From: owner-eps-digest To: eps-digest@oak.oakland.edu Subject: eps-digest V1 #7 Reply-To: eps Errors-To: owner-eps-digest Precedence: bulk eps-digest Monday, 2 May 1994 Volume 01 : Number 007 ---------------------------------------------------------------------- From: "J. STEPHEN BURKE" <4_SBURKE@fair1.fairfield.edu> Date: 02 May 1994 21:24:05 -0500 (EST) Subject: music types on Ensoniq samplers A small question...I've noticed various quotes from bands in the .sigs of some list-members, and I was wondering what kind of music everybody makes using their Ensoniq Samplers. i (attempt) to use my EPS 16+ turbo to produce cold-wave/elector-industrial music, some danceable, some not. I've also been attempting to use it for symphonic works in the syles of stravinsky and schonberg. How many different types of music are out there? neuro (steve) !the VAX VMS system i'm atteched to doesnt support .sig files! ------------------------------ From: Jeff Marraccini Date: Mon, 2 May 1994 21:32:51 -0400 (EDT) Subject: Mailing list moved to Oak By now all of you received the subscription information from the EPS list on oak.oakland.edu. If you have any questions or problems with the list, please let me know. Thanks to Mr. Horde and reed.edu for their past hospitality! Jeff - -- Jeff Marraccini jeff@vela.acs.oakland.edu <- Work Senior Computing Resource Administrator jdm@msen.com Oakland University +1 810 370-4542 Rochester, MI USA 48309-4401 "The Computer is your Friend." -- Paranoia RIPEM public key available upon request. ------------------------------ End of eps-digest V1 #7 *********************** From: owner-eps-digest To: eps-digest@oak.oakland.edu Subject: eps-digest V1 #8 Reply-To: eps Errors-To: owner-eps-digest Precedence: bulk eps-digest Tuesday, 3 May 1994 Volume 01 : Number 008 ---------------------------------------------------------------------- From: elson Date: Mon, 2 May 1994 20:34:45 -0700 (PDT) Subject: Re: music types on Ensoniq samplers >A small question...I've noticed various quotes from bands in the .sigs of some >list-members, and I was wondering what kind of music everybody makes using their > Ensoniq Samplers. > How many different types of music are out there? > > neuro > (steve) I have done many types of music on my EPS. Not just the samples, but on the sequencer as well. (Yes, I DO use the EPS sequencer). Anyways, I've run the gamut from pop to R&B, rap, techno, house, new age, jazz, heck, everything. I've even employed my EPS as a live sound effects source in a couple of theatrical productions in my university. Currently, I'm in a band that plays jazz/funk music (or "Acid Jazz"), and while I admit I only use the EPS sparingly (my main board is a Yamaha DX7E!), the sequencer is put to good use, as it plays sequences triggering EPS samples (usually percussion) and sounds from a Roland U220. The drummer in our band listens to the keyboard mix on headphones and plays along. Elson ------------------------------ From: scott@psy.uwa.edu.au (Scott Fisher) Date: Mon, 2 May 94 09:05:40 CST Subject: Time Stretching on the EPS >From raver909@telerama.lm.com Sun May 1 22:42:38 1994 >Subject: Re: 16+ vs Asr10 > >On 1 May 1994, Johan Burman ELD92 wrote: > >> More questions... >> >> Can the 16+ do timestretch? >No but the ASR can. Wrong, the 16+ can do time-stretch, using the FX chip. You need the appropriate Waveboy software tho. Gee I even used the internal synthesis architecture to "time-stretch" ... There should be a copy of the article I wrote for TH on this topic floating around somewhere. Scott. _______________________________________________________________________________ Scott Fisher [scott@psy.uwa.oz.au] PH: Aus [61] Perth (09) Local (380 3272). _--_|\ N Department of Psychology / \ W + E University of Western Australia. Perth [32S, 116E]--> *_.--._/ S Nedlands, 6009. PERTH, W.A. v Joy is a Jaguar XJ6 with a flat battery, a blown oil seal and an unsympathetic wife, 9km outside of a small remote town, 3:15am on a cold wet winters morning. - ------------------------------------------------------------------------------- ------------------------------ From: Z_MCDANIELCM@CCSVAX.SFASU.EDU Date: Sun, 1 May 1994 22:40:55 -0500 (CDT) Subject: Re: Questions Answered Jj said: >I have a real hard time seeing how anyone can work with anything >smaller, especially if using the onboard sequencer. But I suppose one works >with the resources available to one. the first sampler i worked with was a roland S550 (with monitor, remember those?) and now i find myself working with an expanded 16+... i could have gotten an ASR-10 but decided that, for myself, the amount of fetures (namely the amount of ram it'll address) wasn't enough for the bucks i'd have to fork over... anyways, that's not my point... my point is, working with a sampler that has a small memory, (EPS/16+/EMU/MIRAGE/S550/FZ-1), forces the user to learn how to sample and loop 'clean'... basically, you learn to make the most of the available memory... in theory, when you do move on to one of those A-machines, you'll be able to make better use of it than someone who started out on one... at least, that's the theory... and no joke... i'd take my 16+ over a decked out K2000 ANY DAY OF THE WEEK!!! i just do not see what it so great about those flimsy machines with the buzzing fans!!! it wasn't much more than my .02 maybe you can save it and 'get ma that operation' or something =) later... cody 'front line!' ------------------------------ From: Serge Solski u Date: Mon, 2 May 1994 16:45:44 -0300 (EDT) Subject: IBM SIMM's (was Re: Sample editing questions) The first thing I did when I got my ASR-10 was take it apart to see how it worked :-). I saw that the memory slots could hold IBM SIMM's, so I tried them even though the salesperson told me that only Mac SIMM's would work. I took some memory out of my OS/2 machine, and stuck it in the ASR, and it worked. Now I'm stuck with a very unhappy 4-meg OS/2 machine, and a slightly satisfied 4-meg ASR-10. I haven't had any problems, except when the SIMM's worked themselves loose somehow, and I had to re-seat them. -Mark - -- "Key chuckles. 'If Skinny Puppy, in terms of the movie _Alien_, is a chest-burster, then Doubting Thomas is more of a face-hugger,' he informs, as if that were an explanation." -Keyboard, Jan '92 ------------------------------ From: dwellman@bbs.xnet.com (Dan Wellman) Date: Mon, 2 May 94 16:20:16 CST Subject: Portamento & Glides Question.. I want to create a section of my latest sequence which has some bending notes in it.. (for my TS10) I've got a string part which consists of two notes played at a time, first a C & F, then up to that same F & a higher C, then back to the other C & F, then down to an A# & E. Anyways, I'm using a sampled sound right now and it is set to no Glidemode. I want each note to bend evenly at a constant speed, maybe in the mid-fast range (or whatever). Is there a good way to do this without setting the instrument to a specific glidemode? (I thought I remembered reading a Keyboard magazine issue of mine from about 6 months ago which talked about Portamento.. maybe I should dig that up.) The fundamental problem I have is that I don't know of any glidemodes that accomodate more than one note at once bending. How would I do this from the internal Ensoniq sequencer? From an external? Is there a good chapter in the manual on this stuff? (Duh Dan, check the manual first) Thanks, Dan ___________________________ Dan Wellman dwellman@xnet.bbs.com | | | | | | | | | | | | | danw190@aol.com | |_| |_| | |_| |_| |_| | ---------------------------------------- | | | | | | | | "Happiest Girl I ever knew, why do you |___|___|___|___|___|___|___| smile the smile you do?" - Depeche Mode Apple IIgs Ensoniq TS-10 ---------------------------------------- ------------------------------ From: scott@psy.uwa.edu.au (Scott Fisher) Date: Mon, 2 May 94 13:58:54 CST Subject: Time-Stretching on the EPS16+ Since people have been asking (private e-mail)... For those of you wondering how you can use Waveboy time-dicer to time-stretch rather than pitch-shift... The time dicer (out of the box) operates by manipulating pitch of samples while keeping the speed constant. Changes pitch and keeps duration constant. To change duration but not pitch you have to add the EPS internal architecture processing power to the FX chip. Sound complicated? ...not really... Say you want to make a drum loop faster, but keep the pitch the same. 1. Use the normal internal synthesis architecture to play back the loop at the speed you want (change the root key parameter). The pitch will also be wrong but we will fix that next. 2. Use WAVeBOY time-dicer FX algorithm to bring the PITCH back to the original by transposing it downward to compensate for the added increased pitch that came with the transposition you did in 1. 3. You should now have a fast drum-loop playing at its original pitch, when you are satisfied, use RESAMPLE WITH FX and SAVE. 4. Drink coffee. Make sense? Regards Scott. _______________________________________________________________________________ Scott Fisher [scott@psy.uwa.oz.au] PH: Aus [61] Perth (09) Local (380 3272). _--_|\ N Department of Psychology / \ W + E University of Western Australia. Perth [32S, 116E]--> *_.--._/ S Nedlands, 6009. PERTH, W.A. v Joy is a Jaguar XJ6 with a flat battery, a blown oil seal and an unsympathetic wife, 9km outside of a small remote town, 3:15am on a cold wet winters morning. - ------------------------------------------------------------------------------- ------------------------------ From: Frederick Beecher Date: Fri, 29 Apr 94 15:34:58 CDT Subject: gkh.gz. ?????? Hi Jeff! First, thanks for taking care of the archive! I *really* apreciate it! Second, what's up with the file extentions? When I'd dl from reed, I'd type "get sound.gkh" and I'd get the uncompressed .gkh file. When I tried that at oak, I was told there was no such file. Could you let me know what I need to do? If I can't get the uncompressed .gkh file, does gzip run on PC's? if so, where can I get a copy? Thanks. phread. 13-bit grunge rules! - -- ______________________________________________________________________________ "i'm sure you've discovered my deep and abiding nihil.sum@mixcom.com interest in pain; at present, i'm writing the definitive work on the subject....." - ------------------------------------------------------------------------------ ------------------------------ From: "Donald Schulz " Date: Mon, 2 May 94 15:24:30 +0200 Subject: OS 2 Errors (Second try) >From flashner@math.tau.ac.il Sun May 1 14:28:21 1994 >To: eps@reed.edu >I think I found a very annoying bug in the new OS for the asr. >I created some songs, and had a repeating problem. >(stuff deleted) >I didn't use any disktracks or ramtracks, but the song files were very > big in size.( 900 blocks approx.). >anyway, I solved the problem by saving each sequence seperateley, booting >the aSR again (prefferabeley with OS 1.61) and then building again the >song and saving it(this time with the right,small size). > >Bye, Amit. This is not a problem with the new operating system. Version 1.61 also created very big song files which could be drastically reduced in size when you do what you described (save each sequence seperate and build the song new). There seems to be one command (perhaps delete sequence) which doesn't give the free memory back when you execute it. And the longer you work with the song the bigger it gets ... Just a few days ago I got my new operating system 2.0. I don't need ramtracks or disktracks so my only wish was that the old errors with the sequencer (my machine crashes sometimes when I used a lot of memory and then try to EVENT EDIT TRACK) had been eliminated. But it seems they are still there and even new ones... It took me 30 seconds with the new OS to get a trademark error (144). After a reboot and another 30 seconds I got error 129. After five more trys I threw the new OS in the wastebasket. I do not know if you get your OS for free, here in Germany for free means that you have to spend 30 DM (about $15) for the wastebasket!!! I will tell you what I did to get the error: I loaded a bank which I had created on OS 1.61 before (It never crashed on that system and doesnt need all memory). Then I turned on the audio tracks (this is my mixer), selected one instrument and played some keys. As soon as I pressed more than 5 notes, I recognized an error (the display wrote something stupid) and after some more operations I got error 129 or 144 in the display. With the fifth try I first played some notes, pressed some buttons and then I switched the audio tracks on. This time it played my song. I finally threw it in the wastebasket when I recognized that the sequencer uses MORE THAN 10 SECONDS when I press stop to locate within the song. I hope that some of the guys at Ensoniq, who programmed the new OS, read this. If they are interested, I can send them the disk. I further hope that they still support OS 1.61 without audio tracks, e.g. that they remove the errors in a version 1.7 or so. Donald. ------------------------------ From: "Johan Burman ELD92" Date: 1 May 94 13:03:04 MET+1 Subject: 16+ vs Asr10 More questions... Can the 16+ do timestretch? I know that the Asr have more effect algorithms and that it can sample in stereo. I also know that it is capable of some limited HD recording... What else makes it different from the 16+ when it comes to the software and wave-crunching? Also, the patch-select buttons... Can they be controlled over midi? Thanx in adv for any answers... - ----------------------------------------------------- - - Johan Burman, eldjbu@tt.luth.se - - - woom@ludd.luth.se - - - - - - woom uses akai equipment... - - ----------------------------------------------------- ------------------------------ From: Garth Hjelte <72203.2303@CompuServe.COM> Date: 02 May 94 23:49:11 EDT Subject: Sample editing questions Artie sez: >I just read in my tech manual that you can substitute IBM 9-bit SIMMS for >Apple 8-bit (non-parity) SIMMS (but not the other way around). >Therefore, I can use 9-bit SIMMS to upgrade the ASR (which are much >cheaper than 8-bit SIMMS). Question : Has anyone tried this? There is an exclusive warning in the >SIMM expansion installation leaflet that came with the ASR saying not to >do this. Don't tell me Ensoniq have gone and implemented something weird! Ensoniq recommends against it, and how will you know if your switch completely works? Why play with fire - Mac 8-bit, 80ns, nonpariety chips cost about the same. I get A LOT of calls on the Transoniq-Net with people saying their ASR's gone haywire, and after investigation, it's the simm chips - they've got something outside the 8, 80, and 0 recomendations. Based on all the reports I hear (and I'm not kidding, it's about one every two days), do what Ensoniq says - 8-bit, 80ns, non-pariety. Don't fool with it. And none of the imitator chips, either. >2. After looping some stuff off the Analog Sampling CD (brilliant IMO), >I've decided I'm sick of listening to waveforms swirl around in my head as >I try to get that perfect loop. I've set AUTO LOOP on and I've done a >pretty good job so far. It just takes so long and I'm doing five >multisamples per instrument. Maybe I'm just crap, and maybe it's heresy >on the Ensoniq list, but I want graphical editing. Comment - with time I've found using only the EPS/ASR is faster than anything else. Once you get used to it and explore what always works and what doesn't, it really becomes the fastest interface. Agreed, though, it's tough and not for novices. TIP: Use autoloop to get to the general area, and then turn it off. It's not always right. Here's the four step approach I use for long loops without cheating (oops, I mean crossfade looping): 1. AUTO-LOOP ON, and toggle the SAMPLE START () parameter 2. A zero-loop is in-between the low-pitched clicks and the high-pitched ones - zero-in on them. 3. Go to the long numbers from the () and get closer - at this time turn AUTO-LOOP off. 4. Get in-between the low clicks and the high ones. If your wave is complex and moving texturally in frequency and tone, try cross-fade looping - go for the loudest low-click you can find - that's usually the best spot for the cross-fade (don't ask me why...) And consider short loops, too. Lot's of sounds can be short-looped. >I checked out Samplevision although details were sketchy. I know Macs are *the* music computer, but I'm >lumped with Windows (and quite lumpy it is too!) Could anyone using Samplevision give me some info as to >how they put it work? I use it for the digital EQ and to fix things I don't like. >Main questions are : >- Can you u/load d/load through SCSI / MIDI (is MIDI very slooooww?) Yes, very slow. I can';t wait for SV/for/Windows, where we will have SCSI connections and an ASR driver. - - Do you audition the sample thru a soundcard or via MIDI to the EPS/ASR - - If on a soundcard, how does it sound compared to the final version? Identical. That's the way to use SV> >I know there's only the DOS version - $265 here in Australia. The >Windows version is coming soon, yes? If I'm going to use *graphical >editing* then I may as well use it in a gooey like Windows. i.e. >thick and slow. No flames please - I advocate nothing. The GEM interface is fine - the only problem is that it uses almost all of the 640k for DOS apps. I find I have to get out of Windows to even use the thing - not even through a .PIF. Bring 'em on! Garth Hjelte ------------------------------ From: Garth Hjelte <72203.2303@CompuServe.COM> Date: 02 May 94 23:48:28 EDT Subject: Portamento & Glides >I want to create a section of my latest sequence which has some bending >notes in it.. (for my TS10) I've got a string part which consists of two >notes played at a time, first a C & F, then up to that same F & a higher >C, then back to the other C & F, then down to an A# & E. I want each note to bend evenly at a constant >speed, maybe in the mid-fast range (or whatever). This is nearly impossible to do, since the EPS/ASR has no polyphonic glide, which is what you're referring to. You know what I'd do? Use the pitch wheel and use your ear. The reason your request is so hard to perfectly accomplish is that you ultimately want the pitches to bend evenly. You can either program the ENV1 til you're sick, or just alter the bend range (on the PITCH page), put one note on one track and the other note on another track, and manual bend the pitch using the pitch wheel. I'd set it to a fifth, because of your initial F to C bend. Good luck! Garth ------------------------------ From: clee@theporch.raider.net (Chris Lee) Date: Fri, 29 Apr 1994 16:11:25 -0500 (CDT) Subject: unsubscribe unsubscribe - -- +----------------------------------------------------------------------------+ Chris Lee America Online: chris136 PO Box 22621 ANODE POPGRAFIX & RAVE PROMOTION Nashville,TN 37202 raveline:615-780-3730 clee@theporch.raider.net ------------------------------ From: Jeff Marraccini Date: Fri, 29 Apr 1994 20:52:04 -0400 (EDT) Subject: Re: gkh.gz. ?????? It's now possible to download .gz files from Oak while letting Oak do the decompression for you. Note that this will result in slower file transfer times, so if you're on a slow net connection, it might be better to download the .gz file and uncompress it on your PC, Unix system, etc. A PC gzip utility is available in oak.oakland.edu:/pub/eps/utils. If you have a different platform, source to gzip is available from prep.ai.mit.edu:/pub/gnu and its mirrors. To reiterate: if there's a file on Oak that you want that has a .gz or .Z extension (gzip or compressed, respectively) and you want Oak to expand it for you, use the command: get something.gkh, leaving the .gz or .Z off. Jeff > > Hi Jeff! > > First, thanks for taking care of the archive! I *really* apreciate it! > > Second, what's up with the file extentions? When I'd dl from reed, I'd type > "get sound.gkh" and I'd get the uncompressed .gkh file. When I tried that > at oak, I was told there was no such file. Could you let me know what I > need to do? > > If I can't get the uncompressed .gkh file, does gzip run on PC's? if so, > where can I get a copy? > > Thanks. > phread. > > 13-bit grunge rules! > -- > ______________________________________________________________________________ > "i'm sure you've discovered my deep and abiding > nihil.sum@mixcom.com interest in pain; at present, i'm writing the > definitive work on the subject....." > ------------------------------------------------------------------------------ > - -- Jeff Marraccini jeff@vela.acs.oakland.edu <- Work Senior Computing Resource Administrator jdm@msen.com Oakland University +1 810 370-4542 Rochester, MI USA 48309-4401 "The Computer is your Friend." -- Paranoia RIPEM public key available upon request. ------------------------------ From: David Dawson Date: Mon, 2 May 1994 21:28:36 -0700 (PDT) Subject: Re: music types on Ensoniq samplers I use my EPS-16+ to make Rock and Roll, and to score plays and corporate vidoes. And the Blues, of course... == David Dawson = == == ddawson@eskimo.com = "Sun gonna shine in my back door someday..." == == Seattle, WA USA = - Tommy Johnson == == = == On 2 May 1994, J. STEPHEN BURKE wrote: > A small question...I've noticed various quotes from bands in the .sigs of some > list-members, and I was wondering what kind of music everybody makes using their > Ensoniq Samplers. > > i (attempt) to use my EPS 16+ turbo to produce cold-wave/elector-industrial > music, some danceable, some not. I've also been attempting to use it for > symphonic works in the syles of stravinsky and schonberg. > > How many different types of music are out there? > > neuro > (steve) > > !the VAX VMS system i'm atteched to doesnt support .sig files! > > ------------------------------ From: Serge Solski u Date: Tue, 3 May 1994 00:38:46 -0300 (EDT) Subject: Re: music types on Ensoniq samplers I'm also in the "industrial" vein, and it appears I got the right instrument -- at a show last week featuring three "industrial" bands, all had Ensoniq equipment, except for an Emax II used by one keyboard player. -Mark - -- "Key chuckles. 'If Skinny Puppy, in terms of the movie _Alien_, is a chest-burster, then Doubting Thomas is more of a face-hugger,' he informs, as if that were an explanation." -Keyboard, Jan '92 ------------------------------ From: jwitkin@ctsnet.cts.com (Joseph Witkin) Date: Mon, 2 May 1994 23:09:02 -0700 Subject: Re: music types on Ensoniq samplers >A small question...I've noticed various quotes from bands in the .sigs of some >list-members, and I was wondering what kind of music everybody makes using >their >Ensoniq Samplers. >How many different types of music are out there? Many, I'm sure! I use my EPS (Classic) as my only instrument in a fifties-sixties revue. I play left-hand bass, plus the usual pianos/organs/horns/strings etc. I sampled an HR-16 clap sound which we loop and use as a clap track on some tunes. I have a few other rhythm loops, and only three or four fully sequenced songs (so I can get piano and strings at the same time, etc.) I load the entire night's sounds into memory at the beginning of the night. It all fits. I even sampled the castinettes at the beginning of "Little Darling".... What a great instrument! Reliable, sounds great...At the price it goes for now, I have three of them-one for the gig, one for the studio, and a spare in the car in case the gig one breaks down! Try THAT with a K2000! ------------------------------ From: Jonathan (Jj) Kidder Date: Tue, 3 May 1994 03:37:00 -0500 (CDT) Subject: Re: music types on Ensoniq samplers > > A small question...I've noticed various quotes from bands in the .sigs of some > list-members, and I was wondering what kind of music everybody makes using > their Ensoniq Samplers. As many others, a little of everything ... My pop stuff has been compared to Elton John & Peter Gabriel. Occasionally I put together pure noise. My ASR has also sometimes been used as an effects box when I record other musicians. I also like to do melodic* techno. I also play with modern classical ala Dead Can Dance. And sometimes I just play boogiewoogie. Sometimes I just work on pure sound texture type stuff. For example one of the things I'm working on now is a ambience traveling sort of thing where the audio picture starts in a jazz club with people talking and a jazz band sort of thing playing and then goes outside and one hears cars going past and a cigarette being lit and wind. - -Jj "I sample samples of samples whenever possible." ------------------------------ From: Jeff Marraccini Date: Mon, 2 May 1994 19:49:52 -0400 (EDT) Subject: ASR SIMM suggestions You might want to watch the Mac hardware groups, as occasionally someone organizes a group buy of SIMMs (SIMMs in high quantities cost less, sometimes far less, depending on the phase of the moon, it seems.) That's how I got the RAM for my black-box-with-cool-lettering-that-sometimes-makes-noise but-more-often-acts-as-a-credit-sink-called-an-ASR-10. I have to admit that I did try 9 chip SIMMs successfully, but ended up with Mac SIMMs in the end. Or, if we find someone with a hardware bent, maybe we can organize a group buy ourselves :-) Jeff - -- Jeff Marraccini jeff@vela.acs.oakland.edu <- Work Senior Computing Resource Administrator jdm@msen.com Oakland University +1 810 370-4542 Rochester, MI USA 48309-4401 "The Computer is your Friend." -- Paranoia RIPEM public key available upon request. ------------------------------ From: Jonathan (Jj) Kidder Date: Mon, 2 May 1994 20:42:37 -0500 (CDT) Subject: Re: Questions Answered > my point is, working with a sampler that has a small memory, > (EPS/16+/EMU/MIRAGE/S550/FZ-1), forces the user to learn how to sample and > loop 'clean'... > basically, you learn to make the most of the available memory... > in theory, when you do move on to one of those A-machines, you'll be able > to make better use of it than someone who started out on one... I used to use an Apple ][+ with 64k and* a three hundred baud modem (the modem by itself cost three hundred and fifty dollars before tax at the time). I have to admit that I learned to do a lot with a very little by that experience but I'd have to say that I'd be very unhappy to even have to go as far back- wards as to use an Apple //e with the extended 80 collumn card that brought it up to 128k(!). The ASR is really my only instrument. I have an Arp Omni and a Prophet 600 which are both semi-operational and which I occasionally sample patches off of but I don't have a sound module for my 'bread and butter' sounds and my software sequencer that I was using (v1.0 of Bars&Pipes) was so inadequate that I gave up on it and retired this machine back to a wordprocessor and terminal. A reasonable piano multisampled set can frequently take more than a meg. (bosendorfer for example is I believe the smallest piano multisample for the eps/asr and thats still upwards of a meg.) Tack on to that bass and drums and you've used all your memory if you've only got two megs. And I still haven't added in the resonant filter sweep sample, the distorted text sample and the harpsichord. and my sequence. No, I would be very unhappy living in that small of a space. At the time that I purchased my ASR i thought to myself, well, if I'm dropping almost $3k into this machine after the hard drive why not go all the way and get the memory as well. Boy am I ever glad I did as I had to get rid of most of my equipment when my wife and I seperated and I can still make killer demos and stuff with basically just this box. It most certainly would not be the case though if I hadn't gotten it expanded though. - -Jj "I resample samples of samples of samples as often as possible." ------------------------------ End of eps-digest V1 #8 *********************** From: owner-eps-digest To: eps-digest@oak.oakland.edu Subject: eps-digest V1 #9 Reply-To: eps Errors-To: owner-eps-digest Precedence: bulk eps-digest Tuesday, 3 May 1994 Volume 01 : Number 009 ---------------------------------------------------------------------- From: Eric Stratton Moseley Date: Tue, 3 May 1994 06:03:43 -0500 (CDT) Subject: Re: music types on Ensoniq samplers I teach at a high school, and we do various types of music, a lot of it on the EPS16+. We have to do music and sound effects for plays. backup music for singers that do a variety of music, and just recently, a video on ghosts. Besides the sounds in the EPS, we also use the WaveBoy Time-Dicer for pitch shifting vocals. This worked especially well when I had our coaches sing on a program, and they sounded like the Chipmunks live. We also do a lot of Rock with the EPS. One student used it almost exclusively for a sequence of an Aerosmith tune with orchestra. For those discussing memory, you can learn to really edit your samples down to only what you need in order to conserve. WE have a lot of different synthns, but I like the EPS for its versatility and quick sampling. Eric Moseley ------------------------------ From: Garth Hjelte <72203.2303@CompuServe.COM> Date: 03 May 94 07:54:57 EDT Subject: Help on ASR Factory I need help! I didn't get my ASR-10 the convential way, and I need a list of all the factory sounds that come with the ASR-10. I have all the samples, but they are mixed in with other stuff... Can someone post this to me? Thanks a bunch. Garth Hjelte Rubber Chicken Software ------------------------------ From: Stan Hoffman Date: Tue, 3 May 94 08:04:15 PDT Subject: Re: music types on Ensoniq samplers I'm a classically trained composer writing music for acoustic instruments in what has been variously called "modern classical," "new music," "avant garde," and so on. I bought a copy of Finale and then decided I needed a synthesizer (okay, I know it's a "sampler") to go with it. I ended up with the EPS-16+ because I'm interested in alternate tuning systems and there are very few instruments that handle this adequately (none handles it well). I also liked the idea of being able to pick and choose the sounds rather than taking someone's idea of a standard set designed for a type of music different from what I do. I love using it with earphones as I compose so I can work more privately and less obtrusively than with the piano in the living room. Now that I have had it awhile, I'm wondering whether I made the right choice. The orchestral sounds I got from the dealer and the ones I've downloaded from the archive are not inspiring. I have tried tweaking them with some success, but at a far greater cost of time and page-flipping than I'm prepared to devote to what for me is a secondary task. I have considered purchasing some of the Keith Thomas samples, but they are so big that I couldn't use more than a few at a time. Once I solve the great computer/sequencer dilemma (I was leaning toward a PC but keep hearing things that make me want to check out the Atari-- discussion on this list has been very interesting--more is welcome!), I will have to take a closer look at what I'm doing and what will work best for me. Possibilites include adding a Proteus 2 to my setup; trading in the EPS for an MPS+; or maybe trading in the EPS for a TS12 (I tried one once in a store and was surprized at how bad the harpsichords sounded--several are provided and none sounds like a harpsichord--similar response to other instruments. Maybe I was doing something wrong and was not hearing the true sounds??). If you have experience in classical chamber and orchestral music and have opinions or advice, I'd appreciate hearing your point of view. Stan Hoffman stanh@microsoft.com Note: I am not a programmer. ------------------------------ From: noah@cadence.com (Noah Ruiz) Date: Tue, 3 May 94 08:21:02 -0700 Subject: Re: music types on Ensoniq samplers I write anything that comes to mind. It could be techno,house,ambient(sp),industrial,experimental although all my music is experimental, it just comes out to sound like the above. Though I wish I had the equipment that alot of you have. All I have is an EPS classic and a DR660 drummachine thats midi'd, and some effects pedals. I just go to my friends and record to tape there. I mainly write for myself and to play at my friends houses for food and drink ofcourse. =) Oh ya I can't forget my MusicMan StingRay 5 string Bass and my Hartke 410/ GK400rb. That it folks. Simple huh! But the music sounds great from what people tell me. Have a good one, gotta go study for a test. Noah Ruiz noah@cadence.com ------------------------------ From: bill@ensoniq.com Date: Tue, 3 May 94 11:39:09 -0400 Subject: Re: Portamento & Pedal Glides From the Ensoniq Unobvious Features Department. *** PEDAL GLIDE MODE *** >I want to create a section of my latest sequence which has some bending >notes in it.. (for my TS10) I've got a string part which consists of two >notes played at a time, first a C & F, then up to that same F & a higher >C, then back to the other C & F, then down to an A# & E. I want each note to bend evenly at a constant >speed, maybe in the mid-fast range (or whatever). The BEST KEPT SECRET about the EPS/ASR is the pedal glide mode. It allows polyphonic glide to be turned on simply by pressing the SUSTAIN pedal. The number of notes that are sounding when the pedal goes down is the number of notes that will glide. In other words, you can set the "N-PHONY" dynamically. (Glide time is always constant time type.) 1. Set Layer glide mode to pedal. set glide time to 10. 2. play and hold C & F. 3. press sustain pedal. Lift up C & F. 4. play two different notes. Hint: The notes steal each other in the order that they were depressed. Bill ------------------------------ From: iab@cc.bellcore.com (ira) Date: 3 May 1994 11:44 EDT Subject: Need help w/ EPSDISK i need some help using epsdisk. i retrieved a copy of the program and some samples. when attempting to load the samples to my TS12 the machine either locks up, goes haywire, or says the disk are bad. i don't have a clue as to what i'm doing wrong. could someone explain the steps in loading the samples using epsdisk (ie. formatting the disk, copying samples, ...)? my setup if it's any help is an ibm compatible '386 machine running windows and the TS12. any help is greatly appreciated. ira bartley ------------------------------ From: A.Spiceley@poda.wins.icl.co.uk Date: Tue, 3 May 1994 17:21:11 +0100 Subject: RE: Re: music types on Ensoniq samplers Stan Hoffman described my own motivations for getting into the EPS almost exactly. I became interested in what has been called "microtonality" but is better described as "non-12 tone tuning" and in particular wanted to hear what a piano would sound like if tuned differently. My first excursion was to add the EPS to my regular ensemble (clarinet, violin, cello and piano) using 13, and 16 notes to the octave, as well as 12notes but tuned a quarter step up (the strings were subjected to various realtime electronic adjustments as well). Of course to do this properly you really need to adjust the range each sample is used for, rather than simply adjust the tuning, and I have never found the time to do it (I suspect I will only succeed at that when there is a dedicated EPS instrument editor with a GUI that makes the job relatively easy. I know I _could_ figure out how to do it from the EPS front panel but my motivation isn't up to it :-) The other reason for using the EPS16, apart from the tuning, was that I wanted to be able to trigger sequenced oddly-tuned piano material with the footswitch (whilst playing the acoustic piano) and keep the amount of onstage gear to a minimum. (Wish list item: independent footswitch advance of the sequence select, as provided on some gear by K***). This is probably giving a hostage to fortune, but I had no trouble with the EPS on that gig or subsequent ones. I've just bought a Kurzweil micropiano and the sound (and response to controls) is streets ahead of the EPS factory samples (and of course the control issue affects any 3rd party sounds) - but alas there's no tuning (or pitch bend) since its only intended for substituting a real piano. I'm still hopeful that I can get - or make using a microphone !- some decent samples for instruments like harp, cimbalom etc and do some more work in similar vein. (What does it sound like? Well, Magnus Lindberg, whose name cropped up in one of usenet News groups recently, was someone whose music I wanted to emulate at that time. Rather emotional and demonstrative (for which read loud and dissonant!)) Of course for serious (and especially live) avant-garde chamber stuff the EPS doesn't have sufficient memory. The ASR is obviously superior in this respect (and has better tuning resolution as well I understand). At a composers forum I went to on microtonality one of the other composers had a Roland 750 or some such with fully populated memory (16M?) and a full screen monitor user interface. But then he spent 3x what I did! Regards Andy Spiceley a.spiceley@poda.wins.icl.co.uk ------------------------------ From: "Winer, Greg" Date: Tue, 03 May 94 12:32:00 EDT Subject: Re: music types on Ensoniq samplers I do underground dance music with vocals, in the industrial/techno vein. I have 3 EPS now, and until I got the second one, used the internal sequencer extensively. I have since migrated to Cakewalk for Windoze to handle the sequencing stuph. Two of my EPS have 2X expanders, and one has a 4X, OEX-8 output expander and a soon-to-be-functional-pending-new-ROM-chips-(I-hope) Hard Drive =). I also have two Casio CZ-1's, a Yamaha YS-200, a Juno-106, a Korg Wavestation, 01/WFD, EX-800, and DW-8000, an Alesis D-4, and comming soon to a theater near you: Novation Bassstation (on order). All of this is handled (barely) by my Music Quest 2 Port/SE. You should be able to hear all of this stuph on an upcomming album that will be released when the legal-schmegal dust settles (probably early winter 94...I hope). =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= j a c k i n , b a b y: g r e g o r y n a t i o n o f t e f l o n s o u l s =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= my opinions do not neccesarily reflect the views of my employer ------------------------------ From: Jeff Marraccini Date: Tue, 3 May 1994 12:42:21 -0400 (EDT) Subject: EPS list administrativa Some of you have been sending mail to owner-eps@oak.oakland.edu when replying. owner-eps is the errors address, and it's read by me, a human. I've seen this before, and it's usually due to the way some software, particularly email gateways for Microsoft Mail, X.400, and other mailers, interpret the From headers on the mail. Mail that leaves oak.oakland.edu is RFC822 compliant, but there's a wide variation on how this mail is interpreted by software. When you reply to a message from the list, please be sure you're sending or copying eps@oak.oakland.edu, otherwise there'll be a delay when the mail is processed as I have to manually bounce it to the list. I'm probably going to move the EPS list to our zmailer host (where the big lists at this site live) in a couple days. The addresses won't change, but list processing will be far faster. There are currently 318 users subscribed to the list, 269 came from the reed.edu list. Thanks, Jeff - -- Jeff Marraccini jeff@vela.acs.oakland.edu <- Work Senior Computing Resource Administrator jdm@msen.com Oakland University +1 810 370-4542 Rochester, MI USA 48309-4401 "The Computer is your Friend." -- Paranoia RIPEM public key available upon request. ------------------------------ From: andrewsi@microsoft.com Date: Tue, 03 May 94 10:44:00 PDT Subject: RE: Need help w/ EPSDISK Most if not all of the GKH files on the archive are designed for low density floppies, not the ones with the HD mark on them. Use EPSDISK to Copy the GKH to a low density floppy, and then things will probably work fine. The TS will get confused if there's a low density image on a high density floppy. Also, most of the GKH files are compressed. Either use GZIP -d to decompress them or download them without the .gz extension and OAK will decompress them for you prior to transmission. Andy ---------- From: owner-eps To: eps Subject: Need help w/ EPSDISK Date: Tuesday, May 03, 1994 11:44AM i need some help using epsdisk. i retrieved a copy of the program and some samples. when attempting to load the samples to my TS12 the machine either locks up, goes haywire, or says the disk are bad. i don't have a clue as to what i'm doing wrong. could someone explain the steps in loading the samples using epsdisk (ie. formatting the disk, copying samples, ...)? my setup if it's any help is an ibm compatible '386 machine running windows and the TS12. any help is greatly appreciated. ira bartley ------------------------------ From: veneraci@author.gsfc.nasa.gov Date: Tue, 03 May 1994 16:10:21 EST Subject: getting aif & gkh files to my ASR-10 Hi. Since the ASR-10 reads and writes DOS floppies, why use epswrite to translate the gkh files? What should I do to gkh and aif files once they're on my pc, in order to make them usable with my asr-10 (on DOS floppies)? Thanks. Brad Veneracion veneraci@author.gsfc.nasa.gov ------------------------------ From: dwellman@bbs.xnet.com (Dan Wellman) Date: Tue, 3 May 94 15:07:21 CST Subject: Help - Where's sox.exe? Can someone please tell me where to find the file sox.exe on the net.. I need to convert some 8 bit AIFF sounds to 16 bit.. Thanks! Dan ___________________________ Dan Wellman dwellman@xnet.bbs.com | | | | | | | | | | | | | danw190@aol.com | |_| |_| | |_| |_| |_| | ---------------------------------------- | | | | | | | | "Happiest Girl I ever knew, why do you |___|___|___|___|___|___|___| smile the smile you do?" - Depeche Mode Apple IIgs Ensoniq TS-10 ---------------------------------------- ------------------------------ From: Tim Dorcas Date: Tue, 03 May 94 16:13:23 EDT Subject: Sampling/Programming Stan Hoffman, I can appreciate your frustration about finding samples that you like. I have been on a quest to find a GREAT piano for awhile. Most of the ASR/EPS pianos I have heard are too buzzy and bright. Even progamming them has been for naught because there is only so much you can do with the basic sound before you distort & disrupt the basic sound. I recently played a Roland E-86 and loved the way it sounded! It was soft yet crisp without any wierd harmonics and could easily cut through a mix if necessary. I have yet to find anything like this for my TS. BUT, I haven't given up looking! If you have a discerning ear, you must do two things. Keep looking for (or create your own) sampled sounds & learn to program your sampler . Learning to program is especially crucial to making the sounds that make the whole world sing. I think you are going to be hard pressed to find pre-programmed samples/patches that automatically match up to your mental expectations. Learning to program maximizes your instruments' usefulness and it's not that hard to do (for basic tweaks). Oftentimes, a good sample can be made a great sample with only some minor parameter changes. I urge you to find programming voice. TIM ------------------------------ From: Frederick Beecher Date: Tue, 3 May 94 17:29:33 CDT Subject: COOL131, Giebler format??, .GKH format? Greetings all... I've just dl'ed COOL131.ZIP expecting to do cool sample editing, etc., but instead found out that I seemed to need a soundcard for the 'ol PC. I then thought, "hmmm, maybe there's someway to covert .gkh files to .wav files...." and dl'ed snddem4.zip (SoundDemo) and when installed, I got an error... Can I get my EPS samples to COOL without a sound card? If so, how? Is SOundDemo the way to go? If so, how do I fix what's wrong???? thanks... a confused phread. - -- ______________________________________________________________________________ "i'm sure you've discovered my deep and abiding nihil.sum@mixcom.com interest in pain; at present, i'm writing the definitive work on the subject....." - ------------------------------------------------------------------------------ ------------------------------ From: t.g.finstad@fys.uio.no (Terje Finstad) Date: Wed, 4 May 1994 00:42:02 +0200 Subject: Re: Help - Where's sox.exe? Dan wrote >Can someone please tell me where to find the file sox.exe on the net.. >I need to convert some 8 bit AIFF sounds to 16 bit.. I'll answer this so I can test out the new mail distribution system :-) (I have a cc to Dan just in case) The question asked was given an answer to the the eps-list by Thomas using archie. I don't know if you missed it, did not find it, could not connect or what. Anyhow... The following is recommended out of several reasons ls7.informatik.uni-dortmund.de:/pub/tx16w/util/ibmpc/sox.exe You'll definitely need a manual also which is located at ( same site ) ls7.informatik.uni-dortmund.de:/pub/tx16w/util/util/src/sox7-tx16.tar.Z The reason you may find this handy is that the sox version found at that site will also let you convert Yahama TX16W samples to EPS, by use of sox+aif2efe+EPSDisk. If you don't know how to create batch files to do this efficiently, you can read aboat it and/or use the utilities in alt_tx16w.zip wich is located at oak. > ___________________________ >| | | | | | | | | | | | | >| |_| |_| | |_| |_| |_| | This is Dan's signature, I've marked >| X | | | | | | | the 7 first notes to Jingle Bell >|___|___|___|___|___|___|___| in case you wondered were they are :-) Terje ------------------------------ From: "Burtin, Boris" Date: Tue, 03 May 94 16:07:00 PDT Subject: Sampled piano I noticed that people have been talking about finding the "ultimate sampled piano" for their sampler. I'd like to provide a (perhaps unpopular) solution: buy an Emu Proformance. It was the best $300 I ever spent! The Proformance is nothing snazzy; just a half-rack box with a 4-meg sampled piano patch and sixteen presets that add different tonal qualities. The nicest things about it are that I have the best piano sample I have ever heard; I don't have to wait for it to load; and it doesn't take up any RAM in my EPS. Just a thought... Boris /------------------------------------------------------------------------\ | Boris Burtin | AT&T Global Information Solutions | | boris.burtin@sandiegoca.ncr.com | Client/Server Technology | \------------------------------------------------------------------------/ ------------------------------ From: westr@mace.cc.purdue.edu (architectonic (Rob West)) Date: Tue, 3 May 94 21:34:46 EST Subject: Re: music types on Ensoniq samplers I write techno somewhere between after-house and before-ambient. I have been accused of writing trance, but my most recent performance was an ambient set at a local rave (Fluxion, W.Lafayette IN). My equipment? Not nearly as impressive as some of those I have seen here. An ASR-10 (4M, no H/D (yet!)), Korg Wavestation, Proteus/1, and an Alesis HR-16 (used extremely sparingly, it is pretty much my least favorite box). I sequence with (flames to /dev/null) Opcode's MusicShop on a Mac LC (I am pretty broke). Hope I haven't created too much laughter in the group, but so far my production has been of quality and substance - and it's danceable! (sometimes). Oh, and BTW, has my previous post been lost, or was it a question of the FAQ/RTFM nature? My question was regarding Mac .gkh utilities and the unsatisfactory results I achieved with SCSIeps (or whatever it was called). TIA! peace, Rob .____________________________________________________________________. |:::::::::::::::|techno: /Rob| architectonic systems | |::::___________| trance: /West| 111 W. State St. #1 |:: |:::_:_:::_:::::| ambient: -----| W. Lafayette, IN 47906-3618 |:: |::_____::_:::::| >music | westr@mace.cc.purdue.edu |:: |:_:::::_:_:::::|art< | westr@well.sf.ca.us |:: |_:::::::__:::::|CHAOS || INFORMATION | finnagain@aol.com |:: +_______________+_____________________+______________________________+:: :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: ------------------------------ End of eps-digest V1 #9 *********************** From: owner-eps-digest To: eps-digest@oak.oakland.edu Subject: eps-digest V1 #10 Reply-To: eps Errors-To: owner-eps-digest Precedence: bulk eps-digest Wednesday, 4 May 1994 Volume 01 : Number 010 ---------------------------------------------------------------------- From: g.leone@genie.geis.com Date: Wed, 4 May 94 02:10:00 UTC Subject: Re: music types on Ensoniq sam I've had my ASR-10 for about 8 months now and am using it for work, hobby, and personal stuff. I'm in advertising and use it to both write jingles AND as sound source in the studio for recording of same. I've actually been able to use the DiskTracks feature of OS2 to dub and edit a client's existing music track at home. (YES! I actually got it to work.) I'm playing the ASR in a "classic rock" band in the evenings, and am writing my own music on it (pop/jazz) at home. Before the ASR I had an EPS Classic. Wouldn't trade the ASR for ANYTHING on the market. Period. +_+_+_+_+_ I wonder if those folks looking for a good piano sound have heard Rubber Chicken's "PIANO!" sample. Best I've heard for the EPS/ASR yet. A very rich, full sound. (Garth would tell you himself, but he's too modest.) The sample disk only costs (I believe) $7-$8 US and it's worth twice that. -Gerry g.leone@genie.geis.com ============================================ No slogans. No quotes. No nothin'. ============================================ ------------------------------ From: jelliott@postoffice.utas.edu.au (Jon Elliott) Date: Wed, 4 May 1994 16:49:01 +1000 Subject: Re: music types on Ensoniq samplers Well, I write techno. Mainly trance with a bent towards complex melodic and harmonic structure - I tend to run at least 2 melodies, a bass line, a repetitive sequencer line and padding towards the climax of a track. The two samplers that I have are a Godsend. I use the 16+ primarily as a drum box (1100 blocks of drum kit is pretty well a permanent fixture at instrument 1 responding on MIDI channel 2) and a way to put FX on my analog gear (I have no FX boxes and so I sample the stuff, mess with it a little and then play it out on the 16+). 2Mb is easily enough as I am primarily using the 16+ as a synth, using sampled sounds as my building blocks. Typical instrument size is 170 blocks or so. The EPS classic is used to sample vocals, self-written breakbeats from the 16+, acid loops from my TB-303 (I still haven't got the $$$ to sync the thing, yet) and as a live board for my partner on stage. I can't see the need to have an ASR-10 unless you're out to sample heaps of stuff and use it as *samples*. The way I use the 16+ isn't very memory intensive and those of us with other synths will find that their piano sounds are perfectly adequate for most jobs. OK, sometimes I drag out the factory Bosendorfer and Steinway disks and eat 1500-2000 blocks but that's OK. It just means that my other sounds will have to be fairly thrifty with memory. Overall, Ensoniq definately make the best samplers on the market today *without exception*. Jon. - -- Jonathan Elliott jelliott@postoffice.SandyBay.utas.edu.au ALQ - Trance for the masses EPS 16+/EPS/MKS-7/JX-3P/DX100/TB-303/VC-330/Axxe - ----- ------------------------------ From: flashner@math.tau.ac.il Date: Wed, 4 May 1994 11:38:17 +0300 (GMT+0300) Subject: Help on ASR Factory > > I need help! I didn't get my ASR-10 the convential way, and I need a list > of all the factory sounds that come with the ASR-10. I have all the > samples, but they are mixed in with other stuff... Can someone post this to > me? Thanks a bunch. > > Garth Hjelte > Rubber Chicken Software > Garth, did you send this message? the return path is not the same as always. I'll get the list and post it (anything for you ;) if it's really you, Garth). ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ | Amit Flashner. | | | | Pure Quality. Nothing More. | ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ------------------------------ From: Jonathan (Jj) Kidder Date: Wed, 4 May 1994 03:46:50 -0500 (CDT) Subject: Re: music types on Ensoniq samplers > Not nearly as impressive as some of those I have seen here. An ASR-10 > (4M, no H/D (yet!)), Korg Wavestation, Proteus/1, and an Alesis HR-16 > (used extremely sparingly, it is pretty much my least favorite box). I > sequence with (flames to /dev/null) Opcode's MusicShop on a Mac LC (I > am pretty broke). > > peace, > Rob Actually, I'd give gnaw my own leg off to have a collection that nice. - -Jj "I sample other people's samples of telephones as often as possible." ------------------------------ From: Timothy Dorcas Date: Wed, 04 May 94 06:52:13 EDT Subject: Syncing Loops & Sequencers Recently, I have been putting together some drum loops for my TS. My main problem has been syncing the loops to the sequencer. I know a message went out describing how to calculate beats in a sample but as I hardly ever use the root sample this won't work. What techniques do you use to overcome this? Since everyone seems to be describing there setup & what they have...I had an EPS-16+ but traded it in for my TS. I got tired of loading disks in and out all of the time and wanted the abiltly to just turn 'it' on and play. (Yes I know about the SCSI option but after buying more memory, hard drive, and SCSI option I don't think I would have been that far ahead.) I also have a Sound Canvas (great piece of gear for the price; very clean on most things), a Roland R-70 drum machine (I can't understand why this wasn't more popular), and a Monterey card. That's it! Before the year's out I would like to get a Wavestation SR. Lately, I have been into creating things on my TS and sampling them with FX into my PC, editing them further with SampleVision or Wave for Windows, and finally SoundVerting them back into my TS. Between this & programming that's all I've had time for. It seems that we have alot of techno/house/rave/acid/ambient innovators on the list. It might be interesting to put together a tape to see for others on the list to listen to. If you are interested, let me know. (I have alot of recording equipment which I didn't go into.) Enough babbling! Good Sampling!!! TIM ------------------------------ From: Mark Borcherding Date: Wed, 4 May 1994 06:35:25 -0500 Subject: Re: music types on Ensoniq I have a classic EPS with 2x mem. I do hard techno, industrial, gothic, ambient type stuff. Other equipment I use: Korg 01w, Alesis D4, Roland TR-909, Prophet 5, Ensoniq DP/4 (cool:), Roland TR-808, DrumKat DK10, Mackie 1604, anything that makes neato sounds to sample. The last neat thing I did was to play a digerido sample on my EPS into the DP/4 as a carrier for the vocoder - massive. - -=*=- marK . .. . . . . . boom ------------------------------ From: Edward A. Russell Date: Wed, 4 May 94 9:30:19 EDT Subject: Syncing Loops & Sequencers (fwd) > > It seems that we have alot of techno/house/rave/acid/ambient innovators on > the list. It might be interesting to put together a tape to see for others on > the list to listen to. If you are interested, let me know. (I have alot of > recording equipment which I didn't go into.) I would love to hear what others have done with their TS and how they did it. But never mind the tape. It sounds like we should be able to upload song/sequence files soon. That would be infiniately preferable. - -- Edward A. Russell US Mail: M/S 014-690 Voice: 508-967-6327 Fax: 508-967-3205 WANG Laboratories internet: erussell@wang.com 1 Industrial Ave. compuserve: INTERNET:erussell@wang.com Lowell, MA. 01851 ------------------------------ From: Edward A. Russell Date: Wed, 4 May 94 9:33:51 EDT Subject: Sampled piano (fwd) Forwarded message: > From owner-eps@OAK.Oakland.Edu Tue May 3 19:59:54 1994 > From: "Burtin, Boris" > To: 'EPS mailing list' > Subject: Sampled piano > Date: Tue, 03 May 94 16:07:00 PDT > Message-Id: <2DC6D956@sansmtpgw.sandiegoca.ncr.com> > Encoding: 21 TEXT > X-Mailer: Microsoft Mail V3.0 > Sender: owner-eps@oak.oakland.edu > Precedence: bulk > Errors-To: EPS List Owner > > I noticed that people have been talking about finding the "ultimate sampled > piano" for their sampler. I'd like to provide a (perhaps unpopular) > solution: buy an Emu Proformance. > > The nicest things about it are that I have the best piano sample I have ever > heard How about sampling it (if you have a sampler) and uploading it so we can have a listen! Thanks. - -- Edward A. Russell US Mail: M/S 014-690 Voice: 508-967-6327 Fax: 508-967-3205 WANG Laboratories internet: erussell@wang.com 1 Industrial Ave. compuserve: INTERNET:erussell@wang.com Lowell, MA. 01851 ------------------------------ From: Edward A. Russell Date: Wed, 4 May 94 9:41:58 EDT Subject: Sampling/Programming (fwd) Forwarded message: > From owner-eps@OAK.Oakland.Edu Tue May 3 17:43:59 1994 > Message-Id: <199405032044.AA27632@OAK.Oakland.Edu> > Date: Tue, 03 May 94 16:13:23 EDT > From: Tim Dorcas > Subject: Sampling/Programming > To: Mailing list > Sender: owner-eps@oak.oakland.edu > Precedence: bulk > Errors-To: EPS List Owner > > I have yet to > find anything like this for my TS. BUT, I haven't given up looking! > If you have a discerning ear, you must do two things. Keep looking for > (or create your own) sampled sounds & learn to program your sampler three but who's counting among friends>. Learning to program is especially > crucial to making the sounds that make the whole world sing. Have you done any programming tweaks to the TS piano sounds(or other sounds) to improve them? I am JUST starting with TS programming and other than adding obvious effects, I have not acquired the expertise to add subtle yet satisfying parameter changes. It would be great if you could post an example of a change you made to a sound (as opposed to a sample) which you think makes a nice difference. Then I could try it and learn from it. Thanks. - -- Edward A. Russell US Mail: M/S 014-690 Voice: 508-967-6327 Fax: 508-967-3205 WANG Laboratories internet: erussell@wang.com 1 Industrial Ave. compuserve: INTERNET:erussell@wang.com Lowell, MA. 01851 ------------------------------ From: Edward A. Russell Date: Wed, 4 May 94 9:53:12 EDT Subject: RE: Need help w/ EPSDISK (fwd) Forwarded message: > From owner-eps@OAK.Oakland.Edu Tue May 3 15:31:45 1994 > Message-Id: <9405031746.AA16184@itgmsm> > From: andrewsi@microsoft.com > To: owner-eps@OAK.Oakland.Edu > Subject: RE: Need help w/ EPSDISK > Date: Tue, 03 May 94 10:44:00 PDT > X-Mailer: Microsoft Mail V3.0 > Sender: owner-eps@oak.oakland.edu > Precedence: bulk > Errors-To: EPS List Owner > > Most if not all of the GKH files on the archive are designed for low density > floppies, not the ones with the HD mark on them. Use EPSDISK to Copy the > GKH to a low density floppy, and then things will probably work fine. The > TS will get confused if there's a low density image on a high density > floppy. Also, most of the GKH files are compressed. Either use GZIP -d > to decompress them or download them without the .gz extension and OAK > will decompress them for you prior to transmission. If you want to use HD, use epsdisk to extract the individual samples (instruments) from the .gkh file (you do not need to put it on a DD first, just specify the .gkh file as the source and epsdisk will treat it like a diskette). You will then have a bunch of .ins files. Format an HD with epsdisk (select Type first) then Write the individual .ins files to the HD. This allows you to put more samples on an HD and also to group samples the way you like. - -- Edward A. Russell US Mail: M/S 014-690 Voice: 508-967-6327 Fax: 508-967-3205 WANG Laboratories internet: erussell@wang.com 1 Industrial Ave. compuserve: INTERNET:erussell@wang.com Lowell, MA. 01851 ------------------------------ From: "Shawn B. Curran" Date: Wed, 4 May 1994 09:55:44 -0400 (EDT) Subject: How to get sounds from the net? Hey guys, I'm a 18 year old part time musician. I'm in college right now studying to graduate with a computer science degree. I'm really new to the whole internet thing and I'm interested in increasing my EPS16+ w/expanded memory's sound lib. I have no computer yet (use the school's), but I'm looking into one this summer. I'm not sure wich one I'll get, but that all is a different story. I would like everyone to help. I need to find out what software, equipment, computer requirments, places, and procedures are needed to grab all these sounds off the net that you guys keep talking about. I have access to a NeXT, IBMDX33, and MAC Centric 610 all hooked up to the net vie ethernet, but since they are the CMSC dept's computers they have no midi interface. Please give both IBM and MAC scenerios for downloading sounds from the net. Also could you explain the different sound files that there are and where to find alot of them. Thank you, and I hope that my mail box will be flooded with information. Signed.. In The Internet Dark (Shawn...) ------------------------------ From: Edward A. Russell Date: Wed, 4 May 94 10:00:07 EDT Subject: EPS list administrativa (fwd) Forwarded message: > From owner-eps@OAK.Oakland.Edu Tue May 3 14:27:15 1994 > From: Jeff Marraccini > > Some of you have been sending mail to owner-eps@oak.oakland.edu when > > replying. owner-eps is the errors address, and it's read by me, a human. > I'm probably going to move the EPS list to our zmailer host (where the big > lists at this site live) in a couple days. The addresses won't change, but > list processing will be far faster. There are currently 318 users > subscribed to the list, 269 came from the reed.edu list. Is the mailer NOW on oak? I am still posting to eps@reed.edu. Perhaps you are just saying that you will be moving it from reed soon. When you do, will you please post the new subscribe procedures. Also, will there be a way to turn off my entry in the list for a week while on vacation. I don't want to come back with 140 messages in my mailbox. Hopefully it is an automatic procedure so you don't have to be bothered maintaing the list. - -- Edward A. Russell US Mail: M/S 014-690 Voice: 508-967-6327 Fax: 508-967-3205 WANG Laboratories internet: erussell@wang.com 1 Industrial Ave. compuserve: INTERNET:erussell@wang.com Lowell, MA. 01851 ------------------------------ From: "Shawn B. Curran" Date: Wed, 4 May 1994 10:10:33 -0400 (EDT) Subject: To: EPS Mailing List Hello again, Could somebody explain all of these abreviation on the group( ie. FAQ, .gkh, and anything else you can think of). thanks. Remember, In The Internet Dark (Shawn...) ------------------------------ From: noah@cadence.com (Noah Ruiz) Date: Wed, 4 May 94 08:03:37 -0700 Subject: Re: How to get sounds from the net? From owner-eps@OAK.Oakland.Edu Wed May 4 07:36:31 1994 Received: from mailgate.cadence.com by cadence.Cadence.COM (5.61/3.14) id AA23031; Wed, 4 May 94 07:36:29 -0700 Received: from localhost (smap@localhost) by mailgate.cadence.com (8.6.4/8.6.4) id HAA27186 for ; Wed, 4 May 1994 07:51:07 -0700 Received: from oak.oakland.edu(141.210.10.117) by mailgate.cadence.com via smap (V1.0mjr) id sma027148; Wed May 4 07:50:22 1994 Received: by OAK.Oakland.Edu id AA08391 (5.67a+/IDA-1.5); Wed, 4 May 1994 09:56:17 -0400 Received: from pg2-srv.wam.umd.edu by OAK.Oakland.Edu with SMTP id AA08297 (5.67a+/IDA-1.5); Wed, 4 May 1994 09:55:53 -0400 Received: from rac5.wam.umd.edu by pg2-srv.wam.umd.edu with SMTP id AA08275 (5.65c/IDA-1.4.4 for ); Wed, 4 May 1994 09:55:47 -0400 Received: by rac5.wam.umd.edu id AA12528 (5.65c/IDA-1.4.4 for EPS Mailing List ); Wed, 4 May 1994 09:55:45 -0400 Date: Wed, 4 May 1994 09:55:44 -0400 (EDT) From: "Shawn B. Curran" Subject: How to get sounds from the net? To: EPS Mailing List Message-Id: Mime-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Sender: owner-eps@OAK.Oakland.Edu Precedence: bulk Errors-To: EPS List Owner Status: R I would like this info to, Please! Noah Ruiz noah@cadence.com ________________________________________________________________________ Hey guys, I'm a 18 year old part time musician. I'm in college right now studying to graduate with a computer science degree. I'm really new to the whole internet thing and I'm interested in increasing my EPS16+ w/expanded memory's sound lib. I have no computer yet (use the school's), but I'm looking into one this summer. I'm not sure wich one I'll get, but that all is a different story. I would like everyone to help. I need to find out what software, equipment, computer requirments, places, and procedures are needed to grab all these sounds off the net that you guys keep talking about. I have access to a NeXT, IBMDX33, and MAC Centric 610 all hooked up to the net vie ethernet, but since they are the CMSC dept's computers they have no midi interface. Please give both IBM and MAC scenerios for downloading sounds from the net. Also could you explain the different sound files that there are and where to find alot of them. Thank you, and I hope that my mail box will be flooded with information. Signed.. In The Internet Dark (Shawn...) ------------------------------ From: elson Date: Wed, 4 May 1994 08:27:13 -0700 (PDT) Subject: Re: Syncing Loops & Sequencers > > Recently, I have been putting together some drum loops for my TS. My main > problem has been syncing the loops to the sequencer. I know a message went out > describing how to calculate beats in a sample but as I hardly ever use the root > sample this won't work. What techniques do you use to overcome this? > Enough babbling! Good Sampling!!! > TIM When I sample a loop, one of the first things I do after looping is to get the BPM down. So I set the sequencer on record or play (doesn't matter) and turn the metronome click on. I set the tempo to what I think the BPM is and I manually trigger the sample on the first beat of the measure. I do this until I can get it reasonably lined up, and it stays in sync for at least 2 or 4 bars. Then, what I do, for future reference, I include the BPM # in the name of the instrument (i.e. "GROOVE 103") which corresponds to the key I sampled it in (usually middle C). I noticed that for each half step, the BPM goes up by a factor of about 6, so thus if I hit middle D, the BPM would be 115, if I wanted to use a different tempo. Elson ------------------------------ From: apm@zeppelin.abl.ca (Andrew Paul Marriott) Date: Wed, 4 May 1994 11:46:18 -0400 (EDT) Subject: unsubscribe unsubscribe apm@abl.ca ------------------------------ From: Joe LeSesne Date: Wed, 4 May 1994 11:52:58 +0400 (EDT) Subject: Re: music types on Ensoniq samplers On Tue, 3 May 1994, architectonic wrote: > I write techno somewhere between after-house and before-ambient. I have been > accused of writing trance, but my most recent performance was an > ambient set at a local rave (Fluxion, W.Lafayette IN). My equipment? > Not nearly as impressive as some of those I have seen here. An ASR-10 > (4M, no H/D (yet!)), Korg Wavestation, Proteus/1, and an Alesis HR-16 > (used extremely sparingly, it is pretty much my least favorite box). I > sequence with (flames to /dev/null) Opcode's MusicShop on a Mac LC (I > am pretty broke). Well so am I. I use my EPS (Classic w/ 4X +8 outs, no Hard Drive) to do primarily breakbeat and along with my 303, Jupiter-6, and TR-909, hard acid/trance. But I have also done some hip hop (some of my breakbeat infact breaks down into half speed Hip Hop). I use an Atari 1040STf and Cubase for sequencing. I have performed at alot of raves. Toronto, Cleveland, Dayton, Columbus, Allentown, Philly, and was booked for raves that never happened in Washington, Baltimore and New York. I am currently signing with Music Now records and I may also sign with Profile Records. Most recent rave I performed at was Fluid, a free outdoor event here in my hometown of Pittsburgh. It went pretty well (any gig that the sampler doesn't crash is a good one IMHO :) Joe |[][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][]| |------------------------1-8-7_____________Wicked_Rides_to_the_Darkside__| |[][][][][][][][][] Jungle/Darkness/Hard Acid *live* PAs (performances)__| |[][][][][][][] email raver909@telerama.lm.com for bookings info & demo__| |[][][][][] Or ftp sfraves.stanford.edu for the song 'Syrous Darkness'___| |[][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][]| ------------------------------ From: Suntower Systems <70242.1520@CompuServe.COM> Date: 04 May 94 12:46:21 EDT Subject: TS-12 lousy waveforms Am I the only one who loves the features of my TS-12 but cannot stand the quality of some of the ROM waveforms? The digital noise at the end of the flugelhorn and flute for example reminds me of some of the weirder FM effects of my old DX-7 algorithms. Also the violin sample and the plucked double bass are the most nasal, cheezy I can recall! And check out the french horn section, where the timbre of the horns clearly shifts from open bell to muted at C4 (I think)!!! What galls me about all this is that most of the waveforms are GREAT (like the cello for example). Even the piano is pretty darn good for a small model sample. This indicates to me that Ensoniq just did not put the time and attention into prepping their ROMs adequately. This isn't a machine or design limitation at all. I am trying to make some noise to get Ensoniq on the stick. I shouldn't have to buy lots of samples to replace what's already in the machine. It is a shame that this otherwise superlative machine gets so much bashing (like in the Keyboard Mag article) for something that could have been easily resolved with just a bit of extra care. It reminds me of a story I heard from a Roland rep back in the eighties when they started getting beat up on sales by Yamaha. He said that where they always could win over customers was with their demo programs and internal patches. (He was right, they -were- great.) Whereas Yamaha's had more - -potential-, their default programs didn't exploit the best of the DX sounds so customers always got a better first impression from Roland synths. Can something be done!!!!????!!!!! An otherwise happy TS-12 owner... jc Harris ------------------------------ From: davis@sicdes.dnet.etn.com Date: Wed, 4 May 1994 13:22:23 -0400 Subject: Re: Syncing Loops & Sequencers > When I sample a loop, one of the first things I do after looping is to get > the BPM down. So I set the sequencer on record or play (doesn't matter) and > turn the metronome click on. I set the tempo to what I think the BPM is and > I manually trigger the sample on the first beat of the measure. I do this > until I can get it reasonably lined up, and it stays in sync for at least 2 > or 4 bars. Great idea...I do the same thing! better yet...I have my sequencer trigger the sample on the first beat of the measure. This allows exact triggering and leaves both hands free to adjust the tempo (even if you don't need both hands)! > Then, what I do, for future reference, I include the BPM # in the name of > the instrument (i.e. "GROOVE 103") which corresponds to the key I sampled > it in (usually middle C). I noticed that for each half step, the BPM goes up > by a factor of about 6, so thus if I hit middle D, the BPM would be 115, > if I wanted to use a different tempo. good idea!...or put the tempo in "wave information" under edit-wave. I always run out of room in the sample name field. ** TAD ** ------------------------------ From: MDSAVARD@csupomona.edu Date: 4 May 94 10:37:00 PST Subject: Other Type of Music I hear a lot of people do techno, industrial, etc with their EPS's. Does anyone out there do 'normal' music (for lack of a better term) Im not trying to put down the other types of music by the way, I just don't know how to describe my type. I guess you could just call it instrumental. Some might call it New Age music, but I don't like that term... So, does anyone do music involving pianos, pads, strings, neat synth sounds, etc? And also, I have a friend looking for industrial type sounds for the EPS. Are there any on the oakland site? Thanks for your help.... ------------------------------ End of eps-digest V1 #10 ************************ From: owner-eps-digest To: eps-digest@oak.oakland.edu Subject: eps-digest V1 #11 Reply-To: eps Errors-To: owner-eps-digest Precedence: bulk eps-digest Wednesday, 4 May 1994 Volume 01 : Number 011 ---------------------------------------------------------------------- From: ga12@cornell.edu (Mike Allinger) Date: Wed, 4 May 1994 14:34:29 -0400 Subject: TS-10 sequencing question Hi all, I have a friend who has been having timing problems with his TS-10. They go something like this: 1) He'll record on track one. 2) He'll then try to overdub on the same track, but the new data will be time shifted out of sync with the existing data. Any ideas? He describes the time shifting as being so bad that even a non-musical person would have a hard time performing _that_ poorly. Thanks folks. - -- - ---------------------------------------------------------------------------- | mike allinger |Now some people say that you shouldn't tempt fate ga12@cornell.edu |And for them I could not disagree gma4ithaca@pan.com |But I never learned nothin' from playin it safe gma4ithaca@aol.com |I say fate should not tempt me phone:607.254.6430(work) | 607.564.3669(home) | Mary-Chapin Carpenter | "I Take My Chances" | | - ---------------------------------------------------------------------------- ------------------------------ From: elson Date: Wed, 4 May 1994 12:17:22 -0700 (PDT) Subject: If It Crashes (was: re: Music types on Ensoniq samplers > recent rave I performed at was Fluid, a free outdoor event here in my > hometown of Pittsburgh. It went pretty well (any gig that the sampler > doesn't crash is a good one IMHO :) > Joe Which leads me to ask another burning question: When your sampler crashes during a gig, what do you do as an emergency measure? Fortunately, it hasn't happened to me during a gig (yet) :E , but in my current band situation, if the thing doesn't let out an obnoxious crashing noise, if I could get away with it, I'd shut off the keyboard, have the rest of the band play on, perhaps let the guitarist to a real long solo and boot back up. If it happens while I'm singing, well... I dunno about that! Last time it crashed while I had to do something was during a play rehearsal. I was the "house band" and sound FX provider for most of the play, and it crashed. I wasn't doing anything at the time, so I rebooted as fast as I could. I missed a cue to play a doorbell sound. Elson "Elsoniq" Trinidad ------------------------------ From: Garth Hjelte <72203.2303@CompuServe.COM> Date: 04 May 94 17:05:17 EDT Subject: Syncing Loops, and Pedal glide >Recently, I have been putting together some drum loops for my TS. My main >problem has been syncing the loops to the sequencer. I know a message went out >describing how to calculate beats in a sample but as I hardly ever use the root >sample this won't work. What techniques do you use to overcome this? Hi Tim (again). What's great is doing this by ear, because you can create fun feels by being non-exact about it. Since drum loops are phrase-oriented (that is to say that they usually run from bar to bar), set up your loop to manually retrigger everytime it loops. Than twiddle with the tempo, and you can get the drum striving ahead or laying back into a pocket. >The BEST KEPT SECRET about the EPS/ASR is the pedal glide mode. It allows >polyphonic glide to be turned on simply by pressing the SUSTAIN pedal. It is cool - I have to say I overlooked it. I still wish Ensoniq would implement polyphonic glade normally, though. But the Pedal Glide is polyphonic glide, and it's good. You do need to practice the technique, though. Garth Hjelte Rubber Chicken Software ------------------------------ From: "Winer, Greg" Date: Wed, 04 May 94 17:43:00 EDT Subject: Syncing Loops, and Pedal glide Garth sed: "Hi Tim (again). What's great is doing this by ear, because you can create fun feels by being non-exact about it. Since drum loops are phrase-oriented (that is to say that they usually run from bar to bar), set up your loop to manually retrigger everytime it loops. Than twiddle with the tempo, and you can get the drum striving ahead or laying back into a pocket." I've found that it's all well and good to try to hone in to the loop tempo by adjusting the sequencer tempo as others have suggested, but once I get close, I switch to the tuning of the instrument and detune it by a few cents to get it right in the groove. For me, this seems to work better than adjusting the tempo only. In addition, you may want to take advantage of a little known feature of the sequencer that allows you to tap in the BPMs while the sequencer is playing. This won't be right on the nose, but it gets you in the ballpark real quick. The way it works is to be on the tempo number with the cursor while the sequence is playing. Press the [enter/yes] button twice in succssion. The tempo will calculate the amount of time between keypresses and adjust the tempo accordingly. If you pop in a one bar sequence with the loop starting on the first beat, quantize it to 1/4 notes (to be safe) then use the proceedures everyone's talking about, you'll be jamming in no time. Finally, keep in mind that even though the loop may be "right-on" BPM and timing wise, it may still not mesh with the music correctly. I've often had to sacrifice subtle-to-drastic timing issues just to get the groove right. When you hear the metronome and loop together, everything will be fine, but throwing in the music will make it sound all jumbled...Time to mess with the timing. Just remember not to be to rigid with the whole thing. I've found that time-shifting the track forward or backwards a few ticks or shaving a hair off of the sample start point will often work wonders too. Anyone else?? =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= j a c k i n , b a b y: g r e g o r y n a t i o n o f t e f l o n s o u l s =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= my opinions do not neccesarily reflect the views of my employer ------------------------------ From: cwalsh@atitech.ca (Chris Walsh) Date: Wed, 4 May 1994 17:59:37 -0400 Subject: Joining eps mailing list. Hi. I'd like to join the eps mailing group, as I am considering buying an ASR10 and would like some feedback on the thing. I'm Chris Walsh, cwalsh@atitech.ca Thanks. ------------------------------ From: Joe LeSesne Date: Wed, 4 May 1994 18:54:56 +0400 (EDT) Subject: Re: Other Type of Music On 4 May 1994 MDSAVARD@csupomona.edu wrote: > I hear a lot of people do techno, industrial, etc with their EPS's. Does > anyone out there do 'normal' music (for lack of a better term) Im not > trying to put down the other types of music by the way, I just don't know > how to describe my type. I guess you could just call it instrumental. Some > might call it New Age music, but I don't like that term... So, does anyone > do music involving pianos, pads, strings, neat synth sounds, etc? And also, > I have a friend looking for industrial type sounds for the EPS. Are there any > on the oakland site? Thanks for your help.... I use pianos, pads, strings and neat synth sounds. Of course it is used in the breakbeat stuff I make. Joe ------------------------------ From: Jason Keeler Date: Wed, 04 May 94 18:58:57 CST Subject: Re: Other Type of Music Well, I don't do new age, nor do I do techno. I guess the stuff I do falls somewhere near Janet Jackson or Madonna. I am currently trying to find a good female vocalist. Unfortunately, the city where I'm from is primarily Country/Rock. ...Jason ------------------------------ From: mas@elm.circa.ufl.edu (Mark Schneider) Date: Wed, 4 May 94 21:55:07 -0400 Subject: Re: Syncing Loops & Sequencers > . . . I noticed that for each half step, the BPM goes up >by a factor of about 6 . . . . In case anyone wanted the equations (perhaps the person who was asking for equations last time), each half step up should increase the BPM by a factor of the twelth root of 2 (that's 1.059463). (I'm pretty sure that Ensoniq uses an equal temperament formula). Thus if middle C is originally 90 BPM, then C# will be at 95.35 BPM. But if C is originally 180 BPM, then C# will be at 190.7 BPM. So each half step is played at 1.059463 times the speed of the half step below it. Does anyone know if Ensoniq uses an equal temperament for the "cents" tuning under EDIT:PITCH:"FINE = "? That would mean that each cent is played at exactly the 1200th root of 2 (1.000577789507) times the cent below it. The alternative would be to just split each each tone into 100 different intervals spaced apart equally. Has anyone bothered (or needed) to test which way Ensoniq implements it? /---------------------------------------------------------------------------\ | Mark Schneider University of Florida | | mas@elm.circa.ufl.edu 904-335-6511(Voice)/4932(Fax/Modem) | \---------------------------------------------------------------------------/ << In Stereo Where Available >> ------------------------------ From: Joe LeSesne Date: Wed, 4 May 1994 22:22:26 +0400 (EDT) Subject: Re: Other Type of Music On Wed, 4 May 1994, Jason Keeler wrote: > Well, I don't do new age, nor do I do techno. I guess the stuff I do > falls somewhere near Janet Jackson or Madonna. I am currently trying to > find a good female vocalist. Unfortunately, the city where I'm from is > primarily Country/Rock. > > ...Jason > Actuallt, I am also looking for a good female vocalist/lyricist for recording and live performances. Dance music. Any clues on where on USENET I should look? Joe |[][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][]| |------------------------1-8-7_____________Wicked_Rides_to_the_Darkside__| |[][][][][][][][][] Jungle/Darkness/Hard Acid *live* PAs (performances)__| |[][][][][][][] email raver909@telerama.lm.com for bookings info & demo__| |[][][][][] Or ftp sfraves.stanford.edu for the song 'Syrous Darkness'___| |[][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][]| ------------------------------ From: Z_MCDANIELCM@CCSVAX.SFASU.EDU Date: Wed, 4 May 1994 17:26:25 -0500 (CDT) Subject: Re: Syncing Loops & Sequencers i guess i'll add my 02... when i'm using a loop here's what i do.... if possible, sample the loop longer than you need it (but only a little) have a whole note on the first measure looped (i use vision, so it's super easy) set the BPM around what i think it is, and start the sequencer... (the 'loop' has to be trunced up to the beginning of a measure in the loop) confusing? read that again... close my eyes and listen to it over and over, only opening them to adjust the speed of the sequncer... eventually, i'll get it right... then when i use a loop in a sequence, i keep it in sync by retriggering it at the begginning of every measure(or second measure or whatever, depending on how long the loop is)... this way, when the end of the song is reached, the loop is still in sync... man, that sounds confusing... hope you can make heads and tails of it... later... cody 'they went there every night just to hear the beat' ------------------------------ End of eps-digest V1 #11 ************************ From: owner-eps-digest To: eps-digest@oak.oakland.edu Subject: eps-digest V1 #12 Reply-To: eps Errors-To: owner-eps-digest Precedence: bulk eps-digest Thursday, 5 May 1994 Volume 01 : Number 012 ---------------------------------------------------------------------- From: d.gillogly1@genie.geis.com Date: Thu, 5 May 94 04:43:00 UTC Subject: Formatting a 44 meg Syq Hello guys and gals. I got a 44 meg Syquest cart to use wiht V 2.0 OS on my asr. I can't get it to format. I'm doing exactly what I did to format my 88 meg Syq but 'tain't happ'nin. I'm following along from Page 8 in the SCSI manual. The error messages I'm getting are along the lines UNCONNECTED SCSI DEVICE and NOT VALID EPS something or other. Thats the part I don't get. It thinks I have an EPS??????!!!?????? I'm using the CHANGE STORAGE DEVICE command to change from FLOPPY to SCSI-4 but it signals an error. It still works with my 88 carts so it isn't my cords. Thanks All. ~`~`~ PianoMan Dan ~`~`~ ~`~`~ Swee Lin Roc Music ~`~`~ ~`~`~ In Sweet Home Chicago ~`~`~ d.gillogly1@genie.geis.com or sweelinroc@pan.com ------------------------------ From: Jonathan (Jj) Kidder Date: Thu, 5 May 1994 06:08:14 -0500 (CDT) Subject: Re: If It Crashes > Which leads me to ask another burning question: When your sampler crashes > during a gig, what do you do as an emergency measure? Panic! But seriously... I believe in the power of charisma. I will only be in a band with a charismatic front-person. Last time that happened (with my old band, 'Smoking Brassier' I had the lead singer do an acoustic ballad about sex with a donkey. Kept the audience entertained while I rebooted. Fortunately I have a hard drive so the reboot is less than 30 seconds and the bankload is probably less than a minute. Just right for the song. Heh. -Jj "I sample samples of other people's charisma as often as possible." ------------------------------ From: t.g.finstad@fys.uio.no (Terje Finstad) Date: Thu, 5 May 1994 13:28:33 +0200 Subject: Re: Syncing Loops & Sequencers Mark Schneider wrote >> . . . I noticed that for each half step, the BPM goes up >>by a factor of about 6 . . . . > >In case anyone wanted the equations (perhaps the person who was asking for >equations last time), each half step up should increase the BPM by a factor >of the twelth root of 2 (that's 1.059463). (I'm pretty sure that Ensoniq >uses an equal temperament formula). Yes you are right about the math and the default tuning on the EPS/ASR is 12 tone to the octave at equal temperament as you suggest. One can however choose another scale or tuning if one wish. It is very easy to set up a tuning table so that for instance the lowest note on the keyboard will trigger the loop at say 118 BPM and the highest note at 122 BPM. Every note in between can yield a BPM value in between 118 and 122 and the increment will be evenly distributed. Not that I recommend this as a general approach for drumloops though. Related to the "main" topic - it may be a good idea to see how Ensoniq organizes the "instruments" they sell as drum-loops. On CDR-002 there are several drumloops. They are laid out in a standardized convenient fashion across the keyboard. Center, Left, Right, Stereo - all at same tempo. Then areas of slightly varying tempo and then the usual "cuts" from particular instruments. There are of coarse other musical uses of rythmic type loops than to setup drumgrooves. Certain older minimalist type works also used loops as elements, sometimes with going in and out of sync as one of the ways of expression. Also then I think it is easiest to control the whole thing by retriggering at precise times as people do with drumgrooves. >Has anyone bothered (or needed) to test which way Ensoniq implements it? Mark is referring to wether the units in the EPS tuning are the usual CENTS; which is based upon dividing an octave ( frequency doubling or looping twice as fast ) into 1200 steps where the ratio between the frequencies of adjacent steps are constant - thus equal to the 1200th root of two. I guess the question is answered by; Ensoniq implements CENTS the normal way. People working with different tunings and scales need (sometimes) to know that. I have not bothered to test the accuracy and the actual resolution of Ensoniqs tunings on the different instruments. They seem adequate for most musical purposes in my opinion. Others ( 1 ?) may disagree. For objective listening tests and objective experiments of tunings one would have to test the accuracy and resoulution for all transpositions used. I have heard rumour say the ASR10 is better then the EPS/16+, but I don't know. Terje ------------------------------ From: Tim Dorcas Date: Thu, 05 May 94 08:05:34 EDT Subject: TS-10 Patches I just uploaded some TS sounds. They are in SYS-EX format for use with any sequencer. Don't forget to set your DEVICE ID to 2!!! The sounds included are JAZZY BASS, FAT BASS, DUSK, JOHN IV (a nice Hyper-Wave), MR. SPACEMAN, TAD PIANO, and XHALE. Give it a shot if your are a TS owner. tim.dorcas@enest.com ------------------------------ From: flashner@math.tau.ac.il Date: Thu, 5 May 1994 16:22:09 +0300 (GMT+0300) Subject: Help on ASR Factory (fwd)[D > I need help! I didn't get my ASR-10 the convential way, and I need a list > of all the factory sounds that come with the ASR-10. I have all the OK, here's the list : AD-001: GRND PIANO 1 REVELATION AD-002: ORCH STRINGS, ASR FLUTE AD-003: ROAD KEYS 2, CLEAN GUITAR,PERCUSSION 1 AD-004: FRENCH HORNS, ROAD KEYS 1, AIR CHOIR AD-005: ASR ORGAN, JAZZ BASS, MUTED TRUMPET,TENOR SAX,MIST,SOLITUD, ASR-006: STEEL STRING,NYLON GUITAR 1, SLAP BASS, REZ BASS 1, ELECTRC BASS AD-007: STEREO DRUMS AD--008: DEMO KIT ASR, VERSA BASS,DEMO PERCS,DEMOSYNTH,DEMO FLUTE,DEMO P5-B3,DEMO EFFECTS,ASR LEAD GUITAR files are by the order of their appearance. Amit. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ | Amit Flashner. | | | | Pure Quality. Nothing More. | ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ------------------------------ From: Paul Noble Date: Thu, 5 May 1994 09:28:05 -0400 (EDT) Subject: Re: TS-10 sequencing question > Hi all, > > I have a friend who has been having timing problems with his TS-10. They go > something like this: > > 1) He'll record on track one. > > 2) He'll then try to overdub on the same track, but the new data will be > time shifted out of sync with the existing data. > > Any ideas? He describes the time shifting as being so bad that even a > non-musical person would have a hard time performing _that_ poorly. I have noticed the same thing. I does not happen all the time, and it seems to happen more on sequences that all pieced together. I believe it is a bug and should be reported to Ensoniq. On a si,ilar note, I have also noticed that the metronome click sometimes becomes confused as to where the 1 count is. However, there is a workaround. If you have a sequence that is having trouble, reset all of the pointers by hitting the soft button for that sequence. This resets your goto back to zero, but it seems to clear (for a while) the problems with getting shifted. Hope that helps some. Ensoniq needs address this problem. - -Paul Noble ------------------------------ From: William Michalson Date: Thu, 05 May 94 11:22:43 -0400 Subject: Yet another SCSI question I have a Conner 200Mb SCSI drive that's currently unused. I've read a lot of the discussion of SCSI on the EPS and ASR (I have an ASR) but there are still some questions nagging at me. Here goes: A basic SCSI drive has a 50-pin input connector and a power connector. In a "normal" SCSI-based system, a SCSI controller sits on a computer's bus and provides an interface between the computer bus and the SCSI drive. In most workstations this interface between controller and drive is a 50-pin cable and singnals are differential. I understand that the Macintosh SCSI interface is a db24 connecter which presumably runs SCSI in its single-ended, rather than differential mode. Although I don't have the SCSI adapter in my ASR yet, I believe the ASR uses the same connector as the Macintosh. Question 1: Does the ASR act as a SCSI controller or does it act as another device managed by a SCSI controller that resides elsewhere on the SCSI bus? Question 2: If the ASR acts as a controller, then adding the drive should be a matter of getting an "adapt-a-plug" to connect the Macintosh interface to the drives 50-pin input and adding power to the drive. If this is true then where might I acquire such an adaptor? Question 3: If the ASR does not act as a controller, then I need another device in the system to interpret commands between devices. What is the nature of this device and where might one be acquired? Sorry to be long-winded. Thanks, Bill ------------------------------ From: Joe LeSesne Date: Thu, 5 May 1994 13:07:15 +0400 (EDT) Subject: Re: If It Crashes On Thu, 5 May 1994, Jonathan (Jj) Kidder wrote: > > Which leads me to ask another burning question: When your sampler crashes > > during a gig, what do you do as an emergency measure? > > Panic! > > But seriously... I believe in the power of charisma. I will only be in a > band with a charismatic front-person. Last time that happened (with my old > band, 'Smoking Brassier' I had the lead singer do an acoustic ballad about > sex with a donkey. Kept the audience entertained while I rebooted. Fortunately > I have a hard drive so the reboot is less than 30 seconds and the bankload is > probably less than a minute. Just right for the song. Heh. Well me being in the techno vein there are many times when my MC can't make it and it's just me and the dancers. So my plan if it ever happened would be to (and I say this at the rsik of giving to much of what I do during a PA away) launch staight on ito a hard acid track with nothing but the 303, 909 and Jupiter-6 while I reboot and reload (which takes about 3.5 mins from floopy, DAMN I wish I could get SCSI for my Maartists memory expansion). Joe ------------------------------ From: Magnus Carlsson <8172@msg.abc.se> Date: 05 May 94 02:04:54 MET Subject: Other type of music > I hear a lot of people do techno, industrial, etc with their EPS's. Does > anyone out there do 'normal' music (for lack of a better term) For the first time - I'm joining the EPS mailing list! Feels great! I definitely do NOT make techno with my EPS (classic), 4x RAM, 8x Outputs), but I'm trying to use it for various kinds of instrumental jazz- or popfusion. This usually takes place at home or with my band playing mostly fusion in the style of Dave Weckl, Mezzoforte, etc. I use the internal sequencer and, although I have a complete PC setup, prefer using the EPS mainly because of the portability. Another reason is that I'm working with computers at least 8 hours every day as a system manager for a VAX/PC system and don't want to spend more time in front of a CRT screen than necessary. The EPS also does a acceptable job as my main organ in a soul/funk band where I route the organ-sounds through a Leslie 760. A lot of the samples I use is made by a guy named Pelle Piano from Sweden who has done some demo work for Ensoniq, maybe you've heard of him? He has created some really nice stuff anyway (especially some great B3 sounds) and always bundles a great and/or funny song. Greetings from Sweden! M.(C)arlsson (LMSG 5.1) ------------------------------ From: andrewsi@microsoft.com Date: Thu, 05 May 94 10:26:00 PDT Subject: RE: Help on ASR Factory (fwd)[D I wonder, do you think it's illegal to make the factory samples available on the archive? As a TS owner it might be fun to also have the ASR factory samples. If this is a bad idea (which it probably is), anybody care to hazard a guess what Ensoniq would charge for the set? (That is, assuming they're not just complete dupes of the stuff already in the TS12). Andy ---------- From: owner-eps To: eps Subject: Help on ASR Factory (fwd)[D Date: Thursday, May 05, 1994 04:22PM > I need help! I didn't get my ASR-10 the convential way, and I need a list > of all the factory sounds that come with the ASR-10. I have all the OK, here's the list : AD-001: GRND PIANO 1 REVELATION AD-002: ORCH STRINGS, ASR FLUTE AD-003: ROAD KEYS 2, CLEAN GUITAR,PERCUSSION 1 AD-004: FRENCH HORNS, ROAD KEYS 1, AIR CHOIR AD-005: ASR ORGAN, JAZZ BASS, MUTED TRUMPET,TENOR SAX,MIST,SOLITUD, ASR-006: STEEL STRING,NYLON GUITAR 1, SLAP BASS, REZ BASS 1, ELECTRC BASS AD-007: STEREO DRUMS AD--008: DEMO KIT ASR, VERSA BASS,DEMO PERCS,DEMOSYNTH,DEMO FLUTE,DEMO P5-B3,DEMO EFFECTS,ASR LEAD GUITAR files are by the order of their appearance. Amit. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ | Amit Flashner. | | | | Pure Quality. Nothing More. | ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ------------------------------ From: Daniel J Keldsen Date: Thu, 5 May 1994 13:52:28 -0400 (EDT) Subject: Re: Formatting a 44 meg Syq I don't think the 88 meg Syquest DRIVE MECHANISM can format 44 meg cartridges. Find someone with a regular 44 meg drive to loan you for a day. ................................................................. "Umbernay oneay, ouyay avehay the ridgebay..." - pig-latin ST:TNG dan keldsen - djk@world.std.com ................................................................. ------------------------------ From: messina@killdeer.lanl.gov (Michael J. Messina) Date: Thu, 5 May 94 12:30:15 MDT Subject: Re: Formatting a 44 meg Syq > Hello guys and gals. > > I got a 44 meg Syquest cart to use wiht V 2.0 OS on my asr. I can't > get it to format. > It still works with my 88 carts so it isn't my cords. > > Thanks All. > > ~`~`~ PianoMan Dan ~`~`~ > ~`~`~ Swee Lin Roc Music ~`~`~ > ~`~`~ In Sweet Home Chicago ~`~`~ > d.gillogly1@genie.geis.com or sweelinroc@pan.com > > > > > It could be your drive. Not all 88 meg Syquests will write to or format a 44 meg cart. Many only read them. Mike messina@killdeer.lanl.gov ------------------------------ From: etan@tellabs.com Date: Thu, 5 May 94 13:20:21 CDT Subject: EPSDisk Supplementary Document Ah. This gives me a chance to try out the new list... Folks have been asking about EPSDisk and the TS-10/12. Last year I wrote a sort of user's manual for EPSDisk (with the kind assistance of author Michael Chen). I don't know if Michael currently distributes the document with his current package, so just in case it's not there, I'll post it here. I don't have an EPS, but my wife has a TS-10, and I've successfully transferred files between her machine and the reed archive using the procedures shown. Also, I have a Mirage and have tried unsuccessfully to read/write Mirage diskettes with EPSDisk, so if anyone knows the secret, please contact me. Nate Stelton, etan@tellabs.com - --------------- cut here -------------------------------- EPSDisk 1.30b User Guidelines (12/14/93) EPSDisk is a utility program that allows you to read from, write to, or format, Ensoniq EPS Classic, EPS 16+, and ASR-10 disks using an IBM PC compatible computer. The data image of an EPS diskette can be saved on a PC hard disk as a .GKH file. In addition, you can transfer individual wavetable files between the Ensoniq disks and the PC (stored on the PC hard disk as .EFE files). Other features of EPSDisk include an option that verifies the integrity of either an Ensoniq disk or a .GKH file, and a sector editor that lets you edit the binary information of the Ensoniq disk or .GKH file. Installation Basically, all you need to do to install the program is to create a directory, cd into it, and unzip the the .ZIP file. Before doing this, however, you should give some thought to where and how you want to store and organize your files, how EPSDisk will be accessed via your path, and whether or not you want to use compressors. (Pkzip should compress a GKH file down to about 75% of its original size.) Using EPSDisk EPSDisk uses a simple menu interface for executing selected options. To start the program from the DOS command line, enter: EPSDISK You see: EPSDisk v1.30b with SctrEdit module by Michael Chen 3/6/1993 C)opy / F)ormat / disk T)ype / S)ector edit / V)erify / D)irectory / eX)tract, W)rite file / change P)arameters / Q)uit ? Important Note: Before doing anything else, always set the disk type (third menu item) first! If you don't, you may have all sorts of problems. Following is a breakdown of these menu options: C) Copy -- This command lets you copy a disk or GKH file to another disk or GKH file. When selected, you see: Enter source volume spec ( exits): At this prompt, identify the source data to be copied, either as a floppy drive (e.g., A:) or as a GKH filename (e.g., tuba.gkh). You then see: Enter destination volume spec ( exits): Again, enter a drive or GKH filename, this time for where you are copying to. For both prompts, make sure that if a drive is selected, that drive has an Ensoniq disk whose format matches the one you selected with the disk type option. For filenames, full pathnames are legal. Note: If the disk has never been formatted or uses a different encoding method (i.e., GCR for DD Mac disks), EPSDisk will figure out that the disk is new and will format it before copying. If the disk is MS-DOS, then it needs to be formatted first. (It's easiest just to always do it.) F) Format -- This formats a diskette to the type specified by T) Disk Type. When selected, you see: Enter volume spec ( exits): Enter a drive (e.g., A:) at this prompt. You can also enter a GKH filename to create a blank file (into which you can copy EFE files). T) Disk Type -- This option sets the format for both Ensoniq disk and GKH files. When selected, you see: 0) User user-defined disk type 1) DD standard EPS double-density (800K) 2) 820K special EPS double-density (820K) 3) HD standard ASR-10 high-density (1600K) 4) 1640K special ASR-10 high-density (1640K) 5) COMP_DD COMPUTER-format double-density (720K) 6) COMP_HD COMPUTER-format high-density (1440K) 7) COMP_800K COMPUTER-format double-density (800K) 8) COMP_1600K COMPUTER-format high-density (1600K) Select disk type: ( leaves unchanged) Enter an option (0 to 8). For options 1) through 8), make sure that your selection matches the disk's DD or HD type (i.e., for DD, select 1, 2, 5, or 7; for HD, legal selections are 3, 4, 6, or 8). If you select option 0), you are led through a series of questions concerning number of tracks, sides, sectors per track, interleaving, gap, sector offset, head sector shift, and track sector shift (the explanation of which extends beyond the scope of this document). Note: The 820K disk doesn't work right on (at least) the EPS Classic, since the EPS does not seek past track 79. S) Sector Edit -- This lets you see and/or change the binary data of a disk or GKH file, one block per screenload. The editor screen actually shows the block in two side-by-side matrices--on the left in hex and on the right in ASCII. A live curser in each matrix allows you to select and edit bytes in either format. The following operations can be performed from this screen: B)lock -- Select the block to view/edit. R)ead -- Read the last-saved version of the displayed block from file or floppy (sort of like a "revert"). V)erify -- Verify the current sector. W)rite -- Write the block to the file or floppy. This writes over only the block displayed. H)ex entry -- Edit the selected byte by hex. A)SCII entry -- Edit the selected byte by ASCII. Q)uit -- Go back to the main menu. V) Verify -- This is a check to see whether the Ensoniq disk or GKH file is readable or corrupted. D) Directory -- This displays a listing of the individual wave files on a disk or GKH file. Source volume ( exits) : Enter either a drive or a GKH filename. You then see: Directory at block (default 3) : This is asking you what block's directory to list. If you don't use subdirectories (and most people don't), just hit return. You should see something like this example: 2: name DEMO-KIT-ASR type EPS-INST size 1036 (ctg 1) loc 31 3: name VERSA BASS type EPS-INST size 251 (ctg 1) loc 1067 4: name DEMO PERCS type EPS-INST size 363 (ctg 1) loc 1315 5: name DEMO SYNTH type EPS-INST size 377 (ctg 1) loc 1678 6: name DEMO FLUTE type EPS-INST size 109 (ctg 1) loc 2054 7: name DEMO P5-B3 type EPS-INST size 83 (ctg 1) loc 2163 8: name DEMO EFFECTS type EPS-INST size 847 (ctg 1) loc 2246 9: name ASR LEAD GTR type EPS-INST size 34 (ctg 1) loc 3093 10: name TIME BOMB type size 38 (ctg 1) loc 3127 X) Extract -- This option grabs an EPS file (sequence, instrument, etc.) and reads it into an EFE-format DOS file. The suffixes are different, to distinguish between sequence and instrument files, etc. Note: You may have problems getting a good copy if the file's blocks are not contiguous. W) Write File -- This selection takes an EFE-format file and writes it onto the EPS disk. Don't try this with non-EFE files. When selected, you see a series of prompts: Destination volume ( exits) : Enter either a drive or a GKH filename. You then see: Directory at block (default 3) : Enter a to write the file to the root directory, which is where you'll probably want your instrument file(s). Next, you see: Source file name ( exits) : Enter a filename here, or if you want to copy all the EFE files that are in the current directory, enter *.EFE. P) Change Parameters -- This selection sets a number of parameters used in formatting and any error reporting during a disk/file read. When selected, you see a series of prompts: DISK FORMAT PARAMETERS Label () : Enter a label name here (or just hit a ). The label name is written to the disk during formatting. ERROR HANDLING PARAMETERS Number of retries on error (5) : Delay between errors in milliseconds (250) : Number of drive resets between errors (1) : Enter for each of the above three prompts to select the default values shown in the ()'s. This determines how the program will behave if it encounters difficulties while reading or varifying a disk or GKH file. Q) Quit -- Exit the EPSDisk program. Backing up an Ensoniq disk to the PC's hard drive 1. Start EPSDisk. 2. Select T (disk type) and select the format that matches the disk to copy. 3. Insert the Ensoniq disk. 4. Select C to copy. 5. Supply source drive (e.g., A:) and a filename (e.g., organs.gkh). 6. Select V to verify the file you just created. 7. Select Q to exit. You can then use a backup program and/or compression program to further archive the file, if desired. Getting a file from the Reed site to the instrument 1. Using ftp and whatever other modem tools normally used, get the GKH file to your PC. 2. Start EPSDisk. 3. Select T (disk type) and select the format that matches the disk to copy. (Typically, this step isn't needed, since EPSDisk defaults to standard EPS 800K, and all or most uploaded GKH files are of this type.) 4. Insert the blank disk. 5. If the disk is unformatted, select F to format it. 6. Select C to copy. 7. Supply source filename (e.g., organs.gkh) and drive (e.g., A:). 8. Select V to verify the disk you just wrote to. 9. Select Q to exit. Test the disk in your instrument. Copying an EFE file from an 800K GKH file to a 1600K GKH file (of interest to ASR-10 and TS-10 users) 1. Start EPSDisk 2. Select X to extract. 3. Supply the source volume (file1.gkh), the directory block (usually just hit ), the EPS source sound file (as named on the EPS disk), and the destination filename (file.efe). 4. Select T to change disk type and select option 3). 5. If you're creating a new 1600K disk/gkh-file from scratch, select F to format and supply the GKH filename (file2.gkh). 6. Select W to write the EFE file to the GKH file. 7. Supply the destination volume (file2.gkh), the directory block, and the source filename (file.efe). Other Information Be sure to read the epsdisk.txt file--it contains tips and registration information, as well as other useful tidbits. - ------------ cut here ----------------------------- ------------------------------ From: Stan Hoffman Date: Thu, 5 May 94 12:05:42 PDT Subject: RE: TS-12 lousy waveforms I stopped considering buying a TS12 when I listened to the sounds.... If Ensoniq fixes this--or better yet, offers a CHOICE of ROMS (make mine orchestral, please) with high quality samples, I'll put it back on my list of candidates when I'm ready to upgrade. ------------------------------ From: Stan Hoffman Date: Thu, 5 May 94 11:55:25 PDT Subject: RE: Sampling/Programming Thanks for your thoughts. I have been trying, unsuccessfully, to locate a copy of the Alexander Publishing book on the EPS. Do you have any other recommendations for books that will help me find a programming voice? Thanks, Stan stanh@microsoft.com - ---------- From: Tim Dorcas To: Mailing list Subject: Sampling/Programming Date: Tuesday, May 03, 1994 4:13PM Stan Hoffman, I can appreciate your frustration about finding samples that you like. I have been on a quest to find a GREAT piano for awhile. Most of the ASR/EPS pianos I have heard are too buzzy and bright. Even progamming them has been for naught because there is only so much you can do with the basic sound before you distort & disrupt the basic sound. I recently played a Roland E-86 and loved the way it sounded! It was soft yet crisp without any wierd harmonics and could easily cut through a mix if necessary. I have yet to find anything like this for my TS. BUT, I haven't given up looking! If you have a discerning ear, you must do two things. Keep looking for (or create your own) sampled sounds & learn to program your sampler . Learning to program is especially crucial to making the sounds that make the whole world sing. I think you are going to be hard pressed to find pre-programmed samples/patches that automatically match up to your mental expectations. Learning to program maximizes your instruments' usefulness and it's not that hard to do (for basic tweaks). Oftentimes, a good sample can be made a great sample with only some minor parameter changes. I urge you to find programming voice. TIM ------------------------------ From: Tim Riley Date: Thu, 5 May 94 13:45:32 MDT Subject: Re: Formatting a 44 meg Syq A Syquest 5110 will read and write an 88 meg cartridge and read (only) a 44 meg. A Syquest 5110C will read and write both. It must have write capability to format. - ------------------------------------- Tim Riley E-mail: triley@its.bldrdoc.gov Date: 05/05/94 Time: 13:45:32 - ------------------------------------- ------------------------------ From: hecdog@uclink.berkeley.edu (Hector Hugo Perez) Date: Thu, 5 May 1994 14:16:06 -0700 Subject: ASR Secret Screens Does anyone know what the various parameters in the secret screens of the ASR do? Is it dangerous to muck around with them? Hector. ------------------------------ End of eps-digest V1 #12 ************************ From: owner-eps-digest To: eps-digest@oak.oakland.edu Subject: eps-digest V1 #13 Reply-To: eps Errors-To: owner-eps-digest Precedence: bulk eps-digest Thursday, 5 May 1994 Volume 01 : Number 013 ---------------------------------------------------------------------- From: hecdog@uclink.berkeley.edu (Hector Hugo Perez) Date: Thu, 5 May 1994 14:10:43 -0700 Subject: re: Yet another SCSI question Bill, it seems you know quite a bit about SCSI and I should be asking YOU all the questions, but here are my [non-expert] experiences: >Question 1: > Does the ASR act as a SCSI controller or does it act as another > device managed by a SCSI controller that resides elsewhere on the > SCSI bus? It acts just like your computer. It is a controller in that respect. You do not need any other device on the SCSI bus in order to succesfully employ your SCSI drive in your chain. >Question 2: > If the ASR acts as a controller, then adding the drive should be > a matter of getting an "adapt-a-plug" to connect the Macintosh > interface to the drives 50-pin input and adding power to the drive. > If this is true then where might I acquire such an adaptor? When I got both my drives (Tsunami quantum 170mb hard disk and SQ105mb removable) they came with 50-25 pin SCSI cables. That is all I needed to connect them to my ASR (its SCSI connector is a 25 pin). I am not sure I understand your inquiry entirely, but if you want to share drives between your MAC and the ASR, it cannot be done. Although the MAC supports Partitioning, the ASR does not. It is a greedy controller and must format the entire drive a la ASR. >Question 3: > If the ASR does not act as a controller, then I need another > device in the system to interpret commands between devices. What > is the nature of this device and where might one be acquired? Like I said, I bought the devices and slapped them on my ASR and BAAM, they are working fine. I needed no fancy plugs or adapters or to stand on my head and sing the national anthem backwards (I did, but that's not the point) to make them work. You may be making a things a little harder than they really are, Bill. Disclaimer: I AM JUST A SIMPLE ASR USER. I AM NO EXPERT. I ONLY OFFER WHAT I KNOW FROM EXPERIENCE. Hector. - ------------------------ What is the difference between a duck? ? ------------------------------ From: andrewsi@microsoft.com Date: Thu, 05 May 94 15:11:00 PDT Subject: RE: TS-12 lousy waveforms Ever since the switch to OAK, the from: line no longer seems to be from the actual writer, and I can't tell who's writing what anymore. How about signing your name and email address to these postings! Andy Silverman andrewsi@microsoft.com ---------- From: owner-eps To: owner-eps Subject: RE: TS-12 lousy waveforms Date: Thursday, May 05, 1994 12:05PM I stopped considering buying a TS12 when I listened to the sounds.... If Ensoniq fixes this--or better yet, offers a CHOICE of ROMS (make mine orchestral, please) with high quality samples, I'll put it back on my list of candidates when I'm ready to upgrade. ------------------------------ From: Frederick Beecher Date: Thu, 5 May 94 17:21:03 CDT Subject: Rackmount wanted. Hey out there! Anyone have an EPS classic rackmount you want to sell? If so, i'm interested in buying. Please email me privately if you're interested. Later. phread. - -- ______________________________________________________________________________ "i'm sure you've discovered my deep and abiding nihil.sum@mixcom.com interest in pain; at present, i'm writing the definitive work on the subject....." - ------------------------------------------------------------------------------ ------------------------------ From: Frederick Beecher Date: Thu, 5 May 94 17:33:01 CDT Subject: SCSI again.... As long as everyone else is talking SCSI.... I have a freind who told me his dad had a bunch of SCSI drives sitting around on the kitchen table, so asked him jokingly if i could have one. Much to my suprise he said, "sure, i'll bring it tomorrow." and lo and behold i now have a connor 105MB hard drive that i havent' a clue what to do with. I know i need the SCSI 4x for my EPS classic, but that's about it. I assume (correctly?) that i'll need a 25pin to 50 pin cable. Do I need some sort of power cable too??? Oh yeah, since everyone else is talking about what kind of music they do, I might as well jump what i like to call "audio sculpture." i guess it's kind of a mix of trance, ambient, and industrial, but i don't know... i use an EPS classic w/2x, ESQm, ESQ-1 (i love those things!) and a Kawai XD-5 for drums, and a yamaha TG33 but i'm selling that to raise funds for a classic rackmount - -- ______________________________________________________________________________ "i'm sure you've discovered my deep and abiding nihil.sum@mixcom.com interest in pain; at present, i'm writing the definitive work on the subject....." - ------------------------------------------------------------------------------ ------------------------------ From: alan@msc.edu Date: Thu, 5 May 94 18:18:05 -0500 Subject: Re: Yet another SCSI question > >I have a Conner 200Mb SCSI drive that's currently unused. I've read >a lot of the discussion of SCSI on the EPS and ASR (I have an ASR) but >there are still some questions nagging at me. Here goes: > >A basic SCSI drive has a 50-pin input connector and a power connector. >In a "normal" SCSI-based system, a SCSI controller sits on a computer's >bus and provides an interface between the computer bus and the SCSI >drive. In most workstations this interface between controller and drive >is a 50-pin cable and singnals are differential. SCSI signals are almost always non-differential, even on 50 pin cables. The other 25 pins are tied to ground and serve as shielding. Each data wire is twisted around a ground wire, the theory being that the ground wire will soak up any electromagnetic fields emanating from your power supply, amp, guitar, bioelectric aura, etc. >I understand that the >Macintosh SCSI interface is a db24 connecter which presumably runs SCSI >in its single-ended, rather than differential mode. Although I don't >have the SCSI adapter in my ASR yet, I believe the ASR uses the same >connector as the Macintosh. The Mac uses a DB25 connector, which is electrically identical to the 50-pin non-differential SCSI DB50 connector except the 25 ground pins are missing. You want to buy a cable that has all 50 wires. The 25 ground wires should be tied together and attached to the ``official'' ground pin. Avoid, at all costs, cheap SCSI cables with only 25 wires. Such cables are extremely susceptible to noise. Your cable should be at least 1 inch thick, about the width of your thumb. >Question 1: > Does the ASR act as a SCSI controller or does it act as another > device managed by a SCSI controller that resides elsewhere on the > SCSI bus? The ASR is a SCSI initiator, like a Mac. ``Controller'' is a meaningless term, because peripheral controllers can be either initiators or targets. >Question 2: > If the ASR acts as a controller, then adding the drive should be > a matter of getting an "adapt-a-plug" to connect the Macintosh > interface to the drives 50-pin input and adding power to the drive. > If this is true then where might I acquire such an adaptor? Most places that sell Macs should have what is called a `SCSI 50-25' cable, usually in 3' and 6' lengths. Again, make sure you get one with 50 wires inside it, not 25. Buy the shortest length possible. One more caveat: Mac SCSI does not conform to ANSI X3T9! Make sure your Conner drive is Mac compatible. I have found that most hard disks and CD-ROMs will not work on the ASR, unless they are advertised to specifically work with Macs. - -Al - -- Alan E. Klietz Minnesota Supercomputer Center 1200 Washington Avenue South Minneapolis, MN 55415 Tel: +1 612 337 3520 Internet: alan@msc.edu Fax: +1 612 337 3400 ------------------------------ From: John Lokanis Date: Thu, 05 May 94 17:03:00 PDT Subject: RE: ASR Secret Screens Generally, yes. It is safe, for the most part, to look at them but DO NOT EDIT THEM!!! I did find it helpful use the pitch wheel calibration parameter to check my pitch wheel midi value when centered. Originally, with OS 1.61, my pitch wheel was sending a center value of 61 insted of 64, thus making on other sound modules out of tune! After an unsucessful trip to the repair center (the guy said there was nothing wrong and charged me 40 bucks!) I finaly got my 2.0 upgrade and lo and behold, the problem went away!!. Other than that little story, I have found little use for the 'secret' screens. enjoy! John Lokanis jal@incontrol.com ---------- From: owner-eps%OAK.Oakland.Edu To: eps Subject: ASR Secret Screens Date: Thursday, May 05, 1994 2:16PM Does anyone know what the various parameters in the secret screens of the ASR do? Is it dangerous to muck around with them? Hector. ------------------------------ From: d.gillogly1@genie.geis.com Date: Fri, 6 May 94 00:06:00 UTC Subject: Re: Formatting a 44 meg Syq My drive is an 88mb C (I believe the scsi identifies it as a SQ 555) I can't even figure out how to format this disk for the Atari (MSTE4). Thanks for all the responses. ~`~`~ PianoMan Dan ~`~`~ ~`~`~ Swee Lin Roc Music ~`~`~ ~`~`~ In Sweet Home Chicago ~`~`~ d.gillogly1@genie.geis.com or sweelinroc@pan.com ------------------------------ End of eps-digest V1 #13 ************************ From: owner-eps-digest To: eps-digest@oak.oakland.edu Subject: eps-digest V1 #14 Reply-To: eps Errors-To: owner-eps-digest Precedence: bulk eps-digest Friday, 6 May 1994 Volume 01 : Number 014 ---------------------------------------------------------------------- From: Daniel J Keldsen Date: Fri, 6 May 1994 00:09:21 -0400 (EDT) Subject: Re: Formatting a 44 meg Syq On Thu, 5 May 1994, Tim Riley wrote: > A Syquest 5110 will read and write an 88 meg cartridge and read (only) a 44 meg. > A Syquest 5110C will read and write both. > It must have write capability to format. > ------------------------------------- But NEITHER will format 44 meg carts. (in everything I've ever read/heard) ------------------------------ From: Garth Hjelte <72203.2303@CompuServe.COM> Date: 06 May 94 01:24:04 EDT Subject: Maartist, you say? Mr. Joe sez: >while I reboot and reload (which takes >about 3.5 mins from floopy, DAMN I wish I could get SCSI for my Maartists >memory expansion). I has been done before by a few people - you can put a Ensoniq SCSI on top of a Maartist expander. You just have to convince your repair guy that does it to do it and shave off the edges of the card so it will physically fit. Ask and you shall receive. happy sampling, and good luck w/ your music! Garth ------------------------------ From: Garth Hjelte <72203.2303@CompuServe.COM> Date: 06 May 94 01:23:37 EDT Subject: Formatting a 44 meg Syq Dan sez: >I got a 44 meg Syquest cart to use wiht V 2.0 OS on my asr. I can't >get it to format. I'm doing exactly what I did to format my 88 meg Syq but 'tain't >happ'nin >The error messages I'm getting are along the lines UNCONNECTED SCSI >DEVICE and NOT VALID EPS something or other. Thats the part I don't >get. It thinks I have an EPS??????!!!?????? >I'm using the CHANGE STORAGE DEVICE command to change from FLOPPY to >SCSI-4 but it signals an error. > It still works with my 88 carts so it isn't my cords. Let me take a stab at this. If it's a 44mb cart, it's going to say NOT VALID EPS DEVICE (leftover from the old implementation) when you ask it that. There was one guy that mentioned that it wouldn't format.. maybe that is your problem. But try this in the meantime: 1. Turn off everything 2. Set you 88c to 0 or 1 (makes me feel better that way; SCSI 4 is mainly for CD-ROM drives) 3. Power up 88c w/o 44 cartridge in 4. Insert cartridge and spin it up 5. Insert 2.0 (1.61 if this all doe4sn't work) in floppy of ASR-10 6. Turn on ASR-10, and watch the amber light of the 88c. It should blink once as the ASR boots up. If it didn't, it means the ASR-10 didn't see the drive, and you're toast. 7. CMD-SYS/MIDI-SYS/MIDI, and scroll back one. You'll see FORMAT SCSI DRIVE 8. Hit YES, SCSI=x (important-this could be different than what your drive is, change if necessary) 9. INTERLEAVE=0, hit YES 10. LABEL=xxxxxxx, hit YES 11. ARE YOU SURE? (or something like that), hit YES 12. You should be off and running. 13. If this is all been tried and it doesn't work, go yell at Ensoniq... ------------------------------ From: Ian Rogers Date: Fri, 6 May 1994 01:33:59 -0500 (EST) Subject: