By Books Llc - General Books LLC (2010) - Paperback - 48 pages - ISBN 1155181239
Purchase includes free access to book updates online and a free trial membership in the publisher's book club where you can select from more than a million books without charge. Chapters: Ensoniq Mirage, Ensoniq Eps, Ensoniq Vfx, Ensoniq Ts 10, Ensoniq Asr-10, Ensoniq Esq-1, Ensoniq Mr61, Ensoniq Fizmo, Ensoniq Sq-80, Ensoniq Eps-16+. Excerpt: The Ensoniq ASR-10 was a sampling keyboard produced by Ensoniq between 1992 and 1994. It is the keyboard model of the ASR-10m rackmount module. It was... Read more [ Report abuse or wrong photo | Share your Ensoniq ESQ-1 photo ]
Ensoniq ESQ 1 demonstration
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AMPLIFICATION Make sure your Audio system is turned off (or down) when making connections, to avoid damaging speakers or other components. Connect the Audio Outputs of the ESQ-M to a mixer, instrument amplifier, stereo, or any other sound system, using 1/4 inch audio cables. If your system is stereo, connect the Left/Mono and Right Outputs to two channels of your mixer, stereo, etc. If not, use the ESQ-M's Left/Mono Output only. If you're running the ESQ-M through a mixer, in stereo, be sure to pan the Left input fully left, and the Right input fully right. Move the Volume Slider of the ESQM up about half way. Switch the audio system On. While playing th e ma ste r k e y boa rd, a dj ust the amplifier volume for normal listening levels. If you hear no sound from the ESQ-M while playing the master keyboard, switch the audio system Off and check your audio and MIDI connections.
AUDIO OUTPUTS: 1. RIGHT -- To operate the ESQ-M in Stereo, connect this Output to a channel of your Mixer and pan that channel Right. If nothing is connected to this jack, both channels of the ESQ-M's Output will be combined and sent out the Left/ Mon o Output.
external control voltage, use a 2-conductor cable with the voltage on the tip and the sleeve grounded.
LEFT/MONO -- When operating the ESQM in Stereo, connect this Output to a channel of your Mixer and pan that channel Left. To operate the ESQ-M in Mono, use this jack only. Again, if nothing has been connected to the Right Output jack, the Left/Mono jack will produce a Mono signal that is the sum of the two channels of the E S Q - M ' s O u t p u t. S p e c s : ( B o t h A u d i o Outputs): 1 KOhm output impedance, DC coupled. Line level output into 10 KOhms or higher (one voice=1 Vp-p typical; all voices= 15 Vp-p)
MIDI IN Receives MIDI infor mation from other instruments or computers. The MIDI Output of a MIDI keyboard or other controller must be connected to this input with a standard Spin MIDI cable in order for the ESQ-M to make any sound.
CV/PEDAL T his jack is f or connecting an optional ENSONIQ Model SW-10 Control Voltage Foot Pedal, which is assignable as a Modulator in the Program Section of the ESQM. (Note that incoming MIDI Foot Pedal information (MIDI Controller #4) will have the same effect.) Or, the CV Pedal can serve as a Volume Pedal when PEDAL=VOL is selected on the MASTER Page. Specs: [Pedal Input]: 3-conductor (Tip=control voltage input, Ring=2KOhm resistor to +12 Volts, Sleeve= ground). 500 KOhm input impedance, DC coupled. Input voltage range=0 to 10 volts DC. Scan rate=5mS (maximum recommended modulation input= 25 Hz). For use with an
Compare light This LED lights when you change any of the parameters of the current Program. What the Compare light is actually telling you when it's lit is that the Program you are listening to is the Edit Program the contents of the Edit buffer. Pressing the Param button again will cause the ESQ-M to switch back to the current Program, causing the Compare light to go out. For more information about the Edit buffer and using the Compare function, see pp. 26-27. 5. Param button Pressing this button puts the ESQ-M into
ESQ-M Musician's Manual 6. Program button Pressing this button puts the ESQ-M into Program mode. This is the normal performance mode, the one your ESQ-M will probably be in most of the time. In Program mode the display shows: 1) the number of the current Track (ex. TRK 0), 2) the name of the Program (or "patch") currently selected on that Track (ex. PIANO1), and 3) the Program number of that Program in the Internal or Cartridge memory ( ex. 001). You can always press the Program button to quickly find out what Program is selected on the current Track. See Section 2 for an explanation of Program mode. 7. CONTRO L KEYPAD The ten buttons of the Control Keypad are each labeled with a number (as on a standard numeric keypad) and a Page Name. These buttons perform a number of different f unct i ons , dependi ng on what mode t he ESQ-M is in, and what you did immediately before pressing the button. Each of these functions is described in more detail in the relevant section of this manual. In Program mode, the buttons of the Control Keypad can be used to directly key in the number of the Program you want to select. The full 3 digit number, including zeroes, must be entered. (For example, enter 0-0-2 to select Program # 2; enter 0-3-5 to select Program # 35.) I n P ar am et er m ode , t hes e t e n but t ons select the Pages which contain the various parameters available on the ESQ-M. Where there are more than one of a certain kind of Page, (such as OSC 1, OSC 2, and OSC 3) you are asked, after pressing OSC, to enter the number of the Oscillator you want. You have approx. 2 seconds to enter a valid number. The buttons of the Control Keypad also allow you to take a short cut to any particular parameter (bypassing the Scroll button), by entering the parameter number immediately after you select the Page. Again, you have approx. 2 seconds to enter a valid number after selecting a Page.
O n t he W ri t e P a ge , yo u c a n u s e t h es e buttons to directly enter the Program number of the memory location to which you want to save a new or edited Program. IMPORTANT: In all the above functions t he but t ons of t he Cont rol K eypad ar e subject to a timing cycle. That is, when you select OSC, the ESQ-M waits about 2 seconds for you to tell it which OSC you mean (1, 2 or 3). If you don't respond in that time, the Display goes back to wherever it was previously. Once you select a Page, the ESQ-M again waits about 2 seconds for you to directly enter a parameter number, after which it assumes that a new button press is meant to select a different Page. If you find yourself furiously pressing lots of b ut t o ns a nd not get t i n g t h e r e s ul t s yo u expect, slow down, let a few seconds pass so that all timing cycles are out of the way and then select your page, parameter, etc. 8. Scroll button The Scr oll butt on has vari ous functions depending on what mode the ESQ-M is in: I n P ro gr am m o de , pr e s s i n g t he Scr ol l button will advance to the next higher Track. At Track 8 the ESQ-M will "wrap" around to Track 0 when Scroll is pressed. In Parameter mode, pressing Scroll advances to the next Parameter on the current Page. Again, the Display will "wrap" after the last parameter on a Page, cycling endlessly through the available parameters as the Scroll button is repeatedly pressed. On the Write Page, pressing Scroll advances the cursor to the next character, or to the destination Program number, as you select a name and a new location for an edited sound. On the Storage Page, once you have s e l e c t e d t h e S t o r a ge ( o r d a t a t r a n s f e r ) function you want, you press the Storage button while holding down the Scroll button to initiate the transfer. N OT E t hat pr e s s i n g t h e Scr ol l but t on onl y s cr oll s t he Di splay for war d, t o the next higher Track, parameter, character, etc. You
Front Panel Controls
Internal and Cartridge Memory
SELECTING A PROGRAM To select a different Program, move the Data Entry Slider or press the Up and Down Arrow buttons. As you do so, the name and the Program Number showing on the Display will change to reflect those of the new sound that you have selected. Note that Cartridge sounds are not treated any differently from Internal sounds. When a Cartridge is inserted, the Data Entry Slider and the Up and Down Arrow buttons will continuously move through all 120 Programs without differentiating between the Internal and Cartridge sounds Another way to select a Program on the ESQ-M is to enter its Program Number directly from the Control Keypad. You must enter all three digits of the number, including the leading zeroes in numbers below 100. For example: to select Program # 3, enter 0-0-3 to select Program # 42, enter 0-4-2 to select Program # 105, enter 1-0-5 and so on. There is a timer function at work when you enter Program Numbers directly after you enter a valid digit, the ESQ-M waits two seconds for you to enter another valid digit. If you don't, it goes back to the original program. If this happens to you, don't get flustered just enter the Program Number again. CHANGING PROGRAMS REMOTELY To select a new ESQ-M sound from your master keyboard simply select a new patch from its front panel. This will send a MIDI Program Change command, instructing the ESQ -M to change to the designated sound. Different instruments have different methods for numbering their Programs see the note below. Some instruments have access to less than 120 Programs, and therefore cannot send the full 120 Program changes that the ESQ-M will recognize. You can only send the ESQ-M Program Change numbers as high as your master keyboard is capable of transmitting. So with some instruments as a master, you will not be able to remotely select all of the ESQ-M's Programs. Some instruments, on the other hand, send the full 128 Program Changes available through MIDI. The ESQ-M will ignore Program Changes over 120. A NOTE ABOUT PROGRAM NUMBERS MIDI Program Numbers can be a little confusing. On the ESQ-M (and the ESQ-1) you will find the Programs numbered from 1 to 120. Several other synths, including the DX-7, also begin numbering from Program Number 1. True MIDI Program Numbers, the numbers actually sent and received by MIDI instruments, begin at Program Number 0. (Computers, unlike people, tend to number things starting from zero instead of one.) So ESQ-M Program Number 001 actually corresponds to True MIDI Program Number zero (0). ESQ-M Program Number 120 corresponds to True MIDI Program Number 119. And so on. The Program Number shown on the ESQ-M is the True MIDI Program Number plus one. Some instruments reference their Programs starting from #0, some starting from #1. Hence the confusion. The trick to keeping things straight is this: if the instrument you use with the ESQ-M lists Program Numbers beginning from #0, you will have to add 1 to the Program Numbers on that instrument to come up with the corresponding ESQ-M Program Number. If the instrument lists Program Numbers beginning from #1, any Program Number on that instrument will be the same as the corresponding ESQ-M Program Number.
ESQ-M - Musician's Manual
Section 4 Programming the ESQ-M
DIGITAL WAVEFORM MEMORY The same Digital technology that allowed the ENSONIQ Mirage to make Digital Sampling affordable gives the ESQ-M its ability to play complex sounds from "the real world". Rather than just producing simple sawtooth or square waves, the ESQ-M's three Digital Oscillators "read" from memory whichever Waveforms they are instructed to play. The ESQ-M has 32 different Waveforms stored in its Digital Waveform Memory. Some of these Waveforms have been sampled (digitally recorded) from musical instruments; others have been created synthetically. WHAT'S A WAVEFORM? The Waveforms are the "raw material" of the sounds that the ESQ-M makes. A waveform is a single cycle of a sound wave. It is Digitized, or converted into a series of numbers, and stored in the ESQM's Digital Waveform Memory. When you play a note, each of the ESQ-M's three Oscillators "reads" the proper Waveform from the Memory, similar to the way a Compact Disc player reads the music on the disc when you play a CD. By rapidly repeating this single cycle over and over, the Oscillator can produce a pitched sound which becomes a continuous Sound wave:
Unlike the sounds generated by analog oscillators, Digital Waveforms can be very complex, and can contain any combination of harmonics frequencies that are multiples of the wave's fundamental frequency. Every Waveform has its own unique Spectrum, which is the number and amplitude of harmonics present in the Wave. It is this Spectrum which gives every sound its own identifiable characteristics. SYNTHETIC WAVEFORMS Most of the Waveforms in ESQ-M's Digital Waveform Memory have been generated synthetically, using a number of different techniques, to create a variety of Waves which contain specific harmonics in specific amounts. By assigning different combinations of these synthetic Waveforms to the three Oscillators, it is possible to create sounds with almost any timbral characteristics. SAMPLED AND MULTI-SAMPLED WAVEFORMS Other Waveforms are sampled a single cycle of a sound wave from some real musical source has been isolated and stored in Memory. By playing back these Waveforms in the manner described above, it is possible to synthesize sounds that capture the character of the Source instrument in a way that no ordinary synthesizer can.
Some of the ESQ-M's Waveforms (such as the Piano Waveform) have been Multisampled that is, different waves play in different ranges of the instrument. This is because many sounds lose their realism if they are transposed too far from their source. The lowest note on a piano, if transposed up three octaves, doesn't sound like a piano any more. Neither does the highest note transposed down three octaves. Or to use another example take a recording of a human voice and play it back twice as fast. Does it sound like a human voice? No. What does it sound like? Chipmunks. Multisampling means that the low notes of the Piano Waveform were sampled from a low note on the piano, the middle notes were sampled from a middle note, and so on. So really you get more than 32 Waveforms, since some of them are actually made up of several Waveforms. You don't have to do anything special to use these Multisampled Waveforms. The ESQ-M treats each one as a single Waveform, and they are selected just like the others. The Synthetic Waveforms can be combined with the Sampled ones, to add harmonic content which enhances the sound in some way. Any combination of Waveforms is possible, and each will have its own unique sound. NAMES The ESQ-M's 32 Waveforms are identified by their Names. In the case of the Sampled Wavefouns especially, you should neither take them too literally, nor let yourself be limited by those Names. Don't, for example, expect the VOICE Waveform to always sound like Vocals everything depends on the Program (the Envelopes, the Filter settings, etc.). On the other hand, don't let the Names alone limit what you try in terms of being creative. For example, if you find that within a certain Program the BASS Waveform sounds like a harpsichord, or a kazoo, or whatever, go with it. Your ears are the only valid judge of what works. SELECTING A WAVEFORM Each of the three Oscillators can play a different Waveform within a Program. The Waveforms are selected from the Oscillator Pitch Pages [OSC1, OSC2 and OSC3]. The Waveform parameter is selected like any other parameter on the ESQ-M. To select a Waveform for Oscillator 1: 1. Press the Param button to put the ESQ-M into Parameter mode. 2. Press the OSC button on the Control Keypad, then within 2 seconds (while the question mark is flashing) immediately press 1, to select Oscillator l's Page. 3. Press Scroll until the Display reads "WAVE=_________ Now you can use the Data Entry Slider and the Up and Down Arrow buttons to change the Waveform that OSC1 will play. There are 32 available choices, each with its own Name. Follow the same procedure to select a Waveform for OSC2 and OSC3. Later in this section each Waveform is detailed by Name. CHECK THEM OUT The best way to understand the Waveforms is not to read about them, but to hear them. Select the Program called BASIC (it's Program # 112 in the ENSONIQ Voice-80 Cartridge, Volume 1). This Program has only one Oscillator playing, and all the Envelopes wide open. Select the OSC1 Page as shown above, and Scroll to the WAVE parameter. The Sawtooth Wave is selected (WAVE= SAW). While repeatedly playing a note or chord on your master keyboard, press the Up Arrow/Yes button to step to the next Waveform. Press it again to hear the next one, and so on. In this way you can listen to each Waveform in succession, compare them to each other, and compare the timbral characteristics you hear in various ones to their text descriptions below. When you are looking for the right Waveform for a particular application, let your ears be the guide.
OSC I MOD 1 LFO 1
Use the Data Entry Slider and the Up and Down Arrow Buttons to select from among the 15 available Modulation Sources. Follow the same procedure to select Modulators on the other Pages listed above. For modulating Program Pan (PNMOD on the DCA 4 Page) and LFO depth [LFO 1,LFO 2 and LFO 3 Pages] only one Modulator can be selected. Helpful Hint:: Moving the Data Entry Slider all the way up selects *OFF*, which is handy if you don't want a Modulator applied in a particular location.
MODULATION DEPTH Once you have selected a Modulator, [MOD1] for instance), Scroll to the next parameter [MODAMT1] and use this control to adjust the Modulation Amount (also referred to as Modulation Depth). The Modulation Amount is the amount by which the Modulator will affect the Manual Level. Once the [MODAMT1] is selected, use the Data Entry Slider and the Up and Down Arrow Buttons to adjust the Modulation Depth. Modulation Depth can be Positive or Negative. A Modulation Depth of +00 has the same effect as turning the Modulator *OFF*. To select a second Modulator (on those Pages where two are available) simply Scroll to the parameter [MOD2], and select a Modulator from among the 15 available sources. Then Scroll to the next parameter [MODAMT2], and use the Data Entry Slider and the Up and Down Arrow buttons to set the Modulation depth or amount. Helpful Hint: With Modulation Depth, as with all Parameter values that have a center value (in this case, +00), there is an easy way to reach that value. With the Modulation Depth selected, press the Down Arrow Button, and while holding it down, press the Up Arrow Button. This automatically sets the Modulation Depth to +00. This technique can be used to quickly "center out" almost any parameter, such as Master Tuning, Envelope Levels, etc. MODULATION SOURCES The 15 Modulation Sources available on the ESQ-M are as follows: ----> LFO 1, LFO 2 and LFO 3 The three Low Frequency Oscillators generate only very low frequency waves, which can produce Vibrato, Tremolo, and many other effects, depending on the LFO wave selected, and where it is applied as a Modulator. There are four possible waveshapes for each LFO. The Square wave only goes in a positive direction; the Triangle, Sawtooth and Noise Waves go positive and negative. (Though negative Modulation depth will reverse the effect.) The Diagrams below show the maximum levels for each LFO waveshape. The Triangle Wave goes fr om - to +63 The Square Wave only goes Positive. 00 to +63
See the LFO Page (p. 64) for a more complete discussion of the LFO's.
ESQ-M - Musician's Manual ENV 1, ENV 2, ENV 3 and ENV 4 The ESQ-M has four complex Envelopes which can be applied as Modulators. Any of these four Envelopes can be routed to anywhere a Modulator can be selected. Note that ENV 4 always modulates DCA 4 (the Final Volume of the Program). However, ENV 4 can be routed elsewhere to modulate other things in addition to DCA 4. Envelope Levels can be positive or negative.
OSC (1-3) Page
ESQ-M Musician's Manual 3. WAVE Selects the Waveform that the Oscillator will play from among the 32 available Waveforms. (See WAVEFORMS, p. 40.) MOD1 Modulator #1 Selects the first source of Modulation. The Modulators selected on this page affect only the pitch of the Oscillator. MODAMT1 Modulator #1 Depth Sets the depth, or amount, by which Modulator #1 will affect the pitch of the Oscillator. The Modulation amount can be positive or negative. Range: -63 To + 63. MOD2 Modulator #2 Selects the second source of Modulation. The effects of Modulator #1 and Modulator #2 are added together. You can thus double the maximum Modulation depth of a given modulator by selecting the same source for Modulator #1 and Modulator #2. The Modulators selected on this page affect only the pitch of the Oscillator. MODAMT2 Modulator #2 Depth Sets the depth, or amount, by which Modulator #2 will affect the pitch of the Oscillator. The Modulation amount can be positive or negative. Range: -63 To + 63.
DCA (1-3) Page
[DCA1] OSCILLATOR VOLUME PAGE [DCA2] [DCA3]
Controls The Volume of Oscillators 1 through 3.
The format of the Oscillator Volume Page is the same for DCA1, DCA2 and DCA3, although each of these Pages is entirely independent. Each of these three DCA's (Digitally Controlled Amplifiers) controls the Volume (or amplitude) of the same-numbered Oscillator (OSC). The Parameters on this Page can be selected by pressing Scroll until the desired parameter is showing or by entering the Parameter Number immediately selecting the Page. Use these pages to: Set the Manual Output levels of the three Oscillators; Modulate those levels using any of the 15 available Modulation Sources; and Turn each Oscillator ON or OFF. DCA (1-3) PAGE 0
3 MOD 1 MODAMT MOD 2 MODAMT 2 5
0. LEVEL Determines the Manual, or base, volume (amplitude) of the Oscillator. This Level can be thought of as a 'Volume floor' -- the effect of any Modulator(s) is added to the Level set by this parameter. So even if LEVEL = 0, the Oscillator will still have some amplitude if there is a Modulator (an Envelope for instance,) selected and assigned a Depth greater than Zero. Negative modulation depths bring the volume lower that the LEVEL setting. Large amounts of negative Modulation can silence the Oscillator, regardless of the setting of this control. DCA's 1, 2, and 3 have been set up so that it is possible to get full volume from just one Oscillator. This means, however, that it is possible to clip (overload) the output stage when all three Oscillators are at full level. Different Waveforms contain different amounts of fundamental energy, so the effect will vary. a conservative rule of thumb for Oscillator Volume is as follows: With 1 Oscillator playing -- set that Oscillator to 63. With 2 Oscillators playing -- set both Oscillators to 56. With 3 Oscillators playing -- set all three Oscillators to 52. DCA (1-3) Page
KBD TRAC Keyboard Filter Tracking
This parameter sets the amount by which the location of a note on the keyboard will modulate the Filter Cutoff Frequency. (This is comparable to the Keyboard Control Voltage of most Analog synths.) Higher values of this parameter will cause the Filter to open up more (get brighter ) as you play higher up the keyboard. The maximum value (63) will raise the Filter Cutoff Frequency roughly one octave for each octave you go up the Keyboard. Range: 0 To 63.
M O D 1 M o d u l a t o r # 1 Selects the first source of Modulation for the Filter Cutoff Frequency. MODAMT1 Modulator #1 Depth
Sets the depth, or amount, by which Modulator #1 will affect the Filter Cutoff Frequency. Modulation amounts can be positive or negative. Range: -63 To + 63.
M O D 2 M o d u l a t o r # 2 Selects the second source of Modulation for the Filter Cutoff Frequency. MODAMT2 Modulator #2 Depth
Sets the depth, or amount, by which Modulator #2 will affect the Filter Cutoff Frequency. Modulation amounts can be positive or negative. Range: -63 To + 63.
LFO (1-3) Page
[LFO 1] LOW-FREQUENCY OSCILLATOR PAGE [LFO 2] [LFO 3]
Controls the three Low-Frequency Oscillators (LFO's) The format of the LFO Page is the same for [LFO 1], [LFO 2], and [LFO 3], although each of these Pages is independent. The Low Frequency Oscillators are used as Modulators, and may be applied wherever a Modulation Source is to be selected. Note that the LFO Delay (which normally allows the effect to enter gradually) is set using a Ramp which goes from LEVEL 1 to LEVEL 2. Since LEVEL 1 can have a higher value than LEVEL 2, the Ramp can actually be a decreasing one, causing the effect of the LFO to diminish, or disappear, over the time the key is held down. The Parameters on this Page can be selected by pressing Scroll until the desired parameter is showing or by entering the Parameter Number immediately selecting the Page. Use this page to: Set the LFO Frequency (speed); Determine whether the LFO resets each time a key is struck; Select the waveform that the LFO will play; Set LFO Delay parameters; and Select a Modulator from any of the 15 available Sources to modulate the Output Level of the LFO. LFO (1-3) PAGE
I Parameters on this Page:
(PARAMETER PIC) 0. FREQ LFO Frequency Determines the speed of the LFO. Range: 0 To 63. 1. RESET Turns RESET mode on or off. When ON: The LFO Waveform will return to the beginning of its cycle each time a new key is struck. This is good for synchronizing LFO sweeps with key hits. When OFF: The LFO wave will cycle continuously, without Resetting. HUMAN Humanize function When ON: This control will add a random element to the LFO Frequency, making the effect less "mechanical sounding. When OFF: The LFO Frequency will behave normally, with perfect repetition. WAVE LFO Waveform Selects the Waveform which the LFO will play. The choices are: TRI -- Triangle wave SAW -- Rising Sawtooth wave (Use negative modulation for a falling Sawtooth.) SQR -- Square wave (positive-going only) NOISE -- Random LFO (1-3) Page
Notice that an Envelope is really just a series of Levels that change through Time. With the four parameters of the ADSR Envelope, we can control three Times (Attack, Decay and Release) and one Level (Sustain). This is fine for many basic volume and brightness Envelopes, but for more complex sounds for subtle pitch Envelopes and other cool effects it becomes necessary to have more specific control over more Times and Levels. Which brings us back to the ESQ-M. Times and Levels The four Envelopes on the ESQ-M are defined in terms of Time and Level. For each Envelope, you have control over four Time segments (TIME 1, TIME 2, TIME 3, and TIME 4) and three Levels (LEVEL 1, LEVEL 2 and LEVEL 3). When a key is struck, the Envelope level, starting at Zero, takes a fixed amount of time, defined by TIME 1, to reach LEVEL 1. It then takes TIME 2 to reach LEVEL 2. Next, at the end of TIME 3 it reaches LEVEL 3, where it will remain as long as the key is held down. After the key is released the signal takes TIME 4 to return to Zero. The three Level parameters appear on each Envelope Page as [LEVEL 1], [LEVEL 2] and [LEVEL 3]; the four TIME parameters as [TIME 1], [TIME 2], [TIME 3] and [TIME 4]. The figure on the next page shows a typical Envelope as defined by the ESQ-M Envelope parameters:
Understanding the Envelopes
Notice that the Envelope shape depicted above resembles the ADSR Envelope discussed earlier. Though this is only one of many shapes that are possible with the ESQ-M Envelopes, it is one of the most useful for modulating the Volume and Brightness of a Sound. If we now look at the ESQ-M Envelope parameters as they apply to this standard ADSR-type Envelope, we can see that TIME 1 represents the attack time; TIME 2 and TIME 3, a two-stage decay; and TIME 4 represents the release time. LEVEL 1 is the peak level; LEVEL 2 is an intermediate decay level; and LEVEL 3 is the sustain level. Time, not Rate It is very important to note that all of the Envelopes' Time components, TIME 1, TIME 2], TIME 3 and TIME 4 are expressed in terms of Time, not Rate. Thus, for example, when a key is struck the signal will always travel from Zero to LEVEL 1 in the fixed amount of time defined by TIME 1. If the value of LEVEL 1 is raised, the signal will still reach the new, higher, LEVEL 1 in the same amount of time. Negative Levels In the sample Envelope shown above, all of the Level values were positive. But the ESQ-M also allows you to assign a negative value to any of the Envelope Levels, making possible a wide variety of interesting shapes. In the Envelope below, for example, LEVEL 2 is given a value of -32.
ESQ-M Musician's Manual 7. ENV CYC --Envelope Full Cycle Mode When ON: The Envelopes will pass through their full cycles every time a key is struck. In this Mode the ESQ 1 pays no attention to whether you hold the key down or let it go immediately each Envelope simply 'runs' through all its stages (ignoring the sustain stage after TIME 3) with each keystrike. This can be useful for many percussion-type sounds, bell sounds, filter sweeps and other sounds where you want consistently repeatable Envelopes that are not dependent on keyboard technique. When OFF: This is the Normal Mode of operation. All Envelopes will reset and begin their cycles from Zero whenever a new key is struck.
[SPLIT/LAYER] Split/Layer PAGE
Controls Splitting the Keyboard and Layering Different Sounds together Programs on the ESQ-M can be Layered (so that two Programs play at once over the whole keyboard), Split (so that each half of the keyboard plays a different Program), and Split/Layered (so that the Split Program is layered with yet another Program). It is important to note that the parameters on this Page are all part of the Program that is, any Split and/or Layer configurations you set up here must be Saved as part of a new Program in order to be retained. For example, if you start with a Piano Program, and then Layer that with a String Program, you can now save the new Layered combination in a new Location the original String and Piano Sounds will remain intact in their original locations. You can select this Layered combination whenever you want it, just as you would any other Program. Also bear in mind that wherever two Programs are Layered, the ESQ-M becomes a four-voice Synthesizer it will start "stealing" voices after four have been played, rather than the usual eight. A Split, on the other hand, doesn't cause any loss of voices. The Parameters on this Page can be selected by pressing Scroll until the desired parameter is showing or by entering the Parameter Number immediately selecting the Page. Use this Page to: Activate the Layer function; Choose the Layer Program; Split the Keyboard (Upper or Lower) between two different Programs; Choose the Split Program; Choose the Split Key; Layer a second Sound with the Split Program (Split/Layer mode); and
Choose the Split/Layer Program.
SPLIT/LAYER PAGE I Parameters on this Page: 0
SP/LA sw 1 SP/LA prog 2 LAYER sw 3 LAYER prog 4 SPLIT sw 5 SPLIT prog SPLIT KEY
2. Press the WRITE Button. Pressing the WRITE Button when the yellow Compare light is not lit
[STORAGE] STORAGE PAGE DATA TRANSFER
For Saving and Loading Programs to Cartridge or Over MIDI. The Storage Page is used to send and load Programs to various media for saving and storage. The Storage Page handles two basic types of Program Data transfer: 1. MIDI -- All 40 Internal Programs, or any single Internal or Cartridge Program, can be sent via MIDI to another ESQ-M, an ESQ-1, or a Computer which is running the proper librarian software. 2. CARTRIDGE -- An entire Master Bank (all 40 Programs) can be transferred from the Internal Memory to CART A or CART B. Or the 40 Programs in CART A or CART B can be transferred to the Internal Memory. All the commands on the Storage Page are initiated in the same way: 1. Select the Storage Page, 2. Press Scroll until the function you want is showing on the Display, and then 3. Press the Storage button while holding down the Scroll button to execute the function MIDI TRANSFER OF PROGRAMS The ESQ-M can be instructed to send Program Data over MIDI to another ESQ-M or ESQ-1. This Data could also be received by a Computer which has been programmed to receive such Data. Here we are concerned with sending Programs from one ESQ (the Sending Unit) to another (the Receiving Unit). MIDI Connections In the case of Sending Program Data via MIDI, it is only necessary that the MIDI Out jack of the Sending ESQ be connected to the MIDI In jack of the Receiving Unit. Three other conditions must be met: 1. Both Units must be set to the same Base MIDI Channel. (MIDI Page) MIDI Mode doesn't matter. 2. The Receiving Unit must have System Exclusive messages Enabled. (On the MIDI Page, set MIDI Enables to ENBL=KCPSYS.) 3. The Receiving Unit must be on a Program Page when receiving the Programs. Just press the Program button to put the receiving ESQ-M in Program mode before initiating the procedure. PROG TO MIDI Sending One Program via MIDI to another ESQ-M or ESQ-1 This will Send the current Program of the Sending Unit to the Edit Buffer of the Receiving Unit, replacing whatever is there. ----> Connect the MIDI cable, and set up the units as described above. ----> On the Sending Unit, press the Param button to put the ESQ-M in Parameter mode. ---> Select the Storage Page. The Display reads: ST PROG TO MIDI "ST" means Storage Page. "PROG TO MIDI" means "send the current Program via MIDI." (This function always comes up first when you select the Storage Page.) To initiate the procedure press the Storage button while holding down the Scroll button. The Display will flash "MIDI DATA XFER" (You may not even notice it one Program doesn't take long) Storage Page
ESQ-M MIDI Parameter Number List The numbers below are the numbers that are 'sent in the Parameter Select controllers (MIDI Controller #'s 98 and 99). Note that the ESQ-M will recognize MIDI Parameter Selects only if System Exclusive messages are enabled (ENABL=KPCSYS on the MIDI Page.) Page ENV1 Param # dec hex Parameter
ENV1 L1 parameter ENV1 L2 parameter ENV1 L3 parameter ENV1 LV parameter ENV1 TIV parameter ENV1 TI parameter ENV1 T2 parameter ENV1 T3 parameter ENV1 T4 parameter ENV1 TK parameter
Page dec ENV19 ENV29 ENV39 LFO47 LFO37 LFO2 frequency parameter LFO2 reset parameter LFO2 humanize switch parameter LFO2 modulation waveform parameter LFO2 L1 parameter LFO2 delay parameter LFO2 L2 parameter LFO2 modulation source parameter 2A 2B 2C 2D 2E 2F LFO1 frequency parameter LFO1 reset parameter LFO1 humanize switch parameter LFO1 modulation waveform parameter LFO1 Ll parameter LFO1 delay parameter LFO1 L2 parameter LFO1 modulation source parameter lE 1F ENV4 L1 parameter ENV4 L2 parameter ENV4 L3 parameter ENV4 LV parameter ENV4 T1V parameter ENV4 T1 parameter ENV4 T2 parameter ENV4 T3 parameter ENV4 T4 parameter ENV4 TK parameter 1A 1B 1C 1D ENV3 Ll parameter ENV3 L2 parameter ENV3 L3 parameter ENV3 LV parameter ENV3 T1V parameter ENV3 Ti parameter ENV3 T2 parameter ENV3 T3 parameter ENV3 T4 parameter ENV3 TK parameter 0A 0B 0C 0D 0E 0F ENV2 L1 parameter ENV2 L2 parameter ENV2 L3 parameter ENV2 LV parameter ENV2 T1V parameter ENV2 T1 parameter ENV2 T2 parameter ENV2 T3 parameter ENV2 T4 parameter ENV2 TK parameter Param # hex
112 MIDI Parameter Numbers
ESQ-M Musician's Manual Page LFO3
Param # dec hex OSC79 OSC87 DCA93 DCA99 5E 5F DCA2 DCA2 DCA2 DCA2 DCA2 DCA2 level parameter output enable parameter modulation source 1 parameter modulation amount 1 parameter modulation source 2 parameter modulation amount 2 parameter 5A 5B 5C 5D DCA1 DCA1 DCA1 DCA1 DCA1 DCA1 level parameter output enable parameter modulation source 1 parameter modulation amount 1 parameter modulation source 2 parameter modulation amount 2 parameter OSC3 OSC3 OSC3 OSC3 OSC3 OSC3 OSC3 OSC3 octave parameter semitone parameter finetune parameter waveform parameter modulation source 1 parameter modulation amount 1 parameter modulation source 2 parameter modulation amount 2 parameter 4A 4B 4C 4D 4E 4F OSC2 OSC2 OSC2 OSC2 OSC2 OSC2 OSC2 OSC2 octave parameter semitone parameter finetune parameter waveform parameter modulation source 1 parameter modulation amount 1 parameter modulation source 2 parameter modulation amount 2 parameter 3A 3B 3C 3D 3E 3F Parameter LFO3 LFO3 LFO3 LFO3 LFO3 LFO3 LFO3 LFO3 frequency parameter reset parameter humanize switch parameter modulation waveform parameter Ll parameter delay parameter L2 parameter modulation source parameter
OSC1 octave parameter OSC1 semitone parameter OSC1 finetune parameter OSC1 waveform parameter OSC1 modulation source 1 parameter OSC1 modulation amount 1 parameter OSC1 modulation source 2 parameter OSC1 modulation amount 2 parameter
Param # dec hex DCA69
DCA3 level parameter DCA3 output enable parameter DCA3 modulation source 1 parameter DCA3 modulation amount 1 parameter DCA3 modulation source 2 parameter DCA3 modulation amount 2 parameter
106 6A 107 6B 108 6C 109 6D
DCA4 modamt parameter PAN position parameter PAN modulation source parameter PAN modulation amount parameter
FILTER 116 MODES SPLIT/LAYER 7A 7B 7C 7D 7E 7F MODES AM switch parameter MODES glide parameter MODES mono switch parameter MODES sync switch parameter MODES voice reassign switch parameter MODES envelope reset switch parameter MODES wave reset switch parameter MODES cycle switch parameter S/L split layer switch parameter S/L split layer program parameter S/L layer switch parameter S/L layer program parameter S/L split direction parameter S/L split program parameter S/L split point parameter 6E 6F 74 FILTER ER Fc (cutoff) parameter FILTER Q (resonance) parameter FILTER modulation amount 3 parameter FILTER modulation source 1 parameter FILTER modulation amount 1 parameter FILTER modulation source 2 parameter FILTER modulation amount 2 parameter
* the following parameter numbers (132-143) are used for the non-pcb system parameters System parameters: MASTER tuning parameter MASTER velocity parameter MASTER pedal switch parameter MASTER pitch bend range parameter MASTER pitch bend mode parameter
MASTER 87 88
114 MIDI Parameter Numbers
hex 8A 139 8B 140 8C 141 8D 142 8E
MIDI base channel parameter MIDI overflow switch parameter MIDI xcontrol parameter MIDI pressure parameter MIDI mode parameter MIDI enable parameter
* The parameters on the MIDI Page (137-142) can be selected but not modified via MIDI.
115 MIDI Parameter Numbers
ESQ-M SPECIFICATIONS CONTROLLER RESPONSE FEATURES Responds to polyphonic velocity and pressure sensitivity Programmable split point Sound layering Polyphonic glide, fingered mono glide VOICE ARCHITECTURE 8-voice polytimbral 3 digital waveform oscillators per voice Amplitude modulation on each oscillator 32 multi-sampled and synthetic waveforms 15 routable voice modulation sources 3 multi-waveform LFO's per voice with humanized random variation 4 complex envelope generators per voice, velocity controlled Programmable panning and level Hard sync and ring modulation (AM) Analog filters, 4-pole low-pass with variable resonance PROGRAM PARAMETERS 16-character fluorescent display, readable in all lighting conditions 40 internal programs, direct access 80 external cartridge programs, direct access with cartridge installed Compare mode for comparing programs MIDI Poly, Omni, Multi and Mono modes "MIDI Overflow Mode" permits slaving other ESQ-M's for 16 or more voices (each ESQ-M adds 8 voices)
Purchase includes free access to book updates online and a free trial membership in the publisher's book club where you can select from more than a million books without charge. Chapters: Ensoniq Mirage, Ensoniq Eps, Ensoniq Vfx, Ensoniq Ts 10, Ensoniq Asr-10, Ensoniq Esq-1, Ensoniq Mr61, Ensoniq Fizmo, Ensoniq Sq-80, Ensoniq Eps-16+. Excerpt: The Ensoniq ASR-10 was a sampling keyboard produced by Ensoniq between 1992 and 1994. It is the keyboard model of the ASR-10m rackmount module. It was a follow up product to the very popular Ensoniq EPS and Ensoniq EPS-16+ performance samplers, and was also available with a piano style weighted keyboard (ASR-88) and a rackmount version. At the time, the machine was one of the most powerful samplers available. Famous Users Features The ASR-10 (Advanced Sampling Recorder) was a true performance orientated sampling workstation, and did not require a computer or additional equipment in order to create a complete song. It included a powerful and flexible effects unit, polyphonic aftertouch, an advanced MIDI sequencer, load-while-playing abilities, and a powerful multi-layered synthesis engine. The supplied "Musician's Manual" lived up to Ensoniq's documentation practice, with a highly readable, very hands-on and quite complete description of the device. There was even an included tutorial that covered many features of the machine, including sampling and sequencing. Effects Unit The ASR-10 offered a powerful and flexible internal effects unit (later offered as a standalone device in the Ensoniq DP/4), offering the capability to resample an existing sound with an effect, and to process external signals through it live. Up to 62 effects were available to be used, including more esoteric effects such as a vocoder and distortion. The effects were all programmable, and flexible configurations were available for operating in multitimbral or performance modes. Sequencer The ASR-10 sequencer had an internal 96 parts per quarter 16 track...
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