Conference napalm::commusic_v1

Newsgroups: rec.music.synth
Path: decwrl!labrea!rutgers!nysernic!itsgw!batcomputer!chow
Subject: Ensoniq SQ-80 Synth to ship this month!
Posted: 4 Nov 87 00:48:39 GMT
Organization: Cornell Theory Center, Cornell University, Ithaca NY
 
 
Just read this off the PAN forum:
 
 
 
ENSONIQ ADDS TWO NEW KEYBOARDS
 
New Ensoniq EPS Performance Sampler and SQ-80 Cross Wave Synthesizer to begin
shipment in November
 
Malvern, PA --  Ensoniq Corp today announced the addition of two new upscale
keyboard instruments to its line, slated for November shipment to music stores.
The Malvern, Pennsylvania-based manufacturer simultaneously introduced the
Ensoniq EPS Performance Sampler and SQ-80 Cross Wave Synthesizer.
 
Both instruments have been designed primarily for the live performing musician.
The design emphasis has been on enhancing real time expressiveness and
streamlining the technical aspects of live MIDI.
 
The company will continue to manufacture and support the Mirage DSK Sampling
Keyboard ($1295) and ESQ-1 Digital Wave Synthesizer ($1395). By virtue of its
wide acceptance, low price and large sound library, the Mirage is expected to
continue its hold on the entry level sampler market. The ESQ-1, with its 8-track
sequencer and multi-timbral ability, will remain the only all-in-one MIDI
recording studio for under $1400.
 
The Ensoniq Performance Sampler is priced at $1995 and the SQ-80 Cross Wave
Synthesizer retails for $1895.
 
==============================================================================
 
The Ensoniq SQ-80 Cross Wave Synthesizer
 
What would a bowed bell sound like?  How about a plucked vocal? The Ensoniq
SQ-80 can provide the answer to these and hundreds of other sonic questions with
a technology called Cross Wave Synthesis.
 
Cross Wave technology involves grafting the attack characteristics of one sound
onto the very beginning of another.  So you can recreate the sound of acoustic
instruments with startling accuracy or invent new sounds with real character and
personality.
 
Some of the available transient attack waves are multi-sampled bow, pick,
mallet, hammer and breath attacks, as well as percussive and synthesized
variations.
 
The SQ-80 has a total of 75 multi-sampled and synthesized waves on board,
including 5 complete multi-sampled drum sets.  Because of its large selection of
waves and wide-open voice architecture, the SQ-80 is the perfect replacement for
any analog, FM or LA synth.
 
The SQ-80 also features the new Ensoniq Poly-Key* pressure sensitive keyboard.
Poly-Key pressure adds new dimension to the idea of aftertouch. Each individual
key can respond to how hard you hold it down with dozens of dazzling effects.
 
There's finally a synth that lets you really use the magic of MIDI in live
performance.  The on-board 8-track sequencer can control the dynamically
assigned, multi-timbral internal voices (different program on each track), and
outboard MIDI gear as well.
 
In addition to programs and sequences, the SQ-80's built-in 880K disk drive can
save and load MIDI system exclusive data - sounds for voice expanders, patterns
for drum machines, settings for signal processors and MIDI samples.
 
So you can plug in your MIDI cables, power up, slide a disk into the SQ-80 drive
and be ready to play before the guitar player tunes up.  Each disk can store up
to 1728 different programs and 10 full sequencer banks or system exclusive
blocks.  So you can finally take your favorite studio tricks up on stage with
you.
 
 
SQ-80 SPECIFICATIONS
 
KEYBOARD
* 61 note (C-C) weighted-action keyboard with programmable velocity sensitivity
     and Poly-Key* pressure ( polyphonic aftertouch)
* Programmable split point
* Sound layering on either or both keyboard halves
* Polyphonic glide, fingered mono glide
 
VOICE ARCHITECTURE
* 8-voice multi-timbral
* 3 digital wave oscillators per voice
* Amplitude modulation on each oscillator
* 75 multi-sampled and synthetic Waveforms, Transient Attacks and Inharmonic
     Loops in memory
* 15 routable voice modulation sources
*  3 multi-waveform LFOUs per voice with humanized random variation
*  4 complex envelope generators per voice, velocity controlled, with simulated
     reverb (second release) stage
* Dynamic programmable panning of each voice
* Hard sync and ring modulation (AM)
* Analog filters, 4-pole low-pass with variable resonance
 
 
PROGRAM PARAMETERS
* 80-character fluorescent display, readable in all lighting conditions
* 10 program names simultaneously displayed
* Multiple display pages for simple yet flexible programming
* 40 internal programs, direct access
* 80 external cartridge programs, direct access with cartridge installed.
     ESQ-1 cartridges are compatible.
* Compare mode for comparing programs
 
 
SEQUENCER
* 8 polyphonic tracks, each with separate Program, Volume, and MIDI channel
* Tracks can play internal voices and/or external MIDI instruments
* Up to 8 voices per track, dynamically assigned
* Post-quantization (auto-correct to 1/32 note triplets)
* Built-in auto-locator and metronome
* Mixdown facility for balancing individual tracks
* 60 separate sequences, chainable into 20 songs
* Internal memory - 20,000 notes
* Sequence storage - on 3.5" disks or audio tape
* Sync to tape
 
MIDI
* Poly, Omni, Multi and Mono modes
* MIDI Overflow Mode permits slaving additional units for 16 or more voices
* 9 simultaneous polyphonic channels with separate programs
* Global controllers in mono mode for use with MIDI guitar controllers, etc.
* MIDI song position pointers for use with SMPTE auto-locators
* MIDI standard remote programming
 
DISK
* 880K double-sided 3.5" micro-floppy
* Each disk stores:
        10 Seq/Sys-Ex files +
        40 Bank files +
        128 single programs
* Save to disk MIDI System Exclusive dumps of up to 64k from any MIDI device
 
INPUTS/OUTPUTS
* Left and Right/Mono audio outputs allow programmable stereo mix
* Headphone jack
* Pedal/Control Voltage Input (allows modulation of voices from an external
    source or pedal control of volume)
* Sustain Pedal, Sequencer Footswitch, Tape In/Out for sync and storage
* MIDI In, Out, Thru
 
STANDARD ACCESSORIES
* Musician's Manual, detachable power cord, Sustain Pedal/footswitch - for
     voice sustain or sequence triggering.
* Voice/Data Disk #1
 
OPTIONAL ACCESSORIES
* Ensoniq E2 PROM Cartridge - for storing up to 80 player-created programs
* EnsoniqVoice 80 program cartridges (ESQ-1 compatible)
* Additional Voice/Data Disks
* CV Pedal - for voice modulation
* Footswitch
 
DIMENSIONS
* 38 3/4" (98CM) wide X 3 1/2" (9cm) high X 13 1/2" (34cm) deep
* Weight:  29 pounds (13 kilograms)
 
LIMITED WARRANTY
* One year, parts and labor
 
----
 
Christopher Chow
/---------------------------------------------------------------------------\
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| Delphi:    chow2            PAN:  chow                                    |
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It looks to me like the sequencer memory is shared with the wavetable memory,
so sure you can have 60,000 notes, but you can't have any sounds (of course
if you had a 60,000 note sequence you could drive external sounds thru MIDI).

It looks to me like the sampler samples only 13 bits, but the unit can play
16 bit samples created by the factory.  I wanna know how it makes Mirage
disks sound better.  Maybe it has some sort of bit expansion and quantization
smoothing algorithm.

Todd.

    This looks great. For the first time in ages, real innovations
    in performance controls. 
    
    Looks like next year will be expensive...
    
    Richard.

    More data- a longer version of .0
    
   -----------------------------------------------------------
    
     	
From:	DECWRL::"USERE0FP%mts.rpi.edu@itsgw.rpi.edu" "Fish  9-Nov-87 0011 EST"  9-NOV-1987 01:16
To:	cthulu::yerazunis
Subj:	 Break open the piggy bank

Sounds good, I wish I could afford it, I'll let other people know.
Anyway, everything is about to get cheaper because of the following.
(I had to break this into 2 messages)
 
 ENSONIQ ADDS TWO NEW KEYBOARDS
 
 New Ensoniq EPS Performance Sampler and SQ-80 Cross Wave Synthesizer to begin
 shipment in November
 
 Malvern, PA --  Ensoniq Corp today announced the addition of two new upscale
 keyboard instruments to its line, slated for November shipment to music stores.
 The Malvern, Pennsylvania-based manufacturer simultaneously introduced the
 Ensoniq EPS Performance Sampler and SQ-80 Cross Wave Synthesizer.
 
 Both instruments have been designed primarily for the live performing musician.
 The design emphasis has been on enhancing real time expressiveness and
 streamlining the technical aspects of live MIDI.
 
 The company will continue to manufacture and support the Mirage DSK Sampling
 Keyboard ($1295) and ESQ-1 Digital Wave Synthesizer ($1395). By virtue of its
 wide acceptance, low price and large sound library, the Mirage is expected to
 continue its hold on the entry level sampler market. The ESQ-1, with its 8-track
 sequencer and multi-timbral ability, will remain the only all-in-one MIDI
 recording studio for under $1400.
 
 The Ensoniq Performance Sampler is priced at $1995 and the SQ-80 Cross Wave
 Synthesizer retails for $1895.
 
 ===============================================================================
 
 
 The Ensoniq EPS Performance Sampler
 
 The new Ensoniq EPS Performance Sampler asks that you put aside many of your
 ideas about sampling keyboards.  The whole idea behind the EPS was to make the
 best sampler for live performance - a hostile environment for even the heartiest
 of samplers.
 
 Other samplers make you stand in front of a dead keyboard for up to a minute
 while the disk drive spins your sound into memory.  The Ensoniq EPS is the only
 sampling keyboard with Performance Loading, a feature that lets you go on
 playing while  your sounds load from diskette.
 
 The EPS gives you a level of performance expression that approaches acoustic
 instruments.  For instance, sax players can add a growl or a squeak as the
 spirit moves them.  Until now, keyboard players could only wiggle a couple of
 wheels and hope for the best.
 
 The EPS is the first keyboard to give you this acoustic advantage in an
 electronic instrument.  The two "Patch Select" buttons give you instant access
 to four alternate sound patches of your choice.  So now you can add that growl
 and squeal at the appropriate moment in your sax solo - as the spirit moves you.
 
 In addition, there's the Ensoniq Poly-Key* pressure sensitive keyboard lets each
 individual key  respond to how hard you strike it and  how hard you hold it
 down.  So you can make a single note in a chord play louder, brighter, with more
 vibrato or any of a dozen other effects.
 
 There's much more to the EPS, like the multi-timbral versatlity of 20
 dynamically-assigned voices (stack all 20 on one key if you like), 8-track
 polyphonic sequencer, full support of all MIDI modes and programmable stereo
 panning.
 
 If you're into sampling, you'll be interested to find sampling rates of up to
 52KHz, "expert system" looping, 6-stage envelopes, 20Hz-20KHz bandwidth, 96db
 dynamic range and the ability to have 127 distinct samples in each of the 8
 instruments on the keyboard at one time.
 
 
 
 EPS SPECIFICATIONS
 
 
 
 KEYBOARD
 * 61 note (C-C) weighted-action keyboard with programmable velocity sensitivity
      and Poly-Key* pressure (polyphonic aftertouch)
 * Performance Loading - play and load at the same time - all keyboard functions
      remain active during disk load
 * Up to eight "Instruments" instantly available
 * Stack any two or more Instruments together with the push of a button
 * Easily change the keyboard range of any instrument or wavesample
 
 CONTROLLERS
 * Exclusive Patch Select Buttons for instant access to four different sounds
       within each instrument
 * Pitch and Mod Wheels
 * Sustain and Sequencer Foot Switches
 * Mod/Volume Pedal
 
 INTERNAL MEMORY
 * 480k Bytes Internal RAM
 * 3 Memory expansions available:
      896k Bytes w/ 2x expander
      2.1 Megabytes w/ 4x expander
      2.1 Megabytes plus SCSI port w/ 4x+SCSI expander
 
 SAMPLING
 * Data storage format: 16 bit
 * Sample converter: 13 bit
 * 40 selectable Input Sample rates from 6.25 kHz to 52.1 kHz
 * Maximum Sample times:
         Internal Memory:
                 41.7  seconds @  6.25 kHz, 
                  8.6  seconds @ 30    kHz, 
                  5.7  seconds @ 44.6  kHz.
                  4.95 seconds @ 52.1  kHz
 
         With 2x Memory Expander:
                 83.4 seconds @  6.25 kHz, 
                 17.2 seconds @ 30    kHz, 
                 11.5 seconds @ 44.6  kHz,
                  9.9 seconds @ 52.1  kHz
 
         With 4x Memory Expander:
                167   seconds @  6.25 kHz, 
                 34.4 seconds @ 30    kHz, 
                 22.9 seconds @ 44.6  kHz,
                 19.8 seconds @ 52.1  kHz.
 
 * No minimum or maximum size for Instruments (within the limits of memory)
 * Easy sampling and multisampling with Expert System Autolooping
 * Wide variety of Digital Signal Processing commands to edit sampled sounds and
      create loops and special effects
 
 PLAYBACK
 * Frequency response: 20Hz to 20kHz +0, -3 dB
 * 2x oversampling with 1st order linear interpolation for enhanced frequency
       response
 * 24 bit internal processing
 * Floating point output conversion for 96 dB dynamic range
 * Three playback modes:
         20 voices at 31.2 kHz playback rate for 15 kHz frequency response
         16 voices at 39 kHz playback rate for 19 kHz frequency response
         12 voices at 52 kHz playback rate for 20 kHz frequency response
 * Linear phase output response for crystal clear high end
 * Can convert Mirage sounds to EPS format and play them with improved fidelity
 
 INPUTS/OUTPUTS
 * Left/Mono and Right audio outputs allow programmable stereo mix
 * Optional Output Expander box for an additional 8 solo outputs
 * Headphone jack for private listening
 * Pedal/Control Voltage Input
 * Audio Input switchable between mic and line level
 * Sustain Pedal, Sequencer Footswitch
 * MIDI In, Out, Thru
 * Optional SCSI Port with 4x+SCSI expander
 
 VOICE ARCHITECTURE
 * 20 voices dynamically assigned
 * Independent dynamic digital filter per wavesample
 * Multi-mode digital filters Q low pass or variable-width band-pass
 * Multi-timbral, able to play eight Instruments at once from Sequencer or MIDI
 * Instant selection of alternate samples with Patch Select buttons or legato
      playing
 * Each Instrument can contain up to 127 wavesamples
 * Complete program parameter set for each wavesample - pitch, filter and
      amplitude envelopes, LFO, 12 routable modulation sources
 * Wavesamples are organized into Layers, which map groups of wavesamples across
     the keyboard.  Each Instrument can contain up to eight Layers, which can be
     crossfaded at any number of points by the keyboard, by pressure, velocity, 
     or any other modulator.
 * Each wavesample can be individually panned within the stereo mix or sent to
     one of the eight solo outputs (with optional expander)
 
 SEQUENCER
 * 8 polyphonic tracks, each with separate Instrument, Volume  and MIDI channel
 * Tracks can play internal voices and/or external MIDI instruments
 * Sequence size limited only by internal memory (80,000 notes for base unit)
 * Up to 20 voices per track, dynamically assigned
 * Post-quantization (auto-correct to 1/32 note triplets)
 * Step editing
 * Auto-locate controls and adjustable click track
 * Mixdown facility for balancing individual tracks
 * Songs and Sequences can be saved to disk
 
 MIDI
 * Poly, Omni, Multi and Mono A and Mono B modes
 * 8 simultaneous polyphonic MIDI Channels in, with separate Instruments
 * Instruments can be programmed to play only to MIDI Out, on any channel,
      allowing up to eight outbound MIDI keyboard zones
 * Global controllers in mono mode for use with MIDI guitar controllers, etc.
 * MIDI song position pointers for use with SMPTE auto-locators
 * MIDI remote programming
 
 DISK
 * 800K double-sided 3.5" micro-floppy
 * DMA (Direct Memory Access) for Play While Load
 * Variable-size file storage
 * Subdirectory organization
 * Save MIDI System Exclusive dumps from any MIDI device to disk
 
 STANDARD ACCESSORIES
 * Musician's Manual, detachable power cord, Sustain Footswitch, Sound Disks
 
 OPTIONAL ACCESSORIES
 * Additional Sound Disks
 * CV Pedal - for voice modulation or volume control
 * 2-pedal piano-type Footswitch for Sustain and Sequencer control
 * 8-Output Expander box
 * 2x, 4x and 4x+SCSI memory expanders
 
 DIMENSIONS
 * 38 3/4" (98CM) wide X 3 1/2" (9cm) high X 13 1/2" (34cm) deep
 * Weight:  29 pounds (13 kilograms)
 
 LIMITED WARRANTY
 * One year, parts and labor
 
========================================================================
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    ----------------------------------------------------------
    
    The rest is identical to the Chen 'gram posted in .0
    	
    
    
    
    
    
    Now for the major anxiety attack - do I *really* want to spend two
    grand on the keyboard of my dreams?  Or will a mirage do well enough
    for me, seeing as my kb realtime technique is nothing to marvel at.
                                     
    -Bill
    

    What *I* wonders about is the user interface.  I found the Mirage
    very hard to accept, and the ESQ-1 only a little better.  Personally
    I need a bit more of a direct manipulation interface.  Maybe I'm
    losing brain cells in my old age...
    
    	Eirikur
    
    

    mmmmmm.
    
    promises promises.
    
    again the synth to obsolete all synths.
    
    again.
    
    {yawn}
    
    Ron_he'll_probably_get_one_anyway
    

The TRUE story ...

   Some of the previous postings sounded pretty rumorish, so I thought
   I'd investigate a bit further, and called Ensoniq directly.

SQ-80

   The SQ-80 uses the *SAME* voice architecture as the ESQ-1.  The
   bandwidth on the machine is "increased" (no numbers given), so that it
   is "cleaner, fatter and brighter" than the ESQ-1.  THE ESQ WILL PLAY
   THE SQ-80's PATCHES, AND VICE VERSA!!!  This, of course, is within
   limitations - patches built on non-ESQ waveforms cannot be reproduced
   by the ESQ. 

   Waveforms are stored in ROM, NOT RAM.  The ESQ (as far as I can tell)
   will NOT be upgradable to an SQ-80. 

   The sequencer is the SAME sequencer as is in the ESQ-1.  The "edit
   from the beginning of measure" feature is standard on the SQ-80, and
   will be available as an upgrade to the ESQ-1 sequencer.  Sequencer and
   patch RAM is seperate and distinct, NOT shared.  Sequencer memory is
   not (and in the foreseeable future will not be) expandable.  It takes
   about 15 seconds to load the full 20K note sequencer memory from disk.

   So what's the big deal?  An additional 43 multi-sampled waveforms,
   that's what.  And a poly-pressure keyboard.  AND a built in floppy.
   Given the architecture of the machine, it sounds like the D-50 is in
   for a real run-in. 

EPS

   Contrary to former postings, the EPS is *NOT* a stereo sampler.  It is
   a MONO sampler.  (Wanted to make it very clear.) 

   Although the machine uses the same disks as the SQ-80, it stores 80K
   less that the SQ, due to directory structures and what-not. 

   Samples and the sequencer SHARE THE SAME MEMORY.  They are NOT
   seperate on this machine.  I don't think I need to explain further on
   this.  Memory upgrade prices were/are not currently available.  The
   rep I talked to alluded to a THIRD PARTY building the upgrades, rather
   than Ensoniq-built units.  We'll have to wait and see on that one. 

   Sampling is indeed 16 bit /13 bit converter (explained in detail in an
   earlier note).  Internal sample processing is 24 bit. 

   And, of course, the SAME sequencer as is in the ESQ-1/SQ-80. 

NOW, THE BAD NEWS

   There will NEVER (read: not now, not ever) be rack mount versions of
   these units.  Period.  End of discussion.  Finito.  Ensoniq has
   supposedly reviewed this option and trashed it.  The rep was VERY VERY
   clear about this.  There will not be a SQ-80m OR an EPS-m made. 

   Which leads me to believe that they will come out with them in a year
   or so. 


   That's about it.  Test tomorrow at 9am.

8^)

    Test tomorrow?              
    
    Well, let me know how the EPS sounds.  Also find out if, even though
    it can't sample directly in stereo, if you can assign two samples
    (one left, one right) to play at the same time when you press a
    key.  
    
    If that's so, then the methods given in Keyboard mag. a few months
    ago ought to work just fine to produce (almost) stereo samples.
    
    I heard rumors that the EPS had an LCD display.  Has anyone seen
    one to confirm or deny this?
                                                          
    
        :-)   :-)   :-)
    
    Eirikur: You're just used to your old Roland with the knobs and
    switches.  Admit it, you're a living fossil, not unlike a coleocanth
    or a horseshoe crab.
    
        :-)   :-)   :-)

    Human interface: Bill is right, I'm a fossil.  If it doesn't look like
    a giant squid trying to prevent a telephone switchboard from mating
    with a Hammond organ, I don't want it in my living room.
    
    I'm interested in these instant sample-swap switches on the EPS.  Shades
    of the PPC performance pressure pads on later ARP products.  I suppose
    you can use the bend wheel (as well as aftertouch) for cross-fade, right?
    
    	Eirikur
    
    
    

    Actually, I wouldn't mind having one of those wonderful old modular
    synths.  Something truly ugly, with cables and switches and knobs.
    
    Something like what you describe- a giant squid trying to prevent
    a telephone switchboard with a Hammond organ.  Something ugly 
    enough to make the living room and kitchen break off diplomatic
    relations with the dining room.
    	
    Anybody got one they want to sell?  Something like an old Buchla,
    Serge, or ARP 2600?
     
    Shall we get back to the EPS?  Hey, here's a question:
    	
    	If I buy one and decide I don't like/can't afford it, what
    	would people 
    		1) THINK it was worth ?
    		2) be willing to PAY for it?
                                       
    	(assuming list/going price is 2K $ new- and please state whether
         you are willing to be bound by the price you state for #2 :-) )
                                                                      

    Rumor: The EPS sampler will be delayed until mid-january...at
    least.   Source is my favorite salesman, upon presentation of a
    cashier's check for two grand.
    	
    I still have the check.  But I'd rather have the keyboard.
    

    Any more news on the EPS?  Anyone bought one yet?  Played one yet? How
    about seen one?

    And, now that the machines are "old news" (from a marketing view, at
    least), what about the availability of rack mountable versions of these
    beasties? 

    Also, has anyone bought an SQ80?  Opinions?

brad_who_has_the_itch_to_spend_$$$

    I had an SQ-80 set up in the studio for a couple hours last week.
    (It belongs to a friend.) Nice machine. Intuitive as all hell.
    Spent 5 minutes with manual, then just 'knew' what to do.
    Sampled waveforms are nice. Sequencer was easy but seemed odd (to
    me), being used to Yamaha architecture.
    
    Polyphonic aftertouch is a new skill to learn.
    
    SQ-80 has absolute mostest horriblest keyboard I ever played.
    Definite 'click' as key *begins* to move. 'Click' at bottom.
    Then Poly-touch begins...
    
    Factory sounds weren't impressive. Machine doesn't hold lots
    of patches in memory, but loading is quick and easy.
    
    I didn't play long enough to make a judgement regarding price/perf.
    My friend loves it...
    
    Edd

Hi Brad -

I took a quick look at an SQ80 at Union Music when I was buying my HR-16. I
couldn't believe how bad the keyboard was. I thought maybe it got
damaged in shipping or somebody broke it with a hammer. I heard some real
nice sequences and a nice B3 organ patch. I don't like the flourescent displays
winking and blinking, very distracting. The new Keyboard mag has a review. They
describe the keyboard as "unusually light and springy". The one I tried was
unusually noisy and clunky. The onboard disk drive and sequencer are very nice.
It is compatible with ESQ cartridges which gives you a huge sound library. I'll
give it another try in a few months. Also interested in the EPS. Union Music
expects several units in a couple of weeks. $1995.00. Daddy's in Nashua also
expects several at end of month, price not determined, no sales tax though.

Dave

    The SQ80 I played with (at Only Guitar, in Clifton Park, NY) had
    a keyboard that seemed only a little "slower" (maybe more damped,
    heavier) than the ESQ-1/Mirage keyboard.  More like a piano, less
    like a synth. 
    	
    It certainly wasn't noisy, and it certainly didn't have "clicks"
    at full-up, key-down, and poly-pressure.
    	
    Maybe there's a QC problem here...
                 

    
    I was just down at Union Music in Worcester playing around with
    their SQ80, and I asked them about the bizarre keyboard feel.  They
    said that Ensoniq's "official" statement on that is that it's
    deliberate, so you can tell when the keydown is done and the aftertouch
    begins.  I don't know about that though....  seems more like an
    excuse than a statement... 
    
    The one I played with there did seem to "click" a little, and it
    seemed like the spacing was a little different (I doubt that, but
    the keys do have sharper corners on them than the ESQ's)
    
    Grumble... and the EPS is going to have the same keyboard too...
    
    /Mitch.
    

    
    re: .-1
    
    that's very interesting. I remember when Ensoniq unveiled the Mirage-
    I was in Worcester then and went down to Union Music to see it.
    I thought the keyboard feel was terrible. About a week later the
    Mirage broke and Union sent it back. It came back (I assume it was
    a different unit) with a different keyboard feel and some improvements
    in the reliability (at least it didn't break when you pressed a
    keypad key)... My ESQ-1 has a decent (for a non-piano) feel. The
    SQ-80 I tried at Advance Music (Burlington VT) wasn't terrible but
    it is different from the ESQ-1. Maybe it's the keyboard manufacturer...
    
    /pjh

    The following is an edited version of a mailgram I sent to (wild) Bill
    Yerazunis a few weeks ago.  Perhaps someone could either enlighten me
    or benefit from this in some way. 

+---
    I went to a local music store yesterday and snarfed a bunch of ESQ
    patches, and while I was at it, grabbed a few SQ80 patches.  In a fit
    of reckless abandon I loaded the latter into my ESQm last night just to
    see what would happen... 

    As I had guessed, nothing has really changed in the architecture
    between the SQ80 and the ESQ - except for an additional 43 waveforms.
    Some of the patches sounded GREAT - and of course, some sounded like
    pure crap. 

    Punching up the OSC pages to see what was happening with out-of-range
    waves yielded some real interesting results.  I either got very strange
    waveform names (such as TRIBEL or I PRO D - or even XCTRL!) or garbage.
    It appears that the machine is reading random locations in memory and
    interpreting the bits as waveforms!  Trying to go all the way back to
    SAW wave never seemed to work - TRIBEL was always the first wave after
    an OSC had been "scrambled". 

    Needless to say, experimental musicians could find this peculiar
    behavior - um, fascinating. 

    I called Ensoniq, just to see if I had discovered some "undocumented"
    waveforms.  The rep said that an out-of-range parameter always results
    in a "random wave being selected".  [sounds suspcious]  He also said
    that there is no easy way to replace ESQ waveform ROMs with SQ80 ROMs
    [wax skeptical] because they (the wave memories) are blasted into the
    same chip as the processor, which differs between the two machines. 

    Well, I'm just not sure that I believe him.  Has anyone ever looked
    inside the ESQ or the SQ80?  Are the processors really different?  Are
    the wavetable memories REALLY blasted into the processor chip, or are
    they (as I would like to believe) on their own chips?  I wouldn't know
    what I was looking at even if I did open the box. 

    And, of course, if they ARE on their own chips, what are the chances of
    being able to replace ESQ ROMs with SQ80 ROMs?
+---

    Any answers to this "tale" would be appreciated immensely. 

-b

    Oops!  I've entirely forgotten that I was supposed to disembowl
    my ESQ.  Sorry!  :-)   I'll try and remember to do it Sunday night
    (I'll be out for the weekend, drinking, er, I mean practicing with
    the band.  Heavy work!)
    
    --------------
    
    Speaking of disembowlings (my my, aren't we in a touchy mood..)
    has anyone gotten the new V3 ROMS for the -1 that supposedly give
    it a "-80"ish sequencer?
    
    If so, what new features does it have?
     

    
    re: .-1
    
      Soon to appear in another topic. I have the 8-page release document
    too. Only thing is, I forgot to bring it to work with me (so sue
    me, okay?)
    
    /pjh

    Just as an aside -- isn't the demo sequence(s) superb on the 
    SQ80? Sounds like a mad acidman weather report freak spent weeks
    out of his brain working on them. Trouble is, I thought "Damn. That's
    just the sort of thing I'd like to do if I bought one of these.
    So why bother?"
    
    P.S. I also thought the keyboard was great -- especially poly pressure
    -- if you don't listen to the noise of the keys.
    
    Richard.

RE: my earlier note on SQ80 waveforms in ESQ-1s

    It looks like I was probably wrong.  I had been loading SQ80 dumps into
    my ESQ-M.  This weekend I tried loading into the ESQ-1, with some very
    interesting results.

    The ESQ-1 actually names an "unknown" waveform location!  For example,
    waveform 45 is called WAV045.  The waveform is NOT random memory as
    previously thought, but is in the same "virtual" location, as
    unaddressable locations cause wrap-around.  For example, WAV033
    actually references wave 1 (SAW).

    This makes me believe even more that the ESQ is capable of not only
    referencing but also accessing the expanded SQ80 ROM waveform tables. I
    also talked to a different Ensoniq service rep, who said that it is
    indeed possible, but that Ensoniq was not doing it.

    BILL!  WHERE ARE YOU??  I may have to open mine tonight.

    I wonder what the chances are of getting my hot little hands on a pair
    of SQ80 ROMs for my ESQ-Ms?

    NOTE: As of today, the latest s/w rev for the ESQ-1 is 3.5.  Latest rev
    for the ESQ-M is 1.1.

-b

    ESQ-1 Rev 3.5 ?   Wow, where have I been.  What have they added
    since 2.x ?

    
    re: .-1
    
    8 pages worth of release notes. I have them. I will attempt to post
    them once I remember to bring them in. I am writing myself a note
    to remind myself to do that.
    
    /pjh

    
    Yeah, but they did release 3.1 and 3.2, they just immediately followed
    with 3.3 (1 week later), 3.4 (2 weeks after that) and 3.5. I had
    ordered 3.4 and I got 3.5.
    
    I found my release notes after a frantic search at the house, they
    are at the studio, I'll get them at lunch.
    
    /pjh

    I upgraded my ESQ-1 s/w last night.  Went from v2.3 to v3.5.  Fairly
    simply upgrade.  Pop two code ROMs, insert the new ones. Biggest hassle
    was that I had to take out the keyboard to get at the old ROMs. If you
    want to do this yourself, and have a plastic case, BEWARE. You MUST
    install two pieces of iron ferrite (called FERRITE BEAD in the install
    notes) to prevent some kind of machine brain damage.

    The storage menus are much nicer now.  The ESQ is now not forced to
    handshake when doing MIDI load/dumps anymore.  Sequencer can indeed
    ADD/DELETE from anywhere in the sequence.  And you STILL cannot step
    backwards.  8-(  PJ listed all this somewhere else, I think.

BUT, continuing the saga ...

    There are 2 ROMs located just above and to the right of middle C. They
    are named WAVELO and WAVEHI.  Any guesses as to what they contain? I'll
    bet my bottom dollar that all that it takes to implement the new
    waveforms is desolder these boogers and resolder the SQ80 ROMs (if I
    could get my hand on them, I'd give it a try).

    Does anyone have an SQ-80 that they are willing to open up?  Or, does
    anyone have a technician friend that you could coerce into doing this?
    If so, I would like the following information about any ICs labeled WAV
    anything (should be labeled on the board, if not on the chip itself): 

      - number of ICs (should be 2)
      - number of pins
      - any/all numbers on top of the IC(s)

    Thanks.

-b

    
    re: Brad
    
      yup, I did post 'em, they're in "ESQ-1 Patches and Techniques".
    Dir/key=esq-1, first topic.
    
    I'm not convinced that that's all you have to do to get the sounds.
    I bet the software knows the limits of wavetable memory and the
    aforementioned "wraparound" effect will still occur. 
    
    I'm definitely sure that the SQ-80 is much closer in architecture
    than Ensoniq wants to admit, though - it would make sense, since
    the marketing pitch has been downplaying this very subject. May
    I quote Bob Stallman, the NE Ensoniq rep:
    
      "A lot of people think that the SQ-80 is just a big brother to
    the ESQ-1. This is not true. The SQ-80 is a whole new generation
    and has many features not found in the ESQ-1."
    
     Of course, he says later that it does play esq-1 patches so obviously
    the patch data structure, and therefore the parameter architecture,
    is pretty darn close. And, of course, they don't say *anything*
    about the hardware ("why should Ensoniq discuss proprietary information
    about it's hardware architecture?" -Stallman)...
    
      So while I'm sure the software architecture is the big constraint,
    I wouldn't rule out some hardware differences as well. 
    
      Of course, this is only a humble opinion, and I admittedly don't
    have any clue other than an educated guess...
    
    /pjh

    yeah. I mean they can access larger entries or larger
    tables with like doodly-squat investment in software
    change, or even hardware mods.
    
    dont forget the profit motive here.
    
    rr
    

RE: .30,.31 (...software limitation...)

    I don't think so.  The ESQ can most certainly address higher waveforms
    than it has built in.  If you load patches into it that have the "out
    of range" values in them (i.e. from the SQ-80), it not only NAMES the
    higher waveforms, but does a wrap-around to the logical waveform
    location where it would be located (kinda like a split/layer or
    sequence that accesses the cartridge goes ahead and uses internal
    patches).  If the software didn't know about them, it couldn't do this. 

    I don't know if the ESQ software will actually let you get at these
    waveforms from an editing standpoint (eg, use waveform 75), but it will
    sure as the dickens try to play 'em if a particular patch says they're
    already there. 

-b

    sure

    Continuing on the ESQ-1 -> SQ80 subtopic...
    
    Has anyone checked out this month's Transoniq Hacker yet?  On page
    16 starts an article "Playing Between the Keys:  Inside the Q Chip"
    by Dick Lord.  Gives some very interesting information on the ESQ-1,
    SQ80, and Mirage central core, the Q chip.  He suggested (dunno
    why this never occured to me before) purchasing the book "Inside
    the Apple IIGS" by Gary Bond -- since the IIGS includes the Ensoniq
    Q Chip, this manual has the details...
    
    From the looks of the article (gotta go get the book)... changing
    the wavesample ROMs may actually work (though it might require mods
    to the ESQ-1's firmware to know the new base addresses of the
    different waveforms).
    
    /Mitch.
    

    I just had a truly horrorshow thought:
    	
    	Inside the ESQ-1 there are a pair of ROMs marked WAVE HI and
    WAVE LO.  
    
    	Postulate, if you will, an add-on that replaces these two 
    ROMs with a pair of ribbon cables.  The ribbon cables lead to another
    card.  This card contains sockets for the old WAVE HI and WAVE LO
    ROMs - and an address comparitor that remaps one or more of the
    address ranges used in the old ROMS into some static RAM on the
    new card...
    	
    You load this RAM either from a line-level input (it's got an A/D
    converter), by keying in values, or from MIDI (advanced hackery required). 
                                     
    This gives you the flexibility of a wavetable synth, with the grab-
    that-sound capability of a sampler.  I admit that the Q-chip
    limitations make sampling harder (since every sample must be looped
    on a page boundary for the Q-chip to use it).  Oh well...
    	
    	-Bill                    

    With what E! is doing with the DX7, can it be long before a third
    party takes this on ?
    

    I heard some *really nasty* noise last night out of my ESQ-Ms.  I've
    never noticed my ESQ-1 doing this, but it seems that many of the sounds
    have a great deal of digital grunge at the high and low ends of the
    scale.

    Specifically, a bell or piano waveform in the higher ranges not only
    generates lots of hiss, but also lots of looping noise and (perhaps)
    aliasing?  You can actually hear the LFO generating noise.  It's
    especially evident when using pitch bend - certain frequencies stand
    out.  In contrast, my dinosaur OB-Xa is quiet as a mouse.

    Anyone else notice this?  What causes it?

    Oh, and RE: .35,.36 ... let's hope not!

-b

    Brad:
    	
    	OK, I've got my ESQ-1 open.  There's good news and bad news;
    	
    	The good news is that the CPU is a MC6809E, and it has a "helper
    chip" MC2681P.  My OS roms are socketed, and the sockets are labeled
    "OS HI" and "OS LO".  Unfortunately, the OS ROM labels cover the
    chip designations...but they're 28-pin devices.
    	
    The bad news is that the wavetable ROMs are NOT socketed- but what
    the heck... sockets aren't that expensive.
    	
    I don't want to play with the "PRESSURE" pin until I can follow
    traces on the board.
                             
    	-Bill
             

    The 2681 is probably a DUART (I designed a DECSIM behavioral model for
    it - available on request from SIMLIB).  Don't have a model for the 
    6809 ...
    
    Steve

    
    so what even if you had models for everything?
    
    got a goal?
    

    
    I have deleted .41 and .43, since I got my answers from the folks at
    Ensoniq.
    
    1. To display what rev your SQ-80 OS is, hold down the RECORD button,
    then press MASTER.  
    
    2. Somewhere between the initial release of the SQ-80 and the current
    rev 1.8, a new feature was added that is not in the original manual.
    When saving sequences to disk, the internal patch bank is
    *automatically* saved as well.  You *cannot* choose to *not* save the
    patches.  Now, when you go to the DISK/SAVE/BANK menu the first patch
    bank you can write to on the disk is 11.  You cannot write to banks 1
    through 10 from this menu, period.  The patch banks 1-10 are
    automatically named SEQ BANK XX, where XX is the number of the sequence
    bank.  It does *not* get the *name* of the sequence bank.  If you
    really need 40 patch banks on your disk *without* sequences, you need
    to save ten of them with whatever is currently in your sequencer
    memory.  To save time when copying this disk later, once all ten banks
    have been filled, you can use the DISK/DELETE/SEQ/ALL menu to blow away
    the sequence data (the corresponding patches will be retained).  If you
    copy disks saved on a machine with an earlier rev, it will correctly
    copy whatever is in patch banks 1-10, with their names.  However, if
    you go to load a sequence to this disk, it will wipe out those files.
    The bottom line is that with the latest OS, you only can save 30 patch
    banks to disk instead of 40 without going through the above gyrations.  
    
    3. Going along with the above, whenever you load sequences from the
    disk, you are prompted as to whether or not you want the associated
    patches to be also loaded.  This is obviously good for live work.  Is
    this common in other workstation type boards?
    
    								Brian

    Note however that you CAN save and load patch banks 1-10 WITHOUT
    having to save and load sequence-data banks 1-10.  I do this all the
    time.
    
    If you have no sequence data,  it's effectively the same as having
    40 banks/disk.
    
    If you do have sequence data, you just have to be careful when
    saving it, because it will overwrite your patch banks (1-10).

    
    OK, Ensoniq users speak up...
    
    I'm looking at pickng up an EEPROM cart and want some opinions.
    How many of you are using Ensoniq carts vs. third party, how many use
    multi-bank (160 or more patch) carts?  Any breakdowns or failures?
    
    I'm looking in particular at a 160 voice cart from Maartists at $50 by
    mail (with patches, if any are good, they're gravy) vs. Ensoniq cart
    locally for $45.
    
    							Brian

    Bri,
    
          I bought the Ensoniq	EEPROM back in 1985 for my ESQ-1. I have
    read/written to it zillions of times with no failures. I am still using
    it today on a regular basis with my SQ-80.
    
    Frank

I have the Maartists 4x40 for my ESQ-M.  Never a problem.  Nearly 2 years.

andy

    I think these devices are generally reliable.
    
    I've subjected both my Ensoniq cartridge and my Voice Crystal cartridge
    (both 80 voices) to quite a bit of use, dropped them more than a few
    times, etc. etc. and never had any problems whatsoever.
    
    I think you basically want to buy on price - quality seems to be
    consistently high across brands.
    
    	db

	I have a Voice Crystal and an Ensoniq cart for my ESQ-1. They work
	fine. Only problem is that the Voice Crystal is such a tight fit in
	the socket that it takes some willpower to get it out.

	/pjh

One feature of the sequencers in the EPS, VFX-SD and SQ-1 (not to mention most
computer-based sequencers) that the ESQ lacks is a way to control volume levels
of tracks within a sequence for automated mixdowns.

Actually, the ESQ sequencer  allows quite a bit of volume control in the
sequencer, but it is limited to sequence boundaries.  That is, within a given
song, you can adjust the mix level every time you move from one sequence to
another, but within a single sequence, there is no mechanism to adjust volume
dynamically. Well, there is a way to control volume of a track on the ESQ in
real time, either when recording the track or playing it back, by using the
CVP-1  pedal, with the PEDAL setting on the MAIN page set to VOL (this
presupposes you don't often use the pedal as a modulator).  The problem is how
can we get this CV pedal information overdubbed onto a track?

The ESQ ODUB mode is really a punch-in/out feature.  When in ODUB, pressing any
key or the sequencer pedal will put you into REC mode.  This of course
erases the data already present on the track, which is not what we want to do.  
You can record new data on another track and then use the MERGE feature,  but
if all you want to add in is CV pedal data, you can't monitor the effect of the
pedal, since the pedal data is not being recorded into the track you want to
control.

The solution to this is simple and the only gear you need (beside the CVP-1, of
course) is a MIDI cable.  You will also need one empty  sequencer track,
preferably track #8.  We are going to take advantage of an interesting feature
of the sequencer software.  Go to the MIDI page and set MODE to MULTI.  In this
mode, each track will respond to MIDI data arriving at the IN port on the
channel selected for that track on the MIDI/MIX page. 

So, let's jump into the sequencer and  for an example, create a nice,
sustaining  pad on track #1, and assign it BOTH status.  This  way it will play
local voices as well as respond to MIDI.  Set the midi channel to any channel
other then the channel of the main synth (go check on the MIDI page to see what
that is); for our example, pick channel #1.  Now, once you have the pad
recorded, go select track #8.  If you had #1 selected previously, track #8 will
take on all the attributes of track #1, so the only change we will make is to
assign it MIDI status.  Now patch a MIDI cable between MIDI OUT and IN on the
back of the synth.

OK, with track #8 selected, go to the mix subpage of MIDI/MIX and start rocking
the CVP-1 back and forth.  You should see the volume levels change on both
tracks, if not, double check your setup.  Let's do a fadeout first.  Set the
CVP-1 so that the mix level is set to the starting level of the
final mix; for our example, set it to 63 (full on).  Now, get into ODUB mode
and using the footswitch, kick into REC mode just prior to where the fade
should begin.  Then simply pull back on the CVP-1.  Sound OK?  If not, repeat
until you're happy with it.  Once it sounds like what you want, merge track #8
into track #1, remove the MIDI cable, set track #1 to LOCAL and you now have a
nice fade recorded into that track.   To clear track #8 out, all you need do is
go into EDIT TRACK and remove controllers.  This leaves the track defined but
empty.  Or, if you're not going to modify any other tracks, you may want to
simply erase the track.

You may be wondering why this works.  Get out your manual and you will see that
while in MULTI mode, if more than one track is set to the same MIDI channel,
only the lowest number track will respond to that channel.  In our setup, we
had a pad on track #1 and CV pedal on track #8, both set to MIDI channel #1. 
By patching MIDI OUT to IN, the CV data on track #8 was sent out on MIDI
channel #1 (since we assigned that track to MIDI) and track #1 will receive it
on the same MIDI channel (since we assigned it BOTH).  Actually, track #1 also
gets extra note-ons from its own sequence data being looped back over MIDI!  As
a result, while dubbing in the CV data you will sometimes hear  weird voice
stealing or doubling sounds.  Don't worry, you're not actually recording on
track #1, so the final sequence won't have those problems.  What if the track
we want to adjust is not local to the ESQ?  Simple, instead of BOTH, we would
have assigned track #1 MIDI.  To loop around OUT to IN in such a case may
require use of a thru box, depending on your individual setup.

Fade-ins, and swells in either direction are also possible.  Some tips here:
For fade-ins at the top of a sequence, a good way to avoid a glitch at the
first beat is to add an empty bar to the head of the sequence, and in the
middle of this empty bar, go from ODUB to REC and rock the CVP-1 from full on
to full off, so that the volume entering the new bar 2 (old bar 1) is zero.  
Then when you're done, delete the empty bar 1, and you'll have a glitchless
transition into the sequence.  If you find that adjusting volume from the CVP-1
isn't your cup of tea, it's simple to wire up a 10K pot to a cable, plug this
into the CV pedal jack and now you have a knob "fader" for making dynamic mix
adjustments.   Also, try to always use track #8 for recording the CV data.  You
have to use a track numbered higher than the one you want to control volume on,
so why not pick the highest numbered track for that purpose?  Also, it's a good
idea to save the sequence off to disk or tape, or at least copy it over to
another sequence location before starting to make volume adjustments so you
won't accidentally lose any note data.  Actually, that makes sense for any
serious editing you plan on doing!

One thing that you'll probably find interesting is that if you are viewing the
mix subpage on playback, you'll see the mix level update itself every bar on
the display!  Unfortunately, you can't get to the mix subpage while recording,
so while it's simple to set the starting level for a swell or fade,  the end
level will have to be done by ear.

This same technique can also be used for overdubbing controllers other than the
CV pedal,  like pitch bend  mod wheel, sustain pedal, etc.  If you have a hot
take marred by a pitch bend goof, you can remove all controllers from the
track, then overdub a corrected pitch bend easily.  The only controller you
can't overdub this way is aftertouch because it requires triggering a key
event. You can also do cool things like have synchronized pitch bends on
different instruments.  By recording a track with pitch bend data and merging
it to multiple tracks,  each track will have an identical pitch bend.
    
    							Brian

    Thanks Bri,
    
            Thanks for putting that all in! A very well written proceedure.
    I'll hafta try this. 
    
          Frank

    Brian,
    
    You ought to submit that to the Transoniq Hacker.  They pay $50
    an article and yours is easily as well written and interesting
    as 90% of the stuff in there.
    
    	db

    Just noticed an odd bug this weekend in the sequencer.
    
    When doing a "delete" of a large chunk of sequencer memory (tens of
    Kbytes) I heard a rising sine wave at low amplitude come out of the
    synth!  The larger the deletion in bytes, the longer the sound
    persisted.  It didn't start right away, so once the deletions got small
    enough, it went away.  
    
    Has anybody else noticed this?
    
    FWIW, I just got upgraded from V1.7 to V1.8 and hadn't noticed this
    before the upgrade.
    
    							Brian

    I've noticed that sometimes it makes noise when doing certain
    non-playing functions but I never regarded it as a bug because
    it only happens when nothing important is being done with the
    audio outs.
    
    BTW, do you know what the difference between V1.7 and V1.8 is?
    
    I just had mine upgraded as well (they upgraded it when they repaired
    it) but I didn't get any documentation (must be Unix based ;-) )
    and I haven't stumbled across any obvious differences.
    
    Perhaps it's just bug fixes.
    
    	db

    Dave, 
    
    I called Ensoniq about V1.8 vs. V1.7 and they said it's only bug fixes, no
    functional changes.  Supposedly dealers get a sheet listing all upgrade
    details, check with Daddy's.  
    
    							Brian
    
    

    As I have never encountered a bug in Ensoniq product, I'm not
    particularly interested in finding which was fixed.
    
    Now if Roland would provide that for my disturbingly buggy sampler,
    I'd definitely be interested.
    
    Caveat: I am running old software on the Roland.  Why?  Because I can't
    find out how to get new software.  Roland says get it from the dealer,
    the dealer can't get Roland to tell them how they can get it.
    
    Sigh.  "Buy american" is making more and more sense.

    Saw an ad in the new Transoniq Hacker for the holy grail, a rack-mount
    SQ-80.  Remember all those previous replies about stuffing SQ-80
    waveform ROMs into an ESQ-1....Apparently the factory hacked up ten,
    count 'em, ESQ-M modules with SQ-80 ROMs.  Some guy is entertaining
    "offers" on one.
    
    So it could be done...
    
    						Brian

    I have posted a public domain patch librarian that runs on the Amiga up
    to MIDILIB.  It is called ESQ1_0.LZH, and must be decompressed before
    using.  The decompressed docs are available in ESQ_DOC. (note no
    extension!)
    
    The program is mostly mouse driven and allows up/downloading of patch
    banks.  The sequencer bank up/download feature will not work with the
    SQ-80 because of the different file structure, but is OK for the ESQ-1.
    
    							Brian