Ensoniq On-line — Yes. you read correctly, Ensoniq is now
FTP news: Steve Vincent of Portent Music in Tacoma. ever the
on-litte at CompuServe, supporting both the rrtusic and multi-
cornpletist, has added yet another format for his ESQISQ-SD
media divisions. In addition to offering customer support
Ensoniq has all of their Fart On Demand documents, some
select audio snippets, and are offering ASR and Soundscape
Operating Systems for downloading. To reach Ensoniq's music
support area type "GO MIENSONIQ," attd for multimedia type
"GO l'vl1v[ENSONIQ."
Hackerpatch collection — HackPatch ESQ.MidiE:sMac.sit.hqtt
As its name implies, it needs Stufiit to be uncompressed (Stuffit
can be fomtd as shareware all over the Internet), and it contains
twelve files unstuffed: S ESQ banks. 2 SQ-Si) banks. MidiEJt
Mac shareware Sysett program, MitIiEtt Mac docs. The Hackerpatches are in lvIidiEtt Mac format. and the MidiEtt Mac program is included in the Stuffit archive.
Hacker News
We have two new additions (both email only) to our Tra.ttsoniqNet list of volunteers: Pat Esslinger has agreed to answer any
TS related questions and can be reached at: intemet: [email protected] Compuserve: 'I~"424U,l562, or AOL: ESSLIP. And.
Smart Hoskirtg is helping cover the TS, VFX, and SD-l:
[email protected] -
HYPERSON IQ
Third-party sound company. Latter Sound Productions, has
released Volume 3 of public domain sounds for the "v'FK.
VFX-sd. and SD-1. The banks cover Moog, Classic Keys, Brass.
Satt Sections, Pads. Organs. Strings, and key percussion. All
Also, our ftp site can now be reached by entering "ftp
ftp.transoniq.com." Other steps remain the same — Name:
artonymous. Password: yom email address, and then type "cd
vendors.ltrnsoniq" (without the "a" in transoniq).
New Product Announcements
Analog syntlts. digital syntlts, bases. rock drums, dance drums,
rap drums. jazz drums, orchestral ittstruments, brass. strirtgs,
woodwinds, pianos. organs, pads. drum loops and much more —
all organized into specific catagories. $39. Among the audio
VFX and SQ—i Tronsortiq Hockerpotches Issues #103 through
santpling CDs available: Drurn Sornpte CD #I (over 1200
#118 are included. fill sounds. 20 presets. $12.50 (disks). For further information, contact: Latter Sound Productions. 1341 Westheaven Court. Tallahassee, FL 32310. Phone: 904-5T5-5561.
sounds). Dram Senvple CD #2 (an additional lllllll sotmds). The
Loop Bonk (hundreds of stereo CD quality drum loops — no
E'lr'S, a producer of tutorial videos for music and computer
related progratns (such as Cakewalk, Cubase, Band in a Bert. Encore, and many more) is now moving into Ensoniq keyboards.
Irtstruction videos covering the TS-Id and TS-I2 will be among
the releases scheduled for 1995. EVS videos are well-regarded in
the industry. are very “hands-on" and go from the basics of in-
stallation up through the intricacies. usually run for several
hours. and have a suggested retail price of $49.95. For further information, contact: E"v'S. 4139 Gardendaie, San Antonio. TX
T3229. Phone: l-Still-d5[l-2427.
3D Sounds is announcing several new CD-ROMs and audio
sampling CDs. The Wave Bonk is a new CD-ROM containing
about Zllllll (I540 megs) of high-quality. 44.lkHz, lti-bit,
multi-s ampled. stereo and mono instrument Wave {.'WA‘v') files
for use with Windows compatible and Sample Store sound cards.
j
!
!
copyrights). and The Monster Synth Berti: {hundreds more of the
world's biggest synths). All Audio CDs are priced at $35. All
prices are in U.S. dollars. For further information. contact: 3D
Sounds, Bott 22065, 50 Westmount Rd. North. Waterloo. ONT.
Canada NZL-61?. Phone: 519-T4?-U282.
Rubber Chicken Software Co. is now an authorized dealer for
SAMPLEBANKI — the Ensoniq CD-ROM for tlte PC. Over 400
disks of sounds can be etttracted from this CD for use in Ensoniq
samplers and the TS series. Requirements: any PC-clone with a
CD-ROM drive connected to it. SAMPLEBANK.-' also contains a
TX-16W bank. a Mirage bank, a .WA"v' file bank, and a utilities
bank for file format conversions and other special features. See
the review in the June I995 Hacker! Price: only $99.95. "v'isa.
Mastercard, and COD accepted. Contact: Rubber Chicken
Software Co., P.O. Bo:-t too, Wlllmar, MN 56201. Phone:
1-Silt]-B-PRO-EPS, 612-235-9'l9S (voice or fart). INTERNET:
[email protected]
—
‘Doing
Sample
and
Hold"
Vintage Dlgltolly
Steve Vincent
The word "vintage" used to refer to finely aged wines, but
now — at least among electronic musicians — it evokes
and the tmforgettable dance of tetrtures and pitches potuing
out of the Sample and Hold Generator.
visions of Minimoogs, Arp Odysseys, Hammond B-3s, and
1961 Fender Stratocasters (oops, wrong magazine). It harkens
back to the day when the sonic lattdscape was thick with lush
filter sweeps, portamento glides, ring modulation, pink noise,
If you weren't around dttring the Analog Age, then you might
not know what a sample-and-hold generator is. although
you've probably heard its effect. The best ettample I can
think of is on ELP"s "Karn Evil .9. First irnpression" (Brain
Salad Surgery): Between Greg Lake's guitar solo and "Welcome back my friends to the show that never ends..." Emerson holds a sustained synth note during which the filter
frequency is modulated in a rhythmic (sittteenth note),
stepped. random pattem. This filter modulation was the result
of a sample-and-hold generator, and was. of course. the signal that it's time to turn the album over to side B. This effect
was also used etttensively throughout the "Ills and 'S[ls on
Public Television programs whenever they wanted you to imagine communication transmissions from etttraterrestrials, or
the busy imtcr workings of a computer.
(or noise) waveform. This waveform is already "stepped"
(sort of). in that the amplitude (which corresponds to the voltage in the analog oscillators) changes immediately and randomly from level to level. In other words, it jumps all over
the place.
First, the Samplers
Okay, I'm not going to fascinate you all day (ahem) — time
to roll up your sleeves. get involved. and build a sample-and-hold instrument. This first one is for the BPS. but the
process should be nearly identical on all the other Ensoniq
samplers.
Hold that sample...
‘What is a satnple-and-hold (5lH] generator or miner? On
analog synthesizers, it is a modulation source which "saniples" the voltage level of a waveform at periodic intervals
determined by the clock circuit, and "holds" that voltage
level until the nest clock pulse opens the gate again (see Fig.
1). This produces a sequence of control voltages which can
be used to modulate pitch andior filter frequency. If the
wavefonn being "sampled" is a sawtooth wave. as in Fig. l,
and the Sil-I output is modulating pitch. the result will a
repetitive pattem of notes. If the waveform being "sampled"
is "noise" {a random waveform), then a random but rhythmic
pattem will result, such as the above esample from "Kern
Evil 9."
Just so we're all doing this thing together {as Barney would
like us to), create a sample from scratch. What's this‘? You
didn't know that your EPS could create a waveform ex
niltilo? Behold the awesome power of the EPS. Ettecute the
following three commands: CREATE NEW INSTRUMENT.
CREATE NEW LAYER, and CREATE NEW WAVESAMPLE. Yotu" EPS. with your help. just created its own
wavesample. Now press’ a note. and listen to the bleating,
cheesy sample you just created. In no time. this thin little
wave will be transformed into a cool vintage sound.
New press EDIT, and underscore either Layer 1, or W5 1, I
don't care which. Doesn't matter. This first version will use
the "random" LFO wavefonn to modulate pitch, so press
This process has many parallels on our beloved Ensoniq digital synths and samplers. If you nudge the mod wheel oh'most
patches (and in its default setting on the samplers). you can
hear the result of modulating the pitch with a waveform, most
likely the triangle wave. (I am always delighted when I dis-
Fig. 1 - Analog Sample and Hold
cover that an intrepid third-party hacker has programmed
pitch modulation on an acoustic piano patch. As a guitarist, I
can't understand why piano manufacturers haven't taken the
hittt and installed whammy bars on their piattos.) The big difference is that art analog SH-I generator gives you stepped
pitch or filter changes, whereas most LFO modulations are
continuous, unless you use a square wave -as a modulation
source, in which case the changes will be stepped. but boring»
LFD Wavetorm
ClocltFulae
'
ly bifurcating.
AID Conversion
On our digital synths and samplers we can take a waveform
(from the LFOs) and use it to modulate pitch or filter frequency (and a host of other parameters, for that matter), but
we can't "step" the output like an analog SII-I generator. In
other words. we can "sample," but we can't "hold." This is,
however, only a problem for the "periodic" (or repetitive)
waveforms like sine waves or triangle waves. It is possible to
emulate tlte analog S11-I phenomenon when using a random
I
Gate Output
(‘Se mple"}
llllu slcal Pattern
rt”rt”rt’
VolFrturmeDi
nsPrarct-eicalSjnt heslzjhrEh;-ImamEadie,
PITCH, and enter PITCH MOD = RANDM -99, RANDOM
FREQ = 92, AMT = 0. Feel free to ertperiment with the
RANDOM FREQ, but values between 35 and 96 seem to give
the hest results. Also change ENV 1 AMOUNT = 0.0, and
LFO AMGIJNT = 0.0, just to keep these ether mod sources
from messing up our cool patch.
New press a key again. You now have an EPS instrument
emulating an analog sample-and-hold effect!
So what did we do here? We "sampled" the random waveform from the LFO (sort of), and used the RANDOM FREQ
parameter to adjust the "hold" interval, and applied the output
to the pitch of our newborn sample.
Now if you want to apply this SH-I emulation to the filter frequency, then once again start from scratch, or better yet, load
in a sample with more timhral complertity than a sine wave
(like a square wave}; this will yield more timhral distinctions
between the “steps” in the filter changes (translation: it will
sound better}.
Nest, set the following parameters by EDlTing the Filter
page: Fl MUD = RANDM * +99, F2 MUD = RANDM * +99,
MODE: Fl = ZILP, F2 = EH-[P (this yields the highest frequencies, therefere the widest range between “samples,”
therefore the coolest sound}, CUTOFF: F1 = 64, F2 = 64.
(Important note: there is no parameter on the Filter menu
MIRAGE
Syntaur Mirage Library {I 3 disks}
Ensoniq libraries t5LD-A, SLD-B, or SLD-C, Itldisks each}
K-Muse libraries ITechno, London, LA, New ‘fork, or
Classical, It} disks each}
Mirage Formatting Disk
Advanced Sampler's Guide with MASCJS disk
Soundprocess lihrary with OS {F disks}
Soundprocess Manual and Tutorial
$39 . 9 S
$59.95
$09.95
$12.95
$19.95
$99.95
$13.95
EPS, EPS-16,. ASR-IO (TS-10,. TS-12)
Syntaur Sample Sets I through I3 l4 disks each}
$29.95
Set I: Soviet Synths Set 5: Synlhia I
Set 9: Tuned Perc.
Set 2: Live Drums
Set S: Percussion
Set It}: Sound Flt I
Set 3: Kickin Drums Set i‘: Guitars
Set II:Sounrl Flt 2
Set 4: Synlh Fads
Set El: Basses
Set I2: Vocoder
New - Set’ I3: Techno
Ensonit| sample libraries IISLT-I thru SLT-I 3, II] disks each}
$1’-9.95
for tweaking the RANDOM FREQUENCY; you must go
back to the Pitch menu to adjust it. Ilrnow it”s weird, but just
do it.)
You have probably noticed by now that this sample- and-hold
effect doesn't do as much for the filter as it does for the
pitch. This is probably due to the lack of resonant filters on
the BPS. It might help a bit to change the ‘tr'OLUME MOD on
the AMP page to RAJ-IDM * SD or thereabouts. This will sync
volume changes with filter changes, and make you think it
sounds cooler than it actually does.
New tor the synths...
Synth owners, it’s your turn. Thank you for your patience.
You can emulate the Sf!-I effect on your Ensoniq synth, but
with some limitations. This explanation is geared for the
ESQ-1 and SQ-BU, bar the principles apply re any Ensoniq
synth.
Fire up your ESQ or SQ-30, and enter the parameters for the
SHOLDI patch. If you're like most Hackers, you've already
programmed the patch and played it before reading this, so
you 1-mow that the SH-I effect you’re hearing moves at a pretty
fast rate. We are using LFDI with the NOISE waveform to
modulate both the pitch and filter, and even with the LFO
Frequency set to a mere 1, the effect sounds like "Flight of
the Bumblebee." As noted above, Ensoniq samplers have a
ESQ- 1 ,. SQ-80
$1s.9s
$29.95
$9195
Syrrtaur Soundsets I, 2, 3, or 4 t-It} patches, disk or cassette}
Ensoniq ESQ libraries, VPC I thru I I {Ht} patches on tlisk}
Ensoniq VPC Master Disk tfltit} patches on disk}
Ensoniq SQ-fit} libraries, VSD I thru VS D-4 t-It} archeson disk}
Ensoniq VSD Master Disk ll E-D patches on disk}
$19.95
$49.95
SQ-1, SQ-2, SQ-R, KS-32
Syntaur SQ Set I [BU patches on sysert disk}
Syntaur SQ Set I IBIJ patches on Int}-voice RAM card}
an-van ls-files-'l' T415 \-QR: r. nr. n
vex, ‘VFX-sd,. sn- 1
$99.95
$9195
Syntaur "v‘FJt Sets I or 2 lhfi patches on disk}
Syntaur Wit Sets I or 2 tee patches on EEPRQM cartridge}
TS- r 0,. TS- 12
Syntaur T5 Sets I or 2 tee patches on disk}
$39.99
KT-76,. KT-38: KT Set 1,. 80 new patches on disk, $39.95. On PCMCIA, call for pricing.
.
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All orders must add $4.00 for shipping t$t5.t]~t] ior orders outside the US}. Shipment is normally made within 21-I hhol|Hr;._—..Tenas residents must
add ?'.25":‘ri: sales tart {B15951 within Houston}. Payment can be made by check or money order, Visa, MasterCard, and American Express.
Orders:
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(800) 334-1 233
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Random Frequency parameter which slows the effect down
considerably more than the ESQ can. Without this ability on
the synths, we're stuck with using the LFO's generic Frequency parameter. For a slight variation of this patch, go to
the MODES page and set AM = ON for "Flight of the Enraged and Crazed Psychopathic Bumblebee Caught Between
Sheets of lillax Paper," a sound stu'e to inspire a Grammy
award-winning song. This sound is similar to Sam lvIims'
TLMTRY patch (Syntaur Productions Soundset 3 for the
ESQ-1}, but instead of a square wave, Sam used the "phantom" waveform 183.
Now punch the SHULD2 patch into your ESQ-1 or SQ-St}.
Using a slightly more complex method, but yielding more
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then adds LFO1 with the NOISE waveform to modulate
ENVI. Although we can't slow down the frequency of the
LFO any more than a "1," we can increase the amplitude
swings by tossing in an Envelope mod. This produces greater
pitch level changes, and therefore more discrete "steps" in the
sarnple-and-hold effect.
Now that you are armed with a fair digital emulation of the
venerated analog sample-and-hold, go forth, score your oomputer training videos, sci-fi movies, and "get vintage.“
Bio: Steve Vincent recently completed his first album project,
entitled A Winter's Tale. When he's not composing. tweaking
samples, or producing demos, he's a psychotherapist.
resonant results, this patch uses ENV1 to modulate pitch,
Static Free Trcrnsworve
Samples
Portl
John Lojffink
A long, long while back some questions were raised in the
Interface concerning Tmnswaves on the EPS-I6 Plus. Since
I'm not in the sample marketing business anymore, I
thought I'd share some of my "trade secrets" with you.
A Brief History of Tmnswaves
Transwaves debuted in the VFX synthesizer and have been
incorporated into every Ensoniq synth since then. The syn-
thesizers contain ROM wavetables of Transwaves that can
be modulated by the typical modulation sources, providing
animated sounds rather than static single cycle loops. You
might compare the sounds to pulse width modulation on
analog synths or wavefonn interpolation as popularized by
the PPG Wave or ‘ltlaldorf Microwave synthesizers.
Ensoniq wisely decided to add the Transwave feature to the
EPS-16 Plus sampler, which arrived about a year and a half
after the VFX. The ASR-10 also carries over this feature.
However, no Transwave samples were ever provided by
Ensoniq, not even the ones available in their synthesizers.
The sounds REVELATION and SOLITUDE supplied with
ASR-10, though billed as Transwaves in the accompanying
literature, actually use Loopstart-X modulation, another
memory efficient but more limited scheme for animated
sounds. MIST, the other factory sound described as a
Transwave, uses detuned layers with LFO pitch modulation.
I've never seen third party or public domain Transwaves
either. This probably has something to do with the difficulty
of creating click free wavesamples that can be Transwave
modulated.
Transwaves Specifics and Applications
Tmnswaves are mentioned briefly under the "Edit Wave:
Wave Mod Type; Source” section of the EPS-16 Plus
manual. Modulating a Transwave will move the loop across
the sample in increments of one loop cycle. If your loop
starts at ll and ends at IOU, positive modulation will move
the loop to between 100 and 200, then between 200 and
instance, if your Transwave is a sample of a pulse width
modulated waveform, you could set the LFO sine wave as
mod source for a '70s style chorusing effect. Using a swept
resonant filter sample, you could set the keyboard pressure
to control the Transwave modulation, achieving realistic
high Q filter sweeps polyphonically.
Hard and Fast Flutes for Smooth Tmnswaves
After many hours of experimentation, I have come up with
the following hard and fast rules for smooth Tmnswave
creation.
1. Use single oscillator samples only.
2. Make sure all frequencies have zero phase shift.
3. Sample at 22,321 Hz, 32,39-4 Hz or 44,642 on the note D.
4. Use multisamples for rapidly modulated Transwaves.
S. The Wave Mod Amount range of 99 will cycle through 128
“loops.”
6. Best results can be achieved tming computer synthesis.
'i'. Resynthesis may transform a poor Transwave into a good
Transwave.
S. Brute force sample editing can work somewhat, but is
tedious.
9. Phase shift effects from filtering can be avoided by editing
tricks.
We'll go over the first two rules this month and save the
rest for Part II.
-
300, and so on, up to a maximum of 128 loop positions.
Negative modulation of the same amount is possible. In this
case, the loop would be set to start at 900 and end at 1000.
Negative modulation would move the cycles back, to start
at B00 and end at 900, and so forth.
Chorused sounds, inharmonic sounds {bell-like timbres} and
synthesizer sounds which combine detuned oscillators make
The best way to conceptualize a Transwave is to think of it
as a collection of single cycle loops. Each cycle represents a
poor single cycle loops, so they also make poor Transwaves. Attempting to Transwave modulate these sounds
will cause static crackling because of the discontinuities
gradually changed timbre from the previous sample, so
when strung together and modulated a subtle shift in timbre
is created. If the Transwave is not being modulated, then a
single cycle plays over and over. when the Transwave is
slowly modulated, the instrument may play one cycle multi-
ple times, then proceed to the next cycle, which also may
play multiple titnes, and so on. In this way, an instrument
may be created that is more memory efficient than the raw
sample.
More importantly, the user can have real-time control over
the timbre of the sound, a feature that is missing in most of
today's samplers and wavetable based synthesizers. The
EPS-16 Plus allows real-time control of the tonal quality of
the sample by any of the fifteen modulation sources. For
Hule 1: Use single oscillator samples only.
between the previous Transwave end and the following
1
Back Issues
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available at the time we receive your order. ESQ-1 coverage sttutcd with
Issue #l3. SQ-SD coverage started with #29, {although most ESQ-l
coverage also applies to the SQ-SD}. EPS coverage got going ycitlt #35
{and also applies to the AER-Ill}. IFFK coverage {which also applies to
the Slls) got started in #43. The SQs got going in #63. {SQ articles also
apply to the KS-32 dz. KT-’ll5l'BS.} IlPl-ll coverage started in #32 {much of
which also applies to the AER-1D}. TS-1[ll'12 coverage got going with
#92 but owners should also check out sample reviews (EPS.lil.SR} and
- SI) & ‘KFFX ptogrannning tips. Permission has been mven to photocopy
issues that we no longer have available — check the classifieds for
people ofiering the-tn. A free back issue index is available which contains
the tables of content for all issues since Number 43.
Transwave beginning. It‘s like sweeping threugh a series ef
bad leeps.
Since single escillater samples make the easiest single cycle
leeps. they will alse make the best Transwaves. It’s ekay te
mi:-t waveferms and even snbeetave square waves as leng as
they’re all generated by the same escillater. It's alse ekay
te sample hard synched escillaters. as that preeess leeks the
phase ef ene eseillater te anether.
resenant wave. Leek at what happens after about 55 cycles,
when the euteff frequency ef the filter is lewer. The rising
edge ef the square wave and the aere eressing ef the
resenant wave have meved away frem each ether. Since the
square wave was censtant in phase, the phase ef the
resenant wave has shifted since the beginning ef the seund.
A cleser eemparisen ef this shift is shewn in Figures 3 and
4. The resenant wave deesn't make a geed Transwave because the eere eressing peint deesn‘t remain at a fixed interval. Since Transwaves de meve in fixed intervals, the
leeps ef the medulated waveferm will eentain static as the
ideal leep peint meves away frem its eriginal pesitien.
Rule 2: Make sure all frequencies have zero
phase shitt.
Yen’re prebably asking, hew de yen knew if the seund
yen‘re sampling has frequencies that have sere phase shift‘?
What dees it mean‘?
es
esii
iluuln
qt-||||-iqt-J-uni-trilllhl
Phase is the relative pesitien ef the frequencies which make
up the seund. A square wave at 100 Ha centains the edd
harmenics 100 Hz, 300 Ha, 500 He and se ferth. These har-
rnenics are all censtant in phase, i.e., they all start at sere at
the same peint in time. This phase relationship ef the harmenics is what causes the characteristic square wave shape.
If yen pass this square wave threugh any type ef analeg filter. net enly is the frequency centent altered, but se is the
phase. On my eemputer, I teelt a square wave sampled en
D3 at 44 .632 KHZ. I then passed it threugh a standard feur
pele lew pass filter. The filter was set te high resenance (er
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Figlre 4. Press detail after
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“Q") and the frequency cnteff was swept frem high te lew.
The results ef this medificatien are seen in Figures 1
threugh 4.
|
. . . .
I . . .
.
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. . ,.
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. . . . . . _ . . .
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. . . .
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Swept resenant Flters are ruled ent as geed candidates fer
Transwaves. All synthesizer filters will shift the phase ef
the harmenics te a certain degree. Even synths with digital
filters will have that effect, because they are modeled after
their analeg eennterparts. Hewever, pulse width me-dulated
{single escillater enlyl) er hard sync sennds shenld werk
well, theugh always sample with the filter epen te matti-
Figtre I. Initial phase
. . .
. . . . .
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mnm (use the BPS filters if the sample needs it). Additive
(Kawai) er waveferm interpelatien (PPS. Walderf) based
synthesizers are alse geerl candidates.
Yen can cheek yetn sample's cenfermity te the zere eress-
ing eenditien by serelling threugh the leep pesitien paraI.n.-.-u-- . . . -1.1 -r-r-I r.-.-. 4-.'.|.. |
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|
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|
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Figure 2. Phase after 5 cycles.
Pielae
I H‘!
Figure 1 shews the square wave and resenant sweep near
the beginning ef the seund. The rising edge ef the square
wave is nearly eeineident with the sere eressing ef the
meter with aute-leep finding en. If the difference between
each leep pesitien value is censtant then yeur sample
shenld make a clean Transwave. -I
Bie: Jenn Lejjfini: is net a reelzet scientist. he‘s an electrenics engineer fer N1-lSA's Special Prejects Laheratery at
the Kennedy Space Center. He had been hanging ant at the
Shear ntailbex te intercept that free ASR-it] Enseniq was
sttppeseti ta he sending Tent, hat Tern mevea se many times
that the FBI ntttst have entieti up getting it.
The Sample Bctnk CD-ROM
Pat Finnigan
Product: The Santpie Bani: CD-ROM.
For: MirageiEP5l16+t't5t5RfT5fK2flflDlTX I EWIPC-compatible
wfsoundcard 8|: 3.5" FUD.
Price: U.S.-$519 (includes shipping}. Call fer special pricing.
From: Cybersotlnds, cie Sherwood Music, EDI Weber Street East,
Kitchener, Untarie, Canada NEH ll-I5. Voice 519.'i'45.D[l2l, FAX
5l9.'i'43.D953.
resides in your PC: this CD brings it to surface. This cool
a disk has to be illegal! Both a training aide and trusty
Ensoniq friend, this thing will save your Ensoniq FDD
from hours of formatting rlrudgeryfwear and tear. This
thing is a real showcase to Gary Giebler: he broke down
barriers with his utilities years ago: he brings down walls
with his latest barrage of converters here. Let’s see now: I
can take that 1st generation Janet Jackson TXIISW snare
Do you really know the pain in the butt of CD-ROM? It’s
net the price of hardware anymore ‘cause triple speeds
are down to $179. You gotta buy one copy fer this fer-
from “Rhythrn Nation," make it a *.wav file, translate it
into Ensoniq format, and siphon it down to a Mirage disk
to replace the Jami Lewis snare she kicked “h"asty Boys"
in the butt with‘! Welllll, alllrighty then!
mat, one copy for that format, one fer Mac, one fer Windows, one fer little boy who lives down the lane, blah,
blah, blah! I've gotta buy the Microsoft Office 3 times:
Lennne get this straight now: I can take some monde cool
loops from my Mac, wash them thru Brian’s SND cen-
once fer my Mac, twice for my PC, and thrice fer my
Powerlvlac. What an ingenious marketing scheme at work
here!
Man, Pm tired of buying the same program twice. But so
are the people at CyberSounds. This little CD is maxed
out at 630 Mb of samples fer everybody (given you’ve
got a MPC clone). How about 300 Mb of Ensoniq wares?
Would you like 50 Mb of Mirage samples‘? I don’t think
Ensoniq itself did more than ll} Mb of DSK factory
samples, did they? Perhaps I50 Mb of TXIISW samples?
Or you don‘t have a sampler how about 125 Mb of *.wav
files‘? All this for $99‘? Illegal! Bogus! Yeah, I may have
already won 10 guaillion dollars, too...
Again, rather than give you the straitup on the sounds,
they focus on synth and drums. And I mean Yamaha,
Kawai, Moog, VFX, PV, Fairlight, Oberheirn, E-Mu,
verter to an AIFF file, import them into the PC as an *.aif
file, translate to 16+ format, throw that same Janet snare
onto that loop (that I already converted from TX! 6W
format), resample wteffects, export back to my PC, and
export to a TS-10 as “raw” wave data? Or take those
Foley *.wav files, export to the ‘16+, wash wtsqueaky
clean Ensoniq 24-bit DSP, resample, export back to PC
and resave as the “same” *.wav file?
This disk even has Banks and demos on it. Since it’s an
MPC disk, there’s no EPSOS on it, but there is MASOS!
Ah, what we cut our teeth on in the sampling world
returns! And yes, all the pieces are here, although I’d
recommend Giebler‘s trusty full-fledged EIJM for
shortcuts. But everything you need to do these impossible
gyrations is here, A hacker’s dream come true...
Just add Ensoniq. .. -
Roland, Chroma, ESQ, Imean, like, itis all here! Not the
polished 30-60 patch groupings or 4-5 specific samples,
but 300 meg of meat and potatoes! Dig in here before it‘s
all gone! Comes with executable Giebler EDE.EXE for
Bio.‘ When not answering broadcast NTwe .5E, SCtP.»4L questions for
Trueliision, Pat is a
tech support person
copying directly onto formatted floppies! Comes
wtmondo cool Ensoniq utilities for your MPC! Comes
with demos! Comes with MASOS for our 8-bit
forefathers! Comes with *.wav,!*.aif~=:-:>EPS,f16+ conver-
sion utilities. Comprehensive, defined!
If you’ve got an MPC-compliant PC this disk tttrns it into
Ensoniq-Helper (macaroni not included). A complete,
bottoms-up, pretpost house Ensoniq engineering device
1-‘ll-II
for Hasterfips. He
still uses a B-3 for a
keyboard stand and
watches
channel.
the
alpha
The EPS-16 PLUS and
Background Vocals
Port 1 — Sampling Your Backups
The recording center of my rig is a four-track cassette deck.
In my SD-1 and SO-BO, I 've got 32 sequencer tracks to
record on before I print them in stereo across two tracks on
the four-track. This leaves me two tape tracks for vocals
and any organic instruments I plan to record (guitars do
Robby Bertnan
Sampling BGs_
Let's say you want a three-part harmony on the title line of
your song, "Doe Wah MIDI." Here's how.
grow on trees, you know). I'm more than satisfied instrumentally, but two tracks is just not enough on which to
We'll start by sampling a scratch take of the lead vocal
"Doo Wah lvIlDI," sung with any melody you want. If you
record the kind of lush background vocal harmonies my
record the way I do, you'll eventually be recording your
lead vocal on one of your tape tracks, and it won't wind up
as a sample. Still, it'll give you something to listen to your
BGs against for now. We'll count this as harmony number
songs call for, especially since I tend to want to sing 'em
all. What to do?
I got a rackmount EPS-16 PLUS. (Note: While a lot of this
short series of articles also applies to the ASR, in many
cases there may be an easier way to accomplish the same
results.) New I can record, and even sequence, full, doubletracked, professional-sounding background vocals (BGs).
I heartily recommend satnpling your BGs before you commit your sequences to tape. That way, after sequencing your
harmonies, with a little guesswork (or a few test recordings), you can print them in stereo mixed right in on the
same tracks with your instruments. As a result, you'll still
have the optimal number of tape tracks left over for other
purposes.
Understand that the EPS-16 PLUS is boneheadedly easy to
sample with, especially for one-shot samples like vocal
phrases, which usually require no looping. Limited sampler
one. On your 'sd, SD, or SOIKS, or whatever, sequence a
pilot track using a basic sound as a pitch and rhythm
reference for you to sing against. If you're using this same
instrument as a controller for your '16 PLUS, remember to
set up another track for that purpose. If you don't have a sequencer other than the '16 PLUS, you can play some other
keyboard live while you sing (again, make sure your '16
PLUS controlling is, well, under control). Since you want to
be able to monitor your pitch and timing against your
reference music as you sing into your '16 PLUS, plug your
headphones into the mixer through which you run all your
instruments (maybe that would be your four-track). Turn
down the outputs of the instrument you're singing along
with so you don't get too much headphone leakage into
yotu sample. Or just keep your headphones low.
What you do now is simply follow the instructions for Easy
memory is your only real constraint. I use the best mic I've
got, and plug it right into the back of the '16 PLUS.
Sampling on page 5-4 in the EPS-I6 PLUS Musician's
Manual to sample your first "Doo Wah MIDI." I find that
for the best compromise between audio fidelity and memory
As a professional recording engineer, I'm here to tell you
that unless your mic sounds seriously bad or you feel you
really need to compress your BGs, you may well not need to
run through any outboard gear on your way into the '16
PLUS. Remember that every device you place between your
performance and tape degrades the fidelity in some way.
hoggery, a sampling rate of 29.3, gets the nod. With a stock
rackmount version of the '16 PLUS, this'll get you 34.46
seconds of sampling time; with the keyboard version, half
that. Remember that each harmony uses up time, so even if
As far as EQ goes, the clarity inherent in the BPS-16 PLUS
is great, and if too much low end is your problem, you can
always roll it off using the filtering facilities built into the
unit once your sample's on board. By the way, I have never
EQ'd my SQ-S0, SD-1 or my EPS-16 PLUS (or my drum
A PRE TRIGGER setting of 15 usually works for me. If,
when you do a take, the sample is chopped off at the front,
raise this value and try again. Watch the level meter on the
'16 PLUS; it may take a few attempts to find how loud you
should sing or how far from the mic you should be to keep
machine or tone module, for that manor), and my recordings
are impressively clear, believe me. Leave these digital
the sample from clipping. Start up your reference music and
babies alone! Nothing craps up a recording - more than
superfluous processing .
they're all to be played back at once, this runs out pretty
quickly.
sample your singing. After selecting a root key, audition
your sample against it. If a take's lousy, if the front is cut
off, or if it clipped after all, follow the instructions on page
5-9 in the manual for resampling an existing sample.
Harmonies
Once you've got it, press Effect Selecttlilypass and hit the
down arrow once — editing samples is best done dry. Press
New we want to get our first harmony down. While listening to your first sample against the reference backing, work
Command, Amp and YESIENTER to normalize the gain of
the sample (this gives you the most volume bang for your
buck). Then press Edit and Wave and, quickly, 1 on the
numeric keypad. Raise the SAMPLE START coarse value
out and rehearse a harmony part. Press Sample, pick the
same sampling instrument you picked for yotu melody
"Dec Watt MIDI," and when you get the screen that reads,
"UNNAh1EDtLYR=lr‘WS=NEW," press the left arrow but-
(that's the number in parentheses) and then the fine until
there's no dead space in front of the sample and yet none of
the first note is chopped off. You may find that there is no
ton so that LYR=l is underlined. Press the up arrow button
so that it reads "LYR=N" ("N" stands for "New layer").
Sample your harmony, and when the 16 PLUS asks you to
extra space in front of your "Doo"; if so, leave both values
set to U. Next, scroll rightward one screen to SAMPLE
END, and back the rightmost values down until there's no
extra sound after yem vocal stops. If there's a little click
right at the tail of your vocal, try raising the left field values
until it's gone. If there's still noise at the end, not to worry,
we'll cover that later, just do the best you can artd keep
going. Once you've adjusted the SAMPLE START and
END, truncate the sample so as not to waste precious
PLAY ROOT KEY, play the same key you played for your
last sample. That way, when you press one key, you'll
automatically hear yotu two harmonies at once. In order to
trim this sample the same way as your first, you'll need to
hear it alone. Press Edit and Instrument and, using the down
arrow button, turn off layer 1 for the moment. After you've
normalised, trimmed and truncated W82, press Edit and Instrument and turn layer 1 back on. Check out what you've
wrought by playing your root key on the keyboard.
memory. Press Command, wave, and 4. Press YESXENTER.
That's it. Not so hard, huh‘?
Exciting as your two-part harmony may sound, go ahead
Let's deal now with the small clicks or noises you might
have found at the end of your sampled perfonnance when
and repeat this last paragraph for your third harmony (to
trim this one, you'll have to turn off and on layers 1 and 2,
of course). Now things should really be starting to get
you trimmed the SAIvfPLE END. This auditory debris commonly emanates from lips, saliva bubbles (I know, ecchh),
breath exhalations and so on. If you haven't been able to get
rid of it by lowering the SAMPLE END values because of
its proximity to your last note, the 16 PLUS affords you the
option of fading out your sample at its ratty tail end. This
will often remove the offending detritus altogether; sometimes it just lowers it. You'll have to determine for yourself
electric.
You can change the volume balance within your harmonies.
Press Edit and select whichever sample you want louder or
softer. Remember that each harmony is in its own layer -make sure that L"t'R= is correctly set, underline WS= on the
display and then play the key on the keyboard you've been
using as your root key to select the correct wavesample.
whether or not any noises you can't get rid of will be objectionably audible in the track with all the other instruments
New press Amp and adjust the volume.
playing.
If you want to double-track your harmonies, press Bdit and
Instrument, open up layers 5 and 6 and knock yourself out. I
To use the FADE OUT function, press Command, Amp and
6. Press YESIENTER. Begin with a START ADDR of 'i,
should mention that once you're comfortable with your
harmonies, and have finished grooving on how good it all
scroll right and set END ADDR, of cotuse, to 99 (the end of
the sample). Scrolling rightward again, you can leave the
SCALE DEPTH at its default value for a smooth fadeout, or
sounds, you should delete the melody sample to free up
memory. Press Edit and set the screen to read "UNNAMED,tLYR=ltWS=l." Press Command, Wave and 2.
crank it up for a more radical volume drop. Press YES!
ENTER and listen. ls the noise gone? If it sounds satisfactory, press YESIENTER. If not, press NOICANCEL, YES!
ENTER and try lowering the START ADDR value andtor
raising the SCALE DEPTH until it sounds as good as you
Press YESIENTER twice to delete the wavesample.
think it's gonna get. If none of these work, and the noise is
still toe apparent, you can always do another take. By the
way, FADE IN (Command, Amp and 5) always seems to
work when you've got a little click at the front of the
sample, maybe from a soft first consonant like "L." Set the
START ADDR to U and the END ADDR to 1, with pretty
much any scale depth.
lvlemory being at a premium on a sampler, you'll quickly
find your supply depleted. If your BG phrases are short and
you don't double the harmonies, you'll probably have room
on board for a few harmonized phrases (using our example,
you'll have two samples, one for each harmony). If you're
doubling (four samples), you may not.
In our example, we've been discussing lyric-based BG
phrases; they don't take up so much memory. "Oohs" and
"aahs" are another story — they're memory-hoggin' beasts.
They often go on for so many mea-
sures that sampling them whole is
likely to eat up most of your memory.
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Musician's Manual has an edifyiug
tutorial on legato layers using flute
samples as an example. Looped
"eohs," one with an attack and one
with the attack chopped off and faded
in sound pretty convincing with this
legato layer function. Of course, any
"oohs" that hold one note throughout a
section can easily be a memory-
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Who|t’s the Big Idea‘?
KS-32 Tips
Jefifetton
The job of a writer is to get big ideas, which can be a bit of a
problem when the only ones bouncing around are small ones.
Merely taking a small idea and padding it with fluff doesn't
quite cut it in this here competitive world of writing. The esception, of course, is The Bridges ofMadison County. Instead,
whet I do in times like this is fall back on an old writer’s trick
— taking several small ideas and sort of mushing them
together into a literary gumbo of an article. Here then are
various KS-32. tips that don’t quite merit a page of their own.
hold the “Store Seq" button (bani: 9), then press screen 9. It
will ask if you want to reinitialize the sound and sequence
memory, and if you answer yes, it will do just that. All of the
factory sounds will reappear, and all of the sequences will be
empty.
Ah, but what if you followed all the steps above, but instead
of pressing screen 9 at the end, you pressed some other screen
number? As it turns out, all kinds of neat stuff. Pressing
screen 3 at the last step will erase the sequencer memory, but
Delays for Days
leave your sounds intact. Pressing screen 7 apparently per-
Notably absent from the types of built-in effects is some sort
of delay. One way to get around this has been mentioned in
these pages a few times before. Use the 8-voice chorus effect
with the chorus depth set to aero. The feedback parameter
controls the number of repeats, and the chorus center
parameter sets the delay time. Even with the chorus center
wide open at 99, you get a pretty short delay. If you‘re sequencing, though, you can get an even longer, more flesible
"delay" effect.
turning it off and on again, but without as much wear and tear.
Take the track you want echoed and copy it to an empty track.
The “copy track" function (bank 5, screen 1) worlcs well for
this. Now you can shift the track later in time (bank 5, screen
forms a “soft reset," which is pretty much the same thing as
Pressing screen 6 will give you the GPR number in hexadecimal and allows you to adjust it. I have no idea what the
GPR numher is. I mentioned it to someone at Ensoniq who
said that he could tell me, but then he’d have to kill me.
Screens 3-5 seem to do nothing. Screen 2 yields the sequencer
RAM in blocks, and screen 1 will reveal the version number
of the operating system. At this writing, the most up-to-date
version is 3.01.
If you press screen U as the last step, you will enter an analog
testing mode. From here you can press any screen from 0-4 to
5) as much as you want. For more delays, make more copies.
You can adjust the various track volumes so that the echoes
gradually get quieter (or whatever), and you can set each
echo’s pan position separately. This technique has the added
bonus of always being in time with your sequence. lf you
change the tempo, the delays change right along with it.
find the response of various controllers. You can diagnose
problems with your modulation wheel, aftertouch, the data
entry slider, etc. Don‘t be afraid to esperiment. Nothing you
press will cause the thing to catch fire or esplode. Ensoniq has
stated that they won"'t incorporate those features until at least
If you want to merge all the delayed tracks into one track,
Bio: Jeyjf Jetton keeps his stutjf in Nashville, hut is mostly on
the road playing for count.-jy artist John Berry. You can e-rnail
hirrt at jejffl[email protected] with questions, cornmenis or if
you’re Rohert Jantes Waller’s attorney.
you'll have to use “scale track" [hank 5, screen '5) to scale
down the velocity of each track, rather than setting their
volumes (asstuning the sound selected gets quieter with less
OS version 3.5. -
velocity). This is because once you merge all the tracks to
one, they will all share one common volume setting.
Under the Hood
Herels the part that will really turn you into a KS-32 guru. If
for some reason your KS crashes, puts garbage on the screen,
or is generally freaking out, you can reinitialize the system
software. (I know, this is described in the manual. We‘ll get to
the undocumented stuff in a hit.) Press the “Edit Seq,:"Preset"
button to put you in SequencejPreset Edit mode. Press and
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I
How Sounds Work
Fort XIII -- Hum-Drum
Mark Clifton
Harmony is great. Consonant, ear-pleasing tones mathe-
for sale by the way): to capture the punch, dynamics and
matically ratioed out for your listening convenience, frequencies of different colors and ranges peacefully coezisting
ambience of a real drum set in a natural room environment.
as one. It‘s enough to do any freedom-loving citizen proud.
And melody; make those tones dance, twirl about each other
in a joyous frenzy, forgetting all the daily sorrows an
average musical note may have to face. Make them speak,
make them shout and whisper, keeping it all polite (of
To do this, I didt1‘t have to stray very far from the SQ’s
original drum waves (there is one ezception, which I'll get
to later), rather, the subtlety of this sound lies in the careful
course). Notes have to follow rules too.
Yep, this has got to be an ideal ezistence — in a BraveNewWorld Soma-pumped sort of way. Face it. There are times
when you just want to forget about all this harmonylmelody
sing-song, pick up a couple of sticks and beat the living
heck out of something. That‘s the way we were doing it
before those civilized little notes came along, and that’s
they way we‘ll always be doing it in some capacity or
another. You see, whether they know it or not, notes are
programming of dynamics and envelopes, as well as effects.
Just because the SQ‘s drum programming mode has a more
pared-down set of parameters than normal sound mode does
not mean that these parameters are any less powerful or important. Too often people make the mistake of neglecting
their drum sounds through hasty or careless programming.
Actually, the reduced number of parameters available
should inspire more care in their programming, since each
one now takes on a greater role in shaping the final sound.
The arrangement of the sounds in this patch, for the most
part, follows the standard preset SQIKSIKT drum kit template that is nicely laid out for you whenever you change
us. We’re animals; we have drums beating in us 24 hours a
soundmodes from normal to drum programming. Auxiliary
percussion layout in the upper range of the keyboard,
though, is a bit more ambiguous, though I tried to keep that
fairly standard as well. For brevity"s sake, I‘ll mention
specific features of each sound only where particularly uni-
day for our entire lives, beginning to end. Heart, lungs,
joints, hormones, thoughts, we‘re full of pounding, and we
love itl Without us and our metrical whips those tiny help-
que or interesting. If a concept is universally applied, then
I'll state it as such and move on. After all, we have a good
1'? or so little miniature patches to deal with here.
less notes would fall into chaos and disarray. And even
chaos likes to follow a pattem!
Being fairly logical creatures, we‘ll start at the bottom of
So gee, maybe I’ll devote this month's column to drums.
“Live Kit 1,“ like most drum kits, makes use of two kick
There are all kinds of drums in the world. Bang on something and itls basically a drum. But seeing that this is the
western part of the world and we love our Rock ‘N Roll, llll
uy to stick to that particular mode of banging. Beside, the
drum waveset on the SQIKSIKT, being a commercial in-
drum sounds — THUMP KICK and DYNAMIC KICK,
respectively — which are mapped in the lowest half-octave
of the S-octave keyboard. These two waveforms were
chosen mainly for their realism and the fact that they are
featured in the original SQ-l waveforms, making it easier
for all you unezpanded types to plug it in. Neither sound
masochists -— they like a pounding beat to march to,.a drill
sergeant. It's always been up to us to provide that beat, even
if it was just a clicking metronome or a MIDI clock or the
wave of a conductor‘s baton. It’s a compulsive habit with
the keyboard with the kick drums and work our way up.
strument, is made up mostly of these kinds sounds anyway
(this is, of course, no swipe against the programmers, but at
the general public at large). The factory ROM patches are
loaded with great usages of these sounds, but most of them
share the same sort of processed, studio-recorded quality
that unites most all of the factory patches on modern synths
out there. This is great if you want good-sounding readymade tracks to put behind your demos and self-produced
meanderings, but there may be times when you want more
of a raw, live feel. That was the intention behind “Live Kit
1" {available in my Latter Sounds Harriwire collection, still
features anything particularly special in the Pitch section,
though I should make mention of the fact that the Keyboard
Pitch Tracking is turned OFF, seeing as there is not much of
a reason for a kick drum to get very melodic. lvlost of the
sounds in this kit use no pitch tracking. I’lI point out es.ceptions as they come along. Taming Pitch Tracking on,
though, cart yield some interesting variations in timbre and
may also help a sound fit more snugly into whatever application you have planned out for it.
The real stand-out feature in this section is the unusually
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high amount of velocity sensitivity, both in the filter and
amplitude sections. This is not to say that you'll have to
off when you release the key. This makes sense when you
need to cut off the open hi-hat sound with a closed one. All
whack the keys with a sledge hammer to get a good maximum volmne, but there is enough control there to give your
bottom end some more realistic dynamics. Even kick drums
are velocity sensitive, after all, and most good drummers
hi-hats are panned to the same location, naturally, as they
are all supposed to represent a single instrument.
will take that into account in their playing. It should be
noted that whenever you increase the Level “v'elocity parameter in the Filter section, you should lower the cutoff
value by a similar amotmt. The filters respond to Levi?
amount in a steady upward curve starting from the Fc
Cutoff amount that is currently listed. Lowering this value
allows the filters to be opened up through increased velocity, gradually brightening the sound. If the Fc Cutoff is
already at its highest value (121-'), the filter will stay wide
open no matter how hard you play. Panning on this kit is
done according to the drummer's point of view. If you want
The ride and crash cymbals both have their Pitch Tracking
turned ON to simulate the pitches of varying cymbal widths
and striking locations. Their decays were programmed as
realistically as I could get them, but they would probably
sound better if buried behind some other instrumentation.
This is also true because some of the loops become audible
as the sound decays. Basically, the SQ's cymbal waves are
good for suikes and rhythmic accompaniment, but are
probably not cut out for more exposed soloing. If you need
to do some subtle jazz tapping or brush work, my advice
would be to get a real drum or drummer.
to pan everything from the perspective of those in front of
I used both HI and LOW flavors of DRY TOMs, again be-
the kit (i.e. the audience), simply flip all the pan amounts to
cause of their realism. Pitch Tracking was turned ON to
simulate different drum widths and tunings. Toms are often
tuned to specific notes of the scale, so selecting the right
pitches to play is very important if you want them to "fit"
with your other tracks.
their exact opposite values. Either way, though, the kick
drums remain at dead center.
The snares, represented by both THUMP and ROOM varieties, are also very velocity sensitive, though naturally a bit
more than the kicks. The ROOM SNARE wave has been
transposed up a whole step, increasing the general liveliness
The auxiliary percussion -- cowbell, bongos, tambourine,
side stick and shaker — are all mapped in the top octave of
of the sound. The ROOM SNARE also has very low Gate
and Release times in the AMP section, cutting off its unnaturally long synthetic reverb tail and uansforming it
merely into a slight, snappy ambience. The AMP envelopes
on all the sounds in this patch have been carefully pro-
the keyboard. The only things worth mentioning about them
is that the bongos, being pitched instruments, have their
Pitch Tracking set to ON and that the side stick is panned to
the same position as the snares which it's derived from.
Also, watch out for all the noise at the end of the TAM-
grammed to truncate any unnecessary noise that may be
linking at the end of the samples. This decreases the general
muddiness of the sound while increasing its punchiness.
BOURINE wave when you program its AMP envelope.
Now for the one exception to the original-only wavefonns
Any real drum after-ring contained in the samples, though,
has been retained. Both the snare and kick sounds. as well
as all the other sounds in this kit, have their envelope
release mode set to FINISH, which allows the sound to
decay away fully no matter when the key is released. If you
want to do choked cymbals and the like, set this parameter
to NORMAL and mess around with the Gate and Release
values until you get it right. Basically, Gate Time equals envelope sustain and Release equals, well, release time. Both
snares are panned to +14.
I chose CLOSED I-II-HAT I for the hi-hat sound mainly be-
cause it has the slightly more chunky, active tone of a live,
unprocessed hi-hat. The higher-pitched tap of CLOSED
I-II-HAT 2 is just as legitimate a choice, though, and may be
useful if you need to emulate a smaller-sized cymbal.
OPEN and PEDAL I-II-HAT were my only real choices for
those prospective jobs, so their inclusion is a logical one.
OPEN HI-HAT, it should be observed, has its AMP en-
velope velocity Mode set to NORMAL, so the sound cuts
rule: the shaker, which uses the expansion wave of the same
name. Those of you with unexpanded instruments can get
around this by using a SPRAY CAN wave with a short
AMP Gate time.
The reverb is programmed to the closest approximation of
what I think a live club or small auditorium ambience
should sound like. The modwheel increases the FX1
amount, wetting the sound somewhat and moving the drums
farther away in the room. All drum sounds are routed
through FX1 except the kicks, which are routed through the
slightly drier FX2. Kick drums and low-frequency sounds in
general can get muddy with too much reverb. Since this kit
was programmed to have the most raw and un-effected
sound possible, it is ripe for experimentation with your own
effects, so dig in.
In next month's issue: 21 ways (or something like that)
toward better sax! -1
Video Help for Computer Music!
MIISIO SOFTWARE VllIIEO§ KEYBOIIRO \IlOEO§
Casio CTK 6501750
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Korg M1
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(2 videos)
and E-B6
Finale
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and GFI-1
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The DP/4 Little Golden Book
Part ll — Understanding Revert: Parameters
Roy Legnirti
Hellooooooooo.... {Insert long Grand-Canyon-sized reverb
sound effect here). Today, class, we're going to delve into the
much misunderstood world of the reverb parameter. I'll try to
cover some basic concepts involved when editing digital
reverb processors. Along the way I'll try to give you ex-
amples, tips and experiments that you cart try in the privacy of
your home studio. If you've been following this series of
DPI4 articles, you'll know that my main focus is on getting
readers to explore the inner wort-rings of the gear you own as it
relates to yotu personal music creating activities rather than
just to pass along theories and commentary.
Set It Up
Fer the examples, you'll need your IJPE4 set up to receive a
percussive signal at Input #1 from an aux send on your mixer.
You could also use any instrument capable of creating some
drum sounds plugged directly into Input #1. Set up the outputs
#1 and #2 to send in stereo to your mixer. Now for the DP!-4:
Select Config #52, 1 Unit presets. To do this, hit the Seiect
button, then the Cortfig button, then scroll with the data knob
to #52. New hit the Unit A button and select ROM preset #54
Large Plate Reverb with the data knob. Leave the other units
bypassed, we won't need them for this discussion. I suggest
using a percussion instrutnent such as a clave or cowbell as
the sound source for this experiment because it allows you to
focus on what the reverb is doing rather that what the sound is
doing as would happen if you were using a complicated
groove or a TS-10 Hyperwave pad, etc. Once you understand
the parameters you're editing here, you should move on to
other sound sources.
The Pre-delay Parameter
Hit the Edit button to enter edit mode. Start sending your percussive sound through the DPI4. Scroll to parameter 03, the
decay time. This is the one parameter that probably needs no
explanation. Leave it set between 2 and 4 seconds for this ex-
periment. Move on to parameter 04, the pre-delay time. The
pre-delay time is a delay line, just like any other digital delay;
it delays whatever gets sent to it by an amount determined by
the time setting. In this case what it's set up to delay is the
source sound getting into the reverb tank. ‘ltery short predelay times are typical {anywhere from 1-15 msec) for percussive stuff . 40-60 msec is useful for something like strings.
Try it. The longer the pre-delay time is before the onset of the
reverb, the more obvious the gap between the two sounds becomes.
The tempo of the music will play a part in this, too, Longer
pre-delay times sound good on sounds with a slower, less percussive attack (like vocal aahs or string pads) because it thickens the sound rather that create additional distracting
percussive hits. In fact, you can use a longer pre-delay to your
advantage if you time the pre-delay amount to the tempo of
the music you're working on. Take the number 60,000 and
divide it by the tempo of your music. This will give you the
time in milliseconds for one beat of music at your tempo.
Simply multiply or divide that number get other musical intervals. Why 60,000? That's the number of milliseconds in one
minute (1000 msec = 1 second). Try this example to get you
started: Go back to the reverb time parameter and set it to .31
seconds; set the pre-delay to 200 msec. Now play some percussion. You get a slapback echo made of reverb!
The HF Damping Parameter
Recall the original settings for reverb time and pre-delay time;
then scroll to parameter 05 HF Damping. This parameter controls the way that high frequencies will be filtered out over
time. As you increase the value of the High Frequency Damping the sound will get darker faster and faster. The highest settings are the most extreme, high frequency information decays
very quickly. Think of it this way: reverb is actually a series
of very quick echoes. A sotmd goes into the processor, it gets
delayed, sent to additional delay units to be smeared and
delayed again, then the signal is sent back to the beginning of
the path to be processed again, and so on and so on. As you
can imagine from this very simplified picture, it's just a big
circle, like a toy train. The output of the delay eventually
winds up at the beginning of the chain to be processed over
and over. This would repeat forever if there were no controls
like the I-IF Damping parameter. Imagine this: Each time your
little delay train goes around the circle, a little bit of the high
frequency information gets off until eventually it's all gone.
That's HF Damping, the higher the setting, the more high frequency information is removed at every repeat. An average
setting would be between 20-60. Again, the context and the
sotuce have a lot to do with the settings you might choose.
Experiment with these parameters until you feel comfortable
with them. Remember, if you have a librarian program running on your computer you can save tmlimited variations
while you're learning. Stay timed for more DPI4 fun... -|
Bio: Roy Legnini is o rocecor driver, on ex-CIA operative,
movie stttntrnon and brain surgeon who likes to ploy with digitot reverbs in his spore time.
Cctthodes and Anodes and Synths, Oh My
Tape: Assemblage 23 Wires.
Artist: Tom Shear.
Contact info: Torn Shear, 255 Small Road, Syracuse, NY, 13210.
Equipment: 95% BPS and 90% original samples (for sale}.
Tom's Background: "Fm a 2i-year-old TelevisionlFilm
production major at Syracuse University. I have been playing keyboards for about nine years now and am self-taught.
Over the years I've managed to put together a modest setup tltat really takes care of everything i need to do quite
well. This tape was created on a borrowed Tascam Porta05 with an Ensoniq SQ-80 and BPS-.l6+, with eyjfects from
the Alesis Quadraverb and vocals going through a citeap
Fostex mic."
Tom's short history of Industrial music: "industrial evolved
out of tire underground and punl: movements in England in
the mid-'70s. Pioneering groups such as Throbbing Gristle
and Einstruaende Neubauten {a German outfit} bad created
a new style that was one part Kraftwerkian syntli-pop, one
part punicy aggression, one part gotltic darkness, and
another part of pure cacophony. The term came from the
fact that these early groups used machine-liice rhythms and
frequently would create elaborate percussion sets of anvils,
sheet-metal, amplified springs and other noisemolrers. The
end result was a sort of avant-garde electronic panic. As the
style evolved it incorporated new elements such as dance
beats and more coherent song structures, but it never lost
its roots in aggressive emotion."
There are some compelling uses of sampled voice. There
are many interesting sounds thrown around in interesting
ways. There are also many, many repetitive sequences that
become quite annoying. They are annoying for the sheer
repetitiveness without change.
Overall, this is a terribly interesting tape to listen to. Maybe
because, as Tom assumed, I have not been exposed to much
Industrial music. But beyond that I think it is because Industrial music takes chances and gets beyond the typical
sounds the typical themes and the typical. That is until we
all get used to it, and then we'll have to stretch some more.
Tape: Demo Tape.
Artist: Joe i.'J'Boyle.
Contact info: Joseph O'l3oyle, 120'? Oriole Drive, Bensalern, PA 19020.
Equipment: Ensoniq SD-1, Fostex 160 {4-track).
This is a textbook demo tape. Four short songs in a single
style that are set to quickly grab attention and show off
Joe's work. This is ROCK dt ROLL. This is great. Big
drums. Fat synthesizers. Heavy sounds. Good melodies.
Misspelled lyrics {typed at that). Nice hooks. Cheap tape.
Rock and roll.
Not The Girl. Opens the tape up with a rock ballad. Not
overproduced, but close. Big drums everywhere. Good mix
of vocals against music.
Little Julie. Julie is the girl. She inspired this romp that
In keeping with this theme, Tom's computer-generated
cover art is a horrified face screaming, Tom's vocals consistently scream through the distortion and wet effects. The
effect feels like a voice trapped in my stereo trying to
scream its way out. Or maybe it's beckoning to me to free it
from its pain. And that's what this is about. Darkness,
black, night, pain. These are the themes that carry through
each song — not for the weak of heart. Tom's vocals are
also imbedded between and inside the noise of the music,
but I get the sense that this is meant to make the user listen,
to make the user try to understand what the voice is saying.
This appears to be in keeping with where the voice is coming from. It is coming from a lonely, dark, black place. The
most interesting lyric that grabbed me was from ANGER. "I
want to hurt youibut I don't know how."
doesn't get much beyond a chorus. Nice guitar leads winding in and out, but not really emphasized or featured.
is It Me? Much nicer guitar work set off in its own environment as a bridge intro. Also just a hint for Joe: A chorus is
not necessarily a hook, a hook is anything that you walk
away singing when the song is over.
Scream. This is the best of the bunch, so put it first, not
last! Once again good guitar work buried a little too deep in
the mix. However Joe's voice is treated better and stands
out. SCREAM is a hook all by itself. Doesn't end, it gets
cutoff. Too bad.
I hear a lot of popular influences running through Joe's
music. The main problem seems to be too much of everything thrown together has the opposite result from what I
think .Toe’s going for. My suggestion would be to do what
yon’ve done for your voice. Just do it for all your instruments. You don‘t need to bury anything. -
Bio: Danie! Mandel is o songwriter,
sonnd designer, and nos soid pro
audio and keyboard eqniprnent and
produced derno ropes for iocol
bonds.
If yon want your tape run through the ringer, err, Hacker,
just mail it off to: Basement Tapes, Tronsoniq Hooker, 1402
SW Upland Dr., Portland OR 97221.
HAFIDWAHEKSOFTWAFIE
‘FFK-sd, non-32 Voice, all other updates.
$35!]. Todd, 4!}2-553-3?5[!.
ASR-ll]. Used 6 months. Original boa dz
equipment plus EDD sound library. $1Hfi{l or
best offer. 605-362-9429 or dllfi-33!]-6431.
ASR-1'3, 1 year old. Used in home less than ll!
hours. Factory memory. 4!! disks of patches.
$13111]. are-4-rs-9922 after soc pm {EST}.
ASH-1|], 10 Meg, with hard case, 4U{l samples
8: I year Transoniq Hacker‘ subscription.
$1399. Te!.r’Fart: (212) T2?-BEST.
Good homes wanted for my old MIDI controller 3: Mirage. DSP piano To-key weighted
action, new keyboard assembly. Mirage is
metal case unit, comes with tens of discs. Both
instruments have hard cases. Best offers on
each. Call Glenn, 334-621-D234 after I5 pm est.
$'i5. TS-ll! (one sot only) Tr‘ hrs. $75. These
are my own original sets {not copies]. Contact:
C Telerant, 2359 Broadway #312, New York,
NY 1011124 or phone (212) T21-223?.
Ensoniq KS-32 $11!!-S. Alesis Data Disk $200.
Kelly, {BB4} 52?!-$449 or {BB4} 62’?-ST94.
FFIEE CLASSIFIEDS!
SAMPLESIPATCHESISOUNDS
Well — within limits. We're offering free
classified advertising (up to 40 words) for
your sampled sounds or patches. Additional
words, or ads for other products or services,
are $13.25,!’ word per issue (BDLD type:
CUSTOM ASR-1!! R-DBDTIC VOICE SAMPLES! Yes, indicate what phrase you need (up
to 12 syllables} and I will crcateisample the
robotic voice. These aren't vocoder samples,
rather Kraftwerk “music nonstop" voices.
$1-Jiphrase, 5 for 4!] pp. Wayne Schroeder,
533 Scott St., Studio L, San Francisco, CA
9411?.
Want to ertchangc samples for the ASR-11].
Have over E-[ll] discs, a.e. old a new synths,
drums, loops, rockipop. Send list to: L. van
I-laeffen, Willibrordlaan 4, NL-'!'531 DR
Lesser, The Netherlands.
FINALLY! A new set of 16-bit samples from
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$599. (BUT) 3'53-3965.
Folks in the New York City area can get
copies of unavailable hack issues of the Hocker - call Jordan Scott, ‘F18-933-24110.
${l.45,-"word). Unless renewed, freebie ads are
removed after 2 issues. While you're welcome
to resell copyrighted sounds and programs that
you no longer have any use for, ads for copies
of copyrighted material will not be accepted.
Sorry - we can‘t take ad dictation over the
phone!
l
Tom Shear. This time he tackles the Waldorf
Microwave! For only $15 + $3 SJH, you can
have 3 disks packed with the fattest digilog
synth sounds you‘ve ever heard! Send an
SASE or e-mail (tomshca1'@ADL.com) for
free catalog. Tom Shear, T26 Fourth Avenue,
Williamsport, PA, lT!'fil.
$51} Reward for “Indian ‘Valley Manufacturing" formating disc. To hoot: Mirage
“Megahank RAMDS". (615!) 37'?-'iE!S4. Lee
Malone.
Covert ‘fideos ASR-ltl [one set only) S hrs.
—j
—|
I
If you’re crazy
enough to be
MUSIC
Let me seqicomposc for you! Radio, Business, whatever. $$$Price=What YDU feel it's
worth. I own talent and an ASE-lll. Any style
of music. Send requestsfoffers to: Monty
i
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Singleton, 2333 N. race E., Layton, UT S4114!)
or [email protected] — thanks!
i
selling your gear...
H Please be sure to pass along how absolutely vital it is to have a subscription to the
Tronsonio Hacker. And how wonderful we
arc. And how you couldn"t have survived
without
as.h And
quick
d
k hhow
f they
th should
d
hi
_
jfgle 3;; i B“ E “ii “Y ° “"1” “E
'
___
,___
OUT-OF-PRINT BACK ISSUES
M.U.G. will provide Dut-of-Print issues for
cost of materials and postage. M.U.G. Hotline:
212-455-343!!! or write: G-4 Productions, PD
Boat srsrn, Yonkers, NY rarer. Attn: _TH
Back Issues. Phone: (212) ass-sass. * * -ED
"
Current Ensoniq 0.3.
toanerncny
EPS
es-s-n
EF-‘S-16 stus
asses
nuance
Eso
see-n
soec
vex
vrx-so
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so-n
so-n as
so-H Ptus
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so-1
so-1 as
owe
as-as
ASHJD
knot-s
max-1s
TS-1lJi12
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SQ, KS, KT Fcimily Hcickerpclich
Jeffrey Rhonda
Frog: SUNIQS
WINE
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Select voice
Wave Class
Wave
Wave Direction
.;Stert Index
yaooson
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i'Flestrlt Decay __
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game
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Break
Sustain
Attack
Decay 1
Decay 2
Helease
Val-Level
‘ital-Attack
‘ital Curve
Mode
HSD Track
_
UH
Delay Time
|=,rrcr-t_
By: Jack Carder, Springfield, Vermont
2
3-
DH
Ctff
.
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LFD Speed
Noise Hate
Level
Transwave Breath
Flee 4}t
‘ll'ocaiEns
D
D
Forward
D
D
LFD
LFD
D
+03
is
42
1
+1
+05
El
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D
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ti
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Clfi
D
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00
MODS BC
Trl
Trl
Fiestart
fin
Dtt
1
2Lo
12?
2
SLo
1 Hi
0S1
+50
+1 S
+25
Env 2
+29
DES
ti
0
Wheel
+30
0
0
0
Cn
FC-1 MUD-FC2
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__3
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53
D0
00
00
D0
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Initial
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40
20
ti
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Linear
ass
Linear
Normal
ti
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ll _ __
lvtcde
HSD Traclt
20
EH1
D
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3
QMP
initial
Peak
Elrealt
Sustain
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1
so
rs
sr
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so
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50
as
ti
Linear
Normal
ll
The HHCIC Jack’s latest has some similarities with one
he did a few patches back. Still, it‘s essentially a new
creation that-wanders off into ambient waters. Not a
whole lot needs to be changed here... but let's play with
the LFO a little; for ‘lloice 2, in the LFO Section let Level
= 35, Dlay = 26 and the MODSRC = LFO. In Voice Ts
Decay 1
Decay 2
Helease
‘uel-Level
$8 ‘-S S S
Val-Attack
D
llel Curve
Mode
HZBD Traclt
Linear
Finish
DLIIPUT
VOL
Boost
MUD SHC
MCDAMT
KBD Scale
Key Henge
Dutput Bus
Priority
Pan
lie! window
2
DD
BB
T4
as
Flange Rate to 16 and the Flange Depth to 50. The Flange
D
2
-—l|
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l
-
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LFCI
D
0
'0
C3-CE
F11
Medium
o
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3
no-no
FK1
Medium
ti
D.
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I EFFECTS — CHDHUS AND FIEVEHB
4?
44
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4S
13
D
Convex
Normal
0
'
'
'
___
Flt-1
Decay time
Chorus Hate
Chorus Center
Feedoacl-t
Chorus Level
MUD {Desi}
B'r' {MCDSHCJ
MDDAIUIT
15
Si
ES
Fit-2
15
HF Damping SS
Chorus Depth 20
SSS
F11 -Milt
Pedal
0
Center should be way “off,” set to a value of 23. Get
ridiculous with the Feedback; let it = +80. The Flange
Level can be way up, to 93. Lastly, Modulate FDBACK
by MODWI-IEEL at +20. This cloud cover may be a little
less predictable than some others.
.lejj‘rey Rlroads
Output Section change the MCIDAMT to +40.
If you’re weary of the “same ol’ Chorus + Reverb," try
letting loose. It‘s okay to get effects craay with this one.
In the Effects Section try Flanger + Reverb 1. Set the
2
SE
SS
SS
S?‘
S5
SS
SS
55
1S
ll
Lin ear
Normal
D
—Ii.
attack
UDI‘- I-C-\C!lI‘i'JU
Peal-t
Break
Sustain
Attack
Decay 1
Decay 2
Flelease
'v'el-Level
‘v‘e|-Attack
‘val Curve
SS
SS
SS
ES
_
20D
Wave
Filter 1
Filter 2
FC1 Cutoif
Ehlil 2
FC1 HBD
MDDSCH
MCIDAMT
FD2 Cutoff
ENV2
FD2 KBD
S9gs
2
rs
4S
Wh eel
Fl LTEH
LFC
__
43
ES
D
0
Wheel
Delay
3
_
Bio: Jefirey Rltoads has been a lceyooardistlcomposer on
the Philadelphia Jars and R ii B scene for a period of
time resembling forever. Jeff still believes in magic and
longs for city lights.
Haclterpalcit is intended to he a place where patch vendors can-show their wares and musicians can share their goodies and impress their
friends. Dnce 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 pernrission 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:
I
SQ-ll} - A nice fat sounding trumpet SDWFX - ll. sitar patch.
M
Ii
M
M
l
i
M
M
SD 3< VFX H0¢!<efi9trich
Guest Hacker: Stephen Muggiin
SD Si VFX Frog: BY-THE-SEA
By:Stepltsn Mttgglin, Latter Sorted Productions
NOTES: I worked on this program because I like the sound of the surf. I
didn’t have to start from scratch because the folks at Ensoniq had already
provided a jump start with a factory sound titled STL DRM + SURF. The
seagull cry is very good. I adjusted it so the pitch could be varied, but
you‘ll still want to play it fairly close to C4. The factory surf sound is the
WAVES
Wave
Delay
Direction
Start
1
Tldiis-[F
D
D
O
-
-
-
MOD MlXE_H_-_ 1
SHC-1
Tlmbr
SHC-2
Press
SHC-2 Scale
SFiC-2 Shape
4
2
3
Floise-LP i'~io|se- LP Ocarina
1 .0
Lin ear
5
3
4
Heybd
LFO
1 .0
Linear
Tirnbr
Press
LFO
1 .0
0.1
Linear
OulkFtiss
- Stephen Mugglin
SELECT VDICE
oo
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1
O
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EHV1
Initial
Peak
Break 1
Break 2
5
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Attack
LFO
I‘.-‘I
DEA:-L
System
PITCH MODS ___1
_
MODS Fit‘;
LFO
MODAMT
0
Glide
Hone
Etivi
TS
LFO‘!
2
FILTEFI 1
Mode
Cutoff
HBO
MODSHC
MODAMT
Ehlva
FILTEH 2
Mods
Cutoff
HBO
MODSHC
MODAMT
ENVS
te -aj,_;_,.r~ystsrn
e
_2
LFO
5?
i"-lone
TB
2
1
2
ELP
TB
-10
Wl+Pr
20
0
ELF
BB
0
Wh eel
SS
0
1
-lib
Decay 1
DBL
CIUIHJ
System
System
__
3
LFO
0
None
-S?
2
4
5
-|.
IO
0
50
2?
B0
0
50
2?
B0
ll
Isl
--..._....--i
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0
0
B1
B0
B1
EB
5?
E‘!
BB
5?
15
33
at
ELF‘
Q3
EC
--_?
Break 2
4
EHF
0
0
50
0
50
0
50
EHP
0
0
Off
0
0
O
1
2
BB
Off
T0
Off
3 as
on
4,
as
MO DAMT
HBO Scale
o
o
_'-L'3!1";'Li‘iS.l"___ -_ Eli!“fill- _ _ i"i3"i“'t!3'.
Dsst Bus
Pan
MO D5 HC
FH1
EB
Envt
F11
2'0
Env1
5
5
"u'e| Thrash
LFO
I=Flate
MODSHC
MODAMT
Level
MODSFIC
_-l;.laIslt____
Wavsshepe
Fiestart
Noise E!-HO HT
On
Mad
o
On
Med
-
'ltBD Track
5'1.-'eI Cunre
Mode
lilsl-Level
"1.-'sl-Attack
in
_
EHV3
E
5
o
0
ADIAD
*“ll!lS!1l..____
_- _F_!lCl— H F - FFIE
as
so
Envi
LFO
D
1
aa
tan
2-12
tat
S-as
on
-4
Off
El?
Off
4
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PITCH
Octave
Sernitone
Fins
Pitch Table
.
3
2
0
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0
2
starting point for three different waves, each with its own
character. They generally sound best when played slowly, it
note here and a note there, usually from about E3 to G4,
nrixing the variuos waves, and once in a while, the cry of the
gulls.
—-|--_1-11-
L
Convi Cenva Convfl C-envi
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-|-r
EFFECTS [1]
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Decay Time
nesrlfiev
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S
EFFECTS {3}
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LF Decay
HF Damping
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Timers
Release
Pressure
The lnter
I
Letters for The Interface may be sent to my ofthe following addresses:
U.S. Mail - The Interface, Trartsoniq Hacker, 1402 SW Upland Dr., Portland, OR 97221
Blectrenic mail - OI-Inie liietworkr THAI‘-iSOl'\lIO, Internet: [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. Rendent answer-man is Clark Salisbury {CS}. Letter publication is subject to space considerations.
Greetings. ..
As the proud owner of an ASH and the
former owner of an EPS, I can sympathise
with those who continually request this and
that change or new feature for their favorite
musical toy. And, as an electrical engineer,
I also understand and sympathise with the
engineering staff at Ensoniq when they have
to explain in layman's terms the technical
reasons why said idea won't work or is impractical. I also had my occasional glitches
with my sampler, but as a PC compatible
owner, I understand that bugs happen and
the ASR is no more immune then any other
manufactt1rers' devices (and that includes
those expensive importsi]. That said, I do
have one wish for a final upgrade to the
ASR OS. Please feel free to explain any
technical reasons why this is impossible.
bins would have been better, it just didn't fit
within the "inherited from the EPS" interface and design of the ASH.
Many thanm,
F..S'. We'll FTP the rack soon {'grin,l.,l
(C3 —- You will probably need to load the
files into a copy of the same program that
was used to create them. ln other words, if
the files were created using Opcode's
Galaxy program. you'll need to use Galaxy
TH,
I'm trying to deal with pc files {wave files
specifically). Can I take .wav files and turn
them into something workable on the
EPS-16+ with certain programs? I've got
your Issue #112, but I'm a bit confused as
to what they really do. Can I take BPS
samples and work with them on a pc'l'l
Patrick Halsell
Ilia Internet
takes too much time away from the creative
process. Also, with all the memory in my
ASR, I've got plenty of room. Now, I'm not
asking for S extra tracks on the sequencer. I
just want something like a shift button or
key sequence that lets me load S extra
sounds into the ASR. There are 16 MIDI
channels, why not rs sounds? I can think of
no hardware limitations to this and I've got
the RAM for it. With the wonders of Hard
Disk recording, SIPDIF data backup and
sound format translation, this would be a
piece of cake. And, for that matter, it's a
the source code and a non-disclosure agreement and I'll do it for you, free of charge.
Anyway, those are my two cents.
PS. I'll take a rack mount TS as a substitute,
albeit an expensive one.
to load them and send them to your SQ-30.
On the other hand, if' the programs were
saved in the Standard MIDI File format, you
can probably use any of several sequencing
programs to load and send the files. Also,
there are a couple of programs, ".E|‘uli'c Sysex
Utility" and "lldidiE.r Mac." which are
shareware (I believe). and as such are rather
freely distributed. it's altogether possible
that the sounds you've retrieved have been
these programs.
in issue H2, it looks to me like you could
use "Soundl"ert L02" to convert .wav files
The key is to determine what format the files
into something usable by your BPS. and
then use "Ensoniq Dish Manager" to put
those files on Ensoniq-readable diskettes.
Also, it may be possible to use "Samplelt'ision" to read the .wavfiles and send them
directly to your EFS via MIDI or SCSI {if
are saved in. You could use a program such
and when SCSI becomes available for that
progrum)._l
as ii-fcSinlc, or ResEdit to checlc file type and
creator info for the files. and that may tell
you something. But your best bet, probably,
is to get back online and checl: for documentation associated with the files you've
downloaded; it should probably tell you
what format the files are._l
{Ensoniq - You can also use Sound Forge,
which will be supporting the ASRiEPS any
{TH - An article on just this sort of thing is
coming up soon.I
day now.)
To: [email protected];ransoniq.com
Subject: ASR-10 sample player
Dear Hacker,
feature everyone could use. My friend's TS
can load 20 ASR. sounds [memory permitting}! If you don't have the time, send me
Via Internet
saved in a format compatible with one of
,-‘CS - in looking through the sofiware listed
The Feature: I would really like to be able
to load 16 instruments into memory instead
of only S. I know all about cutting and pasting instruments together and such, but that
Michael Nichols
I have downloaded patch files destined for
the ESQ-1, and would like to load them into
my SQ-S0. They are Mac files [that is to
say, they came from a Mac Bulletin board
to my Mac} but it's dawned on me that I
have no idea how to get them from my Mac
to the SQ-S0.
John Lokanis
Do drese files have to be converted? If so,
can you suggest a converter‘! Should I be
Elia Internet
using an Editor,lLibrarian?
{Ensoniq - We actually had d lot of discussion about this during the design of the
ASH, but with no clear way to show Bani:
selection. not having a direct tie to more sequencer tracks, and not having more than
S-part multi-timbrality it didn't make sense
to us. Not that we don't agree that more
If it helps, I'm using a lvluc SE30 running
Do you guys know of a sample player which
can load and play ASR-format sounds? I
believe the ASR to be an excellent sampler
in many ways but I would like to have a
larger multitimbral capacity than just eight
voices. ls there a product on the market,
preferably a rack mounted version, that is
cheaper than buying a second unit, that can
load ASR-sounds and their effects and be
triggered by my computer via l'v1l]DI'l
ls there a way to send sounds as attachments
Performer 4.2, using a MOTU Time Piece.
I'm hoping that someone can give me idiotproof directions, or at least steer me in the
right direction.
via e-mail (or other programs) to other
users‘? If so, how do I load the sounds,
received on my Macintosh down to the
ASR? Or for that matter to my Macintosh
from the ASH?
What is the cost in the US for a SCSI-
23
interface to the ASH?
A third option is a program caiied t"nflnity,
from Jupiter Systems. This program is
designed primarily as a iooping tool‘, so you
won't find a iot of the other sampie-editing
features that you wiii in Alchemy. It's iess
expensive than Alchemy, though, and whiie
it doesn't provide support for sample transfers from within the program, it does in-
Thanks!
Joakim lvloller,
‘Via Internet
Stockholm, Sweden
{CS - The only satnpie-piayer I know of
that's compatibie with ASH-til sounds is the
TS-ill and T5‘-I2 synthesizers. You can ioad
up to 20 AER sotmds at once, and ail‘ the effects and other program parameters are interpreted correctly.
I'd like to know how you can use MIDI
Controller Numbers lilil, llll, ti and 33 to
change parameters. So far I've found out
two things:
1. When you send the ASH-Ill controller
number IUD with value fl and then eontroller number ltll with value El, you can
use controller number 5 to change the
Global Bend Range from U to 12?! Since
ciade a coat iittie tttiiity caiied ASR_-5'CS'l'
which can be used to move samples between
the Mac and ASH-119,?
the AER-1U has only two digits for global
bend range the display only shows 2'? when
[TH - As far as e-maiiing the sampies {or
patches, for that matter}, firom what we’ve
found, a iot of e-maii systems can NOT
handie non-test files. in order to attach
something that's non-text it has to first be
converted to a "te:tt eoaivaient" fiie. At the
other end it’ii be converted back. The most
common method used by Unix-based systems on the Internet is aaencode and tradecode. You shoaid try doing a "man
aaencode" at the Unix prompt for more
info. Sometimes a better way to handie this
Sounds can be sent via modem, bat you
need to realise that sound flies can be EItremety iarge compared with other types of
data," even if you're using one of the new
aitra-fast modems, it can take an hoar or
more to send a singie large soandfiie.
Sounds can be transferred to and from your
Mac asing commerciaiiy avaiiabte sampleediting software, sach as Sound Designer
{from Digidesign} or Alchemy [from Passport Systems}. Of these two, Alchemy is
probably the better choice for a sample
editing program; the .Digidesign stafi is optimised more for the hard-dish recording
environment.
you send controller #6 with a value of 121'.
This is cool because when you now push
the pitch bend full up the sampler goes over
the sampie rate and doesn't make any sound
anymore. So you get a really strange effect.
2. When you send the ASR-lfi controller
number IUD with value I and then controller number lfll with value ll], you can
hind of thing is to temporariiy move the fiies
use controller number 6 to change the
Master Tune Value from -99 to +93 without
any delays. This could be handy if you want
to tune the ASR-ll] immediately through
into an jlp site that both parties have access
lv[I.DI to your favorite Analog Synth.
to.,1'
So for which other parameters can you use
these Data Entry Controllers?
*
Helio Hacker,
mp
—|-|,,
inecmlq vl - no ensue:
L
|
edit
seqysng ., rot
1:
IIIIE
c%ri'd§:
moo;-‘secs
v
_-.__
—
..__.-_...-
ASP.-10 . . . 8Hours
I
fit-1
,,,,,
TS-10
. . . 1' Hours
..
TS-12
KS-32
SD-1
... ':'Hours
...
. . . 6 U2 Hours . . .
. . 6 Hours
.
.
$119.95
$119.95
$119.95
$119.95
$39-95
Ho-111 Hats!
Jay Jay '
LI-
‘P
Why cram the books? I-lave fan —— watch TV!
Value — even the KS-32 set is over sis hours of instruction! If you follow the instructions it should take at least ten hours
to complete each course. Most of our customers are saying that it takes 25 - 30 hours to complete the ASR-10 set -- that's
less than $12fhour for detailed instructions on YOUR keyboard. (Remember you can rewind and watch it again — try that
with lessons!) ASR-10 - 3 hours, TS-12 — 7 hours, TS-10 — T hours, SD-1 -- 6 H2 hours. Get the most out of your keyboard by really getting to know it like a friend. Each tape set will take you from novice to espert. You'll he answering
questions you couldn't even ask before! All of the videos use multiple camera shoots. You see a concept and the goal.
‘With the goal defined, you'll be walked through to the sointion step by step, button by batten! With the use of analogies,
charts and CLOSE UP shots... you will master your keyboard. {We even cover common mistakes and the workarounds!)
*
Call our toll-free number, 1-800-687-1607., and ask for Marilyn
Covert Videos, 519 Etlstl 30, Suite 144 Rockwall TX TFSUST
24
~
I
%
also, could Ensoniq send me the latest External Command .5'pecr]‘ication for I am
writing an Sample Parameter Editor in Max.
Here is my address:
Mike de Laat
Regentesselaan 379
evident regardless of the amplification sys-
haps because they have enough harmonic
tem used and in different buildings [ac
power source). It is present regardless of the
volume slider setting. Cln some amplifiers I
can minimize the noise by running the
content to mask it'll. I'm surprised that the
knee-jerk Ensoniq bashers at Keyboard
volume full open and using the cv pedal to
alleged shortcomings pointed out in Jim
.hikin's 9l93 trashing of the TS-lil.
control the output loudness. Even so, the
2552 ED DEN HAAG
noise is still so evident that the instrument
is useless in any serious live or recording
The Netherlands
application.
Dr they can also send it by e-mail:
[email protected] {Ctther ASR-lil Users can
also mail me if they want to.)
Ciao for now.
{CS - MIDI control change messages can
be used to access what are known as
Registered
Parameter Numbers.
or
"RPNs." These are a standardized set of
MIDI parameters that can be changed in
real time using control change messages.
So far, only three Rl’l"Iis have been approved
by the MIDI standards committees: Pitch
Bend Sensitivity, Fine Tuning, and Coarse
Tuning- As you've discovered, you can access these parameters by sending control
change dltll fcarrying the RPN MSBJ and
#.ltlG' 1’carrying the RPN LS3).
Normally, you'd send cc #lih‘J and ltlfll to
select the parameter you wish to control,
then send the data value you wish using
either the Data Entry fcc #6 [M53] and cc
#3-5' ILSBIJ or Data lncrementtlliecrement
fcc #96 and cc #97, respectively) messages.
if Data Entry is used to change the RPN
and a range of l 23 values is sujj‘icient, the
LSB fcc #38) needn't be sent. The three
RP'l"Ils can be selected using the following
values:
tlllh lldh Fitchbend Sensitivity
ililh ill h Fine Tuning
ll-S-‘h tl2h Coarse Tuning
I took the SQ-2 to an authorized Ensoniq
repair station and they kept it over a month
trying to fix the problem. After consulting
with the factory folks they acquired and installed a new main board. When I inquired
as to what might be included on that board I
[Ensoniq - We'll get the document out to
you right awaylj‘
gious sonic imperfection than any of the
I first ran into this problem when trying to
play some computer software-synthesis
generated ultra-low bass tones. (I was trying
to update the old "lil's funk technique of
taping down a key on a lvlinimoog and
gating it with the kick drum.) My intent was
to create a TR-EDS style deep bass tone in
the 20 — 5|] Hz range and play it in unison
with accented bass notes {or kicks). Any-
was told "almost everything." The result no improvement! I've still got the same
humming, buzzing unusable SQ-2.
and applying a decaying "envelope to it, I
was horrified to hear a nasty "bffzzzzzzfftt"
I am writing in hopes that TH or some
superimposed on my gloriously perfect sine
wave. I know zipper noise when I hear it,
reader has an insight, information, or suggestion that might lead to a solution to this
predicament. Please publish the following
mailing address in case someone wants to
communicate directly to me.
Sincerely,
Deaton Jones
PU Box 1303
Cedar Bluff, VA 24699
{C3 - The noise you describe is most certainly not normal; l'd suggest you contact
Ensoniq Customer Service {did-dd?-3939}
directly. They should be able to help you get
back on the road to sonic bliss.I
{Ensoniq - We have contacted Mr. Jones by
telephone, and our customer service department is worhing to resolve his problem. The
Volume slider and the CV pedal do exactly
the same thing, so it seems odd to us that
your "solution" worlrs. This could be a
ground loop problem._l
Gnce you've finished sending your messagefsj via .li'Pl"r"s, a "Null" message must
be sent to loch in the changes, and "zero
out" the .li'Fl*ls so that you don't inadvertently reset your pitch bend range or tuning
by bumping your data entry slider.jl
never noticed this - it's a far more egre-
TH:
I think I have an explanation for the "light
crackling" reported by Paul Bissell when
using an EPS-16+ for low bass sounds
(April TI-I, page 23). He seems to be hearing the notorious ‘16+ amplitude mod zipper noise, which most of the 'lt'i+ owners
way, after porting the waveform to the '16+
and considering the fact that this was only a
couple of days after purchasing my '1t'i+, I
wasn't happy! Eventually, I got over it and
resigned myself to using the insuument for
the many things it could do well, but playing bass sounds is generally NOT one of
them.
There is a workaround - simply don't use a
decaying amplitude envelope! For example,
set Hh.RD‘»lEL=99 99 99 99 99 and
SCFTVEL=35 35 35 35 35. You'll still hear
a little "fat" on the release of every note,
but this eliminates noise during notes. The
filters can be used to make a note decay to
inaudibility, providing that the corresponding timbral change isn't inappropriate for
the sample in question. An altemative is to
use a computer-based sample editor to envelope the actual sample data.
The good news is that Ensoniq eradicated
this problem in the ASH-ltl, apparently by
switching from a software-generated to a
hardware-generated envelope design. (I
hope Ensoniq will forgive me for exhuming
and flogging this dead horse, but it's been a
pet peeve of mine for four years.) In case
anyone doubts my rantings, I have a demo
sound that proves my point. It consists of a
(software-synthesized} full-code looped
sine wave, to which I applied a simple fade
inffade out amplitude envelope on one
patch select and LFO amp mod (tremolo) on
I've known regard as a serious sonic problem inherent in the design of that machine.
This zipper noise is audible whenever you
another patch select. This file, which
sounds quite pristine on an AER-lil, sounds
is unusable for anything other than a controller keyboard. I am experiencing an aud-
apply envelope 3 [or another amplitude
modulator} to a low-pitched sample that
doesn't have a lot of harmonic content (e.g.
an acoustic bass sample). It's not a problem
End of flame,
lvlichael [lolan
ible "humming-buzz." This problem is
with bright or higher-pitched samples (per-
Greetings:
I have an SQ-2 thatl like very much and
would like to keep. However, at this time it
25
horrible on a '15-t-.
Chicago, Ill.
1'TH -- Ah, years from now they'll be trying
to reproduce that famous, unique "'ld+
zipper sound. " I
{Ensoniq - Everything that you say is correct (surprised, huh FJ. We didn't necessarily read into Paul Bissell's letter "zipper
noise," — but it's possible. We don’! view
your response as a flame - we're glad you
had some constructive advice to help
everyone out._l
Dear Hacker:
I have a TS-12 with the 3.0 0.5. {General
MIDI) installed. My question concerns the
intemal sequencer. Is there a way to record
James Rosand
Port Angeles, WA. 93362
Via Internet
can do then is to reset the digital input by
deselecting it on the REC SRC= Page.
Sometimes it seems that the ASR-ll] starts
looping a few milliseconds of the CD when
{CS - As far as l know, there's no easy way
to accomplish what you want. While it may
be possible to set the TS up in ldulti-record
mode, and use some external controller to
send data to the TS on two or more MIDI
channels at once, I think doing things this
way would prove more trouble than it's
worth; you're just as well ojjf doing what
you're doing now - copying tracks, deleting
note ranges, etc._l
the CD is in Pause Mode. Then when you
go to a different section on the CD by using
fast forward or backward the ASR still
plays back, about 5 times a second, the
beginning of the CD. It ‘seems to me that the
Digital Input has a kind of buffer which is
not updated when the CD-player is itr Pause
and loops all the time when sometimes
going into loud blirbs and bleeps.
It might also be that my CD-player is not
Yo Hacko,
compatible (or too old) with the ASH, because some time ago I had _ the Philips
CD-EDS and that one worked fine. Maybe
my keyboard set up with a bassfpiano split,
Last Tuesday I got CLS. 3.05 for the
ASR-Ill. Some bugs still there:
the CD 3'l‘3 is not adjusted the right way.
bass on track 2 and piano on track 3. I've
found a workaround by copying and delet-
1. In Hacker #112 in the Interface Joseph
two or more uacks simultaneously? I have
ing MIDI note ranges between the two
tracks. I'm just curious if there is a simultaneous mode that I'm overlooking. Perhaps
you could refer to a certain page in the
owners manual that covers this concept.
Thank you,
'v'anUrden talks about blirbs and biceps
when sampling digital. I had the same experience. I sample digital from a Philips CD
3'l3 {an old onei). When I use fast forward
or fast backward or leave the CD-player on
pause for a while the sound changes to digi-
tai blirbs and bleeps. The only thing you
L
_
Transoniqs-Net
2. Sometimes when I sample Digital the
sample has a different pitch and when I then
look at the wavesample information the
sample is recorded at 48 kHz. So maybe my
CD-Player is playing too fast‘?
3. I've got the keyboard ASR with 1i] MB
RAM and when I take a sample bigger than
655399 {Sample End Parameter) the value
is displayed wrong. When I move the
Sample End Point between 655399 and
655410 the ASH goes from 65540 to 65549.
This happens every 100 samples higher
Sample End Value, e.g. 655500 to 655599
becomes 65550 to 65559 on the display.
HELP WITH QUE TIONS
All of the individuals listed below are volunteers! Please take that into consideration when calling. If
you get a recording and leave a message, let ‘em lorow if it's okay to call back collect {this will greatly
increase your chances of getting a retum call).
Also the Loop Points, etc, show the wrong
value when in that range.
All Ensoniq Gear — Ensoniq Customer Service. 9:3[i am to noon, l:l5"pin to -5:39 pm EST Monday to
Friday. Elil-54'?-393D. Ensoniq's Fax Du Demand line, {I-Silil-25?-I439} can also he used to retrieve
specs, CIS info, hard-drive info, and the like.
4. Why is the -LFO Amount and the Envl
Amount moving from +il.'l to 1.[l'l I would
think it goes to +0.3 and +0.9 to l. And so
All Ensoniq Gear - Electric Factory {Ensoniq's Australia distributor). Business hours - ‘ilictorla. (D3)
430-5933.
-
TS Questions — Pat Essiingcr, Internet: [email protected], Comps: serve: 'l-'-12-'-ill,l5fi1-'., or AOL: ESSLIP.
TS, VFX, and SD-1 Questions - Stuart Hocking, [email protected]
SH-1 Questions - Philip Magnotta, 4-Ell -46?-435?, it pm - 12:30 EST.
VFX Sound Programming Questions - Dara Iones, Cornpuserve: s1oss,r11s or Internet; [email protected] or call 214-361-SE29.
e SD-1, IJPl-1, ASH-Iii Questions -- John Cox, EH9-SSS-5519, {NI} 5pm - S pm EST weekdays. Any time
I
on every 1 higherflower value.
5. The last one is the least important one. In
lvlA]{ {from Dpcode}: when I send the SysEx Inquiry Message (a Common SysEx
Message) the ASR does not respond. And
when I try this more than once the ASR-lil
crashes: ERRDR - REBDDT. The message:
weekends.
SQ-Si} Questions - Robert Romano, tiil'l-533-'lS'lS. Any ol' time.
SFU STE cchannelrr $06 Sill SF’? (in Hex]
Hard Drives Br Drive Systems, Studios, Sr Computers - Rob Feincr, Cinetuucs. 914-963 -5313.
liarn-3pm EST. Compuscrvc: '.Tltl2»t,1255.
The ASI-l should send a message like this:
EPS, RPS-1l‘i PLUS, 3: ASH-I'll Questions - Garth Hjelte. Rubber Chicken Software. Call anytime. If
- message, 114-holtr callback. (395) 'l92—923l. Compuserve: 'l22ll3,23i}3.
ESQ-I AND SQ-SEI Questions -Tom McCuffrey. ESQUPA. 2l5-S3il- U141, before ll pm Eastern Time.
EPSll'dJ.RAGElESQlSQ-so l'Id.U.G. as-Hour Hotllne - 212-4&5-3-13o. Leave name, number, address.
SFD $'lE cchaunelrr SUE S02 $ilF (=Ensoniq ID}
$93 SUD [=Sampler Family ID: LSEIMSH]
SE3 $illl [ASR-sampler: LSEJTFISH)
14-in" Callback.
iixx {Software Revision info) $iltl (not used?!)
lt"l]IlI Users - Eric Earagar, Canadian MIDI Users Group, (I513) 392- 6296 during businms hours, Eastern
Time (Toronto, ONT) or call M"lDIl..ll‘~iE HHS at {SE3} 966-E323 .34 hours.
$92 S34 [Cl.S.version Number, integer:
SQ-1, KS-32, SD-1, SCSI Sr hard drive Questions - Pat Finnigan, 317-452-S445. Still} am to lflriltl pm
EST.
$93 SSS (D.S. version Number SJJS, decimals)
SF? {BOX}
-
r.-rsettsu)
ESQ-1, MIDI St Computers - Ioe Slater, (4-S4) 9115-T929. EST.
That's it for now, cheers,
ES
lvlike de Last
Via Internet
[Ensoniq - l and 2,} We have seen some CD
and DAT players that do not transmit information for the ASE to loci: onto when in
pause or stop modes. Most of these types of
products have been re-designed to correct
this problem, since many digital receivers
had trouble worlting with them. The fact
that the CD-608 worhs fine suggests that
this may be the case with the older CD-3?'3.
{CS — lj As l see it, there are two solutions
to the problem you describe; either space
the program change messages for enough
apart to give the AER time to load, or use
banks {which can be loaded via program
L20 is a very early version of the software.
The 2.:-tat upgrade is no longer available. We
do highly recommend that you upgrade to
the current version, which is 3.05. in addition to numerous general improvements and
changes, too) to load the sounds you need
some minor fires, you will be enjoying the
for a particular sequence.
benefits of several new features 1’ in addition
2} Any technical data available for any Ensoniq product can be obtained by writing to
Ensoniq’s Milli Specification flesh, Ensoniq, l'nc., l 55 Great Valley Parkway,
lldalvern, PA. l9355.j'
function, Wake-Up Mode setting, new sampled sound options and parameters, readonly SC-‘Si capability, a tempo tracl: for the
sequencer, Save Changes parameter function, the ability to identijy the source loca-
to General MIDI}, such as: Sound Selector
tionsfor sequencer sounds, plus others.j' -
3] We'll have to loolt into this, this is not a
currently reported "bug" {'until now), and
is not fixed in the latest £13., 3.53.
4} The values for those parameters have
resolution to l ldth of a semitone, not l ll 0th
as you assumed.,1
{Ensoniq - 3] There is no solution short of
setting the ASH to external Mlfll cloclt and
sending it cloclts. We don't thinlc that's
what you want.j'
Over the ‘Net, we've been having some
problems finding a place to ull and d,l1 our
samples. It used to be oak.oakland.edu but
Dear Hacker,
Dear Hacker,
Sometimes my TS-10 behaves in a peculiar
way... In unpredictable situations, mostly
I am using l'vfOTU's Performer 5.0.2 with
when I use the sequencer, I get system errors andl have to press "any button" to continue. It gets really serious when I try to
load a demo sequencer-file {TS-DEMU-Y2
my AER-10. I would like to compile all of
the sounds which are resident on my ASH
hard drive into a patch library and then use
the patch librarian on my computer to cause
the AER-10 to load sounds. According to
the AER-10 manual, MIDI program change
messages can be used to navigate through
the directory of a drive attached to an
ASP.-10. Luckily, Performer allows one to
manually enter MIDI data which is trans-
mitted each time a patch bank is selected.
However, it will require a minimum of two
program change messages to get the ASR to
load a sound; the frst program change to
invoke a macro which locates the proper
directory on the AF-R drive, and the second
program change to actually select the
Dear Ensoniq....
by Ensoniq) I got from a friend {who has a
newer TS-10). The display shows: "System
error 192, reinitialize, Press any button to
continue." Pressing buttons doesn't help
and after switching the TS off and on it
seems dead, no display, no sound. Trying
this repeatedly changes nothing. After waiting for about twenty minutes, I can switch it
on again and every parameter is reset.
Are there any bugs you know of that are related to this error? {I have ROM V1.20 KPC
ll2.41.) Is upgrading to 2.0 still possible, as
I don't need general MIDI?
sound.
that got zapped and we're kinda floating
now. ‘lery often, in the Ensoniq mailing
list. I see people requesting directions for
the site to get these samples but nobody
really knows where they are.
My point is - would Ensoniq consider set-
ting up a site Ijyikesl} for these samples?
Since most of the copyrighted samples for
Ensoniq machines come from them anyway,
they could even monitor {double yikesl?)
what comes in.
Business-wise, they could even do their
compilation CDROIvls
very quickly
{yikes'l'l).
We need a good home for the samples. :-(
Khew,
-The Qfactor
llia Internet
Friendly regards (from the Netherlands),
Here's the problem. The first program
Frank Hoedemalters
change is received by the ASH, but the
second program change is ignored or
garbled because the ASR is busy working
on the macro from the first program change.
Ilia CompuServe
1) ‘What is the recommended procedure for
using the AER.-10 with an external drive in
conjunction with a patch librarian?
2] Is there any technical data available for
the ASR-10 which lists all valid MIDI messages?
3) Is there any way to access the metronome
click through l'vlIDI'l
Thanks in advance.
Keith Hate"
Via CompuServe
{CS - The problems you describe aren't
normal, and certainly aren't bugs. l'd
recommend getting your TS in for service as
soon as possi.ble.,l
{Ensoniq - Error l5i2 is indeed related to
the sequencer. TS units with RUM versions
older than 2.02 would generate an Error
{Ensoniq - Well, we intend to open a Web
site in the near future. We are still discussing what type of sound support we will offer
there, in addition to the product information, customer service, and other activities
we currently offer via phone, fax, and on
CompuServe. Yihes - you never know, we
just might do it.-'1
_i|
Dear TH,
I92 if invalid sequencer data is detected
after loading from dish or SysE.r.
The TS-DEMU-V2 was designed to be used
by units with version 2..rx or higher. Trying
to run it on an earlier version ROM will not
worlt properly and will cause errors 1’hence
the V2 in the namelj.
2?
In response to the Transoniq Hacker Issue
#114, Ioe Travo wrote about setting up the
‘UFX with internal RAM and EEPRUM for
120 MIDI GM standard sounds. Is there
anyone out there who has completed this
programming? I would also like to know
where to get the EEPRDM catt{s). Joe,
maybe if you are out there, could you please
contact me about this?
Please contact me at:
0'?-'[email protected]‘~Is.kl2.mn.us
Tel (612) 240-0425
Fax {I512} 240-0425
to share our dislcs, since an ASE-format dish
crashes a Mac when inserted (sorry
Applelj.jF
Interface,
Transoniq Hacker,
subscriber and loyal Ensoniq customer
since 1086. At that time I purchased an
Let me begin by saying that I have been a
ESQ-1 after hearing and falling in love with
{TH — We've passed this along to Ibe.)
Thank you for your newsletter! I bought an
it at my local music store. I subsequently
Dear Sir:
Ensoniq TS-12 in January of this year. I am
new to synthesizers, sequencing and
MIDI... and slowly working my way
through the 300+ pages of the Musician's
Manual.
purchased a Mirage, an SQ-1 rack (swapped
it for an SQ-1+), and finally a TS-10. The
only trouble I ever experienced with any of
the instruments {that wasn't due to some
error in operation of my own) was that the
I have an ASR-10. The l|d'usician's Manual
said that the diskettes can be formatted in
two ways: Ensoniq and computer. It also
said that when I choose the computer option
they can be read by Macintosh or IBM if
these machines have the appropriate software.
I have the following questions: What soft-
My specific interest at this time is with
drum sequences. I would like to build or
buy a library of rhythm sequences, i.e.
Latin, ballad, waltz, etc. I suspect that ordering certain of you past issues will help
me generate these sequences. However,
would you please respond to me through the
ware? Where can I buy it‘?
newsletter about any additional sources of
information or stores where I could buy
Sincerely,
Teodoro Pedro Cromberg
Buenos Aires, Argentina
rhythm sequences?
You might summarise a bibliography of
past articles relating to this subject. I have
{Ensoniq - There is currently no software
available that we know of to use this feature. It was designed in to allow computers
found the Ensoniq manual to be a typical
technical manual — long on minutia and
short on practical examples.
ME
til
EASY’ l.GGi55 — FIST Lillllfllfi
lil0'i-"a Shlififhfilifii-I
3!]-llhli Fri0i‘lE't"
Bl-lilli Gil.+l.!illli'iEE
'
'11.
.;-u1,_'__§'-
it!‘-‘‘-ta*'
ICS - Ensoniq has a product which consists
of rhythm grooves sequenced and stored on
dish. I forget what it's called, but I‘m sure
you could traclc it down by giving them a
call at dlfl-64?-3930).]
[Ensoniq — The dish Clark refers to is
TSD-I002, The Rhythm Construction It'll. It
is available for $l§l.95, and contains over
500 drum patterns and fills, in Ensoniq and
GM mapping._l
T‘‘+-4 in2
'er:'!;t"--.-' t-—'-,"T"co.'
iii-I
‘leer-ea ad
in - -- -| It
ll
'.;-\.
._.
-tr‘it-'5-"'-I-I F:I. .---., 'i"' It--,1---1-.
(east;
_
_
Filfi SATALDGS, BALL:
3101699-0095
thy; 3-|gy5gg_pggg
to ta-..
an _.“e--
when recording a sequence make sure that
each track is set only to receive if the TS-10
MIDI Dot and In are both connected to your
computer MIDI interface. When using
Multi-track record, any defined track will
record data, whether it is being "sent" anything or not.
And now, a request - an article on effects
and routing for sequences. I labor over this
quence. Dne or the other of the sounds
always suffer.
And a request to Sam Mims - a generic bass
SCSI‘? If yes, can it record and play Disk-
patch for the TS-10 that doesn't sound
Tracks‘?
"pia.noish," doesn't have an attack that cuts
like a chainsaw, has enough bottom end to
cut through a dense mix, and doesn't
depend on its associated effect to sound
“goodJ'
Please Er. thanks!
. ~_
a no-no. The Cakewalk manual states the
preferred mode to use is local-off. At least
fects scheme to sound right witllin a seHi!
I have one question: Can Sony MD Data
|%|%
troller 32}, then patch numbers 0-59, or
60-119 - regardless of what the manual
constantly. I can never seem to get an ef-
(MDH-10} work with the ASH-10 via
nil:
t.
patch numbers. Leave this blank. It seems
to override patch select data entered as a
lv[[DI event. Enter bank selects first {con-
we should all know by now, MIDI loops are
.'_-q-"---1::.'
=l'l..|_-_
Tfi
Anyway, in response to MI. Esslinger's
problem with MIDI bank and program
selects with Cakewalk and the TS-10 - I
may have stumbled across a solution. I use
an XT clone with Cakewalk, DDS ‘Version
4.0e. A primitive set-up, I know, but I'll bet
there are similarities. Cm the main screen of
Cakewalk there is a provision for setting
says about patch numbering. I have also
found this to be true with my SQ-1. Also, as
David Clinch,
Sunnyvale, Calif.
it-1') tam
Mirage tended to drift out of tune. This was
cheerfully repaired at the local authorized
repair center.
Darek Krzywanski
Sxcaecin, Poland
{Ensoniq - We have never heard of a SCSI
Mini Dish, and we only worlt with SCSI
devices. The Mini Dish is a new audio-only
recordable type of disl: that Sony is pushing
to the consumer marltet. It is not really pro
level, as it is a "lossy" type of recording._l
23
Benny Richardson
Edmond, Okla.
ICS - Thanks for the Calcewalh input; and
we'll see what we can't do to accommodate
you with the articles and patches you're
lookingfor.j
controller data? In other words, can I use
1.000.000 drs, which is the REP. Hut to my
song tracks for controller data? This would
horror after a couple of weeks that dreaded
keep note info and controller info separate.
message, "Calibration Error — Recalibrate —
TH-
Is this wise?
This letter is in response to your article
"Drummin' on Workstations" by T. W.
Everson.
Ignore" began to appear every time I turned
the TS-10 on. {It still does.) After about
five minutes of "warming up" I can actually
for excellent writing and gear!
The article showed how one can use their
gear as a drum machine - covering general
concepts and situations. I hope to see more
elaborations on these concepts in future
issues. The following are some of the
problems, situations and ideas I am presentIy working through. Some of these involve
using a computer-based sequencer along
with the ASR-I0 sequencer.
My hat's off in respect to TH and Ensoniq
Peace,
John Dougherty
Newport, KY
get into the TS-10 and begin working.
D1-tay, I can live with that. But there are
other shortcomings, enough to turn the
meekest of persons into a wild, neurotic
creantre.
{CS — I don't think these are questions so
much as wish-list items, but I do have a
couple of comments anyway.
1} Cln a sequence uack I record something
and then decide to erase it. The data is
erased but-the name of the instrument assigned to that track is totally unwilling to
Re #5." A Song takes up very little memory
in the great scheme of things - probably
just a few blocks for the typical song. So I
depart, no matter what I do. That can be
rather confusing when you can't tell at a
wouldn't sweat the memory thing when it
glance which tracks contain data since all of
them have names and none are "Un-
comes to songs.
defined."
without reloadinglcopying the instrument to
6} Song tracks can be used for controller
2] I record my sequences, put them to-
another track. Example: fading in a closed
hi hat in a rotational fashion without having
to route the wavesample through a rotor effeet.
data, and some will find it preferable to
gether, create a song and play a guitar solo
on a song track. I then decide that the song
is one chorus too long and delete that sequence, which means I have to move the
1) Using either sequencer to recordlcreate
volume changes and panning changes of
each individual wavesample of a drum kit
2) Using the mod wheel as a realtime controller to recordlcreate the changing values
keep controller data separate from other information by recording it into Song tracks. I
personally prefer to keep controller data
with the tracks it's meant to control; just
helps to keep me from getting any more
confused than I already am...,l
for a certain aspect of a wavesample. Ex-
ample: record the changing values of the
mod wheel to create changes of volume,
then add changes of panning, Fe cutoff,
LFU, etc...
3) Sending a message from a sequencer to
change the output path of a wavesample to a
different "bus" giving it varying degrees of
wet mixes or to send it out dry.
4} Sending a message from a sequencer to
change a currently selected variation of a
RUM effect to a different variation of that
same effect,
Dear TH,
I'm a new subscriber and in need of your
advice. I seem to be unable to get it from
anyone else. After owning a VFX-sd for
two years I promised myself I wound never
invest in an Ensoniq product again. But
when the TS-10 came out, there I was and
here it is in my little home studio. First I
must tell you that when I had the IIFX-sd I
had to take it back to the authorized dealer
ll times to get it to work tight. In fact, the
last time I took it back the warranty had run
out and I actually had to pay for an instru-
solo on the song track. The TS-10 does that,
but controllers such as mod wheel, pitch
bend, etc. go haywire. It sounds as if key
events are moved to the right place but not
the controllers. I try to filter them out but to
no avail. I try the event editor, which is extremely time consuming when you have
about 100 controller events to remove, and
even then it does not always remove them.
And here I am; having spent 3 - 4 hours to
get that guitar solo right, trying to copy it to
an earlier location - unsuccessfully - and,
trying to remain calm, I just erase the whole
thing and start from scratch. The exact
original is not always easy to achieve. It
seems to me that there is something wrong
with the software when it comes to controllers. The rep here tried to tell me this is
"normal," but after having spent three years
exploring the Ensoniq technology, I feel
5} Sending a message from the computer-
ment that never worked right from the
based sequencer to the slaved workstation
sequencer to play different individual sequences at different time periods without
taking up memory space by using song
beginning! I did send lengthy faxes to Ensoniq USA only to receive a diplomatic
answer that left rne exactly where I was!
this is just more trouble.
mode.
Anyhow, I thought that after all that, Ensoniq would have done enough research to
produce a TS-10 which would deserve the
getting rather aggressive at the time I spend
on each song because of the TS-10 problems, and I'm just worn out. Is Ensoniq
ti} Can recording in song mode be used for
Change of Add,-egg
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 thernl}
t
I'm just about to go professional with a
label contract imminent. My manager is
Missing or Damaged Issues?
Every month we mail out thousands of issa and every month
about a dozen get "misplaced" by the Post Dffice. If you're ever
one of the vv.mners of this lottery, just give us a call (503-22'?-0343,
3 am - S pm Pacific Time} and we'll he happy to mail a replacement copy —- no prob. (However, if you accuse us of nefarious
schemes to "rip you off," you will be offered a refund and given
helpful snbsca'ption info for other musician magazines.)
going to produce a new, improved chip or
should I have fish and chips and he an
English teacher? Can you offer any advice?
don't play. Strange, hum...‘l And it only
happens with ELS. 3 .!J. Girandolating!
I love you for being there!
3) Is it just possible that my ASR can't read
all the sounds stored on an Altai CD-RUM‘?
Two examples: I tried to load Choir #4
Best regards,
Yiasoumis Anastasiou
Athens, Greece
Thanks for your answers to my last ques-
from the Zero G Datafile CD-RUM, located
in Partition H, ‘Jolume Ill, ZGI Tratt S2-S3
[Ensoniq - You don't mention what il.S'.
you are using, but if it is not current this is
the first thing to do. We are contacting our
distributor in Greece about your situation.
We will let them know that you will be contacting them. To get in touch with them
directly — Greek Distributor: Philip Nakas
SA. lldusic House, l3 Navarinou Street,
illdd-5‘ Athens, Greece. Nikos Pitorakis,
Service Manager, Tel. (!ll,l36-ll-?'lil, Fax
(C-'l)364-252i.,l
as the eighth instrument out of nine. But in
this "ZGI tras 32-E3" directory, my AER
only displays Z61, Synt 1, 2, and 3. Synt 4
and Choir l-5 are not displayed, so they
can't be loaded. And when I load Synt 3, it
actually loads Choir 2. Petrifying indeed!
Another example: Alpha Dance, Partition
A, "lioiume 2 contains four organs. My AER.
all volumes containing plural instruments,
and not only with the CD-RUMs mentioned
above. My dog claims this is gristly! My
Dear MI. Hacker,
need surgery‘? Ur is it me‘?
For one and a half years now, I'm the proud
owner of an Ensoniq ASR-1liR. Features
like resampling through its outstanding fa,
comprehensive sequencing and versatile
Okay, enough preached, please be seated.
Time for a bit of input. Ready Clark? How
about an 0.5. with a “Transmit Sample
sound editing (to name a few} give the ASH.
a step ahead of other samplers. Thanks, Ensoniq, for creating this mighty machine you're the hestl Hut, I've encountered some
Dump" command? Are you considering
this? Is it possible to save the audio track
parameters as part of the global parameters,
or maybe even the bank‘? Also, when are
they set off?
problems and I hope they may be solved in
future versions. Here is a short summary:
Am I in the Interface now'l... l—li folks!
1) Have you tried out a stereo time com-
Thanks already, Mr. Hacksaw.. er.. Hacker!
pression yet? I sampled a 2-bar bass loop
from a sampling CD and shortened it with
the quality parameter set to U. The result
matched my desired duration time, so I did
I look forward to your reply.
tempo. "No problem," I thought, "I'll shut
off the stereo layer link and compress only
the left one." Boy, oh boy! Now they both
get compressed! To be clear: the right
wavesample two times and the left one
once. Lumbricalating! Very virescent with
headphones. Trying several times again, I
found out that the most acceptable quality
value is 49, compressing both samples
simultaneously. A higher value splits up the
left and right samples. Any idea what's
going on here’?
2} When I load the first Jeff Lorber Bank
(macro 3} from CUR-2 with 0.8. 3.!i installed,
some bass
notes disappear at
measures 44 - 49. That's where Jeff used
tions regarding an upgrade of the TS-Iii. I
have another question though. Now that I'm
considering getting an upgrade I'm starting
to get worried about the songs I've made.
Will an upgrade to ‘L3 {I have v.1) in any
ways screw up my old sequences which I
have on disk. Will the sounds or anything
change?
Kasper Lauest
University of Copenhagen,
Copenhagen, Denmark
Via Internet
-
only sees the first. This occurs with nearly
local dealer too! Are these problems familiar to other readers or does my equipment
it again with the quality set to 99... After
breakfast I listened to the tweaked wavesample but, man, what happened here‘? Only
the right wavesample was compressed; the
left one was still raving at its original
Subject: upgrade of TS-1!].
[CS - I’our sequences should play back fine
using version 3 software. Several of the
REM sounds have been changed, though.
As far as l know, the changes are designed
to enhance the character of the existing
RUM set, rather than alter its basic character in any way. The bottom line is, things
should work out fine with a minimum of
hasst'e.,l
Hello.
I've been trying to figure this out but to no
avail.
Has anyone worked out an equation for
using the ASR-1ll's Time Compress,!Es.pand function that makes it easy to calculate what percentage of compression is
needed to go from BPM "A" to BPM "H"?
See ya!
Willy Claes
Thank you,
NATU Secretary
Belgium
James Trammell
‘via Internet
{Ensoniq - lj Sounds like a bug to us. We'll
have to look into it. We recommend that
afler trying the setting at ll, don't __iust go to
99. Beyond about 45-50 you won't hear any
difierence, so don't waste the time. We
probably should just re-scale the value ranges to fit within a smaller window so you
aren't tempted.
{TH -- Clark and Ensoniq both declined to
respond - so we would guess the answer is
twfl-try
To: [email protected]
Subject: Mac stuff for SQ-1R dc ESQ-M
2} We'll look into it.
I'm an avid fan of both my ESQ-his and
SQ-1R+ modules and have a few questions
3) This is a bug that was fixed in U.S. 3.03.
for anyone who may he ahle to address
them:
Get 3.53 and you'll no longer be Petrified.
blow we'll start working on de-Girandolating you, followed by a quick deLutnbrication.
P.S. Hey Clark, call us when you've got
those new features codedlj!
the patch select buttons. All events are
registered in the sequencer, but they just
1. Is there an electronic copy of the ESQ-M
Manual I can retrieve via network? {Particularly, I'm looking for instructions on data
transfers and re-initializing the ESQ-M.)
2. I have a Mac SE with vo.!]Q and would be
interested in an editor for the ESQ-M. I al-
ready have a librarian (Q-Lib) and really
3!]
only need an editor.
Thanks in advance and any help is ap-
series as well. You might also want to look
preciated. Gotta Love that Ensoniq stuff!!!
into Mark of the Unicorn's program, Uni
3 Is there an edllib available for the
syn; which may support either or both of
SQ-1R+'l What about alternate patch librarres-are there any available electronically?
Craig
Ilia Internet
those products, and is a pretty versatile
package. l'm afraid l don't know of any
electronic versions of the ESQ manual .,l
Of course like most others, I'd hope to find
{CS - .l'm not sure, but l believe that Up-
avatlable sharewarelfreeware for my dino-
code's Galaxy provides librarian and editor
saur Mac.
functions for the ESQ-l, and may for the SQ
HACKER BOOTEEQ
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visa and Mastercard Agcflplfld
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B
MUSIC
51 (lhartier Oak Drive
Newton Square,
PA l90'l'3-3044
I Fax: B I {L3
1"’
PROFESSIONAL OUAUTY
I
Low-cost sequences for
Load and Hay
Sequences
ma}
- '
snot-races twrbeglflrttg nrunlrlin...
Farm En;,;.mq _ _
I
Tho EPSlEF’S-16+, St]-BU, ESQ-1,
‘v'F}!-sci, SD-1, Roland, lBMlDt1‘lS
1-
EPS I 1'6 +1 ASH 1~|T.lr"l2 and TS-ttl.r"t2
Rock ('50s, ‘Eds, '7I.'Js, '80s}
Big Band - Top 4!] Country
IBM -8- RTRRI . . . GM, G5 - SHF
Gall or Write — any time, 24 Hours
,,,,,,,-,,,,, ,,,,,, _.,,,,,,;,,,,,,, ,-,, _ _ _
Popular requests. blues. oourltry and classic roclt.
lrllrtto or coll for I catalog!
z stoo vaililiifigcilggfiw sense I
‘
5'“ """"" """ ml‘
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P“ izufil-25£~'73u9l~~ in
U-l‘.I|lIflI E-ffllll -II-'PPfl'l1 it'll:-I-1.1!:-jflliflffiflflllfil.-Bflfl
RI'nFF3
Music Magic
10541 EARL AVE.
BENNINGTON NE B8007
1-402-233-2375
'8'- Ht'-I"tiiiti1i'—1i
L
ASR + 16-PLUS
EFFECTS
The ‘lloder synthesizes vocals out of any sa:|npled sound. It can sound like a vocoder, but
there's never been an effect like this for any
other keyboard. The lowest 1+5 keys of the keyboard each trigger a different vowel or consonant. Your left hand actually forms words by
"spelling" them. {OIL it takes some practice to
sing a whole sentence.) Your right hand controls the notes and chords of your robot choir.
And how long have you been waiting to make a
big fat breathy choir sing "Louie, Louie?" Dr
maybe it was a car crash snare that you needed
to say "mom!" Need details‘? The ‘v'o-der is a
3-band parametric EQ effect for the Ensoniq
ASH-ll] and BPS-lb PLUS. This BQ can rapidly "morph" between many different settings.
These different settings impose vocal characteristics onto any sound that is ruu through the
HQ. It's much cooler than a Morpheus.
Audio-in is supported.
The "|l'oder disk is $49.95 and comes with
sounds: a choir, a solo voice, a robot voice, a
talking rbytbrn loop. [lrder by MCIVISA by
calling {bill} 251-9562 or send check or money
order to "dr'A‘1leB[l‘1' Industries, PD BDIII 233,
Paoli, PA l93Iil ‘LISA {Price includes shipping
but add $6 outside I.iSlCAblADA. PA residents
add 6% tart.)
SAMPLEBANK!
New 6!}-ll Mb+ CD-RUM containing well
over 3DllMb of Ensoniq samples, accessible
with any PC equipped with a CD-ROM player.
Also included: 125 megs of ."'h"A"'v"
files, lots of utilities to transfer file formats to
Ensoniq formal, lots of Mirage and TXIEW
samples too. l'l cents a meg — what a deal!
ENSONIO DISKETTE MANAGER
Use Ensoniq Disks on your IBM-PC
RoadlWritotFormattCopy and more.
Supports all Ensoniq Disk Formats.
ENSONIQ MIDI MANAGER
Sand or Receive Datathrough MIDI
to your PG for these keyboards:
Only $99.95!
Visa, Mastercard, COD accepted!
KS-32 VFX SQ-1 SQ-2 ESQ-1
Rubber Chicken Software Co.
PAD. Boa lill}, Willmar, MN 56291
1-Sill]-S -P RU-EP5 —- bl “.1-235-9'l9B
INTERI'~iET: [email protected]
Gonvon Standard MID! Files tottrom
They’re Here!
TS-1l}l12 ‘ilolume 1
Elappin' Bass, Stinging Brass,
Luscious Strings
so Sounds, so Presets, 3 Demos. Disks: $40.
SQ-i Best of ‘liolutne 1, $25
We've cracked the combination on the IFFK
vault and converted ‘Bill of the best ‘JFK so-utttls
SEQUENCE CONVERTERS
Sequences ‘ior those keyboards:
TS-101'12
SQ-1
SQ-BU
EPS-16
KS-32
KT-T6.-‘BB
SD-1
EPS
SO-2
VFX-ed
ASH-10
ESQ-1
SD-1 T0 TS-1 (H12 CONIIERTER
tor VFX-sd or SD-1 sequences a songs.
Gall now to order or for more intonnation
on those and other software packages.
for the SQ-I family. "This volume
includes that great ‘FFK Alto Ban.“
Giebler Enterprises
Latter Sound Productions
Phoeni:-tville, PA 19460
1341 Westheavon Gt.
.
Tallahassee, FL 3231 o-sees
{sea} are-sset
Florida residents add sales tar.
31
26 Crestview Drive
lit ‘?l§.'5535355
TFIANSONIQ
HACKER
1402 SW UPLANO OR, PORTLAND, OF! S?E21
uhiibegiiis
PAID
|‘IIi1'_‘_',t|ItT|_,ti,|*-.|['l_ EH
PERMIT I’-IO. 11
MATEHIIQL
DATEDSUBSCRIPTION
MATERIAL _ TIME
HALUE
ADDRESS CORRECTION REOUESTED
Postmaster: Please return Form 354? as soon as possible so
we can change our records. This is a monthly publication.
Publisher: Eric Gslsllnger
Editris: Jana Talisman
Advertising rates: Please sand tor rate card.
Rates for authors: Please send lot writer-into card.
Our [somewhat regular} Illustrious bevy ol writers includes: Graig Andarlon, Hobby
Barman, Paul El-lsssll, Steve Byhurst. Barry Carson. lvlarlt Stilton, Anthony Ferraro,
Pat Finnlgan, Charles R. Fischer, Jellrey Fisher, Gary Globlsr, Jlm Grate. Garth
Hjalta, Bryce lnman, Jail -lotion, Dara -Jones. Brad ltaulman, Johnrg itlonarls,
John Lollinlt, Daniel Mandel, Sam lvtlms, Jallray Fthoads, Brian ost, Clark
Salisbury, Tom Shear, Joe Slater, ltlrlt Sllnltard, Jae Tolln, and Stave ‘ltlncent.
Subscriptions: ‘IE monthly issues. US: $2"3tyear, All others: $23.’-.‘tyear. Payable
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t'Jogrlgnt1aa5,Transonlq Haclter, 1-*-l-32 Silt Upland Drive, Portland, OH
9? 1. Phone: {E1131 22?-ss-is IE am to Q pm Pacillc illlesl Coast Time}.
necessarily reflect those of the publisher or Ensoniq Corp. Printed in the
United States.
Tr-ansonlq Haclror is the Independent user's news magazine ior Ensoniq
products. Transonln Hacker is not alfiliatsd in any way with Ensoniq Corp.
Ensoniq and the names oi their various products are registered trademarks ol' 1
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i
Rackmount lldass Storage Systems Designed...
ilifeyboard Raves About Ramtek
November 1994
One ofthe benefits ofRamtek's products... is that they're
rack-mounted, which is preferable to table-top units for
rack-owning andlor traveling musicians. lllamtek also makes
tabletop models.,i The cabinets are of rugged steel construction, a
necessity for use on the road. in addition, whereas l.li‘amtek'sj'
j competitors shy from ofiering their storage systems in a
/y ...Con_)‘igured dz Builtfor the Serious Working iitlusician
I
l
i,
_ single-space format because of the sire constraints and possible
thermal problems, Ramtek doesn't. in the ti months we used
..
ffiamrekr FF
WE "Ever Encfiufllergd any Irfiubl-E dug In
I
that the internal cooling fan, which is quieter than the hard drives
I
I
j
themselves, adds minimal acoustic noise to your music
environment... ifyou're running short lofstorage space} Ramtek
should be one ofthe places you call.
wj-page Hg B
i\
I
.
overheating. Those with limited rack room should appreciate the
small space these products require. r-llso imprpssive is the fact
Ensoniq CDH-6
“HESI Of $t'.llt'llt.'l AJTS"
'::::::::" '":':
H
,
I;
-.
Instruments
---- --
r_ .5
\asR-tn®rs;§g-rill
"
"
1'
--
I-
BOTTOM LINE
{Ramtek's systems are of Grade-A choice for any rack-oriented
andlor traveling musician in need of lots of reliable digital
storage space.
Special Combination Pricing Available. For More Information, Call 1-313-513-7440
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