Home

Issue #79 - Buchty.net

1. Hacker The Independent News Magazine for Ensoniq Users In this issue Articles Yet More SQ EZ FX CUS a E 6 Orchestral Percussion Secrets on the SQ 1 Mark CON aes NVIMFhensir y Time Stretching on the EPSs SODEE E s ARE AA i RERO Donum 12 Distortion It s Not Just For Guitars FONE sus co oi sg EE 13 Mystery Waves in the VFX Joseph A TraVo Seas eire 14 Kustom Krafted Keyboard Kovers SIUS VINCSME SAR 17 ESQ 1 SQ 80 Sequencer with Tape Sync an Y E 18 Reviews Valhala s Keel Sound Library EPSs Kenn LOWy o ersserectetteses oe ness stss Cover Basement Tapes Greg amp Debi Jack Tolin Daniet MOI wiccecsscsesecncccasecces sabsnctonssohas 10 L B Music Sequences VFX sd LAB I ce pel LLL PESE 16 Regular Stuff Random Noten i csscscssecscscccevcostescsscarssettacsuae 3 HypetSORIQ sso cccccneccaccndnsresetes orre vaso s ed e iE 3 Cum a A a E 15 Hard Drives Lint soc cccsetpacesctsnecsnssishonstanain 16 CoU SRUUR COE ORGUA 20 Hackerpatches Sam Mims amp Jeffrey Rhoads 21 The 5 24 Hacker Booteegggg eene 31 JANUARY 1992 like a 12 string but playing it on a keyboard makes things difficult If you play it like a guitar which again is not easy on a keyboard it sounds pretty close But it also sounds a lit tle like a harpsichord The mod wheel adds a nice chorus ef fect DISK EG 2 Stratocastor Start Clean 838 Blocks Since I own a strat and I know it h
2. EPS MIRAGE ESQ SQ 80 M U G 24 HOUR HOTLINE 212 465 3430 Leave name number address 24 hr Callback SAMPLING amp MOVING SAMPLES Mr Wavesample Jack Loesch 201 264 3512 Eastern Time N J Call after 6 00 pm 613 392 6296 MIDILINE BBS MIDI USERS Eric Baragar Canadian MIDI Users Grou during business hours Eastern Time Toronto ONT or at 613 966 6823 24 hours MIRAGE SAMPLING Mark Wyar 216 323 1205 Eastern time zone OH Calls between 6 pm and 11 pm SQ 1 QUESTIONS Pat Finnigan 317 357 3225 8 00 am to 10 00 pm EST ESQ 1 MIDI amp COMPUTERS Joe Slater 404 925 7929 Eastern time HYPERSONIQ NEW PRODUCTS Optical Media International s Sound Publishing Division Reflective Arts introduces its newest sound libraries for the En soniq EPS samplers The Sonic Images Library comprised of two CD ROMS containing 2 MB instruments in the EPS 16 PLUS format Categories include drum kits ethnic percussion grand pianos stack sounds and musical FX Every instrument has been recorded digitally then looped tuned and categorized for fast retrieval The musical FX are unique blends of real and synthetic sounds that work well for stingers and cues The stack sounds are blends of voices strings guitars and synth sounds that evolve through time Audio Demo disk 5 00 plus shipping CD ROM disks 399 each or 699 for both Both volumes and SCSI CD ROM drive for 1099 Availa
3. We also feature cutting edge sounds for Yamaha Korg Kawai E mu Roland Peavey and Casio synths Call for information on the latest additions to our massive soundware library opti case Cases for Ensoniq Equipment Now available direct from factory except in current dealer areas our full line of ATA cases Category I and II Keyboards EPS EPS 16 PLUS VFX VFX sd SQ 80 SQ 1 SQ 1 SQ 2 Module rack cases 3 space 4 space 5 space 6 space 2 space racks available with surface mount hardware only Mention the TH code number 839 when inquiring to Shown 4 space rack with EPS 16 PLUS module receive our special factory direct pricing Lepare rvack m EE Ae ce CALL US AT 1 800 637 6635 8 00 am to 4 30 pm CT Mon Fri We accept COD Visa Mastercard American Express Dealer Inquiries Welcome OPTI CASE RT 6 BOX 235 HENDERSON TX 75652 FAX 903 657 6030 DONT LET YOUR EPS BECOME THE SLEEPST Are floppies slowing you down Speed up the pace with a Frontera rack mount HARD DRIVE All Drives Feature 2to 5 year warranties V Double Shock Mounting V Universal auto switching power supplies V Access amp power LEDs J Eliminate all those loose floppies Save load files in seconds 1400 blocks 2 seconds 4 40MB 1 2GB fixed 45 MB removable D t Dual amp Custom models te ran ors available V All cords cables terminato
4. ADDITIVE SYNTHESIS X 2 Steinberger Bass Deluxe Bass Clarinet Timpani VF 4 Ritual merson na AD 1 Wind Chime req memory expander Hell s Bells Rez Trumpet OM 2 Ri Barrock WW 2 Clarinet Bali amp I ae Arena X 4 Takamine 1 2 String Flute Piccolo OP 4 Roto Toms ear req memory expander Bass Flute Crotales ROLAND LA AD 2 Space Vibe Traps LAT Melo Chiffer OM 3 an Strings Benza Dream WE 1 Shakuhachi WW 3 Oboe Sweet E P Pop Koto English Horn DC 4 Orchestral Cymbals Brass Section WeRope Bass AD 3 Spitfire Brass Temple Bells Antique Finger Cymbals OM 4 K 5 Rhodes WW 4 Low Saxophone LA 2 Pipe Dream ee ss Brass Multi Clav WB 2 Bata Drums High Saxophone Cosmos maniese Log Drums SPECIAL Java Bell ramponne AD 4 It Breathes African Shakers KB 4 Clavichord Ec PPC Keys D Tal Celest Full Organ VS 1 Yacks Quartz Mallet alking Drums e Temple of C Sky Diamond Foy erumpat Bottle Bi LA 3 Royal Pad Melo Waves DC 1 Rock Kit we 3 Pan Flute ower mee Simmons Kit Gamelan Al DSO Orchestra M CEPS ROCK amp POP DC2 Jazz Kit GB 1 Classical Guitar en LA 4 Pressure Lead Funksichord Traps 2 Nylon String Guitar z Hollow Lead KB 1 Fender Rhodes A 2 Martin Harpsichord Kitaro I V 3 Accordion DC 3 Processed Kit CB 3 Jazz Bass er Mti P gt Lead Bass KB 2 Yamaha OP 70 ercussion FX Bowed Bass KORG MI amp TI VS 4 ei Hohner Clavinet GB 2 Fender Jazz Bass GB 4 Mandolin A3 md nee KM 1 Concerto onstenauon
5. Let s start with a typical application using only the ESQ 1 Patch the stereo outs of the ESQ 1 into your mixer and pan the two inputs hard left and hard right We can now control the panning of all sequenced parts by the PAN settings on each patch Since many patches use modulated panning you may wish to modify the patches to give fixed pan locations Settings of 7 or 8 place things in the center of the stereo spread to move a sound left lower the value to move right raise it For stereo spreading of sounds like pianos and string pads try using the KBD2 modulator Experiment by using the COMPARE button to audition how the patch sounds with the new panning Remember to save the patch once you get the panning set as you like it To help in keeping track of the edited patches SQ 80 owners will appreciate the fact that the current internal patches get saved to disk along with sequences you are prompted on reloading whether or not to restore the patches Now let s head down to the MIX MIDI pages and go to the MIX page where the levels for the tracks are stored Roll the tape and tinker with the levels as needed to balance the se quenced parts against both each other and the taped parts If you have chained together a number of sequences into a song this can get a little messy since changes you make on the fly during playback are not retained unless you stop the sequence Keep a pad nearby and jot down edits you would like to make to level
6. 12 50 for 4 or more 10 each for cumulative orders above 500 Sometimes it seems like there s more and more things to ac complish in less and less time We must be Renaissance men and women We must do it all and we must do it well We must also meet our deadlines In order to achieve our goals as musicians we often ask ourselves what s the best way to basically do everything and do it well How can we possib ly make that demo tape while we are putting all our energy into auditioning a new bass player and rehearsing our last set Where in all of this hectic schedule does the time come for ac tually writing a new arrangement a new song L B Music sequences are intended to facilitate live gigs One of the things we may do and I say may because this product may not be for everyone is spend a lot of time programming current and standard hit songs into our synth for that next wed ding or lounge act or party Well you don t really have to do that anymore Now you have to keep in mind how these are used in order to decide how good they would work for you If you use your keyboard as a totally live instrument never touch your sequen cer then you might just pass However if you re the center of the band you may not even have a full band and you are in control these sequences can be a great load off your time The example sequences were middlin to good The songs range from big band to pop to jazz In
7. In last month s article on the CV interface by Charles R Fischer the schematic should indicate that the two rings on J2 and J3 are connected together Page 10 Issue 78 TRANSONIQ NET HELP WITH QUESTIONS All of the individuals listed below are volunteers Please take that into consideration when calling If you get a recording and leave a message let em know if it s okay to call back collect this will greatly increase your chances of getting a return call ALL ENSONIQ GEAR Ensoniq Customer Service 9 30 am to noon 1 15 pm to 6 30 pm EST Monday to Friday 215 647 3930 SQ 80 QUESTIONS Robert Romano 607 533 7878 Any ol time HARD DRIVES amp DRIVE SYSTEM Rob Feiner Cinetunes 914 963 5818 11 am 3 pm EST EPS EPS 16 QUESTIONS Erech Swanston Maestro Sounds 718 465 4058 Call anytime NY If message 24 hr callback VFX QUESTIONS Sam Mims Syntaur Productions 818 769 4395 CA 10 am to 11 pm PST SEQUENCING Larry Church Danlar Music 503 692 3663 Call anytime SQ 80 QUESTIONS Michael Mortilla 805 966 7252 weekends and after 5 pm Pacific Time EPS amp EPS 16 PLUS QUESTIONS Garth Hjelte Rubber Chicken Soft ware Pacific Time WA Call anytime If message 24 hour callback 206 467 5668 ESQ 1 AND SQ 80 QUESTIONS Tom McCaffrey ESQUPA 215 830 0241 before 11 pm Eastern Time ESQ 1 QUESTIONS Jim Johnson 503 684 0942 8 am to 5 pm Pacific Time OR
8. The Parallel Effects Disk 1 0 is just 39 95 including shipping Foriegn Orders add 6 PA Residents Add 6 sales tax ML 2 Mastercard or Visa accepted To order call 215 251 9562 Or send cashier check or money order to P O Box 233 Paoli PA 19301 e e M G M 9 LASER ASAA ee 2 ee TRIAL LN LI Montclair CA CS Insofar as the SQ 2 keyboard would typically be live and playable regardless of whether or not you were using an external controller I m not sure I m understanding your question But heck that s seldom stopped me before One of the difficulties encountered by some users of the WX 7 is that it can be set to send breath control data as MIDI volume data This is all well and good except that when you stop blowing the WX 7 sends a MIDI volume message of 0 to the slave device effectively turning it off You can get the volume reset back to full on by turning the SQ 2 off and then on again but this may be a bit cumbersome in live performance One al ternative would be to connect an Ensoniq volume pedal the model CVP 1 to the SQ 2 Then if the WX 7 sets the SQ 2 s volume to 0 you can quickly turn it back up by step ping on the volume pedal I hope I ve understood your question If not perhaps you d like to write again and supply a few more de
9. every time It should be both relaxing and dynamic As for my style I refer to it as Next Age music My thanks to both Jack Stephen Tolin and Greg amp Debi for their cassettes mm If you want your tape run through the ringer err Hacker just mail it off to Basement Tapes Transoniq Hacker 1402 SW Upland Dr Portland OR 97221 Bio Daniel Mandel is a songwriter sound designer and has sold pro audio and keyboard equipment and produced demo tapes for local bands BACK ISSUES Back issues are 2 50 cach Overseas 3 each Issues 1 9 11 13 23 27 29 30 35 36 37 38 and 68 are no longer available Subscriptions will be extended an equal number of issues for any issues ordered that are not available at the time we receive your order ESQ 1 coverage started with Issue Number 13 SQ 80 coverage started with Number 29 although most ESQ 1 coverage also applies to the SQ 80 EPS coverage started with Number 30 But didn t really get going till Num ber 35 VFX coverage got started in Number 48 Permission has been given to photocopy issues that we no longer have available check the classifieds for people offering them Reprints in our Quick and Dirty ot Series are available MIRAGE OPERATIONS for 5 and MIRAGE SAMPLE REVIEWS for 4 Each contains material from the first 17 issues Time Stretching Pitch Shifting on the EPS 16 PLUS and EPS Way back in August 1990 TH 62 we discovered a way of pit
10. except that it acts on low frequencies and it s range of values go both positive and negative Using negative values for this parameter will cause low frequencies to decay more quickly than the rest of the reverbed signal higher values will cause low frequencies to take longer to decay Again this one is easy enough to get a feel for simply by trying it out using a variety of values Note however that higher positive values will actually increase the overall reverb time so you may need to adjust the overall decay time for the reverb when using higher values for Low Frequency Decay And a good tip if you re having trouble with a sound smearing in a mix try using lower negative values for Low Frequency Decay Cutting the reverb decay in the lower ranges can help to open up space for lower instruments such as bass drums and so on We ve now made it through all the reverb menu pages with the exception of the last page This page deals with dynamic effects modulation and this can be a fairly involved subject so we ll be leaving it for another installment Astute readers will also note that we ve only talked about the Concert Reverb algorithm However the parameters we ve discussed here apply to each of the other single reverb effects in the same way that they apply to the Concert Reverb effect You will also encounter reverb parameters in a number of the mul tiple effects In these cases you ll find that the reverbs used in the multip
11. or SQ 80 all further references apply to both you ve no doubt learned to appreciate the ability to do overdubs and edit your music in the sequencer rather than having to make endless takes on tape However what if you want to add parts like vocals and non MIDI instruments to your recordings One option is to record your sequenced parts to tape then overdub the other parts onto the tape Another way is to use tape sync and what has come to be called virtual tracks Let s take a simple example Assume you have a sequence programmed into your ESQ 1 which has all the instrumental parts for a song and you want to add three part vocals to this In order to put the sequenced parts onto tape in stereo you would need two tracks Add three tracks for vocals and you re up to five tracks already Now consider this use one track to record the tape sync FSK tone generated by the ESQ 1 then add the three vocal tracks The sequenced parts never go onto the tape only the sync tone However the sync tone allows you to run the ESQ 1 sequencer in perfect time synchronization when playing back the audio tracks you have recorded There are a number of benefits to this which all can be boiled down to one thing By not committing the sequence to tape until the final mixdown you are free to experiment with the sequence making edits trying different sounds even using different in struments Brian Rost autolocate functions of the sequencer unless you
12. 16 can simply be thought of as a digital tape recorder So how do you think the EPS 16 raises a sound by 1 octave No prob you say simply play the digital data a stream of 1 and Os back at twice the speed Well that is indeed how most samplers manipulate pitch by varying the speed at which the bit stream is processed Unfortunately for our techno flooded brains the way the EPSs do it is not so simple pass the aspirin The EPS family plays back data at a constant rate EPS 31 2 39 or 52 kHz EPS 16 PLUS 29 8 44 6 78 5 kHz and change pitch by manipulating the amount of data they process In practice then to raise the pitch of a sample 1 octave most samplers process twice as many numbers in a given period of time while the EPS 16 only plays every other sample The principal becomes clearer if we consider a counting analogy Consider the value of the numbers to be the amplitude of a wave form If we repeatedly count from 1 to 10 over and over we are in effect generating the values for a saw tooth wave form If we count at the rate of one number per second it takes ten seconds to complete one cycle thus the frequency of our saw wave is 0 1 Hz Now let s raise the frequency of our wave 12 Scott Fisher by one octave remember 1 octave 2X frequency In effect we want to halve the time taken to reach a value of 10 so that we get twice as many cycles in a given duration We could count twice as fast one number every
13. 19 disks 13 00 ea SALE 9 9 00 ea 20 disks 10 00 ea SALE 7 00 ea Sale pricing valid thru February 29 1992 SPECIAL SALE PRICES impeccably recorded KEEL has taken great care to optimize the signal to noise ratio love the VS and Oberheim Pads as well as the Multi Stacks in the synth group Transoniq Hacker The designer of these sounds obviously spent a lot of effort to make good use of the performance features and stereo capabilities of the EPS Music Technology Valhala also supports the following samplers with pre looped ready to load samples ROLAND D50 550 330 770 amp W30 AKAI 900 950 1000 1100 YAMAHA TX16W CASIO FZ1 10M KORG DSS1 DSM1 Send 1 00 and reques International Sound Mig Sample catalog for a complete listing for the above samplers Please use an additional sheet of paper if you cannot fit your entire order on this order form DIRECT ORDER FORM mailto VALHALA Box 20157 TH Ferndale Ml 48220 SHIPPING amp HANDLING INFO Call 1 313 548 9360 Lu i A Continental USA 4 75 Shipping Handling 2nd Day UPS 8 00 S H 2nd day air means you will receive your product 2 working days after your order is processed provided it is in stock Mich res add 4 tax Alaska Hawaii PR amp CANADA add 15 00 S H All other countries add 25 00 S H plus 3 50 for each additional item ordered All payments must be in USA FUNDS drawn on a USA bank Business hours 9am
14. ESQ amp SQ 80 Hackerpatch Hackerpatch is intended to be a place where patch vendors can show their 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 true 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 owner All 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 ESQ Patch FRETS by Walter Cooper Latter Sounds Tallahassee FL I needed a bass patch for a particular application but with nearly 3000 SQ 80 patches I still didn t have the bass sound that I wanted So I invited a couple of bass players over and listened to them and the result is FRETS it works quite well The Hack If there is a bit too much owww in this patch you can get it closer to a fretted electric bass by turning down the depth of the ENV 3 modulator on the FILTER page values around 15 work nicely This left the patch lacking in volume so I cranked the DCA 4 volume to 63 and still wished for more You can get a tighter bass sound by switching the AM mode to ON but this reduces the punch of the original sound For percussive bass
15. Hidden waveforms Available Mirage or Atari disk or data cassette Only 24 by international money order to P Tim mermans Steyenhoflaan 33 B 3130 Betekom Bel gium Includes ultimate ESQ 1 patch manual 25 pp 20 NEW SQ 80 SOUNDS from the Hacker s Sam 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 program ming notes and performance tips 17 95 Syntaur Productions 11116 Aqua Vista 42 North Hol lywood CA 91602 818 769 4395 FREE SOUNDS with expander orders EPS EPS 16 VFX sd SD 1 SQ 1 SQ 2 ESQ SQ 80 EPS 16 FLASHBANK and Sequen cer expansion available Also expanders for AKAI CASIO ROLAND PEAVEY and YAMAHA EPS EPS 16 Vol I Sampling Made Easy amp Vol II Advanced Sampling videos 30 each or both for 50 100 Drum Patterns for EPS EPS 16 VFX sd SD 1 SR16 HR16 12 Best Prices Wildwood Sounds 4726 Pebble Creek Terr Pen sacola FL 32526 Phone 904 944 6012 Tony after 6 pm INSTRUCTION VFX sd TALKING OWNER S MANUAL tm PLUS disk produced for Ensoniq The manual you don t need to read to understand your VFX sd in timately 113 minute comprehensive cassette ex plains applications and capabilities while your hands operate its controls Send 15 00 check money order includes P H Tx to Talking Owner s Manuals VFX 21405 Brookhurst Hun tington Beach CA 9
16. KIT and some other drums and they sounded fine as well Best of all they sounded different from the kits I d been using on my VFX I thanked my friend and his SD 1 and took my new sounds home to my trusty VFX NO sd OS 2 10 That s when things started to get really in teresting After I powered up with my STOP CART in place I began to select some of my new sounds As before CATHEDRAL CHICAGO and CROSS BASS sounded fine BIG PIANO was sorta medium big and then I selected ROCKIN KIT Strange and Weird Mystery Stuff There were huge gaps between sounds on the keyboard and the sounds that did exist were completely unlike those on the SD 1 I figured it had something to do with the difference in sound architecture of the two units but didn t have a clue as to what to do So I hit the SELECT VOICE button in the PROGRAMMING section and saw the following UNKNOWN WOODY HIT UNKNOWN UNKNOWN UNKNOWN UNKNOWN The only sound that didn t sound like the proverbial anemic weasel fart was the WOODY HIT so I figured I d investigate further Moving on to the WAVE page in the PROGRAM MING section I discovered that the upper left UNKNOWN actually had a name but one I had never seen It looked like this WAVE STRING SO START 59 NVELOPE 1E VELOCITY START MOD 84 DELAY KUP FORWARD It sounded somewhat strange so I did some editing using the normal steps and after a while I got something approximating a kickdrum
17. Musicians In general these are excellent sounds Superb Clean and Crisp Transoniq Hacker 2 91 Ask for G unds at your local music store or call for the name of nearest dealer e Call for FREE Catalog with descriptions iP RH e PR Kucwel kp AD KATONA Film Percussion Buy the Demo Disk for 9 95 and get full credit on your first order of 3 or more disks Any of the above disks 12 95 Limited time offer Dealer Inquiries Invited Call for Special Opening wil Cal for Special Opening EG Greytsounds Sound Development 8700 Reseda Bivd Suite 101 Northridge CA 91324 818 773 7327 FAX 818 773 9203 Treat Yourself EPS 16 PLUS Samples from K Thomas Keith has proven to be one of the true masters of the art of sampling TH review June 91 Keyboard Magazine says Beautifully recorded incredibly smooth rich soulful crisp and seamlessly multi sampled Jim Aiken Keyboard Oct 91 Demo Package includes tape disk and catalog 12 00 K Thomas Box 174 Stratford ONT NSA 6T1 Canada Phone 519 271 7964 disk Does anyone know if Syquest SQ555 or Megadrive SOSIII are compatible with the EPS 16 PLUS 2 I read in the German Keyboards that using software version 2 5 the 16 PLUS would work with All SCSI hard disks gt 3 In that same article there were some very nice tricks This one about the click in the bass at the end of the sample was
18. ORDER LINE 3 Thanks for the tip Dear TH Concerning hard drives I ve been using the Tech Data Model 60e for three years with Ensoniq software with very good results It makes life with the EPS very pleasurable Sincerely Merle Hilbrich San Antonio TX TH All the usual and deserved kudos to you regarding your groovy and informative mag azine Keep on keeping on Until I read about the 96 PPQ clock resolu tion of the EPS 16 PLUS I never really gave much thought as to what 48 PPQ parts per quarter meant on my EPS Although I al ways thought that the EPS sequencer had a particularly white feel to it Little did I know that even unquantized my tracks were being quantized to the nearest 48th per quarter note Knowledge being the powerful thing that it is I now want to know if it s possible to upgrade the EPS sequencer via operating system to 96 PPQ I would like to have this feature if possible TURN YOUR MIDI SEQUENCER INTO A SONGWRITING MACHINE WITH BACKGROUND RHYTHM PATTERNS THE MOST COMPLETE SONGWRITING AID ON THE MARKET TODAY Now you can play and compose great sounding music with your midi sequencer using Background Rhythm Patterns Our large library of over 150 rhythm accompaniments will help turn your songs into exciting and creative pieces of work With Background Rhythm Patterns you can now have the perfect rhythm track to use to get your ideas flow
19. Okay I admit it the cover looks like you only spent a couple of bucks So decorate it with Ensoniq decals anti cat cartoons or even buy an extra Transoniq Hacker T shirt and sew the logo onto the cover You have just constructed a very versatile item which can also be used as a pad underneath your tablecloth Oh in case you were wondering what happened to Gordon my wife and I worked out a compromise She makes sure he stays outside and I let him live And if you d like a copy of Gretchen s Meow complete with patch selects including velocity controlled pitch send a for matted EPS disk and a self addressed stamped mailer to me c o 3615 66th Ave W Tacoma WA 98466 um Bio Steve Vincent is a marriage and family therapist with an addiction to MIDI and is the compiler of the Hacker Compila tion Tape He does not hate all cats And he s been given the assignment of reviewing a real dust cover Figure 1 17 glue these seams Using the ESQ 1 and SQ 80 Sequencer with Tape Sync If someone told you that there was a way to get over sixteen tracks out of your four track recorder you might think Ya shure If they told you that all the equipment you needed to do this was built into every ESQ 1 and SQ 80 you might think they were really off But the fact is they would be telling you about what is probably the most overlooked and seldom used feature of the sequencer the tape synchronization capability As an ESQ 1 user
20. Then I went on to WOODY HIT which is pretty standard but sounded like it was tuned way too high so I brought it down a few octaves making it a lot better The upper middle UNKNOWN wasn t making any sound at all at least any sound audible to humans so I went through the same motions and when I got to the WAVE page I decided to scroll down to see what other waves I might be able to find About this time I remembered an article I d read by Sam Mims about some phantom waveforms that he ported over from his SQ 80 to his ESQ 1 The ESQ 1 wasn t equipped to read these waveforms so he confused it and got some usable sounds in the process The article mentioned that the ESQ 1 couldn t increment to these waves but it could decre ment so he just started at the highest number and went back wards The same was true for these UNKNOWN characters as I discovered As soon as I decremented from UN KNOWN down to TRIANG LP I was able to go down to seven other familiar waveforms but no further I should have written down what I saw but didn t and you know what hap pens next I couldn t increment back up to the wave that had previously been UNKNOWN so I settled for TRIANG LP which sounded better than the weasel fart anyway The lower middle UNKNOWN was sounding pretty weird too so I hit WAVE and instead of a waveform I got the fol lowing KEYBD TRACK 00 VEL LEVEL 26 ENV1 MODE FINISH VEL CURVE QUIKRISE VEL ATTAC
21. been done VERY tastefully in some cases almost too tasteful to swal low The VFX is used so well that it is completely transparent The focus is where it should be on Greg and Debi and their message Tapes His Best in Me Artists Jack Stephen Tolin Contact Info 23 E Elm Ave Quincy MA 92170 Equipment Used Ensoniq SQ 80 Alesis HR 16 Korg M3R through a Box BX 800 and Denon PMA 770 onto a JVC TD W303 Jack s tape starts off with And There Was War in Heaven a brooding marching piece which really works the drums Some very nice rolls and fills The overall sound is synthetic with the exception of the bass and drums with a lilting piano bell patch in the back There are some very nice move ments in this song The finale is very wet bubbling itself away to nothing This tape was recorded at a rather low volume I really had to turn it up to listen to it Bread of the Heart uses a bot tle flute sound pitch bent to the point that it sounds like a whistle Once again the drums are played well There is also a rather Moog like patch with a very nasal envelope There is a very interesting placement of beat and emphasis here Heart Searchin has a very heavy feel to it A low moaning patch covers the bass line Here again is another patch reminiscent of The Moog I m not sure if the transitions in this song work as well as some others While Jack is certainly capable of interesting transitions here they just didn t hi
22. for several days and found that it was indeed an improvement over the EPS But I also found that when I sampled certain low tones like acoustic bass the 16 PLUS seemed to add a kind of a click to the sample whenever the key was released I naturally tried extending the release envelope and 2nd release but in order to get rid of the key up click I had to give the note such a long release that it made the sample unusable I sampled at a 32k rate just to be safe Is this a characteristic of the 16 PLUS I want to buy one if I can solve this problem Unhappy sampler Toronto Canada CS If the click you re hearing is part of the sample itself it can easily be removed by changing the sample end point until you find a zero crossing or by doing a volume fade COMMAND AMP on the very end of the sample If the click is due to envelopes resetting try out tip 3 in Patrick Voes s letter above The basic idea is to get envelope 2 to close the fil ter down before envelope 3 reaches the end of its cycle so there are a number of varia tions on this theme Dear TH I have a few more questions comments and suggestions I don t want to be accused of technological harassment but I understand the Ensoniq engineers get very unhappy when they don t have new projects to work on I ve heard they get nervous break into hives and develop facial tics and twitches without new things to keep them busy In order to offer some relief I h
23. latest the SD 1 A VFX owner myself was amazed at some of the great ROM sounds on the SD 1 They seem far superior to those in my VFX But once I started to tinker with them I noticed that they were created using the ROM samples that are in my outdated VFX So my question is this why doesn t Ensoniq publish some of the best SD 1 patches in the Hacker so we VFX and VFX sd owners can benefit Or perhaps put them in a book cartridge for purchase Is there any way I can get hold of them En soniq must have them written down some where And if there are any VFX owners at or near UCLA who want to trade sounds you can write me at the address below In need of new sounds Scott Pease 403 Landfair 208 Los Angeles CA 90024 CS Any patch on the SD 1 can be moved directly into a VFX via cartridge through the use of editor librarian programs or via direct MIDI dump Of course SD 1 sounds using waves not found in the VFX may not end up being particularly useful or even in teresting but it s no big deal to turn off any offending VFX voices in a patch or to re assign their waves So where do you get the sounds in the first place One possibility might be your local dealer always your first line of support for in these types of situations For example the disk of sounds included with the SD 1 con tains among other things a backup of all the ROM sounds in the SD 1 It wouldn t be that hard to make a copy o
24. of your digital musical instruments including your ansonia gear then check out these holiday specials on AL our soundbanks Ensoniq Q 1 2 R 10 off Disk 44 96 neg 49 95 RAM 89 96 Reg 99 95 MASTERAM Collection I Unique hybrid textures including analog and digital textures for all cutting edge rock pop new age amp soundtrack applications S001 Film Textures 7be most twisted material devised yet for the SQ film composer Includes haunting soundscapes bright orchestral sounds and much more Great for aggressive new age compositions 002 R amp B Top 40 The hippest sounds of tbe ainuaves and some you ve never beard jnukate from this critically acclaimed collection Contains 80 programs featuring classic R amp B analog synths brass percussion and strings ultra modern synthetic sounds perfect for industrial hip hop and acid house styles and more mainstream sounds suitable for a variety of R amp B Top 40 and pop genres 5003 Ensoniq VFX VFX 228 30 off Disk 48 97 Reg 69 95 Samplers amp Synthesizers These sounds range from popular digital and analog instruments io acoustic instruments and sound FX Fairlight Kurzweil Roland Korg Yamaha Moog Sequential Oberbeim Kawai and E mu textures have been re created for your use Sounds from Top 40 standards DX7 amp MKS RD Pianos Kurzweil Strings E mu bits brass Mini Moog Emerson leads etc to motion picture soundtrack
25. parts you may want to tighten up the release time a bit by changing T4 of ENV 4 to 13 or so ESQ 1 PROG FRETS OCT SEMI FINE WAVE MOD 1 OSC 1 OSC 2 Osc 3 LEVEL OUTPUT MOD 1 DEPTH MOD 2 DEPTH DCA 1 50 ON VEL 13 OFF DCA 2 50 ON VEL 13 OFF DCA3 9o ON ENV2 63 VEL 14 FREQ Q KEYBD MOD 1 DEPTH MOD DEPTH FILTER li 30 ENV3 35 FINALVOL PAN PANMOD DEPTH peas see ir va FREQ RESET HUMAN WAV L1 DELAY L2 MOD LFO1 20 OFF ON TRI 0 1 0 WHEEL LFO2 12 63 20 orr LFO 3 ENV 1 ENV 2 ENV 3 30 1 41L ENV 4 447 0 36L SYNC AM MONO GLIDE VC ENV osc CYC MODES orr OFF OFF 0 OFF OFF ON OFF SPLITILAYER S LPRG LAYER LPRG SPLIT SPRG SPLIT KEY OFF OFF OFF is By Sam Mims SQ 80 Patch 12STRG by Kirk Slinkard Lakewood CO Here is my entry in the 12 string guitar category PICK 1 and DIGIT 2 are used to supply the basic acoustic guitar sound GRIT 3 is tuned up an octave for the effect of the brighter six strings on a 12 string guitar This oscillator also has a little detuning and LFO modulation to make the sound bigger I think that this patch sounds most realistic in the lowest two octaves The Hack I could not quite get this to sound like a real guitar though it s a very interesting sound I adjusted ENV 4 a bit L2 46 T2 24 T3255 for a more natural plucked string imitation but 12STRG still sounded like some exotic Middle Eastern instrument to me So I immediately applied some filter
26. the best Here s how you do it A Set ENV 3 release time to 30 or 40 B Set FILTER 2 to Lowpass CUTOFF to 0 and ENV2 AMT to 99 C Set ENV 2 to FULL ON No more click ing 4 My disk drive doesn t work well for the first half hour until it s warm Almost every time I put another disk in the drive it says Disk not formatted It won t even take the OS disk Anything I can do about this 5 About effects I also think that pitch shift ing is a MUST but other effects like gated reverb exciter and parametric EQ are very welcome In TH 470 you say as a reaction to George Finizio that you can create 4 or more simultaneous effects in theory but there are only three effects busses I don t get that The sequencer Anywbere Ever Jim Jobnson Transoniq Hacker Oct 1991 Ensonig VFX SD and SD are registered trademarks of the Ensoniq Corporation TRIVIATOONS A collection of act enhancing sequences authentically recreated from America s best loved TV shows LEAVE IT TO BEAVER PETER GUNN THEME JAMES BOND THEME PERRY MASON THEME THREE STOOGES THEME THEME FROM ROUTE 66 LOONEY TUNES I BUGS FRACTURED FAIRYTALES OUR GANG THEME LOONEY TUNES II PORKY ALFRED HITCHCOCK THEME THE HONEYMOONERS TWILIGHT ZONE THEME THEME FROM 2001 I LOVE LUCY THEME BULLWINKLE I STAR TREK THEME MY FAVORITE MARTIAN 20TH CENTURY FOX FANFARE SUPERMAN TV SHOW THE JETSONS THEME TONIGHT SHOW THEME MISSION IMPOSSIBLE AMERICAN BAND
27. the excitement for the last chorus Fine Fine Day starts out with a rather ominous spread out sound with Debi speaking about how Jesus rose again Her voice here is very wet with delay and reverb Subsequently this is the only case where I couldn t catch what was being said This song uses some very synthy wiggling keyboard sounds with a stabbing horn patch thrown in Hold Up the Arms starts out with a very rhythmic tine type patch Debi really opens up her throat on this one I can al most picture her throwing her head back as she holds out some of these notes The drums bass and piano here are solid and there re some very nice drum fills The song fades out a bit awkwardly at the end Debi takes the lead on the next song Defender of the Faith The harmonies here are powerful and well executed Changed starts out with a very dynamic reverse envelope sound and percussion section that demands attention In this case the challenge for Greg is to match the tone of excitement in his voice with the excitement that has been established in the music This was achieved by the middle of the song This cassette is so well done that I would suggest that for many it s a good example of how to produce your own work Whether or not you are a Christian this is a cassette worth studying When you listen to this cassette you are listening to something Greg and Debi have created not solely what the keyboards can do These arrangements have
28. the people with this sample DISK EG 1 Les Paul Les Paul Clean 550 Blocks Les Paul Overdrive 916 I love the Les Paul guitar sound but unfortunately this one falls short This sounds like a guitar but it doesn t jump out at you the way a Les Paul does DISK EG 3 Studio Rockman 933 Blocks Hey I have one of those The thing about the rockman is that you can get a lot of different sounds out of it DISK OP 2 Mallets II Vibraphone 829 Blocks Xylophone 101 Blocks They sound like they should Xylophone though is a little weak low in volume If you want to throw some Steve Reich into your top 40 act you ll probably need these sounds Brake Drums 544 This almost sounds like a gamalon instrument It doesn t however sound like what the name implies brake pads which is probably just as well DISK KB 4 Classic Clavichord 746 Blocks Celeste 451 Blocks They sound fine just like they re supposed to Unfor tunately there s virtually no use of the patch select buttons here DISK OP 1 Mallets I Marimba 347 Blocks Glockenspiel 499 Blocks Gongs 720 Blocks Once again as with the sounds on the Classic collection these sounds are clean and nice The gongs are particularly good DISK BR 1 Flugel Cornet Flugel Horn 703 Blocks A pretty nice sample of a flugelhorn The patch buttons are good here and the aftertouch adds just the right amount of vibrato Co
29. type textures Many new sounds and special FX not possible before the introduction of the VFX are also included Tbe sounds are really with fine dynamic qualities The quality of the sounds and the descriptive pee eir or ui quite pleasant Indeed many of the sounds bring forth memories of instruments I ve known and loved lectronic Musician July 1990 V101 FORMATS Voice Card Macintosh IBM MS DOS Atari ST Alesis Data Disk Yamaha C Yamaha QX5 Roland MCS00 Kawai Q80 Korg DFI Korg T Series MDR Brother MDI40 Brother PDC100 DX7II MDR EPS MDR Data Cassette Internal Disk SOUND Unlimited Inc In U S or Canada call Mon thru Fri 8 a m to 6 p m Pacific Standard Time 800 877 4778 818 879 0093 FAX 818 879 0727 2985 E Hillcrest Dr Suite A Westlake Village CA 91362 DEALER INQUIRIES INVITED MIL a Ensoniq EPS16 Plus 2096 off isk sets 63 96 neg 7995 Atmospheric Collection Tbese moody textures are perfect for all types of soundtrack and new age applications EPS516 Waveform Construction Set I Waveform Construction Set l These digital building blocks are designed for a wide variety of music genres Use these waveforms to create your oum complex synth stacks at the touch of a button EPS 517 EPS 518 Pop Rock Drums These are the no nonsense drum samples you ve been looking for These five disks include elements f
30. 0 5 seconds or as the EPS 16 does we will only use every other number and count 2 4 6 8 10 at the old rate of one number per second Turn these numbers into the amplitudes and we have just doubled the frequency of our sample by removing data to drop in pitch we would add data i e 1 1 2 2 10 10 The consequence of the above is that when we change the pitch of a sample by a factor of N we change the duration of that sample by a factor of 1 N and vice versa something you all knew anyway What I could have said earlier and saved you all the verbiage is that our EPS 16 and most other samplers manipulate pitch by stretching and compressing the time scale This can cause real problems with samples of rhythm loops or vocals because it precludes the playing of chords unless you are after the sonic mess that will follow No doubt you have all at some stage wished there were some way to change pitch but keep the duration constant Essentially we want to decouple the relationship between sample pitch and sample duration some thing we know is possible The question is how do they do it Digital Time Stretching And now for a fun example to examine the principle behind digital time stretching We will concentrate on upward pitch transposition to keep things manageable We ll start with a 2 kHz sine wave sample with a duration of 1 second When we double the frequency to 4 kHz by playing it up an octave the EPS 16 will knock out every se
31. 0 550 256D E RAM Card 53 95 Roland D70 5 Octopad 11 RAM Card 53 95 Peavey DPM Series Cache Card 53 95 Peavey DPM 1 2 Meg Sequencer Card 229 95 Peavey DPM 1 Meg Sequencer Memory 359 95 Kawai KL r m 11 DC 8 RAM Card 41 95 YAMAHA C 1 Computer 2 Meg Memory Card 399 95 C 1 Computer 4 Meg Memory Card 599 95 DX7 5 1 RX 11 128 Voice RAM Card 69 95 DX7 IKFD D S TX802 DX11 DMP7 PF2000 RX5 7 256 Voice RAM Card 89 95 DX7 HKFD D S TX802 DX11 DMP7 PF2000 1024 Voice RAM Card 179 95 TX16 W 1 5 Meg Memory Card 159 95 SALES amp SUPPORT Customer Service 1 800 832 2737 Dealer Service 1 800 338 3635 The NEW Tp Lv pes RUBBER CHICKEN m GA a 1 800 8 PRO EPS SOFTWARE CO Tel 404 623 1559 TECHNICAL SUPPORT P O Box 428 Renton Fax 404 623 1293 1 206 467 5668 WA 98057 0428 ZZ Sor 1991 Rubber Chicken Software Co Perfecting Creative Technologies Introducing clean samples for the EPS and the EPS 16 Plus We ve been in the EPS sample business for over three years and we have the experience to meet your needs Tough basses clean guitars wonderful atmospheric tex tures with full programming of onboard effects complete use of external controllers such as mod wheel footpedal and Ensoniq s exclusive polyphonic aftertouch keyboard Call for your free catalog we ll get it out to you within a couple of days We accept Mastercard and Visa please leave on voice mail TOLL FREE
32. 19 fel ele rcercer erwercebFeySeJ 9 r L c r eJercererefterFeferfrerercerefererecercererer E ana m THE MACHINE THAT AMAZED SCSI with its own power supply and case and dial selectable SCSI ID Here s the clinch er I paid 395 for the entire thing It actually was a MAC drive and it came with 20 MB of shareware software but I nuked it Anyway the people who sold it to me say it was a Rodime mechanism but what model ex actly I don t know All I know is that they had 20 40 80 and 120 MB versions for like 195 295 395 and 495 Each drive comes with 20MB Mac shareware power cord SCSI cable that hooks directly to your EPS and a 30 day warranty They are probably sold out by now but they get deals like this in often and one should write to them to be kept a breast or other body part about new drives available I have been using this drive for 4 months now with NO problems This included when I played LIVE and had everything loading into the EPS with a PS systems 4X SCSI off an ATARI ST This included doing hard disk directory changes on the fly and loading samples via program changes to the ap propriate instruments The company System Masters Factory Liquidators 1094 Revere Ave Suite A13 San Francisco CA 94124 phone 415 822 3779 Peter Stone GEnie P STONE CS Nice tip Peter Thanks for writing Dear Hacker Today I journeyed to my local music store to explore Ensoniq s
33. 2646 SERVICES Turn your Ensoniq sequences into professional recordings Production team with major credits will take your tunes from data to digital masters com plete with vocals and necessary instrumentation For more information contact Mulholland Music 1335 Newport Circle Thousand Oaks CA 91360 Typesetting Laser or Lino output Flyers ads cards manuals will also do technical edit writing etc Sorry no scoring Transoniq 503 227 6848 OUT OF PRINT BACK ISSUES M U G will provide Out of Print issues for cost of materials and postage M U G Hotline 212 465 3430 or write G 4 Productions PO Box 615TH Yonkers NY 10703 Attn TH Back Issues Phone 212 465 3430 Photocopies of out of print past issues of the Hack er can be obtained by calling Jack Loesch 201 264 3512 after 6 pm EST Folks in the New York City area can get copies of unavailable back issues of the Hacker call Jordan Scott 212 995 0989 FREE CLASSIFIEDS Well within limits We re offering free classified advertising up to 40 words to all subscribers for your sampled sounds or patches Additional words or ads for other products or services are 25 cents per word per issue BOLD type 45 cents per word Unless renewed freebie ads are removed after 2 issues While you re welcome to resell copyrighted sounds and programs that you no longer have any use for ads for copies of copy righted material will not be accepted
34. 3 Alors x yea v Payal in US funds E QUAS E i Transoniq Hacker is the independent user s news m prc Transoniq Hacker is not aene in the names of their vari the Eneoniq Corp Opinions necessarily reflect those of EVE nsor United States pun Professional s Choice Sampler Memory Rackmount SCSI Drives We make memory products for the Akai 1000 1100 S950 amp MPC60 Emu EmaxII Ensoniq EPS EPS 16 PLUS amp VFXsp Dynacord ADS Roland 770 Yamaha TX16W and others Our SCSI drive systems hold two CD ROM Remov able and Fixed hard drives in any combination Our commitment to being the best assures you of the highest quality reliability and value Each memory expander is designed manufactured and tested to earn our lifetime warranty Contact your local music store today For your expansion needs rely on the experts Rely on PS Systems the Professional s Choice SYSTEMS music technology products 9265 Activity Road Suite 102 San Diego California 92126 800 446 8404 619 578 1118 FAX 619 78 8851
35. 5pm Monday Friday EST Name Street City Signature order Qo LM 20 00 Copyright 1991 Volhola Music inc All Rights Reserved Prices Specs subject fo change without notice Special Sole prices moy be discontinued at any time prior to February 29 1992 without prior notice Not responsible for typographical errors State Area Code Daytime Phone Orchestral Percussion Secrets on the SQ Part Untuned Percussion Just about everybody who s ever heard the SQ 1 knows that it has some deadly percussion sounds for the price It does lack some important waves like a shader of some kind but for the most part it has a very complete range of percussion samples One area though where it is lacking is in orches tral type sounds I do a lot of composing and orchestral ar ranging on the SQ 1 and I eventually found that the preset drum sets just wouldn t work At first I tried to program a drum map but I couldn t do the extensive editing that I needed to So all of the information here applies to normal sound programming only Untuned percussion posed a big problem since the SQ un tuned waves are all trap set samples After flipping through the waveforms a couple of times I couldn t find anything that sounded like a symphonic bass drum so I took matters into my own hands Here s how First take the Timbale wave detune it two octaves and turn the Keyboard Pitch Trac
36. 68N Decay 1 10 Standard Decay 2 99 stall 22 Sound vei EE Programming Concave Vel Curve Quikrise Normal Normal 70 Effects Programming The Hack This is one of the best orchestral patches I ve heard for the SQ Oboe has a live rounded timbre and is about as close as you re going to get to the real thing In fact it sounds more realistic than the full sampled oboe I m using for comparison Though no changes are really necessary here are some sub tle ideas As the author points out Oboe should be played in range Does this guy know something of real arranging So you re not tempted to venture too To save space only those effects utilized are listed A complete blank form was pobrtesec in dee 55 far change OCTAVE to 2 KEYBDSCALE to ZONE and KEYRANGE to A2 sharp and G5 Experiment with changing the overall LFO set LFO LEVEL to 38 and LFO SPEED to 38 In Effects adjust DETUNE RATE to 29 and DETUNE DEPTH to 35 If your music makes use of solo orchestral HALL REVERB instruments this patch is a must gh Jeffrey Rhoads Decay Time 25 Pis e Bio Jeffrey Rhoads has been a keyboardisticomposer on Detune Depth 12 the Philadelphia Jazz and R B scene for a period of extol I 2 time resembling forever He has an interest in cinema LF Deca 407 and has developed some film courses Jeff still believes y MOD Dest FX2 Mix in magic and longs for city lights BY MODSRC Pedal MODAMT 00 SQ 1 amp 2 H
37. K 00 Look familiar It should it s the Envelope 1 page There was no way I could get a WAVE reading from this UNKNOWN Just because the VFX can t comprehend what it s looking at doesn t mean it can t edit it Using the normal routines I managed to shape the sound of this mystery wave to ap proximate a pretty good floor tom with the ALL C4 setting and some changes in PITCH and various envelope parameters The upper and lower right UNKNOWN waves also refused to identify themselves but by now I was having too good a time to care so I kept editing until I had a relatively full drumkit Since the other kits GATED DRUMS etc and my drum machine have some good cymbal sounds I concentrated mainly on kick snare tom and electronic sounds to comple ment what already exists To use these together I usually load two separate kits into the MULTI and assign them different sequencer tracks or sometimes run them off the MIDI OUT of my drum machine I was able to identify one additional mystery wave from the ROM sound ORCH PERK The UNKNOWN occupying the lower middle slot of the display showed the following when I hit WAVE DELAY 00 FORWARD WAVE UNDTUNED START NVELOPE 1 E 00 VEL START MOD 00 Never saw this one before either but I m working on another drumkit with this sounds It s been my experience that a lot of these UNKNOWN waves are percussive in nature either because of the differences in the VFX
38. ODEL Dynatek Frontera PS Systems Eltekon Rodime Microtech PL1 Mass Micro All Models All Models All Models All Models 45plus 60plus 100plus 140plus R45 N20 N40 N80 N100 N150 45 Meg Removable Datapack 45 Drives Reported to Work by Readers The following drives have been reported to work satisfactorily with reader s EPS systems No guarantees but they ll probably work with yours Jasmine Direct Drive 100 PowerDrive44 Syquest 555 removable Tech Data Model 60e Klean and Kat proof Kustom Krafted Keyboard Kovers No this is not Family Circle magazine but there has been some interest lately in covers for our precious keyboards The following is a recipe for making your very own dust cover for your axe Let me start by telling you a true story A while back I thought it would be kinda fun to sample my wife s cat Gretchen meowing While a friend held her Gretchen not my wife I placed a microphone close to her mouth and um induced a meow It worked I now have a nice 79 block sample that is so realistic it fooled all the cats in the neighborhood including Gordon my wife s other cat a male Gordon was smart enough to know that I somehow put Gretchen into my EPS by way of the disk drive and he was territorial enough to yeah you got it SPRAY into the disk drive of my board I ll spare you the details of my response to Gordon s not so passive aggressive behavior And then unbelievably a fe
39. PPORTING THE VFX SD TOP 40 COUNTRY ROCK 50 s 60 s 70 s 80 s BIG BAND CALL OR WRITE ANY TIME 24 HOURS MUSIC MAGIC 10541 EARL AVE BENNINGTON NE 68007 1 402 238 2876 RUBBER F SOFTWAR a The Leader in 16 bit EPS Sampling amp Programming MEMORY amp HARD DRIVES For the best prices and service on world class memory expanders amp hard drives contact your Maartists representative For over six years tens of thousands of musicians have discovered that no product has done more for their money than a Maartists product We guarantee it AKAI 1100 51000 8 Meg Memory Card 569 95 1100 51000 2 Meg Memory Card 239 95 1100 1000 SCSI Interface Card 119 95 950 750K Memory Card 119 95 MPC60 750K Memory Card 119 95 CASIO FZ1 Keyboard 1 Meg Memory Card 189 95 ENSONIQ EPS16 2X Memory Card 119 95 EPS16 Term SCSI2 Interface Card 119 95 EPS16 1 2 Meg Flashbank 189 95 EPS16 1 Meg Flashbank 239 95 EPS 4X Memory Expansion Card 199 95 EPS Term SCSI2 Interface Card 119 95 VEX SD SD 1 75K Note Seq Xpndr 99 95 SQ 1 5Q 2 58K Note Seq Xpndr 99 95 VEX VFX SD SD 1 60 20 RAM Card 69 95 ESQ 1 20K Note Seq Xpndr 59 95 ESQ L M SQ 80 160 Voice RAM Card 59 95 HARD DRIVES Rack Mount Table Top Removable CD ROM We have an excellent selection of the finest quality hard drives in the marketplace ROLAND PEAVEY amp KAWAI Roland D10 110 20 256D E RAM Card 53 95 Roland D5 5
40. STAND Choose any 5 sequences for only 49 95 Or choose 10 and get 2 FREE To LISTEN to an automated DEMO Call 215 889 9 746 24 brs CUSTOMIZE YOUR OWN DISK To place an order call 215 889 9744 Available immediately for VFX SD versions 1 amp 2 and the SD 1 28 following could be some combinations of four effects on three effect busses 1 Reverb 2 gated reverb 3 dry pitchshift 4x reverb pitchshift 2x reverb reverb phaser EQ chor rever chorus reverb reverb excit del chor reverb delay chorus reverb reverb dist EQ chor reverb chorus reverb reverb dist EQ del chor reverb EQ del chorus reverb reverb Thanks and keep on doing the good work Patrick Voes Hoeselt Belgium CS Almost any drive that uses the Syquest mechanism SQ555 should work just fine I m not sure what mechanism is used in the Megadrive if it s a Syquest mechanism you should have no problem The other two mechanisms that are available Ricoh and Bernoulli remain untested at this point ac cording to Ensoniq and while it s possible that either one will work it s also possible that one or the other won t 2 While software version 2 5 will work with a lot more hard drives than previous OS s it is not guaranteed to work with all hard drives Best advice is to stick with Ensoniq approved drives The next best thing is to try before you buy PROFESSIONAL QUALITY LOW COST SEQUENCES FOR THE EPS SQ 80 ESQ 1 NOW SU
41. Steinberger XL Bass Dobro os Cantata Hurdy Pipes KB 3 Hammond 83 Jazz Sitar Radio Dish Hammond B3 Rock LP 1 Agogo Bells BR 1 Flugelhorn Ag Sa ane Timbales Cornet ariour rgan KM 2 Cosi Sax CLASSIC MIDI STACKS SY 1 VS Strings Conga Drums Angel Mutes MS 1 China Sea VS Strings ll BR 2 Trumpet AS Gregory Magic Organ Piano Stack Moog Bass LP 2 Latin Shakers Mute Trumpet Bongo Drums Tuba Great TS Keyed Chorale MS 2 Landscape SY 2 XPander Brass Cencerros Ambrosia Airimba Moog Lead BR 3 Lush Brass Dance Daze Moog Lead il LP 3 Latin Shakers Trombone EPS Demo Disk MS 3 Roto Float Cuiro Claves A hi Film Pad SY 3 VS Pads ED 1 China Sea TS 2 Grand Organ VS Pads I Mark Tree ER 4 Sharp Brass Solo Viola Magsc Flutes a Bugle Vibraphone Desert Dust MS 4 aaea Oberheim Pads LP 4 Asian Gongs amp Bowls Warm Keys yaa Vou Tabla Drums X 3 Royal French Horn All Reduced Range Instruments fee Demo E mu PROTEUS 1 Baal s Breath S 4 Multi Stack req memory expander PR 1 Phantazia Multi Stack it i FREQUENCY MODULATION Multi Stack ili Warm Horns Cl ass ca X 5 Concert Grand Piano Hirmonic Sith FM 1 12 Op EP ICAL req memory expander East West Guitar Sharp EP EG 1 Gibson Les Paul Clean SS 1 Solo Violin Guitar Clav Gibson Les Paul Drive Pizzicato Violin Tremolo Violin SALE PRICING SALE 12 00 ea ED 1 Demo Disk 6 00 in USA postage paid Regular PRICING 1 9 disks 15 00 ea 10
42. T waveform editor for Atari ST and Mirage 85 Input Sampling Filter ISF 1 for Mirage 65 All excellent condition Dave 913 782 7481 ROLAND TR 909 amp ROLAND TR 808 both ex cellent condition w manuals 600 each ESQ M excellent condition w library of over 1 000 sounds manual and original box 500 Contact Ever 312 878 8960 EPS w 2X expander Anvil case extra pedals amp cords and lots of disks included Mint condition 790 James Werning 719 578 5315 EPS with 4X Expander over 200 sound disks for 1650 Will pay shipping Call 509 786 2323 after 6 p m PST ask for CESAR Trade Amiga 500 with video software and extras for EPS Call 702 438 7816 after 12 noon PST For sale Boss CL 50 compressor limiter gate Pro specs half rack size Great condition 135 708 427 1615 RAM cartridge for VFX sd 75 SW 5 footpedal 25 Tascam Model 38 8 track recel to reel trade for EPS 4X Tascam Model 32 trade for SQ 80 or Michael 618 876 2922 Mirage DSK Alesis MMT 8 JL Cooper PPS 1 Best offer 410 228 5081 6 10 pm EST Roger ESQ 1 with 20 000 note sequencer 160 RAM cart 2 400 patches plus MDFI with 20 disks and Har mony Systems MIDI sync merger 850 or will separate HR 16 250 Moog Opus 3 250 All original cartons manuals 401 431 2963 WANTED Wanted VFX sd and SQ 80 patches for trade 708 427 1615 Wanted Mirage Sequence Expander Mario 718 229 4934 Wanted VFX p
43. The Mood was a good sequence with the exception of the drum patch which was somewhat heavy and rockin for that time With a minor tweak you can switch to a jazz kit and the feel is much lighter more in keeping with the sound of the big band era The horns were great the sax well the sax was passable I have yet to be real ly impressed with a VFX sax line Lady in Red had a good guitar part It was downright flowing and liquid Vogue was very well done now all you need is to get Madonna to drop in on your world and do a few numbers The other songs in the demo were Something Happened on the Way to Heaven Europa Blue Bayou Dancing on the Ceiling When Sunny Gets Blue Together Forever and Here We Are The sounds used with these sequences were mostly drawn from the standard palette that comes with your VFX sd There are a few L B sounds that come with the sequences but as I poked around and played them I was fairly unimpressed Mostly electronic keyboard patches and bass sounds that were pretty average 16 Daniel Mandel The blurb from L B Music says Our sequences are designed for today s musician entertainers Technology does the work for you without computer experience Let us do all of the homework for you The instruments are assigned to their respective tracks all volume levels MIDI mapping and effects are preprogrammed on your disk With our QUICK PLAY system you are up and playing within second
44. Trade off that disad vantage against being able to get a 24 voice ESQ 1 onto tape For low budget home productions this can be a real life saver in cases where you just need one more voice here and there To wrap this up you may find that in home studio recording applications the tape sync feature can be an invaluable tool in getting a more professional sound onto your tapes It can stretch your four track into a virtual sixteen track machine and the best part is that it s free built right into your syn thesizer and ready to go mm Bio Brian Rost spends his evenings either hunched over his SQ 80 or playing bass with the HUBCAPS a Boston based roots rock band To unwind during the day he designs com puters Classifieds SAMPLES 3D SOUNDS EPS 16Plus TX16W Mirage 10 220 MKS 100 S 50 330 550 770 W 30 amp S 900 Only 5 per disk Demo Disk 3 1200 Sound Drum Sample CD 40 Popular Synths in cluding VFX amp SD 1 P O Box 114 Station C Kitchener Ontario Canada N2G 3W9 HOT NEW SAX SAMPLES FOR EPS 16 Solo soprano alto tenor bari and sax sections in true stereo Buy individually or as a complete 7 disk set 69 4 s h Sax demo tape 4 Complete library demo tape 12 Contact K Thomas PO Box 174 Stratford ON Canada N5A 6T1 or phone 519 271 7964 Creative Analog for EPS Avant Garde New Music sounds using ARP 2600 and others see review April 91 TH 10 disk set 89 95 demo disk 10 A
45. Transonig Review Valhala s Keel Sounds For EPS and EPS 16 PLUS Product Keel Sound Library Price 10 to 15 per disk depending on quantity ordered Until Feb 29 1992 special sale prices of 7 to 12 Demo disk 6 US 10 outside US From Valhala Box 20157 Ferndale MI 48220 313 548 9360 Having reviewed some of the Keel samples in the past I was most interested in seeing how well these newer offerings would stand up to some pretty swell predecessors Well Keel seems to have kept up their high level of sampling DISK X 5 Grand Piano In my neverending search for that perfect EPS piano sample Keel Productions weighs in with rev 2 0 of their version of a grand piano It s actually a pretty decent sounding sample They ve really done their homework and taken a lot of samples throughout the piano s range 16 samples in the open patch Lowering the octave of the instrument by 1 gets you the lowest bass notes on a piano and it sounds excellent The upper end raising the octave by 1 is less impressive but frankly I never found much use for last 5 6 notes on a real piano anyway I could definitely see using this sound and get ting away with it I was disappointed with the patches which seem almost non existent However they did make good use of the mod wheel which adds chorus ing and you ll need at least a 2X ex pander to get this sound loaded It uses a whopping 1571 blocks Good
46. able to shed some light on the problem As far as translating SQ patches for the VFX series or the SD 1 it s not particularly dif ficult just time consuming But if someone out there wanted to put together patch charts who knows We might be able to find a newsletter around here somewhere that might publish them Comment from Clark Thanks again for all the responses to the hard drive query and keep those cards and letters coming Even though I m not eligible to win the fabulous drawing rats I d like to add my 2 mega bits worth so here goes l m currently using an Eltekon 44 meg removable rack mount drive and it has per formed flawlessly I ve also used both 20 meg and 65 meg drives manufactured by CMS and they ve performed well too CS HACKER BOOTEEQ ILE TR 909 AKAI XR 10 OX 7 MINEMOOG KORG BASS EMU PROTEUS HOUSE DRUMS MOUSE ACID FX LYRICAL HOUSE Fx 2 TECHNO SAMPLING CD TR 606 DRUMULATER KORG KPR 77 RX 7 N TEK STRING DR S50 UT 32 KORG SR 120 s SIREN FX RAP DRUMS SIMMONS TECH DRUMS TECHNO FX INDUSTRIAL FX SCI FI FX ACID SYNTH S 50 S 550 S 330 and W 30 House Samples 4 Disks 38 CHECK or M O only ALL PRICES SHIPPING INCLUDED FREE CATALOG CALL 213 699 0095 EPS OWNERS It doesn t have be expensive to get Public Domain samples You can get the same samples those expensive outlets offer for a fraction of the cost We re NOT like those other companies fl
47. ackerpatches are published with the same constraints and understand ings as the ESQ SQ 80 and VFX patches The hacking and mutilating part is being handled by Jeffrey Rhoads 23 The Interface Ed Between sickness holiday schedules and missed phone messages Ensoniq s responses didn t make it into this issue For tunately good ol Clark has done his usual thorough job on most of the questions En soniq assures us that any loose ends that re quire an Ensoniq response will be answered along with next month s letters Greetings I am using an EPS 16 Plus OS 1 1 and have noticed that when it is in MULTI mode that it is impossible to select wavesamples via MIDI with an external controller keyboard Interest ingly it is still possible to select wavesamples from the EPS s own keyboard To select wavesamples via MIDI the EPS has to be in OMNI mode So is this a bug omission feature I suspect EPS module users would find this a pain as they would have to always switch from MULTI to OMNI mode when they are editing wavesamples while sequenc ing Thanks in advance Scott Fisher scott wapsy uwa oz PH 09 380 3574 Department of Psychology University of Western Australia Nedlands 6009 PERTH W A CS This isn t a bug it s just the way the EPS 16 PLUS works According to Bill McCutcheon at Ensoniq allowing the user to remotely select wavesamples via MIDI while the EPS 16 PLUS is in multi mode pr
48. and the SD 1 or maybe because that s just how the waves are supposed to sound Either way they make a pretty good starting point for some interesting hacking Since this is experimentation I haven t given many exact settings for ENVELOPES FILTERS LFOs or any of the other parameters You need to use your ears and your imagination This is what working with synthesizers is all about synthesis If you can get your hands on the neces sary hardware and software give it a try and see where it leads Let me know care of the Hacker what you find As for me Ey ve got some bass sounds that have some mystery waves mw in them too and that could be a whole new ball game am Bio Joe Travo is Manager Sales Training and Development for Wausau Insurance in Wausau Wisconsin and a part time musician and arranger Al _ though he enjoys living in the midwest with his wife and six year old daugh ter he misses his Los Angeles based band The Four Seizures CURRENT ENSONIQ O S VFX VFX SD SQ 1 SQ R SQ 1 PLUS SQ 2 SD 1 EPS EPS M EPS 16 PLUS 2 49 2 49 1 1 2 0 3 2 3 5 1 2 1 8 MASOS MIRAGE ESQ ESQ M SQ 80 Surrogate Sequences for Sale We do it so you don t have to Product Sequences For VFX sd Also available for the SD 1 and EPS EPS 16 PLUS not reviewed here From L B Music P O Box 261 Clifton Heights PA 19018 0261 800 3LB MUSIC Price 15 per sequence
49. ape or external MIDI clock the ESQ 1 requires a bar of clocks to trigger the countoff So if we stripe a song lasting sixty bars then turn on the countoff the result is one bar of countoff fifty nine bars of the song and then noth ing the last bar gets cut off The way around this is to add a blank bar to the song prior to striping the tape The easiest way to do this is to create a one bar sequence with no music in it then insert this sequence at the beginning of the song Then after striping the tape delete the sequence from the song When recording parts to tape set COUNTOFF to CLICK and CLICK to ON if you need a met ronome On playback for mixing set COUNTOFF to QUIET and CLICK to OFF Another issue is tempo changes Drastic tempo changes are no problem since the ESQ 1 allows changing the tempo on se quence boundaries Subtle changes such as ritards at the end of a song can also be created Remember that on the SELECT page adjusting the data slider or up down buttons will change the tempo When striping the tape go to the SELECT page and when the spot for the ritard comes along use the slider or down button to decrease the tempo The changes will be encoded into the signal going on tape so that on playback the ESQ 1 will track the recorded tempo changes perfectly OK now we ve striped the tape and recorded the non se quenced parts Let s look into what happens at mixdown Here is where using tape sync really pays off
50. as a very distinctive sound to it And this sound though it s quite good doesn t really sound that much like a strat It sounds like an electric guitar but not specifically like a strat Strat Distortion 651 blocks Here s a great electric guitar sample Again I can t say it really sounds like a strat but it sure sounds good The open patch 00 is a dirty sounding sample but not too dirty aftertouch adds a bit of vibrato Using the pitch bend wheel carefully you can get some great simulations out of this The other patches are also good one detunes the guitar using aftertouch another is a very dirty sound almost like the guitar sound on Whole Lotta Love and a chorused guitar This sample really sings And coming from a guitarist that means something DISK EG 4 Telecastor Tele Rock 647 Blocks Once again it s a decent sounding sample but not really a tele sound One patch that stands out is the sound you can get with guitar when you mute the sting and pluck it Tele Metal 937 Blocks Similar to the strat distortion sound but slightly thinner Great patches here too One patch has the 3rd octave on the keyboard sampling a guitarist sliding his her pick on the strings You guitarists know what I m talking about and everyone else will hear it and say Oh yeah THAT sound Definitely a heavy metal sound This sample is impressive Sounds great in headphones too There s no question that you could fool some of
51. at I ve had my VFX NO sd There are a couple of things that have frustrated annoyed bothered me about the instrument though The depth of the system has always given me a lot to do when programming my own sounds tweaking envelopes changing waves but always within very specific rigid parameters That s the first thing The other thing is the fact that for such a deep instru ment the VFX is definitely short in the drumkit department I m one of those people with a very basic drum machine pat tern based two measures and a fill and I like to supplement my rhythm tracks with kits from the VFX When a friend got the new SD 1 I thought this might be a good opportunity to find some of the diversity that was lacking in the Internal RAM and ROM drum sounds that I had been using Joseph A Travo So I paid a visit to my friend trusty STOR CART 32 in hand and proceeded to pull some of the SD 1 s ROM sounds out of memory Those of you who have followed development of the Ensoniq line are aware that the VFX and the SD 1 are both 16 bit machines So far so good You re probably also aware that the SD 1 has 1 megabyte piano waves I figured that these sounds wouldn t fit on the STOR CART so I only tried one BIG PIANO I was right It didn t sound quite so BIG off the cartridge Some of the other sounds I copied came out just fine though CATHEDRAL CHICAGO CROSS BASS and MANY ROADS sounded great Then I copied ORCH PERKS ROCKIN
52. ave some more suggestions 1 How about an onboard digital strummer similar to the Oberheim strummer on the next generation gear That would seem to be one thing missing from all the current worksta tions more realistic guitar strumming sounds 2 How about an onboard digital graphic EQ 3 I ve heard that there s technology coming out of Japan that is going to make computer memory much cheaper Do you think we dare imagine a sampler and or synthesizer workstation that could record recall and edit vocal tracks I ve hard the B B King demo for the EPS 16 PLUS It seems things are al ready headed in that direction 4 I ve noticed that the velocity editing on the VFX sd and the SD 1 OS 3 00 seem to round off the velocity to the next lowest mul tiple of four i e 39 will change to 36 13 to 12 etc Can you fix this so that when you enter velocity change it remains exactly what you entered 5 I ve noticed that the EPS 16 PLUS will save individual drum patterns system ex clusive from the Alesis SR 16 but the SD 1 will not Any way to fix it so that the SD 1 will also save individual drum patterns sys tem exclusive Another system exclusive fea ture I like a little better on the EPS 16 PLUS is that you can save system exclusive infor mation received as many times as you want without reloading This is not the case with the SD 1 My experience is that system ex clusive information received by the SD 1 must
53. be reloaded every time you save it to disk Any way to change that 6 There are some GREAT patches on the SQ 1 that I ve yet to hear on the SD 1 In my last letter Clark Salisbury mentioned that the SD 1 could basically duplicate all the waveforms and parameter of the SQ 1 and then some How about an SQ 1 series of patches for the SD 1 Like an SQD patch series 7 Finally getting back to velocity editing how about a quantizer that quantizes with a human feel Instead of quantizing a se quence exactly a human quantizer could perhaps be programmed to randomly quantize the notes to be just a tad off time wise It would sound more human and less robotic and save a lot of time editing I hope with these letters I don t sound like the guy who wants what you haven t got I own an SD 1 and EPS 16 PLUS and I con sider both of them to be great workstations I can hardly wait for the next generation of En soniq Killer Keyboards Live long and prosper George Finizio Patient of the Shick Center for Keyboard Control Room 209 Wall Strap 12 CS As to questions 1 2 and 3 sounds good to me As far as the problem download ing sysex data from the Alesis SR 16 there s no reason it shouldn t work I ve had suc cessful downloads from other Alesis products so it seems like the SR 16 shouldn t present any particular difficulties You might want to contact Ensoniq Customer Service at 215 647 3930 perhaps they ll be
54. ble January 2 1992 The Denny Jaeger Master Violin Library is a single disk 2MB library in EPS 16 PLUS format containing a wide range of Double Forte Forte Mezzo Forte Pianissimo Double Pianissimo and Mezzo Pianissimo attacks and sustains Also included are Tremolos Trills and Pizzicatos with a variety of attacks This library has stood the test of time in its original Synclavier format Audio Demo disk 10 plus shipping Call for library pricing Available mid January 1992 The Master Studio Collection is a library that encompasses rare ethnic instruments and percussion sounds from virtually all around the world The 2 MB disk includes Persian Santur Bowed Saltry Zither Celtic Harps Space Bass Taiko Drums special drums and bells from India and much more Also included are more standard acoustic instruments such as Pianos Guitars Basses Strings and Winds Call for pricing Available end of January 1992 Orders or further information Optical Media International 1 800 347 2664 CHANGE OF ADDRESS Please let us know at least four weeks in advance to avoid missing any issues The Post Office really will NOT reliably forward this type of mail Believe us not them We need to know both your old and your new address Issues missed due to late or no change notification are your own dumb fault we mailed them ee Hey Hackers if you ve been looking for some cutting edge SOUNDS for any
55. ble contexts in which a sequence might be looping For ex ample if you re trying to play a lot of notes all quantized to the downbeat of a sequence you might notice some subtle delays This could probably be eliminated by spreading the notes out over the first couple of clock beats or so Dear TH With regard to the SPECIAL OFFER letter in the November issue I have the following in formation 27 In August I bought an EPS 16 PLUS Turbo which included the SCSI port so the next logical step was to add a hard drive After checking prices at the local music stores and in your ads and figuring that as long as I stayed within your approved list I began calling some of the ads in one of the Mac magazines The first one I called Frog Sys tems of Boca Raton FL Not only did they offer Rodime drives but the guy I talked to had knowledge of Ensoniq and their criteria for EPS hard drives I ended up buying a 100 meg fixed drive from them for 339 plus shipping This price also included necessary cables I have had NO PROBLEMS what soever Of course it s not double shock protected and rack mountable but seenin s as I know the roadie I have no qualms about that I am living proof that at least with regard to the 16 PLUS Turbo my third party drive works perfectly Keep up the good work Ben Ash Jr Birmingham AL Dear Transoniq Hacker Some questions and suggestions for the EPS 16 PLUS l I m gonna buy a 44Mb remo
56. can do without hearing the audio tracks at the same time There are tape sync devices on the market that do allow locking the tape and sequencer together at arbitrary points The main question about which to use comes down to expense versus convenience If all you sequence are 30 second jingles you may not mind the limitation of always starting at the beginning as much as someone wanting to edit the last bar of a 15 minute composition Clearly the cost advantage is on the side of the ESQ 1 the tape sync feature is free OK we ve mentioned that editing of sequences is possible after you ve striped your tape There are some limits here but they are simple enough The overall length time signature and tempo of the song must remain the same For example it does not matter if you take a song comprised of four 12 bar sequen ces and edit it into eight 6 bar sequences since the overall length is still forty eight bars Any other changes you choose to make are fair game You can add or delete notes and tracks change assignments of MIDI channels LOCAL BOTH MIDI status track levels and program change numbers Cutting and pasting quantizing and step editing are all possible At this point let s look into some specific examples of using tape sync and mention some techniques to make your life easier integrating sequenced and taped parts together One obvious problem is how to set up a click track or metro nome to aid in recording the non sequ
57. ch shifting time stretching I ll just call it time stretch ing on the Mirage Now let s have a go at doing the same thing on the EPSs First we will first consider how sample duration and sample pitch normally interact Next a little of the theory behind digital time stretching will be discussed and finally that theory will be put to practice on the EPS 16 EPS amp EPS 16 PLUS Before we do get started just a quick dis claimer Don t expect this procedure to give you studio quality time stretching it will sound fairly ragged but it will give you some entertainment and hands on experience with the procedure Sample Pitch and Sample Duration First let us consider the usual relationship between sample pitch and sample duration Like all complicated problems it will help us to understand this one if we start simply and con sider how an analog tape recorder can change the pitch of its recordings To raise the pitch of a tape recording we all know what to do simply play the tape back faster than the original recording speed Similarly playing the tape back slower than the original recording speed will lower the pitch No headaches yet The mathematical relationship between tape speed and pitch is such that a change in the play back speed by a factor N will multiply all frequencies in the recording by N To ex emplify a 1 octave rise occurs when N 2 and a 1 octave fall when N 0 5 As our manual points out the EPS
58. complex sounds have a bad habit of doing that ISSUE NUMBER 79 2 50 Kenn Lowy DISK DC 2 Jazz This disk has two samples on it Jazz Kit 967 blocks and Traps 2 611 blocks The drum kit sounds realistic enough and there are the usual assort ment of bass snare kicks toms and cym bals I m not sure exactly why this is a jazz kit and not a rock kit because it could probably be used for anything that requires drums The cymbals deserve spe cial mention because they sound par ticularly good Again though no real sign of anything being done with the patch select buttons DISK GB 3 Acoustic Bass Jazz Acoustic 675 blocks This is an excellent acoustic bass sound it really jumps right out at you There s very little to say about it except that it sounds exactly like what it s sup posed to sound like Using the pitch bend wheel a bit you can come pretty close to a jazz type feel Bowed Acoustic 857 blocks This does indeed sound like a bowed bass but there s something about this sample that sort of rubs my ears the wrong way As a solo instrument it does n t stand up on its own In a layered situa tion it could work well It s certainly not a bad sample or noisy but just has some thing in it that I m not thrilled with DISK X 4 Takamine 12 String Takamine Deluxe 1358 blocks Another large sample There s only one sound on this disk and it sort of sounds
59. cond sample and play it back at the same speed reaching the end of the sample in 0 5 seconds To regain the original duration of 1 second we could grab another EPS 16 you all have at least four don t you and sample this 0 5 sec 4 kHz sound and add a copy of the sample to the end of itself Now we have a 4 kHz sample with a l second duration the same duration as the original 2 kHz sample This is NOT how pitch shifters work for if we follow the above process on a complex sample like the word EPS we end up with a squeaky EPSEPS the correct duration but not what we had in mind We want a high pitched shifted EPS but at the original dura tion Think not of adding to the end of the sample but adding within the sample or repeating waves within the sample Let s represent the E with a square wave the P with a sine and the S with a triangle wave EPS now square sine saw We play it up 1 octave so that its duration is now 1 2 then we double all the components to produce square square sine sine saw saw The sample duration is back to normal without destroying the general form of the sound We now have EEPPSS at a higher pitch but time stretched This is basically the principal behind digital time stretching Let s try and achieve this with the limitations of the EPS 16 hardware and software Forget the aspirin just go straight for a lobotomy Theory Into Practice Use a sample of a single clearly spoken word or y
60. e way through there are some impressive pas sages All three of these parts fade out at the end In the Beginning has many many sections Although the introduction has a wandering sensibility it has a definite direction Jack uses the repetitive wahwahwahwah envelope of one of his sounds to match his beat This song is different from the others on the tape it s pared down a bit from the wall of sound with more of the sounds up front Each portion seems to be a musical sentence each sequence more ap parent OK here s the loop oh yeah there s the next part Each part has a percussive signature ending On Jack s cassette cover he writes the copyright dates of his music as 1989 90 and 91 The last two sections do actually sound like his later music Or they sound different in a solid more confident more mature way Maybe it s that sometimes he relies on a wash of sound It is difficult to say but it sounds to me as though we can witness Jack s growth as we listen to the tape Jack wrote a few interesting comments about his music One of my biggest pet peeves is for people to refer to my music which is for the most part instrumental as religious As a musician and synthesist I strive to create a musical atmos phere that extends beyond a simple melody harmony drum beat relationship I want to do the kind of music that when people listen to it over and over they will hear something they haven t heard before
61. ead sounds they sound very in dustrial and have no problem punching through a mix I prefer to still have my lead patches polyphonic though doing this to every voice here would eliminate the por WAVES 1 2 3 4 5 6 agong Sinewave inharm X Kagong Planet X Crunch LP TunedPerc Waveform TranswaveTunedPercTranswave String 0 0 0 0 0 0 0 99 0 0 0 ModsEnv1 Vels 0 ModsEnv1 Vels O Amts 99 Forward Amts 99 Forward Vels 0 Forward 1 tamento effect The answer is to perhaps change some but not all of the voices Experiment with what works best for your par ticular style To make a voice polyphonic go to the Pitch Mod page and change the GLIDE parameter to NONE I know that is about as non intuitive as can be I also wanted a more dramatic effect on these sounds to comple ment their aggressive nature The factory settings of the DLY FLANGE REV3 worked well for me Sam Mims SELECT VOICE Triangle Triangle Triangle Off Off Off Off 0 0 0 22 Cvx 1 Cvx 1 Norm Norm Cvx 1 Norm Delay Rev2 50 25 55 PERFORMANCE Timbre 0 Release 0 Pressure Key SQ 1 amp 2 Hackerpatch Jeffrey Rhoads Prog OBOE By Jack Carder Springfield VT Notes Be sure to use in the correct range On Waveform Woodwind Delay Time Wave Direction Start Index KBD Ptch Track Glide Glide Time 99 Peak 74 Break 82 Sustain 01 Attack 01 Vel window 9893588
62. enced parts In fact you may have songs where the sequenced parts don t begin until partway into the song The obvious solution is to make use of the click feature of the ESQ 1 sequencer Less obvious is the need for a blank bar at the top of the song At this point if you are un familiar with using the tape sync feature read the user s manual to get the basic mechanics of getting the tone onto the tape a process referred to as striping Once the sync tone is on the tape simply patching the output of that tape track to the tape in of the ESQ 1 and selecting CLOCK as TAPE SYNC on the CONTROL page will synchronize the sequencer with the audio on the remaining tape tracks Only timing information is recorded to the tape There is no positional information recorded which means that the ESQ 1 cannot lock to the tape at any arbitrary point in the sequence You must always start the tape and the sequencer from the beginning of the song You cannot take advantage of the the tape sync feature can be an invaluable tool in getting a more professional sound onto your tapes It can stretch your four track into a virtual sixteen track machine 18 When you set the COUNT OFF parameter on the CONTROL Page of the se quencer to anything other than OFF a bar is inserted before sequence playback begins If the parameter is set to CLICK you will get a metronome counting off the bar Unfortunately when synchronizing to either t
63. ent Used Not a heckuvalot of info here our only clue is in a cryptic note that says All of these songs with the exception of Mighty Man of God were sequenced on a VFX sd When all the rewards are handed out Greg and Debi are going to take Best presentation Their tape Stand Up and Fight came to me professionally wrapped with an excellent cover They obviously paid to have this tape done well The J card is very classy and the recording is top notch The vo cals which are very well recorded over the sequences are up front and distinct Greg and Debi a brother sister team have great voices The only other clue that Greg and Debi give us about their use of VFX s is this We use a pair of VEX sd s when per forming live One plays while the other loads OK I ll buy that This tape was recorded at Noteable Sound Inc in West Plains Missouri so we can assume that as well as their VFX s they relied on the expertise of the resident engineer to provide the rest of the gear that make them sound great Now on to the actual songs His Light Still Shines opens the cassette with a light piece with a good solid bass and drum beat beneath a light string sound with an electric piano spelling out the chord progression This music is very slick very clean Debi sings the lead part on this one I would like to point out as I have in the past that since it is of great im portance in some cases that t
64. esents too many opportunities for confusion The major difficulty is that when the EPS 16 PLUS is in multi mode the instrument being played via a MIDI controller is not necessari ly the instrument that s selected on the front panel This would make it real easy for the user to think he or she was editing a sound that wasn t actually the current instrument in terms of MIDI input By the way you can also remotely select wavesamples for editing when the EPS 16 PLUS is in POLY mode Dear Hacker Here is a description of my SCSI setup as re quested in the latest Transoniq Hacker Equipment EPS 16 PLUS 4x memory expansion En soniq SCSI Ensoniq 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 TRANSONIQ CompuServe 73260 3353 PAN TRANSONIQ Internet via CS 73260 3353 compuserve com This is probably one of the most open forums in the music industry Letter writers are asked to please keep the vitriol to a minimum Readers are reminded to take everything with a grain of salt Resident answer man is Clark Salisbury CS Letter publication is subject to space considerations EPS 4x memory expansion PS Systems SCSI Ensoniq IMS Dyaxis SCSI ter minator 2 40 EPROMS 2 49 OS Jasmine Direct Drive 100 100MB Purchased 12 88 for 1100 Jasmine now out of busi ness Po
65. et to higher ranges not only do the high frequencies decay more quickly but the overall reverb effects appears to decay more quickly as well This can be used to advantage In some instances you may want a fairly long reverb decay time but longer reverbs can sometimes interfere with other sounds in a mix of instru ments You can sometimes open up more space in a mix by using higher values for HF Damping rather than by lowering the overall reverb decay time The other parameter available on this page is the HF Bandwidth high frequency bandwidth parameter This is actually a low pass filter you ll remember them from our discussion of filters a while back placed between the source sound and the reverb allowing you to adjust the overall high frequency content in the reverbed portion of the signal This differs from HF Damping in that while HF Damping controls high frequency content over time HF Bandwidth allows you to limit the overall high frequency content of the reverbed sound with no change in HF content over time To check this one out leave HF Damping set to 00 no damping and vary the HF Bandwidth parameter You ll find that lower values for HF Bandwidth yield darker reverb sounds and that with HF Bandwidth set to 00 pretty much all the reverb sound has been filtered out resulting in a pretty dry sound Moving on to the next page we come to Low Frequency Decay This parameter is similar to the HF Damping parameter
66. exiblity service and low cost is the norm with us For a free list of products and services for the EPS send name and address to NEANDERTHAL ORGANIZATION TECHNIQUES ox 12 Hitissoro OR 97123 CUSTOM DUST COVERS Ensoniq Korg Roland Yamaha and much much more All covers are a perfect fit 4 colors to choose from Prices begin at 19 95 no job too big ALL NSW Portable Studio Air Purifiers Call Now for Complete Information at 1 800 228 DUST Mastercard Brochures Avaliable The Dust Control Company 1 North 353 Bloomingdale Road Radio Ready for EPS 16 Percussion amp Bass Volume 1 thru 10 Synth amp Keys Volume 1 thru 10 Each volume contains 30 disks Each volume is only 45 Yes we have the lowest prices in the world But don t let that fool you check out what you re getting Each sample is Pre Effected harmonized reverbed EQed sonic maximized in true stereo and for the first time ever on sampled disks 3 D Space Surround Sounded Customized sources like JD800 SY99 D4 01 W MPS etc etc And oh yea 100 Money Back Guarantee Credit Cards MO Checks Radio Ready PO Box 677 Berkeley CA 94701 Phone 510 BEAT 808 31 We Will Sell Your Electronic Music If you have composed original Electronic Music there now is an avenue for you to get your music to market No pioni fees You retain all rights No exclusive contracts For an applicatio
67. f this disk However I m not fully clear on Ensoniq s policy in terms of making these sorts of copies It seems clear that it would be a violation of their copyright were you to make duplicates of any after market sounds intended for their machines or any other machine for that matter I m sure Ensoniq will have some thing to add to this discussion though Dear TH I have the SQ 2 and I use a WX 7 wind con troller How do I change from using the controller to live on the keyboard Eugene Kight FOUR SIMULTANEOUS EFFECTS The quickest way to make your EPS 16 plus an entirely new device Effects effects effects D i v nw uf 9 3 Ei x M The WAVeBOY Parallel Effects Disk contains astounding new effects combinations These algorithms load right in just like a sound But they go way beyond the 13 effects that come with the EPS 16 plus You get four different effects at once Imagine flanging the bass adding a warm chorus to the flute putting the guitar though a preamp a speaker simulator and a digital delay and still having a dense reverb to use for drums Or think what you could do with four different reverbs at once Or four stereo bounce delays you get the idea This one disk will improve all your sounds your sequences and your life Lots of parameters and innovative features like Ifo modulation of delay times and separate pan control of wet and dry You can t live without it
68. he lyrics are clearly understood Greg and Debi made sure that their voices were audible and their words understandable No lyric sheet was provided The mix is very well done All of the instruments are obvious but the emphasis is on the vocals In the next song Fight there is a little bit of a difference in the mix The vocals are almost too up front The music is a flute drum background until the chorus kicks in much louder which improves the overall mix by adding in strings and syn thy horns Greg takes the lead on this one Mighty Man of God is the only song in this group which doesn t use a VFX sd sequence This uses a really wonderful piano and oboe sound Greg displays his wide range on this Daniel Mandel song and it is beautiful to listen to Lay It Down uses an all out clav rompin piano and horns with a heavy pumping bass and drums This is one of those songs where the music sounds a bit too down n dirty for the well pronounced clean smiling performance that Greg amp Debi have created It is like all the other songs very well recorded Don t It Make You Wanna Dance uses the timbali portion of the PERCUSSION patch from the VFX as well as a big horn sound and a nice mellow pad for the chords Then al most everything but the percussion drops out on the next to the last chorus Dropping all but the bass and percussion is a common method to provide variation and maintain interest This really helps to build
69. ing to the top of the charts A wide variety of musical styles are featured Patterns arranged for bass keyboards drums and percussion Program works with any MIDI set up and drum machine Chord charts are included Excellent for increasing your repertoire of original songs to show to publishers and producers and also for learning all styles of music Program also includes a compilation of breaks intros endings and 130 drum patterns Type 1 standard MIDI format for all computer sequencers AVAILABLE DATA FORMATS Roland MC500 300 MC 50 W30 Kawai Q 80 Korg T Series Alesis MMT8 Data Disk SQ Yamaha QX3 5Y77 5Y99 Ensoniq VFX SD EPS SQ 80 Macintosh IBM Atari Amiga 42 95 VISA AND MASTERCARD ACCEPTED NEW SOUND MUSIC P O Box 37363 Dept Ji Oak Park MI 48237 Phone 313 355 3643 In the last Hacker you agreed that not every one needs a sequencer in every keyboard but you can effortlessly add it for the price of three buttons a nice option Having ack nowledged that what are the possibilities of rewriting the operating system to give us back the original 256k of memory that s dedicated to sequence memory when a 4x is used Thanks for your time and for a product that I m still satisfied with two years later Daniel Merrill Portland ME TH Hard Drive Report I have a Mac Plus a CMS 40 meg hard drive an EPS rack for 2 1 2 years and an EPS 16 PLUS for 10 months Awesome I do
70. king to OFF Then layer it with the Noise Loop wave detuned four octaves with the pitch tracking OFF as well Then feed them through a 3Lo 1Lo pass filter with a cutoff around 50 and set the AMP envelope to decay after about a second Then tweak the volume of both waves until the sound is right for your tastes and viol you now have a superb excuse for a sym phonic bass drum As for a snare drum I found that the Room Snare wave sounds best Not much editing is involved except to give yourself lots of control over the volume and filter through velocity As a matter of fact this is a good idea to do with all your drum sounds since the percussion section has a wider dynamic range than the rest of the orchestra You should be able to go from pianissimo to fortissimo without touching the volume slider Also all percussion instruments get sharper the harder that they re hit so set MOD VELOC 30 under the Pitch page I tried to do drum rolls somehow but I really couldn t find a way to without using a sequencer The very nature of the drum waves prevents them from being modu lated in that way SUBSCRIPTION INFORMATION 12 MONTHLY ISSUES US 23 year All others 30 year Please use International Money Order payable in US funds Please make payable and mail to TRANSONIQ HACKER 1402 SW UPLAND DR PORTLAND OR 97221 Mark Clifton The cymbals on the SQ 1 are excellent and only minimal editing needs to be done to get so
71. le effects do not have quite as comprehensive a parameter set so you won t encounter anything not discussed here We ll be continuing our discussion of effects next time out with a focus on the other non reverb algorithms Until then don t get too damp or diffused mm Bio Clark Salisbury is a partner in the MIDI Connection a Portland based consulting firm He has been actively in volved in the composition performance and recording of electronic music for over 7 years and is now pro ducing his own pop oriented com positions His favorite color is chrome VALHALA Presents the Complete KEEL Sound Library for the EPS amp EPS 164 ENSONIQ VFX VF 1 Power Shimmer PR 2 Winston Plano FM 2 JazzBass Clav EG 2 Fender Strat Clean SS 2 Solo Viola X 6 Orchestral Strings Melody Bass Lead Strings Troll Drops Fender Strat Distort Pizzicato Viola req memory expander Bamboo Flute Wind Chimes Hand Bell Tremolo Viola Caribbean Drum EG 3 Scholz Rockman OP 1 Marimba PR 3 Glasnost Men FM 3 Lastic Brass Gibson ES 335 SS 3 Solo Cello Glockenspiel VF 2 Elizabethan Opera Chorus Redwood Pizzicato Cello Gongs Studio Electric Fanfare Rez Bass EG 4 Telecaster Rock Cello Harmonics Pop Piano Telecaster Meta OP 2 Vibraphone FM 4 Ballerina 4 Solo Bass Xylophone VF 3 Dew ena CLASSIC SYNTH Xt Pizzicato Bass Brake Drums OBERHEIM amp MOOG Trans Tine 2 OM i OB WW 1 Bassoon OP 3 Tubular Bells ET g X
72. ll play back as it usually does That s it Now play a note on the keyboard about one octave above the root key actually this will only work on keys from the root up Hopefully you will now hear your pitch shifted sample With the above implementation of pitch shifting crackle and pop is heard as the loop moves through the sample The reason for the crackle among other things has to do with the old problem of loop start and end point amplitudes As the loop moves forward you can imagine that the start and end amplitudes are constantly varying all over the place and as we know loop start and end points that are unmatched result in clicks and pops Well don t look at me call up the sparkies electronic engineers at Ensoniq if you want to complain Apart from that small problem the above procedure moves the loop through your sample at a constant rate so a word like spin will play back ssssppppiiiinnnn as the loop moves through the sound The loop is playing back at the pitch of the key you play so the sample pitch will be determined by that key However the duration of the sample will be determined by the time it takes the RAMP UP to move the loop from the start to the end of the sample Thus you can see that we have managed to decouple sample pitch and sample duration How about for your first assignment finding the combination of parameters that minimizes the crackle and distortion Well that s it Go for it make weird sound
73. lso available for Macintosh and MS DOS 79 95 set 1 800 622 2328 ordering or 1 505 986 0578 info EPS 16 Plus Samples Quality Creative Original sounds Limited time only 3 disk set 20 To order write Quality Samples PO Box 5062 Niles OH 44446 or call 216 544 3458 Check or money orders please C O D orders welcome but please add 3 00 ECCENTRIC SAMPLES for Mirage and EPS Eth nic and Ancient Greek instruments Harry Patch creations Industrial Percussion Proteus 2 DX21 Synclavier and more Mirage demo cassette 3 EPS demo cassette 6 Demo tapes include disk list For lists alone send SASE to Jim Newton NIGHTWIND Sound 170 Mar Monte Ave La Selva CA 95076 No layered synths Electric Piano or Basses Enough already SOUND EFFECTS for EPS 16 Plus and EPS very high fidelity ideal for studio and post production work All effects are original digital recordings sampled at 16 bit 44 6 kHz with mono and stereo patch selects Disks are 5 95 each or 5 45 each for six or more Send SASE for free listing to Syn taur Productions 11116 Aqua Vista 42 North Hol lywood CA 91602 or call 818 769 4395 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 Keyport NJ 07735 908 264 3512 Make checks payable to Jack C Loesch EQUIPMENT Mirage DMS 8 with disks MASOS 495 Oasis S
74. me very nice sounds It s a good idea to turn the volume boost on so that your cymbals can cut through a dense arrangement Use the Ride Cymbal wave for a suspended cymbal and for soft mallets just pro gram a softer attack Since there are all kinds of different cymbals used in orchestral music you can tweak different aspects of the sound to your particular application Fortunate ly the factory waves are very good raw materials to work with Well that s it for this month Join me next time when we ex plore the nutty world of tuned percussion mm Bio Mark Clifton is 16 years old and a composer of syn thesized and orchestral works He is the owner of a lone SQ 1 with dreams for more Ensoniq pets so he writes ar ticles for this magazine while his parents beg him to get a job Something is going down at L B Music Get the same quality and services now at a new lower price e Now with full documentation MasterCard and Visa accepted Toll free order line orders only please 1 800 3LB MUSIC 1 800 352 6874 L B Music Sequences P O Box 261 Clifton Heights PA 19018 0261 215 626 8890 215 533 7122 Technical Support eo Lp VFX SD SD 1 EPS EPS 16 KORG T 1 2 3 YAMAHA SY77 ALESIS DATA DISK PROTEUS DEDICATED SEQUENCERS HACKER BASEMENT TAPES Christian Music Tapes Stand Up amp Fight Artists Greg amp Debi Contact Info Greg Route 1 Box 589 West Plains Missouri 65775 Equipm
75. mixing some subtle echoing in with the reverb sound Try setting the decay time to a pretty high value say 85 or so and set the diffusion parameter to maximum 99 Now play a single short note on the SQ and listen to the reverb decay Now set the value for diffusion to its minimum 00 and play another short note The effect is subtle but you should be able to hear the gentle echoing particularly in the onset of the reverb sound Be aware that the overall effect is meant more to color your perception of the acoustical space that the sound is occurring in rather than to actually add an echo effect to the reverb sound Leave the decay time parameter set to 85 and diffusion set to 99 and move on to the next effects menu page This page presents us with two related parameters DETUNE RATE and DETUNE DEPTH These parameters are also pretty straightforward in terms of what they do They allow you to program a subtle or not so subtle if that s what you want pitch shifting which affects only the reverbed portion of the sound To check out the Detune parameter first set Detune Depth to a value of 99 maximum depth Now set the Detune Rate to something like 30 and play a short note It should be come immediately apparent the effect detuning has on the reverb Varying the rate parameter can give you an idea of the range of it s values the same is true for the depth control For the most nat
76. n or to receive our catalog write AFTERIOUCH Computer Musician Coalition Read Write Format Ensoniq Disks on IBM PC s with our Ensoniq Diskette Manager EDM software 22 Transfer Sequences to and from Standard Midi Files Each package VFXSMF for VFX SD and SD 1 or EPSSMF for EPS and EPS 16 includes EDM and only costs 44 Convert SQ 80 sequences and songs to VFX SD or SMF with our SQ80VFX soft ware 44 Giebler Enterprises 8038 Morgan Road Liverpool NY 13090 315 652 5741 TRANSONIQ HACKER 1402 SW UPLAND DR PORTLAND OR 97221 503 227 6848 ADDRESS CORRECTION REQUESTED Publisher Eric Geislinger Editor Jane Talisman Our somewhat eee illustrious bevy of writers includes Cra Anderton Carson Mark Clifton Gary Dinsmore Rob rad PR ran an Charles Fischer Gary Glebler Jim Grote Garth H Bryce m Johnson John Loffink Kenn Lowy Daniel Mandel Sam Mims Gary Mor ion Michael Mortilla Earle Peach William Pont Jeffrey Rh oads Clark Mick Seeley Tom Shear Joe Slater Kirk Slinkard Bob Spencer and Erech Swanston Copyright 1992 Transoniq Hacker 1402 Sw Upland Dry Drive Portland OR 97221 Phone 503 227 8 a m to 9 p m Time The Ratos for authors Please send for v wrtrinfo card BULK RATE U S POSTAGE PAID PORTLAND OR PERMIT NO 11 SUBSCRIPTION MATERIAL DATED MATERIAL TIME VALUE rates Please send for rate card am NEL enr monni issues US S2
77. n t use the hard drive for an EPS format however I have extensive experience with Al chemy I use the SCSI port Ensoniq s to talk to my Mac via the CMS hard drive I never had any problem with the 16 PLUS I struggled with my EPS module for a long time because the samples would crash periodically and display Error 120 reboot The crashes happened when I would ask Alchemy to get a sound from the EPS M via SCSI Through many reboots I noticed that the crash would only happen if I had the instru ment selected on the front panel of the EPS M In other words Alchemy would get a sound from the sampler just fine as long as I didn t have the yellow instrument light on This was also independent of whether I was transmitting MIDI on the base channel or the instrument channel Who knows why Thanks for everything Ensoniq You guys have made my life fun and profitable Denis Hulett Sebastopol CA CS I ve had similar experiences with Al chemy I ve gotten into the habit of always leaving the EPS or EPS 16 PLUS in Load Mode with no instrumentis selected when doing transfers This seems to help quite a bit Thanks for the info Dear TH I am one of those EPS users who does a lot of sampling on my own There were certain sounds especially low tones that the EPS 30 would tend to add noise to when sampled A friend told me that the EPS 16 PLUS sampled better and did not add any noise I sampled with his 16 PLUS
78. o let him in here Go play with your electric piano patches buddy Ahem to hear what I m talking about boot up your EPS 16 PLUS Load the TR 808 Kit and punch up the effects page Scroll upwards through the list of effects until you reach DIST CHR RVB Now play a few notes and feel the fury Industrial music fans will recognize this sound from numerous records by Meat Beat Manifesto Puppy and Cyberactif You ll find that the notes that sound the best tend to be the ones with lots of tone in them like the congas and bass drums sounds What s cool about this is that the hihats don t distort which is the way you want it I think this sounds good by it self but try it mixed with non distorted drums too Experi ment with using this trick on your other drum sounds Another Use For Distortion Another common trick in industrial music is to manipulate the vocals so they sound like they re coming out of a blown out radio speaker To simulate this effect on the EPS 16 PLUS sample a word or phrase Something like If I hear another Minimoog lead patch I m gonna puke You can use a very low sampling rate to save memory because we re going to make it sound awful intentionally Truncate any unnecessary silence and go to the filter page Set it to 2 LP 2 HP The phrase should now have a tinny sort of sound not unlike a radio speaker Now if you wish add distortion to the phrase as well although you probably don t want to add a
79. or four discreet kits as well as overlays of individual percussion groupings Crisp and clean EP 519 Horns Natural Synth Trumpets trombones saxes and other solo instruments as well as entire horn section Includes digital horns for alternative tastes EPS 20 Acoustic Electric Collection Each of these five disks has a multi layer sample sample patch which presents a stringed acoustic or electric instrument Includes piano bass and guitar patches EP 521 Famous Synths I Analog Those classic sounds of yesteryear are now at your fingertips Includes analog pads rock organs chiff pianos and more EP 522 Famous Synths II Digital 7Tbis contemporary collection of digital synth patches includes expressive dramatic pads lush strings and percussive sounds EPS523 Famous Synths III Hybrid Don t try to classify these unusual textures Breathy pads strings pianos and metallic type lextures are included Terrific for cutting edge allernative applications EPS524 Ensoniq EPS 1x 2x 4x O llisk sets 38 97 Reg 64 95 Synthesizers E5501 Orchestral EPssaz Rhythm Section 75503 Symphonic EPS504 M1 Classics I 25505 M1 Classics II P5506 M1 Classics III P5507 M1 Classics IV EPSS08 M1 Classics V EPS509 M1 Classis VI E5510 U 20 Collection I EPS511 U 20Collection II P5512 DX7 Classics I EP5513 DX7 Classics II EPS514 DX7 Classics III EP5515 40 off
80. our favorite song This will let you easily hear what is happening to your sound as we move through the steps below Try to make it 2 seconds long at 39 1 kHz EPS 16 PLUS users convert sample rate to get somewhere close What we aim to do is make a short loop then run this loop through the sample from start to end at about the rate at which the sample would play at the original pitch If you type in the commands in the square brackets you should end up at the page where the parameter is to be adjusted If the EPS 16 Plus dif fers the commands will appear in the second set of brackets 1 Set auto loop finding OFF EDIT SYSTEM 8 EPS 16 PLUS EDIT SYSTEM 3 2 Set wave sample loop play back mode to LOOP FOR WARD EDIT WAVE 0 3 Make the LOOP START and END points about 500 samples apart Just set LOOP START to 0 and LOOP END to 500 00 EDIT WAVE 3 amp 4 5 Set LOOP POSITION to 0 EDIT WAVE 5 The loop will then start at the beginning of the sample 6 Set the WAVE MOD to LOOP and SOURCE to ENVI1 EDIT WAVE 7 7 Set the MOD AMOUNT 99 and RANGE to around 60K EDIT W AVE 8 You may have to experiment with values so that the loop moves all the way to the end of the sample 8 Set soft velocity curve OFF EDIT ENV1 7 Keeps chords in sync 9 Set envelope 1 to RAMP UP EDIT ENV1 0 You may need to adjust the TIMES values to get the duration right EDIT ENV 1 3 If the envelope ramps up too fast the sample wi
81. r Is it feasible to build a synth that will play a sequence and load another one at the same time What the future of the 3 5 disk drive Will it become a CD type medium in the future I have a looping problem on some of my sequences There s a minor delay as the se quence repeats Any reports of similar problems and what might the solution be Is it possible to combine the rotary speaker effect with the reverb effect Are there any SD 1 users in the Miami area who would be interested in joining a users group to exchange ideas sequences and sounds If so call Sincerely Bob Henderson Miami FL 305 251 0255 CS As to the future of storage media a number of new technologies have emerged that will to continue to push storage capacities ever higher The most promising among these include optical media drives now in the 1500 2000 price range which currently can store 128 megabytes of data on a relatively inexpensive 60 or so 3 1 2 disk with 256 megabyte capability not far off Another intriguing technology is that of the emerging Floptical system which can store 20 megabytes of data on 3 1 2 disks When we ll begin to see any of these or other systems included as standard hard ware on electronic instruments is anyone s guess though In regard to your looping problem the word from here is that we ve had no recurring complaints about looping difficulties Still there are an awful lot of possi
82. r 4 Starting at 499 amp mounting hardware Frontera Electronics 1318 E Mission Rd Suite 202 San Marcos CA 92069 619 727 3410 voice FAX ORDER TODAY 800 845 0756 JJ Yet More SQ EZ FX Welcome back SQ fans Last time out we started in on the SQ effects getting a brief look at how to assign sounds to the effects busses how to adjust the reverb amount and so on This time I want to get started on programming the ef fects processor to create custom effects to go with your sound programs As we ve discussed the SQ contains both single and multiple effects We ll start by looking at programming single effects later we ll move on to looking at how those effects can be used in combination at dynamic effects control and finally at controlling effects from within the context of presets and sequences For now we ll start by looking at one of the more ubiquitous and essential of the effects Reverb There are four single reverb effects and seven multiple ef fects that include reverb in their algorithms The four single reverb effects CONCERT REVERB HALL REVERB ROOM REVERB and WARM CHAMBER are each op timized for the best possible sound Naturally these four single algorithms provide the greatest number of variable parameters so we ll be concentrating on these algorithms this time Let s start by checking out the reverb effects with a piano sound perhaps the first ROM sound Dynamic G
83. rand number 00 Once you ve selected the sound move to the ef fects programming page by pressing the Edit then the Ef fect button The display should be showing Concert Reverb if it s not press the 0 button to move to the top of the effects menu pages You ll note that the Concert Reverb effect has a programmed mix of FX1 30 and FX2 25 A little experimentation will reveal that FX2 is not used in this program varying its mix has no effect on the character of the sound This would indi cate that all voices in the Dynamic Grand sound are routed to FX1 if you want to check this out you can do so by selecting each voice used in this program from the Wave menu pages and then checking out its routing by browsing through the Output menu pages Let s start by setting the mix for FX1 to 50 by selecting the FX1 mix parameter and pressing both the up and down but tons simultaneously Setting the FX1 mix higher will allow us to better hear the results of any changes we make to the reverb effect parameters Now let s run through the reverb parameters and see just Clark Salisbury what they do Press the 1 button to move to the next page in the Effects menu it should be showing two parameters Decay Time and Diffusion DECAY TIME is a pretty straightforward parameter this is where you control how long it will take for the reverb effect to decay Higher values will yield longer decay
84. resonance RES 07 and made it into a sitar of sorts Turning on the AM mode changed it into a tighter exotic stringed instrument Play with a drone note in the bass pick a weird scale to improvise a melody around and you re in business Bio Sam Mims is a studio session player 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 SQ 80 PROG 12STRG BY Kirk Slinkard OCT SEMI FINE WAVE MOD 1 DEPTH MOD 2 DEPTH OSC 1 GRIT3 LFOl 1 OSC 2 DIGIT2 OFF OSC 3 PICK1l OFF LEVEL OUTPUT MOD 1 DEPTH MOD 2 DEPTH DCA 1 0 ON ENVI 55 KYBD2 E DCA 2 0 ON ENV1 63 OFF DCA 3 63 ON OFF WHEEL 63 FREQ Q KEYBD MOD 1 DEPTH MOD 2 DEPTH FILTER 79 0 0 ENV3 63 OFF PAN MOD DEPTH FINAL VOL PAN 8 LFO2 63 FREQ RESET HUMAN WAV L1 DELAY L2 MOD 9 OFF ON TRI 26 0 0 OFF 0 0 PEDAL ta 99 3714 aR 63 OL 63 63L 18 30L AM MONO GUDE VC ENV osc CYC 0 SYNC MODES orr OFF OFF OFF ON ON OFF SPLIT LAYER S LPRG LAYER LPRG SPLIT SPRG SPLIT KEY OFF OFF SD amp VFX Hackerpatch SD amp VFX Prog BANG THIS 2 By Steve Munro Guilderland Center NY NOTES This is a collection of loud raunchy electronic lead solo voices set up to play monophonically The mod wheel modulates the pitch in voices 2 and 3 and also varies the effects parameters THE HACK These are definitely some rude l
85. rnet 854 Blocks Same as above but this time it s a cornet Some pretty good horn sounds here Now the trick is to know what key to play them in All in all Keel Sound has once again shown me they are serious about their samples Although there are a few disks in this set I could live without that s partially because of the kind of music and sounds I enjoy listening to All in all you really can t go wrong with ANY of these disks _ Bio Kenn Lowy is an e bowist guitarist stick player who uses various synthesizers For pure relaxation he runs road races and competes in triathlons Front Panel RND 23 Ensoniq News Ensoniq releases 32 note polyphonic SD 1 Ensoniq has begun shipping a 32 note polyphonic version of the SD 1 The new ver sion gives the user 11 more voices makes the 75 000 note sequen cer memory standard instead of optional and includes a new swing quantize function Current SD 1 owners who purchased their keyboard after November 1 1991 can upgrade their unit for 100 Other SD 1 owners can upgrade for 250 VFX sd owners can upgrade to full SD 1 32 Voice status for 699 For more infor mation contact Ensoniq at 1 800 553 5151 Hacker News Don t forget if you re making money while you re making music a subscription to the Hacker is a tax deductible business expense at least in the U S HEY We re still looking for some SQ 1 amp 2 and VFX amp SD 1 Hackerpatches Instant near fame Oops
86. rogrammers to trade their ORIGINAL VFX PATCHES I have 105 HI FI sounds wide variety No tweaks copyrighted sounds please Send VFX SD 1 or Alesis DataDisk format to Brad Kaufman 11 26 Saddle River Road Fair Lawn NJ 07410 SOFTWARE Read and Write Ensoniq Diskettes on IBM PC s Order our Ensoniq Diskette Manager EDM soft ware for only 22 Transfer Sequences to from Standard Midi Files SMF Each package VFX SD SD 1 or EPS EPS 16 includes EDM and costs 44 Convert SQ 80 sequences and songs to VFX SD or SMF using our SQ80VFX software 44 Giebler Enterprises 8038 Morgan Road Liverpool New York 13090 315 652 5741 Midicaster is still available The way cool operat ing system that turns your Mirage into a very capable System Exclusive data librarian a 20 000 note sequence player a disk copier format ter and wave draw synthesizer is still available for a limited time For more information or to order contact Tim Martin 1510 S 5th W Missoula MT 59801 Phone 406 542 0280 And thank you for your support PATCHES SOUNDS 80 Homemade mind blowing and Avant Garde patches for the SQ 80 on disk Send 20 to Arnold Mathes 2750 Homecrest Ave Brooklyn NY 11235 Phone 718 646 3214 Facelift for your ESQ 1 Exclusive totally new double part soundset 40 40 synth classic jazz folk pop ethnical experimental ensemble organ brass percussion effects multizones microtonal scales rhythmbox patches
87. s I don t think it would come as a shock to those of us who use sequences to find out that we can play these sequences easily Where else would the instruments be assigned but their respec tive tracks Of course volume levels are set and effect choices have been made We do these things every time we put together a sequence and we take it for granted What this and other se quence recording companies provide is time L B Music creates sequences so that you don t have to because you have more important things to do There are other fringe benefits from using pre sequenced songs You can listen to and take apart examples of well sequenced songs and learn how to do things you ve always wanted to with your own And if these sequences sound like what you and your band are using and would free you to do the things that are more meaningful and less tedious I would suggest that you give them a try um Tested and Approved Hard Drives for the EPSs Note The drives listed below are known to be compatible with the EPS and EPS 16 PLUS at the time of testing Changes in firmware or hard ware by drive manufacturers may make later versions incompatible with the exception of PS Systems Eltekon and Frontera whose drives are configured to work specifically with Ensoniq products Drives not in cluded on this list may also work just fine For up to date information about specific drives call Ensoniq Customer Service 215 647 3930 MANUFACTURER M
88. s spin out the cal am Bio Scott Fisher is in the middle of wallpapering his house with Ensoniq products while also trying to convince his wife Laura that an EPS 16 PLUS can sample a new washing machine thus saving money for more important things like an SD 1 Distortion Its Not Just For Guitars Anymore Distortion is a wonderful thing Oh sure we spend hours to in sure that our samples don t have any when we re constructing them but for those of us with EPS 16 PLUSS the temptation to scroll through all those glorious effects is pretty hard to resist And no matter how clean I try to make my samples I can t seem to help but try to dirty em up again with the distor tion effects I m not talking about my guitar samples No no that s too obvious I m talking about weird uses Uses that we alternative musicians like to experiment with So if 13 Tom Shear you re not experimentally inclined or find it hard to keep your musical mind open I suggest you go listen to your Keith Emerson albums or something This one s for the rest of us The Skinny Puppy Drum Sound A favorite trick that Canada s Skinny Puppy and rap terrorists Meat Beat Manifes to use to take their drum sounds to a higher level of crush is to intentionally distort them I know there s a sound engineer out there somewhere who s shuddering right now Yes I said distort them Yes but Tom isn t distortion just for guitars Hey wh
89. s then when the song is done playing go make the changes and roll the tape again to hear them Here s a tip save a copy of the sequence before editing any MIX MIDI para meters and always make changes only to a new copy That way if you decide the changes aren t working out you can go back to the original mix and start over Since many digital effects processors now allow MIDI control you may want to use a track in the sequence if one is avail able to control effects to help automate your mixdown Prior to mixing about all you can set up is program changes During mixdown you can overdub the mod wheel and CV pedal to con trol effect parameters Since you won t be overdubbing any 19 notes you can use the foot pedal to start and stop recording on this track Now let s move on to mixdown using multiple MIDI devices Here s where we start seeing the real impact of using tape sync Since the ESQ 1 has eight tracks per sequence we can control eight MIDI devices directly in addition to the ESQ 1 If each one has stereo outputs we could have up to eighteen signals to mix Each one could get separate effects level panning and so forth depending on the capabilities of your mixing board Over all level balance will remain under control of the ESQ 1 If we re using a four track recorder we could have three tracks on tape plus eighteen external sources To record this without using tape sync would require a total of twenty one tracks of
90. s much as you do to the drums I ve found that ROMs 11 and 12 par ticularly well suited for this although 13 will give you downright strange results The Coil Groove England s Coil have always come up with surprising and original sounds but one of my favorite is the odd rhythmic noise pattern in their song Penetralia I found I could get a similar effect on my 16 very easily Use the se quencer to program a four bar rhythm pattern again using the TR 808 sound Go for something complex with lotsa percus sion Something real Milli Vanilli ish go ahead it ll sound cool I promise Now simply select the WAH DST RVB ef fect and press start on the sequencer Pretty bizarre huh Try it with other drum sounds and listen to the difference between high and low frequency sounds Anyway there are probably many other creative uses for dis tortion but I chose to concentrate on those within industrial music But if this isn t your style don t turn your nose up These tricks will make you stand out no matter what your style Who knows Maybe Skinny Puppy will do a country and western album someday umm Mystery Waves and Programming of Drum Kits in the VFX via the SD 1 The Setting As a subscriber to both Keyboard and the Hacker I ve read the product reviews and made good use of the patch sheets and programming hints and am still learning new things about the capabilities of the instrument It s been about two years now th
91. t the same way On the Wings of the Lord opens wide with a WAAAH patch Here again I liked his drum parts Although Jack is piecing together his sequences like everyone else his choices are very clever on this song He uses a horn patch to create a hook and then finish out the song There are pivots and switches reminiscent of what some have called art rock This is big stadium music a wall of sound Jack wrote that some of his influences include Kansas Yes John Lawry and Keith Emerson The Commission I A Valley Away II The Beat of Grace is rather atmospheric and of this world at the same time There is a weaving in and out of frenetic meter and wash of sounds This goes on for quite a while seeming absolutely direction less The end of A Valley Away is a tight horn blast The Beat of Grace is a bit more predictable rhythmically and the finale can only be described as quirky The Fullness of Time is heavy The bass and beat are heavy Some nice wet and shimmery sounds are used sporadi cally on the first section The second section is somewhat more lilting and Irish sounding utilizing that same heavy beat as the first part There is a very refreshing counter rhythm played by a piano patch halfway through Part three plants itself twists and turns to the well planned drum beat that uses several well played techniques that give a feeling of hearing a played instrument While this does not necessarily happen all th
92. tails Dear TH I think your publication is great I ve looked forward each month to receiving the next issue I now own my third Ensoniq synth I started with the ESQ 1 then got the SQ 80 and now the updated VFX sd After a few problems upgrading my VFX sdl to VFX sd2 I was relatively pleased with my new acoustic and electric piano sounds Then came my new dilemma Do I upgrade again to the SD 1 After a visit to my local Ensoniq dealer in Hollywood 60 minutes away from my home in Miami I was still not sure if I wanted to upgrade as I was still disappointed with the bass sounds The acoustic piano and solo violin sounds were great I decided to go to the advertised Seminar on November 13 to get answers to some questions Well it was not a seminar It was more like a two hour commercial coupled with a poor comedy routine We left before the commercial ended only to have heard my favorite sounds a few more times My dilem ma continued I finally decided to update and pay the 700 After calling Ensoniq and setting my appoint ment to do the update I asked the rep what would happen to the mega piano wave I paid 550 for He put me on hold and came back to tell me my update would only cost 150 because I already had the previous update My prayers were answered I m still a believer Thumbs up to Ensoniq thumbs down to the seminar Thanks again Ensoniq Here are few questions left over from the semina
93. tape to get the equivalent isolation While that covers the basic aspects of using tape sync we d like to close with some hints on how to use tape sync to squeeze more than 8 voices out of your ESQ 1 when recording Let s again assume four track tape with one track holding the sync tone Let s assume you have a sequence that experiences premature cutoff of notes or you would like to use some lay ered patches but don t have enough voices to support them No problem We need to decide which tracks can be played at the same time without using up more than eight voices Separate these into up to three groups If you can keep it down to two you can record one group of the two in stereo the other group will be recorded in mono with three groups all three will be recorded in mono For the first pass recording mute all the tracks except those in the first group by double clicking on them on the MIX page brackets will appear around the level values indicating the parts are muted Now record the first group to tape striping the tape at the same time Go back and mute all but the second group and make another recording pass this time with the ESQ 1 locked to the sync tone If you need to make a third pass for the third group Using this technique requires you to make some decisions up front about mixing because you are committing some sounds to tape not to mention you won t be able to hear all the notes until you listen to the tape playback
94. the num bers type of formula for doing so Attempting to list a corresponding SQ setting for each ESQISQ 80 parameter would require a fairly intense amount of research and testing and even then the waves and other parameters dif fer enough for each machine that any by rote approximation of patches would most likely produce the type of results you re al ready getting close but not exact To Transoniq This is in response to your query for people with experience with hard drives not listed in the Transoniq Hacker for the EPS to come forward and give all Here is what I totally lucked out with and you can too There is a company in San Francisco that spe cializes in selling overstock I recently pur chased an 80 MB hard drive from them It s a OPTICAL MEDIA INTERNATIONAL INTRODUCES CD ROMS FOR enisonidaj EPS 16 PLUS amp EPS Volume 1 Percussion Instruments Musical FX Volume 2 Stack Sounds in 28 categories act 0 F Oy l p MASTER STUDIO COLLECTION MM Volume 1 Acoustic Keyboard Bass Bells e Brass New Age Ethnic Percussion PTI IA Music FX Sound FX Flute Synthesizers xs T EATA Lev AL Vocal Classical Strings Combo Guitar CALL 1 800 DISC OMI Volume 2 Acoustic Strings Bass Combos Guitar Keyboard Music FX New Age Ethnic Percussion Sound FX Synthesizers Winds World Headquarters 180 Knowles Drive Los Gatos CA 95030 Tel 408 376 3511 Fax 408 376 35
95. times giving the impression that the piano sound is occurring in a larger space For example try setting the Decay Time parameter to 90 and play a few notes Sounds like the piano s in a huge cavern doesn t it Now check out the sound with a short decay time maybe a value of 38 or so Sounds like a much smaller room The next parameter is DIFFUSION This parameter helps to simulate different kinds of room surfaces in the imaginary space that the sound is occurring in You see in terms of the actual acoustical reverb that occurs in any space the charac ter of the reverb sound is affected not only by the size of the space but also by the texture of the surfaces in that space A piano in an all wood room will sound different than a piano in a carpeted room with drapes on the walls This is an over simplification of course but the point is this In a room par ticularly a large room featuring more reflective surfaces such as the wood room you will be able to hear some dis crete separate echoes mixed in with the smoother sound of the reverberation These echoes are the result of the source sound bouncing off the hard surfaces within the room and eventually they will blend together to form the sound we think of as reverb The diffusion parameter allows you to ad just for these kinds of effects Higher values yield greater dif fusion producing a smoother more blended reverb sound Lower values produce less diffusion
96. ural effects use detuning sparingly The pitch shifting should be subtle enough as to be pretty much unnoticeable to the casual listener However detuning can add a natural and very beautiful quality to the reverb sound For example set the Detune Depth parameter to a value of 00 play a short note and check out the reverb sound Now try setting Detune Depth to a value of 12 and Detune Rate to a value of 18 a much more pleasing effect at least to my ear Now let s move on to the next effects menu page This is where you control the high frequency HF content of the reverb sound You are given two parameters to allow you to do so HF DAMPING and HF BANDWIDTH HF Damping high frequency damping allows you to adjust the decay time for the high frequencies contained in the reverbed portion of the sound Again this is to help simulate some natural acoustical spaces in which the upper frequen cies would decay more quickly than the lower ones With HF Damping set to a value of 00 the high frequencies will decay at the same rate as the other frequencies contained in the signal Higher values for the HF Damping parameter will cause the upper frequencies to decay more rapidly You can easily check this out try setting the value for HF Damping to 00 then play a short note Now try setting the value for HF Damping to 99 and play another short note You ll find that when the value for HF Damping is s
97. vable hard arr can be used by players at all levels of ability This course features authentic Blues Modal Latin and Fusion riffs all professionally recorded into your sequencer with excellent rhythm section accompaniment By using your MIDI sequencer you ll be playing jazz in less time working at your own pace and tempo JAZZ THROUGH MIDI INCLUDES 60 professionally arranged solos with rhythm accompaniment bass piano and drums Wide variety of popular jazz standards and styles Lead sheets for chords and solos are provided as well as tips on substitutions chord voicings scales turnarounds walking bass lines and more Beginning Intermediate and Advanced levels Program works with any MIDI set up and drum machine Ex Proteus MI U220 K4 etc Type 1 standard MIDI file format for all computer sequencers Ability to edit the sequences into your own arrangement and also create original jazz songs Easy set up Sequences are arranged in 8 12 16 and 32 bar phrases and are transmitted on 4 MIDI channels AVAILABLE DATA FORMATS Roland MC500 300 MC 50 W30 Kawal Q 80 Korg T Series Alesis MMTR Data Disk SQ Yamaha QX3 5Y77 SY99 Ensoniq VFX SD EPS SQ 80 Macintosh IBM Atari Amiga 49 95 VISA AND MASTERCARD ACCEPTED NEW SOUND MUSIG P O Box 37363 Dept JI Oak Park MI 48237 Phone 313 355 3643 The MOST Complete EPS EPS 16 Libraries created by Professional Musicians for Professional
98. w days later Gordon sprayed my EPS s disk drive a second time I can t adequately express what my feelings were at that moment Well guess what happened Yes like all good stories it happened a third time But in be tween the second and third incident I made myself a vinyl cover for my EPS That vinyl cover probably saved Gordon s life Here s the recipe go to your local fabric store and buy yourself a 20 x 48 at least slice of that stuff they put on dining room tables underneath the table cloth you know white plastic on one side a thin layer of foam on the other This next part gives new meaning to the term Hacker Cut it to the dimensions shown in Figure 1 note these dimensions are for ESQ SQ 80 Steve Vincent and EPS you ll need to adjust the dimensions for other En soniq boards of different sizes Making sure the foam is on the side contacting your keyboard glue and or sew together the edges of the notched out sections on the corners After a num ber of unsuccessful attempts at using a Seal A Meal to melt the seams together I ended up using a hot glue gun which worked pretty good A Seal A Meal might work with a different kind of plastic and also has the advantage of enabling you to store leftover spaghetti in your MIDI studio You might want to sew a strip of bias tape onto the seam for reinforcement That s all You re done Best of all you only spent a measly couple of bucks and five minutes of your time
99. werDrive44 44MB Syquest 555 remov able mechanism Purchased 4 91 for 500 Hard Drives International 800 234 3475 Configuration The two SCSI drives are con nected between the EPS and EPS16 The EPS has an external Dyaxis SCSI ter minator The 16 has an internal SCSI ter minator Terminating resistor SIPs are removed from both SCSI drives Shielded cables are used 6ft 25 50 3ft 25 50 2ft 50 50 Caveats Since both EPS s are on the same SCSI bus and have the same unit number they must not both access the drives at the same time i e boot ups sound loading etc must be staggered However having them on the same SCSI bus makes them much more versatile and avoiding simultaneous sound loads etc is no problem I keep the EPS16 OS and sounds sequen ces etc on the 44MB Syquest and the EPS OS and sounds sequences etc on the 100MB drive Both ENDS of the SCSI bus must be ter minated Since the ESP16 has built in ter mination I added an external Dyaxis terminator to the EPS and removed ter minators 3 SIP resistors from the two drives Note this required opening up the drives cases If I need to split the two sys tems apart I can remove the cable from be tween the two drives and install an external SCSI terminator on each of the drives The EPS required version 2 49 OS and a firmware upgrade to operate with the new Sy quest 555 mechanism apparently Syquest changed their SCSI implementation slightl
100. y and this required a change in the EPS firm ware The guys at Ensoniq were very helpful and the EPROM upgrade was free This should work equally well with a 1 or 3 or more shared drives however I have not tried more than two drives and I have not tried to store the two different OS s on the single drive 24 The two drives must have unique SCSI ID s I chose 4 and 5 Brian Hill CIS 73247 1144 GEnie B Hill2 CS Thanks for writing The response we ve gotten so far on this issue has been good By the way you cannot store two different Operating Systems on the same disk The Interface First I must thank Clark Salisbury for a very informative article on the use of the SQ Transwaves It put many new programming ideas in my head Now on to the question I have heard numerous ESQ 1 SQ 80 patches which I would like to emulate on my SQ R but I have not yet been able to develop a com pletely satisfactory translation between the SQ 80 parameters and the SQ R parameters Thus I end up with a sound almost but not quite exactly what I wanted Would you please print such a conversion between SQ 80 and SQ R parameters or point me to where I could obtain this information Thank you very much Jay Bromley Pasadena CA jaywb tybalt caltech edu CS As you ve discovered it is possible to roughly translate SQ 80 and ESQ patches for the SQ series instruments Unfortunately there is no straightforward plug in

Issue #79 - Buchty.net

Contents

Download Pdf Manuals

Related Search

Related Contents