Issue #85 - Buchty.net
Iransoiq
The Player's the Thing
Hacker
The Independent News
Magazine for Ensoniq Users
In this issue
Articles:
Bill Lewis
S D - l P o w e r P r i m e r - P a r t 11
ly sample drum beats and get on with the
music making, sans percussion perspica
city. It works, but then I have to ask —
why?
The most striking element of the grooves
on the disc is that I couldn't help think
ing, "Gee, I could have done that." Not
For; EPSs, Mirage, any samplers.
From: MIDI Mark Productions, Box 217,
Whittier, CA 90608, phone: (310) 699-0095.
Price: $49.95 + $3 s/h.
When is a drummer not a drummer?
When it's a CD player, that's when.
Take some of the hippest hip-hop
rhythms and coolest percussion sounds
aroimd, put them on a CD audio disc with
the attendant bpm markings, and you've
Thomas
Mies & Mic Techniques for Sampling
Michael
Castronovo
Waveform Mutilation for SQs - Part IV
Jack
Stephen
To l i n
14
there's not a sound or rhythm that I
couldn't coax out of my sampler if I'd put
a bit of thought, time and effort into it.
Pulse Widths for ESQs & SQ-80s
Then again, that's probably the point: ef
fortless hip-hop.
Reviews:
KirkSlinkard
18
MIDI Mark's Drum Sample CD
Bill
Lewis
Daniel
Mandel
where on the disc so as to enable creation
Valhala's Sampling CDs
of a kit out of pieces you've lifted from
it. And sampling a loop is even easier.
To m
Simply record a few measures and move
sample start and loop points until the beat
is on target. Most of the items are two
measure grooves and there's plenty of
Shear
Daniel
Mandel
Tim
O'Connor
Random
range in tempo from 92 to 129 bpm. All
whole number multiples.
Hypersoniq
75
The concept here is that those of us
without the sounds, chops or inclination
to write our own dance grooves can simpISSUE NUMBER 85, $2.50
Drives
List
There are a number of possible methods
for placing these grooves in a sequence.
One is to play a very long tied whole
note. I discovered that the EPS will only
hold a note for 64 measures doing this, so
2
Notes
3
3
C l a s s i fi e d s
could be termed dance and/or house
beats.
17
time in them for a margin of "recording"
error. One need only have a sequencer
Hard
are
10
3D Sounds & Digitelesis Sample CDs
without fractional capability, 51 loop on
There
9
Ensoniq's ISD-3 for VEX & SD-l
with all the grooves. And, for those
Productions.
6
the sounds are isolated enough some
re-mastered loop-grooves on this disc
without any bass or vocals, and they
Mark
cover
Basement Tapes: Sebastian & Ferrara
Regular Stuff:
MIDI
11
Orchestral Percussion Secrets on the SQ-1
Mark
Clifton
13
that will play fractional bpm markings
(107.5 for example) in order to sequence
got the makings of "Loop Classics" from
7
that the beats aren't "happening," but
So maybe you're not a drum programmer
or don't have those way cool house
sounds in your sample library. Loop Clas
sics could be your admission ticket. All
Product: Loop Classics CD.
To n y
21
Hackerpatches
Sam Mims & Jeffrey Rhoads 22
The
Hacker
Interface
24
Booteeq
31
JULY, 1992
I simply replayed the note on the downbeat of 65. Then of
course you could hold a selected key down in real time like I
did one night when "Heavy Dee" just happened to be in the
club and wanted to rap for his buddies. It was a 1992 version
production house which specializes in music and sound design
for radio, TV, film and records.
Tested and Approved Hard Drives for the EPSs
of the One Note Samba. How about mixing it up groove to
groove with multiple samples in a single instrument. Just make
sure they all have the same tempo. Then again, nobody says
The drives listed below are known to be compatible with the EPS and
EPS-16 PLUS atthe time oltesting. Changes in firmware or hardware by
drive manufacturers may make later versions incompatible (with the ex
ception of PS Systems, Eltekon, and Frontera whose drives are con
figured to work specifically with Ensoniq products). Drives rtot included on
this list may also work just fine. For up-to-date information about specific
drives call Ensoniq Customer Service: 215-647-3930.
you have to maintain tempo. Speaking of which, it's possible to
change tempo within a single sample by using something other
than the root key. This works within a range, but munchinizes
beyond a third or fifth in either direction.
MANUFACTURER
MODEL
Sample quality is excellent, almost too good as one fellow
musician commented — "They sound like they were digital
recordings of digital recordings." Sometimes, especially in
dance music, I like to go for the grunge — it adds a sense of
Dynatek
honesty. And then, when you're looking for the cleanest of the
clean, the components in your system will decide on their own
to add "honesty." Pro audio can be a neverending battle for
Microtech R45, N20, N40, N80, N100, N150
Frontera
All
Models
All
Models
PS Systems All Models
Eltekon
All
Models
Rodime 45pius, SOplus, lOOplus, 140plus
PL1
45
Meg
Removable
Mass Micro Datapack 45
clarity between silicone and plasma.
Drives Reported to Work by Readers
The following drives have been reported to work satisfactorily with
reader's EPS systems. No guarantees — but they'll probably viork with
Loop Classics is fun, and less than the price of dinner at a
decent Sushi restaurant. It's a limited edition, has NO rights
yours. Try to try before you buy.
reserved and was created by Dat-man from Germany. At
$49.95, it may be your dance card,
Jasmine Direct Drive 100 Quantum 100M, 210M
PowerDrive44
Seagate
80M
Syquest 555 (removable) Tech Data Model 60e
Bio: Bill Lewis is a partner in Break-Out Music, a NY music
"Genius at Work kind of product...
...I can't imagine any
The WAVeBOY Parallel Effects Disk
contains astounding new effects combinations.
EPS-16 PLUS owner who
wouldn't want to have
this disk..."
— Craig Anderton
TH review, April, '92
These algorithms load right in - just like a sound. But they go way
beyond the 13 effects that come with the EPS 16 plus. You get four
different effects at once. Imagine flanging the bass, adding a warm
chorus to the flute, putting the guitar though a preamp, a speaker
simulator and a digital delay, and still having a dense reverb to use for
drums! Or think what you could do with four different reverbs at once.
Or four stereo bounce delays... you get the idea. This one disk will
improve all your sounds, your sequences, and your life. Lots of
parameters and innovative features like Ifo modulation of delay times
and separate pan control of wet and dry. You can't /;Ve without it.
The Parallel Effects Disk 1.0 is just $39.95
including shipping. Eoriegn Orders add $6.
PA Residents Add 6% sales tax.
WAV j e j B O Y
Mastercard or Visa accepted.
To order call (215) 251-9562
Or send cashier check or money order to:
P. O . B o x 2 3 3 P a o l i PA 1 9 3 0 1
2
ft
ft
ft
ft
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Front
Panel
RND
D'Angelico and Bradshaw instruments. 5 disk collection with
sotmd manual. Suggested retail: $39.95.
Ensonlq News
SL-16; New, evocative synth textures that highlight the EPS's
Ensoniq Introduces KS-32 Weighted Action MIDI Studio
capabilities as a true synthesizer. 5 disk collection with sound
manual. Suggested retail: $39.95.
Malvern, PA. Ensoniq Corp has introduced a new 76-key
weighted action synthesizer, the KS-32. Designed with the per
SQ 32 Voice/SQ Series Sounds
forming pianist, church musician and educator in mind, the
SC-6: Another great collection of 160 sounds programmed for
Ensoniq by Eye & I Productions. Spans imitative and imaginative
programming. Compatible with all SQ products, with an asterisk
denoting that a sotmd uses the new waveforms found in the 32
Voice products. Suggested retail: $99.95.
KS-32 features a newly designed weighted action keyboard with
velocity and channel pressure response. The feel of this new key
board is sure to appeal to anyone looking for a true piano action
in a workstation or MIDI controller keyboard.
The KS-32 is 32-note polyphonic, with up to three oscillators per
Sound. There are 3 Megabytes of mostly 16-bit wave memory,
SD-l/VFX-SD products
comprising 168 different multisampled waveforms. The 180 on
Ensoniq is pleased to annoimce the creation of the Ensoniq Music
board sounds cover a wide assortment of acoustic and electric
Collection, a series of sequence disks to enhance your enjoyment
pianos, jazz, rock and classical organs, clavinet, harpsichord, or
chestral and pop instruments. There are 20 dedicated drum kits in
the KS-32 as well, with support for both the Ensoniq and
General MIDI methods of drum mapping. With an external RAM
and performance with the full line of SD and VFX products. The
first volume in this collection (EMC-1) is the release of Trivia-
toons™, from the Michael Ford Archives. Ensoniq has taken over
distribution of this collection, and will be releasing multiple
or ROM card the KS-32 can access 340 sounds, and it is compat
volumes of these entertaining recreations of favorite TV and
ible with cards developed for any of the Ensoniq SQ keyboards.
movie themes. Volume 1 includes Twentieth Century Fox Theme,
American Bandstand, Looney Tunes (Bugs Bunny Theme), I Love
An onboard 24-bit dynamic effects processor provides 13 dif
Lucy and the Three Stooges. This disk can be used by any version
ferent effects algorithms, including reverbs, chorusing, phasing,
of the SD-1 (32 Voice and regular) as well as Versions I and n of
flanging, roto-speaker simulation, distortion and combination ef
fects. Up to 16 internal and external sounds can be combined in
split and layered setups to create a Performance Preset, with con
trol over volume, panning, transposition, key range, effects buss
ing and other parameters for each sotmd. For MIDI control, any
the VFX-SD. Suggested retail: $24.95.
Hacker News
track can be used to control both internal and external sounds, or
Oops: In last month's Basement Tapes column we gave an old
be set to transmit over MIDI exclusively. A special "Make
Default Preset" button makes working with external MIDI gear
address for the Mueller tape. The new and improved address is:
Dean Mueller, 292 Handy St., Attleboro, MA 02703.
easy for any user. With one button push the user can go from
playing a single internal sound to having an instant Performance
Preset, with sound layering and split points already defined. The
KS-32 holds up to 100 Performance Presets in internal memory.
The KS-32 also features a 16-track sequencer with 96 PPQ
HYPERSONIQ
resolution, with 8,500 note memory standard, expandable to
NEW PRODUCTS
58,000 with the optional SQX-70. Real-time and step-entry
recording is supported, and extensive editing control is provided
New Sound Music has announced the release of two new prod
ucts — Jazz Through MIDI - The Performance Series and Rock
with the ability to audition every important edit to hear the
results before deciding which to save. The KS-32 can hold up to
Through MIDI. The new Performance Series, while still being a
great learning and development tool, has been specifically ar
70 sequences and 30 songs, and sequences can be saved to RAM
cards or via MIDI System Exclusive.
ranged for use in live performance. Each of the ten popular Jazz
standards is performed with the melody on the first chorus fol
With its slim design and light weight (49 lbs.) the KS-32 is a
lowed by a solo on the second chorus and the melody once again
on the third and final chorus. The new Rock Through MIDI is a
very portable solution to the keyboardist who needs a weighted
action keyboard workstation. The suggested retail price of the
KS-32 Weighted Action MIDI Studio is $2195.00 (US). For
more information contact; Ensoniq Corp, 155 Great Valley
must for all players who want to develop a style for playing rock
piano. The unique instruction method analyzes over 40 classic
keyboard riffs in the styles of the all time masters. The sequences
are available in all Ensoniq formats. Lead sheets are provided for
all of the sequences. Retail price: $39.95 each. For more informa
Parkway, Malvern, PA 19355, phone: (215) 647-3930.
EPS-16 PLUS/EPS Sounds
tion, contact: New Sound Music, PO Box 37363, Oak Park, MI
48237, phone: 313-355-3643.
SL-15: A collection of acoustic/electric guitars recorded at the
Power Station, in New York. Features Ramirez, Guild, Gibson,
3
EPS/MIRAGE/ESQ/SQ-80 M.U.G. 24-HOUR HOTLINE - 212-4653430. Leave name, number, address. 24-hr Callback.
TRANSONIQ-NET
HELP WITH QUESTIONS
SAMPLING & MOVING SAMPLES - Jack Loesch, (201) 264-3512.
Eastem Time (N.J.). Call after 6:00 pm.
All of the individuals listed below are volunteers] Please take
MIDI USERS - Eric Baragar, Canadian MIDI Users Group, (613)
392-6296 during business hours, Eastem Time (Toronto, ONT) or call
MIDILINE BBS at (613) 966-6823 24 hours.
that into consideration when calling. If you get a recording and
leave a message, let 'em know if it's okay to call back collect
(this will greatly increase your chances of getting a return call).
MIRAGE SAMPLING - Maik Wyar, (216) 323-1205. Eastem time zone
(OH). Calls between 6 pm and 11 pm.
ALL ENSONIQ GEAR - Ensoniq Customer Service. 9:30 am to noon,
1:15 pm to 6:30 pm EST Monday to Friday. 215-647-3930.
SD-1, sound programming, sequencing, & MIDI - Eric Olsen, Pegasus
Sounds, (616) 676-0863. Mon, Tues, Thurs, Fri: 4 pm to 9:30 pm Eastem
Time. Sat: 12 to 10 pm. {No calls on Wednesday please!)
ALL ENSONIQ GEAR - Electric Factory (Ensoniq's Australia dis
tributor). Business hours - Victoria. (03) 4805988.
SQ-1 QUESTIONS - Pat Finnigan, 317-462-8446. 8:00 am to 10:00 pm
SD-1 QUESTIONS - John Cox. 609-888-5519, 6 - 8 pm EST.
E S T.
SQ-80 QUESTIONS - Robert Romano, 607-533-7878. Any ol' time.
ESQ-1, MIDI & COMPUTERS - Joe Slater, (404) 925-7929. Eastem
time zone.
HARD DRIVES & DRIVE SYSTEM - Rob Feiner, Cinetunes. 914-9635818. 11 am-3 pm EST.
SQ-80 QUESTIONS - Michael Mortilla, 805-966-7252 weekends and
after 5 pm Pacific Time.
SUBSCRIPTION INFORMATION
EPS & EPS.16 PLUS QUESTIONS - Garth Hjelte. Rubber Chicken
Software. Pacific Time (WA). Call anytime. If message, 24-hour callback.
(206) 467-5668.
1 2 M O N T H LY I S S U E S
US: $23/year. All others: $32/year (please use International Money
Order, payable In US funds). Please make payable and mail to:
ESQ-1 AND SQ-80 QUESTIONS - Tom McCaffrey. ESQUPA. 215830-0241, before 11 pm Eastem Time.
TRANSONIQ HACKER
1402 SW UPLAND DR., PORTLAND, OR 97221
ESQ-1 QUESTIONS - Jim Johnson, (503) 684-0942. 8 am to 5 pm
Pacific Time (OR).
Coses for
Cosoniq Cqo^Mneot
Now available direct from factory (except in current dealer
areas) our full line of ATA cases Category I and II
EPS, EPS-16 PLUS, VEX, VFX-sd,
Keyboards:
Module rack cases:
SQ-80, SQ-1, SQ-l-t-, SQ-2
3-space, 4-space, 5-space, 6-space.
(2-space racks available with surface
mount hardware only.)
Shown: 4-space rack with EPS-16 PLUS module,
2-space rack, Eagle-I VFX-sd case
Mention the (TH) code number 839 when inquiring to
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CALL US AT 1-800-637-6635
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MegaMIDI Dance Samples N°. 1
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Climax #1: Vocals
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The Complete KEEL Sound Libpary for the EPS & EPS-16+
MODERN SYNTH
E mu PROTEUS/1
ENSONIQ
PR-1:
VFX
Warm
Flute
Caribbean Drum
VF-2:
Elizabethan
Studio
Electric
Pop Piano
Deep Strings
Tr a n s - Ti n e I
Tr a n s - Ti n e 2
VF-3:
VF-4;
Ritual
R e z Tr u m p e t
Bali & 1
'" L A "
SYNTHESIS
Melo Chiffer
ROU\ND
L A - l ;
Sweet
E . P.
Brass
Section
Pipe Dream
Cosmos
Java Bell
L A - 2 :
East-West
Royal Pad
Rush Bass
Magic Mallet
L A - 4 :
Pressure
QBERHEIM
Kitaro
1
Lead
KQRC
Ml
K M l :
Bass
AJl
Emerson
OM-2;
TS
1:
Cool
A m b r o s i a
Dance
T S - 2 :
Daze
Grand Organ
Magic Flutes
Desert
Dust
Hand
F M - 3 :
Sass
F M - 4 :
A D 2 :
A D - 3 :
Ta c k s
VS-2:
Class
VS-3;
Syncrete
VS-4:
V-Stringz
Constellation
Hurdy Pipes
K B - l :
Dish
W B - l :
S h a k u h a c h i
W B - 2 :
Breathes
Fender
S Y l :
A i r l m b a
S Y- 2 :
Float
D C - 2 :
D C - 3 :
Rhodes
B3
Film Pad
S Y- 3 :
L P - 1 :
,
Pizzicato
Pizzicato
W W - 1 :
Kit
VS Strings 1
Brass
Moog Lead 1
Moog Lead II
VS Pads I
PRICING
Kit
Latin
Bongo Drums
Latin
W W - 4 :
English Horn
Low Saxophone
K B - 4 :
Antique/Finger Cymbals
B N - l :
G B - l :
Flute
Nylon String Guitar
Jazz Bass
"Martin" Harpsichord
A - 3 :
Ve l o c i t y Tr o m b o n e s
D50 Strings
Reed Organ
Bass
Pie Bass
A - 4 :
M a n d o l i n
Flugeihorn
Trumpet
Mute Trumpet
Tuba
Lush
Brass
Trombone
BR-4:
Tree
Sharp Brass
Bugle
DSO
Brass
Parlour Organ
A - 5 :
C o r n e t
BR-3:
Orchestra
A - 2 :
D o b r o
BR-2:
D50
Kalimba
Cameian
Classical Guitar
BR-1:
PRC Keys
Te m p l e o f D o o m
Bottle Blower
A - 1 :
Pan
Bowed
To m s
Tr a p s I
Orchestral Cymbals
SPECIfIL
C l a v i c h o r d
Gregory
Ambrosia
Bottle
Breath
EPS Demo Disk
ED-l:
China
Solo
Sea
Viola
Vibraphone
Wa r m K e y s
(All Reduced-Range instruments for Demo)
SALE
PRICING
- 9 disks $15.00 ea >^SALE @ $12.00 ea
ED-1 Demo Disk 10" 1 9 d i s k s $ 1 3 . 0 0 e a @ $ 9 . 0 0 e a
S 6.00 {in USA postage-paid.}
$10.00 {ail Qtliep countries, postage-paid.)
D C - 4 :
Celeste
G B - 4 :
Roto
Crotaies
W B - 3 i
G B - 3 :
Brake Drums
Tu b u l a r B e l l s
Timpani
Hell's Bells
High Saxophone
Shakers
Cuiro + Claves
Mark
Xylophone
3:
O P - 4 :
O b o e
Shakers
C e n c e r r o s
L P - 3 :
Glockenspiel
Cengs
Vibraphone
Bass
W W - 3 :
FX
Fender Jazz Bass
Steinberger XL Bass
Agogo Bells
Conga Drums
L P - 2 :
O P - 2 :
OP
Bassoon
Bass Clarinet
Clarinet
Flute/Piccolo
Kit
Jazz Kit
Tr a p s 2
Processed
M a r i m b a
Cello
W W - 2 :
Ti m b a l e s
Rock
Regular
SPKdAL
Rock
Percussion
G B - 2 :
DP-70
Hohner Ciavinet
Hammond 83 jazz
XPander
Drums
Simmons
VS Strings II
Moog Bass
Landscape
Cello Harmonics
Solo Bass
Ta l k i n g D r u m s
D C - 1 :
Waves
Ya m a h a
Bata
Viola
S S 4 :
Orchestral Strings
(req memory expander)
Solo Viola
P i z z i c a t o Vi o l a
Solo Cello
Royal French Horn
(req memory expander)
Concert Grand Piano
(req memory expander)
O P - 1 :
Bass Flute
Log Drums
African Shakers
A c c o r d i o n
KB-2:
KB-3:
China Sea
Piano Stack
SAlAl
(req memory expander)
Ta k a m i n e 1 2 - S t r i n g
Rhodes
Hammond
Roto
X - 4 :
X - 6 :
Violin
S S 3 :
Rock
Te m p l e B e l l s
ROCK & POP
Chorus
Radio
M S - I
Steinberger Bass Deluxe
Violin
Tremolo
Rockman
K o t o
S p i t fi r e B r a s s
Melo
SS-2:
(req memory expander)
Quartz Mallet
To y T r u m p e t
Chimes
Funksichord
Tine
Chime
X - 5 :
P i z z i c a t o Vi o l i n
Distort
X - 2 :
Space Vibe
It
Scholz
-
X - 1 ;
Multi Clav
A D - 4 :
Sky Diamonds
Punch Bass
Strat
Te l e c a s t e r M e t a l
Fender Rhodes 88"
(req memory expander)
SYNTHESIS
K-5
Fender Strat - Clean
Solo
X - 3 :
Drums
Tremolo
Drive
Te l e c a s t e r
Benza-Dream
Trampoline
SEQU Ef«-JAL P-RQEHET_yS
•
E C - 4 :
Ham
Super Bass
A r e n a
Brass
Brass
Ballerina
Wind
S S - l :
Paul
Gibson ES-335
Brass
Barrock
Wa r m K e y s
VS-1;
E G - 3 :
Ta b i a
III
Les
Asian Gongs & Bowls
CLRSSICRL
Gibson Les Paul • Clean
Fender
Bass
Plucked
1:
Multi-Stack
EC-1:
EC-2:
R e d w o o d
AD
Ti t e R o p e B a s s
OM-4:
Lastic
Pads
Multi-Stack 1
Multi-Stack II
Gibson
Bell
L P - 4 :
Oberheim
S Y- 4 :
Clav
JazzBass Clav
Tr o l l D r o p s
ADDITIVE
R a z o r
Sax
Angel Mutes
Magic Organ
Keyed Chorale
F M 2 :
Hall
Ripper
OM-3: Fog Strings
Filter Pop
Sitar
K M - 2 :
MOOC
VS Pads 1!
P
Guitar
Rez
OM-1: OB-X Strings
C o n c e r t o
Cantata
&
Doctor
Crystal Court
Baal's Breath
FREQUENCY_IS10DULAI10N
FM 1:
12-Op E.P.
Sharp E.P.
CLASSIC SYNTH
Lead
Hollow Lead
Guitar
PR-2: Winston Piano
Lead Strings
Wind Chimes
PR-3: Clasnost Men
Opera Chorus
Fanfare
Full Organ
L A - 3 :
Horns
Harmonic Synth
Melody Bass
Bamboo
M S - 4 :
Phantazla
Power Shimmer
V F l :
20+ disks 10.00 ea^^^SALE @ $ 7.00 ea
Sale pricing valid thru September 30.1992
VA L H A L A
Call: 1 (313)548-9360
"Impeccably recorded... KS. has taken great care to optimize the signal-to-noise ratia... I love the VS and Oherheim Pads, as well as the Multi-Stacks in the synth group." -Transoniq Hacker
'The designer of these sounds ohvlously spent a lot at etiort to make good use of the performance features and stereo capahillties ol the H>S..." -Music Technology
..."I found so many ol these sounds musically inspiring that I don't know where to start!" Transoniq Hacker
ORDERING INFO: Write you order on down on a piece of paper and include the correct amount for S/H and state taxes where they apply.
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H A C K E R B A S E M E N T TA P E S
Oentle
ImaQes
/
Severe
Chops
Daniel Mandel
reviewed for the Hacker. There are four songs. These four
songs show off Anthony's guitar playing and composition
skills. Anthony describes his music as fusion, and fusion it is
(how could I argue with all those degrees?). By the way, An
thony went all the way and had his tape mixed and mastered at
a real studio, Philadelphia International Records, by a real en
Tape; Indianance.
Attist; J.C. Sebastian.
Contact info: Totally Synthesized Music, 5714 RockhUl Rd., Kansas
City, MO 64110.
Equipment; SQ-1.
gineer, Jim Gallagher.
The first thing that must be said of John Sebastian's tape is that
he definitely has a handle on packaging. Indianance has very
In Anthony's words: "This was, obviously, a completely solo
simple cover art in black and white on brown paper. It is a very
good looking package.
project, attempting to get labels and management interested in
my latest music. If any of your readers would like a copy, I
The overall soimd is flowing and liquid. John's sotmd palette is
help defray the costs of recording, mailing, and duplication, not
to mention the constant updating of my gear. I have already
sold my synth and bought an EPS-16 Plus, with plans to pur
would be happy to send them one for four bucks, as this would
very light. I almost floated away several times listening to these
songs. The collection is entirely instrumental and most easily
categorized as New Age. John uses a lot of bells, strings and an
occasional oboe/flute sound. Most of the sounds are very
electronic, the only thing that seemed to be lacking is a set of
chase an SD-1 in the near future."
The first side has two pieces. Living City features Anthony
bass instruments to widen out the sound. Yet, overall it works
flying pell mell across his frets while his VEX cranks on the
drums, bass and keyboards. Piece Number One from Three
Pieces For Guitar is performed on a nylon string guitar.
as a very soft and gentle group of instruments. John might try
for some contrast as well. The only actual criticism I would
have is that a couple of the bell sounds distorted on the loud
end. Be careful when you are setting recording levels. These
sounds are velocity sensitive and it is apparent. The first song,
Indianance, and the last. Reprise, use a low hand drum in a
The second side also has two pieces. Metropolis, another romp
The themes are very beautiful and understated. Here are the tit
les that show some of the work's imagery: Indianance, Prairie
ing guitarfest with a more regular beat than Living City. Duet
features Anthony's composition, rather than his guitar solos,
opening with what I assume is Anthony's Casio MIDI guitar
which is complemented by a bellish keyboard sound. Then al
most out of nowhere enters the Moog sound from days gone by.
This song, to me, did not maintain the style or the feel of the
Dawn, Snow Mountain, The Green Earth, Electric Rain, Incon
other three, and with the odd collection of sounds seemed a bit
stant Moon, Lost Spirits, Reprise.
intense.
sparse manner that was a nice touch.
Anthony obviously has the speed, the phrasing and the overall
feel for this kind of music. This tape is a great example of a
Tape: Anthony Ferrara. Contemporary Guitarist.
Artist: Anthony Ferrara.
demo tape. It's hot music. It's four songs. Most of all it shows
off the talents of Anthony Ferrara. ■■
Contact info: P.O. Box 14503, Philadelphia, PA 19115-9998.
Cost: $4
If you want your tape run through the ringer, err, Hacker, just
mail it off to: Basement Tapes, Transoniq Hacker, 1402 SW
Equipment: VFX-SD, Tascam 644 MIDI Studio, Casio 510
Midi-guitar, Shure SM 57, Pearce G-1 guitar pre-amp, Alesis
Midi-verb III, Roland GP-16 Digital Guitar, Effects Processor,
QSC MX700 Stereo Amp, Gallien-Krueger Stereo Cabinet, etc.
Upland Dr., Portland OR 97221.
Here's another nice cover — a smooth looking knees-up picture
of Anthony with his guitar and sunglasses. Based on this pic
ture we should probably call him Mr. Ferrara (I'm only jesting
here because I'm so intimidated by this man's resume that he
Bio: Daniel Mandel is a songwriter,
sound designer, and has sold pro
audio and keyboard equipment and
sent along with his tape. Bachelor of Music in Jazz Perfor
mance from Temple University, Master of Music in Composi
tion from Temple and Post Graduate composition studies!)
produced demo tapes for local bands.
This is, to date, the best example of a demo tape that I have
6
The SD-1 Power Primer
(Part 11)
Tony Thomas
One of the endearing qualities of the SD-1 is its uncanny ability
to sound like a meaty analog synth one moment, a delicate digi
tal synth the next and a stuimingly realistic sampler the next.
finished sounds in themselves (except for the percussion
sounds). They will need envelopes (start/sustain/release charac
teristics) filtering and scaling to bring them to life.
This chameleon-like quality is due to the fact that those won
derful people in Malvern loaded its ROM with plenty (3.5
megabytes) of samples, analog waveforms, digital waveforms
and what Ensoniq calls transwaves. By understanding these
Some of the waves contain only the attack portions of the
sounds they represent and must be used in conjunction with
waves that sustain. Yet, it is much easier to develop sounds on
the SD-1 than with most other synthesizers since you don't
sonic building blocks, you will begin to realize the SD-l's true
music making potential.
have to build your sounds from scratch. Plus, since most of the
waves are actual sampled sounds, they have the realism that
you just can't get from imitative synthesis techniques.
L e f s M a k e Wa v e s
Unlike many other synthesizers which utilize numbers or cryp
tic names to identify the waveforms and samples contained in
ROM, Ensoniq has assigned waveforms and samples to "clas
ses," thereby enabling you to find the sound you want quickly
Riding The Crest
There are four basic parameters ass(x:iated with the wave page.
They are WAVE DELAY which allows you to control how
long it takes to hear the sound after you hit the key (useful for
bringing in parts of the sound gradually), START which
and easily.
It also takes a lot of the guesswork out of sound creation. If you
need a piano sound, you simply check out the various piano
enables to you decide where within the wavesample it will start
waveforms. Need a string patch? Go to the string group. Just
about any type of sound you need is there.
playing, VEL-STARTMOD which allows you to change the
START point using key velocity (both forwards and back
wards), and FORWARD which toggles play waves backwards.
Listening to the waveforms inside the SD-1 isn't as straightfor
ward as punching up a preset patch, so you'll have to do a few
For transwaves, the last two parameters change to MODSRC
(Modulation Source) and MODAMT (Modulation Amount).
things in preparation. First of all, select the POP GRAND patch
For the MULTI-WAVE parameter, they change to length
(determines the number of waves that will be played in the
(Internal #12). Next, hit the voice select button and select the
PIANO-16 waveform. Double-click on this wave (hit the soft
button twice in rapid succession). Then, hit the filter button and
loop) and Forward, which toggles between Forward and
Reverse. For the Waveform and Inharmonic classes, the bottom
line is blank since these are static single-cycle waves.
change the cutoff parameter to 127. Finally, go to the Wave
page. There, you will be able to select the waveforms with the
top left soft button and the wave group with the top middle soft
button and use the slider to run through them.
By spending time in the wave page and learning the waveforms
in the instrument, you will be laying the foundation that will
enable you to quickly edit patches and even program the SD-1.
It will also take much of the guesswork out of programming
since you'll be able to go to the exact sound you want in just
Catch A Wave
After you enter the wave page, you will find yourself at the
seconds. We'll build on that fotmdation in coming articles.
PIANO-16 waveform which is a member of the PIANO-
SOUND wave class or category. The SD-1 has sixteen wave
classes — Strings, Brass, Bass, Breath, Tuned Percussion, Per
cussion, Transwave, (Synth) Waveform, Inharmonic,
Multi-Wave, Drums, Multi-Drum, Piano, Hip-Percussion,
Bio: Tony Thomas is a veteran jour
Misc. Samples and Drum-Map. Within these wave classes you
can probably find just about any kind of instrument you are
nalist who has contributed to several
national magazines including Mix,
Electronic Musician, Music Computers
looking for and then some! By my count, there are 168 dif
ferent waveforms/wavesamples to choose from.
and Software, AV/Video and REP. An
avid MIDI enthusiast, Tony is the
Take some time to go through each wave class and individual
instrument. Become intimately familiar with each timbre and
former Executive Editor o/The MIDI
I n s i d e r. H e i s a l s o a n e s t a b l i s h e d
try to envision how each one can be utilized in a musical con
recording engineer, producer, com
poser and keyboard player.
text. It will also become apparent that these waveforms are not
7
Five reasons to call OMI right now.
"The Denny Jaeger Master Violins sound better than the real thing!"
- Bon Jovi
"We've never heard anything like the Jaeger Library.
Sampled strings just aren't going to get any better than this."
- Keyboard Review^ Nov '91
"The Denny Jaeger Violins are the most emotional samples
I've ever played. Bar none."
- Jack Nitzsche, Academy Award-winning composer
"The Master Studio Collection contains thousands of well-recorded,
useful sound effects and musical instruments that provide a
wonderful varied resource for the sound editor/designer."
- Bill Koepnick, Emmy Award-winning sound editor
"1 believe in the Sonic Images sounds. They're clean and powerful.
1 use them every day."
- Herbie Hancock
1. The Denny Jaeger Master
Violin Library. A powerful new
approach to sampling lets you
control tuning, size of string
sections, attack articulations,
vibrato and even the lengths of
individual bow strokes. Our CD
demo will change the way you
think about sampled strings
forever. We guarantee it.
3. The Sonic Images Library.
4. Ready-to-Play Libraries.
Two volumes, over 200 Mb each,
All libraries contain sounds that
contain uniquely artistic brass,
brass choirs, orchestras, pianos,
drums, percussion and special
effects. Created by Christopher
Franke, formerly of Tangerine
Dream, these samples have the
touch of a true master composer.
are organized, banked, looped and
mapped for the EIII, Sample Cell
Akai, EPS and 16+. And soon
Kurzweil
K2000.
The
Sonic
Images library is also available for
the Emax II and Roland S-770.
Optical Media
International
5. Full CD ROM Support. OMI
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2. The Master Studio Library.
Two unique volumes feature rare
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from around the world, including
Taiko drums, Celtic harp, bowed
jsaltery, Persian santur and
lundreds more.
Q Up Arts
230 Norman Road
Aptos, CA 95003
408-688-9524
or fax us at: 408-662-8172
libraries offer the advantage of CD
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most reliable reproduction as well
as the swiftest access and greatest
compactness. We can even sell
you the CD ROM hardware that
maximizes access efficiency and
reliabilty. All libraries also
available on MO's and RM 45's.
Ask us.
Review:
Va i h a i a
Sampling CDs
To m S h e a r
fully digital recording, all that's going to do is give you a faith
For: Mirage, EPS, EPS-16+ or any other sampler.
ful reproduction of a poor sound. A lot of these sounds are fed
Product: Sampling CDs.
$60, Pascal Gabriel Dance Samples: $85.
From: Valhala, Box 20157, Femdale, MI, 48220. Phone: (313) 548-9360.
through bizarre effects which might make it appealing to those
of you who don't have access to an effects processor. There are
some great sounds here if you're willing to dig, but in general,
the soimds seemed more like special effects you might use oc
Even the most sample-happy EPS enthusiasts like myself some
casionally or perhaps to score an eerie film. If you have every
thing else, you might want to check it out, but personally, I'd
spend my money elsewhere.
Price: Digital Excellence Collection: $55, Uberschall Sampling CD #1;
times run out of sources for new sounds. In cases like these,
sampling CDs can be a Godsend. There are several advantages
to buying sounds in this format. 1) It's a lot cheaper than
Next in line is the Aberschall Sampling CD Volume 1. This one
interested me because the ad mentioned the use of Synclaviers,
buying pre-sampled sounds on disk. 2) Since most of these are
mastered from DAT, you get high-quality, noiseless sounds that
would be difficult for the musician on a budget to achieve. 3)
You can listen to the sounds beforehand and sample only the
ones you like. 4) And they give you access to sounds you
Fairlights, Emulator Ills and other really expensive toys in
making these sounds. This one was much more useful. This
collection touched briefly on just about every kind of sound
you might need. Ml and D-50 sounds, Yamaha DX sounds,
classic analog sounds, Mellotron sounds, huge, gorgeous
soundtracks, great multi-sampled guitars for every style, other
multi-sampled acoustic instruments such as steel drums, grand
piano, strings, and Fender Rhodes, some fantastic sound effects
(including an amazing stereo Supersonic Jet), and rounding it
all off, various drums and percussion. The sounds were, with
very few exceptions, perfectly recorded with no audible noise
at all. If you have access to software that can handle stereo
probably wouldn't be able to hunt down to do your own samp
les from scratch. Like how often do you take your submersible
DAT with you to record whale sounds?. These advantages are,
of course, coupled with some problems. You will have to roll
up your sleeves and sample the sounds off the CD player and
do whatever surgery is necessary to whack them into shape,
and despite cost efficiency, they still are kinda pricey. Because
of this, I thought I'd share my findings on three such CDs dis
tributed by Valhala.
samples, many of these are in stereo as well. A good place to
start and a well-rounded selection with emphasis on syn
Ironically, the CD I had the highest hopes for turned out to be
t h e s i z e d s o u n d s . B U T. . .
the weakest of the three. While the Digital Excellence Collec
tion wasn't awful, it was somewhat disappointing. Most of this
be a dream come true. Wrong.
By far my favorite of all of these was Pascal Gabriel's Dance
Samples. Not having ever heard of him before, I was slightly
skeptical, but boy was I ever pleasantly surprised! Turns out
Mr. Gabriel has done production and remixes for groups like
EMF, Erasure, and S 'Express. If you need something new to
sample, this collection has literally got it all.
While there is some interesting industrial percussion, most of it
is silly-sounding synth sounds that are by no means "in
After a studio test tone, it starts out with a generous selection
of excellent drum and percussion loops which are helpfully
dustrial." The "gothic death screeches" are nothing but some
marked with BPMs after their names. From here it goes into a
guy making noises on his guitar through lots of effects. In fact,
huge, killer selection of single drums with nearly fifty different
my biggest beef with this collection was the misleading names.
kicks, 65 snares, several dozen hi-hat sounds and enough
The "guitars" that start off the CD are in many instances what
sound like really weak synthesized guitar imitations, not real
weeks. After this we have "Assorted Single Hits" which would
was due to the ad which boasted its "gothic death screeches"
and "industrial percussion." From what the ad said, these
sounded like pretty awesome, mind-blowing sounds. Since
these are the types of soimds I really enjoy, I figured this would
acoustic and electronic percussion to keep you sampling for
make interesting alternatives to normal percussion, various
brass sounds (most are special effects), some funky guitar riffs
and effects, spoken phrases in both real and computerized
guitars. (There are some real guitars, but a large number are
not). The "Dream Guitar With Harsh Stereo Pan" sounds like a
Roland D-5 piano patch clipping the mixer; not very useful.
Another track promised "Various Monsters Yelling In An Oil
Drum," but what you get is someone striking the oil drum.
While this is a good sound, I can't imagine how they came up
with the "monsters yelling" part.
voices, male and female sung vox, a section of orchestral
sounds featuring some beautiful stereo orchestra hits to die for,
a varied selection of sound FX, some "stops and stabs," synth
sounds including effects and melodic sounds, and finally, fan
tastic (mostly electronic) bass sounds.
In terms of sound quality, it sounded like a sizable chunk of
these sounds are coming from an 8-bit sampler. Maybe they're
not, but they sure sound that way, and even though this is a
Another thing Mr. Gabriel does in the helpful documentation
(by far the best of the three) is to list what key any sampled
9
riffs or sung phrases are in. This way, you'll know ahead of
time if it'll fit in smoothly with your new song. There is a sec
Gabriel's CD, it's a killer. Aberschall has more of an emphasis
on the synth sounds that aren't as prev
tion after this that features an assortment of the sounds
alent in Gabriel's collection, which
recorded with Roland Sound Space recording, but a stereo
means they complement each other
sampler is necessary to take advantage of these. If you do any
kind of pop, dance, or industrial tracks, I urge you to put your
money down for this CD now! There are some lower-quality
sounds, but they are far outnumbered by the huge amount of
quality, useful, and let's face it... fun samples.
perfectly, and is of near flawless re
cording quality. As for Digital Excel
lence... well, use your own judgment,
but if I had to do it all again, I think I
could probably live without it. ■■
So there you go, kids. Lotsa great sounds for an affordable
price. To sum it up: it you do any kind of contemporary music
Bio: Tom Shear has fallen and he can't
in the rock/pop/rap/dance/funk/rave/industrial styles, check out
get up.
F o r A l l Yo u r O u t b a c k G i g s
Ensonlq's ISD-3
Daniel Mandel
as usual, a total of 60 sounds.
Product: ISD-3 The Australian Collection.
For: VFX/sd, SD-ls.
GOOD - VERY GOOD =13
Price: $19.95.
From Ensoniq Corp., 155 Great Valley Parkway, Malvern, PA 19355 or
WEIRD
contact your local Ensoniq dealer.
R E P E AT I N G / E C H O = 1 0
NOISY
=
18
=
F I L L E R / S TA N D A R D
5
=
14
I myself know a handful of Australians and they claim that the
thought of barbecuing crustaceans has never once crossed their
minds. More to the point — whatever happened to Colin Hay?
Good - Very Good
One of the oddest things about this collection is the idea itself.
These sounds really captured me — very expressive and play
able. A couple that must be mentioned are the MELODY
When one thinks of the music of Africa, a plethora of percus
DRUM, very resonant and velocity responsive. GTR+STRING
is a beautiful sound which, as it is aptly named, brings in the
string section just behind the guitar arpeggio. B ALI-MODWHL
will provide you with endless days of percussive extravagance.
RADIO ROME is a very full, rich sound, strongly sustained
with a built-in glide. BIG BLUE could be deceiving at first. It
sion springs to mind. If I mentioned Latin America, there's al
ways Salsa. Jamaica has its Reggae. The Caribbean has its,
well, Caribbean style music. The Far East has its own unique
instruments and even different modes and scales than Western
music. But Australia?
appeared to be just a bigger fill pad than usual. However, as I
experimented, I found a lot of different textures when I played
different styles. WET METAL sounds as good as the name.
Okay, let's not be completely ethnocentric — certainly this
country has developed its own indigenous culture and music
and its native people do have some wondrous instruments. All
countries do. Yet, when was the last time you thought, "Boy,
this song's great but I just wish it could sound, well, you know
Weird
— more, Australian."? Even the accompanying booklet tells us
that the main influx, not to be confused with influence, comes
Now, of course, these are all my opinions and what I think is
weird may inspire you to the heights of great artistry — or they
might just sit in your synth unused. SWEET VIBES, for ex
ample, seems only to really work in the middle octaves because
to Australia from American and Britain.
The developer, Roger Mason, has also been all around the
world and has an impressive set of credits playing with bands.
of the timing of one of the backward voices. The higher you
His synth experience goes all the way back to the ARP Odys
play, the quicker the reverse envelope. Even in the middle oc
tave where the reverse voice is not that disturbing, it would
s e y.
only work if the song or the sounds were build around this one
o c t a v e . S PA C E K O R D S u s e d a r a t h e r e c l e c t i c c o m b i n a t i o n o f
So that's the background, now on to the sounds themselves. I
voices that sounded odd when thrown together. DANSGRUVE
listened to each sound and wrote down its characteristics and
also was a mixture of umelated voices. SPACE BRASS was
then I grouped the sounds under common themes. There were.
just downright unplayable.
10
Repeating/Echo
Filler/Standard
I found that when I looked back over my notes that there was a
This category would have had the most sounds if there weren't
so many weird sounds. CARIBEORGAN was a good example
of a sustaining steel drum sound, very usable. HOFNER BASS
sounded fine, however it is too quiet to cut through the mix and
the patch selects were not what I would have chosen. There
were many in this category that worked and sounded good as
theme. Many of these sounds use a digital delay, or a repeating
note or an offset start for several voices in one form or another.
In some cases it was used as a very clever effect. NOVA RAT
TLE for instance used repeats in a very iimovative way. XOTIQUE was chirpy and nasal and downright annoying.
A-TENSION was a unique yet obscure sound that used repeats
and I really enjoyed listening to it. OFF-CENTRE was a bit
background, or musical beds for songs.
disturbing, and very busy sounding with descending, detuning
and repeating all going on at the same time.
I could not review this set without bringing up the one really
Noisy
they are a large hollowed out branch that one blows into. It in
volves one's entire body to play the thing, and the sound is big
and boomy. In Western instruments it's similar to a bassoon.
The VFX version here sounds quite good and when mixed with
patches like the BALI-MODWHL you can get some real out
back jams happening.
arguably Australian sound DIGERIDOO. I've heard these
beasts live and they look as magical as they sound. Basically
I used to be confused by why people were so down on the VFX
for how noisy it is. The more you try to record and listen and
compare, you will begin to hear how noisy an instrument the
VFX can be. One of the signs of a good programmer is how
well they can keep a sound from being noisy. Roger did a fair
job, as you can see most of these sounds are not noisy. Yet a
really an insult to our intelligence. I know how difficult it is to
Like with any collection, there were some great sounds and
some that made you wonder what they were thinking. Unfor
tunately I don't think this country theme really works as much
create a good sound from scratch. I've tried. I've owned an
ESQ-1 and a VFX/sd. The easiest thing in the world to do is to
as sensible categories that musicians know and use. This col
lection could easily have been called OBSCURE/HOUSE
create a digital noise patch the blurps and splatches randomly
around the keyboard. These patches should not be part of a
MUSIC SOUNDS. B
few are embarrassingly so. Two that have noise in the name are
commercial package.
M i e s a n d M i c Te c h n i q u e s f o r
Sampling
Michael Castronovo
If you're like many of us who own a sampler our emotions
swing from both pleased to perplexed. Sure, playing back the
sounds we bought have been fun but our thoughts (and fan
tasies) soon dream of that unique ONE-OF-A-KIND sound that
only you can find. Except every time you try to sample using
your microphone, the results are, as they say, less than desir
(though Fostex does make one), usually much older ('50s and
'60s) and because of the technology back then, are usually not
as good for authentic reproduction as those in current produc
tion. Though known to have a warm/smooth sound, they re
quire more delicate handling and can be expensive to repair.
The second type of mic is the electrically powered condenser
able.
mic. Condenser mics often have a greater hi-frequency range
than the other two types, but not always. Again like the ribbon
mics the condensers are easily damaged if dropped or abused.
Condensers also can easily be distorted by loud volume levels
(unless they are specially designed with large pickup dia
phragms like the A.K.G. 414. If you are planning to sample at
Mies and microphone techniques are key elements in the sam
pling process, yet most keyboardists know little about how to
select the right mic or how to use them effectively. As the
owner of a full time recording studio, I work with microphones
on a daily basis. The first keyboard I had in my studio was a
Mirage, and that was replaced two years ago with an EPS (with
a 4x memory). After numerous attempts at sampling I realized
that how a sound goes into the sampler effects how it comes
the upper sampling rates (44.1 kHz and above), and can control
out. That's what this article is about, getting more out of your
your signal volume well, then a condenser mic may work out
the best. Many companies like Shure, Electro-voice, A.K.G.,
Peavy, etc. make these — the prices can range anywhere from
sampler by understanding how to use microphones effectively.
$75-to-$1500.
First let's look at what general types of mics are available. The
The third type of mic (and probably the most common) is the
dynamic mic. These mics are the most durable for handling,
three most widely used mics are dynamic, condenser, and rib
and need no power supply. Most musicians who are on the road
bon. There are very few ribbon mics currently in production
11
have a variety of these types around. The most well-known is
the Shure SM-58. Again there is a wide variety of companies
that make them and the prices vary just as they do for the con
denser mics. Since most keyboardists probably have this
general type available I'll direct my comments to the dynamic
mic. Unless I note some exception the procedures will probably
work with all three types. Large diaphragm dynamics that I use
your filter adjustments. Kind of solving the problem before it
a r e t h e E . V. R E - 2 0 a n d t h e S e n n e n h i s e r M D - 4 2 1 . T h e s e w o r k
microphone. As the source gets closer to a mic diaphragm there
happens.
The third mic trait that is important to understand is the
proximity effect. Simply put, this is the term used to describe
the tonal change that occurs when a sound source (especially a
human voice) moves closer or farther away from the
is usually a bass frequency boost. Again this can work to your
especially well for loud instruments. The RE-20 has an added
benefit, it is built with a special design that eliminates the
Proximity Effect inherent with most mics that's what gives that
extra bassiness when you get closer to the mic. This effect can
work for or against you when sampling. More about that later...
advantage when sampling a vocal part that sounds too thin. Just
have your talent move closer to the mic until you start to hear
the depth in the voice you want. Radio DJs use this proximity
effect to their advantage all the time. Usually on the average
cardiod dynamic mic to get the most natural sound maintain a
distance of 3 to 5 inches away from the mic. There are some
There are three main characteristics about mics that are impor
tant to understand if you are to use them properly. The first is
the mics' pattern. The pattern is the directional area around the
mic diaphragm that is designed to be the best area for the sound
mics produced that have very little proximity effect like the
E.V. RE-20, but these mics usually cost a bit more than the
ones you find at your local music store outlets ($300-$500).
to be picked up in. There are different patterns useful for dif
ferent applications. For example a cardiod (or heart shaped pat
tern as in Fig. A), is best suited for sounds coming directly
from in front of the mic. A figure 8 pattern (as shown in Fig.
By combining the characteristics of the types of mics, as well
as the pick-up traits of mics overall, you can start to build you
knowledge of which mic to use for what sampling situation.
B), is best suited for sounds coming from 2 directions around
One small point that should be mentioned also is the wind
screen. This is usually only a $3-$5 item that can be purchased
at most music stores (or Radio Shack) and will help greatly if
you're doing vocal sampling. They cut down on breath noise
without any obvious coloration of the sound quality. If you
ever decide to start a sound effects collection for your EPS and
plan to sample outdoors, you will find that a wind screen
eliminates wind noises that will totally destroy your sample.
Well, that should give you enough to get a handle on the basics
about the mysterious microphone. Next time we'll look at a few
specific examples, as well as talk about how the use of a tape
the mic. Understanding the difference in how these work could
recorder can speed up your sampling session. Also I hope to be
able to take a look at creating a "True Stereo" sample using a
help your sampling greatly. Suppose, for example, you want to
sample a solo violin, the figure 8 patterned mic would add dis
tracting room noise to the recording and possibly make the
violin sound distant. However selecting the cardiod mic will
eliminate this problem, as long as the position and axis is set
combinations of the ideas we've covered, b
Bio: Mike Castronovo owns a full time 16-track recording
studio, Studio "B". He has been a keyboardist since the Stone
Age and along with loving his wife Deb and two daughters,
Lisa and Amy, he has a special place in his heart for his EPS.
properly.
This brings us to our second mic trait..the axis, which can be
thought of as a direct line aimed right into the microphone
diaphragm. When a sound is aimed in line with the On Axis
position (as in Fig. C) you will get the most fullness from that
mic. The Off Axis positions (also marked as 45 and 90 degrees
BACK ISSUES
in Fig. C), will make the sound
t h i n n e r. T h i s O n - A x i s / O ff - A x i s
Back issues are $2.00 each. (Overseas: $3 each.) Issues 1- 9,11,13 -
23, 27, 29, 30, 35 - 38, and 67 - 71 are no longer available. Subscrip
arrangement can help you color
tions will be extended an equal number of issues for any issues ordered
that are not available at the time we receive your order. ESQ-1 coverage
started with Issue Number 13. SQ-80 coverage started with Number 29,
(although most ESQ-1 coverage also applies to the SQ-80). EPS
coverage started with Number 30. (But didn't reaUy get going till Num
ber 35.) VEX coverage (which also applies to the SDs) got started in
the sound without the use of a
tone control. Since plugging a
mic directly into the EPS (or
Mirage), does not offer you an
Number 48. The SQs got going in Number 63. Permission has been
given to photocopy issues that we no longer have available - check the
classifieds for people offering them. A free back issue index is available
which contains the tables of content for aU issues since Number 43.
E.Q. adjustment during the sam
pling stage, this axis adjustment
can start you out with a better
sound. Later it will be easier to fine tune when you get into
12
Orchestral
Percussion
Secrets
on
the
SQ-1
Part III — Ploying (Acrgtitih) Like a Percussionist
Mark Clifton
Well, now we've come to the final installment of our little
miniseries on the wondrous world of orchestral percussion.
The last few months I've focused mainly on programming the
These are the 30-inch, 28-inch, 25-inch, and 23-inch sizes.
sound parameters, so first I'll go over setting up the basic
ly, each one has a range of only a fifth of an octave and it's
performance parameters.
rare that the whole timpani part ever covers more than an oc
tave. It's also good to remember that it's only possible for
four timpani to be used at any one time, with each tuned to a
All these sizes combined give the timpani player a range of
an octave and a fifth stretching from low D to A. Individual
First of all, some general rules that should be implemented on
almost all of your percussion sounds. First, make sure that all
of your envelopes are set to FINISH. A drum with sound with
NORMAL envelopes will sound awkward when played stac
cato, since the sound should always sustain the same amoimt
with full envelopes no matter how it's struck (unless you use
some kind of special effect). Second, pitch modulation should
be controlled by velocity on the PITCH MODS page. This
simulates a natural bending up of pitch caused by the head
single note. These notes usually never change in a score since
it's extremely difficult to accurately retune in the middle of a
song. Retuning is possible, though, if the player has a long
enough rest to reset the tuning peddle. This should take no
more than 30 seconds or so.
Since the timpani is an instrument of definite pitch, it's dif
ficult to do realistic rolls with the sound mapped normally
across the keyboard since that would call for a single key to
be struck repeatedly extremely quickly. If you look at the
stretching tighter the harder it's struck. The amount really
depends on the characteristics of the sound you're using, as
long as it's a positive value. I find that a value of +30 works
well on unpitched instruments and a value of +20 or so is
good for mallet sounds. Finally, allow yourself plenty of con
trol over dynamics. You should be able to have very subtle
control over filters and volume. The percussion section has a
much wider dynamic range than the rest of the orchestra, and
timpani program I went over in part I, you'll notice that it
uses only two oscillators, one with a timbale wave and
another with a noise loop wave. Since you don't need a five
octave keyboard to play a one octave timpani part, the fol
lowing is an easy method to map the keys so that a roll can
easily be played quickly.
you should be able to go from pianissimo to fortissimo
without touching the volume slider.
First, zone the oscillator with the timbale wave to the octave
of your choice. Don't worry about the noise loop wave since
it should play the same pitch across the whole keyboard.
Next, take the as-of-yet unused oscillator and make a dupli-
Now for a little tip on doing timpani rolls. There are four
commonly used sizes of timpani in professional orchestras.
B a s s
Snara
Timpani
Crash Cymbals
Wood/Temple Blocks
<>.
Suspended Cymbals
Misc. Percussion
Misc. Percussion
(Rest of Orchestra)
Chimes
Mallets
Orchestra Percussion Layout Example
13
cate of the timbale wave and all of its parameters, except tune
it down an octave lower than the original. Then just zone the
new oscillator to the octabe directly above the old one. This
every conductor has a different way of playing the percussion
section. This diagram shows approximate placement of in
struments in the generally accepted style. Most conductors
will stick with this kind of setup with minor variations. The
way, you should have two identical octaves with one mapped
above the other. To play a roll, just play a tremelo between
the two keyboard zones. It should sound like you're hitting a
placement of extra percussion instruments, especially those
that aren't normally used, is up, as they say, to you. h
single note over and over again at a speed that would be in
human for a live keyboardist, but typical for a percussionist.
This method can, of course, be applied to any pitched percus
sion as long as it's used within the range of the instrument.
Bio: Mark Clifton is 16 years old and a composer of syn
thesized and orchestral works. He is the owner of a lone
SQ-1 with dreams for more Ensoniq pets, so he writes ar
ticles for this magazine while his parents beg him to get a
Here's another good technique for playing mallet sounds
realistically. Remember that mallet players usually have only
one stick in each hand. This means that to a person who's
job.
playing a keyboard, their playing response is rather slow. So
to keep from getting carried away and playing passages that
would be impossible for a mallet player, play the part with
one finger on each hand. This way you restrict yourself to the
playing technique of the lowly mallet player. The only excep
tion to the two stick/two finger rule is that in some applica
CHANGE OF ADDRESS
tions, especially with jazz vibe players, the player will hold
two mallets in each hand, allowing the playing of up to
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 them I) 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 themi)
four-note chords.
The final thing to remember is panning the sounds. Almost
Waveform
Mutilation
101
for
SQs
Part 4: Power Windows
Jack Stephen Tolin
Ever since the beginning of sound synthesis, many people have
wanted to continue playing tennis. Of course, the evidence for
this is clear — if you hit the ball harder (that is, faster) with the
called velocity windows (amongst other things). And that is
what this month's focus is upon.
racket and deeper (that is, closer to where the ball would hit the
First, type in the "Mitsubishi Pluk(Y)" program across the way
into your SQ-1(+), SQ-2, or SQ-R(+). Here we have a simple
base line), or softer (that is, slower) and lob it just over the net,
then chances are better for gaining a point. The same has not
example of such a "power window" effect. Note that the key to
our focus is the Velocity Window parameter found in the Out
always been true with the synthesizer. In fact, the first batch of
them were quite heavy — not exactly the Agassi favorite. On
top of that, velocity sensitivity was a thing of the future, an ob
ject of people's dreams, a technological advancement yet un
heard of, a zebra before getting its stripes. Consequently, if one
put bank. I have placed the value at "108" for Voices 1 and 2.
These voices make up the, hold on now, dichotomous synthesization to display the power window. In other words, if you
play (relatively) hard, then you will hear them; if you play
were to use synthesizers in creating music, they would have to
(relatively) light, then you will hear only Voice 3. Feel free to
create emotion relying purely on the sounds they could make,
utilization of pitch and modulation wheel or by using other
adjust this particular parameter if you find that 1 and 2 come in
too easily or too difficultly.
electric or acoustic instraments.
This ability provides much versatility for a single program. In
our example. Voice 3, the Guitar Harmonic, provides a
Fortunately, we can now look back on all of this and breathe a
sigh of relief. Thanks to a couple of guys from Commodore
who decided to be smart, stay on top of the field, and make
guitar-like sound in the lower octaves and an organ-like sound
in the higher octaves (try the mod wheel!) with a light touch.
Voices 1 and 2, Marimba and Chiff Flute, respectively, provide
the now typical D-50 emulation to be used as either a nice addi
tion or a lead sound. You may even want to step the CV pedal
forward for deletion of Voice 3. Putting together such a pro-
multiple technological advancements to help make the syn
thesizer something more useful and practical for the musician.
As a result, we the musicians, in order to form a more aesthetic
soundscape, are now able to make use of something exciting
14
SQ-1 & 2 Prog: Mitsubishi Pluk¥
By: Jack Stephen Tolin
1
2
3
S e l e c t Vo i c e
O n
O n
O n
Wave Class
String
Noise Rate
Wave
Tu n e d P e r c B r e a t h
ChlffFlute
Marimba
Harmonic
Level
Delay Time
000
000
000
Delay
Wave Direction
Fonward
Forward
MODSRC
Start Index
0 0
0 0
Forward
00
MODSCR
Off
Off
Off
Restart
0 0
0 0
WAVE
MODAMT
Restrk Decay
LFO
LFO Speed
1
2
3
Wave
-
00
1
2
3
Filter 1
2Lo
2Lo
2Lo
F I LT E R
M P
1
2
3
Initial
99
9 4
9 9
Peak
9 9
9 9
8 9
Break
7 0
7 0
8 9
Sustain
0 0
0 0
8 9
Attack
2 3
2 3
2 5
Decay 1
Decay 2
6 7
6 7
0 0
7 3
7 3
0 0
Release
3 8
3 8
50
Ve l - L e v e l
0 6
0 6
00
Ve l - A t t a c k
3 3
0 0
Ve l C u r v e
4 6
Convex
Mode
Normal
Normal
Normal
KBD Track
+00
+00
+00
Linear
1
2
3
Filter 2
2Lo
2HI
2HI
Octave
+0
+0
+0
FC1 Cutoff
055
127
075
1
2
3
Semitone
+00
+00
+00
E N V 2
+44
+00
+00
VOL
6 4
60
6 0
Fine
+00
+00
-02
FC1 KBD
+16
+00
Boost
On
O n
O n
ENV1
+00
+00
+00
MODSCR
Off
Off
+00
Off
MODSRC
Veloc
Veloc
Pedal
L F O
+00
Veloc
+00
+00
MODAMT
MODAMT
+10
+14
-60
Off
Pressr
FC2 Cutoff
127
000
000
KBD Scale
+00
+00
+00
+50
ENV2
+00
+00
+00
AO C8
A 0 C 8
AO C8
+00
Off
+00
+00
Off
FX2
Med
F X l
M e d
F X l
Off
Key Range
Output Bus
Priority
Pan
+00
+00
+00
Ve l w i n d o w
108
1 0 8
000
PITCH
MODSCR
MODAMT
KBD Ptch Track
+10
O n
O n
O n
FC2 KBD
Glide
Off
Off
Off
FC1MOD-FC2
Glide Time
ENV1
-
1
2
3
ENV2
2
1
Initial
Initial
9 9
)UTPUT
Med
3
CHORUS AND REVERB
Peak
Peak
6 0
Break
Break
3 5
Sustain
Sustain
0 0
Attack
Attack
3 6
Decay 1
Decay 2
Decay 1
Decay 2
45
Release
Release
50
Ve l - L e v e l
Ve l - L e v e l
93
Vel-AUack
Ve l - A t t a c k
00
Ve l C u r v e
Vel Curve
Linear
Mode
Mode
Normal
KBD Track
KBD Track
+00
48
FX-1
15
FX-2
2 5
Decay time
HF Damping
3 5
Chorus Rate
2 0
Chorus Depth
2 0
Chorus Center
5 0
Feedback
Chorus Level
+00
59
MOD (Dest)
BY (MODSRC)
Rate
MODAMT
+10
4 0
Modwheel
ward sample/s panned hard right completely different from the
forward sample(s) panned hard left while shutting down the
Output of the other at the same velocity. (In doing this, one
may prefer — or may be forced to face — alternatives, e.g. a
preset type of configuration.) The possibilities are quitd
gram in a like maimer would allow one to play and/or sequence
a song with just one patch.
The Effects Programming can be sparkles on the frosting. Al
though the effect I achieved was a subtle one, it demonstrates
my idea. The Chiff Flute and the Guitar Harmonic have FXl as
their Output Bus; the Marimba has FX2. The reason I did this
n u m e r o u s .
was to make Voices 2 and 3 more expansive — since they are,
That's all for now. Keep practicing your backhand! h
basically, functioning as pads (and why put reverb on a pad?)
— while retaining the attack for the dichotomous synthesiza-
tion provided by Voice 1 for a solid, simple and reverberated
Initial. (For this reason, you may want to make sure that the In
itial in the Amp bank is set to "99") And, as a matter of fact, it
is the Rate of the Chorus which is modulated by the mod wheel
which produces the subtle wiggly organ effect. You may
choose to replace the "Chorus and Reverb" with the "Rotary
Bio: Jack Tolin is currently a
Psychology major at Eastern
Nazarene College in Quincy, MA
and sometimes performs for the
Coffee House. It is said that,
Speaker & Verb" if you don't care for the stereo effect from the
effects section and desire a more realistic rotary speaker effect.
Then again, mess around with any parameters as much as your
many a time, you can hear very
loud and strange noises coming
out of his dorm room. It is also
heart desires!
said that, in a fit of despair, he
traded his SQ-R in for an
You may ultimately want to integrate such power windows
with frying pans (Part HI), waveform warfare (Part II), or back
SQ-I+.
ward masking (Part I). That is, in an extreme example, a
velocity window can be programmed to bring in a/two back
15
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Multitudinous Bangs for the Buck
Tim O'Connor
For: EPSs and Mirage (all samplers).
preceding samples on a track to find the one you are looking
for. In most cases, however, this is not a big deal since drum
Product: 1200 Sound Drum Sampling CDttl.
From: 3D Sounds, PO Box 114, Station C, Kitchener, Ontario, Canada
samples are by nature short and this does not take much time.
N2G 3W9.
Though rare, I did notice a few duplicate sounds, but this just
Price: $40.
demonstrates that a given manufacturer will often include some
of the same sounds in their various models.
Product: Sample Source Disk — 600 samples of the Emu Proteus and
Sampling CDs are a great idea in general. I enjoy doing my
own sampling, and I would much prefer to have the raw sound
than one that was sampled and edited by someone else. For one
Roland U220.
For: EPSs and Mirage (aU samplers).
From: Digitelesis, 8667 Via Mallorca #76, La JoUa, CA 92037.
thing, they are machine independent. I can create 13-bit samp
Price: $14.95.
les today, and when I eventually upgrade to an EPS 16+1 can
resample them at 16-bit fidelity. And when Ensoniq comes out
with their 48-bit 256-voice quadraphonic hard disk holographic
virtual reality machine, I'll be prepared for that, too (or be
I love drums. Drums and percussion. It seems I can never satis
fy my craving for high quality drum and percussion samples.
This may seem strange since I am not a drummer nor do I have
a strong desire to become one. I just think that the non-har
monic frequency content gives percussion instruments a more
slurping Maalox in a rest home). Another thing sampling CDs
offer is the ability to sample the sounds through an effects box
to achieve those "onboard" digital effects. And by carefully
sampling each chaimel of a stereo CD, true stereo reproduction
interesting sound than many "melodic" instruments. I am more
excited by the sound of an African balafon than a Steinway. It
is possible.
was with eager anticipation, then, that I cracked open and
started listening to in what, in my opinion, is the definitive col
lection of sampled drum and percussion sounds available to
Many of the sampling CDs we see advertised are priced in the
hundreds of dollars. This one from 3D sounds goes for just $40,
samplemaniacs like myself. This is the Drum Sample CD #1
which works out to about 3-1/3 cents per sound. This is amaz
from 3D Sounds.
ing. In all fairness to other CD manufactures, though, recording
electronic instruments directly from their outputs is much
easier and cheaper to do than to record real acoustic instru
To begin, the selection of drum sounds is nearly overwhelming.
The CD, over 71 minutes long, contains over 1200 drum, cym
bal and percussion sounds arranged into 57 kits. Nearly every
popular drum machine and drum sound module is represented
here, along with the drum samples from some popular samplers
(you will recognize Power Drums, for instance). The list in
cludes the XR-10, R8, RY-30, DR-550, HR-16, DDD-1, Drum-
ments in a recording studio.
Speaking of dirt cheap sampling CDs, some time ago I ordered
the Sample Source disk from Digitelesis which contains 600
samples of the Emu Proteus and the Roland U220 sound
modules. I haven't seen it advertised in the Hacker recently,
but it sold for only $14.95 and is great! Each sound is sampled
tracks, Emu Drumulator, the Roland TR-505, 606, 707, 808 and
909, Simmons, Linn Drum, SP-12, TX-16W, and other elec
once per octave, so really the 600 samples comprise 108 instru
ment sounds (the bass soimds have fewer samples).
tronic, processed, jazz, Latin, African and ethnic percussion as
well as a varied collection of sound effects. One track consists
of 43 snare drum sounds alone! There are, in fact, so many
myself systematically sampling each and every one — this
would take weeks — but, instead, pulling off an individual
Again, since the samples are recorded directly from the instru
ments' outputs, they are very clean. Because they were sampled
from electronic instruments, most of the pitches are rock-steady
and easy to loop. For the sounds that require long loops, it is
sound or kit when I need it.
often obvious with a visual editor where they were looped in
samples on this recording to choose from that I cannot see
the original instrument and you can use the same loop points. I
don't know if this collection comprises all the sounds of the
Since the recordings were made directly from the outputs (I as
sume) of the various modules the quality of the recordings is
Proteus and the U220, but there are quite a few. They are
very high. The one exception to this is the Sequential Circuits
Dnimtraks, but I believe this is a reflection of the sound of the
grouped on the CD by sound category. Track one contains bass
sounds, track two is brass, etc. In addition there are strings,
original instrument, which was, after all, invented during Druid
voices, reeds, flutes, plucked strings, synthesizers, pianos,
times. There are 57 tracks on the CD, each one typically cor
guitars and organs. Location times are given for each instru
ment so they can be quickly located on the disk. Some of the
responding to a kit. The accompanying booklet clearly labels
each track and gives the name of each sample in the track. The
samples were uimecessary, for example a synth or brass sound
might be recorded six times, once per octave, when it was ob
location times are not given, which for some of the vary large
kits this is an inconvenience since you must listen to all of the
vious that it was just a single sample being transposed anyway.
17
For those of us who have been collecting samples for some
users could sample themselves. However, I never actually
believed it would happen because of the limited market (which
explains the high price of most sampling CDs). I am glad I was
wrong, and hope the trend of low-priced CDs continues. And
with the advent of the Digital Compact Cassette format, which
will probably become the standard home recording format, we
should expect an explosion of user-generated digital sampling
time, many of the more traditional sounds on this disk are a bit
superfluous, after all, how many brass, string and piano sounds
do we really need? But at $14.95, it's well worth getting for
just the unusual synth sounds (of which there are about twen
ty)-
When digital sampling keyboards first became inexpensive and
therefore popular, and third party vendors began to provide
ready made sound disks for the various brands (all incompat
tapes that we will sell and trade with each other, h
ible with each other, of course), I thought it would be a great
Bio: Tim O'Conner is a professional software nerd by day and
a frustrated songwriter by night. His favorite color cannot be
idea if companies would produce compact disks of sounds that
seen by humans.
Night of the Living Puise Widths
Kirk Slinkard
Once, in the distant past, in a time shrouded by the mists of an
tiquity, the SQ-80 had just come out into the world and was
being fiercely challenged by some other beasts, one especially,
the "SQUARE" wave, I could get an impressive variable- width
called the M-1. The time had come for me to obtain a modem
tion that I had to formulate here, though. The ESQs and SQ-80
(at that time) synthesizer, so I explored the SQ-80 and found
three oscillators per voice like the majestic Memorymoog, but
with greater polyphony, and at less than half the cost, along
with audio-frequency amplitude modulation and hard synch
ronization, and of course, many more waveforms than the
Memorymoog had. Then, at the press of a button, it wielded an
impressive eight-track sequencer.
can effortlessly go way beyond this range for some nefarious
sounds, but I was just trying to duplicate the traditional P.W.M.
I was quite astounded by all this power. And then I scrutinized
the M-1. It basically just played samples and waves through ef
fects with only the most rudimentary synthesis capability, and
with a somewhat less impressive sequencer. It appeared to be
half of the pulse width range by diminishing its frequency as
much as an octave while it is SYNCed to a stationary oscillator
1. The chart shows what happens to oscillator 2 when you
move the mod wheel. Since they are initially tuned to the same
frequency, this ends up keeping oscillator 2's pitch constant
while changing only the waveshape, or in this particular case.
pulse wave with more modulation versatility than the older
synths could get. There was a certain specific range of modula
available on the older analog oscillators.
PULSEM
So I worked out a reference patch, PULSEM, that uses the mod
wheel to move oscillator 2 (with 1 and 3 turned off) through
little more than an organ and I puzzled how so many people
could be raving about it (admittedly, a subjective viewpoint).
So I acquired the SQ-80 and experimented
Patch - PULSE M
with features that I had never been able to use
before. Among the armaments included in my
new keyboard was a waveform labelled
"PULSE." I listened to it, expecting the sound
of a narrow pulse wave that I had been hear
ing for years on other synthesizers, but that
isn't exactly what I heard. I recall saying to
myself "Gee, this waveform stinks!" I found
that I could console myself by thinking of this
stationary
Oscillator 1
Oscillator 2
Mod Wheel
Back
Mod Wheel
particular waveform as one of the NOISE
family of waves (which is where I believe it
1/4 Forward
really belongs), but this left only the
"SQUARE" wave in the pulse family of
Mod Wheel
w a v e s .
Mod Wheel
1/2 Forward
3/4 Forward
I also Started to miss the pulse width modula
tion found in oscillators of most of the better
synthesizers of the past, but then I conceived
Mod Wheel
Full Forward
the idea that by using the SYNC feature on
1 8
With Sync Off
(Pitch Modulation)
With Sync On
(Pulse Width Modulation)
B Y: K i r k S l l n k a r d
ESO-1 PROG: Pulse M
OCT SEMI FINE
WAV E M 0 D # 1 D E P T H M 0 D # 2 D E P T H
O S C I
-10
0
SAW
OSC 2
-10
0
SQUARE
OFF
-
WHEEL
-24
ESQ-1
LEVEL OUTPUT
63
DCA2
DCA3
FREQ
F I LT E R
127
BY:
Klik
Sllnkard
O C T S E M I F I N E WAV E M 0 D # 1 D E P T H M 0 D # 2 D E P T H
O S C I
- 1
0
0
OFF
0 S C 2
- 2
05
0
M0D#1 DEPTH M0D#2 DEPTH
S A W
O F F
-
L F 0 2
+ 12
SQUARE
LFOl
+ 14
L F 0 2
+ 12
1
LEVEL OUTPUT M0D#1 DEPTH M0D#2 DEPTH
O F F
O F F
O F F
DCA1
ON
OFF
O F F
DCA2
O F F
O F F
O F F
DCA3
Q
KEYED
0
M0D«1
0
63
DEPTH
M0D#2
O F F
F I N A L V O L PA N
DCA4
PAN MOD
8
FREQ
WAV
L1
LFO 2
-
O F F
Q
1 127
1
O F F
KEYED
0
M0D«1
0
DEPTH M0D«2 DEPTH
O F F
O F F
F I N A L V O L PA N PA N M O D
DCA4
1
HUMAN
O N
OFF
DEPTH
O F F
FREQ RESET
O F F
63
DEPTH
O F F
D E L AY
12
MOD
LF01
-
LFO 3
r
63
8
DEPTH
OFF
FREQ
RESET
HUMAN
WAV
LI
L F O l
8
O F F
OFF
T R I
63
LFO 2
30
O F F
OFF
T R I
L1
L2
L3
LV
TIV
T1
T2
T3
T4
TK
LI
ENVl
ENV 2
ENV2
ENV 3
L2
L3
LV
+ 6 3
+ 6 3
0
T1V
D E L AY
L2
0
o1 o1
LFO 3
ENV1
MOD
-
OFF
-
W H E E L
T1
T2
T3
T 4
5
0
0
18
T K
ENV3
ENV 4
+63
+63
SYNC
MODESl
ON
+63
AM
0
0
MONO
OFF
0
GUDE
OFF
0
SPUT/UYER S/LPRG UYER LPRG
1 OFF
0
0
VC
ENV
OFF
OFF
0
OSC 2
-1
0
0
SYNC
OFF
+ 1
O F F
LFOl
+ 1
ENVl
LEVEL OUTPUT M0D#1 DEPTH
M0D#2
+19
63
DCA2
OFF
OFF
O F F
77
0
0
VEL
+ 5 0
F I N A L V O L PA N PA N M O D
1
63
FREQ
8
0
0
S A W
OFF
- 2
1
0
SQUARE
E N V l
OSC 3
0
0
1
P U L S E
OFF
OFF
OFF
Li
TRI
6 3
ON
DCA3
0
O N
FREQ
1
D E L AY
0
L2
L3
+20
LV
+63
T1V
40
7
0
T1
T2
28
44
T3
4 4
T4
TK
51
9
ENV 3
MODES]1
63
+51
SYNC
AM
ON
OFF
+63
0
MONO
OFF
17
GUDE
0
SPUT/UYER S/LPRG UYER LPRG
O F F
1 9
1 9
32
V C
ENV
OSC
O F F
O F F
SPLIT
O F F
M0D#2
DEPTH
OFF
OFF
+ 6 3
KEYED
41
O F F
-
M0D#1
DEPTH
M0D#2
DEPTH
ENV2
+ 6 3
ENV2
+ 63
SPRG
19
O N
CYC
J
LI
D E L AY
12
MOD
-
•
-
-
LI
L2
L3
LV
T2
T 3
T4
+ 63
-63
-63
0
0
0
50
63
63
11
ENV 2
0
-8
0
0
0
3
59
0
11
_
.
0
55
0
11
20
ENV
OSC
-63
-
+ 63
-
0
SYNC
:S P L I T K E Y
WAV
-
0
AM
MODES11 ON
1
HUMAN
E N V l
ENV 4
9
O F F
RESET
-
ENV 3
+
OFF
+ 6 3
LFOl
W H E E L
ENV 2
ENV 4
O F F
DEPTH
W H E E L
0
FREQ
MOD
LFO 3
L2
OFF
- 1
F I N A L V O L PA N PA N M O D D E P T H
LFO 2
LI
Sllnkard
-
Q
1 68
LFO 3
+63
M0D#1
OUTPUT
DCA2
LFO 2
E N V l
CYC
Klik
O F F
DEPTH
WAV
OSC
^
BY:
DCA4 [63
HUMAN
ENV
^
HPC
- 1
DEPTH
O F F
OFF
RESET
25
-
DEPTH M0D#2
PWM
OSC 2
LEVEL
-
FREQ Q KEYED M0D#1
FILTER 11
VC
OFT
OSCI
DCA1
ON
-
^
PROG:
DEPTH
O F F
DCA3
GUDE
0
O C T S E M I F I N E WAV E M 0 D # 1 D E P T H M 0 D # 2 D E P T H
OSC 3
DCA1
MONO
OFF
ESQ-1
M0D#2 DEPTH
LFOl
AM
0
S P U T / L AY E R S / L P R G L AY E R L P R G S P L I T S P R G S P L I T K E Y
1
EYrKirk Sllnkard
SQUARE
+ 6 3
MODES [ ON OFF ON 16 OFF OFF ON OFF
1
OFF
O F F
SAW
0
CYC
ON
O C T S E M I F I N E WAV E M 0 D # 1 D E P T H
0
ENV4
0
SPLIT SPRG SPUTKEY
O F F
OSCI
0
OSC
ESQ-1 PROG: PWM BRS
1 OFF
PWM
CSC 3
DCA1
LF01
LFO
OFF
OSC 3
D C A 4
PROG:
OFF
T I V
-
0
MONO
OFF
0
GLIDE
0
T1
V C
O F F
O F F
TK
CYC
OFF 1
O N
SPUT/UYER S/LPRG UYER LPRG SPLIT SPRG SPLIT KEY
OS^
-
19
-
OFF
^
OFF
^
the pulse width. When the wheel is all the way toward you, you
get a 50% duty cycle, or a normal square wave (for information
on duty cycles, see Clark Salisbury's transwave article in Issue
#77). As you move the wheel forward, the duty cycle increases
to nearly 100% to give a really narrow pulse wave. Whenever it
travels further away from 50% (in our particular case it only
goes higher, up to 100%), the fundamental frequency and lower
harmonics start to dwindle, and the upper harmonics increas
ingly dominate.
I should mention here that the pulse width range of 50% to
100% sounds exactly the same as the 50% to 0% range, so by
only having half of the full range to work with doesn't really
take anything away from the sound at all. This P.W.M. setup
has a wider modulation range and a more complete harmonic
content (brighter) than the PULSE... transwaves on fhe more
recent Ensoniq synthesizers (the VFXs, the SDs, and the newer
SQs). On the negative side, the low-resolution digital nature of
the waveforms makes the narrower pulse widths subject to digi
tal distortions, especially on the higher notes and on pitch
Hard or Soft
The SYNC feature foimd on these older Ensoniqs is technically
referred to as "hard synchronization." "Soft synchronization" is
a feamre that helps to keep oscillators exactly in tune with each
other. All you have to do with this is to tune two oscillators
reasonably close together and then activate soft sync on one of
them, using the other one as a reference frequency, then they
would stay perfectly in tune, relatively speaking.
With the digital tuning accuracy of most modern synths, this
particular feature isn't seen too often any more. Hard sync is an
extreme version of this that stops the slave oscillator (#2 in our
case) wherever it is in its waveform cycle, and starts it over at
the beginning every time the master oscillator (#1) starts over
in its cycle. This not only keeps them perfectly in tune with
each other, but modifies the slave (#2) oscillator's waveshape,
unless #2 is exactly in tune with #1, or tuned exactly one or
more octaves up from #1. When this is used on an oscillator
whose frequency is being modulated, all sorts of dynamically
bends and modulations.
moving waveforms become possible. So this feature lets you
turn any ESQ/SQ-80 wave into something very close to a
To give this patch a more static duty cycle, just turn off the
T R A N S W AV E .
mod wheel and tune oscillator two somewhere between zero
and one octave below oscillator one. Where oscillator two is
tuned will determine the pulse width. You should be warned
that if you tune it more than an octave lower than oscillator 1,
you will probably get the sound of silence whenever you try to
play it. This would actually give you a pulse wave that is trying
to go higher than a 100% duty cycle, and you would end up
with only the upper D.C. voltage of the original square wave,
and D.C. voltages are really boring to listen to.
LFOPWM, PWBRAS, and PWHPCD
Screaming Yellow Square Waves
Let's go back to a hit by the Cars for a slight variation on the
pulse width modulation technique. On the PULSEM patch, go
to the oscillator 2 page and change MOD I's level from -24 to
-1-63. This causes oscillator 2's pitch to rise with the wheel
rather than fall, thus causing a different sort of SYNC effect.
Now play something while you are moving the mod wheel.
Does this remind you of a lead synth sound you've heard
before? Even though oscillator 1 is still turned off, this varia
tion combines the sounds of both oscillators 1 and 2 in a way
I thought that I might as well include some more finished
that has some characteristics in common with the wah-wah ef
patches here as examples of P.W.M. applications. "LFOPWM"
(low-frequency oscillator pulse width modulation) uses the
LEG to slowly modulate oscillator 2 through some of its pulse
fect. You may want to save this as a separate reference patch
under a different name. It's such a slight modification that I
didn't want to include it here as a whole different patch.
width range, giving it a big chorus-like sound. This is a "dino
saur" patch that uses only primordial techniques, just like it
was done on old monophonic Moogs and Arps. The mod wheel
Epilogue
gives a seventies-style vibrato that can get a bit extreme if you
move it all the way forward. Play a note in the lowest octave
for a powerful bass soimd that was popular on the earliest stage
synthesizers.
You could literally make banks of extraordinary patches based
"PWMBRS" (Pulse Width Modulation Brass) uses an envelope
to modulate the pulse width, mostly on the attack, to give a
with (not just a handful of the more limited Transwaves). And
synthesizer brass sound. The mod wheel brings in a more subtle
vibrato.
solely on this pulse width modulation technique. And when you
add the technique from the previous paragraph and all the dif
ferent waveforms on the ESQ/SQ-80, you have virtually an in
finite variety of dynamically changeable waveforms to work
of course, that's before any filters or amplifiers are applied. For
some more hints, check past articles and Hackerpatches for
patches that have SYNC turned on at their MODES pages. So
the next time anyone tells you that the ESQ or SQ-80 is too old
The "PWMHPC" (Pulse Width Modulation Harpsichord) patch
or obsolete, you can tell them that the realm of synthesizers has
uses a more subtle modulation throughout the sound in an at
one thing in common with the animal kingdom: some of the
most powerful and ferocious beasts ever to walk the earth were
tempt to simulate a harpsichord. Mostly, it just depends on the
narrow pulse width sound to get the predominant higher har
monics, or brighter tone. Here, the mod wheel brings in oscil
lator 3 to add an upper octave (just a static oscillator sound
here, though).
the dinosaurs. Mod you later, mm
Bio: Kirk Stinkard hangs out near Denver and plays synth. His
favorite color is ultraviolet.
C l a s s i fi e d s
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21
SD
&
VFX
Hackerpatch
Sam Mims
SD & VFX Prog: Rhodes Tine
By; Walter Cooper, Latter Sound
NOTES: Rhodes Tine is a straightforward Rhodes piano. You can add some bite to
this sound with velocity. Since the essence of this patch is transwaves, fuU velocity
causes some weird ringing — but I like it.
THE HACK: Here's one to add to the piano bank. This patch is a bit more syn
thesized sounding than a real Rhodes, but it's nice. You can get closer to the real
thing by changing the waveform of Voice 3. Try using the transwave ESQBELL-X
for a nice round sound. It's also interesting using other attack waveforms here for
different effects; my faves were MARIMBA, DOORBELL, PNO-PING, and
SynchroX I h h a r m X
SynchroX
DIglPlano
Delay
0
0
0
Direction
1 also found an interesting but subtle variation by switching the Ef
fects setting to the stock PHASER+REVERB.
-Sam Mims
SELECT VOICE
1
1
1
1
0 0
•0
Wave
0
three.
0 '
6
WAVES
GTR-HARMO (with the Pitch OCTave set to 0 or +1 for these last
•
•
;s
;s
;g
;i
s
®
3
s
2
3
4
5
6
4
5
6
4
5
6
4
5
®
Forward
Start
0
9 3
99
ENV1
6
Ve l S t a r t M o d
0
Initial
255
ModScr
L F O
Keybd
Keybd
Peak
9 9
ModAmt
0
+60
-64
Break 1
9 9
Break 2
9 9
Sustain
9 9
2
3
SRC-1
• O f f
TImbr
Attack
9 9
SRC-2
Veloc
Press
99
SRC-2 Scale
0.7
1.0
SRC-2 Shape
QuIkRIse
Linear
Decay 1
Decay 2
Decay 3
Release
23*
KBD Track
0
Vel Curve
Mode
Cnvx2
Ve l - L e v e l
0
Ve l - A t t a c k
0
00
MIXER
ITCH
1
1
4
5
5
6
2
3
4
6
Octave
Semitone
0
0
0
-1
0
0
-1
0
Fine
0
0
-6
+12
P i t c h Ta b l e
System
System
System
System
99
99
Finish
2
3
Initial
99
9 9
99
;nv2
PITCH MODS
1
4
5
6
MODSRC
Noise
LFO
Noise
Envl
Peak
9 9
7 5
99
MODAMT
+2
0
+5
+62
Break 1
54
5 0
5 4
Glide
None
None
0
42
2 5
4 2
0
None
0
Break 2
ENV1
LF01
None
0
Sustain
0
0
0
0
+10
0
0
Attack
0
50
0
31
50
31
6
Decay 1
Decay 2
Decay 3
5 8
50
5 8
72
5 0
Release
43*
50*
KBD Track
10
0
16
Vel Curve
Linear
Cnvx2
ChVX2
Mode
Normal Normal
Normal
Ve l - L e v e l
6 6
5 0
7 0
Ve l - A t t a c k
0
0
0
LTER1
2
3
4
Mode
2LP
2 L P
2LP
3 L P
Cutoff
25
127
127
9
K B D
MODSRC
0
• O f f
+25
Mixer
- 5 4
0
•Off
•Off
MODAMT
0
+29
0
0
ENV2
+68
+50
0
+72
I LT E R 2
1
2
3
4
2
3
4
2 H P
2HP
2HP
I M P
Initial
9 4
9 9
9 9
99
Cutoff
0
0
0
0
Peak
9 9
8 6
9 3
99
KBD
0
0
-99
0
Break 1
8 5
0
8 5
8 5
MODSRC
Envl
TImbr
Envl
Envl
Break 2
7 0
0
7 0
70
MODAMT
0
0
0
0
Sustain
0
0
0
0
ENV2
0
0
0
0
Attack
27
1 9
16
0
Decay 1
Decay 2
Decay 3
45
51
4 5
45
47
2 7
4 8
6 0
0
8 0
8 0
30*
43*
36*
1
5
ENV3
5
6
3
4
8 6
76
5 0
6 4
Release
74
36*
MODSRC
Mixer
LFO
Keybd
Mixer
KBD Track
28
0
5 7
2 8
MODAMT
-1
0
-30
0
Ve l C u r v e
ChVXl
ChVXl
Chcave2
Cnvx2
KBD Scale
Zone
0
Zone
Zone
Mode
Normal Normal Normal
Normal
A0/C7
FX2
A0/C8
A5/C8
FX2
Ve l - L e v e l
26
45
3 9
21
DesF Bus
Ve l - A t t a c k
0
0
0
0
Pan
43
5 0
4 3
4 3
MODSRC
Keybd
L F O
Keybd
Keybd
MODAMT
+35
0
+35
+35
Pre-Gain
O N
Off
Off
O h
P i t c h Ta b l e
Off
Effect
Vo i c e P r i o r
Medium
Medium
Medium
Medium
Bend Range
2
Decay
& Reverb
5 8
Delay
X4
FX1
2 5
Restrike
Glide Time
2 4
FX2
2 2
Ve l T h r e s h
J O
0
1
2
Rate
3/C6
■ CFX2
■"FX2"~
+52
0
3
4
6
1
__
2
VOL
5
6
7 2
...tjr
Mode
)UTPUT
1
5
+96
5
• O f f
MODAMT
0
Level
MODSRC
Press
Delay.
Wa v e s h a p e
0
Restart
Noise SRC RT
O
Tr i a n g l e
8 5
EFFECTS (3)
EFFECTS (2)
0
n
91
22
Chorus
0
6
4 3
MODSRC
EFFECTS (1)
PGM CONTROL
Wa v e s h a p e
Sine
Rate
1 9
ModSrc
• O f f
Depth
Delay
1 3
H F C u t
Off
Rate Mod
0
Depth Mod
0
Mix
3 0
5 3
PERFORMANCE
Timbre
0
Release
0
1
SO-1
&
2
Hackerpatoh
Jeffrey Rhoads
By: Bivel Sylvain
Prog: Breath Soul
WAVE
LFO
Effects Programming
(To save space, only those
effects utilized are listed. A
complete blank form was
published in Issue #68.)
A M P
The Hack: Breath Soul seems, at first, to be a sort of entry-level vocal pad. As
it stands, it certainly works on that level; i.e. New Age, soundtracks, etc. However,
minor tweaking of some parameters that haven't been taken advantage of will give
Breath Soul the "soul" it needs. You can create a slight pitch shift at key release
by adjusting ENV 1 to +03 in the Pitch Section. Also in the Pitch Section, set LFO
to +02. Then go to the LFO Section and turn the LEVEL to 08 and change LFO
SPEED to 25. This will add a hint of tremelo. In the Output Section, correct VEL
WINDOW to 000 and use +08 for the MODAMT. This will add brightness as the
wheel is applied, instead of fading the voice. Finally, try boosting the Chorus. In
8-VOICE CHORUS
FX-1
FX-2
6 2
Chorus Rate
2 0
Chorus Depth
2 4
Chorus Center
60
Feedback
00
MOD (Dest)
BY (MODSRC)
FX1-Mix
Off
the Effects Section, change CHORUS DEPTH to 40 and
5 6
switch FEEDBACK on to 35.
Jeffrey Rhoads
Bio: Jeffrey Rhoads has been a keyboardisticomposer on
the Philadelphia Jazz and R + B scene for a period of
time resembling forever. He has an interest in cinema
and has developed some film courses. Jeff still believes in
MODAMT
magic and longs for city lights.
SQ-1 & 2 Hackerpatches are published with the same constraints and understand
ings as the ESQ, SQ-80, and VFX patches. The hacking and mutilating part is
being handled by Jeffrey Rhoads.
23
The
Interfaoe
Letters for The Interface may be sent to any of the following addresses:
U.S. Mail - The Interface, Transoniq Hacker. 1402 SW Upland Dr., Portland, OR 97221
Electronic maU - GEnie Network: TRANSONIQ, CompuServe: 73260,3353, PAN: TRANSONIQ, Internet (via CS): [email protected]
This is probably one of the most open forums in the music industry. Letter writers are asked to please keep the vitriol to a minimum. Readers are
reminded to take eveiything with a grain of salt. Resident answer-man is Claik SaEsbury (CS). Letter publication is subject to space considerations.
One thing I would like to see is Bill
Greetings TH, CS and Hackers,
One of the exciting things about the
EPS-16 Plus is that its FX chip (ESP chip)
is driven by software loaded from floppy.
Bill Mauchly has taken advantage of this
with the release of WaveBoy's "Parallel
Effects Disk 1.0." Craig Anderton's review
of the PED-1 was great to see. Unfor
tunately Craig was too early to review
another algorithm that WaveBoy has
released and that is a PITCH SHIFTER.
Having struggled to get the EPS to do this
in my article in TH #79 it was of special
interest to see this capability implemented
(properly) in the FX chip.
Mauchly or someone else at Ensoniq write
a series of articles on the ESP chip similar
to those of Gary Giebler on the Ensoniq
disk format. Gary's articles have been the
match, but I suspect it'll have a max sam
pling time of about three minutes. Best of
all (and here's where the two steps ahead of
the pack comes). It'll have 76 keys and a
24-track sequencer!! And what do you sup
inspiration for a number of software
projects that I know are now underway in
the 3rd party domain (watch TH for further
pose they'll call this beauty? How about the
"ESS" which they'll say means "Ensoniq
Stereo Sampler" but I think means "En
info...) At the risk of creating competition
for himself, how about Bill releasing a
ESP chip "Developer's Kit" so we all can
have a go at programming FX. Presently
there are a few people around looking at
the code for the FX that is stored on flop
soniq Super Sampler!!"
Well that's my expectation. I hope I'm
close and that it'll still be under $2999 so I
can afford one. If I'm right, how about
pies... a long slow process.
sending me one to review? I promise to
give it back (imless I buy it first!)
Scott Fisher [scott(®wapsy.uwa.oz]
Thanks for the time and space.
WaveBoy's pitch-shifter is great. You can
transpose +!- 36 semitones with a mini
Department of Psychology
University of Western Australia.
Sincerely,
mum
Nedlands, 6009. PERTH, W.A.
Mike Castronovo
resolution
of
I
cent.
Pitch
shift
amount may be fixed or modulated by the
Studio "B" Recording
[TH - That'd be neat.]
Rockford, IL
on the back of the EPS-16 Plus.
Dear T.H. Interface,
[CS - It will also be available with custom
tuck-n-roll upholstery on the front panel
and built-in drink holder, ashtray and air-
Exciting times we live in. I'd hope to see
all the FX with this capability at some
I am a definite believer in Ensoniq
bag as the "ESS Brougham."]
samplers. I first owned a Mirage and now
an EPS for my business. Studio "B". Be
cause of my full time occupation, I must
Dear Hacker,
keyboard. The input to the pitch shifter can
come from the internal samples, or,
CHECK THIS OUT, the "audio-in" jack
stage in the future. You'd have consider
able low-level control over all the major
insides/parts of the algorithm.
it's not shown in the manual. Here's what I
closely follow the music industry trends
for future studio equipment needs. It seems
to me that a new sampling keyboard
should be out from Ensoniq soon. I say
think's going on...
that because the trend has been a NEW
The pitch shifter path I had to work out as
RELEASE (like the Mirage or EPS) then
(Dry amount)
I
I
I
V
In—Pitchshifter—Delay—Reverb—>Stereo out
|< (Feedback)
Note the pitch-shifted signal can be
delayed and fed back into the input of the
pitch-shifter - great for spiralling
UP/DOWN pitch effects.
At the risk of sounding like I have shares
in WaveBoy (which I don't) I can't rave
enough about the PED-I (which now
comes with the pitch shifter as a bonus).
Second only to TH on the "essential acces
sory list" for the EPS. Do it now - go buy
it.
approximately two years later an UP
GRADE VERSION... (like the Mirage
DSK or the EPS-16-I-). Well, if I'm right,
we should soon be seeing the NEXT GEN
ERATION Ensoniq sampler.
Based on what I see happening with
As you've probably suspected, there are a
number of us whose uses for Ensoniq axes
go beyond the usual pop/rock styles. As a
full-time church musician, I use my
VFX-SD Version 2 in a typical church
"contemporary ensemble" context, and in
some more conventional uses with the pipe
organ. But I've also realized some quasiNew-Age sounds emulating the gamelan for
some more avant-garde choral music. These
have been wonderful opportunities to learn
the ins and out of the Ensoniq sequencer - a
sampler trends, and how Ensoniq likes to
keep two steps ahead of the pack, I thought
I might project what I perceive the next
t e r r i fi c t o o l f o r m o s t u s e s .
unit to be. It should be a true stereo unit
quencer, of course, are lack of tempo con
trol and inability to do multiple meters
within a piece. That has led me to start
that will be compatible with all EPS
samples. It'll have built in 4 or 6 outputs,
with optional SCSI interface. The interface
won't be as popular because it'll also have
a n o p t i o n a l B U I LT I N H A R D D I S K
DRIVE OF 40-130 Meg. Standard would
be 2M of RAM expandable (with standard
SIMMS CHIPS) to approximately 20
MEG. I'm not sure if these specks quite
2 4
The big limits of the Ensoniq onboard se
playing around with Performer on my Mac.
(Setup details: Mac SE with Dove 68030
accelerator. Performer version 3.61, Apple
M I D I i n t e r f a c e , E n s o n i q O S v. 2 . 1 ) .
Though it's a powerful program, I hope to
avoid lugging the computer around for
every gig, so I'm experimenting with load-
ing the finished sequences back into the
VFX-SD for performance (not synced to
the source of your difficulties.
the internal beat).
2 ) A c t u a l l y, t h e c l i c k s o u n d i s n o t
generated separately from the other VFX
voices - it plays an internal woodblock
spent on the first upgrade. If you have
never upgraded your instrument, no matter
what the version you currently own, the
sample (or something like that), so there is
no advantage in trying to access it via
MIDI. You're just as well off using a voice
price will be $699.00.]
of your own choosing to produce a metro
nome track for your sequences.
Dear Sir,
Some questions for the gurus:
1) When the material is dumped back into
the VFX-SD, I apparently lose poly key
pressure information. I hear it going into
Performer (and see it, too - like an army of
is in recognition of the money already
ants crawling across my screen!), and it
I have owned an SD-1 for one year. It's a
plays back into the VFX fine, but when
3) Rumor has it that such an interface does
playing back from the VFX sequencer it's
exist - I once did some consulting for
gone! This happens both in Multi Record
and timbre controllers seem to come
Rogers Organ when they were first at
tempting to MIDI up their electronic and
pipe organs. Of course, Rogers is now
owned by Roland Corp., so maybe they'd
through okay.
have some ideas. Also, Bill McCutcheon
mode (all tracks at once) and when I try to
record the tracks one at a time. Volume
2) Also, if I want to use percussion sound
as a "click track" that reflects my rubatos
and meter changes, I risk using up some of
those valuable 21 voices (I like dense, sus
tained New Age textures). Is the "click"
3) I'd love to get in touch with anyone
who has retrofitted a fully flexible 2-way
MIDI interface to a decent sized pipe
organ. I know the gear exists, but my local
pipe organ people don't know the details
and are dependent on the shoddy docu
mentation or antiquated technology of the
few folks who deal with this (admittedly
limited) market. The documentation I've
seen is pathetic, and makes me appreciate
the clarity of the Ensoniq manuals for my
VFX!
4) Did I read somewhere that somebody
got an SD-1 upgrade for $150 after having
upgraded to the VFX-SD Version 2? Does
that mean us VFX-SD Version 2 owners
great musical instrument.
Is it possible to store sounds in my Mac
Quadra computer via Editor/Librarian soft
ware? Can you suggest some companies
that support the SD-1? And is it possible to
install a SCSI interface on my SD-1?
(Exalted Scientist, Sound Designer, and
General Answer Dude at Ensoniq) thinks
he knows of one. Check with him at En
I look forward to your reply.
soniq.
Yours sincerely,
Jean-Luc Berthelot
4) Yes, you did. And I don't know.]
Drancy, France
[Ensoniq -If a customer has already spent
[CS - You should be able to use your
Quadra to store SD-1 sounds. A number of
companies make editor and or librarian
programs for Macintosh format computers
- I've had good luck with Galaxy from Op-
sound in the sequencer generated separate
ly from the other voices, and if so, is it ac
cessible separately somehow?
$699.00 to upgrade again. The lower price
$699.00 to upgrade their original VFX-SD
to a VFX-SD Version II (with the MegaPiano waves), or to a regular (21 voice)
SD-1, we will not to charge them another
Recession Sequence Sale ^
L. B. Music will sell 10 sequences for an amazing
$85 + $3 s/h through August only!!!
Now is the time to buy the songs you thought you'd get sometime later.
Certain formats unavailable at sale price. Mention this ad to receive this offer.
• Now with full documentation
• MasterCard and Visa accepted
• Toll-free order line (orders only please)
get that rate, or the oft-quoted $600?
1-800-3LB-MUSIC
Thanks for the rag. You make me want to
buy an EPS when my ship comes in!
Sincerely,
FAX:
215-356-6737
L. B. Music Sequences
51 Charter Oak Drive, Newton Square, PA 19073-3044
John Seboldt
Miimeapolis, MN
CompuServe 72521,641
V I S A
[CS - 1) The only thing I can think of is
that you may have individual tracks in
your VFX-SD either set for the wrong kind
of pressure, or else have pressure recep
tion disabled altogether. If this is not the
case, I'd suggest calling Ensoniq Cus
tomer Service (2151647-3930) directly they should be able to help you track down
VFX-sd . SD-l/SD-1 (w/32 voices) • EPS/EPS-16+
Korg T-1-2-3 • Korg 01/W • Alesis Data Disk • Proteus
Dedicated Sequencers
2 5
code systems, but other programs exist
(and shouldn't be hard to locate).
The main question is, "Will the program
run on a Quadra?" The Quadra is a spendy brand new fancy-schmancy high-end
computer from Apple, meaning that
pioneers like yourself are the first brave
few who will blaze the trail into the land of
I know of no way to install a SCSI inter
With a little effort we can use an existing
face on your SD-I. Bear in mind that most
of the information that you might be buss
computer diagnostic/utility program and
then reformat and reload FAST from tape.
ing around a computer system from your
SD-I takes up so little memory (compara
tively), that MIDI ought to work just fine putting a SCSI interface on your SD-I
Any current half hour reload tips would be
greatly appreciated.
might be kinda like installing an electric
garage door onto your second bathroom -
strange incompatibilities and mysterious
it would work, but it might be overdoing it
Yours truly.
Orion Engar
Dorian Research Corp.
high-tech hiccups, forging the path for the
just a teensy bit.]
Sardis, BC Canada
these money-sucking collections of chips
and dip switches until something new
comes along to entice you and your
[Ensoniq - We also know that Dr. T's
[CS -Actually, EPS-16+ OS 1.10 includes
a "Copy SCSI Drive" utility which will
money-market into the next greatest thing,
reached at I-800-989-MIDI. Sound Quest
making the current greatest thing passe
and available as used (read:boring) hard
also lists VFX support, they can be
able to get this OS at your local dealer if
reached at 1-800-667-3998. Interval
ware at a substantial cost savings. The
you don't already have it. Of course, that's
Music also has a stand-alone VFX editor
not much help after the fact, but it's my
slogan for us middle income earners?
(which was reviewed a while ago in the
job to point these things out.]
rest of us who won't be able to afford
"The power to be second best." But hey I'm not envious or anything. Why, I don't
even know the meaning of the word "suc
Music Software has X-Or for the Mac,
which includes SD support. They can be
allow you to backup the contents of one
S C S I d e v i c e t o a n o t h e r. Yo u s h o u l d b e
Hackerj, and they can be reached at (310)
478-3956.]
cinct."
Dear TH,
Dear Hackers:
Before you buy any software, contact the
manufacturer (via phone, FAX or satellite
uplink) and ask them if their software will
work on your machine. And if it doesn't,
just remember - pioneers don't whine.
Well it happened. My [email protected]#$%a* 210-Meg
Quantum attached to my EPS-16+ had a
massive seizure.
I found a way to get around the "loop off /
I run everything off a Tripplite LC 1800
loop on" syndrome. I read that article and
previous articles about this problem on
Line Voltage Conditioner and have taken
TURN YOUR MIDI
SEQUENCER INTO A
HIT SONGWRITING
MACHINE WITH
BACKGROUND
R H Y T H M PAT T E R N S !
k Now with just the touch of a button you can
S have the perfect rhythm track to use for creating
your original songs, jingles, and soundtracks.
This innovative program offers over 180
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accompaniments that will help to get your ideas
S flowing to the lop of the charts. A variety of
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• Sounds 100% real! All .sequences were played
in real lime.
• Chord charts provided for all of the sequences.
• Excellent for learning how to arrange and play
all .styles of music.
• Works with any midi set up that can produce
drums, piano, bass, and guitar. Type 1 midi file
format for all computer sequences.
AVA I L A B L E D ATA F O R M AT S ;
MAC, IBM, ATARI, AMIGA, Roland MC300/500/
M C - 5 0 / M V- 3 0 / W 3 0 E n s o n i q S D - I A ' F X - S D / E P S /
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Korg T-Serie.s/Ol/WFD
$49.95
VISA AND MASTERCARD ACCEPTED
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P.O. Box 37363
Oak Park, MI 48237 Phone: (313) 355-3643
Answer to Mike Engh's problem in Issue
#82, question #3:
great care to never overwrite files. Hard
song or sequence mode. I tried Record
Add on an empty track and then I tried
drive hardware failure is the tech's diag
Add On "loop off like everybody else.
nosis.
Well, here's the answer. You start with a
Anyway, my only solution is to wait for
my new drive (it is on warranty) and
reload all floppies. We are talking 160+
floppies - about 650+ sound files. Oh,
what a feeling!
new sequence, put it to "loop off." Don't
Ensoniq's upcoming new operating system
Another thing that I do is that if I have an
with its backup features would have
old sequence that I have left with Loop On
helped me a little. As it is now. all my
banks I so fastidiously saved separately to
floppies will no longer load the ap
I use an Alesis Data-Disk. Save the se
propriate sounds from my new hard drive
unless I get the hard drive to look EXACT
and put "loop off" before I record any
thing. To make sure I shut my hard drive
and my 16+ off. I booted both back up and
it remembered the "loop off."
LY like the old one. Easily TWO LONG
days of work.
change it, it worked. So then I tried
another sequence and it worked. Then I put
the sequence in Song Mode and it worked.
So success came to my EPS-16+.
quence to Data-Disk and then put the 16+
on Multi Record sequence back to the 16+
Ensoniq, PLEASE don't stop at simple file
Does Ensoniq need any help in Pennsyl
backup to floppies on the new OS. Who in
vania?
their right mind wants to have a floppy
backup of 160 disks? There must be a way
to backup to tape. No muss, no fuss. Every
"sane" LARGE hard disk computer user
uses tape backups. We need a tapedrive-capable backup so it would be an
easy thing to reformat and reload. A hard
disk utility program would also be nice but
give us the EPS FASTBACKUP FIRST.
2 6
Donald Suite
Holliday, Utah
[CS - Donald, I think you may have
misunderstood the problem that Mike was
referring to. Yes, it is true that the
EPS-I6+ does remember the setting for
the loop switch for individual sequences.
The difficulty Mike was having is that the
idea why it was programmed to be higher?
EPS-16+ does not remember the loop set
ment volume slider to control each "draw
bar" when all instruments are double click
ting for songs. As far as songs are con
cerned, the loop setting is global - if you
turn the loop on, it will stay on for any
subsequent songs, no matter what setting
Thanks for all the help.
S. Asphaug
ed. Hot-cha-cha. Instant B-3. Well, almost.
Trondhjem, Norway
I'm working on a Jimmy Smith sound, still
was used for the song originally. Addition
[CS - The Mirage can be used as a data
storage device for nearly anything that's
capable of sending data via MIDI sysex the SQ-2 included. A number of alternative
operating systems were once available to
add this capability to the Mirage, but the
ally, the default condition for the song
loop setting is "On," so if you want song
looping off, you have to remember to
manually turn it off each time you fire up
theEPS-16+.
Also, I think you may be taking the long
way around for re-setting the loop switch
on your earlier sequences. If you want to
make a permanent change to the loop set
ting for an individual sequence, simply
the sequence file.
And as far as this loop thing goes, my un
derstanding is that Ensoniq, realizing that
As far as tape syncing goes, you should be
able to use your ESQ-1 as an interface be
tween your tape deck and the sequencer in
your SQ-2. What you'll need to do is set up
a blank sequence in your ESQ-I - perhaps
from "Internal" to "MIDI." Finally,
First of all I'm glad I have the possibility
to ask my questions here - not too many
people around where I live can help me. I
own the following gear - a Mirage, an
ESQ-1, an SQ-2, a Roland TR-505 and of
course a DX-7 (as everybody has one).
I don't use the Mirage as a sound module
very much but as a storage medium for the
ESQ-1. It does a good job. The SQ-2 is my
favorite and my master of course, but I
can't get it exactly where I want it.
First of all, can I dump sequence data
directly from the SQ-2 to the Mirage as I
synchronize your ESQ-I to the tape deck
in the normal fashion, and you should be
in business. The ESQ-1 will now recover
the sync code from tape and translate it
into MIDI clock information readable by
the SQ-2.
Finally, my understanding is that since
there is no agreed-upon standard for
octaves ranges of sounds produced by
electronic instruments, Ensoniq generally
tries to place sounds on the keyboard so as
to maximize the usable range of an instru
ment. As you've discovered, this may not
be the instrument range that works best for
everybody, so Ensoniq's tried to make it as
easy as possible to change instrument
transpositions.]
Can I use this option in any way from the
SQ-2? I guess this is elementary stuff for
the pros but I haven't been able to obtain
this information through the manuals or by
asking the people at my local dealership.
Since you ask about simulating the Leslie
make regarding the simulation of chorusing effects would be to copy the primary
layer of your basic organ instrument, and
use the LFO to to do a fairly subtle
pitch-shifting of the copied layer. When
these two layers are played back together,
you should be able to get a pretty good ap
proximation of a standard chorusing effect
- albeit at only one speed. To simulate a
two speed Leslie, you might try copying
LEARN JAZZ
IMPROVISATION W
WITH YOUR MIDI ^
SEQUENCER!
INTRODUCING JAZZ THROUGH MTOI™
A FUN AND INTERACTIVE
SOFTWARE FOR LEARNING JAZZ.
Now you can practice, learn, and jam with an
out.standing midi jazz quartet anytime you want.
Study cla.s.sic jazz solo.s and accompaniments as
played by the great jazz ma.sters. Program offers
a variety of Jazz standards and exercises with
levels of skill for beginning, intermediate, and
advanced players.
• Wide variety of jazz styles: lielxip. Modal. Litin
Fusion, JazzyWaltz, and Blues.
• Practice exerci.ses for ear training, scales, chord
secjuence to half speed.
• Ikioklet provides lead sheets for all chord
Hackeroonies,
progre.ssions, solos, and practice exercises.
• Program requires a midi synth capable of
tudio 244. The ESQ-1 has the tape-sync
feature which makes life easier for me.
[CS - Great tip, Al - thanks!
voicings, and comping.
• Figure out hot jazz licks by slowing down the
can with the ESQ-1? Can I also load
patches the same way? I also have Portas-
P O Box 172
effect, I must assume you're using an EPS
classic - the one without the built-in ef
fects. About the only suggestion I might
an upcoming OS version - so stay tuned.]
Dear TH,
A1 Trautman
patches and presets to Mirage disks.
files, has decided to add this function into
save the loop setting along with their song
Ensoniq?
Lydia, LA 70569
a short sequence set to loop will suffice.
Next, run a MIDI cable from the MIDI out
of your ESQ-I to the MIDI in of your
SQ-2, and switch the SQ-2 sequencer clock
a number of customers want to be able to
simulate the Leslie chorusing. Any ideas,
only one I know of that's still available is
the excellent Midicaster program from Tim
Martin (1510 S. 5th West, Missoula, MT
59801, 4061542-0280). This program
should allow you to store sequences,
change the loop switch to the desired set
ting and re-save the sequence. The loop
setting will be stored along with the rest of
trying to simulate the attack. Anyone with
any ideas please write me. Also trying to
Try this out. Get Joey DeFrancesca's (sp?)
B-3 EPS collection. Load disk 1 to instru
ment 1 and disk 2 to instrument 2 (AFTER
you copy instrument 1 on instruments 3 4 - 5 - 6 - 7 - 8 . Tr a n s p o s e I n s t r u m e n t 1
two octaves. Instrument 3 a fifth down and
And a final question: The SQ-2 has a
beautiful piano. I like it a lot. But for some
reason it is one octave higher than the
other voices. I have transposed it down so
don't transpose Instrument 4. On Instru
ment 5 transpose one octave up and Instru
ment 6 an octave plus a third. Transpose
Instrument 7 up an octave plus a fifth and
Instrument 8 up two octaves. With this
everything is okay, but do you have any
setup you can use the individual instru
2 7
producing piano, ba.ss, horns, and drums.
Type 1 midi file format for all computer .sequencers.
AVA I L A B L E D ATA F O R M AT S :
Macintosh, IBM, Atari, Amiga, Kawai Q-KO
Roland MC-S0/MC500/300/W30/MV-30
K o r g T- S e r i e . s / O l / W F D E n s o n i q S D - l / V F X - S F ) /
EPS/SQ-HO Yamaha Sy77/.SY99/QX3
Alesis MMT«/Daiadisk only
$49.95
VISA AND MASTERCARD ACCEPTED
NEW SOUND MUSIC
P.O. Box 37363
Oak Park, MI 48237 Phone: (313) 335-3643
the primary layer again, and using the
LFO once more to control pitch-shifting of
this third layer, but this time set the LFO
for a faster rate. You could then use pres
probably less than $2, I had hoped that
Many Midi would trust me. But No!
sure, the modwheel, or some other con
They did send me another copy of the lost
disks so I got something for my money,
troller to cross-fade between layers two
but not what I wanted.
and three, allowing you to switch between
slow and fast chorusing. It probably won't
sound 100% like the real thing, but it
Be careful out there,
should be closer to the effect you want
than nothing at all.]
Sebastopol, CA
Denis Hulett
Letter to the Editor,
[CS- The vast majority of mail order com
panies are reputable, with some even
providing better service and support than
Money back guarantee?
local dealers. Still, when ordering
products through the mail it pays to be just
a little extra careful - keep good records,
This is a helpful reminder for people deal
ing with mail order companies. If you
return a product for a refund, be sure to
and if asked for a credit card number, try
to determine if the product will be shipped
before the credit card is charged. And if
publishing biz will tell you) the only
culprit in this case was the good oV postal
monopoly. Every month we can count on
getting at least a dozen calls from people
whose issues somehow made it to outer
space. At this point. Many Midi has no
way to distinguish between people who
just call and say, "I sent back the disks,
send me my money" and people who ac
tually did. Oh well, maybe your disks will
eventually show up.]
Dear Hacker,
When I am sequencing with my SQ-2 and
I am using the Dynamic Grand, the sound
of the piano changes. Why doesn't it
sound the same as when I am just playing
the piano soimd alone?
send it registered mail. I recently ordered
$200 worth of Korg Ml sounds in the
Galaxy software format from Many Midi
you have any questions at all about a com
pany's ability to deliver the merchandise,
Products in Beverly Hills, CA. I was not
not accept COD payment, shop else
satisfied with the collection so I sent the
where.]
[CS - Most likely the Dynamic Grand
sounds different because you haven't
[TH - Unless, of course, you're renewing
insist on paying COD. If the company will
original software disks back through the
John Crandall
Camarillo, CA
regular US mail. Many Midi claimed that
they never received the disks and I could
not prove I sent them so NO REFUND.
your sub to the Hacker.
copied its effect into the sequence along
with the sound. You see, the SQ sequencer
can use an effect that's totally independent
Since the true value of the disks was
Actually, (as anyone in the mail order or
of whatever sounds are being used.
Try this - press the "Select Sounds" but
ton and use the "Bank" and "Screen" but
tons to locate the piano sound. Then, press
RUBBER CHICKEN
SOFTWARE CO.
and hold the "Edit Sequences/Presets"
button, and while continuing to hold it
down, press one of the eight "Track" but
tons (to select the track into which you
wish to place the piano and its effect.
Finally, press the "Select Sequen
ces/Presets" button to return to normal se
The Leader in 16 bit
quencer operation.]
EPS Sampling & Programming
Dear Hacker,
SPRING CHICKEN SPECIALS
Microwave Chicken (15 disks) $,59:^ $49.95
Plus Pak 1 (5 disks) $39:95 $34.95
The Chicken Drive w/cart full of sounds $09 $599
This is in response to Jerry Kovarsky's
"errata" published in the May, '92 Hacker.
I'm glad that he's offered to verify facts
for future articles. I will certainly take ad
vantage of it. At the time my article was
written, no such support was available. En-
soniq's Customer Service line was my
only point of contact and imable to answer
such technically detailed questions reliab
The NEW...
TOLL-FREE ORDER LINE
1-800-8-PRO-EPS
TECHNICAL SUPPORT
1-206-467-5668
RUBBER CHICKEN
SOFTWARECO.
P. O . B o x 4 2 8 • R e n t o n ,
WA
98057-0428
©1991 Rubber Chicken Software Co,
ly. In fact, as recently as March, 1992, Bob
O'Donnell, editor of Electronic Musician,
was told by Ensoniq itself that all samples
transferred over MIDI or SCSI to the EPS
Classic were 16 bit when saved to disk!
Only after I made some rather rude in
sinuations on the PAN Network did he in
vestigate further to get the real facts from
2 8
Jerry Kovarsky.
I have a few questions and comments
which I hope will be helpful.
As another example of the lack of hardcore
technical support, in January 19921 called
1. I've tried to set up a preset on the SD-1
Ensoniq Customer Service to ask about
some seeming discrepancies between En-
using the patches Rude-Guitar (killer
patch!) and Elec-Bass (a ROM killer
patch). When I double click the two
soniq's EPS External Command Specifica
tion and my actual results with SYSEX
communications. Their reply was that all
sounds together and try to split the range
(bass in the left hand, guitar in the right)
those commands had been tested and
the Rude-Guitar continues to sound in the
verified (!) and phone contact with the
software group was not possible. The sug
range of the bass. I believe the patch name
gested recourse was to write a letter. I sent
presets and splits and this is the first time
the letter on January 13 and as of May 9
have not yet received a reply. My project
is an EPS/16+ template for Sound Quest's
to be a total coincidence. I've done many
I've come across this problem. How can I
accomplish this split and keep the Rude-
Guitar in its place?
MIDI Quest Generic Editor/Librarian,
PROFESSIONAL QUAUTY
LOW COST
SEQUENCES
FOR
THE EPS/EPS-16 PLUS, SQ-80,
ESQ-1, VFX-sd, SD-1, Roland,
IBM/DOS
which would make an EPS/16+ parameter
2. I don't want to sound like a broken
editor available for the Mac, PC/Windows.
record but why oh why doesn't Ensoniq
Atari ST and Amiga platforms. Despite
this, Ensoniq seems unwilling to help by
take the patches in the SQ-1 and offer a
TOP 40
series for the SD-l/VFXsd owners. They
COUNTRY
even confirming or denying my problems,
would probably expand the sales market
ROCK ('50s, '60s, 70s, '80s)
among them, the EPS's inability to
for these patches (or are they concerned
BIG BAND
respond to EDIT WAVESAMPLE ALL
TABLE SYSEX commands as documented
they'll sell SQ-1 patches and not SQ-ls?)
There are many great patches on the SQ-1
but who really has the time to translate
ANY TIME 24 HOURS
in their own publication.
them all to the SD-1?
The editor is correct in suggesting that I
3. It is my hope that in the next SD-1
did not "downplay" the other features and
upgrade or next generation synth from En
soniq could include patches and wave
BENNINGTON NE 68007
1-402-238-2876
forms to match or beat the sotmd quality of
the Roland D-70's factory internal grand
piano and grand piano-string patches.
They are sensational and extremely useful
Treat Yourself!!
S Y S E X c o m m a n d s o r L AY E R P I T C H -
CALL OR WRITE
MUSIC MAGIC
improvements of the EPS-16-I-, I simply
avoided addressing them altogether since
that's a subjective judgement without a
good spectrum analyzer.
In retrospect, I should not have arrived at
- the acoustic guitars are awfully good too.
the conclusion that all Ensoniq EPS soimd
sets were 13 bit from my examination of
the disk library shipped with all EPSs. But
if you really think about it, this mess could
have been avoided altogether if Ensoniq
There is another patch out of the Roland
D-50 which is extremely useful called
Chorused Strat. These would be great
sound additions to the already way great
had responded to the April 1991 Elec
arsenal of soimds in the SD-1. The strats in
tronic Musician EPS-16 PLUS review that
the SD-1 and VFX are excellent for play
claimed "original EPS library disks reveal
ing easy listening music. Rude-Guitar is
super for hard rock. The Chorused Strat
patch would be a great in-between sound
with some bite and punch but not too
much. I can just hear the Ensoniq en
full 16-bit quality when loaded into the 16
PLUS." With Ensoniq now admitting that
only 2 out of the 26 EPS sound sets are 16
bit, I'd say that until my Hacker article
and PAN messages forced the issue I came
a lot closer to the truth than the other par
ties involved.
Sincerely,
J o h n L o f fi n k
1 0 5 4 1 E A R L AV E .
gineers now all chorusing:
EPS/16 PLUS
Samples from K. Thomas
Electronic Musician says —
"Sound Quality: 5 out of 5
Value: 5 out of 5"
[EM, Jan. '92]
Keyboard Magazine says —
"Beautifully recorded... incredibly
smooth... rich... soulful... crisp and
seamlessly multi-sampled."
[Jim Aikin, Keyboard, Oct. '91]
Bitch and gripe.
Bitch and gripe.
All you do
Is bitch and gripe.
Demo Tape... $8
First Generation
Cocoa, PL
Of course, Roland's user-friendliness, at
least for the D-70, leaves lots to be
ITH - Well, at least it's all straightened
out now. We know we'll never forget it...]
desired. And I should mention that I own
an SD-1, a D-70, an M-IREX (plays M-1
and T-series sounds), an SQ-80 and an
EPS-16H-. If I had to recommend the best
Dear Clark, TH and Ensoniq
all around value for a synth-workstation it
would be the SD-1, hands down.
2 9
K, Thomas
Box 174
S t r a t f o r d , O N T.
N5A 6T1 Canada
Phone: 519-271-7964
Who'd want to...
Re-live the late
'80s?
Well, maybe you would if you just
bought a used Mirage!
That's why we offer a
Mirage Package
Thanks for a great product.
note polyphony. But we will certainly
The Secret Mysterious Interfacer
strive to have all new products be 32 notes
or greater in the future.
Redondo Beach, CA
[CS - Actually, the "Rude Guitar" patch
is working fine. What 1 think is happening
is that when you create a preset using the
"Rude Guitar" as the first patch, the dis
tortion effect that's set up as part of the
"Rude Guitar" voice becomes the effect
for the preset. Any sound that you then run
through this effect tends to take on enough
of the character of the distortion effect as
to start sounding pretty similar to the
"Rude Guitar" patch. Try this:
Twelve of our oldest issues (what-
ever's available), plus the famous
"Mirage Operations" reprint (con
taining info from our first year and a
half) — all for only $18 — the very
same introductory price that you
would have paid if we were back in
time and you and your Mirage and the
Hacker were still new and fresh!
Set up your preset as usual, with "Rude
Guitar" in one keyboard range, and "Elec
Bass" in another keyboard range. When
you've done this, hit the "Effects" button
in the "Performance" (SequencerlPreset)
section. Select the bass sound, and change
i t s e ff e c t s e t t i n g f r o m " C N T R L " ( o r
whatever it is) to "FX2." The bass should
now be routed only through the reverb sec
tion of the effects processor. To adjust the
Transoniq Hacker
reverb amount for the bass sound, hit the
1402 SW Upland Drive
"Effects" button again, and adjust the
"FX2=XX" control.]
Portland, OR 97221
(503) 227-6848
We have discussed the potential viability
of higher priced racks many times in this
forum, suffice it to say that we have no
plans for and SD-I rack. We will not,
however rule out the possibility of produc
ing higher priced racks in the future. (I
know, we could be running for office with
this sort of line!) Right now, the SQ-R
PLUS 32 Voice offers a great value for the
money, with 32 note polyphony, 3 Meg of
waveform ROM, 180 internal program
(340 with a card), a large library of
sounds, and great MIDI functionality. All
this for only $995.00 Suggested Retail.]
Dear Hacker folks,
I've got an SD-1 (3.0 ROM-OS) and can't
say enough great things about it. I used to
have a VFX-SD before I got the SD-1 and,
after struggling with its quirks for what
seems like forever, it's nice to have a
stable box for a change. But, as always,
there is a small wish list of enhancements.
Ensoniq, are you listening?
First of all, when using the scale function
Transoniq Hacker:
it would be nice to be able to also set an
Great mag, dudes! I have a few questions
regarding some of Bnsoniq's products.
Now that almost all of the keyboards are
upper and lower threshold. The reason is
simple; sometimes, especially on keyboard
velocity, there are errant peaks that are a
32-note polyphony why not make the
pain to adjust (especially if there are
EPS-16+ 32 notes? Also, how about an
many) using event edit.
SD-1 rack?
On the EPS-16+ the effects are software
definable. Is it that way on the SD-1? Ex
MONSTER
DAN
Is
hotter
than
ever
with hundreds of selections from the
'50s to this week's chart for your
ESQ-1, SQ-80, VFX-sd, or SD-1 —
Second, how about allowing us to load a
bank of sounds from disk to cartridge in
stead of only to internal memory. When
actly what is software definable on the
SD-1? And are there any programs to let
us computer nuts hack at the operating sys
you're working on a tune and have all the
sounds you are using in internal memory,
tem?
just to load a new bank so you can find
it's inconvenient to copy them to cartridge
another sound.
also ROLAND, MACINTOSH and IBM.
Hey! If there are any SD-1 users who
Data Includes sequences, drum pat
terns, patches and programmed mix.
Demanding professionals agree that
MONSTER TRACKS Incredibly de
tailed arrangements are the greatesti
Convincing demo available. Call or
would like to trade sounds write to me at;
Another usable function would be to be
Eric Olsen
matically from a start time to an end time
with a beginning and ending value. This
would be very useful when you want to
able to generate controller values auto
6050 Adaway Ct
Grand Rapids, MI 49546
(616) 676-0863
MONSTER TRACKS
PC Box 12188
Salem, OR 97309
503-588-7256
Instrument names are trademarks of Ensonlq Corporation.
add volume controllers for a smooth fade
are stored in ROM on-board, and as such
out and don't want to use the CV pedal.
This way you could tell the SD-1 to auto
matically go from volume controller value
127 to 0 over a period of 8 bars for ex
are not accessible to the mortal musician.]
ample. Pretty slick, don't you think?
[Ensoniq - Unfortunately the EPS-I6
PLUS can't be modified in the same way
that our synths have been to achieve 32
On a simpler side, since you can assign a
base MIDI channel, how about allowing us
write:
[CS - The effects in the SD-I (as well as
the other synthesizers made by Ensoniq)
3 0
to enter a value of 0 if we don't want the
SD-1 to transmit notes played on the key
board (ie, disable MIDI out for keyboard
and/or tracks, for that matter.) Also, is it
possible to have a note end past the length
of the sequence (on an 8 bar sequence the
Chicago, IL
Dear Hacker,
myself. How do other people save and
trade sounds without buying all those ex
ending chord would have a note off 2 bars
longer than the sequence length). This
would allow for very smooth inter-se-
I recently purchased an Ensoniq SQ-2 and
am using public domain software from
pensive RAM or ROM cards?
Shavano Music called S_SYSEX and
quence transitions when you don't want to
record them in song mode.
G_SYSEX to send and receive system ex
clusive data dumps on my IBM PC. I am
Sincerely,
Bob Lang
And, finally, since the thing can play 24
tracks simultaneously, how about letting
us record on 24 tracks when in sequence
mode? The track select buttons 1-6 and
7-12 could jump to 13-18 and 19-24 when
you quickly double click them while on
the track page. This would let us have a
very clean setup (MIDI channels 1-16 on
tracks 1-16 and internal sounds on tracks
17-24).
So how about it, Ensoniq. You already
have the best product of its kind.... make it
even better!
bulletin board are 8,192 bytes (20
sounds?). Any suggestions? I really don't
want to build new sounds from scratch
using the software to build a sound
(presets) library on my PC which can be
downloaded when needed to the SQ-2.
Everything works fine when I build a
sound on the SQ-2 and download or
upload it from the PC. My problem is with
some SQ-1 sysex files that I obtained from
a bulletin board. When I uploaded these
files to the SQ-2 nothing seemed to hap
pen. No sounds were changed! They ap
peared to be genuine sysex files (ie, they
started with hex FO and ended with F7).
Jackson, MS
[CS - SQ sound program files are always
32k bytes in size, no matter which SQ
model they came from. The only pos
sibilities that we can come up with are that
either the files you've downloaded are
some sort of sequence or preset file, or
else the data has somehow been garbled.
Try sending the data into your SQ, and
then check to see if anything is different in
terms of your sequences or presets.]
One difference I have noticed is the size of
Sincerely,
George Biemadski
the files. If I save one sound, it requires
415 bytes. If I save all 80 sounds, it re
quires 32,647 bytes. The files from the
HACKER
Summer Cover Sale
-Ensoniq SD1/EPS16+
-Korg M1/T3, 01/W
BOOTEEQ
R e a d / Wr i t e / F o r m a t E n s o n i q D i s k s o n
VFX, VFX-sd, SD-1 owners —
60 sounds, 20 presets, 3 demos,
IBM-PC's with our Ensoniq Diskette
documentation. Three volumes.
Manager (EDM) software ($22).
$40 each. Any two: $75. All three: $110.
Reg.... $24;95-Sale...19.95
SQ-1,2, R, Plus owners —
Call Now
Vo l u m e I : 8 0 s o u n d s & d o c u m e n t a t i o n .
VFX-SD and SD-1 or EPSSMF for EPS
and EPS-16+) Includes EDM and only
costs $44.
Disks: $50.
while quantities last!
Convert SQ-80 sequences and songs to
1-800-228-DUST
VFX-SD or SMF with our SQ80VFX soft
L AT T E R S O U N D
PRODUCTIONS
2617 Ridgeway St.
Uutercard / Vlu Accepted
1 N. 353 Bioomingdaie Rd.
Carol Stream, ill. 60188
ware ($44).
Giebler Enterprises
Tallahassee, PL 32310-5169
8038 Morgan Road
(904) 575-5561
Liverpool, NY 13090
Florida residents add sales tax
(315) 652-5741
I I I O U I D B U Y i n C l A f fl P l C I
A L L D I G I TA L S A M P L E S
BC EXPCnilYE?
C i O O C l O O O O C i O O C i O O O O O O O O
We offer the only 16 bit computer
syntfiesized samples available for
your EPS or EPS16+. "A great idea,
and some great sounds...very clean...
wildly exotic." -Jim Aikin, Keyboard
July/91. Get a demo disk with seven
complete instruments for $6.00, or
write for our catalog.
FIRST
G E N E R AT I O N
P. O . B o x 7 4 8
Cocoa, PL 32923
Transfer Sequences to and from Standard
Midi Files. Eacft package (VFXSMF for
#1 HOUSE ACID SAMPLING CD ^ ^
TR-80a. TR-909, AKAI XR-10, DX-7, MINIMOOG, ^ ^ O
KORG BASS, EMU PROTEUS. HOUSE DRUMS, A 4A
H O U S E / A C I D F X , LY R I C A L H O U S E F X T ^
#2 TECHNO SAMPLING CD
TR-606, DRUMULATER,KORGKPR-77.RX-7 ^ O
TEK STRING, OR-SSO, MT-32, KORG SR-120, 21^ 4 M
SIREN FX. RAP DRUMS, SIMMONS, TECH DRUMS ^ ^ W
TECHNO FX, INDUSTRIAL FX, SCI Fl FX. ACID SYNTH
CLASSIC
75
DOPE
DRUM
AND
LOOPS
DEUCOUS
LOOPS.
R AV E
CD
O N LY !
GROOVES,
ACA
Q
We're N.O.T. like that. You shouldn't have to worry
about the price at all. A vast library of affordable
sairqiles is what we've always been about. Just send
us a postcard or letter asking for the IntroPack and
we'll take care of the rest. We spend the time organiz
ing a library for the EPS so you can spend your time
making music.
I RARE BEATS. LIMITED EOmON. NO RIGHTS RESERVED
EPS. S-900 & S-50 SAMPLE DISKS
fl B I O I U T E l Y B . O . r .
Also For: S-550, S-330, W-30. (Speciry)
Demo disk $5 • refundable w/purchase
SHIPPING INCLUDED
FREE
C ATA L O G
CALL
MIDI
MARK
N E A N D E R T H A L O R G A N I Z AT I O N T E C H N I Q U E S
PO Box 1238
I BOX 217 » WHITTIER. OA 90608
31
HUhhoro, OR 97123
B U L K R AT E
U . S . P O S TA G E
PA I D
TRANSONIC HACKER
1402 SW UPLAND DR., PORTLAND, OR 97221, (503) 227-6848
PORTLAND, OR
P E R M I T N O . 11
S U B S C R I P T I O N M AT E R I A L
ADDRESS CORRECTION REQUESTED
D AT E D M AT E R I A L • T I M E VA L U E
Publisher: Eric Gelsllnger
Advertising rates: Please send for rate card.
E d i t o r : J a n e Ta l i s m a n
Rates tor auttmrs: Please send for writer-Info card.
Our (somewhat regular) illustrious bevy of writers Includes: Craig Anderton, Barry
Carson, Mark Clifton, Walter Cooper, Gary DInsmore, Rob Felner, Pat Flnnlgan,
Charles R. Fischer, Gary Glebler, Jim Grote, Garth HJelte, Bryce Inman, Jim
Johnson, John Lofflnk, Kenn Lowy, Daniel Mandel, Sam MIms, Gary Morrison,
Michael Mortllla, Earle Peach, William Pont, Jeffrey Rhoads, Clark Salisbury, Mick
Seeley, Tom Shear, Joe Slater, Kirk Sllnkard, Bob Spencer, and Jack Tolln.
Subscriptions: 12 monthly Issues. US: $23/year. All others: $32/year. Payable
Copyright 1992, Transonlq Hacker, 1402 SW Upland Drive, Portland, OR
97221. Phone: (503) 227-6848 (8 a.m. to 9 p.m. Pacific Time).
necessarily reflect those of the publisher or Ensonlq Corp. Printed in the
in US funds.
Transoniq Hacker Is the Independent user's news magazine for Ensonlq
products. Transoniq Hacker is not affiliated In any way with Ensonlq Corp.
Ensonlq and the names of their various products are registered trademarks of
the Ensonlq Corp. Opinions expressed are those of the authors and do not
United States.
Help Your EPS Lose That Excess Walt
And Keep It Off For Good!!
Great Features!!
• Expandability!
• All necessary cords,
cables, terminator &
Are you tired of sorting through hundreds of loose floppy disks for
that particular sound, only to watch your EPS/EPS 16-i- take thirty or
more seconds to load it into memory?
mounting hardware!
• 2 to 5 year warranties
There is a solution to this
• Doubie Shock Mounting
rackmount hard drive, your
• Free Technical Help!
EPS will load sound,
• Free 40 MB
sequence, bank and sys-ex
files up to ten times faster!
sound library!
Great Prices!!
(We Sell Direct!)
44 MBRmv..$729
8 8 M B R m v. . $ 9 9 9
45
MB
$499
90
MB
$629
136
MB
$739
185
MB
$889
425 MB $1889
680
MB
$1939
Desktop Models Available
frustration. With a Frontera
All of this power and speed
contained within a single disk drive!
Finally, you can leave your
mountain of floppies behind and get on with the music! If you
think your EPS needs to lose some excess wait, find out about the
cure that's guaranteed to work: ffontera Rockmounf Hard Drives.
F R O N T S R K
1318 E. Mission Rd, Suite 202
San Marcos, CA 92069
(619) 727-3410
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