Issue #86 - Buchty.net
Iransmq
i
J
KS-32 — Prelude to a Review
Hacker
The Independent News
Magazine for Ensonlq Users
In this issue
Articles:
Clark Salisbury
KS-32 — Prelude to a Review
Clark
velocity and channel pressure. In addi
tion, the instrument offers a choice from
among 12 velocity-response curves, as
well as a couple of settings which allow
you to specify all velocities at either 64
or 127, effectively turning the velocity
response off altogether. Coupled with the
choice of four different pressure response
settings, Ensoniq is hoping to please all
the people all the time — at least in terms
of keyboard action.
Ensoniq's SQ series of synthesizers, the
SQ-1, SQ-R, SQ-1+, SQ-2, SQ-32.
SQ-R+ and so on seem to have proved
quite popular — so it should come as no
great surprise that Ensoniq is continuing
to expand the line. Its most recent addi
tion, dubbed the "KS-32," promises to
become the flagship of the series.
And the action is excellent — crisp and
well-weighted, without the mushiness
when the key bottoms out that charac
terizes some pressure-sensitive keyboards
with wooden actions. Coupled with the
SQ's powerful 8-way MIDI controller
fimctions (available tlnough the sequen
cer/preset section), the KS-32 should
Salisbury
cover
Pseudo Pitch Tables on the SQs
Mark
Clifton
9
Sys-Ex Storage Tricks for the SQ-80
Brian
Rest
10
Split Brain Soup
Michael
D.
Mortilla
11
Waveform Mutilation for SQs - Part V
Jack
Stephen
To l i n
14
Keeping Track of Sample Numbers
William
Pont
15
EPS-16+ Hackerpatch
To m
Shear
17
The Sound of Keith Emerson
Jim
Grote
20
Reviews:
prove a particularly enticing instrument
for anyone looking for a sophisticated
MIDI keyboard controller featuring
weighted action.
Basement Tapes: Snowbarger & Harris
Indeed, it is the working casual and
church musician who is the primary target
for this instrument. If you are looking for
New Sound Music Background Rhythms
SQ-2 (reviewed in Issue 75). And as with
the new SQ-32, the KS-32 sports 32
voice polyphony. Stereo audio outputs,
onboard multi-track sequencer and a card
slot for storing sounds and sequences/
new electronic textures and outer-space
Ensoniq's SLT-7 for EPSs
presets also have also become standard
the bread-and-butter of most working
The new KS-32 is based solidly on the
voice architecture of the original SQ-1,
originally reviewed in these pages in
Issue 63. It does include all the latest
ROM waves, including the excellent
piano wave that made its debut in the
SQ-1 PLUS, and all of the expansion
w a v e s t h a t w e r e fi r s t i n t r o d u c e d i n t h e
for SQ instruments, and the KS-32 is no
exception.
The big news is that the KS-32 sports a
76-note weighted action wooden key
board. The keyboard responds both to
ISSUE NUMBER 86, $2.50
sounds, you're likely to be a bit disap
pointed with the on-board factory sounds
— these have been designed and selected
Daniel
Mandel
5
Bill Sethares Samples for EPSs
Bob
Spencer
To n y
Thomas
Bryce
Inman
7
9
13
Ensoniq's ESS-17 for EPSs
Anthony
Ferrara
18
primarily for their usefulness in terms of
musicians' lives. Included in the 180
on-board sounds are over 30 acoustic and
electric pianos on board, over 20 elec
tronic, drawbar, and pipe organs, and a
very healthy complement of guitar, bass,
string (solo and section), brass, reed.
Regular Stuff:
Random Notes/Hypersoniq/Current O.S.... 3
Hackerpatches
Sam Mims Jeffrey Rhoads 19 & 23
C l a s s i fi e d s
The
Hacker
Interface
Booteeq
24
26
31
AUGUST. 1992
woodwind, orchestral, ethnic, drumkit, and percussion sounds.
The newer expansion waves first introduced in the SQ-2 have
been put to good use — many of the new sounds use these
newer waves, lending the sound of the KS-32 a freshness that's
most agreeable. Of course, the KS-32 is completely compatible
with any existing SQ sounds or software, so there is already a
tremendous library of sounds available for the product — in
cluding plenty of the more electronic and outer space textures,
if that's what you're really looking for.
Other details include the addition of several new buttons which
are designed to make the user interface a bit easier, particularly
when it comes to setting up presets and sequences. For ex
ample, there is now a button dedicated to selecting sounds to
place into a preset or sequence. And a very welcome addition
to the operating system now allows you to use the up/down but
Now You
Can Affordably
Present Your
Music With
Confidence I
Demo
Package
Irtcludes:
2 5
Jackets
and Labels
th Your Name,
Phone,
rre^, P
a n d
-Jnformatio^inS^m
yjack Type,
tons to scroll through the on-board sotmds when selecting a re
placement sound for a sequence or preset track.
Ta k e t h e w e i g h t e d a c t i o n , t h r o w i n t h e M I D I c o n t r o l l e r
functions, sequencer, and all the ROM waves (particularly the
newer expansion waves) the KS-32 strikes me as a very mature
product that should find dedicated enthusiasts from many musi
cal walks of life. There's just very little to not like about this
instrument — my guess is that Ensoniq has another hit on their
hands,
h
C A S S E T T E PA C K A G I N G
22 N. Main St, Ste 323
Bio: Clark Salisbury has been actively involved in the
composition, performance, and recording of electronic music
for over 8 years. His favorite color is chrome.
UNAUTHORIZED
New City, N.Y. 10956
PHONE: 914 636 6310
FA X : 9 1 4 6 3 9 1 5 4 2
BREAK-IN
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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.
Both the DP/4 and the KS-32 are going through their early intro
duction phases and we're starting to get some early reviews
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Third-Party News
HARD DRIVES & DRIVE SYSTEM - Rob Feiner, Cinetunes. 914-9635818. 11 am-3 pm EST.
SD-1 QUESTIONS - John Cox, 609-888-5519, 6 - 8 pm EST.
SQ-80 QUESTIONS - Robert Romano, 607-533-7878. Any oT time.
Sam Mims/Syntaur Productions has moved from California to
SQ-80 QUESTIONS - Michael Mortilla, 805-966-7252 weekends and
after 5 pm Pacific Time.
Texas. New address: 2315 Midlane St., #44, Houston, TX 770273818. Phone: 713-965-9041.
EPS & EPS-16 PLUS QUESTIONS - Garth Hjelte. Rubber Chicken
Software. Pacific Time (WA). Call anytime. If message, 24-hour callback.
(206) 821-5054.
Eric Olsen has asked us to remind people who order his soimds to
please specify which version of the VFX-sd/SD-1 that they're in
ESQ-1 AND SQ-80 QUESTIONS - Tom McCaffrey. ESQUPA. 215-
t e n d e d f o r.
830-0241, before 11 pm Eastern Time.
ESQ-1 QUESTIONS - Jim Johnson, (503) 684-0942. 8 am to 5 pm
HYPERSONIQ
Pacific Time (OR).
NEW PRODUCTS
EPS/MIRAGE/ESQ/SQ-80 M.U.G. 24-HOUR HOTLINE - 212-4653430. Leave name, number, address. 24-hr Callback.
W AV e B O Y I n d u s t r i e s a n n o u n c e s t h e i r s e c o n d d i s k f o r t h e
SAMPLING & MOVING SAMPLES - Jack Loesch, (201) 264-3512.
Eastern Time (N.J.). Call after 6:00 pm.
EPS-16 PLUS: The Audio-In Effects Disk. Suddenly any audio
source can be sent to the powerful signal processor inside the 16
PLUS. This external input capability, previously unavailable
from Ensoniq was pioneered on the TIME-DICER, an effect
MIDI USERS - Eric Baragar, Canadian MIDI Users Group, (613)
392-6296 during business hours. Eastern Time (Toronto, ONT) or call
MIDIUNE BBS at (613) 966-6823 24 hours.
which was included in Version 1.1 of WAVeBOY's Parallel Ef
fects Disk. Now, with this new release, the capability has been
added to all 13 of the original factory algorithms. In addition to
MIRAGE SAMPLING - Mark Wyar, (216) 323-1205. Eastern time zone
all the standard EPS effects, the new disk also contains several
SD-1, sound programming, sequencing, & MIDI - Eric Olsen, Pegasus
Sounds, (616) 676-0863. Mon, Tues, Thurs, Fri: 4 pm to 9:30 pm Eastern
Time. Sat: 12 to 10 pm. (No calls on Wednesday please!)
(OH). Calls between 6 pm and 11 pm.
totally new algorithms, including Plate Reverb, Non-Linear
Reverb, and a three-voice Pitch-Shifter. These can also be used
with internal sounds or with live audio input. Polyphonic key
board control allows the pitch-shifter to work as a vocal har-
SQ-1 QUESTIONS - Pat Finnigan, 317-462-8446. 8:00 am to 10:00 pm
E S T.
monizer. All the effects share a mic/line switch and an input level
ESQ-1, MIDI & COMPUTERS - Joe Slater, (404) 925-7929. Eastern
control. The Audio-In Effects Disk and the Parallel Effects Disk
time zone.
are $39.95 each. For more information contact: WAVeBOY In
dustries, P.O. Box 233, Paoli, PA 19301. Phone: (215) 251-9562.
The International Sampling Cooperative has announced its
formation. The ISC is a non-profit organization to promote the
trading of non-proprietary samples and to provide support for
sampler users. All forms and formats of digital samples are wel
come. The ISC is operated from MUSO-BBS for messages and
information exchange. MUSO-BBS has also agreed to allow ISC
to use its bulletin board to dispense and store samples. For more
CURRENT ENSONIQ 0.8. (DIsk/EPROM)
EPS
EPS-M
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SQ-R
SQ-1 PLUS
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KS-32
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Bass Flute
Oboe
AD-2:
Space
(req memory expander)
Vibe
K-5
AD-4:
It
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Rhodes
Multi Clav
Breathes
W W - 4 :
Rock
:
Tr a p s 2
Processed Kit
Percussion FX
Fender Jazz Bass
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C B - 3 :
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Timbales
Conga Drums
Latin Shakers
Bongo Drums
Cencerros
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VS Strings II
Moog Bass
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Copyrighl © 1992 Volholo Music, Inc. All Rights Resewed. Prices/Specs subject to chonge wilhout notice. Speciol Sole prices may be discontinued ot any time prior to September 30. 1992 wittiout prior notice. Not responsible for typographical errors.
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H A C K E R B A S E M E N T TA P E S
Daniel Monde!
The Tape-Demo Business-Card of Jim Snowbarger
Media Services. All keyboard parts are the EPS. The vocal lead
was sampled to provide pitch correction. I recorded a one note
sequence which involved holding the root key down for the
duration of the lead vocal track. Then I merged the necessary
Anist: Jim Snowbarger, 3046 280th Street, Marshalltown, lA 50158.
pitch wheel actions into the sequence to compensate for minor
vocal performance errors. Finally, the vocal was dubbed back
Equipment: EPS, Korg M3R, Roland Juno-106, Texture soft
ware sequencer, Roland MPU-401 MIDI interface, Alesis
HR-16, Alesis Quadraverb, Yamaha SPX90, GC2020B, Roland
to 8-Track tape in sync with the music by playing the one note
sequence on the EPS."
VP-70, Fostex model 80 8-Track, Fostex model 20 2-track,
Fostex model 450 mixer and Radio Shack's best dynamic
microphone.
This is an excellent demo tape.
Jim takes his demo tape one step farther than I usually see by
Jim sez:
speaking to you and introducing each cut. This is not such a
shock because his business is recording and media services.
" C U T l ; TA L E S F R O M A T H U N D E R C L O U D .
This song features a sampled thunderstorm. The storm was
mixed in via 8-track analog tape after programming. The rain
The tape begins with the crystal clear, seriously FM, mellow
tones of Jim telling you that you are about to hear Tales From
is one instrument and uses two looped samples, one for each
A Thunder Cloud. The song begins and ends with thunder and
channel of a stereo recording. The thunder is a separate instru
ment with a long decay envelope. You can pick the color of the
rain. It is an instrumental song, peaceful and flowing. The
guitars are very believable and the mix is superb. There are a
couple of flute leads that bend and sing — very expressive.
thunder by choosing the key you hit. The guitars in this selec
tion are a multi-sampled Martin D35 guitar.
The advertising jingle, as you might expect, is quite short. It
"CUT 2: SMS ADVERTISING JINGLE
begins with a deep male annoimcer, "Radio. The soundtrack of
This little cut was used to promote my business, Snowbarger
our lives." This is followed by a second, compressed voice that
5
sounds as though it is coming from a radio and then a light pop
fore, would recommend that it should not be the first in a demo
song begins with a female vocal. All very slick and profes
put too much time into packaging his product! Other than that I
would suggest that you contact Jim and listen to what he's
tape. I think that he should have given the vocal another go and
if he had given this song the boom box test, the music is just far
enough back that it sounds as though he's singing to a pre
recorded tape. Placing the vocal in the mix can be tricky, but if
the music were brought up louder, the vocal would sound as
though it were part of the band. Instead it sounds as though it
done.
was tacked on afterward. As I listened to this several times I
sional.
If I were going to nit-pick here I would suggest that Jim didn't
decided that the quality of the vocal sounded as though Thome
were being tickled throughout the song.
LA (Louisiana) Lawyer
One Step Farther
Tape: Demo
Artist: Thome D. Harris HI, 326 South Broad Street, New Orleans,
L o u i s i a n a 7 0 11 9 .
Going My Way, the second song, would have worked much bet
ter as the introductory song. The song has a great hook. It's a
happy-go-lucky, walking-down-the-road song. Here again the
music and each individual instmment could have been more ob
vious. There was a great sitar-guitar sound on the instmmental
sections that sets this tune off nicely.
Equipment: ESQ-1, MT-32, Casio RZ-1 Drum Machine,
ESQ-M, Midiverb II, Digitech DSP 128, and Korg DRV 2000.
Guitars. Sequencers on IBM compatible with Voyetra's Se
Strange Places is a very fun, camival-esque pop tune. This was
the best mix of the four songs, though the percussion could
have been beefed up. Thome really achieved a big "show time"
quencer Plus Mark III Program. Recorded on Fostex 80 8
atmosphere with the chord progression and the big buzzing
synth leads that play throughout.
Track.
Mr. Harris, or Thome if I may be so bold, is this month's gui
nea pig and has quite an impressive professional background as
a practicing attorney and an author. You may have read articles
of his in Home Studio & Recording, PC Magazine or Nibble.
Thome says, "My rig is set up in my study at home and I do all
of my recording personally. This does drive my wife crazy at
times, but she is very good about it. She periodically lets me
have a 'music day' on the weekend and she goes shopping.
Most of these songs were written over 20 years ago when (like
(We Are) All We Have is the type of song where Thome's vocal
seems to find its best fit. Yet, having said that, I would have
encouraged another final take on the vocal. Here again the mix
of the music is a bit off, the percussion seeming too far off. The
song itself is very pretty, but more work could have gone into
some variations to keep the listener tied into the song. As it is,
the repetition becomes monotonous.
everyone else) / had a rock and roll band in high school."
These songs are all very good. Once again, I would take them
one step farther and show off the song writing by making the
instmments obvious and mixing the vocal into the band. Try
Thome Harris's songs on this demo tape are all very well writ
ten, the chord progressions all of the pop/light rock genre.
playing it on different tape decks and ask a tmsted friend for
feedback. Most of us don't have engineers or producers to spur
us on to better and better performances — we have to do it all
ourselves!
I would recommend that Thome go one step further with his
recording. Once the music is recorded and the vocal track is on,
I look forward to the next installment from our lawyer, Mr.
sit back and listen to it. Did you capture the vocal the way you
Harris. That's it for file 4513! h
wanted it? Are you noticeably out of tune? Is this the best poss
ible vocal you could have recorded? I know that many profes
sional recording artists put a certain amount of weight on the
feeling of the vocal rather than technical excellence alone.
After all we are not recording a trained opera singer.
Another technique worth trying is to play back your tape on a
different tape system than the one you recorded it on. You may
be quite surprised how your song sounds on a friend's boom
box or on your sister's Walkman. I happen to have a typical
stereo setup along with all my MIDI gear, and I also listen to
Hacker Basement Tapes on my Walkman. The point is that you
should mix your songs to sound best for the lowest common
denominator — a boom box.
The first song, I Know Things, was not the strongest and, there
If you want your tape ran through the ringer, err. Hacker, just
mail it off to: Basement Tapes, Transoniq Hacker, 1402 SW
Upland Dr., Portland OR 97221.
Bio: Daniel Mandel is a songwriter,
sound designer, and has sold pro
audio and keyboard equipment and
produced demo tapes for local bands.
Yo u
R E A L LY
Haven't
Heard
These
Before!
Samples from Bill Sethores
Bob Spencer
ferent pitch table on one patch.
Product: 9 disk set of samples, 77 sounds, 308 patch selects.
For EPS/EPS-16 PLUS.
Disk 3 — Folk Disk — The Psaltry is first on this disk.
From: Bill Sethares, 622 N Henry St., Madison, WI53703.
Again, it's a little noisy, but usable. This is the biblical kind,
and you can imagine David playing it for his King. He also has
Psalt Synth, Psalt Bow, and Psalt Squeak, all possible can
didates for world music compositions. Stringdrum is a possible
combination of the Psaltry and Slit Drum. Kalimba is excellent,
Price: $36.
Greetings and a great big Howdy from the town made famous
by Richard Petty, the world-famous race car driver — Level
Cross! Besides working (and playing) with SoundProcess and
although not as bright as some I've heard. Here he has the key
board pitches mapped just like a real kalimba — another ex
Mirage stuff, I do^ll my sequencing and sampling work on an
EPS w/ 4X expander. So, as all you Hackers know, I can never
get enough samples. As if she read my thoughts, Jane called all
the way from Oregon, knowing I needed new samples (along
with some extra folding money for writing this article). Here I
ample of B, S & T. That must have taken some time. Last is
Slit Drum. Although not real punchy, this does sound very
authentic. As another added bonus, nice patches.
am, two weeks later, with 9 disks of imagination and real
Singing Auto Sperm? — Disk 4 — is a "musical in-
programming prowess in my stubby little hands.
strument"(?) made of hub caps and metal springs. Bill uses this
in various ways for the different soimds. Auto Sperm 1 — 6 are
all variably interesting. Very neat use of the pedal, actually
Bill Sethares of Madison, Wisconsin has put some time and B,
S, & T (Blood, Sweat, and Tears) into this collection. Although
uneven and a little raw in places, there are some real standouts
here. If you haven't seen his ad in the classifieds, check it out.
changing the tone, creating a transwave effect. The seventh
sample on this disk is a Seal Ocarina. A little dirty sounding
but I liked it! It's actually an Ocarina in the shape of a small
Now, onto de tails.
seal.
The first disk is the Bolivian Disk. The Banduria is a 12-
Disk 5 — Prosaic Sounds — The Ratchet opens up the
stringed instrument, cleanly sampled. All 4 patches are usable,
with muted, pseudo-reverbed and double — stopped 4ths and
5ths as alternate patches. Zamponia is a sort of panpipe, again
nicely sampled — here I'll say that just about every sound on
every disk was clean and well sampled. Four very usable
patches were again built in. Bill makes great use of all modula
tion capabilities in different ways, although sometimes I found
myself wishing he wouldn't use the mod wheel as a sort of
high-pass filter mod so much. I enjoyed using my volume pedal
as something other than a volume pedal, usually for other neat
show — not the orchestral type but the one you use on your
car. Next are the good old mouth sounds — Whistle, Cluck,
and Cough. Not the cleanest, but great modulation and patches.
The Stapler is not what I hear when I use a stapler; maybe it
was sampled too close. Still useful for percussion, though. Rub
ber Band can be useful for that "almost a harp or classical
guitar" sound that the producer wants on that ballad. Creaky
Chair was a lot of fun as was Clown Whistle. I liked the XX
patch muchly. Bird Whistle was not outstanding. Dinner Bell
was pretty good, though the loop was not really necessary. The
next to last sound. Plastic Frog, is something completely dif
ferent. You've not heard anything quite like this. The last
things like pitch bend. Next we have your Wood Flute with
various patches, including bend up, bend down, reverb, and
quick decay. Onto your everyday sample of Sheeps Toes —
yes, they use these for percussion down in Bolivia, according to
Bill. Nice job with patches, looping and paiming the sound.
Down low on the keyboard this could scare your mother on a
dark and stormy night. We're still on Disk One, folks! Gourd
sound — there are 11 sounds on this disk, folks! — is Jim the
Rattle and Wooden Fish, or Guiro, round it out. Good percus
sion samples with nice patches.
Recycle Orchestras 1 through 4, which consists of all the
sounds of the average junkyard, are not for everyone's tastes. I
must say that the sounds are well sampled for the most part,
Disk 2 ~ Indian Disk — No sitars or tablas here! This is
though, and could have many uses in industrial music of any
neat, with such instruments as the Tiktiri 1 and 2, a nasal reed
instrument. He has lots of good variations, with chorusing,
sort. Also, I can envision using a combination of these sounds
Pig. Bill's friend Jim obviously devoted years of practice just
for this sample.
Now on to the more esoteric disks, if that's possible. The
for a Next Wave type of drum kit and orchestral percussion.
bending up and down, 4ths and 5ths. Indian Vase is a resonant
tuned percussive sound. Toy Gong is a little noisy, but the
echoing on one patch is really nice. Oboe Reed is a percussive
reed sound, very similar to Tiktiri, but here Bill throws in a dif
The Metal Tubes on Recycle Orchestra #1 would be a
good candidate for this. Scrape Glass is next, then Wine Glass.
Neither are standouts. Balloon Fart sounds just like one. Bowed
7
Balloon is very interesting. Balloon Drum, sound #8 on R.O.
#1, works well for percussive effects.
scene in the next Sci-fi movie where the gooey alien has the air
let out of him. Plastisynth is the last sotmd here — again, what
to use it for?
R. O. #2 has Panlids #1,2, and 3 could possibly be used as
R. O. #4 — The Tincanophone, of course, starts this disk.
cymbals (and I could possibly eat a bowling ball). Two Bricks,
though, has a pretty neat sound, more harmonic than I could
have thought possible. Brick Organ is pretty thin. Glass Break
is not bad at all, the sound of glass breaking in a shower stall.
Nicely sampled. La Croix Pop is a well — abused pop bottle.
Glass Lid #1 and 2 are useful for percussive effects — down in
the lower octaves they sound like orchestral bells. #2 has a
Space Bar is a metal bar hung by strings. Very nice! Glass
softer attack. Metal Pan is clean. Alum Can is the coke can we
Synth is a little thin, but possibly usable for background pads in
all tried to sample when we first got our EPS, but cleaner.
Alum Repeat is the coke can with a loop. Could have been left
off of here. Alum Organ is a wild buzzsaw of an organ with
reverb. Short Voice has no description, but sounds like oh, I
the lower octaves.
R. O. #3 starts out with Bell Scrape, again usable for pads.
Spring Fall is not a contradiction, but a spring dropped over a
dunno, could it be — Satan as a eunuch? Tearing is the flanged
sound of paper tearing. Cup is a pretty nice percussive sound.
tube and bounced. Not bad, either. Metal Rod and Rods are
both well done. Clown Tube is a combination of Clown Whistle
and a Blown Tube. For some reason, this sounds cleaner than
Rustling, Sound #12, sounds like paper rustling, but the loop is
not necessary and really obvious.
either sample by itself. Scrape Spring is the sound of an
aluminum tent pole across the serration of the spring. I like the
That wraps up the sounds. Bill did a job he can be proud of,
and these were well tweaked for the patches. The only thing I
way he uses the pedal on this, as I liked the way he used pres
sure to muffle the Clown Tube. Bill has a very clever way with
would like to see would be for each disk to have its own bank
modulation routings. Ball Bounce is not very realistic, but then
and a sequence or two to show what could be done. All in all,
I've never heard a door slam that was realistic. Knife Scrape,
tles, is on the mark. Can and Tab — Close. Plastibottle is the
though, if you're looking for really "out there" soimds, this
would be a good investment. I've already found a use for the
metal rods and glass lid sounds, and the creaking chair in a se
sound of a plastic milk jug caving in and being blown back out.
quence with crickets chirping or birds singing can sine put you
again, not so realistic, but it can work. Sound #9(1), Two Bot
in the mood for summer in the country. ■■
Now if I could only figure out what to use it for — maybe that
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Pseudo
Pitch
Ta b l e s
on
the
SQ-1
Mark Clifton
One of the major drawbacks that I considered with the SQ-1
before buying it was the absence of programmable pitch tables.
If you've never used pitch tables before, they're extremely cool
for creating your own bizarre tunings and are good exposure to
the music of other cultures. I was just getting into experimental
and world music when I purchased the SQ-1 and was devas
tated when I discovered the absence of user-programmable
tunings. If you're desperate for some kind of pitch tables, there
is a way to create pseudo pitch tables using the drum program
ming feature. But a little warning before we start: the process is
very painful and is severely limited in many ways.
A user mning table usually lets you choose a root key and as
sign a tuning for that key using a pitch increment of some kind,
usually in cents. The SQ-1 drum maps work similarly in the
fact that you can individually assign a sound to each key with
its own separate tuning value. But there are some problems.
Unlike a dedicated tuning table which allows you to assign any
sound you want to that particular tuning with full programming
parameters, the drum programming feature is designed for just
that — drum sounds.
Major problem #1: You don't have all of the luxurious
programming parameters that you get with normal sound
programming. No sir, you get no LFO modulation at all, none
of the fancy routings, virtually non-existant filter programming
and only a simple AMP envelope with two stages, gate and
release. This means that the sound you program will have to be
the range of the keyboard, assemble them into a preset and
zone them so that they play consecutively all the way up the
keys as far as you need. This would mean using up multiple
RAM memory locations and a whole preset, which means you
can't use it in a sequence with any other instruments. But, like I
said, this is a method for the desperate.
Major problem #3: The drum tunings aren't precise. They
jump in increments of a couple of cents instead of the fine
one-cent tuning allowed in normal sound programming. This
means you have to round the value of the tuning amount to the
nearest increment. Luckily, the increments are small enough
that the difference is barely noticeable.
Now that all of the bad stuff is out of the way, I'll get down to
the programming itself. Take all 17 oscillators, turn the pitch
tracking off and assign each one to a different key in chromati
cally consecutive order. This way you should have 17 oscil
lators covering an octave and a half and all sounding exactly
the same. From this you can transpose each key by octaves,
semitones and cents from a root key of C. After this, if you
choose, you can assemble the scales into a preset as I described
e a r l i e r.
Alternate tunings can be used for many things that they normal
ly aren't associated with. They can bring a new subtlety to your
music and expose you to a diverse range of musical forms. If
you are desperate, then this method should come in handy.
excruciatingly bare-bones.
Hack on! wm
Major problem #2: A drum map will only hold 17 sounds
mapped over the whole keyboard. Unless you only need 17
notes chromatically in your song, this just won't do. The only
solution to this is to create as many scales as you need to cover
Bio: Mark Clifton is some smart-alec kid who thinks he can get
The
Beat
Goes
away with this kind of stuff. He's currently producing demos
for struggling garage bands and also has a collection of sounds
for sale.
On
Tony Thomas
For; SD-1 A^FX-SD. Also available for the EPSs and the SQ-80.
Product: Background Rhythm Patterns Disk with manual.
From: New Sound Music, P O Box 37363 Oak Park. MI 48237, phone:
(313)355-3643.
Price: $49.95.
of the envelope of your string soimd.
As a result, many songwriters wind up writing on a piano or
even away from an instrument entirely. Some sing or scat their
ideas into a tape recorder. Others use one of those popular port
able keyboards with auto-accompaniment sections to construct
their songs. Portable boxes like the old Korg Super Section and
Have you ever had a great song idea but lost it because you got
the new Yamaha QY-10 have similar features.
caught up in the mechanics of sequencing? It is hard to remain
focused on a song idea when you always end up worrying about
the quantization default on the sequencer or the decay segment
With their one note chords and cheesy sounds (although they
are getting better), those little keyboards make great composi-
tional tools since they have ready-made patterns in a variety of
styles that you can simply string together to construct your
song. That way, you can focus on your idea and leave the arran
gement details and production aspects until after the song is
detracts from the "easy to use" concept of the product and
means you'll have to spend a fair amount of time tweaking
completed.
With that criticism aside, this disk may prove to be helpful to
the budding songwriter with limited keyboard chops. It will
New Sound Music has created a disk full of patterns that you
can load into your SD-1 and use the same way you would one
of those portable keyboard auto-accompaniment sections or
songwriting boxes. Dubbed "Background Rhythm Patterns'","
this disk contains almost two hundred rhythm patterns in a
also make it easier to write songs in various idioms without
variety of styles including: Rock, Ballads, R & B, Jazz, Latin,
writer or music student, this disk could be a real time saver, m
Funk, Country, Blues, Gospel, New Age and more. They all use
simple arrangements and the drums are mapped according to
the Roland standard. Another file contains a variety of song intros, endings and breaks which can be pasted into your com
positions. A booklet is included that contains a complete list of
sequences and their chord progressions.
The sequences themselves are of varying quality. Some are
musical cliches while others are quite tasty. You can tell,
however, that this program has been ported to several instru
ments, since very little attention was paid to the patches used or
the level of each individual sound in the mix. The drums are
sounds and levels to make things sound right.
having to study records to find out how such songs are con
structed. Finally, it could prove to be a valuable teaching and
practicing tool, since you can both see and hear how songs of
different musical genres are constructed. To the busy song
Bio: Tony Thomas is a veteran jour
nalist who has contributed to several
national magazines including Mix,
Electronic Musician, Music Computers
and Software, AV/Video and REP. He
is also an established recording en
gineer, producer, composer and key
board player.
mixed too far to the front and it sounds as if the same kit is
used throughout the disk. This lack of attention to detail
S y s t e m E x c l u s i v e Storage Tricks
for
the
SQ-80
Brian Rost
One of the real pleasures in using a disk based keyboard like
the SQ-80 is the ability to store all the data for your entire
MIDI setup in one place for easy recall. This sys-ex storage
feature is available on all disk-based Ensoniq keyboards, al
though Mirage owners will have to look to a third-party OS like
Midicaster as the original factory OS doesn't support sys-ex
storage.
One limitation of the sys-ex storage utility is that it cannot re
we wish to store on SQ-80 disks. For other Ensoniq keyboards,
the connections will be the same but you will have to refer to
your manual for the sys-ex storage procedure. Hook up MIDI
OUT of the computer to MIDI IN of the SQ-80, then cormect
MIDI THRU of the SQ-80 to MIDI IN of the other synth and
finally wire the MIDI OUT of the other synth back to the MIDI
IN of the computer.
Casio CZ-101 that can only perform a dump when requested
Enter the STORAGE page on the SQ-80 and select DISK,
SAVE, SAVE NEW FILE, SYS-EX and START, in that order.
When prompted with WAITING, go to the computer and in
itiate a patch bank transfer to the other synth. When the transfer
over MIDI. There are also a few more modem units that cannot
is complete, hit SAVE on the SQ-80 and write the bank out to
initiate sys-ex dumps, the Roland MT-32 being a good ex
disk. Then repeat the process until you have recorded the
ample. However, there is still a way to store sys-ex data from
such devices to your Ensoniq's disk drive. It does require some
outside assistance, however, in the form of a computer or some
other device that can communicate with the device you want to
store data for (some early MIDI keyboards allowed sending
patches you wanted (you can store up to ten banks on an SQ-80
disk). To verify that everything worked okay, repatch the MIDI
sys-ex to another synth of the same type; the ESQ-1 allows
this, for example).
Why does this work? Well, the way that the SQ-80 (and I as
quest sys-ex dumps from your equipment. For most MIDI gear
this isn't a problem, but there are early MIDI units like the
For the rest of this article, let's assume we are using a computer
and an SQ-80 together with some other synth, whose patches
OUT of the SQ-80 to the MIDI IN of the other synth and try
dumping the patches out. It should work like a charm!
sume other Ensoniq keyboards) record sys-ex is that they
monitor all MIDI channels looking for messages with sys-ex
headers. They record these into the sequencer memory until
either memory is filled (in which case you receive an error
message) or you choose to save the memory to disk. When
dmnping sys-ex out, the process acts in reverse, and the mes
sages go out as they were received (on the same MIDI chan
nels, in fact). We merely connected the computer to the other
synth using the SQ-80 as a THRU box, then "eavesdropped" on
Ensoniq board than the computer because you needn't take the
time to boot the computer, start the program, etc. Certainly for
live use, where you may want to leave the computer at home —
loading from the keyboard's disk is a real plus.
the patch bank dump the computer sent out.
So if you've given up on some of your gear because you
couldn't configure it via sys-ex, this procedure can help you
This procedure obviously has one not so small catch — you
have to have access to a computer or some other device that can
breath new life into those boxes, h
initiate the sys-ex transfers. If you already have a computer and
an editor/librarian program for your other synth(s) and are
Bio: Brian Rest spends his evenings either hunched over his
wondering why you might want to store patches and other
SQ-80 or playing bass with the HUBCAPS, a Boston-based
roots rock band. To unwind during the day he designs com
sys-ex data for them on your Ensoniq keyboard's disk, I think
you will find it much faster to load your other synths from the
puters.
Split Brain Soup
Writing Music w/Computers
Michael D. Mortilla
of using sounds I could bang out of a real drum or piano, I had
a pallet of thousands of sounds from orchestral to whatever
Popular neurology tells us that we use different parts of our
brain for different functions. Many believe in the right-half/
left-half theory and technologies which analyze brain wave ac
could be dreamed up in the voice architecture. What could be
better? A wide pallet of sounds in a familiar environment. Not
only that, but I could play eight different sounds at once. Even
tivity and temperanire changes in that most sacred organ (the
brain, that is...) seem to support this idea.
if the sounds weren't true to their acoustic predecessors, there
So what has this got to do with music, you ask? Well, through
out history, musicians and composers (along with many other
artistic types) have been viewed as, shall we say, "deficient" in
was plenty of room for new sounds and I was off to a new
some of the organizational aspects of their lives. Presumably,
this is due to increased use of that specialized area of the brain
Then the bad news hit! I could only play eight notes at once.
devoted to artistic pursuits. Unfortunately, for the artists who
are used to the old way of thinking, the use of a technical tool
like a computer can prove to be a daunting task, to say the
call it greed, I know, I'm guilty, but I had to have more notes.
The real trouble began when I bought ...the Mirage...
career as an electronic musician (good name for a magazine!).
Mother of bummers, try telling that to a 47 note arpeggio. Well,
It was a rack-mounted sampler, so I needed a MIDI cable and
disks with sounds on them. I could record my own samples
least!
with a microphone and I even got an "alternate" operating sys
tem for it. Things were getting a little complex, but nothing I
In my own case, I started out as a drummer in the third grade
because I found things like saxophones and pianos far too com
couldn't handle. I also needed a mixer and in short order, a
plicated to operate. All I needed as a drummer was two fists
reverb.
(and later, as a rock drammer, two feet). Eventually, I drifted to
piano in my late teens, and became highly proficient at it by my
That arrangement was fine until I was asked to score some
late 20s. But when I wanted to "talk" to my piano, I simply sat
down and moved my fingers. No command shells, interfaces, or
media storage devices except, maybe, a tape recorder or pencil
films. I knew I really needed more notes now because the
producer asked for orchestral sounds, so I wrote to Ensoniq. I
spoke to Tony McAnany who graciously arranged for the loan
and paper. Creating was essentially a very simple process. Al
of an EPS in exchange for screen credits. They have received
screen credits on all subsequent films, as well, mostly because
of the unwavering support from Ensoniq Corporation in times
of desperation on my part. Anyway, all this film music had to
most mindless at times! But the use of a keyboard as a music
making device led to a branch of my career which has since
dominated much of my professional time, personal resources,
and at times, my sanity.
be done via video with SMPTE code and I needed a MIDI-
SMPTE synchronizer with very fine tempo mapping and the
ability to send a SYSEX dump. Then I needed a MIDI patch
bay, lots of MIDI cables and 3.5" disks. Then there are the
My first step into "computerized music" was the purchase of an
SQ-80 synth from you-know-who. It's had its problems, but is
working well after four years. The sequencer and voice editing
were simple'dnough and it had those all-too-familiar black and
operating systems! One for each unit! The onboard sequencers
were a Godsend, and actually worked fairly well for the first
six of the twelve films in the project. But the system was
white things all over it, so it, and I, were sold. What it essen
tially did was to replace my four track tape machine and instead
11
stressed, as was the operator! There were frequent crashes of
all the equipment. The synchronizer would crash the EPS, the
music. Perhaps more "perfect" in its execution, but less human
in its expression. A music of machines.
Mirage would crash from wall voltage, and the SQ-80 went
through a main board, keyboard, ROM update and connector
problems. I became a professional problem solver except the
problems weren't getting solved. The system was down for
weeks at a time, with the producer being very patient. But, we
were losing money now because the release of the films had to
be in time for the Charlie Chaplin Centennial if the market was
to be tapped. It was sink or swim!
So one hot and desperate day in August, I took the plunge and
bought a computer. The simplest and least expensive one I
could find with the features I needed. Namely, a way to control
all this "stuff" that had taken over my living room. Then I
needed programs (not all of which worked very well). I needed
lots more disks, and by this time my wife asked for a little at
tention so we needed a printer for her work (and mine). Soon
afterward, a few hard drives, additional tone modules, more
signal processors, a second VCR, pro cassette and 1/2" reel
machines would follow. Here it is, two years after the release
of the films, and the system is still growing! A 16 channel
mixer with an interface for an additional 16 channels, or more.
A MIDI expander to go to 64 channels. The latest, greatest
synth, the next great sampler. A custom cabinet to hold it all. A
voltage regulator to protect it all. Covers, sounds, repairs, fax
I remember as a child, and occasionally as an adult, watching
the calliope at the local amusement center. Baroque and Vic
torian from stem to stern. Standing and seated wooden
gentlemen about two feet high playing violins, drums, and
horns. All animated, including the conductor, the brain of the
outfit, the "computer." I'd sit and listen for a few moments and
wander off to try my luck pitching soft balls into a rimmed sur
face or to swirl wildly strapped to a steel cylinder. But I also
wandered because the music was too mechanical and lacked
variety. It was always the same, time after time. Years would
pass and every day these little painted men would come alive
and play as accompaniment in perfect synchronization with the
carousel nearby. It would be easy for a "computerized" musi
cian to become like these little people, and in fact, much music
on our planet has become highly mechanized. I'm not talking
about the redimdancy of Rap (Disco had the same malaise and I
suspect Rap will meet a similar end), but I have been to "con
certs" of music by friends who simply walked up to their tape
machines and turned them on. Other times, the computer was
left to its own devices. We sat there and listened to what the
machine had to say, but we had very little to say to each other
afterwards. There was no message, no dream. Just pure ar
ticulation. Boring! I would rather listen to someone practicing
machine, switch boxes, DATs, CDs, editor/librarians. A blown
monitor here, a 2400 baud modem there, here a wheel there a
scales on an out-of-tune piano.
button everywhere a mouse-mouse! Oh my God, it's like a
I am very fortunate to have chosen the field of dance accom
farm. E-I-E-I-Owe!
paniment as part of my career. I never lose touch with the piano
Listen to this! Have I lost my mind??? Does this sound like the
kind of story you'd expect to hear from a composer about some
music he wrote? I'd expect to hear this kind of talk in Detroit,
at a technical convention or in the back room where they make
all this stuff. When I had to form a company to collect perfor
mance income from the films, the name was a simple choice,
"MIDI-Life Crisis." Never has a more meaningful title come
into my head!
Like it or not, I had to split my brain and deal with it. And I
know I'm not alone. There are thousands of artists and others in
many fields who are struggling to come to grips with their com
puters. But what I have only recently come to realize is that we
or my technique, the music changes every day, there is the
satisfaction of cooperating, performing, learning and growing
with other human beings. I am doubly fortunate to be deeply
involved in writing for the theatre. Again, there is the magic of
collaboration, the excitement of failure, the frantic race to
opening night, the training of performers and the learning from
their, and your own, mistakes.
The simple act of playing a piano, a drum, a guitar or singing
really brings it all back home. The years of practice, the hours
of listening, the experimentation with styles, tempi, people! I
guess that's it. Art is about people. People listening, people
watching, drawing, dancing, singing. And it is important to
remember that computers don't make art, people make art.
carmot allow these machines to dominate us. And in the area of
artistic creation, we carmot allow them to supersede our crea
tive process. The result may be a lack of attention to detail and
that leads to sloppy art. And in most cases, sloppy art is bad art.
In the movie "Burden of Dreams," it was said that "Art is the
Ahhhh! That feels better. Now I feel like a composer talking
about his work. I'd better get out of this word processor. I've
got some sequences to edit. ■■
articulation of dreams." The key word here is articulate. The
more articulate, the more convincing. The more convincing, the
more demand. The more demand, the more success. It is not a
CHANGE OF ADDRESS
simple equation. These super machines, which are really quite
primitive in the larger world of computers, provide just enough
buffer between our work and ourselves that it's easy to lose
Please let us know at least four weeks In advance to avoid missing
sight of the finished product. We let the machine guide our im
type of mail. (Believe us, not them I) We need to know both your
agination and we start taking short cuts. Here a loop, there a
old and your new address. (Issues missed due to late or no
change notification are your own dumb fault - we mailed themi)
loop, everywhere a short cut. The result is a more mechanized
any issues. The Post Office really will A/OT reliably fonvard this
A
Colorful
Collection
for
the
EPS
Bryce Inman
enhance them with lush synths and creative equalization.
For EPSs.
Product: EPS/EPS-M Sound Library SLT-7.
Price: $70.
Bells are in abundance in this set. SHADE BELL, MYS
From: Ensoniq Corp., 155 Great Valley Parkway, Malvern, PA 19355,
TERIES and TOASTED (to name a few) are bright, klanky
bells that shimmer with excitement.
(215) 647-3930 or contact your local Ensoniq dealer.
T h e r e a r e t w o d i s k s i n t h i s c o l l e c t i o n t h a t d i ff e r e n t f r o m t h e
rest of the set. The first contains the sounds RECORDER,
A while ago I went to my local Ensoniq dealer in search of new
soimds for my EPS. I played around with some the new public
domain sounds and a couple of Ensoniq's Signature Series sets.
The salesman asked me what kind of sounds I was looking for
and I told him that I was mainly looking for ftm, synthesized
soimds — layers, the unusual, etc. He suggested I try Ensoniq's
Sound Library Volume 7.1 was a bit hesitant. When you buy a
large collection of sounds you usually end up paying a lot of
money to get a few great soimds mixed with several sounds of
limited usefulness (and, perhaps, mediocre quality). However,
HARP 1, REED (basically a bassoon sound) and CELTIC
CHOIR which sound pretty much like their acoustic counter
it didn't take me long to End out that this collection of sounds
pleasing considering the amount of memory that they use.
However, due to the nature of these samples, it's no surprise
that they pale in comparison to the other sounds in this collec
parts.
The last disk is titled EPS BREAD AND BUTTER. It contains
30 standard synth sounds (keyboards, basses, FM and analog
synths) all of which are designed to conserve memory. Most of
these sounds take up only 30 to 60 blocks. These are perfect for
those times when you're running out of memory but still need
to add another sound or two. The sounds are all clean and very
was quite different.
Although I dislike the term. New Age is probably the clearest
label I can use to describe this set. Here is a sampling, heh-heh,
tion.
of what these disks contain.
I only have one criticism of this collection: A lot of the sounds
play back in intervals of a fourth or a fifth. This wasn't ac
complished using the EPS's layers — the sounds were sampled
that way. Perhaps there are some instances where this might be
useful for saving voices or for playing certain passages quickly,
but what if I don't want to play that interval? There is simply
no way to disable it. I find this rather limiting and aimoying.
This means that I am unable to use some of my favorite sounds
when I'd like to because they just won't work when they're
Most of the sounds in this collection are layered. VOICEBELL
2 is a standard bell and voice layer, but most sounds have a lot
more going on. MIST and ASIA both combine a swirling bell
tree on top of a warm synth pad. KRYSTAL mixes a hollow
synth sound with a bell that sounds like it's being run through a
digital delay and SNOW QUEEN is a crystal clear bell which
arppegiates in fifths over a rich pad.
locked into a certain interval.
The other synthesizer-type sounds are complex and rich in tex
ture. SYMSTRINGS mixes the thick bowing of analog strings
with synthesized strings and who knows what else. SATURN is
a fat, Tomita-like sound with filters sweeping like a banshee!
One of my favorites is AGELESS — a huge, ethereal sound
In spite of that one drawback, I love this collection. Great care
was taken in the preparation of every sound contained here. Al
most without exception, the samples are clean with seamless
that seems to permeate the room with a combination of textures
would take countless hours and thousands of dollars worth of
loops. If I were try to put together a group of sounds like this, it
that fill the harmonic spectrum.
equipment. With that in mind, I con
sider $70 a small price to pay for a
collection of sounds that truly shows
off the true sonic power of my EPS. h
Some of the sounds that are the most fun are those that almost
sound like an acoustic instrument but have a little something
added that gives them a surreal quality. FRENCHEESE CAFE
takes your basic accordion and adds sparkling bell-like over
tones. My favorite sound in this whole collection is THE
TOMB. It has the chiffy sound of a cathedral organ fattened
Bio: Bryce Inman is a free-lance
music editor and arranger for Word,
Inc. in Irving, TX. Although he has
decided to make Texas his permanent
home, he refuses to say "y' all" or
" fi x i r i
with a lot of harsh harmonics that make this sound cut like a
knife.
There are also several vocal sounds here. Like the other sounds
in this collection, these are not your standard vocal pads.
VOCOOZE, ANGELIC and VOICES 1 take vocal samples and
13
Waveform
Mutilation
101
for
SQs
Part V: Two Unexpected Delays
Jack Stephen Tolin
Ever since the beginning of sound synthesis, people have
wanted to integrate as much as they possibly could with the
basic architecture on which most synthesizers are based. I
am, of course, referring to the fundamental oscillator-amplifier-filter concept (including those which are actually
All — Filter: Env2 = +00, Env2 = +00
oscillator-filter-amplifier). The most significant advance
ment, initially, was the introduction of the envelope and the
low-frequency oscillator. Inevitably, the idea of utilizing a
digital effects processor from within the system itself was
introduced and became quite successful — so successful
that it is presently considered a staple of synthesizers in
Vo i c e 2 —
general.
Although the focus of this month's installment does not
really have much to do with utilization of the effects
processor per se, it was in fact inspired by an effect from
such a device. Specifically, it was the digital "delay." And
Output: Mod = Env2
Modamt = +99
Vo i c e 1 —
ENV2: Initial = 00, Peak = 99, Break = 99, Sustain = 00
ENV2: Initial = 00, Peak = 15, Break = 00, Sustain = 15
Notice how the cymbal hits softer than Example 1 and
progresses from left to right to center. I have not found a
way to alleviate the softness of this particular example. If
you would like to alter the pan polarity follow the instruc
tions for example 1. It is important to note that the volume
seems to always sound higher in the channel following the
initial attack. This may be an important consideration when
combining the sound with a larger sonic context.
although I don't plan to offer a realistic alternative for those
who want such an algorithm, I have found a sound effect al
The first example is a pseudo-stereo delay in that each voice
alternates sounding off. The difference is that (1) only the
gorithm that may be used in some interesting and creative
ways. One important note: even though I used an SQ-l-i- to
produce this, the technique can be used on any synthesizer
or sampler that can layer voices. And, as always, I would
like to welcome anyone who comes up with an interesting
and/or creative variation to send their patch to the Hacker.
first hit of each voice sounds hard — that is, after the initial
And now, let's begin.
of the waveform is passed on a single key-down, only the
loop will be heard thereafter. And (2), the pitch of each
voice is being constantly modulated by Noise at a value of 7
in opposite directions — thus creating a bit of stereo
chorusing. The most evident problem with difference #2 is
that the initial difference in pitch will be noticeable from
time to time. To eliminate this, change the value of 7 to 0. If
you have a grievance with difference #1, you're on your
First, enter "Example 1: Delay" on the opposite page. This
is both the first template for the "delay" effect as well as
o w n .
my interesting example kept simple. Notice how the cymbal
hits hard and progresses from left to right. This is, of
course, entirely optional. To change the first aspect, go to
Have fun with the many different waveforms you can muti
late with these delay sound effects. You've paid a few
bucks for your board, shouldn't you enjoy messing with the
sounds to the fullest of its and your capabilities? h
the Wave bank. Screen 1, and select "All" for Select Voice.
Then go to the Start Index feature and increase the value to
taste. To change the second aspect, go to the Wave bank.
Screen 1, and select "ONE." After indicating Voice 1 for
editing, go to the Output bank and change the Pan value to
+98 (that is, reverse the polarity). Follow the same proce
dure for Voice 2, changing the value to -98. For the 24-bit
effect I used a deep, simple reverb. The overall effect is one
Bio: Jack Tolin is currently a
After you have saved this example, go into Edit mode once
Psychology major at Eastern
Nazarene College in Quincy,
Mass. and wants to open his
own recording studio someday.
It is said that, many a time, you
can hear very loud and strange
noises coming out of his dorm
again and make the following changes for the respective
r o o m .
of distance and depth. You may want to experiment with a
Phaser, flanger or Leslie for other kinds of effects. But just
keep in mind that anything without reverb won't sound as
deep.
SQ-1 & 2 Prog: Example 1: Delay
WAVE
On
Off
By: Jack Stephen Tolin
LFO
LFO Speed
S e l e c t Vo i c e
O n
Wave Class
Drumwave Drumwave
Noise Rate
Wave
RIdeCym
RIdecym
Level
Delay Time
000
1 8 0
Delay
Wave Direction
Forward
Forward
MODSRC
Start Index
0 0
00
Wave
MODSCR
Off
Off
Restart
MODAMT
Restrk Decay
.
0 0
F I LT E R
0 0
Initial
9 9
9 9
Peak
9 9
9 9
Break
9 9
99
Sustain
0 0
0 0
Attack
0 0
00
Decay 1
Decay 2
0 0
00
6 5
6 5
Release
0 0
00
Ve l - L e v e l
53
5 3
Ve l - A t t a c k
5 3
5 3
Ve l C u r v e
Linear
Linear
Mode
Normal
Normal
KBD Track
+00
+00
Filter 1
2LoPass
2LoPass
Filter 2
2HIPass
2HIPass
FC1 Cutoff
E N V 2
127
127
1
2
-99
-99
VOL
99
9 9
+00
Off
+00
Boost
O n
O n
Off
MODSRC
Off
Off
1
2
Octave
+ 0
+0
Semitone
+00
+00
Fine
+00
+00
+00
+00
FC1 KBD
ENV1
L F O
+00
+00
MODAMT
MODSCR
Noise
000
000
KBD Scale
+00
+00
+07
Noise
-07
FC2 Cutoff
MODAMT
ENV2
+99
A0-C8
O n
O n
FC2 KBD
+00
FX1
FX1
Glide
Off
Off
FC1MOD-FC2
Off
Off
Key Range
Output Bus
Priority
AO-CS
KBD Ptch Track
+99
+00
Medium
Medium
Glide Time
0 0
00
Pan
- 9 8
+98
Ve l w i n d o w
000
000
ITCH
3
A M P
MODSCR
1
2
Initial
0 0
0 0
Peak
Peak
9 9
9 9
Break
Break
0 0
0 0
Sustain
Sustain
0 0
0 0
Attack
Attack
1 5
15
Decay 1
Decay 2
Decay 1
Decay 2
0 0
0 0
15
15
Release
Release
0 0
00
Ve l - L e v e l
Ve l - L e v e l
0 0
00
Ve l - A t t a c k
Ve l - A t t a c k
0 0
0 0
Ve l C u r v e
Ve l C u r v e
Mode
Mode
Repeat
Repeat
KBD Track
KBD Track
+00
+00
ENV2
3
MODAMT
Initial
ENV1
)UTPUT
3
Keeping Track of Sample
N u m b e r s
William Pont
out which layer contains the wave data. This is usually layer
If you are like me, a number-crunching techno-yup, you
probably get annoyed when you buy a much lauded commer
cial sound disk after a glowing review from one of the Hack
1 but there could be others too. Press EDIT. Underline
LYR=1. Hit the right arrow to move the cursor under
WS=XX and press C2 on the keyboard. Hopefully this is your
first sample, so the display shows WS=1. Don't worry if it
er's resident reviewers and at hacking time you discover that
the Turtle's Cowabunga Piano is really a bungled turd.
isn't. Press COMMAND- WAVE. If this is the first time you
have done this in the current session, the EPS politely in
Sure enough, it contains eight layers with 12 samples in each
(I love counting samples) and as you inspect layer 1 you find
quires if you want to: CREATE NEW WAVESAMPLE? We
do not. Scroll until you get WAVESAMPLE INFORMA
TION. Press ENTER/YES. The key at which you sampled is
shown; eg C2. This is the rootkey. Scroll through this info
page until it says: Sample rate = XX kHz. If you get this mes
sage you know you have the original wave data. Otherwise
this subpage would say: COPY OF LYR X — WS XX. If this
is indeed the message you got then you know where the ac
that in between WS 3 and WS 4 lurks WS 66. Grrrll Of
course to make matters worse, the programmer didn't name
their samples either...
"Hey man, what ya playin'?"
"Duimo dude, how 'bout an unnamed wavesample?"
"Say what, man...?"
tual data is located.
Studiotalk. Not meant for mortal souls.
If you did sample the sounds yourself and have many samples
in one layer, chances are good that after completion of your
layer you'll find that the sequence of sample numbers is dis-
So off to basics. Get those numbers in order. It all starts at
sampling time. If you didn't sample the sound yourself find
15
turbed. This sequence can be found only in the EDIT page.
order. The word — ALL — will appear between the highest
Underline WS=XX and press up or down arrow. Observe the
numbers: 1, 2, 3, 4, 5, 12, 6, 13, etc. (This is Number-
and lowest numbers.
crunching-techno-yups territory so any "real" musicians can
bail out here if they have the urge to do so.)
Now create a new instrument. Copy your doctored layer to it.
Check the new layer to see if all samples are there in the
same sequential order.
How did those higher numbers end up in the low locations?
This is THE most often asked question I get. So here goes. At
4 cents a word I might redeem the phone bill for this question
alone...
If not, delete the new instrument, repeat the KBD range exer
cise in the old instrument, and copy the layer to a new instru
ment again. With large sounds like this it's imperative that
we don't goof too often, people...
If you press either the up or down arrow while in the edit
page with WS imderlined you will see the sample numbers go
Now that everything is in order, copy the layer as often as re
by and eventually the word -ALL-.
quired. Now comes the really nasty bit. Witii the exception of
layer one, you will have to copy the wave parameters of each
wavesample from the old to the new instrument. If you have
all 8 layers dedicated to the turtle piano you're in for plenty
of wave parm copying. 104 — 13 (layer I) = 91 times.
ALL is a sample pointer, that is, the sample before ALL is
the last sample edited. Suppose now that we go on our merry
way to create Donatello's piano and after 13 samples we
backtrack to see what keys sample number five occupies.
Using the arrow keys you select WS=5 and press KBD range.
(You can also select it by playing the keys on the keyboard.)
The display says something like L0=C4 HI=F4. Great! Let's
also check sample 9 and 13... They look fine too... Now we
know again. What we don't realize, however, is that we have
to first reset the sample pointer to wave sample 5 and then to
9 and 13.
Look at the edit page and use arrow keys to see the sample
order, it will show: 1, 2, 3, 4, 6, 7, 8, 10, 11, 12, 5, 9, 13 and
ALL.
Humphh... What's worse is the fact that when a layer is
copied, the EPS awards the lowest sample numbers in the
new layer to the last samples referenced in the base layer.
Layer 2 yields: 17, 18, 19, 20, 14, 21, 22, 23, 15, 24, 25, 26,
and 16, followed again by ALL.
For the masochistic amongst the number fanatics, layers 3
has samples: 30, 31, 32, 33, 27, 34, 35, 36, 28, 37, 38, 39,
and 29.
As you can see by now, after a few layers you get a thorough
ly messed-up wave table. To solve this problem the following
steps might help.
Select layer 1. Underline WS=XX and play C2 on the key
board. In all probability you will get WS=2 here which means
that A) You have created a Grand Piano whose first and last
octaves are outside the range of the EPS keyboard and B)
You will have to manually set the range of those "external"
samples. Using the Up or Down arrow key select wavesample
1. Press KBD range Twice. Briefly the Hi — Lo parameters
show. Select sample two and repeat. Continue with all
samples until completed. Make very sure that you do not
touch the keyboard while you see the key range parameters.
This exercise has ordered the wavesamples in numerical
We're not done yet! When we copied layer 1 umpteen times,
we also copied its pitch. As you all know, pitch rarely is the
same in new layers so you'll have to copy the pitch page
from the old to the new instrument. This is done manually;
simply underline LYR= X in the old instrument, select Pitch
and see FINE = XX, then port it over to your new instrument.
The last thing to remember is loops. Sometimes a wavesample contains a bi-directional loop. If you inadvertently
copy wave parameters from a sample with a forward loop
only, your destination sample's loop is now also forward. If
you find that a previously perfect sample suddenly sounds
like the devil-ugly, this is most probably the reason.
When you've done all this Librarian type of work you'll end
up having exactly the same sound as before but at least
wavesample #68 is REALLY 68. With a bit of luck you
might also save 1 or 2 blocks of memory, h
Bio: William Pont runs PHOENIX AUDIO which specializes
in sound re-synthesis. Also a Co-founder of the South African
user's group EMMA (Ensoniq Musicians and MIDI Associa
tion.) which distributes and maintains all Ensoniq gear in
Southern Africa. Current project: African Sounds. Anyone in
terested can reach him at 0112711 (11) 792-5996. Remember
the time difference: 9 hours at the West coast and 6 hours at
the East Coast. You may also write to: Phoenix Audio, PO
Box 68950, Bryanston, 2021 Rep. of South Africa. Or PO Box
534, Moorpark, CA 93021.
SUBSCRIPTION INFORMATION
1 2 M 0 I ^ H LY I S S U E S
US: $23/year. All others: $32/year (please use Intematlonal Money
Order, payable in US funds). Please make payable and mall to;
TRANSONIC HACKER
1402 SW UPLAND DR.. PORTLAND, OR 97221
EPS-16+ Hackerpatch
D-50 Chiffpad
To m S h e a r
Well, you finally laid down the money and bought your very
own EPS-16+. You've probably gone without sleep for about
three days now so you can play with your new toy and all those
great 16-bit sounds, right? But, sooner or later, as neat as all
those factory disks are, you get a little bored with them and
start craving new sounds. Congratulations: you've become a
sound junkie. So you start leafing through your Hacker and
EDIT - PITCH page and set the ROOT KEY to A3. Now we
need to make some adjustments to the volume balance between
these two layers. Hit EDIT and select LYR=1 WS=1. Press
looking at those ads. Sure would be nice to have that "Best of
the D-50" disk, but you just laid down a lot of money for your
new friend, the phone bill's due and there's some guy named
Vinny outside your door wondering why you haven't made
your car payment this month. The bottom line is: you want cool
new sounds, but you're broke.
best, we need to do some filtering of LAYER 2. Punch up
E D I T - A M P a n d s e t W S V O L U M E t o 9 9 a n d PA N t o 0 . H i t
edit again and select LAYER 2 for editing. Again, go to the
EDIT - AMP page and boost the WS VOLUME to 99. In order
for the balance to be truly correct and for the sound to sound its
EDIT - FILTER, use the right arrow key to scroll to the
CUTOFF page, and change the CUTOFF to Fl=43 and F2=5l.
Ah, that soimds much better. Now for the finishing touches!
Staying in LAYER 2, press EDIT - ENV 3 and use the up
arrow until you get to the WIND PITCH setting. Now that we
have our Chiffpad, we should fatten it up a little by hitting EF
FECT SELECT button (located right next to the SAMPLE but
ton) and selecting ROM 06 CHORUS-hREVRB. This'll flesh
the sound out a little more. Make sure to press COMMAND -
Well don't despair, my friend, because you already have these
cool new sounds in your possession and they're free. Huh?
What I'm saying is that those factory disks aren't just good for
playing as is, you can use them as source material for brand
new, completely different sounds. All it takes is a little time
EFFECTS and do the COPY CURRENT EFFECT command
with DIRECTION=COPY TO INST, with that instrument of
and a lot of creativity.
course, being our new uimamed sound. Punch in COMMAND INST and select SAVE INSTRUMENT, name it (I called mine
For this project, you'll need your EPS-16-h (duh) and factory
disks ED-002 and ED-009. More specifically, you'll need to
boot up the Percussion sound from ED-(X)9 and the OB-8 sound
from ED-002. Once you've done this, we need to create a new
blank instrument template to make our work a little easier. To
D-50 CHIFPAD), and save it!
And there you have it! A D-50 out of a bell and an old Oberheim synth! It sounds pretty dam good and best of all, it's free!
do this, select COMMAND - INSTRUMENT and CREATE
Obviously, this is just one example of using the factory sound
as sources for new synth sounds. I hope this will encourage you
to experiment with this technique and to come up with new
sounds of your own. Try transposing sounds out of their normal
N E W I N S T R U M E N T. N o w h i t C O M M A N D - L AY E R a n d
CREATE NEW LAYER (do this twice so you have two layers).
Now we are ready for surgery!
range. Try using attack transients from one instrument and
grafting them on to other instruments. Try crazy stuff, too. I got
a great sci-fi movie soundtrack type sound by putting a synth
First select the Percussion sound and press the EDIT button so
that the display reads: PERCUSSIO LYR=1 WS=1. Now use
the right arrow to highlight the WS=1 part of the display. Play
the D# above middle C. Your display should now read WS=38.
Once you have selected wavesample 38 (LOBELL), press
COMMAND - WAVE and scroll until you find the COPY
WAVESAMPLE and hit enter. Select LAYER 1 of your new,
unnamed instrument as the destination. Hit EDIT and your dis
play should read UNNAMED I LYR=1 WS=1. Press EDIT -
loop on a timbale and cutting off the attack portion. The great
thing about this is, once you start making your own samples,
you can combine them with these pieces of factory sounds and
have still more possibilities! Wow! This is great! So now that
I've given all you sound junkies your daily fix, it's up to you.
Get creative and be sure to say yo to Vinny for me. h
PITCH. Change the ROOT KEY to A4+ and use the left arrow
key to get to the WS RNG page. Select AO for the LO key and
C8 for the HI key. Hit EDIT again and play a few notes. You'll
probably notice that when you play this sample out of the range
it was meant to be played in, you get some pretty different
B i o : To m S h e a r u s e s h i s E P S - 1 6 + a n d
SQ-80 to write industrial music and to
annoy anyone within hearing distance.
In-between he attends classes at Syra
cuse University — if the urge hits him.
sounds. But, we don't have time for this right now, we have
cool sounds to create!
Now, select the OB-8 sound and, using the technique we just
used to copy the LOBELL WS, copy the OB-8 A1-A3 WS to
LAYER 2 of our new, unnamed instrument. Next go to the
1 7
The Peak of the Donce/Rop Heap
—
And
More
Anthony Ferrara
good patch selects. Employing the mod wheel results in a
lowering of the pitch, as well as a deepening of the Room Re
verb algorithm. JM BASS 1, 71 blocks, is a punchy, danceoriented synth bass, with, as usual in this set, good implementa
tion of the patch selects. The mod wheel adds vibrato. JM
GUITARS is an ingenious distorted guitar sample, with
slide-offs from F-4 down. From G-4 up is a sustained tone with
Product: ESS-17 Signature Series, five disks and manual.
For: EPS/EPS-16 PLUS
From: Ensoniq Corp., 155 Great Valley Parkway, Malvem, PA 19355,
(215) 647-3930 or from your local Ensoniq dealer.
Price: $39.95
We live in the Age of Information. This affects contemporary
musicians in the sense that new technology (in this instance in
the form of new, high-quality samples) is available with amaz
ing rapidity, due in no small part to the huge number of thirdparty designers advertised in magazines such as this. In my
own case, after having worked intensely with the VFX-SD for
over a year, I decided to make the switch to a sampler, which
was something of a trade-off in terms of complexity and con
venience. I chose to make the 16-PLUS my new base of opera
tions, due to the open-ended nature of a sampling keyboard.
The ability to create my own samples and mapping, along with
the tremendous array of samples already available for the
16-PLUS (both by Ensoniq and third-party sources), was a
distortion, which evolves into a hammer-on with feedback and
an abrupt cut-off. At 420 blocks, it makes great use of the patch
selects, with moderate hogging of memory for this type of
multi-sample. Really neat for hits and at the end of a phrase.
JM ANA SYNTH is a 535 block, high-quality rendering of a
classic-sounding analog synth, with processing built into the
sample. Patch selects provide reverb, delay, chorusing, and oc
tave harmonization.
Disk Three contains JM STRINGS, JM BASS 2, JM BASS
3, and NONA YEAH. I liked the JM STRINGS sample, in a
direct comparison, possibly even better than those found on Es
sential Sound Disk ED-013, which I thought were excellent to
begin with. At 1065 blocks, this sample is memory-intensive,
but these are just about the best strings that I have heard for the
16-PLUS, bar none! JM BASS 2 (150 blocks) is a low-end in
strument with a fairly quick decay rate, sounding more like an
electric bass than JM BASS 3 (149 blocks), which sounds like
an analog synth sample. Both are equally useful in the right
context. NONA YEAH, at 198 blocks, is another story, in that
it is probably appropriate only in limited situations. Consisting
of a single legato, polysyllabic wavesample of Nona's voice, it
is very well utilized in the accompanying demo sequences.
deciding factor in my choice of instruments.
The Jason Miles Signature Set is one example of reason
ably-priced, quality samples. It features an excellent 31-page
manual, written by none other than Clark Salisbury. (At this
time, an excellent manual is also available for the original disks
which came with your 16-PLUS. Call Ensoniq Customer Serv
ice for details.)
Here's the lowdown, disk by disk:
Disk One contains Multi-Banks One and Two which save in
struments from all five disks as banks, requiring you to load
sounds from the entire set in order to play the two demo se
Disk Four features two sample instruments: JM DRUMS and
NONA VOX MAP, weighing in at 1319 and 224 blocks, re
spectively. JM DRUMS is a really eclectic, dance-oriented set,
featuring drum and percussion samples from a variety of sour
quences, "K-I-S SONG" and "BIG SONG-SF." They are pro
grammed by Jason himself (apparently with some help by Scott
ces, formatted for use within the Ensoniq standard drum map.
Frankfurt), and do a tremendous job of showcasing the samples
in a dance-pop context. A special bonus is the addition of vocal
NONA VOX MAP contains rhythmic, percussion-like vocal
samples by R & B/experimental-pop diva Nona Hendrix, iden
samples, with the mod wheel increasing the depth of the digital
delay. Once again, this would seem to be a great multisample
for Club MTV type work, but I could also envision these vocal
snippets in something of a much more experimental nature.
tified in the manual as a friend of Jason's. JM RHODES is a
high-quality, 1155 block version of the classic Rhodes electric
piano, with reverb and chorus. The mod wheel controls chorus
depth, while the patch selects are devoted pretty much to stereo
imaging. JM VOX PAD consists of a digital synth-sounding
voice ensemble, weighing in at a slim 376 blocks. The ** patch
is especially striking.
Great fidelity.
Disk Five is the last on our guided tour, and consists of four
samples. The first, JM CLAV (541 blocks), is a very usable
electric piano/analog synth-type sound, similar to the classic
PPG synth. Mod wheel adds vibrato. Great for a 1970's funky
electric piano application, ala Stevie Wonder. JM DIGI
SYNTH is a contemporary, multi-layered synth patch, which
swells after the original attack. At a fairly conservative 398
Disk Two contains four samples. VOCAL DRUMS, 532
blocks, is a set of grunts, groans, and whoops that most would
identify with rap, similar to RAP TOOLS from ED-008. Great
fidelity and variety in the vocal multi-samples, with especially
18
At this price, you can't beat it with a stick. The only question is
blocks (for such a complex, layered sample), it is very similar
to, and is perhaps directly sampled from, an Ensoniq VFX.
Patch selects give different pads, as well as variations on the
digital delay and release time. JM BASS 4 (73 blocks) is yet
another variation on the analog synth-bass used expressly
within a dance/rap context, this time with a very short decay
in the area of stylistic orientation. While the overall slant
would obviously seem to be toward dance and rap applications,
there are more than enough interesting samples here that would
be great for less commercial uses. Even an iconoclast (such as
myself) could buy this set and use most of the sounds, with no
fear of sounding like Luther Vandross or Whitney Houston,
two of the people that Jason has recorded with, and presumab
period, which results in a sound similar to a punchy, muted
electric bass. The last sample in our set, NONA UUHS, weighs
in at 524 blocks, and consists of a single, looped vocal sample.
ly, provided sound design for. Thumbs up, it's a winner! m
Very beautiful and airy. The mod wheel is assigned to provide
high-pass filtering, which enables you to "thin out" the sample.
This one would be useful layered with another, or several, more
Bio: Anthony Ferrara teaches guitar, music theory, and music
technology courses at Temple University, the Community Col
lege of Philadelphia, and Montgomery County Community Col
lege. He still dreams of a ten record deal with a major label so
that he can one day live in Malibu and drive his Ferrari Testarossa along the Pacific Coast Highway.
incisive instruments.
My final observations on this set are the following: good docu
mentation, excellent sonic quality, usable samples, plus cover
art from illustrator Peter Max (remember him from the '60s?).
Sam Mims
ESQ & SQ-80 Hackerpatch
by Craig Roth, Skokie, IL
feet. Key pressure makes a note stand out by increasing its
volume and the intensity of LFO I. If you can spare the oscil
lators, this sounds good layered with piano or string sounds.
This is a soft background sound, based on vocals, but it could
pass as background strings. OSC1 is a GRHl wave which, with
a low cutoff frequency, was surprisingly the smoothest waveform
The Hack
SQ-80 Patch: BKGRND
I found! The low Q and KEYED values on the FILTER page
Very nice! I only wanted to make two changes to this one. First,
I loved using the mod wheel so much that it never gave my left
make the sound soft and unobtrusive. ENVI controls the rate of
the swell on OSC I and 3. OSC 2 starts immediately so quick
hand back to the keys^ so I set the filter's MOD 2 to PEDAL in
nates can be^heard. The mod wheel controls a filter opening ef-
stead of WHEEL, thus letting my foot do the filter work.
W AV E M 0 D # 1 D E P T H
OCT SEMI FINE
0SC1
0
0
1
GRIT
OSC 2
0
0
0
VOICEl
LFOl
030
0
0
4
VOICEl
«OFF*
2
*OFF*
M0D#2 DEPTH
*OFF*
—
+ 1
•OFF*
If you want a breathier quality for this sound, substitute VOCAL
*OFF*
3 for the waveforms of OSC 2 and 3. For a much more synthy
LEVEL OUTPUT
M0D#1 DEPTH M0D#2
DEPTH
0
ON
ENVl
DCA2
50
ON
• O F F *
DCA3
28
ON
ENVl
DCA1
FREQ
FILTER 1
13
0
KEYBD
12
LF01
LFO 2
63
ENV 2
PRESS
+ 2 8
+32
PRESS
+ 2 8
PA N M O D
flavor, keep Craig's VOICE 1 waves,
but set the filter resonance at about 26.
DEPTH M0D«2
DEPTH
+19
+ 2 9
WHEEL
1
Bio: Sam Mims is a studio session player
DEPTH
1
• O F F *
RESET
HUMAN
WAV
LI
20
ON
ON
TRI
0
D E L AY
L2
20
and programmer in Los Angeles, and is
keyboardist for Richard Elliot. He owns
Syntaur Productions, a company that
produces music for film and TV and
markets sounds for Ensoniq keyboards.
MOD
11
PRESS
-
-
LI
L2
+2?
+59
LV
L3
TIV
T1
T2
+63
OL
0
0
38
0
OL
0
0
26
+63
OL
0
0
32
T 3
T4
TK
63
0
0
63
0
32
3 2 R
0
4
0
Hackerpatch is intended to be a pkce where patch vendors can show their
-
-30
0
ENV 4
+63
+63
SYNC
AM
MONO
GUDE
MODESI OFF OFF OFF 0
S P L I T / L AY E R S / L P R G U Y E R L P R Q
OFF
+ 2 8
FREQ
ENV 3
1
PRESS
ENV3
8
LFO 3
ENV1
+49
M0D«1
28
F I N A L V O L PA N
DCA4 11
fect kicked in, so I set up LFO 2 as follows: FREQ=12,
WAV=TRI, MOD=WHEEL or PEDAL (whichever is used on the
filter), all others OFF or 00. Then I applied LFO 2 as the pan
modulator on the DC A 4 page, with a depth of +63.
BY: Craig Roth
SQ-80 PROG: BKGRND
3
Secondly, I wanted to add some stereo motion when the filter ef
O F F
VC
ENV
OSC
CYC
OFF
OFF
OFF
OFF
SPLIT SPRG
O F F
wares and musicians can share their goodies and impress their friends.
Patches designated "ESQ-1" will also work on the SQ-80. The reverse is not
always trae. Once something's published here, it's free for all. Please don't
submit patches that you know to be minor tweaks on copyrighted commer
cial patches unless you have permission from the copyright ovmer. AH sub
mitted patches are subject to consideration for mutilation and comments by
Sam Mims-our resident patch analyst. If you send in a patch, please include
your phone number. Requests for particular patches are also very welcome.
1
SPLIT KEY
1
19
The
Sound
of
Keith
Emerson
Jim Grote
Attention all ELP fans, ELP is back together. Yes, that's right,
the great ELP is once again alive. They have just released a
new album titled, "Black Moon" and are planning a huge tour.
third harmonic. A third part of the sound is the fact that the
electrical key contacts would be dirty, adding a little spit to the
attack of each note. He would then run the C-3 through an amp
driving a Leslie rotating speaker cabinet. He almost always
kept the Leslie speed all the way down, rarely going for the
cheesy high-speed swirling sound.
When ELP first formed, back in 1970, Keith Emerson became a
pioneer in the use of synthesizers. He combined the wonderful
new sound of the Moog synthesizer with virtuoso keyboard
playing on the piano and Hammond organ. His first synthesizer
was one of the original Moog systems built by the original Bob
Moog. It was a giant modular system using actual patch cords
to connect the modules together (i.e. connecting the oscillators
to the filters, etc). This was all mounted in a hefty 4' by 4'
cabinet totalling over 500 pounds.
After getting the basic organ tone with the first two oscillators,
I spent most of my time developing the attack, which is the
most distinctive part of the Hammond sound. To do this, I use
two SINE waves to create the percussion attack feature, and the
NOISE wave to simulate the dirty contact key click. One thing
I figured out based on how the real organ works, is to add a
subtle delay to the two "tone" oscillators, 1 and 2. Like the real
thing, the first sound heard is the key click, immediately fol
With this monster, he quickly created his trademark Moog lead
sound which is prominent on Tarkus, Trilogy, and Brain Salad
Surgery. His patch setup was usually based on three sawtooth
waveforms running through an enveloped filter with some
lowed by the sound of the tone wheels. This effect is most
noticeable with staccato playing. Finally, I send everything
slight resonance. He would add vibrato to give his performance
feeling and expressiveness. Also, he would always have his
foot on a portamento (glide) pedal so he could vary the amount
of glide while playing. A variation on this patch setup is on
through the DIRTY-ROTO-hDELAY effect, which beautifully
simulates an overdriven Leslie cabinet.
their first album on the song "Lucky Man." Here he uses three
Well, there you have the two sounds that Keith Emerson made
history with. He combined his distinctive Hammond C-3 sound
square waves instead of saw waves.
with his trademark screaming Moog sound to create a totally
The following SD-IA^FX-SD patch, Tarkus, recreates Keith's
unique musical form. With this array of sound, ELP combined
the music styles of classical, jazz, and rock to write their music.
main solo sound on the Moog. In trying to create the Moog
I hope you enjoy these sounds and can pretend you're Keith
sound on the VFX-SD, the first thing I realized was that the
multi-sampled sawtooth wave in the VFX ROM does not sound
much like a Moog analog saw wave. It's kind of dull and
sterile. To liven up the sound a bit, I bend the pitch of each os
cillator way up using an envelope on REPEAT mode. To com
Bio: Jim Grote offers a disk of 60 of
pensate for this, I retune each oscillator with the PITCH PAGE
his original VFX-SD sounds — see the
controls (OCT, SEMI, and FINE). This changes the character
classifieds. He's been programming
and playing synthesizers for years and
is co-founder of a band called Base
ment Slime. Last year he received a
B.S. in Electrical Engineering from the
of the saw wave, most significantly by brightening it By crank
ing up the pitch of the sampled wave, I'm introducing a little
bit of aliasing, which adds a bit of high frequency noise. To my
ears, this actually thickens and enhances the sound. If you lis
ten to just one modified wave, it sounds thin and noisy, but
University of Cincinnati.
after layering three slightly detuned waves, the overall sound is
brighter yet wanner, more like an analog synth.
For performance, the MOD wheel and Pressure add vibrato and
BACK ISSUES
the TIMBRE slider brightens the sound. The left patch button
adds a fifth and the right adds a fourth and a fifth. You can
Back issues are $2.00 each. (Overseas: $3 each.) Issues 1-9,11,13 -
easily make this patch polyphonic by going to each wave's
23, 27,29, 30, 35 - 38, and 67 - 71 are no longer available. Subscrip
tions will be extended an equal number of issues for any issues ordered
PITCH MOD page and setting the GLIDE parameter to NONE.
You can also try different waveforms (i.e., square waves) on
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 really get going till Num
some or all of the oscillators.
ber 35.) VFX coverage (which also applies to the SDs) got started in
Keith Emerson also had a fairly distinct Hammond C-3 sound.
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
He used a C-3 which is very similar to the B-3. He would typi
cally have the first three stops all the way out, and the rest
which contains the tables of content for aU issues since Number 43.
completely off. The percussion selector would be set on the
20
SD & VFX patch
SD & VFX Prog: TARKUS
By: Jim Grote
Notes: MOD and PRESSURE add vibrato
(♦ 0) adds a fifth, (0 *) adds a fifth and a fourth, (0 0) thinner sound
SELECT VOICE
0 0
0 *
WAVES
Wa v e
S a w
S a w
Wave Class
Wave
Wave
S a w
Wave
Delay
0
0
0
Saw
S a w
Saw
Wave
0
Wave
Wa v e
0
0
•0
•
Start
•
;NV1
■0
■f l
■f l
1
2
2
2
2
3
4
5
6
3
4
®
3
3
4
s
s
4
5
6
1
2
6
3
4
5
6
Initial
1 5
9 9
9 4
9 9
9 9
Peak
0
9 9
9 9
9 9
9 9
Break 1
Break 2
0
9 9
9 9
9 9
9 9
0
9 9
9 9
9 9
9 9
Sustain
0
0
0
0
0
SRC-1
Attack
11
9 9
5
9 9
9 9
SRC-2
Decay 1
Decay 2
[}ecay 3
0
9 9
9 9
9 9
9 9
0
9 9
99
9 9
9 9
0
Release
0
9 9
9 9
99
9 9
9 9
9 9
9 9
9 9
KBD Track
0
0
0
0
0
Vel Curve
C V 2
CV2
CV2
C V 2
Mode
Q-Rlse Norm
-
Ve l - L e v e l
0
0
0
0
0
Ve l - A t t a c k
6
0
0
0
0
2
3
4
5
6
MOD MIXER
SRC-2 Scale
SRC-2 Shape
PITCH
Octave
0
0
-1
-1
0
0
Semitone
-10
0
-4
-3
-4
- 6
Pine
-1
+ 8
+27
+52
-34
-14
P i t c h Ta b l e
Sys
Sys
Sys
Sys
Sys
Sys
1
2
3
4
5
6
MODSRC
Env2
Off
Off
Off
Off
ITCH MODS
;nv2
1
Initial
9 9
Off
Peak
9 9
MODAMT
+60
0
0
0
0
0
Break 1
9 9
Glide
Legato
Legato
Legato
Legato
Legato
Legato
Break 2
9 9
ENV1
+72
0
+99
+90
+71
+70
Sustain
9 9
LP01
+13
+13
+13
+13
+13
+13
Attack
9 9
Decay 1
Decay 2
Decay 3
9 9
Release
9 9
KBD Track
0
Ve l C u r v e
C V 2
I LT E R 1
1
2
3
4
5
6
Mode
LP/2
LP/2
LP/2
LP/2
LP/2
LP/2
Cutoff
9 4
127
9 3
9 8
124
1 2 4
KBD
+ 7
+4
0
0
0
0
MODSRC
Timbre
Timbre
Timbre
Timbre
Timbre
Timbre
MODAMT
+99
0
+99
+99
+99
+99
0
0
+99
0
0
0
EfMV2
Repeat Repeat Repeat Repeat
9 9
9 9
Mode
Repeat
Ve l - L e v e l
0
Ve l - A t t a c k
0
1
2
3
4
5
6
1
2
3
4
5
6
Mode
LP/2
LP/2
LP/2
LP/2
LP/2
LP/2
Initial
99
50
50
5 0
5 0
5 0
Cutoff
127
127
127
127
127
127
Peak
99
99
99
9 9
9 9
9 9
KBD
0
0
0
99
99
9 9
9 9
9 9
Timbre
Timbre
0
Timbre
99
Timbre
0
Timbre
Break 1
MODSRC
0
Timbre
Break 2
9 9
9 9
9 9
9 9
9 9
9 9
MODAMT
+99
+99
+99
+99
+99
+99
Sustain
9 9
9 9
9 9
9 9
9 9
9 9
ENV2
0
0
0
0
0
0
Attack
0
5
2
2
2
2
Decay 1
Decay 2
I}ecay 3
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
I LT E R 2
)UTPUT
VOL
MODSRC
MODAMT
KBD Scale
NV3
1
2
3
4
5
6
8 4
84
8 4
8 4
84
8 4
Release
1 0
15
15
15
15
15
Off
Off
Off
Off
Off
Off
KBD Track
0
0
0
0
0
0
0
0
0
0
0
0
Ve l C u r v e
CV1
CV1
CV1
CV1
CV1
C V 1
0
0
0
0
0
0
Mode
Norm
Norm
Norm
Norm
Norm
Norm
Ve l - L e v e l
0
0
0
0
0
0
Ve l - A t t a c k
0
0
0
0
0
0
LO/HI K^
[}est Bus
PX1
PX1
PX1
PX1
PX1
PX1
Pan
5 0
5 0
5 0
5 0
5 0
5 0
Off
Off
Off
Off
Off
Off
. _ M P PA M T _ _ _
MODSRC
0
0
0
0
0
0
Pre-Gain
Off
Off
Off
Off
Off
Off
P i t c h Ta b l e
Vo i c e P r i o r
Med
Med
M e d
Med
Med
Med
Ve l T h r e s h
0
0
0
0
0
0
F O
Rate
MODSRC
MODAMT
Level
MODSRC
Delay
Wa v e s h a p e
PGM CONTROL
1
2
3
4
5
6
3 7
3 7
3 7
37
3 7
3 7
WL+PR
+ 6
WL+PR
+ 6
WL+PR
+ 6
WL+PR
+ 6
WL+PR
+ 4
WL+PR
+ 4
1
1
2
1
1
1
WL+PR
WL+PR
WL+PR
WL+PR
WL+PR
WL+PR
0
Sine
0
Sine
_0_
_ 0Sine
~
Sine
_ 0
Sine"
"
"
Effect
Bend Range
Decay Time
4 5
Delay
X4
PX1
4 5
Restrike
2 0
PX2
2 5
Glide Time
5
O n
O n
O n
O n
O n
Noise SRC RT
0
0
0
0
0
0
FX2 Mode Normal Stereo Snd
Diffusion
5 8
Pre-Delay
Early Refl Level
8 2
Time
4 2
LP
Decay
0
Reverb HP Damp 35
3 7
PERFORMANCE
sine
O n
Concert Reverb
EFFECTS (3)
EFFECTS (2)
._g
Restart
EFFECTS (1)
Off
12
Pressure; Key
21
Timbre
0
Release
0
SD
&
VFX
patch
SD & VFX Prog: Hammond C3
By: Jim Grote
Notes: Modwheel switches Leslie speed. Timbre controls percussion attack.
SELECT VOICE
WAVES
Wave
O r g - V. 4
O r g - V. 4
SIne-W
Slne-W
Slne-W
Wave Class
Wave
007
Wave
Wave
Wave
Wave
Inharm
0 0 8
0 0 8
006
000
000
Delay
Nolse-LP
Start
ENV1
Initial
Peak
Break 1
Break 2
OD MIXER
1
2
3
4
5
6
_^ustejn_
SRC-1
Attack
SRC-2
Decay 1
Decay 2
Decay 3
SRC-2 Scale
SRC-2 Shape
Release
K B D Tr a c k '
PITCH
Vel Curve
Octave
Semitone
0
0
0
+1
+1
- 2
Mode
0
0
0
0
+ 7
0
Ve l - L e v e l
Fine
-1
+ 2
0
+ 2
-1
+6
Ve l - A t t a c k
P i t c h Ta b l e
Sys
Sys
Sys
Sys
Sys
Sys
6
ITCH MODS
1
2
3
4
5
MODSRC
MODAMT
Off
Off
Off
Off
Off
0
0
0
0
0
Glide
None
None
None
None
None
None
ENV1
0
0
0
0
0
0
LF01
0
+1
+2
+ 4
0
-1
I LT E R 1
1
2
3
4
5
6
Mode
LP/3
LP/3
LP/3
LP/3
LP/3
LP/3
Cutoff
0
0
0
68
6 8
0
KBD
MODSRC
+81
+81
+81
+81
+81
0
Off
Off
Off
Off
Off
Off
MODAMT
0
0
0
0
0
0
ENV2
+90
+99
+99
+41
+41
+99
iNV2
1
2
3
4
5
6
Initial
9 8
9 8
9 8
1
1
9 8
Peak
9 8
9 8
9 8
39
39
0
Break 1
8 0
8 0
8 0
0
0
0
Break 2
8 0
8 0
8 0
0
0
0
Sustain
8 0
8 0
8 0
0
0
0
Attack
2
2
2
2
2
3
Decay 1
Decay 2
Decay 3
Release
0
0
3
3
1
0
4 1
41
41
41
41
0
41
41
41
41
41
0
1
2
7
17
- J J
0
KBD Track
0
+96
+98
0
Vel Curve
Q-Rlse Q-Rlse O-Rlse Q-Rlse Q-Rlse Q-Rlse
0
0
Mode
Normal Normal Normal Normal Normal Normal
Ve l - L e v e l
0
0
0
0
0
0
Ve l - A t t a c k
0
0
0
0
0
0
LTER2
1
2
3
4
5
6
1
2
3
4
5
6
Mode
LP/1
LP/1
HP/1
LP/1
LP/1
LP/1
Initial
9 8
9 8
9 8
9 8
9 8
9 8
Cutoff
7 8
1 2 7
5 7
77
7 7
0
Peak
9 8
9 5
9 5
4
2
1
KBD
+64
+64
0
+66
+66
0
Break 1
9 8
9 8
9 8
0
0
0
MODSRC
Timbre
-35
Off
Timbre
Timbre
Off
Break 2
9 8
9 8
9 8
0
0
0
MODAMT
Timbre
-35
0
-37
- 3 7
0
Sustain
9 8
9 8
9 8
0
0
0
ENV2
+48
+48
0
+46
+59
Attack
1 9
19
1 9
40
40
17
[Tecay 1
Decay 2
Decay 3
21
21
21
21
21
0
2 1
+46
iNV3
1
2
3
4
5
6
21
2 1
21
21
0
21
2 1
21
21
0
9 9
8 5
21
8 7
9 2
8 5
Release
3
0
4 1
0
Off
Off
0
Off
0
MODSRC
79
Timbre
Timbre
Timbre
0
0
-46
0
0
- 4 3
-10
KBD Track
Vel Curve
0
0
0
0
MODAMT
CV1
CV1
CV1
+16
Q-Rlse
0
CV1
- 11
CV1
+21
0
+10
Mode
A0/B7
A0/B7
Normal Normal Normal Normal Normal Normal
A0/B7
Ve l - L e v e l
0
0
0
0
0
2 6
FX2
A0/B7
F X I
A0/B7
F X I
F X I
Ve l - A t t a c k
0
0
0
0
0
0
6 2
5 0
5 0
5 0
5 0
5 0
MODSRC
L F O
LFO
LFO
L F O
L F O
LFO
MODAMT
lUTPUT
VOL
KBD Scale
LO'HI_Kex.___
best Bus
Pan
"fxi
■"
0
FA^0X/ lB" 7
EFFECTS (1)
PGM CONTROL
- 2 4
+ 3 2
- 1 2
- 2 8
- 3 0
- 1 3
Pre-Gain
Off
Off
O f f
O f f
Off
Off
P i t c h Ta b l e
Off
Vo i c e P r i o r
Med
Med
Med
fVled
Med
Med
Ve l T h r e s h
0
0
0
0
0
0
Bend Range
Delay
*
F O
Rate
1
2
3
4
5
6
15
15
2 4
2 8
27
2 8
MODSRC
Wheel
Wheel
Off
Off
Off
Off
MODAMT
+20
+20
0
0
0
0
31
2 8
0
8
8
2
Wheel
Wheel
Off
Off
Dela^
Wa v e s h a p e
11
0TrI
Off
0
Off
2 3
0
0
TrI
TrI
TrI
TrI
TrI
Restart
Noise SRC RT
Off
Off
Off
Off
O f f
0
0
0
0
0
Off
0
Level
MODSRC
"
"
DIrty-roto + delay
Delay
120
X I
FXI
4
Restrike
0
FX2
3 0
Glide Time
0
EFFECTS (3)
EFFECTS (2)
Lag
Repeats
2 0
61
Amount
-12
Overdrive
4 7
L o - r o t o Vo l
4 0
MODSRC
Modwheel
Mode
Switch
HI-Rotor slow
9
HI-Rotor fast
Pressure: Chan
2 2
Effect
+19
PERFORMANCE
Timbre
0
Release
0
SQ-1 & 2 Hackerpgtch
Jeffrey Rtioods
Prog: MARTIAN KRYBX
By: Mark Clifton, Woodbridge, Va.
Notes; In Bryce Inman's review of the Keith Thomas samples (Issue
#65), the question of what a Martian Krybx sounds like was raised.
Well, here's my version of a Martian Krybx. It's a combination of a
sitar-ish sound, a percussion instrument, and a flute — aU modulated
in weird ways for the ultimate spaced-out ensemble. The modwheel
offers a "patch select" function by offering a variation of a krybx
and the modpedal adds reverb.
1
2
3
3 0
2 9
3 4
Noise Rate
0 0
0 0
0 0
Initial
Peak
V o c a l O o h s W o o d fl u t e
Level
30
14
7 0
000
000
000
Delay
7 2
0 0
.
Fwd
Fwd
MODSRC
Off
Start Index
.
0 0
0 0
Wave
MODSCR
-
Off
Off
Restart
WAVE
1
2
3
S e l e c t Vo i c e
O n
O n
O n
Wave Class
Waveform Breath
Wave
C l a v Va r
Delay Time
Wave Direction
MODAK4T
Restrk Decay
Breath
LFO
LFO Speed
2 0
2 0
1
-99
9 9
90
9 9
9 9
99
Break
4 0
00
90
Sustain
Attack
00
0 0
00
Wheel
7 2
Off
0 0
26
4 0
Sine
TrI
Pos/Slne
45
4 0
41
O n
Off
O n
Decay 1
Decay 2
40
0 0
77
Release
15
15
30
•
2 0
AMP
1
2
3
Ve l - L e v e l
2 6
1 9
13
Filter 1
2Lo
2Lo
2Lo
Ve l - A t t a c k
1 9
1 3
0 0
F I LT E R
1
2
3
Filter 2
2HI
2HI
2HI
Ve l C u r v e
Quick
Lin
Quick
Octave
+ 0
- 1
+1
FC1 Cutoff
127
1 2 7
1 2 7
Mode
Norm
Norm
Norm
Semitone
0 0
0 0
0 0
ENV 2
+20
0 0
00
KBD Track
+14
0 0
0 0
Fine
+02
- 0 7
+30
FC1 KBD
0 0
0 0
- 2 2
ENV1
0 0
+99
+30
MODSCR
L F O
Off
Off
L F O
+99
0 0
+04
MODAMT
+35
Off
FC2 Cutoff
080
000
0 6 0
0 0
Off
.
0 0
Wheel
FC2 KBD
Off
O n
Off
O n
MQDSRC
KBD Ptch Track
00
00
Oft
+62
O n
-20
Off
MODAK4T
ENV2
V O L
Boost
9 0
Off
9 9
Wheel
90
MODSCR
Glide
Off
Off
Off
FC1MOD-FC2
O n
O n
O n
0 0
00
0 0
0 0
0 0
Glide Time
00
MQDAMT
KBD Scale
Key Range
Output Bus
Priority
C2-C7
C2-C7
C2-C7
FX1
Med
FX1
FX1
Med
Med
PITCH
2
3
3
Initial
9 9
5 0
Initial
0 0
Pan
0 0
-56
+56
Peak
9 0
4 9
Peak
9 9
Ve l w i n d o w
000
000
0 0 0
Break
0 0
4 4
Break
6 9
1
1
+20
2
ENV1
ENV2
+99
OUTPUT
Sustain
0 0
0 0
Sustain
0 0
Attack
0 0
0 5
Attack
0 0
Decay 1
[}ecay 2
0 0
10
0 0
0 0
Decay 1
Decay 2
8 2
1 5
Release
0 0
0 0
Release
0 0
Ve l - L e v e l
0 0
9 9
Ve l - L e v e l
1 3
Ve l - A t t a c k
13
7 2
Ve l - A t t a c k
0 0
Ve l C u r v e
Lin
Quick
Ve l C u r v e
Conv
Mode
Norm
Norm
Mode
Norm
KBD Track
0 0
0 0
KBD Track
0 0
Effects Programming
Standard
Sound
Programming
The Hack: Mark's "Martian Krybx" is certainly spaced-out, but also quite unique. It
(To save space, only those
uses waveforms that are so opposite to one-another in character that they actually seem to
work in combination. But "Martian Krybx" may work not because it's inter-planetary but
rather because it's a night in Chinese Hell — courtesy of an edgy Voice 1 and a jumpy flute
effects utilized are listed. A
in Voice 3. A correction in voice balance can be made: in the Output Section of Voice 1, set
complete blank form was
published in Issue #68.)
Vo l t o 6 0 .
A change in Voice I's LFO will help clarify it. In the LFO Section, use Level = 15. You
can change Voice I's "tuning" (modwheel up) by making changes in the ModAmt in that
voice's Pitch Section. Try ModAmt = 57. Also, you can re-set the amount by which the
flute "jumps" by using Env 1 in Voice 3's Pitch Section: say,
CHORUS AND REVERB
FX-1
4 4
FX-2
1 5
Decay time
HF Damping
4 0
Chorus Rate
0 0
20
Chorus Depth
0 4
Chorus Center
Feedback
5 0
+06
Chorus Level
1 9
MOD (Dest)
BY (MODSRC)
FXI-MIx
MODAMT
+30
Env 1 = -48.
Jeffrey Rhoads
Bio: Jeffrey Rhoads has been a keyboardisticomposer on the
Philadelphia Jazz and R + B scene for a period of time resem
bling forever. He has an interest in cinema and has developed
some film courses. Jeff still believes in magic and longs for city
lights.
Modpedal
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
C l a s s i fi e d s
EQUIPMENT
EPS-16+ Turbo, brand new, warranty, 3 megs
memory, SCSI, instant flash memory, dazzling
digital effects, tons of extra sounds. $2495. (510)
including postage, or $15 each plus $1 postage.
Specify Lush, X, DeMiTy, Addy, Turbo, or Key
program. $100 w/complete package/manuals.
Bob Spencer, 703 Weatherby Ln., Greensboro,
MIdicaster is still available. The way-cool
NC 27406.
operating system that turns your Mirage into a
very capable System Exclusive data librarian, a
20,000-note sequence player, a disk copier/for
matter, and wave-draw synthesizer is stiU avail
able for a limited time. For more information, or
to order, contact Tim Martin, 1510 S 5th W, Mis
board. Each disk has approx 110 sounds on it.
828-5208.
HOT NEW SAX SAMPLES FOR EPS AND
EPS with 2x expander, 50 disk library. ESQ-1
with 20,000 note expander. Both come with CVP
EPS-16PLUSIII Solo soprano, alto, tenor, bari
and sax sections in true stereo! Buy individually
pedals, stands, hard cases. Yamaha RX-7 drum
or as a complete 7 disk set ($69 + $4 s/h). Com
machine. $1295, $795, $195, respectively. (616)
plete library demo tape: $8. Contact K. Thomas,
948-8398.
PO Box 174, Stratford, ON, Canada N5A 6T1 or
(310) 392-8373.
soula, MT 59801. Phone: 406- 542-0280 And
thank you for your support.
phone (519) 271-7964.
Expander chips for VFX-sd. Returned from En-
soniq after further upgrade to SD-1 was installed.
I'd trade these chips for two blank carts. In case
of a tie, I'd choose carts loaded with your best
NEW 16-BIT ROCK ORGAN SAMPLES!
WANTED
Professional quality Multi-Samples of HAM
Wanted - ElectroVoice Model SI5-3 Stage
patches. Please write: Ken Jacobs, McCune
M O N D , V O X , FA R F I S A a n d m o r e ! F o r
EPS-16+ and EPS. 7-Disk set for $60.00.
Sound, 2200 Army St., San Francisco, CA (415)
Minotaur Studios, 52 State St. Canton, NY
Speaker Cabinets. Old style with aluminum trim.
Mike Kuk, 652 8th Ave. South, Clinton, lA
13617.
52732. Phone: 319-242-0224.
6 4 1 - 1111 .
KurzweU 1000 SX Module. Upgraded with HX
block and Version 5 software. 6 Meg of or
chestral strings, brass, woodwinds & more. Good
condition. Original List: $2000. Sell for $700.
MIRAGE SAMPLES. 57 new samples for $30.
Most are unusual. 5 disks, $6 each (US funds).
Demo $3. SASE for free listing. Treehouse
Sound, PO Box 18563, Boulder, CO 803088563.
(708)427-1615.
Wanted: VFX-SD-1 programmers to trade
ORIGINAL VFX-SD-1 patches. (1 have 120 hi-fi
sounds, wide variety.) No tweaks or copyrighted
sounds please! Send VFX-SD-1 or Alesis DataDisk format to: Brad Kaufman, 11-26 Saddle
SAMPLES
Professional 16-bit samples for the EPS-16 Plus.
Series 1: Analog Classics. Series 2: Legendary
Digital. Series 3: Studio Drums. Series 4:
Experimental Industrial. Each 5-disk series: $35
+ $5 shipping. Make cheque or money order
payable to: Dennis Cooke, 128 Greendale Cres.,
SOUND EFFECTS for EPS-16 Plus and EPS,
very high fidelity, ideal for studio and post-pro
duction work. All effects are original digital
recordings sampled at 16 bit, 44.6 kHz, with
River Road, Fair Lawn, NJ 07410.
EMPLOYMENT
mono and stereo patch selects. Disks are $5.95
each, or $5.45 each for six or more. Send SASE
K E Y B O A R D P L AY E R WA N T E D f o r w e e k -
for free listing to: Syntaur Productions, 2315
Midlane St., #44, Houston, TX 77027-3818, or
end-only gigs in Tacoma area, for fun, notoriety,
and pocket change. CaU Steve: (206) 565-4701.
call 713-965-9041.
Kitchener, Ontario, Canada N2A 2R6.
PAT C H E S / S O U N D S
OUT-OF-PRINT BACK ISSUES
Celli solo/section/FX, Horn/Tuba + FX. $45
120 High-Quality SD-l/VFX-sd-Il sounds by
each (includes postage). (310) 392-8373.
Eric Olsen. See my review in the June Issue. CaU
for info or send check for $25 for Volumes 1 and
Want to trade samples for the EPS-16+7 Give
Jay a call at 203-652-2174, 9-5 pm. Eastern.
Also, Connecticut-based EPS sample obsessives
note that there is a free local users group for this
2 to: Eric Olsen, 6050 Adaway Ct., Grand
Rapids, Ml 49546, (616) 676-0863. (Please
specify which version instrument you have.)
M.U.G. wUl provide Out-of-Print issues for cost
of materials and postage. M.U.G. Hotline:
212-465- 3430 or write: G-4 Productions, PO
great ax. CaU for more details.
60 VFX-sd patches created by Jim Grote. Wide
variety of sounds with complete documentation.
Prosonus Sound CDs: Violins solo/section/FX,
ECCENTRIC SAMPLES (Mirage and EPS).
Ethnic, Ancient Greek, Medieval instruments;
Box 615TH, Yonkers, NY 10703. Attn: TH Back
Issues. Phone: (212) 465-3430.
Photocopies of out-of-print past issues of the
Hacker can be obtained by calling Jack Loesch,
201 - 264-3512 after 6 pm EST.
CaU for free Information Packet, or send $30 for
VFX-sd disk to: Jim Grote, 3721 Frances Ave.,
Partch creations; Industrial Percussion & more.
Folks in the New York City area can get copies
Cincinnati, OH 45211. Phone: 513-661-8885.
of unavailable back issues of the Hacker - call
Mirage demo tape: $3. EPS demo tapes (Vol. II
or Vol. ni): $6 each. U.S. funds only. Demo
tapes include disk list. For lists alone, send
NEW SQ-80 SOUNDS from the Hacker's Sam
SASE to: NIGHTWIND Sound, 170 Mar Monte
Ave., La Selva, CA 95076.
Mirage samples: Plus moving wavesamples all
over. 7 sounds in one bank, much more. Listings:
$1.00. Demo tape: $6.00 (includes listings). Mr.
Wavesample, 162 Maple Place, Key port, NJ
07735. 908-264-3512. Make checks payable to
Jack C. Loesch.
SoundProcess/Mirage Library for sale. 6 disks,
all with the SoundProcess Run-time OS, for $80
Jordan Scott, 212-995-0989.
Mims! Soundset 4 takes full advantage of the
SQ-80's unique waveforms, and brings "hidden
waveforms" to the SQ-80 for the first time. Forty
patches on disk, with 22-page booklet of
programming notes and performance tips,
$17.95. Syntaur Productions, 2315 Midlane St.,
#44, Houston, TX 77027-3818, or call (713)
965-9041.
FREE CLASSIFIEDS!
WeU,—within limits. We're offering free class
ified advertising (up to 40 words) to aU sub
scribers for your sampled sounds or patches.
Additional words, or ads for other products or
services, are 25 cents per word per issue (BOLD
type: 45 cents per word). Unless renewed,
freebie ads are removed after 2 issues. While
SOFTWARE
IBM users: Cakewalk 4.0 sequencer. Dr. T's
you're welcome to reseU copyrighted sounds and
programs that you no longer have any use for,
ads for copies of copyrighted material wiU not be
Copyist Professional (DTP) music transcription
accepted.
2 4
(800) 800-4654
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JVIUUISIICr FAX (813) 238-5443
Yo u r M u s i c D e p a r t m e n t S t o r e .
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• Indudes "Jam" Song Pointer Sync to
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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 mail - GEnie Network: litANSGNIQ, CompuServe: 73260,3353, PAN: TRANSONIQ, Intemet (via CS): [email protected]
This is probably one of de most open forums in the music industry. Letter writers are asked to please keep the vitriol to a minimum. Readers are
reminded to take everything with a grain of salt. Resident answer-man is Qark Salisbury (CS). Letter publication is subject to space considerations.
Dear Hacker,
MAG, "The Hudson Valley Haulers").
Lots o' fun and just so educational! I've
now return you to your regularly sub
scribed magazine.
I am the proud owner of a VFX, although
lately the VFX-sd's popularity has left me
completed my sentence, uh..., my tour of
duty and I'm back to answering all those
Long Live the Hacker!
feeling somewhat out in the cold. Are
there any upgrades available that would
happy SQ-80/ESQ-1 questions that may
arise. Still at 607-533-7878, so dial away!
In Employment Limbo
give me access to any of the VFX-sd's
capabilities (new samples, built-in sequen
cer, disk drive, etc.)?
A letter or so back I told you guys about a
P.S. Great magazine!
really great bunch of salesmen/musicians
from my local area. (Central N.Y.) Well,
two of those cool dudes (Lonnie and The
Steverino) have moved on and opened
Sincerely,
their own store in Cortland, N.Y. It's
Don Adams
called "The Ultimate Music Store" and
Cincinnati, Ohio
they're well stocked when it comes to
[CS - Unfortunately, there is no upgrade
path for the Original Recipe VFX.]
Dear Hackeroonies (and Hackerettes),
My older EPS (4x) would be great if I
could up the sound. Is there, will there be,
is it possible, that some type of upgrade
will happen? I love the EPS but don't
want to drop a large chunk of $ to enhance
the s/n ratio. I've been told that the newer
good ol' Ensoniq equipment. They're
doing really well and making lots of bucks
and probably will go on to have a planetwide chain of stores and be big, wealthy
music robber baron dudes. Do you think
they could have made me a partner?
Nooooo! (Oh well, maybe this shameless
plug will get me a big discount the next
time I actually buy something instead of
just drool on the carpet.)
Hey there, Malvern. I have a VFX-sd 11
with the mega piano upgrade. I did not
Rob Romano
[TH - Gee, pretty soon people will be
trying to sell their used cars in the Hack
e r. . . ]
[Ensoniq - We developed the special pric
ing for upgrading a unit a second time out
of fairness to persons who had already
spent $699.00 to upgrade their original
unit and wanted to upgrade again. Since
the original VFX-SD listed at $2695.00 and
t h e M e g a - P i a n o Ve r s i o n I I l i s t e d a t
$2745.00, we only charged $50 retail
more. Of course we cannot control what
price you actually paid on the used market.
The price for the upgrade is based on the
cost of a complete new mainboard, which
is the most significant cost part of any of
our product designs. Considering that you
would be getting better quality output cir
cuitry, an increase from 21 to 32 note
polyphony, a variety of new 16-bit wave
forms (including an improved piano), an
additional ROM bank of programs (60 new
versions (of the older EPS) sound better.
personally purchase the upgrade, but when
Any and all suggestions will be ap
I purchased the VFX used, the dealer price
preciated.
d i d r e fl e c t t h e f a c t t h a t i t d i d h a v e t h e
programs, and 20 new Performance
upgrade. I would like to upgrade to SD-1
status but the $700+ price tag is a bit out
of my league. I understand your policy
about the SD-1 upgrade only costing $250
if the owner can prove they bought the
Presets), and a complete diagnostic over
haul of your keyboard we feel that the as
king price is fair, and that you are getting
A1 Trautman
Lydia, La.
[CS - The very first EPSs produced had a
lower output than subsequent versions.
These units could be upgraded via the
so-called "EPS gain modification." To
determine whether or not your unit would
benefit from this mod, contact Ensoniq
Customer Service at 215-647-3930, and
have your unit's serial number handy.]
a great value.]
mega upgrade, but it seems as though we
"used" owners are getting jammed in a
Dear Hacker,
tough spot. I can understand a VFX owner
paying $750 because of the cost of the
Mega pianos and the SD-I - but it seems
just a little bit much for owners with the
Since 1984, I have funded a non-profit
service to help the elderly and hand
icapped. We could really use some sequen
Mega pianos already installed. Not bitch
ing, just asking, because I'm sure you'd
ces to use at fund raisers. Please be a
sponsor for a good cause.
get more of us to upgrade if the price were
Hey there Hackerites,
lower. Work on it if you can!
Just a quick letter to apologize to anyone
that called my number on Transoniq-Net
with desperate questions and open ears
P.S. Are there any fellow military types
out there who have ANY patches (of the
only to hear, "Uh, he's not here. He's in
Hacker's collection (namely mine!)? I
only recently started collecting and with
my transfer to the Air Guard any normal
supply lines have dried up. Please send
Texas." From the end of February to the
end of May I was serving God, country
and state (not necessarily in that order) by
attending a school at Sheppard Air Force
Bass, Texas, for my Air Guard unit (I05th
Harry Saina
The Elderly-Disabled Non-Profit, Inc.
1213 Pine Lane,
C h e s t e r, PA I 9 0 I 3
cloth type!) available to donate to a fellow
any patches to: Rob Romano, 481 Peruville Rd., Groton, NY 13073. Thanks! We
2 6
Dear TH,
I'm sure we'll be hearing a lot about the
DP/4 in the coming months. It's great
having four dedicated processors and eight
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• Booklet provides lead sheets for all chord
progressions, solos, and practice exercises.
• Program requires a midi synth capable of
producing piano, ba.ss, horns, and drums.
Type I midi file formal for all computer .sequencers.
AVA I L A B L E D ATA F O R M AT S :
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Roland MC-50/MC500/300/W30/MV-30
Korg T-Serie.s/Ol/WFD Ensoniq SD-l/VTX-SD/
EPS/SQ-80 Yamaha Sy77/SY99/QX3
Alesis MMT8/Datadisk only
$49.95
VISA AND MASTERCARD ACCEPTED
NEW SOUND MUSIC
P.O. Box 37363
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would make the pitch shift effects much
more useful for live work as you would be
able to play tunes and harmonize using a
MIDI keyboard.
As an alternative how about a MIDI pitch
up respectable libraries over the years.
Must we trash these years of work and
start all over with a memory expandable
AKAl SIOOO? Or sell my two EPS
samplers and invest a little more money
and get a K2000, being then able to ex
mapping utility for the EPS-16 PLUS?
That way I could redefine the MIDI note
numbers sent for each key thus circum
pand my memory up to 64 Meg? Not
everyone needs 64 Meg, hut you've got to
make your samplers expandable so that
venting this limitation of the DP/4. It
seems to me that a keyboard mapping
your faithful customers can remain faith
ful and have the option of expanding their
utility could be implemented in software
and offered as part of an OS upgrade -
samplers!
maybe the forthcoming version 1.3.
If 1 am the only one in the world who is in
need of more memory, then disregard me
I encourage all the Ensoniq diehards to
check out the DP/4. It's a complex but
as a lunatic, a lone voice in the wilderness
powerful instrument and combines the
high quality effects we know from the
EPS-16 PLUS and other Ensoniq key
boards with a number of new effects such
as phaser sample and hold, multi-tap
reverb and vocoding.
Keep up the good work at the Hacker!
who probably should have purchased a
more expensive, expandable sampler from
some foreign country in the first place.
But, if there is anyone else out there who
has ever thought that a little more memory
would he helpful why don't you make
your voice heard. Send a letter to TH, to
he printed in the Interface. Just say, "More
Best wishes,
sampler memory please, Ensoniq," or
words to that effect. Hopefully you can he
briefer and more to the point than 1 have
Michael Schell
been.
Brooklyn, NY
1 fear that Ensoniq will only he motivated
[Ensoniq - Thanks for your suggestions.
We'll certainly keep them in mind for fu
ture use.]
simultaneous modulation sources avail
able. However, I would like to suggest an
enhancement in controller handling for the
Pitch Shifter algorithms.
Like many performers. I use Pitch Shifting
in performance as a real time effect to har
monize and transpose audio signals. I like
to control the amount of pitch shift using
my EPS-16 PLUS (as a master MIDI keyhoard.) My Yamaha FX and SPX series
effects units let me "play tunes" with the
keyboard, since their Pitch Shift programs
have a "Root Key" parameter. By setting
this to C4 I can transpose the signal up a
half step hy C#4, up a fifth by playing G4
Dear TH/Ensoniq,
I have been a faithful Ensoniq user for
several years now. I currently own an
fully expanded). This gives me about 4
Meg of memory. I have a critical problem
with this....l need more memory!!!! How
many more 16 PLUSes can 1 afford to buy
to acquire more memory? Obviously
buying more hardware is not the cost or
space effective solution. How about a lit
t l e E X PA N D A B L E R A M f o r y o u r
and so on.
samplers, Ensoniq? How about using
SIMMS or some other similar inexpensive
Alas, this technique is impossible with the
TH there was a letter in the Interface sec
DP/4 since the MIDI Note Number con
tion from Jared Stewart who asked about
troller is treated like any continuous con
troller, ie., the available pitch shift range
RAM upgradeahle with SIMMS for En
memory expansion? In the June issue of
over the full controller range (from note 0
soniq users. My ears perked up. Did
anyone else's? Unfortunately, neither TH
nor Ensoniq even responded to the ques
to 127). Thus a MIDI note interval of a
tion. (Of course, with SIMMS, for ex
fourth only produces a pitch shift of a half
ample, you do not have to pay very much.)
(an octave in either direction), is extended
step.
Perhaps Ensoniq could offer a Root Key
parameter in a future DP/4 OS version. It
CD Voliune I
EPS-16 PLUS and an EPS classic (both
There are a great number of us Ensoniq
users who have spent a lot of time and
money on an EPS (or two) and have built
27
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This collection has hundreds of customized drum
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to act quickly on this issue if they see
evidence
that
there
is
a
market
for
memory out there in consumer-land, so
cast your vote, speak up by sending a let
ter or postcard to TH. You may find that
your lone voice is actually part of an over
whelming (and no longer silent) majority.
"deaf ear" to our customer's requests for
more memory in our samplers. It's just
that we have said time and time again that
the original EPS and EPS-16 PLUS can
not accommodate more memory, because
the oscillator chip cannot "see" more
memory and the power supplies cannot
handle the load. So each month when we
Please surprise me with some good news,
Ensoniq. I want to remain a faithful cus
t o m e r.
PROFESSIONAL QUAUTY
LOW COST
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FOR
THE EPS/EPS-16 PLUS, SQ-80,
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CALL OR WRITE
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Faithful Ensoniq Customer,
Lewiston, NY
[CS -1 agree that where memory is con
c e r n e d , t h e m o r e t h e m e r r i e r. S t i l l , I ' v e
found that by rolling up ones sleeves and
doing a bit of surgery on instruments one
wishes to use, an awful lot can be cram
med into an expanded EPS-16+ - espe
cially if it includes a Flashbank. If you
haven't done so already, you may want to
scan some TH back issues in search of ar
ticles on the EPS and memory manage
ment - you should be able to find some
pretty good tips on how to squeeze the
most out of your machine.]
are asked again we must answer with the
same information, and once in a while we
assume that the rest of the Hacker
audience already realizes these facts. Rest
assured that we have heard your request(s) and will take them into account
for future designs. We have never
marketed or promised that these models
could accommodate more memory, so it
should be clear when you purchase them
that they cannot be expanded beyond their
current capabilities (EPS = 2 Meg, EPS16 PLUS = 3 Meg wIFlashbank memory).
Thanks for your input, but a letter writing
campaign to the Hacker cannot change
these facts.]
To Ensoniq Design Engineers or Transoniq:
BENNINGTON NE 68007
1-402-238-2876
[Ensoniq - We certainly are not turning a I'm currently using the SD-1, EPS-16+
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VFX-sd • SD-l/SD-1 (w/32 voices) • EPS/EPS-16+
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Dedicated Sequencers
2 8
Turbo and an Atari Mega-2 with C-Lab
Creator. It's funny that Ensoniq is now
distributing C-Lab software. Now if you
[Ensoniq - Thanks for your comments,
and v/e will pass on your request to
C-LAB in Germany.]
guys could collaborate on a project...
The Ensoniq EPS and 16+ are great
samplers, the key features being Polypres-
Dear Hackers/Ensoniq,
sure, patch select buttons, load and play,
re-sample with effects for about $2400
street price...wow!
I noticed in the June issue that Avalon
C-Lab software is now at the top for the
Atari computer - Imagine using SCSI or
SMIDI with C-Lab controlling the EPS
Sample Editor was not mentioned by En
soniq as a viable EPS/Atari product, refer
ring to Ensoniq's reply to the letter from
Neil Leonard.
with a hard drive. Now we need C-Lab to
I am solidly invested in Steinberg's Se
support Windows to display and edit the
samples (time versus pitch, noise gate
masking any area of sound). Get the pic
ture? If you have not guessed it by now a hard drive recording system...this is
where the future of audio recording is
quencer Cubase (and love it) as well as
their excellent Synthworks Editor/Librar
ian programs and would like to also use
Avalon in order to stay consistent with
their MROS Multitasking platform.
headed.
Avalon is reportedly very hot especially
me (a very amateur sound designer) to be
come an overnight sound programming
genius - well, a heck of a lot better any
way. Hackers take note, Steinberg has
recently introduced an SQ series Synth
works. I'm salivating heavily.
Thanks for your reply,
Orion Engar
Dorion Research Corp.
Sardis, BC Canada
[Ensoniq - We didn't mean to slight Stein
berg's Avalon in our last response, we just
have never actually seen or worked with
that software. If you need more informa
tion about it contact their US distributor,
SteinberglJones 17700 Raymer Street,
Suite 1001, Northridge OA 91325 (818)
993-4091.]
with the DMA to SCSI controller which
Let's kick Cubase (Audio) in the ying
yang.
Sincerely yours,
William A Dean IH
speeds sample transfer time up con
siderably.
Is there a problem with Avalon and the
EPS-16 PLUS or was this an oversight?
Dayton, OH
Also, my Proteus Synthworks has enabled
Dear Hackers,
You might want to say something to your
readers about demanding your chips back
if you get an SD-1 upgrade. Since the
SD-1 upgrade includes the capabilities of
the first upgrade expander chips you may
Help Your EPS Lose That Excess Walt
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2 9
be paying for them twice - hang onto
them! I kind of staitled the Ensoniq cus
tomer service rep when I asked for mine
hack. I think I was the first to request
them, hut I was pleased with their
li, you had better buy extra cartridges in
response.
keyboard.)
On a different topic... How do you fast
forward (previewing) and fast reverse
Now, question time: Has anyone been
mixing and merging wavesamples? It's
unreal. I took my tiny strings, mixed it
with a bell I had sampled and then I used
the four choruses from my WaveBoy. It
sounds so good. All I want to do now is
mix wavesamples.
(reviewing) on the sequencer in mid-play?
Thanks,
MONSTER DAN is hotter tharj ever
Ken Jacobs
with hundreds of seiections from the
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case they get too fragmented because you
probably won't be able to format new
ones. (Although, Art did say that some
EPSs will allow you to format from the
'50s to this week's chart for your
ESQ-1. SQ-80, VFX-sd, or SD-1 —
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Instrument names are trademarks of Ensonlq Corporation.
[CS - There are no "preview" or "re
view" controls on the SD-1 per se. To
move quickly forward through a sequence,
Also, to you people who have the original
EPS: You can sample sounds from the
simply speed up the playback tempo. To
hear sequences in reverse, you need to be
it will use only one layer and pan both
going the correct speed and direction
during the occurrence of a space-time
warp. A simpler solution might be to use
the extensive auto-location features to lo
cate to areas of the sequence that you
wish to listen to.]
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ways. But, of course, you can't change the
buss after you sample because the old EPS
doesn't have busses. (But I've found that
the key pressure is better on the original
EPS - on my 16-h I almost have to bend
the keyboard to get the pressure to work
properly.) You do use the keyboard to
sample, don't you?
[Ensoniq - Since the SD-1 32 Voice al
ready includes the SQX-70 sequence ex
pander it is fine with us if you remove
them before sending your unit in for an
I try new keyboards that come out all the
time. Everything made today has draw
backs, but the EPS-16-(- has more pluses
upgrade.]
than about 80% of the market.
TURN YOUR MIDI
SEQUENCER INTO A
E P S - 1 6 - H w i t h t h e WAVe B O Y e f f e c t s a n d
Don Suite,
Salt Lake City, Utah
Hacker:
( 8 0 1 ) 4 8 4 - 2 11 3
Let's call this the Bernoulli connection.
[CS - Thanks for the Bernoulli tip, Don.]
This is to answer some of the questions
that came up when I mentioned in an ear
lier letter that I knew someone who was
able to format and connect a Bernoulli
drive to his EPS.
To set it straight, my friend Robby Robin
son has an EPS with a Bernoulli. I have a
Syquest 44 Meg removable connected to
my EPS-16-h. Robby told me about the
Bernoulli before I bought my EPS and
how great it was. But when he told me I
couldn't format it from my EPS, I changed
my mind and bought the Syquest.
Anyway, the guy who got the Bernoulli up
and running on Robhy's EPS gave me per
[Ensoniq - We do not recommend the use
of Bernoulli drives with the EPS. They do
not respond correctly to the SCSI com
mand set that we use and are unlikely to
give you reliable performance. There are
plenty of SCSI compatible drives that will
work without taking a risk with a basically
incompatible technology.]
[TH - But, if you've already got a Ber
noulli just gathering dust and are aware
of the risks involved...]
Dear Hacker,
mission to have his name and number
printed in the Hacker so Bernoulli owners
can get in contact with him. You'll prob
The memory limitations of 2 megabytes
ably get his recorder, but keep trying: Art
Sajeki, Market Dynamics, Ogden, Utah.
Phone: 1-801-393-3456 (business).
with 44 kHz multisampled libraries. All
m a k e t h e E P S - 1 6 P L U S d i f fi c u l t t o u s e
eight instruments cannot be utilized. 1 sub
mit these questions to the engineers who
designed the 16 PLUS. With all its great
If anyone out there has or buys a Bernoul
3 0
features the EPS 16 PLUS's rather limited
memory cripples its use.
OS be able to access the added memory?
RAM like other samplers on the market!
Can the 16 PLUS support expansion RAM
addresses beyond that assigned to the
Flashram? Are there enough address lines
on the expansion connector? Can the
There is enough room within the rackmount for an expansion board above the
SCSI board using Macintosh compatible
Frank Enfante
SIMMS. DIP switches could tell the OS
power supply handle the increased current
how much memory exists. It would be a
[Ensoniq - See our answer to "Faithful
Ensoniq Customer" above.]
requirements? Would the current system
total killer if the 16 PLUS had the hidden
ROM (I assume soldered in) and a future
ability to access up to 32 megabytes of
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FOR THE EPS, EPSISt, MIRAGE, TX-16W, EMAX,
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PRICED AT ONLY $5 + .50 Sm PER DISK. ALSO,
PATCH DISKS FOR SYNTHS IN MANY FORMATS
AT $15 t .50 SM PER DISK.
IfBSLBG
fl S ■SPECPyf[IM| PO
liKECIfaESiHIUONEr
m m m m m
BOX 114, STATION 0
KITCHENER, ONTARIO
CANADA N2G 3W9
ViSA/MC 519-745-0021
DRUM
LOOPS
CD
O N LY !
75 DOPE AND DEUCOUS LOOPS, RAVE GROOVES, Ac A gj
about the price at all. A vast library of affordable
we'll take care of the rest. We spend the lime organiz
ing a library for the EPS so you can spend your time
making music.
I RARE BEATS, LIMITED EDITION, NO RIGHTS RESERVED
■E P S . S - 9 0 0 & S - 5 Q S A M P L E D I S K S
S/H ($2 outside N. America) to:
Keith Peterson
Liverpool, NY 13090
(315) 652-5741
BE EXPEBIIYE?
All EPS Direct-Dial commands at
Cheatsheet!
Glebler Enterprises
8038 Morgan Road
f iiouiD BUYinc inmpiEf
E P S ( 1 6 + ) N AV I G AT O R
EPS
VFX-SD and SD-1 or EPSSMF for EPS
and EPS-16+) Includes EDM and only
Convert SQ-80 sequences and songs to
L AT T E R S O U N D
PRODUCTIONS
□ SEQUENCING/RECORDING - From $39
□ TRAINING-From $39.
□ MIDI & SOUND BOARDS - $79.
ultimate
Transfer Sequencesto and from Standard
costs $44.
Disks: $30.
SERVICE
your fingertips. Also, mini-tutorials
on sampling, sound editing, effects,
MIDI, Multi-tlmbral use, sequencing,
song construction, and more. The
Read/Write/Format Ensoniq Disks on
IBM-PC's with our Ensoniq Diskette
Manager (EDM) software ($22).
Midi Files. Each package (VFXSMF for
SQ-1,2, R, Plus owners —
Favorite with music ministers for over 5 yrs
G R E AT
Lodi, CAL
B B S O I U T E I Y B . O . r.
Also For: S-550, S-330, W-30. (Specify)
Demo disk $5 - refundable w/purchase
SHIPPING
FREE
INCLUDED
C ATA L O G
CALL
MIDI
MARK
NEANDERTHAL ORGANIZATION TECHNIQUES
3 1 0 - 6 9 9 - 0 0 9 5
BBOX217 ■
PO Box 1238
WHITTIER, OA 90608
A L L D I G I TA L S A M P L E S
( 3 C ) C X X X X X X X X X X X X X X X X X D
We offer the only 16 bit computer
synthesized 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.(X), or
Hillshoro, OR 97123
Summer Cover Sale
-Ensoniq SD1/EPS16+
-Korg M1/T3, 01/W
Reg.... $24T95-Sale...19.95
Call Now
while quantities last!
1-800-228-DUST
Uutarcard/ Vlt* Acctpttd
write for our catalog.
FIRST
G E N E R AT I O N
P.O. Box 748
Cocoa, FL 32923
31
1 N. 353 Bloomingdale Rd.
Carol Stream, III. 60188
TRANSONIQ HACKER
B U L K R AT E
U . S . P O S TA G E
PA I D
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.
Editor: Jane Talisman
Rates torauttiors: 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 FInnlgan.
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).
In US funds.
Transoniq Hacker Is the independent user's news magazine for Ensoniq
products. Transoniq Hacker Is not affiliated In any way with Ensoniq Corp.
Ensoniq and the names of their various products are registered trademarks of
the Ensoniq Corp. Opinions expressed are those of the authors and do not
necessarily reflect those of the publisher or Ensoniq Corp. Printed In the
United States.
Ok, you've heard the other guys'
01/W Series! 10-disk set of some of the fattest
samples. Now's the time to hear
ours. We've been in the EPS sample
sounds you've ever heard! Sample this recent burning
business since the EPS came out.
hot
synth!
Only
$49.95!
D-70 Heaven! Light and breezy, other worldly, this
10-disk set shows the beautiful D-50 sound, but reveals the
VCl/s
monster within! Only $49,951
* It's out! Following in the footsteps of our other three "VFX
meets EPS" sets, this is our hottest yet! Lush pads, strong
drums, funkedelic electric pianos! Only $49.95!
High-Quality Samples for the
Original EPS and EPS 16-Plus
Praised in the pages of the Hacker,
and consistently noted for quality,
our samples will make your Original
or 16-Plus sound like a new instru
ment. We make an emphasis on
playability, not just sound. Twiddle
a mod wheel, or squeeze on the
aftertouch, and you'll know what
expression really means.
Other Summer Specials
We are your one-stop EPS shop - we do nothing
but! Hard drives, software, monthly newsmaga
zine. free consultation; everything the EPS-man
could ask for!
■ EPS/Wavestation 15-disk sets I & II
SSSi'SS—. $49.95 ea.l
■ The Chicken Drive 44mb removable Hard Drive
w/ free cart of sounds
He'll give you the bird, but we won't.
$599.00!
The Leader in
EPS Sampling & Programming
RUBBER CHICKEH
TOLL-FREE ORDER LINE
1-800-8-PRO-EPS
SOFTWARE CO.
(lowest price on the block)
■ VEX meets EPS i, //, HI (25 disks)
"$99:95. $79.95!
- Any Pius Pak(i-V)
$39:65. $34.95!
P. O . B o x 4 2 8 • B e n t o n , WA 9 8 0 5 7 - 0 4 2 8
Free catalog available, just call or write!
© 1992 Rubber Chicken Software Co.
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