Conference napalm::commusic_v1

    I will be using my EPS in a performing environment. I have a simple.
    perhaps obvious method of setting up the synth.
    
    Since I have a 2X memory I need two disks to fully load the EPS.
    I have installed the OS on both of them, this way I can insert either
    one and be ready to go. I loaded four programs into positions 1-4
    then saved them to the first disk. Making sure that positions 5-8
    were empty I SAVEd BANK. Next I deleted positions 1-4 and loaded
    the next four programs into positions 5-8. After SAVEing INSTRUMENT
    for all four to the second disk, I then SAVEd BANK to the second
    disk.
    
    Result: On Power up I grab a disk and throw it in. After the boot
    the system displays the first BANK it sees. All I have to do is
    hit YES/ENTER to begin loading the first bank of instruments. Next
    I put in the other disk, and hit LOAD, INSTRUMENT, DOWN ARROW,
    YES/ENTER. This loads the second bank, (and fills the remaining
    program positions.) 
    
    Make sure that the BANK is the last thing you save. That way hitting
    the DOWN ARROW gets you to the BANK file immediately after hitting
    LOAD, INSTRUMENT.
    
    						Mark
                                                    

    The main volume fader should be kept in the full up position for
    maximum dynamic range of a program. The data slider can be used
    as a fader for any selected instrument while that instrument is
    in the display. Note the volume level indication in the display.
    It will read from 0 to 99. 
    
    Potential Problem: Be aware that the system sometimes glitches.
    If you have the data slider in any position and then select an
    instrument, the system does not read the data slider to determine
    volume level *right away*. It will wait until you move the slider
    *OR* will choose some random inopportune time to do so. The result
    can be a sudden shift in volume level for the selected instrument.
                       
    Recommendation: When performing and making program selections always
    keep the data slider in the full on (99) position.
                                                      
    
    					regards,
    					Mark

    I assume that the Sequencer on the EPS is roughly the same as the on
    on the SQ-80 and the ESQ-1. Can Sequences be shared with these other
    Ensoniq systems??

							    Jens

    The sequencers on the EPS is significantly better than the one on the
    SQ-80 and the ESQ-1 (which are the same except that the SQ-80 has
    double the # of sequences and songs).
    
    I don't know much about the EPS but I do know that:
    
    	o You can create MIDI layers in the sequencer (I believe each
    	  track can send out on several MIDI channels; perhaps with
          different patch and/or volume for each channel).
    
    	  This is a great advantage for layering sounds as well as
    	  system controlling functions.
    
    	o With the latest revision of the software, the EPS allows
    	  real-time MIDI volume mixing.  On the SQ-80, the MIDI volume
    	  is a fixed setting on each track.  On the EPS, you merge
    	  MIDI volume information with the actual track (notes, 
    	  controllers, etc.).   That is, it's sorta like one of those
    	  automated MIDI mixers except that it only does volume (no pan,
          eq, efx send, etc.
    
    The EPS is really a hot machine, very functional, and very easy
    to use.  At times I wish I had got one instead of an S-550,, but
    only at times (like when reading the S-550 manual, or recovering
    from a crash, etc.)  I still find the video interface, optional
    SW, rack-mountedness  and free library of the S-550 to be a big win 
    though.
    
    I.E. a typical Ensoniq product: easy to use, excellent quality,
    incredible features at a low price.
    
    	db

    
    re: .-2, .-1
    
      The EPS sequencer is considerably different than the ESQ/SQ80
    sequencers. .-1 tells some of it. It is much more usable in general,
    although I'm a spoiled brat and use KCS most of the time anyway.
    
    re: .-2
    
      Actually I think Dave Orin has the best of both worlds. He owns
    one of each.
    
    /pjh

    I would *greatly* appreciate someone taking the time to go over
    the differences between the EPS sequencer and the [E]SQ sequencer.
    
    Oh please oh please oh please????
    
    	db

 OK, I was hoping not to get into product comparisons in this topic
    (sigh :-| ). I was hoping we could stick to User Information as
    would be found in a Users Guide. Oh well...this is sort of related.
    
    I owned an ESQ-1 and now own an EPS. Here are some of the differences.
    Perhaps an SQ-80 owner can fill in the third column. Here are some
    of the major differences.
    
    	   			ESQ-1  EPS
    ---------------------------------------
     61 keys                     YES   YES
    Velocity sensitive 		 YES   YES
    Poly Aftertouch	         NO    YES
    Disk Drive			 NO    YES
    Tape Drive interface         YES   NO
    Sync to Tape		 YES   NO
    can stripe tape   		 YES   NO
    Sampling			 NO    YES
    MIDI IN			 YES   YES
    MIDI OUT			 YES   YES
    MIDI THRU			 NO    YES
    Stereo/Mono Audio outs	 YES   YES
    Headphone Out                NO    YES    
    Pitch Wheel			 YES   YES
    Mod Wheel			 YES   YES
    Patch buttons	         NO    YES    
    SCSI Port available		 NO    YES
                             
    The ESQ1 holds 40 sounds in internal memory. 80 more are added by
    plugging in a cartrige. Some third party vendors sell cartriges
    with 160 sounds in two halves. There is a switch that is used to
    select the "A" side or "B" side. Selecting a sound of the ESQ consists
    of selecting a "bank" (Internal, Cart A, Cart B), and a bank (1-4).
    In other words you push at most two buttons to get sound. Both programs
    and sequences can be loaded/stored via the tape interface. In practice
    this is slow and a bit cumbersome. It is impractical for performing.
    
    A seperate split/layer page allow you to either split the keyboard
    between two sounds, or layer two sounds over the keyboard or, split
    *and* layer two sounds over the keyboard.
    
    The EPS holds up to 8 sounds in memory at a time. These sounds must
    be reloaded whenever you power up. Once loaded, sounds are selected
    by pushing 1 of 8 program buttons. Double clicking a button layers
    it with any previously selected sounds.
              
    Both synths allow heavy duty control over a MIDI setup. Both make
    it possible to send and receive data over various channels. The
    EPS has additional capabilities in that various system parameters,
    program changes, etc... can be stored *within a sequence!* This
    means that as you play a sequenced song, your fingers need never
    leave the keys. All of the program changes, splits, layers, whatever,
    can be built into the sequence.
              
    Both synths are great for performing but the EPS has a significant
    edge with its additional capabilities.
    
    Both synths are very good for recording, but I would give the edge
    to the ESQ-1 because of its tape capabilities. I also think that
    the sequencer interface on the ESQ is a little easier to use. (I
    don't think the SQ-80 has the same tape interface as the ESQ-1.)
    On the other hand an EPS with a third party tape sync box would
    be better than the ESQ-1.
    
	For composing both synths have an *adequate* sequence editing
    capabilities. To do serious work you would really want to use a
    computer hookup, HOWEVER, my definition of serious is something
    on the order of professional work. You will be able to do quite
    a bit with either synth. The EPS does have one extremely nice
    capability over the ESQ-1 in that in addition to everything else
    the EPS allows you to ADD to a sequence. To accomplish the same
    thing on the ESQ you would have to record two tracks then merge
    them together. The EPSs ADD feature saves the step, and a track.
    
    OK I hope that this has helped. There must be more that I missed.
    Someone else can fill in.
    
    				Regards,
    				Mark
    

  
    Well, actually I was not looking to compare a sampler to a synthesizer.
    
    I wanted to know specifically how the EPS sequencer differed from the
    [E]SQ sequencer.  You did mention some of the things it will do that
    the ESQ won't, but I'd like to know how the layout of the sequencer
    differs.  Just from the features you mentioned and my perusal of
    the keys on the unit, I know that it has to be very different.
    
    	db

    
    Dave, I will fetch the manual(s) and type in the exact differences
    tomorrow. I haven't been near the ESQ or the EPS manuals, I don't
    normally bring them to work (and I don't normally NOTE from home,
    and never from the studio) ;^)
    
    /pjh

Apologies offered for any errors I am working from memory.
    
    Differences between EPS and ESQ sequencers.                       

    With both sequencers, recording a track is basically the same. You select
    a sequence, and track, and then hold down the RECORD button while
    pushing the PLAY button. Both systems allow you to turn on a click to
    keep the beat. The EPS allows you to control the click volume and pan.
    It is a small thing but, as an ex-ESQ user I really appreciate that.
    The EPS allows you to select how you are going to record: in ADD mode
    (overdub), or REPLACE mode. The ESQ only allows one record mode which
    is equivalent to the EPSs REPLACE. Not a big deal, just a nice extra
    feature. 

ESQ sequencing (max 30 sequences, max 10 songs)

    Song/Seq button makes 3 pages of 10 "slots" for sequences available. A
    forth page holds up to 10 songs. You select a "slot" for your sequence.
    each sequence can have up to 8 tracks/instruments. Songs are created by
    combining sequences through a process of Insert, Delete sequence. Up to
    10 songs can be created at once, although memory will probably run out
    before you get that many created. Songs and sequences must be stored
    to tape, a process that takes 2-3 minutes.

EPS sequencing (max ??? sequences, max 1 song)
   
    Sequences are created by COMMAND, SEQUENCE/SONG then scrolling to the
    CREATE SEQUENCE page. You can put down 8 tracks/instruments, in each
    sequence (same as ESQ). Songs are created by getting to the EDIT SONG
    STEPS page then INSerting or DELeting sequences. Unlike the ESQ you can
    create your own names for the sequences. This can be handy if you want
    to store your songs as complete sequences. I think the number of
    sequences is only limited by available memory, (ESQ is 30) however if
    you ever get to the point where you need to worry about this you'll
    really be needing a computer anyway. 
    
One song limit is not a problem.
    
    Although the EPS limits you to one song in memory at a time it is
    not a problem. If you put complete songs into your sequences you
    can, in effect, have many more than one song. A better way to deal
    with this is just to load the new song from the disk. My longest
    songs take no more than a second or two to load. Many songs can
    fit on one disk.
    
Ease of use    

    IMO the ESQ sequencer is a bit easier to use because everything is
    "right there" at the click of a button. On the EPS you have to scroll
    through edit pages to find the one you want. However *if* you can
    remember the page # there is a way to get there more directly. The EPS
    sequencer is more flexible/powerful but slightly harder to use. 
    
Other considerations

    At their hearts both systems offer very similar sequencers. However
    comparing the EPS sequencer to the ESQ sequencer is a bit unfair in
    that the EPS offers much more power. With the EPS you can store your
    system parameter and program changes within your sequences/song. For a
    serious performer who would want to make heavy use of sequencing during
    the performance, this is too valuable a feature to pass up. For the
    person going into a recording environment there are other ways to do
    the same thing without an EPS so it wouldn't be so important. 

Recommendations: 

    Both systems are excellent. If money is a problem go for the ESQ-1 and
    be happy. If you plan to do serious performing and use sequencing you
    should only consider a system with a disk drive such as the EPS (or
    SQ-80). I haven't addressed the issues involved with sampling vs
    program cartridges. Let's save that for another day. 
    
    
    					Regards,
    					Mark
    

    Mark,
    
    That's exactly the kind of information I wanted.  It sorta looks
    like they have the same basic internal architecture, but that the
    user interface to it is different and there's a few more bells
    and whistles (ADDing to a track, named sequences, etc).
    
    One thing I'm not clear on is the MIDI layering which I know it
    can do.
    
    On the [E]SQ, a "track" *is* a MIDI status, a MIDI channel, a
    MIDI volume level, a program number, and MIDI note and controller
    data.
    
    Is MIDI layering imlemented on the EPS by extending the notion
    of a track to be several MIDI channels?  Does each channel have
    its own MIDI volume setting and program #?
    
    Or is the layering done in some other way ("performance data" ala
    Yamaha)?
    
    thanks again,  my interest is genuine,
    
    	db

    re: .11
    Sorry db you got me. I sold all of my other MIDI gear to get the
    EPS so I haven't ventured into these areas *yet*. Haven't needed
    to. I *know* that, there are other EPS owners out there that should 
    be able to help.
    
    Dave O., Mike L. where are you? 
    
    As for the layering... Two or more sounds can be layered by double
    clicking the buttons. I do not yet understand how this affects the
    MIDI interface. I did try hooking up my DH-100 to the MIDI in port.
    (digital horn from Casio). The horn played whatever program I had
    selected at the time.
    
    Internally the sound programs are constructed at three levels. The
    lowest level is the Wavesample. One or more Wave samples are combined
    into a Layer. There are up to eight of these "layers" available
    for each program. One or more layers can be assigned to a Patch.
    Usually various combinations of layers are used. There are 4 patches
    available for each program. The patches are accessed from the two
    patch buttons above the pitch and mod wheels. (Stepping through
    the various binary combinations of the two patch buttons yeilds
    the four different patches.
    
    These patch buttons make the EPS incredibly expressive. By properly
    setting up the patches you could, for example, play a sax solo,
    and switch in a sax "growl" where appropriate. Or you could patch
    in a sax that glisses up to the selected note.
    
    I don't think I have answered your question about how this affects
    the MIDI port. Thought you might appreciate this info though. Again
    I hope some ofthe other EPS jockeys will help out.
    
    		Mark

    
    re: .-1
    
    layering and MIDI port are not related. You really mean "stacking"
    by what you describe, as "layering" is something else altogether.
    
    In the EPS, you "layer" by essentially making a copy of your
    instrument's control data (not necessarily the actual wavesamples,
    though) and you can then specify the balance of your layers, based
    on a large number of parameters (velocity, EG, mod, etc). "Stacking"
    is when you take more than one INSTRUMENT (which may consist of
    wavesamples and multiple layers) and tie them logically together.
    
    How this affects the MIDI port is dependent on how you tell the
    EPS to do MIDI. The EPS has two basic MIDI/instrument relationships,
    one where transmit is based on instrument 1's MIDI channel (every
    other instrument is an offset of that "base channel"), OR, each
    instrument specifies it's own channel. By stacking instruments,
    you defeat the smart MIDI feature in that the first instrument in
    the stack receives the MIDI (or the currently selected instrument
    governs the receiving channel; if it's confusing to you, well, it's
    confusing anyway).
    
    In any case, you can also clone instruments to make pseudo-tracks.
    This takes up two blocks per cloned instrument. The sequencer allocates
    a track for each cloned instrument, and you can specify (via the
    TRANSMIT ON=INST parameter) what the send/receive channel is for
    each instrument. 
    
    what Mark has done with his DH100 (which only transmits on CH1)
    is probably because his MIDI mode is set to OMNI. For mine, which
    is set to MULTI, the DH100 will ONLY play instrument 1, or whatever
    instruments are set to receive on CH1, and I don't have to have
    it "selected", allowing me to select a different instrument on the
    keyboard but have someone else play the sax. 
    
    The patch buttons are MIDI controller numbers 70,71,72,73. The
    controller off events are 30,31,32,33, I think.  These
    allow configuration of layers (which are configurations of
    wavesamples). It is a bitmap. They are received for each channel
    if MIDI mode is set to TRANSMIT ON=INST or they are received on
    CH16 if TRANSMIT ON=BASE is set (which also makes them global).
    The point of layering is not necessarily to "stack" sounds. It is
    to "select" new configurations of wavesamples. This allows you to
    not only make sax digs and growls, but you can make layers that
    have other characteristics of the original layer (like flanged piano
    or stereo reverberated piano) and you can lock them in by holding
    the patch button and the instrument button at the same time. This
    can also be done via MIDI by sending controller 70-73 depending
    on which patch you want. The "control layering" is really nifty;
    you can essentially map more than one layer to your wavesamples,
    saving mongo memory, but by changing how you control the wavesamples
    in each layer, you can do some pretty interesting effects. This
    includes different looping techniques, stereo effects, and
    filter/envelope effects. 
    
    All can be changed as parameters via either SYSEX registered parameters
    or controllers, depending on what you are changing. Program change
    selects different instruments or loads them from the current disk.
    
    I have never tried to record SYSEX info on the EPS sequencer.
    
    /pjh
    
    The sequencer will record controller information on a per-instrument
    basis. This also goes for all other controller information being
    seen at the MIDI IN port. You may record  over MIDI from another
    MIDI controller by making a MIDI instrument (takes 2 blocks) that
    has TRANSMIT ON=INST set. I believe this is not different from the
    ESQ-1. 
    
    Aftertouch can be recorded. Takes lots of space. 

    Maybe I am missing something in all this midi talk but...  You cannot
    that I know of, stack instruments for sequencing.  You may have
    2 or more instruments stacked but when you go to record in the
    sequencer it blows away your instrument selection except for your
    main (first picked) instrument.  The way I have been getting around
    that is to figure out what I want, record 1 track with one instrument,
    then copy that track to the one pertaining to the other instrument(s)
    I want to stack.  Are you saying there is another way to do this?
    I would like to know how!
    One thing that gets me is that the more stacking I do the faster
    I run out of voices - when I did not need to, so I don't stack often.
    I also have a question - after putting a bunch of sequences into
    a song I would like to change the volumes of given instruments.
    Since the volume is recorded along with all the other data I have
    only figured out 3 ways to do it so far:
    	1. change the instrument layer volume for all needed layers
    	   (pretty drastic just to change the volume)
    	2. step edit the tracks
    	   (way to much of a pain)
    	3. rerecord the track
    	   (heck - I hate doing this :-))
    Better yet would be to get the 8 out expander and use my mixer
    but even then I do not look forward to loosing the stereo panning
    you can do with the EPS (lotsa nifty tricks here).
    Any help would be great,
    Tim
                                          

    
    re: .-1
    
       You're right, you can't stack instruments on a single track in
    the EPS sequencer. You can via MIDI though (I do it all the time
    from my 1040ST).
    
       Have you noticed on many of the newer demos coming out that there
    are cloned instruments all over the place? Mostly for drums, or
    multisampled instruments?
    
       Yes, when you stack you start losing effective concurrent voices-
    especially when you are using complex (multivoice) timbres. Not
    much you can do, until the hardware catches up with your desires
    (will that ever happen, I wonder?)
    
       about EPS track volumes:
    
       What is the difference between channel volume and note velocity?
    
    one gets recorded with each note, the other governs the overall
    output. This can be adjusted within the EPS (there is a parameter
    for it, but my mind is fuzzy this a.m. and I can't think of it offhand)
    or, as you said, you can get the output expander and run it through
    your M-160 to get your stereo panning...
    
    Don't go changing parameters unless you have cloned the instrument,
    in which case you can change all the parameters you want, and it's
    not as drastic as you might think.
    
    /pjh

    What's the transpose range on the EPS?  That is, can it sample at
    c4 and play at c1-c7?  Or only up to c5?
                       
    (reason I ask is that I recently found out a certain "other" sampler
    could only play the sound up to one octave higher and two lower
    than the original sample came in at.  Grrrr...
    
    	-Bill

Bill,

>    What's the transpose range on the EPS?  That is, can it sample at
>    c4 and play at c1-c7?  Or only up to c5?
                       
I haven't found any limit to the transpose range on the EPS so far. After
taking a sample, you assign the root key. Later, when you create the
keyboard splits, you can change the root key and the keyboard range of each
wavesample between C0 and C8. I've only been using 29.8 khz and 31.25kz
sampling rates though. There may be some limitation in the upper range
when using the higher sampling rates due to freq response, sample and filter
clock rates, etc.

The S550 limits you to 2 octaves above the root key, but does not prevent
going down to C0 below the root key.

dave

< Note 1793.16 by CTHULU::YERAZUNIS "Don't make your personal name too lo" >
>                       -< How far can the EPS transpose >-
>    (reason I ask is that I recently found out a certain "other" sampler
>    could only play the sound up to one octave higher and two lower
>    than the original sample came in at.  Grrrr...

    Well, that 'other sampler' probably needs the Emax 'SE' software
    rev.  features sample transposition.. moves the base sample anywhere
    you want.
    
    karl

    The EPS uses some kind of 'pitch table', I think when doing the
    transpose across octaves.  Any EPS folks out there understand this
    and use anything besides 'standard pitch table' ??
    -Tim
    

    
    re: transposition
    
       It is possible with "Transpose" to transpose a C4 root to C1
    or C7. Of course, C1 sounds kind of like a whale farting, with the
    aliasing noise all audible and all. Transposition works on half
    steps at a time, although you can drop a sound an octave at a time.
    
       You also get a transposition free of charge when you "convert
    sample rate" on a wavesample. You can then transpose back up where
    you want to.
    
       I'm not well-versed on the more esoteric uses of the pitch table,
    but I have futzed with it enough to totally screw up a work disk
    containing a piano sample, putting it into an alien temperament.
    
       I'll futz further and let you know more if you'd like.
    
    /pjh

    Has anyone out there bought the EPS 8 output Expander and looked
    inside?
    
    I looked at the jack for the expander. It has nine pins. Seems to
    me that this would be for 8 signal outs and 1 signal ground. I begin
    to wonder if the $250 expander is no more than a box with 8 jacks!
    (Then again I wonder if anyone out ther bought this and discovered
    I am right, would they be too embarased to admit it?)
    
    Soon as I find the time I'm going to put the O-scope on the output
    port and try to figure it out. Could be a way to save about $200!
    
    		regards,
    		Mark

    
    No I haven't checked, although I am at the point where I need something
    more than two outputs... I'd be real interested in what you find
    out.
    
    /pjh

    RE: -.1 -.2
    
    The Transonik Hacker (sp) had an short bit on the EPS, in there
    the writer discusses the insides of the box in vague detail :-).
    Very frustrating that he knows exactly how to make the 8-out as
    well as how to throw on a scsi port - but he doesn't say it.
    Anyway, I've been meaning to post this with the actual facts from
    the 'Hacker so some hardware type persons could help us out.
    The 9 pins are *not* 8 out with a ground.  The thing is pretty neat.
    The sound is actually multiplexed from a single differential out
    on a clock signal, and then panned by another cicuit on its way
    to the actual output amps (I think).  Check with your local saleperson
    for the latest few issues of that 'Hacker (if they have them) and
    you'll see the article.
    Just to get you started, the pins contain:
    	clock, diff out1, diff out2, pan1, pan2, pan3, ground, +12v
    and -12v.
    The clock is for switching off, diff out1 and out2 are the differential
    outputs, the three pan pins are used to switch the final output
    to 1 of the 8 outs (that table is also in the article) and then
    your power and ground.
    Sorry for jumping in without specifics but this is also something
    I have been really wanting to do also!  Maybe by the time I get
    back from vacation you'll have a posted circuit?  Do the scsi port
    while you're at it!
    -Tim
    

    re: .23
    
    
    
    Tim,
	The following is better than a WAG but DO NOT take it as truth.
I is a first pass semi-educated guess at what the box might contain. I am
extrapolating based only on the pin outs that you provided.
    
Lessee... as a semi educated guess the circuit probably looks something
like this:

		       ----------------	
CLOCK -----------------|CLK            |------- CHANNEL1
                       |               |
                       |               |------- CHANNEL2
PAN1  -----------------|ADR0           | 
                       |               |------- CHANNEL3
PAN2  -----------------|ADR1           |  
                       |               |------- CHANNEL4
PAN3  -----------------|ADR2           |   
                       |               |------- CHANNEL5
                       |      1:8      |    
            |\         | DEMULTIPLEXER |------- CHANNEL6
DIF OUT1 ---| \        |               |     
            |  >-------|DATA           |------- CHANNEL7
DIF OUT2 ---| /        |               |      
            |/         |               |------- CHANNEL8
       DIFFERENTIAL    ----------------
        RECEIVER                                        



                     |\
                     | \
CHANNEL(x) ----------|  >--------------- CHANNEL1 OUTPUT (to output jack)
                     | /
                     |/
             AUDIO OUTPUT DRIVER
                 
GROUND - goes to the ground pin on all chips and to the ground post on all
         the output jacks

+ and - 12v would be used on the output drivers and hopefully on the
            demultiplexer as well to avoid a voltage conversion.

Now the next step is to find some chip manuals and determine what type of
demultiplexer and output drivers to use. The parts list would look something
like this. *part prices here are a total WAG!* I offer them here only as
a starting point for someone (else) to pursue further.


	qty   Part 			  cost each    total
	----------------------------------------------------
	 8    1/4" female jacks              $1.00     $8.00
	 1    demultiplexer                  $2.00     $2.00
	 1    differential receiver          $1.00     $1.00
	 8    output drivers                 $2.00    $16.00
         1    homemade PC board              $4.00     $4.00
	 1    box to put it in               $4.00     $4.00
         1    9 wire shielded cable          $3.00     $3.00
	 1    9 pin connector                $5.00     $5.00
	 1    strain relief	             $0.50     $0.50
	 4    rubber feet                    $0.25     $1.00
	10    decoupling caps                $0.50     $5.00
	--    misc mounting hardware         -----     $1.50
	----------------------------------------------------
				       PARTS TOTAL    $51.00 
                                                  

Once the chips are selected a schematic would have to be drawn up. It wouldn't
be much more complicated than what is shown here but would include pin
assignments for the chips. Then the PC layout and drilling would need to be 
done. For small quantities you can get a do-it-yourself etch kit from Radio
Shack. Follow that with stuffing and soldering the board. Finally mount
the whole thing in the box and voila you have just saved $$$ (if it works.)

I repeat this is all speculation and rough guessing. Based on the parts
cost and the industry standard markups this box should be selling for from
say... $100 to $150. If you can dicker them down a bit, or wait, you will
do just as well to buy the box. I wouldn't pay list ($250?) but I would
be willing to pay $150 for it if I needed one. 
         
To anyone else, feel free to adjust and add to this. Hope it will be useful
to someone.

	regards,
	Mark

    NO NO NO!!!  
    
    Most 8:1 bidirectional latches kick the unselected channels either into
    a high-impedance state or to ground.
    
    In the first case, you'll just pick up a lot of hum and interference.
    
    In the second case, you'll generate a HUGE signal at the sample
    output rate.  HUGE as in louder than you could possibly want- and
    it will be at the sample output rate as well, which means that you
    will blow your tweeters into glowing radioactive dust in a matter
    of seconds.
    
    What you need to do is to add a sample-and-hold to each of the
    outputs (between the output of the mux and the output buffer amp.
    
    For these frequencies, it's adequate to just do something like this:
    
    1) add a second MUX whose input is tied HIGH (call this the select
    MUX.
                      
    
    And add to each of the signal channels:
    
    from signal mux             |\ buffer amp.         to chan output.
    	---------BDS------------| >----------------------
                  |     |       |/
    ---------------     |
    from select mux   =====.1 microfarad
    			|
    			|
    		      ground                                     
                            
    BDS here is a BiDirectional Switch- a CMOS part that usually comes 4 to
    a DIP.  It acts like a tiny solid-state switch- connecting the two
    signal wires with about 60 ohms impedance when the control input
    is ON and insulating them with about 30 megohms when the control
    input is OFF.  They are cheap- about $2 per chip, and you need 2
    chips. 
    
    That ought to work a little better.  Worst case is that you'll have
    to add a second op-amp buffer between the signal amp and the BDS.
          
    	-Bill

    On thinking some more about this:
    
    You might be able to get away without the BDS's if the 8:1 MUX is
    the kind that kicks into high-impedance (hi-Z) on the unselected channels...
    just add that filter cap to each of the channels.
    
    If your muxes pull the unselected outputs LOW (not hi-Z) then  
    you still only need 1 - it turns on and off the BDS's and all BDS's
    get their input directly from the diff amp.
    
    The diff amp itself needs some thought- you can't just connect an
    op-amp in there.  You need some front-end circuitry to convert a
    differential signal to ground-referenced.  
    
    	-Bill
    

    Have any of you EPS owners received the new owners guide yet?
    
    				Mark
    

re: .-1

 	Yup. Seems to be smaller than I had anticipated; such as it is with
	overhype. Has a lot of content, and appears to be useful.

	I got mine during Christmas "break".

	Unfortunately for me, my EPS has developed a nagging habit of crashing
	after about an hour of use... seems to be thermal.... glad the
	warranty is 1 year, I'll let people know the status when I
	find out.

	/pjh

Mark,

I called Jeff at Union. He said that several owners report having received
the new manual, and he has a copy at the store. He is going to photocopy
the new sections for me. I am going to purchase the 8 output expander this
week because I have a recording project going, so I will reverse engineer
it as much as I can and post the results asap. Jeff quoted me a price of
$210.

dave
    

re: .28

Paul,

Mike Lynch had the same or similar problem as you described. When he
listed the symptoms, the factory rep said "yep, it's a known component
problem". Apparently, they had a bad batch of components of some type.
Mike sent his back to the factory for a complete replacement of all
boards. I guess they wanted to test it before they fixed it. It's been
gone for several months now, and was only a few weeks old when the
problem showed up. Your unit is much older than his though, so it may
not be related.

dave

    
    The TL082 and TL084 are JFET input op-amps (dual and quad,
    respectively)
    
    The CD4053 is a triple 2-channel analog demultiplexor.  
    
    The 74LS14 is a Schmidt-triggering hex inverter.
                                           
    The MC34085 is a decompensated quad op-amp.
    
    The 74HC148 is an 8-to-4 line priority encoder/register.
    
    
    	Sounds like our original plan was pretty close to target...
                 
    		:-)
    
    		- Bill

    Is there any way, on the EPS, to monitor the progress of a
    sequence/song while layering instruments?
    
    The other day I was playing a sequence and had two instruments layered
    to play along. When I hit EDIT SEQUENCE in order to see where in
    the song I was, it dropped one of the layered instruments. When I hit
    LOAD to get back into LOAD mode the layering returns. 
    
    I figure that the EPS does this because once you hit EDIT you might want
    to EDIT the an instrument and it selects one to be the edit instrument
    even though you go to EDIT SEQUENCE.

    Anyone found a way around this?
    
    					regards,
    					Mark
    

    
    
    re: .-1
    
    
    	No. Not the way you are doing it, anyway. When you go into any EDIT
    mode from LOAD mode, you lose the layering, because the EPS thinks you
    are trying to edit a voice parameter. To monitor the progress of a
    sequence/song, don't you  just hit the left arrow while playing and
    scroll to the monitor window?
    
    Layering only works in LOAD mode.
    
    /pjh

    re: .34
    
    Paul,
    	You are right about there being no layering unless you are in
    LOAD mode. Unfortunately there seems to be no way to monitor the
    seq/song that you have playing while in LOAD mode. Appears to be a bit
    of a Catch 22. I was hoping that someone here had found a way around
    this. I suspect that it will have to wait for Ensoniq to make a
    change in the OS. I'll have to call them to ask about this.
    
    
    				Mark

    Well, I still love my EPS even though the Keyboard Mag sampler review
    didn't give it great ratings...
    
    Fun Sampling Episode:
    A friend of mine made a wise-guy remark to me asking if I had made a song
    using the sound of a cereal box being opened in reverse.  So I took up the
    challenge and ended up using the sound of a box of dog bones being
    opened - we didn't have any unopened cereal boxes.  First step was to
    reverse data.  Easy.  Next step was to create a bunch of empty layers.
    Leaving my original reversed data in layer 1, I copied the wave sample
    -parameters only- to the new layers, once for each sound I wanted in
    the layer.  My aim was real simple, since this was the first time
    I was trying to do this stuff.  I assigned the 4 patches 1 layer each.
    Patch 1 = layer 1 = reversed unmunged wavesample and default params.
    Patch 2 = layer 2 = 3 copies of wave params only with keyboard range
                        split in 1/3s.
    Patch 3 = layer 3 = 1 copy of wave params only.
    Patch 4 = layer 4 = 1 copy of wave params only.
    
    Patch 1 I left alone so I could prove to my friend that the sound was
    indeed a box of dog bones being opened.
    
    Patch 2 (layer 2) I had split the keyboard range in 3 with 1/3 for each
    wave in the layer.  Then I changed wavesample start and stop points
    and narrowed in on the 'POP' sound of the box opening.  Voila!  Kick and
    snare drums are born.  In the middle wave I narrowed in on the 'RIP'
    sound of the wave - again voila - hi-hat is born.  In the top range
    (I left middle 'c' as the keyroot on all waves) I narrowed in on the last
    'zzzz-rip' of the wave.  Then after trying all combinations of looping
    and envelopes - I got a horrible approximation of white noise. Horrible
    sounding cymbols - perfect!
    
    Patch 3 (layer 3) Just one wave sample (params only actually) I narrowed
    in on the 'POP' sound again.  Then changed looping start and stop until
    I got a tone - without looping pops and noise.  Then I messed with the
    envelopes again and ended up using the factory 'wind ..' envelope -
    not bad in the lower pitches for bass.
    
    Patch 4 (layer 4) Same as layer three but I just left it as a tone.
    Sounds like a toy synth organ.
    
    Then I sequenced a song using my dog bone box instruments.  The handy
    thing is I only needed 1 copy of the instrument in memory and then
    copied it (not copy data) to 3 instruments.  I used the different patches
    in different copies.  Makes it small and easy to save and restore as a bank.
    
    
    Question:
    So having started learning where and how things are done in the EPS
    I realized I need to know more about this machine.  Do any of you
    EPS owners, in the Boston-Worcester-Nashua area, want to get together
    and have a show and tell?  Dave (Orin), there is an Ens. group that gets
    together at Union Music?  Any information on that?  Does any of this
    sound usefull to anyone else?  Any ideas?  I'd love to learn more about
    the EPS!
    
    Thanks,
    Tim
    
                            

	re: .-1

	Yeah, I still like mine, despite the apparent fact that it's a low
	scorer in Keyboard's "non-biased" review. At least I have manuals
	I can read, and it sounds fine to me. What do I know? ;^)

	I don't live in the Mass. area, but I am interested in continuing
	as much discussion as I can long distance. I do occasionally get
	down to Mass., although that may slow down due to Corporate spending
	limitations. 

	I also have oodles of samples I want to upload. 

	/pjh

    I'm still perfectly happy with my Mirage, the consummate low-scorer.
    
    Edd

    No, Edd, you don't understand.  In order to be happy with your
    equipment, you have to be dissatisfied with it.  See, that way when
    folks listen to your stuff and start to smirk at it, you can tell
    'em, 'Hey, it would sound better if I had equipment that was up
    to par with my talents ...'  After a while, this can even get a
    little $ympathy from your SO (winning by whining).  But, if you've 
    really decided to go against the well-established idioms of MIDIdom, 
    you can tell 'em, 'Hey, the Mirage is not *just* a sampler!  It's a 
    sampler *with* a distortion box, randomizer and high-band attenuator 
    already built in!'  You might even throw in some jargon about AI
    and humanization algorithms if the samples are bad enough.  ;^}
    
    Steve

    But the Mirage IS up to my playing ability!!!
    
    Edd

    re .38 et seq... - Keyboard said it right; the best way to think
    of the Mirage is as a synthesizer.
    
    len.
    

< Note 1793.36 by SMURF::NEWHOUSE >
                    -< Sampling fun, How can I learn more? >-

Sounds like you're having fun, Tim. Here's the latest info from Union...

New O/S:

O/S version 2.35 is now in and available for copying. It corrects several
problems...

1. A problem with APPEND SEQUENCE which would cause the system to crash if
   it exceed the memory capacity.

2. Corrects random distortion and pitch shift encountered during sampling!

I'm sure that Keyboard didn't have this version when they did the comparison.
Note that the EPS did quite well as far as OUTPUT noise and distortion were
concerned, when the samples originated in the digital domain using Turbosynth
and SoftSynth. I've noticed the same thing. When I transfer samples from
the S550, or Turbosynth, they sound perfect. When I sample something via
the audio in, I sometimes get inharmonic distortion and pitch shift. I have a
feeling that the problem has been in the software not the hardware.

4X Memory Expander:

Jeff says the Ensoniq 4X expanders should be available in about 2 weeks.
The price is going to be about $899. If you trade in your 2X it will be
about $600. This does not include the SCSI chip which is another $199
installed. There is a third party 4X/8X that will be coming out soon
(now in qualification at Ensoniq) from a company called PS Systems in CA.
The price will be about the same, but it will be expandable to 8X when
the EPS O/S is enhanced to allow for 8X capability.

>    Question:
>    So having started learning where and how things are done in the EPS
>    I realized I need to know more about this machine.  Do any of you
>    EPS owners, in the Boston-Worcester-Nashua area, want to get together
>    and have a show and tell?  Dave (Orin), there is an Ens. group that gets
>    together at Union Music?  Any information on that?  Does any of this
>    sound usefull to anyone else?  Any ideas?  I'd love to learn more about
>    the EPS!
    
The Ensoniq User's Group at Union is temporarily dormant due to Jeff Majeau's
wife having a baby recently. I've become a third party developer for Ensoniq
and have lots of samples that don't quite make it for resale but are still quite
useable, so I will be making those public domain to anyone who is interested.
 I enjoy having people over to my studio, and visiting their studios to talk
about, check out, and compare notes, as well as listen. Tim, if you or any
other COMMUSICERs are interested in getting together at my place or yours,
please contact me at SUBSYS::ORIN or DTN: 291-7094. I work in Marlboro, MA
and live in Hudson, MA.

dave

Daddy's Nashua has the rack EPS.  It looks to be about 3U high (anyway, taller
than a 2U high rackmount).  I didn't get to really look or play but it is
there if anyone wants a peek (or play).

chad

    
    somebody please tell me that the units which did so much better
    than EPS in "KEYBOARD" also cost thousands of $$$$'s more.  Please?
    
    "jackin' the house", Bob (still a novice)

    re:.45
    Sorry.  Except for a few in there they seem to be pretty close in
    price.  You might wanna take a look at notes 9 and 16 for prices.
    
    It doesn't bother me that much.  I happen to think my EPS sounds great.
    Also, according to Dave Orin's news on the new OS the *sampling* improves
    with 2.35.  Also, somewhere in one of these (EPS?) notes I listed a
    bunch of comparisons between some other units and the EPS when I was
    trying to figure out what to buy.  I chose the EPS not just for sound -
    but for the ability to start with something usable and then add in
    things when I needed them such as the 8-out expander, more memory, and
    a scsi port.  Other units (at the time) either packaged stuff in and/or
    bounded the unit.  Secondly, unless I'm just wishfully thinking, the
    EPS provides a much larger choice of sampling range, provides 20 voice
    polyphony, 8 instrument (127(*8?) wavesamples each) multibral, and has a
    freebie sequencer (8 tracks - 16 if you're grasping for features) that
    comes with the OS which is -very- nice to use.  All in all, maybe there
    exists some fine tonal quality difference - I can't hear it - but I got
    a unit that does more and grows more than most anything I could have
    bought in that price range.
    
    -Tim (and one lousy review has me doubting all this!! :-)
    
    
    
    

	re: .-1

	Don't doubt it. I am not convinced I could have done better at the
	time I bought the EPS, and I bought mine for the same reasons you
	bought yours. I personally think the EPS stacks up, and not just
	for reasons of price, but, then again, I am biased.

	/pjh

    re: .36
    Count me in if you want to have any get-togethers. I live in Stoneham.
    My main interest is in the performance capabilities of the EPS.
    Send me EMAIL. (btw check out my new node name :-) ;-).
    
    re: .47
    As far as sound quality goes... I have no complaints. Sure there
    are other samplers that sound better now but how much does this *really*
    matter when it's in the mix? 
    
    I bought my EPS mainly for the *functionality* of the beast. I have
    yet to see anything that comes close to it in this area. There are
    so many little details were done so well, like the way you can change
    programs *while holding down keys* and the original sound is not
    cut off. How about the ease with which the instruments can be layered,
    *even while performing!* How about the way presets can be set up
    to select all your programming needs at the touch of one button.
    How about the way you can continue playing *while songs and programs
    are being loaded!* How about the way it can be used as a MIDI
    controller!     
    
    I always figured I would be adding SGUs to my setup anyway. The EPS will
    allow me to control them with great ease. This will also take care
    of any sound quality problems. I might just pick up 2 or three used
    FB01s. They seem so cheap right now.
    
    For comparison, I was trying out the Korg M1 last night. Great sounds
    but you can NOT play along on the keys when a sequence is playing!
    In my book this is a MAJOR flaw which makes the M1's sequencer near
    worthless (to me). (apolgies to M1 owners in advance). Also when
    you play a sequence it deselects your program. This means that once
    you stop it you must re-select your program to use the keys again.
    I can't imagine using such a sequencer live. Give me my trusty EPS
    any day!
    
    All in all it has to depend on what you use your synth for. Some
    are better than others in different areas. The EPS works for me.
    
    
    					Regards,
    					Mark
    
    PS.  M1 owners: flame on if you must but please do it in the M1
    topic, not here.

I am having a problem doing a SYSEX load of D50 data from the EPS to the D50. 
Any ideas?  I dump the D50 data to the EPS with no problem; however, when I try
to load the D50 data back into the D50 nothing happens -- no error.  The EPS 
seems to be unable to handshake properly or something.  Roland says it is 
Ensoniq's problem and Ensoniq blames Roland.  I place the D50 into the DATA
TRANSFER page, press BULK LOAD, ENTER, D50 says "waiting" -- EPS says ENTER = 
SEND, CANCEL = QUIT.  I press ENTER on the EPS and receive the same screen.

HELP!!!!

Scott

Have you tried the non handshaked D50 receive?  BULKLOAD.0 or some such thing?

Chad who_doesn't_use_his_equipment_much_anymore_because_darn_school_homework_
     takes_too_much_time_and_the_ZK_physical_inventory_and_related_software_
     support_eats_weekends_in_24_hour_bunches :-(

I tried that too -- no go.  The EPS does not seem to be trying to send at all.
And the D50 is always "waiting"

Scott

    I've got an instrument editing question.
    
    I want to move a 1 octave range instrument from the upper end of the
    keyboard (where it is now) to the lowest octave. I am able to reset
    its range to the lowest octave, then I transpose the sound up 4
    ocatves so that I can hear it. (remember it only has a 1 octave range) 
    The problem is that this drasticly changes the sound. I have done this with
    other instruments with no problem. This one sound, "triangle", sounds
    like there are other parameters that are dependant on the keyboard
    position. Unfortunately I haven't been able to determine what they
    are. 
    	Assuming any of you can understand what I am talking about,
    would you care to guess at a solution?
    
    					Thanks,
    					Mark
    
    PS Dave O. - yes, this is *your* triangle program. 

    Mark,  I think what you might want to do is to change the keyboard
    range (as you have done) then instead of transposing it around
    you want to go in and change the root note in respect to your
    new range on the keyboard.
    You may or may not have to do it for all waves of the instrument.
    (I can't remember).
    Tim
    

	re: .-1, .-2

	He can change all waveforms under the edit mode. Just make sure
	that layers=A and WS=*.

	/pjh

The new sound disk libraries are becoming available for the EPS.
There are 8 sets of 10 @ $69.95 list each, and 6 sets of 3 @ $39.95 list each.
Jeff at Union Music says that he has sets 2,3,4,5 of the 10 packs. The 3 pack
"Signature Series" (Craig Anderton, etc.) are not in yet. Set 1 is backordered
and sets 6,7,8 will become available soon. I'm arranging to buy all sets at a
discounted price from Jeff. I suggest contacting him, if you are interested,
at (508) 753-3702. Apparently, two of the 10 packs are converted Mirage samples
and the other two sets contain, among other things,  an excellent
 _GRAND_PIANO_  (did I see those ears perk up? :)) which uses up over 1400
blocks, so you will need the 2x memory.

Jeff says that there are also some new EPS samples taken from the Korg M1
in the public domain library.

dave

	Oh yeah, and there is a great article in this months Computer Music
	Journal about hacking/modifying the pitch tables. This allows
	alternate temperaments (from what you get, which is well-tempered).

	I'll post a basic transcription when I remember to bring in the issue.
	It's the one with the Theremin player on it.

	/pjh

    Great News EPS owners!
    
    The O.S. has been upgraded again to rev 2.4
    This new O.S. includes several changes and bug fixes, but the one
    I got the most excited about is the COPY DISK function! Hooray!
    This new function is called up from the COMMAND/SYSTEM page as 
    COPY/BACKUP/RESTORE.
    
    Also included is a new Tap Tempo function. If you tap on the ENTER
    button while the tempo parameter is underlined and the sequencer
    is running, the tempo parameter will use the last interval between
    taps as the duration of a quarter note. (Nice, no?)
    
    Other news:
     	An EPS Audio Output Boost Kit is now available as a factory
    authorized upgrade. This upgrade kit boosts the EPS's audio output
    by 6 db. It is designed for EPSs with serial numbers lower than
    16582; all subsequent units already have this upgrade installed
    at the factory.
    
    The upgrade kit is free of charge from Ensoniq, and is available
    from and must be installed by your local Ensoniq Authorized Service
    Facility. You have to pay the labor charge though, as they don't
    consider this a warranty repair.
    
    How do I know all this? I just read it in the Transoniq Hacker.
    If you don't subscribe you should.
    
    		regards,
    		Mark

                    <<< Note 1793.57 by KEYBDS::HASTINGS >>>
                              -< Latest EPS news >-

I got an advanced copy of OS 2.39 (not official) and tried the disk
copy function with Frank Rene. It takes approx. 45 secs. to load a
full disk, and 45 secs. to make each copy. This is much faster than
loading individual instruments and songs and then saving them again.
My EPS needs the output boost kit. Jeff at Union says they have ordered
a number of these kits, and they should be available next month.
The Transoniq Hacker is a nice mag. I see where Craig Anderton has just
produced an album which makes heavy use of his EPS. He MIDI mixed and
recorded it straight to RDAT, as I've been doing. No more sync-to-tapes,
punch-ins, tape hiss, delicate mix-down sessions, reprogramming, patch
changes, etc. etc.

Here is some info on how the patch select (CC#70) works on the EPS:

From a MIDI controller or sequencer, you send a CC#70 followed by a
value in the following ranges:

00-31	both  buttons up    ( patch 00 )
32-63	left  button  down  ( patch *0 )
64-95	right button  down  ( patch 0* )
96-127  both  buttons down  ( patch ** )

I got this info from Joe Friel who is one of the software engineers on the O/S.
I haven't actually tried this myself. I reported the possible bug about
all instruments switching to the same patch when a CC#70 is received.
Joe did confirm that if your sequencer sends a patch change, it must also
send the patch 00 command at the end of the sequence to restore normal
operation.

dave

--------------------------------------------------------------------------------
Note 1819.0                       Help with EPS                        3 replies
CACHE::FONTAINE                                      34 lines  16-DEC-1988 11:37
--------------------------------------------------------------------------------

    A couple of questions for EPS owners. I have a converted mirage
    sample which was the Cellos and Violins disk. I wanted to cut down
    the size of the memory it used so I deleted layer 2 (which was probably
    just a pointer to the layer 1 samples anyway) and it released about
    10 blocks. I then tried to delete the wavesample in the upper half.
    Well it deleted it alright. Nothing sounded when I hit the upper
    keys, but it did not release any memory. I then deleted the wavesample
    in the lower half and nothing sounded anywhere on the keyboard.
    I knew the samples were gone but still the same amount of system
    memory was used. I then tried deleting the layer. System memory
    used went down to 2 blocks and the machine crashed. Is there something
    else that has to be done after you delete a wavesample to release
    the memory to the system.
    
    2. An article in the Transoniq Hacker that came with the EPS suggested
    a couple of ways to reduce memory usage. One was to change the sample
    rate of some of the existing samples(effectively re-sampling them)
    until the change was noticable using the keep old/new option. This
    did not appear to have any affect on the samples. I could not hear
    a difference in the old/new even when reducing samples down into
    the 6khz range. Anybody tried this.
    
    3. Someone wrote in a previous note that if you load an instrument
    while midi info is coming in on that channel that you get a stacking
    effect as the sample is being read in even if THAT INSTRUMENT IS
    NOT SELECTED. Is this really the case? Even with newer OS versions
    like 2.2? If so I plan on returning the thing as soon as possible.
    That completely kills the idea of loading as you play which is one
    of the main reasons that I bought the thing.
    
    Any help would be greatly appreciated.
    
    						Andre
    

--------------------------------------------------------------------------------
Note 1819.1                       Help with EPS                           1 of 3
PAULJ::HARRIMAN "they have to explain why you're ma" 54 lines  19-DEC-1988 11:54
                              -< whoa. Restate. >-
--------------------------------------------------------------------------------

    
    re: .-1
    
      Hmmm. Hopefully I can clarify earlier statements, I have a new
    (2.2) operating system and I have done a LOT more sequencing with
    the beast.
    
    re: deleting wavesamples
    
      Are you sure you got all the wavesamples? Try getting into the
    edit ws page and scroll to the WS= then hit keys and make sure you
    weren't working on global data. No doubt the second layer was a
    clone of the first layer, 10 blocks is pretty small for a wavesample.
    
      The crash doesn't make sense. Try a "truncate wavesample" to reclaim
    memory, it is the only reliable reclaim I have found.
    
    re: reducing memory usage.
    
      Oh, changing the sample rate should indeed have an effect on the
    samples! For starters it should change the effective frequency of
    the sample being played back, i.e. decreasing the sample rate should
    lower the base frequency (root frequency) of the sample. You should
    definitely notice that! 
    
      I use low sample rates when sampling voice, especially major
    multisampled voice phrases. Saves mongo memory. Remember to discard
    old copies. You may have wavesamples in the same instrument bearing
    different sample rates. Unless you open your filters, you may very
    well NOT hear much difference between samples! That's good, it means
    you can step down your sample rate!
    
    re: MIDI and the EPS.
    
       DISREGARD ALL PREVIOUS CONJECTURES REGARDING MIDI AND THE EPS
    WHICH I MAY HAVE STATED. IT WAS FOR A PREVIOUS OPERATING SYSTEM.
    
    Lots of bugs have been fixed.
    
    Currently, in a running sequence of incoming MIDI data, if you
    simultaneously load a sample to an instrument, it does not start
    playing until (a) it load completely, and (b) there is incoming
    MIDI data ON THAT CHANNEL, which is dependent on how you have set
    the EPS to receive data! YOU MAY NOT STACK CHANNELS. You may copy
    channels using your (outboard) sequencer, and play on multiple channels
    that way. In addition, you can copy (clone) instruments to make
    them receive on more than one channel, which occupies about 10 system
    blocks. You can certainly load while you are playing, which is one
    of the main points about the instrument.
    
    /pjh
    
    
    

Forgive me if this isn't the place for this. For all you EPS owners out 
there, how does a 4X Memory Expander for $400 sound? If you are interested 
send me mail or call me at DTN 226-2241 for more information. I assure you 
this is completely legal and above board.

Mike D 

    Andre,
    
           I owned a Mirage before purchasing an EPS. I knew you could 
    'convert' Mirage samples to EPS format. It is easy to play a converted
    Mirage sample on the EPS. I spent nearly a whole day (8-10 hours) one
    saturday trying to futz with the converted samples. The EPS does some
    wierd stuff to the data when it converts Mirage samples. I went through
    the exact scenario you described regarding deleting wavesamples/etc.
    What I eventually found was that the EPS converts all the Mirage
    samples in an upper/lower bank to TWO and only TWO samples on the EPS.
    I think they are sample #1 (lower) and sample #17 (upper). All the rest
    are just pointers. And you can't delete a wavesample if another is
    pointing to it. All converted Mirage smaples take up 534 blocks. Which
    splits into two samples of 249 blocks each, for upper and lower. You
    can delete only either one of these samples or both. I wasn't able to
    go into it any further. The way the Mirage interprets wave data is lost in
    the process.It may have taken 8 samples on the Mirage but when converted, 
    the EPS somehow squashes them together. A computer wave editor may
    provide more insight. My conclusion is that the Mirage conversion
    function of the EPS was an afterthought on Ensoniq's part. I still
    use a couple of Mirage conversion samples. I just use them 'as is' as
    the EPS has converted them. The Mirage's memory management is
    not efficient as the EPS's memory management is very efficient.
    Therefore a converted Mirage sample takes up a lot of memory compared
    to an EPS created sample which sounds a hell of a lot better to boot.
    Forget the converted Mirage samples!!! 
    
           Frank
    

Hi I've been thinking about getting and EPS. But I heard from someone that 
they are very susceptible to power line voltage variation failures and crash 
often when subjected to even small fluctuations. Since I gig a lot, this 
would be totally unacceptable for me, and I don't want to have to spend the 
money for and lug around some mammoth power line conditioner-type unit. I 
am already carrying too much stuff to gigs now. What the story from you 
guys out there who gig a lot with your EPS--any problems? Was there a 
problem with the earlier power supplies that has been fixed?

Mike D 

    Hi Mike,
    
          I've had NO problems with my EPS, and I gig alot too. It seems to 
    be pretty hearty when it comes to power line disturbances. In fact,my
    washing machine is on the same circuit as my equipment. When my wife
    turns on the washer (major voltage sag) all the lights dim in the 
    cellar including the EPS's display. This essentially means the power
    supply goes out of regulation for a short time (not just the EPS but
    all my equipment shows this). There has never been corruption of data
    because of this. Also to note that the disk drive in the EPS is a lot
    better(rugged) than the ones they put in the Mirage and SQ-80's. 
    
         Frank

	re: power sensitivity

	Mine has had numerous instances of power fatigue. It got a new power
	supply, and runs away from the bass and guitar amps. Works great so
	long as you don't run it with spikey current-drawing devices nearby.

	/pjh, back from a long absence

    Hmmm... This is the first that I have heard of any such problem.
    I've never had any trouble with my EPS in any of the gigs I played
    in almost 1 year of ownership.

re .63

POWER CRASH'S:
	I have owned an EPS for 5 months now.  It has a VERY VERY sensitive
power supply.  I normally run it off of a power strip that does just spike
suppression.  It is not uncommon for the EPS to crash 1-2 times a night when
using the EPS in my apartment.  The EPS has crashed multiple times where the
band I plays in practices.  I have a another friend who has used both the EPS
and the EPS-M and has the same problems. This is a real pain in the rear when I
am trying to sequence.  When sequencing, I save to disk every 10 minutes or so,
so I don't loose a lot of work. 
	When performing live, I run the EPS off of a Juice Goose
power conditioner.  This handles spikes and brown outs down to 50 volts
(according to Keyboard Mag).  I have never had a crash while using
the Juice Goose (other than crash's caused by software bugs).  These
units cost $400.00!!!!!! 
	What does Ensoniq have to say about this?  Well, the manual
for the EPS has a section on power.  It says something like, "the 
EPS is a sensitive device blah blah blah... and you should use
a power conditioner".  

SOFTWARE CRASH'S:
	Ensoniq just release a new O.S. for the EPS, version 2.4.
It contains bug fix's and some new functionality.  The previous
version, 2.35, had some bugs which would cause the machine to crash
or hang.

KX5 CRASH'S:
	There seems to be an incompatibility between certain
KX5'S and the EPS.  If I plugged my KX5 into my EPS, it would
cause the EPS to instantly crash with an error 144 (MIDI buffer overflow).
I have a friend who has a KX5 with a lower serial number and his seems
to work with the EPS.  We did some various tests on different EPS'S
and found that EPS's based on older ROMS (1.2 I believe) worked
great with the EPS.  Unfortunately, they have redesigned the mother
board in the eps and the older roms can not be use in the new board.
I plugged my KX5 into a VXF and it really hosed the VFX up.  The vfx
did not crash, but when you pressed a key on the KX5 the VFX just
made a weird popping noise.  The interesting thing is that my
KX5 works with EVERY OTHER SYNTH IN THE WORLD including ESQ-1's
,MIRAGE's and EPS'S with older roms.!!!!!!  
	Initialy, I sent my KX5 in for repair, as I thought this
was a problem with the kx5.  They could find nothing wrong with it.
I then sent my KX5 to Ensoniq so they could find out what was going on.
They say that the KX5 is sending its midi information in spurts instead
of in a steady stream (the person I talked was not an engineer).  That
was all I could get out of them.  So there conclusion was that the KX5
was at fault, because this was not a standard thing to do.

I raised the following questions:

Q: Why does my KX5 work with every other synth in the world
   including older EPS'S?  
A: ahhh, well ahhh...

Q: Why are your machines so sensitive?  
A: ahhh, well ahhh...

Q: Why do you check for error's that you are not prepared
   to handle, and then crash your machine with an error 144?
A: ahhh, well ahhh... The engineers say that this is the
   only way it could be done.

Q: Why don't you use a larger number of field test sights?
   I found most of the O.S. bugs in the EPS in the
   first three days I had it!!!
A: We are a small coorparation and can't afford to
   implement larger field tests.

CONCLUSION:
	After all of the problems I had with the EPS crashing from power,
software, and KX5, I was ready to dump it. The only problem is that I could not
afford to replace it.  There is nothing on the market that has the power of the
EPS in its price range. It is a great sampler, a great sequencer, a fantastic
keyboard controller (I don't think I could live without the presets), it loads
while you are playing, it does sysex dumps, it has a great user interface.  So,
my answer was to; sell my kx5 and borrow my friends that works with the eps, run
the eps off of a Juice Goose live.

					Hope this helps,
						Mark 


					

    I've used my EPS only at my own home for almost one year.  With mostly
    old wiring in my home I notice lights dimming and so on.  To the best
    of my knowledge it has never crashed for power supply reasons.  With
    the previous OS versions it would predictably crash software-wise,
    especially when doing sequencer related contortions - this has not
    happened to me at all with 2.4 and had been happening less and less
    with each version. One thing that used to drive me bonkers was what I
    call (in publishable language) 'instrument hang'.  I'd load up a bunch
    of instruments, start playing around and presto... 1 instrument would
    go dead - still in memory still selectable but producing no sound. 
    Rather than mess around with it to see what was wrong I would just
    reload the instrument off disk and everything would be fine.  This
    problem has also not happened with 2.4.
    
    I do have a question for other EPS users about sequencing.  I recorded
    an instrument track.  Then I recorded program changes on the same
    track (hold down instrument select button, press numbers in, release
    instrument select button).  This works fine - when I play the sequence
    back the program changes are there and transmitted.  Is there anyway
    to clear these program changes out of the sequence?  I haven't checked
    event edit - but I do not think they show up there.  I suppose I should
    have recorded the program changes on a separate track and then I could
    erase or overwrite the track.  What do you (all) think?
    
    Tim

Re -.1

>	Is there anyway to clear these program changes out of the sequence?


	The EPS does not let you see program changes in the EVENT EDIT mode.
It does however let you delete all program changes from a track.  I don't
have my manual here so this is from memory:

- Select sequence
- Activate track
- Press COMMAND  button
- Press TRACK button
- scroll through options and you will see a DELETE PROGRAM CHANGES
- Enter <YES>
 
	This will delete all program changes from the track.  
You can also delete things like volume, pitch bend etc. with
ERASE CONTROLLER (I think that's the option name).


							Mark

    re:Note 1793.68
    SMURF::NEWHOUSE                                      25 lines
 >> One thing that used to drive me bonkers was what I call (in 
 >> publishable language) 'instrument hang'. I'd load up a bunch
 >> of instruments, start playing around and presto... 1 instrument
 >> would go dead - still in memory still selectable but producing no
 >> sound. 

    
    This sounds *exactly* like the data slider "problem". The EPS is
    designed to let you alter the vloume setting of the instrument in
    the LOAD display. If you leave the data slider in the bottom most
    position the EPS will sometimes read the slider and zero the volume.
    The result is just what you mention. To correct the problem simply
    move the data slider up, (preferably *before* you experience
    "instrument hang")
    
    		regards,
    		Mark

         Hanging instruments (produce no sound) used to happen all the
    time to me. As usual, it was operator error. I control the EPS from
    my SQ-80. I have the CV (control voltage) pedal plugged into the SQ-80.
    It is basicly a MIDI volume control. If at the end of a song I crank
    the CV pedal all the way down, then select another instrument, all
    is ok. BUT if I go back to the instrument I had before, it remembers
    the last value..0. I then have to 'reset' the MIDI volume by then
    cranking the pedal all the way down, then up again.
    
    Frank

    Just wanted to re-enter this topic with some info useful to EPS owners
    
    Two *excellent* sources for help and info are:
    
    	Garth Hjelte - Rubber Chicken Software (206) 242-9220 WA
    	Pacific Time "call anytime. If message, 24-hour callback"
    
    	Erech Swantson - Maestro Sounds (718) 465-4058   NY
    	"call anytime. If message, 24-hour callback"
    
    I have called both of these people for help and advice. Both are *VERY*
    friendly and helpful. I have been able to learn things from these
    gentlemen that have been very useful to me. (see next reply)
    
    	Mark

    for those EPS owners out there that are thinking of buying a hard disk
    for their systems, here is a great deal.
    
    	Ehman 45MB *removable* disk drive E series
    	list $649
    
    realise that the only other removable media hard drive is the Elktron
    which lists for twice as much. 
    
    Garth Hjelte has informed me that even though this drive is not on
    Ensoniqs approved list, he knows of one installation where the unit has
    worked perfectly. I will be calling him next week to get his first hand
    review of the drive as he has ordered one for himself.
    
    Oh yeah, extra disks go fo $150 to $75 depending on where you get them.
    
    	Mark

    I cant believe I left the number out of the last note...
    
    
    	Ehman - 1-(800) 257-1666
    
    

    The manual says that if there's a bank on the boot disk it will
    show up after booting. But it doesn't. The first instrument
    shows up. Am I doing something wrong? I have O.S. v2.91.

    Can I make the bank the first file on the disk? Like, create
    the bank with no instruments. Save the instruments, then
    re-create the bank.  Hmmm, haven't tried that...

    Tx, JD

    I tried downloading a sequence from my Mac (Band-in-a-Box) but
    ended up with a blank sequence when I played it. It sounded
    correct while I was recording it. I set the EPS to use an
    external time source and set Band-in-a-Box to send timing.

    Any thoughts?
    Tx, JD

    I know that the EPS sequencer is different than the ESQ-1, but I've
    noticed that on the ESQ-1 you must have already defined a sequence
    length to record data coming in over MIDI.  Otherwise, the sequencer
    waits for you to strike a key to begin recording.
    
    The easiest way to do this is to go into record mode, hit the sequencer
    footswitch to mark the top of the sequence, let it run a few bars, then
    stop it.  You can then cut and paste the sequence to any desired
    length, but no note data will be in it.
    
    Then go into MULTI mode, select the first track you want to record, and
    off you go.  Unless the EPS allows recording multiple tracks at once,
    you'll need one pass for each track that Band-in-a-Box creates.
    
    Hopefully some of this applies.
    
    						Brian

    re: .75
    	You figured it out correctly. Create a bank first, then save the
    instruments in the bank.
    
    re: .76
    	You have to record one track at a time. Set the EPS to external
    sync and drive it from your Mac. Follow the suggestion in .77 and start
    by creating a sequence at least as large as you think you'll need.
    	BTW you can crank the tempo to the max on the Mac to speed up the
    transfer process. Later you can set the correct tempo in the EPS.
    

    Any EPS owners out there have this problem?
    
    	When I power up the EPS it shows "Ensoniq EPS" starts the drive
    then just sits there. The drive light stays on nothing else happens.
    
    	I am a little suspicious of the Maartists 4x + SCSI interface that
    I installed. I've been using it for over a year but last March tried to
    use the SCSI port for the first time. When I couldn't get that to work
    I sent the interface back to get it checked out. They returned it to me
    and I re-installed it. At that time I noticed an occasional
    "flakeyness" when I powered it up but that seemed to go away. Now it
    just doesn't work at all.
    
    	Tonight I'm going to try reseating the connectors. If that fails
    I'm out of ideas. 
    
    	Can anyone offer opinions on RMS in Worcester if I need repairs?
    How about Daddy's in Nashua?
    
    

	Sounds like something got loose in there.

	Make sure you got your connectors on well inside. Make sure there
	is no foreign matter on the circuit board. 

	I had a problem like this happen (during a gig!!!!). A piece of
	metal became dislodged and managed to find it's way onto the
	circuit board. The sampler was VERY unstable; if it booted at
	all, it would crash within the first 30 seconds of loading
	samples. Banging on the top (that's the most technical fix ;^))
	changed the failure mode, and finally it just did that
	symptom, i.e. disk light came on, it spun, but no OS load.

	I ended up taking the whole thing apart and vacuuming it out,
	there were lots of strange bits of matter running about. Put it
	all together and it worked fine.

	BTW, I have a PS Systems SCSI and 4X installed, so the configuration
	sounds similar. Haven't you had your EPS a while?

	/pjh

    re .80 thanks for the reply
    
    	I fixed it last night. I reseated most of the connectors and
    wiggled the Maartists 4x with SCSI option, and viola! It works. It is a
    relief (sort of) that I won't have to spend $$$ to get this fixed, or
    have to worry about it being ready for the next gig, but if it happened
    once...
    
    	BTW, yes, I have had this for a while. I bought one of the first
    EPSs from Union Music in Worcester.
    
    				regards,
    				Mark

	re: .-1

	Glad to hear it. I thought yours dated back to around the same 
	time mine did... I think the early models have been more susceptible
	to this kind of misbehavior, especially the ones that have been
	doing a lot of traveling/had some customization, etc. Maybe just
	'cause they are older... 

	I now keep the allen wrench set in my gig bag. Usually, making the
	thing work once it turns obstinate is a matter of opening the 
	case up and closing it again ;^) maybe wiggling some connectors.
	I also Cramolined the connector pins. Seemed to help for a while.

	My EPS still has extreme power sensitivity. Things like compressor
	startups, bar dishwashers, bass amps, etc. make it freak out
	during gigs. At home, the studio's power conditioner saves it;
	I guess I'll have to pony up for a power conditioner for the
	road. 

	whatever.....

	/pjh

	

    Paul,
    
    	I *think* that I bought mine before you did. I went in and bought
    one a week or so after the EPS was first demoed at an Ensoniq night at 
    Union.
    
    	I haven't had any power problems with my EPS, aside from the
    occasional plugs getting kicked out of the wall. I do travel with a
    surge supressor socket strip FWIW. $25 at Lechmere's. I also travel
    with the EPS in a Calzone case (hard shell).
    
    	What is Cramoline?
    
    						regards,
    						Mark

	yeah, mine is serial number 475... pretty ancient by EPS standards.

	Power surge supressors sometimes work, sometimes don't. Depends
	on how bad the power dips are.

	Cramolin is an anti-oxidant spray which is used for cleaning
	potentiometers and connectors. "the less you use the better it
	works". I use it for (surprise) cleaning scratchy pots and
	jacks, although it even fixed the flakey MMU socket in my 
	Atari. It's about $8 a can, and there are two types. Basically
	it is REAL good for marginal connections, especially dirt-related
	problems. 

	You can get it at some music stores, or TV repair shops. I used it
	on the EPS, my Atari, my Porta2, my patchbays, etc. Except for 
	some real abused terminal cases (the old Peavey 12-channel we ended
	up retiring instead), it does pretty well.

	/pjh

    OK,  I've got a quick question for EPS users. Is it possible to
    get,say, track #5 on the sequencer to *NOT* play instrument #5, but 
    to play externally to another MIDI channel? How can this MIDI channel
    be set? 
    
    	I'm trying to copy SQ-80 sequences to the EPS. My problem is that I
    always have all 8 instruments loaded up in the EPS, and sometimes need
    close to 8 tracks of sequencer. BUT, I may only use 3 or 4 of the
    instruments in the EPS and drive other SGUs for the rest. 
    
            Any help greatly appreciated!!
    
                 Frank

    re: .last
    
    	If I understand what you want to do correctly it is easy to do.
    EDIT INSTRUMENT and scroll through the pages. You'll need to make
    selections on two or three pages. 
    	Selecting the Channel just is a bit complicated. First you have to
    determine what the "Base Channel" of your EPS is set to. EDIT MIDI and
    scroll through till you find the screen that gives you the base
    channel. You may want to jot it down. You can also change it at will.
    	Now EDIT INSTRUMENT and look for a page that says something like
    INSTRUMENT = BASE CHANNEL or INSTRUMENT = INSTRUMENT. (I forget exactly
    what shows. You want to select the option that is NOT the BASE CHANNEL.
    This tells the EPS that instead of having all eight instruments
    transmitting on the same channel, you want each to transmit on a
    separate channel. The channel transmitted on will be equal to the BASE
    CHANNEL + (INSTRUMENT number - 1). Thus, if you have your base channel
    set to 1, instrument 5 will transmit on channel 5.
    
    	If you do not want the instrument 5 to play the program (sound) 
    stored in 5 set this instrument to MIDI (as opposed the LOCAL, or
    BOTH). Do this by selecting instrument 5 then, EDIT INSTRUMENT. Scroll
    through the pages till you find one that shows LOCAL, MIDI or BOTH. Se
    this to MIDI so that all notes played while 5 is selected will only go
    out through the MIDI port on channel 5.
    
    	I hope this helps. I am trying to do this all from memory so don't
    expect to see exactly what I have described here. If someone has their
    manual handy, feel free to make corrections.
    
    						regards,
    						Mark