Conference napalm::commusic_v1

    Please say the million things.
    
    Edd

    O.k., well, where do I start:
    
    There are (8?) modes of play.  The three most popular are Whole,
    Dual, and Split.  Whole plays one Tone (two partials -- a partial
    is either an oscillator or a sampled partial) in 16-note polyphony.
    Dual mode layers two tones over the entire keyboard in 8-note polyphony
    (this is the most popular as you get 4 partials -- two tones). 
    Split mode splits the keyboard and assigns one tone to one half
    and another tone to the other half -- of course the split point
    is programmable.  Other DX-like splits can be obtained by fading
    the appropriate partials out on different halves of the keyboard;
    this would be useful if, say for most of the song you need a certain
    string sound -- three partials could make up the string sound, and
    could be set up so they're only playable from the top 3/4 of the
    keyboard.  For the end of the song you want a nice analog noise
    bomb to drop, especially if it's a wedding and this song is the
    first dance, then you could assign the remaining partial to your
    noise sound and fade it in such a way that it's only playable from
    the bottom octave of the keyboard.  You get the idea.

    There is built in chorus for each tone, digital reverb and delay,
    portamento, a new "chase" function, all programmable for each patch.
    The reverb outputs in several different modes, to create some amazing
    stereo patches (a bass/acoustic guitar split where the bass is hard
    right with its reverb hard left, and the guitar is vice-versa).
    There are 32 reverb settings, with all kinds of halls, rooms, delays,
    stereo delays, gate, inverse gate, etc.
    
    It's also a great performance machine.  All performance-type data
    is programmed with each patch, unlike some other machines, Yamaha,
    so the different performance controllers can be assigned differently
    per patch.  The controllers include after touch, pitch bend with
    lfo trigger, velocity, foot controller, etc. 
    Thus, in one patch aftertouch can bring in vibrato, whereas in a
    fuzz guitar patch aftertouch will fade the guitar sound into a
    feedback sound.
    
    Etc.etc.etc.
    
    Well, that's a little more for now.  Gonna try in tonight on the
    gig for the first (real) time.  Later -
    
    Ron

    Hi
    I'm new to Vaxnotes and to this notes file in particular - someone
    told me about it a month ago. I feel as if I've opened a window
    to a valuable community I did'nt even know existed.
    
    I've put this question in the most appropriate topic I could find.
    Its directed at those of you who have had time to play around with
    your D-50s (or D-550s?) and feel able to make a reasonably objective
    assesment of its merits and demerits. The question:-
    
    WHAT DO YOU THINK OF IT NOW?
    
    I want a unit mainly for live band work, where I'm the only keyboard
    player, although I also do a (very) limited amount of solo and duo
    work, and I've also got some home recording gear. 
    
    My present synth (a Korg Trident) gives me simultaneous
    splits and layers (both of which I use a lot) but is not touch
    sensitive. I've been waiting for something to replace it for some
    time - looked at the Ensoniq, but I can't cope with only 4 voices
    in layer mode. Have'nt found any other units which do splits and
    layers simultanously without suffering the same problem.
    
    Now I think I've got a choice of units which will do the job - the D-50
    or the DX7-II. I've never been too hot on the DX sound and never
    programmed FM. Looking at the D-50, it is easy for me to program
    (I like to create my own sounds) although I have'nt had the opportunity
    to give it's sounds a really good going over.
              
    Before I go out and spend my 1350 pounds, I'd like to hear what
    you think. Does it sound good on it's own (I hate to gig more than
    one keyboard)? Can you get a good range of sounds? Is it easy to
    program? Is the noise really an issue in a live situation, or does
    it get lost in general amplifier hiss? Are there any hidden goodies
    (or baddies)?
    
    Your opinions are eagerly awaited.
    
    Alex
         
    
    

>    looked at the Ensoniq, but I can't cope with only 4 voices
>    in layer mode. Have'nt found any other units which do splits and
>    layers simultanously without suffering the same problem.
    
    And you won't.
    
    That is, I doubt you will find any synth that can layer two sounds
    without halving the number of notes available.  There are synths
    that give you more than 8 voices though.
    
	db

    >>    looked at the Ensoniq, but I can't cope with only 4 voices
    >>    in layer mode. Have'nt found any other units which do splitsand
    >>    layers simultanously without suffering the same problem.  
      
    You can chain multiple SQ-80's/ESQ-1's/ESQ-M's together in MIDI
    "overflow" mode. 
    
    In this mode, if there are no available local voices to play an
    incoming note, then the note is passed out the MIDI OUT port. 
    No "voice scavenging" happens until ALL voices on ALL chained ESQ's
    are in use (then scavenging happens only to voices being played
    by the last ESQ in the chain).  There doesn't appear to be any limit
    to the number of ESQ units in a chain.
             
    Program-change and controller info also propagates down the overflow
    chain.
    
    Cost: $1900 for an SQ-80, $1400 for an ESQ-1, and $900 for an ESQ-M
    (rackmount module, no keyboard).
    
    So, for $1800, you could have 8 full layered voices, for $2700 12
    full layered voices, for $3600 16, etc.  
    
    Linked ESQ's also retain full multi-timbrality, so if not all of
    your patches are layered, you don't waste voices. 
    
    
    Do Mirages (keyboard and rackmount) support overflow chaining?
    
    

RE < Note 848.5 by CTHULU::YERAZUNIS "Exit left to Funway" >

>    Cost: $1900 for an SQ-80, $1400 for an ESQ-1, and $900 for an ESQ-M
>    (rackmount module, no keyboard).

	Slight correction:  ESQ-M's are no longer available.  They have been
discontinued and were 'blown-out' just before Christmas at the amazing price of
$499.

	Dan
    

    Is the ESQ-M discontinuance an Ensoniq thing or your music store?
    
    The store I frequent has them, no price change recently either.
    

RE < Note 848.7 by CTHULU::YERAZUNIS "Exit left to Funway" >

>    Is the ESQ-M discontinuance an Ensoniq thing or your music store?
>    The store I frequent has them, no price change recently either.

	Every store I have spoken with has said they've been discontinued.
No store around here (or in N.Y. or Kansas) has them any more.
    
	Dan

    re MIDI note overflow...
    
    the Emax has it. even the lowly Fb01 has it..

    Uh, question.....
    
    When using 2 SGUs that operate in midi overflow mode, why doesn't
    the second one just respond to whatever is played on the first?
    What makes it wait until the first one is full?
    
    Edd

    I assume the first one is smart enough not to forward the notes
    it's playing.  Does this work through OUT or THRU?  Either sounds
    like a violation of the MIDI spec.  Is there a special OVERFLOW
    port?
    
    len.
    

    it worked ! some else actually USED 'SGU' !!!
    
    uh, the question.. it be a software switch that sendeth extra notes
    out the 'OUT' port

    >it worked ! some [sic] else actually USED 'SGU' !!!
    
    Hey, you know how we here in Marketing just love a good TLA!!!
    
    Doncha just love Nissan commercials?
    
    Edd

    
    	Acronym Hell, eh ?
    
    	Lessee, how about;
    
    
    
    	M_usic 
    		O_n 
    			E_very 
    				L_ow 
    					L_evel 
    						E_levator & 
    							R_estaurant

    
    
    	Yeah, "another long day", and its only 4:15.

    	Reg