To Select a Sound for a Track
1. 2. Check the displays upper left-hand corner to make sure that youve got the desired track selectedfor this tutorial, youll use Track 1. Press the Track Sound button.

Sound Edit Mute

Mix / FX Bus
(Later in this section you'll learn why "DEMO-SND" just changed to "DRUM-KIT" on the display.)
Turn the Sound Type knob to view the SoundFinder categories that are currently available. SoundFinder categories are shown in the lower-left corner of the display. (When there are no sounds in memory of a particular type, its SoundFinder category isnt shown. )
01 ROM08:000 PERCSOLO: Thump Kick
The currently selected SoundFinder type
Select the DRUM-KIT SoundFinder type. Turn the Sound Name knob to view the various drum kits in the DRUM-KIT SoundFinder category.
01 ROM10:005 DRUM-KIT:OlSkoolKit
As you turn the Sound Name knob, the sounds in the selected SoundFinder category are displayed
You can also select sounds using the Essentials buttons. Each button can be pressed to instantly place a favorite sound onto the current track. To learn more about the Essentials buttons, see Chapter 2 of the ASR-X Pro Reference Manual Press some of the Essentials buttons to see how they work, and to check out the sounds that ENSONIQ assigned to the buttons at the factory. You can also press any upper Essentials button and the button just beneath itan additional five sounds can be accessed in this manner. Press the Essentials button with the 2 beneath it to select the sound HeavyDrmKit. The display provides information about the sound youve selected:

The track youre on

The selected SoundFinder type
l m n 01 ROM10:002 DRUM-KIT:HeavyDrmKit i i

The sounds bank number

The sounds program number

The selected sound

Sounds are stored in groups called banks. Each bank can contain up to 127 sounds, each of which is numbered. This system allows you to select sounds via MIDI, since each banks number is also its MIDI Bank Select number, and each sounds program number is also its MIDI Program Change number. By sending the correct MIDI Bank select and Program Change values on a tracks MIDI channel, you can select its sound from an external MIDI device. Tip: Each sound can be found in the bank in which it's stored and in an instrument category. You can press the Track Sound button to toggle between these. In Step 1, "DEMO-SND" changed to "DRUM-KIT" on the display when we pressed Track Sound for the second time in this tutorial.

The numbers count up to the first beat of actual recording
m 01 -1.01 DRUM-KIT:HeavyDrmKit
Tip: This countoff can be customized or turned off. See Chapter 6 in the ASR-X Pro Reference Manual. Youll be recording two measures. On the first and third beats, play the lowest pad, a bass drum sound. On the second and fourth beats, play the highest pad, a snare drum sound. 8 ENSONIQ ASR-X Pro Users Guide
At the first beat after the countoff, play the pads as described above. The display will show you where you are in each measure, in bars and beats.
This shows the bar youre in
m m 01 1.04 DRUM-KIT:HeavyDrmKit
This show which beat youre on
At the end of the second measure, press the Stop button.
Youve just recorded your first track in your first sequence.
To Play Back a Sequence Track
1. Hold down the Record button, press the Stop button, and then release both buttons to rewind to the top of the sequence.
Tip: The Transport buttons perform many taskssee Chapter 6 in the ASR-X Pro Reference Manual to learn more. 2. Press the Play button. The track youve just recorded plays backthe sequence loops, playing your recording over and over (this default sequence setting can be changed; see Chapter 6 in the ASR-X Pro Reference Manual). Press the Stop button to end playback.
For situations in which youve recorded something youd like to get rid of, or when youve done something to a track that you wish you hadnt done, the ASR-X Pro provides a handy Undo feature. As long as you havent yet recorded other tracks or performed other procedures, you can undo whatever youve just done to a track.

To Undo a Track

1. Double-click the Sequence Process button.

Sequence

Select Edit Process

Tap / Tempo

The display shows:
The default name of the sequence youve been recording

m SEQ00001 Undo track 1?

The location at which you stopped playback

n 1.04

The No/Yes LEDs flash to indicate that youre being asked a question. If youd like to undo your recording and try again, press the Yes button and repeat the steps in To Record a Sequence Track above. Press the No button if you're satisfied with your performance.
Correcting the Timing of a Performance
A sequencer such as the one in the ASR-X Pro can correct timing inconsistencies in a recorded performancethis process is called quantizing. The ASR-X Pro offers a sophisticated set of quantizing tools, as well as quantizing templates, in which common types of quantization are already preprogrammed, and that can hold your own favorite quantization settings.

4. 5. 6. 7. 8.

Record 1/8th notes on the hihat to accompany the two measures of bass drum and snare. Press the Stop button at the end of the second barin Add mode, recording continues until you press the Stop button. Play back your track to hear the bass drum, snare and hihat playing together. If youd like to redo the hihat, double-click the Sequence Process button, undo the track, and then record it again. Correct the hihats timing by repeating the steps in "Correcting the Timing of a Performance." Youll want to select the Strict 1/8th template this time, since you dont want your hihat 1/8th notes turned into 1/4 notes.
1. Press the left Octave Transpose button twice to re-direct the pads back to the lowest octave.

Recording Another Track

Lets record synth bass quarter notes on Track 2 to accompany the drums on Track 1. This time, however, dont record any notes during the first measurewait until Bar 2 to begin playing. You can use any of the pads to play your quarter notes. 1. 2. 3. 4. 5. Press the right-hand Select Track button to select Track 2. Hold down Record, press Stop and let go of both buttons to make sure youre at the beginning of the sequence. Record your bass part using the same technique you used on Track 1. Once youre satisfied with your performance, quantize the track using the Strict 1/4 quantization template. Play back your bass-and-drums sequence, and press the Stop button when youre done listening.
1. Locate and press the Sequence Edit button.
This button accesses various settings relating to the behavior of the sequence. Turn the Parameter knob until the display shows:

The name of the sequence

m SEQ00001 Loop Playback=
The current location in the sequence

m 1.01 On

Turn the Value knob counter-clockwise to turn the playback looping off.
A Few Final Sequencing Thoughts
The Sequence Select, Edit and Process buttons provide access to a wealth of tools used in sequencing, from the creation and selection of sequences, to all of the settings that establish your recording environment, to the various ways that recorded tracks and sequences can be manipulated and processed after recording. You can also chain sequences together to try out arrangements, and create songs as well. Sequencing is described in detail in Chapter 6 of the ASR-X Pro Reference Manual. The Track buttonsSound, Edit and Muteprovide the means of setting up tracks and changing the way they play their sounds, changes you can make even as sequences play back. You can also mute and solo tracks using a highly musical Mute/Solo system. Chapter 2 in the ASR-X Pro Reference Manual is the place to go for information relating to tracks. ENSONIQ ASR-X Pro Users Guide 11

Effects

The ASR-X Pro contains a powerful ENSONIQ ESP2 effect chip, capable of providing a variety of exceptional effects. Each sequence contains its own: insert effectAn insert effect is one of a collection of 40 high-quality effects. Insert effects handle a wide range of processing jobs. global reverbThe global reverb in each sequence is intended as the all-purpose reverb youll use for the sequences tracks. Each sequence can use any one of the eight global reverbs available.
Sending a Track to an Effect
Tracks and their sounds are heard through one of their sequences effects when theyve been assigned to an effect bus, which routes the track to the effect you want. Each track has a parameter for this purpose. Lets change the effect through which were hearing our bass. 1. Locate the Track Edit button.
Press the Track Edit button until the display shows:

02 FX Bus=

The currently selected effect bus
BuzzSawBass LightReverb i
The FX Bus parameter assigns the selected track to an effect bus, and therefore, an effect. The values available for this parameter vary slightly, depending on what kind of sound is on the selected track, and whether or not youve added an X-8 output expander to your ASR-X Pro. You can select: Progto retain each notes individual effect bus in a kit sound. When a standard sound is on the selected track, this setting causes the sound to use its Alt Bus setting, described in Chapter 4 of the ASR-X Pro Reference Manual. Insertto route the selected track and its sound to the sequences insert effect. LightReverbto apply a small amount of reverb to the tracks sound. MediumReverbto apply an average amount of reverb to the tracks sound. WetReverbto apply a large amount of reverb to the tracks sound. Dryto leave the tracks sound un-effected. AuxOut1-4to send the tracks sound out of one of the auxiliary output jacks provided by an X-8 output expander. These values are only available when an output expander is installed. Turn the Value knob to set the FX Bus parameter to each of the available settings, playing a few notes on the pads with each setting to hear how the bass sound changes. Set the FX Bus parameter to Insert.

Formatting a Floppy

1. Insert a fresh 3/5 high-density floppy disk into the ASR-X Pro disk drive label-side up, as shown:
As you insert the disk into the drives slot, stop pushing it in when its seated in the drive mechanismyou can usually feel when this occurs. Locate and press the System/MIDI button.

Disk / Global

All Notes Off

Save All

System
System/MIDI Access disk utils?
4. Press the Yes button. 19
Select device? Floppy Disk
This display allows you to choose the storage deviceyour floppy drive or any attached SCSI devicewith which you want to work. Since we want to use the floppy drive in the tutorial, press the Yes button. The ASR-X Pro takes a few moments to load the floppys directory. If necessary, turn the Parameter knob until the display shows:
Disk Utilities: Format floppy disk?
7. 8. 9. Press the Yes button. The ASR-X Pro asks you to again if you want to format the disk, since doing so will permanently erase any files currently on the disk. Press the Yes button if youre prepared to format the floppy. The formatting process takes a minute or so. When the ASR-X Pro is finished formatting the disk, the ASR-X Pro will briefly display Format successful! If theres a problem with the floppy, the ASR-X Pro will display a message telling you so.
Saving an ALL-SESSION File
1. Locate and press the Disk/Global Save button.
If necessary, turn the Parameter knob until the display shows:
The type of file to be saved
Save to disk? ALL-SESSION: S ESSION i i
The name of the file to be saved
By turning the Parameter knob you can select the different types of file that can be saved to disk. For this tutorial, you want to save an ALL-SESSION file, as shown. Tip: Theres a faster way to jump to this Save ALL-SESSION display: simply double-click the Disk/Global Save button. Weve used the longer method in Steps 1 and 2 to help you become familiar with the procedure for saving files of all types. You can assign an eight-character name for your ALL-SESSION file. Each of the eight character positions can be selectedit will be underlinedand the desired character dialed in. Lets name this file MYFIRST to get a sense of how files are named. Since the first S in SESSION is already underlined, its selected for editing. Turn the Value knob to dial in an M as the ALL-SESSION file names first character. Press the right-hand Select Track button to underlineand selectthe second character position for editing. Turn the Value knob to dial in a Y. Repeat Steps 4 and 5 until youve named the file. When youre done, press the Yes button. ENSONIQ ASR-X Pro Users Guide

Parameter Env 1 Level Env 2 Level Env 3 Level Env 4 Level Env 5 Level Env 6 Level Env 7 Level Env 8 Level Env 9 Level HF Damping HF Bandwidth
Range -99% to +99% -99% to +99% -99% to +99% -99% to +99% -99% to +99% -99% to +99% -99% to +99% -99% to +99% -99% to +99% 100Hz to 21.2kHz 100Hz to 21.2kHz
Description These parameters control the output tap levels sequenced in time across the density from input to output. Envelope Level 1 is tapped right after the diffusers and before the echoes. If this is undesirable, set Envelope Level 1 to 0%. Envelope Levels 8 and 9 are positioned at the very end of the Density setting these too high can cause excessive ringing. Envelope Levels 8 and 9 are also very dry. Set all nine tap levels to find the envelope for your application. We recommend the average Envelope Level not to exceed a value of 45% to prevent overdriving these reverbs. The HF Damping is located within the density. This parameter selects the amount of high frequency energy to be filtered out. The high frequency bandwidth parameter acts as a low pass filter on the output signal, controlling the amount of high frequencies that will be heard. The higher the setting, the more high frequencies are heard. Controls the level of the diffused input signal which is nearly instantaneous with respect to the input. This signal is injected directly into the Density at the specified level. This parameter smears the input signal transients of higher frequency ranges. Higher values are recommended for smoother decay. Very low values will give a highly repetitive echo-like sound. Diffusion 1 and 2 exist within each diffuser block. Diffusion 2 is similar to Diffusion 1, but offers control of lower frequencies. In general a setting of 50 can be considered an equal mix of dry/diffused sound. This setting is a good starting point. Density 1 controls the number of echoes. Density 2 controls the number of echoes in a lower frequency range. In general, to get the smoothest sound, Density 2 is usually less than the value of Density 1. Controls the amount of time it takes for the first preecho to be injected into the density. Pre-echoes are the sounds which have been reflected back from the walls or other reflective surfaces. This parameter controls the level of the first pre-echo. This controls the amount of time it takes for the second pre-echo to be injected into the density. This parameter controls the level of the second pre-echo. Experiment with both positive and negative on all echoes to change the tonal character of the results. Controls the left/right stereo balance of the reverb signal.

Mid 1 Gain EQ Output Dry Blend HPF Cutoff LFO Rate Chorus Depth ChorusCenter Center Offset Chorus Phase Chorus Feedback
Off, -49.5dB to +24dB Off, -49.5dB to +24dB Full Dry to Full Wet 10Hz to 10.9kHz 0.0Hz to 7.0Hz 0.0ms to 300ms 0.0ms to 300.0ms 0% to 100% -180deg to +180deg -99% to +99%

C 12 Rev Chorus

Combines a plate reverb with a stereo chorus.
Parameter Decay HF Damping Range 0.0sec to 10.0sec 100Hz to 21.2kHz Description Controls the amount of time it takes for the reverberation to decay after the input signal stops. Controls the rate of attenuation of high frequencies in the decay of the reverberation. Increasing the value of this parameter will gradually filter out (dampen) more and more high frequency energy. The high frequency bandwidth acts as a low pass filter on the signal going into the reverb, controlling the amount of high frequencies that will pass into the effect. The higher the setting, the more high frequencies are allowed to pass. Smears the input signal transients, to diffuse and smooth the sound. Lower values will cause impulse sounds to appear as a series of discrete echoes, while higher values tend to increase the smear (smoother sounding with fewer discrete echoes). We recommend settings of 50 for starters. This parameter, similar to and in series with Diffusion 1, performs the same way but controls lower frequency ranges. Experiment with different levels between the diffusion parameters to find the settings that are right for your source. Controls the rate at which echo density is increased with time. Setting this parameter too high can cause the echo density to build at a rate which exceeds the decay rate. Controls the dry/wet mix of the chorus. Controls the rate of pitch modulation to the chorus. Determines the shape that the LFO will use for pitch modulation. Controls the relative phase between left & right LFOs. Controls the amount of modulation. Controls the delay times within the chorus. Adjusting this parameter will change the tonal character of the chorus. Controls the amount of feedback applied from the output of the chorus to the input of the reverb.
Definition Chorus Mix LFO Rate LFO Shape LFO Phase Chorus Depth Chorus Center System Feedback
0 to 100 Full Dry to Full Wet 1/1 Sys to 1/32 Sys, 0.0Hz to 20.0Hz Triangle, Sine, Sawtooth, Square, Asym, 16-Step, 8Step, 4-Step -180deg to +180deg 0.0ms to 25.0ms 0.0ms to 50.0ms -99% to +99%

F 13 Rev Flanger

This insert effect features a plate reverb with a flanger effect.
Parameter Decay HF Damping Range 0.0sec to 10.0sec 100Hz to 21.2kHz Description Controls the amount of time it takes for the reverb to decay after the input signal stops. Controls the rate of attenuation of high frequencies in the decay of the reverberation. Increasing the value of this parameter will gradually filter out (dampen) more and more high frequency energy. The high frequency bandwidth acts as a low pass filter on the signal going into the reverb, controlling the amount of high frequencies that will pass into the effect. The higher the setting, the more high frequencies are allowed to pass.

Definition FlangerMix LFO Rate LFO Shape LFO Phase Flanger Depth FlangerCenter Notch Depth Feedback
0 to 100 Full Dry to Full Wet 1/1 Sys to 1/32 Sys, 0.0Hz to 20.0Hz Triangle, Sine, Sawtooth, Square, Asym, 16-Step, 8Step, 4-Step -180deg to +180deg 0.0ms to 25.0ms 0.0ms to 50.0ms 0% to 100% -99% to +99%
Smears the input signal transients, to diffuse and smooth the sound. Lower values will cause impulse sounds to appear as a series of discrete echoes, while higher values tend to increase the smear (smoother sounding with fewer discrete echoes). We recommend settings of 50 for starters. This parameter, similar to and in series with Diffusion 1, performs the same way but controls lower frequency ranges. Experiment with different levels between the diffusion parameters to find the settings that are right for your source. Controls the rate at which echo density is increased with time. Setting this parameter too high can cause the echo density to build at a rate which exceeds the decay rate. Controls the dry/wet mix of the flanger. Controls the rate of modulation applied to the flanger. Determines the shape that the LFO will use for pitch modulation. Controls the relative phase between left and right LFOs. Controls the range of the high-to-low frequency sweep in the flanger effect. Sets the sweep mid-point of the flanger effect. Controls the depth of the peaks and notches produced by the flanger. Controls the amount of feedback applied to the flanger. Positive or negative values will impart a different tonality to the flange effect, either accenting the peaks or the notches. Controls the amount of feedback applied from the output of the flanger to the input of the reverb.

System Feedback

P 14 Rev Phaser
Combines a plate reverb with a 12-pole phase shifter.
Parameter Decay HF Damping Range 0.0sec to 10.0sec 100Hz to 21.2kHz Description Controls the amount of time it takes for the reverberation to decay away to a very low level after the input signal stops. Controls the rate of attenuation of high frequencies in the decay of the reverberation. As natural reverb decays, some high frequencies tend to get absorbed by the environment. Increasing the value of this parameter will gradually filter out (dampen) more and more high frequency energy. The high frequency bandwidth acts as a low pass filter on the signal going into the reverb, controlling the amount of high frequencies that will pass into the effect. The higher the setting, the more high frequencies are allowed to pass. This functions like a tone control on a guitar. Smears the input signal transients, to diffuse and smooth the sound. Lower values will cause impulse sounds to appear as a series of discrete echoes, while higher values tend to increase the smear (smoother sounding with fewer discrete echoes). We recommend settings of 50 for starters.

Dist Curve Dist Volume Post VCF Fc
Soft, Medium 1, Medium 2, Hard, Buzz Off, -99dB to 0.0dB 10Hz to 7.10kHz

Post VCF Q

Dist Dry Lev EQ Input LoShelf Fc LoShelf Gain Mid 1 Fc Mid 1 Q
Off, -49.5dB to 0.0dB Off, -49.5dB to +24dB 10Hz to 20.0kHz Off, -49.5dB to +24dB 10Hz to 20.0kHz 1.0 to 40.0
Mid 1 Gain Mid 2 Fc Mid 2 Q Mid 2 Gain HiShelf Fc
Off, -49.5dB to +24dB 10Hz to 20.0kHz 1.0 to 40.0 Off, -49.5dB to +24dB 10Hz to 20.0kHz
HiShelf Gain EQ Output LFO Rate LFO Shape LFO Phase Chorus Depth ChorusCenter Spread
Off, -49.5dB to +24dB Off, -49.5dB to +24dB 1/1 Sys to 1/32 Sys, 0.0Hz to 20.0Hz Triangle, Sine, Sawtooth, Square, Asym, 16-Step, 8Step, 4-Step -180deg to +180deg 0.0ms to 25.0ms 0.0ms to 50.0ms (wide stereo to mono)
Sets the amount of boost or cut applied to this high frequency shelf. Controls the gain coming out of the parametric EQ. Controls the four rates of the modulation applied to the delay time of the chorus. Determines the shape that the LFO will use for pitch modulation. Controls the relative phase between left and right LFOs. Controls the amount of modulation. Controls the delay times within the chorus. Adjusting this parameter will change the tonal character of the chorus. This parameter offers control of the synthesized stereo field. The farthest counterclockwise setting of the Value knob offers true stereo, the middle setting forces the left and the right into the center (mono), and turning the Value knob fully clockwise inverts the left and right signal.

F 26 Dist Flanger

DistFlanger combines a distortion with a flanger.
Parameter Dist LPF Fc Dist Offset Dist Gain Range 10Hz to 20.0kHz -99% to +99% Off, -49.5dB to +48dB Description Filters out high frequencies prior to the distortion. Adjusts the balance of even-to-odd-generated harmonics. Controls the gain going into the distortion effect. This will boost the signal level up to 48 dB. For more distortion, use a high input level gain and turn the distortion volume down to keep the volume under control. For less distortion, use a low gain input level and a higher output volume. Selects the type of clipping produced by the distortion. The curves range from tube-like distortion (Soft) to nasty distortion (Buzz). Controls the volume of the distortion effect. Generally, if the distortion gain is set high, set this parameter lower. Determines the distortion filter cut off frequency. Higher values have a brighter sound. This parameter can be modulated by any continuous MIDI controller for a wah-wah pedal effect. Determines the level and width of the resonant peak at the filter cutoff point. While the Fc (filter cutoff) parameter determines where (at what frequency) this peak will occur, the Q setting controls the sharpness of the peak. Controls the amount of dry signal to be mixed with the distorted signal. Adjusts the input level trim to the EQs to eliminate the possibility of clipping boosted signals. Sets the center of the low frequency EQ. Sets the amount of boost or cut applied to this low frequency shelf. Sets the center of the mid frequency parametric. This parameter is a bandwidth control that determines the width of the resonant peak at the center frequency band. This parameter is equal to the cutoff frequency divided by the bandwidth. By raising the value, you can produce a narrower bandwidth.

Dist Dry Lev EQ Input

Off, -49.5dB to 0.0dB Off, -49.5dB to +24dB
Mid 1 Gain Mid 2 Fc Mid 2 Q Mid 2 Gain HiShelf Fc HiShelf Gain EQ Output LFO Rate LFO Shape Phaser Depth Phaser Center Notch Depth Feedback
Off, -49.5dB to +24dB 10Hz to 20.0kHz 1.0 to 40.0 Off, -49.5dB to +24dB 10Hz to 20.0kHz Off, -49.5dB to +24dB Off, -49.5dB to +24dB 1/1 Sys to 1/32 Sys, 0.0Hz to 20.0Hz Triangle, Sine, Sawtooth, Square, Asym, 16-Step, 8Step, 4-Step 0 to to 100 0% to 100% -99% to +99%
Sets the center of the low frequency EQ. Sets the amount of boost or cut applied to this low frequency shelf. Sets the center of the mid frequency parametric. This parameter is a bandwidth control that determines the width of the resonant peak at the center frequency band. This parameter is equal to the cutoff frequency divided by the bandwidth. By raising the value, you can produce a narrower bandwidth. Sets the amount of boost or cut applied to this mid frequency band. Identical to the Mid 1 Fc parameter, and is used to control different bandwidths within the mid range. Identical to the Mid 1 Q parameter, and is used to control different bandwidths within the mid range. Identical to the Mid 1 Gain parameter, and is used to control different bandwidths within the mid range. Sets the center frequency of the high frequency shelf. Sets the amount of boost or cut applied to this high frequency shelf. Controls the gain coming out of the parametric EQ. Controls the rate of the modulation applied to the phaser. Determines the shape that the LFO will use for pitch modulation. Controls the amount of modulation applied to the phaser. This parameter controls the mid-point of the phaser. Controls the depth of the peaks and notches produced by the phaser. This parameter should normally be set to 100%. Controls the amount of feedback applied to the phaser. Positive or negative values will impart a different tonality to the phaser effect, either accenting the peaks or the notches.

A 28 Dist AutoWah

DistAutoWah combines a voltage control filter and a raspy distortion, and a second voltage controlled filter. Three effects can be obtained: distortion, wah-wah, and auto-wah. The last two functions use the same VCF. These filters can be disabled or used as EQ if desired. There is a second VCF that exists after the distortion that can be set to act like a simple speaker simulator.

Parameter VCF Input VCF Dry Amt Shape 1 Range Off, -49.5dB to 0.0dB Off, -49.5dB to 0.0dB A, E, I, O, U, AA, AE, AH, AO, EH, ER, IH, IY, UH, UW, B, D, F, G, J, K, L, M, N, P, R, S, T, V, Z Description Trims the input to the formant filter so that clipping does not occur. Controls the level of the DDL signal to be mixed with the output of the formant filter. Select the shape of the first formant filter.

Shape 2

Shape 3

Shape 4

FormantWarp AutoPan Depth LFO Rate LFO Shape LFO 2 Rate LFO 2 Shape Dly1 Time Dly1 Level Dly1 Feedback Dly1 Damping
A, E, I, O, U, AA, AE, AH, AO, EH, ER, IH, IY, UH, UW, B, D, F, G, J, K, L, M, N, P, R, S, T, V, Z A, E, I, O, U, AA, AE, AH, AO, EH, ER, IH, IY, UH, UW, B, D, F, G, J, K, L, M, N, P, R, S, T, V, Z A, E, I, O, U, AA, AE, AH, AO, EH, ER, IH, IY, UH, UW, B, D, F, G, J, K, L, M, N, P, R, S, T, V, Z -12 to +12 semi 0% to 100% 1/1 Sys to 1/32 Sys, 0.0Hz to 20.0Hz Triangle, Sine, Sawtooth, Square, Asym, 16-Step, 8Step, 4-Step 1/1 Sys to 1/32 Sys, 0.0Hz to 20.0Hz Triangle, Sine, Sawtooth, Square, Asym, 16-Step, 8Step, 4-Step 1/1 Sys to 1/32 Sys, 0ms to 630ms Off, -49.5dB to +12.0dB -99% to +99% 100Hz to 21.2kHz
Select the shape of the second formant filter.
Select the shape of the third formant filter.
Select the shape of the fourth formant filter.
Shifts all formant frequencies up or down, warping the size of the formant filter. Controls the depth of the auto-panning function after the formant filter. This parameter controls the rate of pitch modulation which creates a chorusing effect. To achieve chorusing, this rate must be very low. Determines the shape that the LFO will use for pitch modulation. This parameter controls the rate of the second LFO. Determines the shape that the second LFO will use for pitch modulation. Sets the amount of delay time for the first independent delay. Adjusts the volume of the delayed signal against the original dry signal. Determines the amount of signal that will be fed from the output back into the input, increasing the number of repeats in the delay. Controls the cutoff of a low pass filter on the feedback signal, which adjusts the amount of damping to the feedback signals. The lower the number, the more the signals are damped. Sets the amount of delay time for the second independent delay. Adjusts the volume of the delayed signal against the original dry signal. Determines the amount of signal that will be fed from the output back into the input, increasing the number of repeats in the delay. Controls the cutoff of a low pass filter on the feedback signal, which adjusts the amount of damping to the feedback signals. The lower the number, the more the signals are damped.

Dly2 Time Dly2 Level Dly2 Feedback Dly2 Damping
1/1 Sys to 1/32 Sys, 0ms to 630ms Off, -49.5dB to +12.0dB -99% to +99% 100Hz to 21.2kHz

33 Formant Morph

This effect is similar to the Chatter Box, except that it has a distorter for increased harmonic content, and it uses a single LFO to morph between two vowel shapes that you select.
Parameter Dist Gain Range Off, -49.5dB to +48dB Description Controls the gain going into the distortion effect. This will boost the signal level up to 48 dB. For more distortion, use a high input level gain and turn the distortion volume down to keep the volume under control. For less distortion, use a low gain input level and a higher output volume.
Dist Volume Dist LPF Fc Post VCF Fc
Off, -99dB to 0.0dB 10Hz to 20.0kHz 10Hz to 7.10kHz
Dist Offset Dist Curve Dist Dry Lev VCF Input VCF Dry Amt Shape 1
-99% to +99% Soft, Medium 1, Medium 2, Hard, Buzz Off, -49.5dB to 0.0dB Off, -49.5dB to 0.0dB Off, -49.5dB to +24dB A, E, I, O, U, AA, AE, AH, AO, EH, ER, IH, IY, UH, UW, B, D, F, G, J, K, L, M, N, P, R, S, T, V, Z A, E, I, O, U, AA, AE, AH, AO, EH, ER, IH, IY, UH, UW, B, D, F, G, J, K, L, M, N, P, R, S, T, V, Z -12 to +12 semi 0% to 100% 1/1 Sys to 1/32 Sys, 0.0Hz to 20.0Hz Triangle, Sine, Sawtooth, Square, Asym, 16-Step, 8Step, 4-Step -180deg to +180deg 1/1 Sys to 1/32 Sys, 0ms to 630ms Off, -49.5dB to +12.0dB -99% to +99% 100Hz to 21.2kHz
Controls the volume of the distortion effect. Generally, if the distortion gain is set high, set this parameter lower. Filters out high frequencies prior to the distortion. Determines the distortion filter cut off frequency. Higher values have a brighter sound. This parameter can be modulated by any continuous MIDI controller for a wah-wah pedal effect. Determines the level and width of the resonant peak at the filter cutoff point. While the Fc (filter cutoff) parameter determines where (at what frequency) this peak will occur, the Q setting controls the sharpness of the peak. Adjusts the balance of even-to-odd-generated harmonics. Selects the type of clipping produced by the distortion. The curves range from tube-like distortion (Soft) to nasty distortion (Buzz). Controls the amount of dry signal to be mixed with the distorted signal. Trims the input to the formant filter so that clipping does not occur. Controls the level of the distortion/DDL signal to be mixed with the output of the formant filter. Selects the shape of the first formant filter.

Comp Attack Comp Release

Comp Thresh

-96.0dB to 0.0dB

Comp Output Gate Thresh Gate Hysteresis Dist LPF Fc Dist Offset Dist Gain
Off, -49.5dB to +48dB -96.0dB to 0.0dB 0dB to 48dB 10Hz to 20.0kHz -99% to +99% Off, -49.5dB to +48dB
Dist Dry Lev LoShelf Gain Mid 1 Fc Mid 1 Q

Mid 1 Gain Mid 2 Fc

Mid 2 Q Mid 2 Gain HiShelf Gain EQ Output Dly1 Time Dly1 Level Dly1 Feedback Dly1 Damping
1.0 to 40.0 Off, -49.5dB to +24dB Off, -49.5dB to +24dB Off, -49.5dB to +24dB 1/1 Sys to 1/32 Sys, 0ms to 630ms Off, -49.5dB to +12.0dB -99% to +99% 100Hz to 21.2kHz
Identical to the Mid 1 Q parameter, and is used to control different bandwidths within the mid range. Identical to the Mid 1 Gain parameter, and is used to control different bandwidths within the mid range. Sets the amount of boost or cut applied to the high frequency shelf. Controls the gain coming out of the parametric EQ. Sets the amount of delay time for the first independent delay. Adjusts the volume of the delayed signal against the original dry signal. Determines the amount of signal that will be fed from the output back into the input, increasing the number of repeats in the delay. Controls the cutoff of a low pass filter on the feedback signal, which adjusts the amount of damping to the feedback signals. The lower the number, the more the signals are damped. Determines the location of the delay in the stereo spectrum. Sets the amount of delay time for the second independent delay. Adjusts the volume of the delayed signal against the original dry signal. Determines the location of the delay in the stereo spectrum.

39 EQComp Gate C G

EQCompGate combines an EQ with a full feature stereo compressor. When using high compressor ratios, this insert effect functions as a limiter. This effect operates by compressing (attenuating) signals above the threshold and passing the signals below the threshold. With higher ratios and lower thresholds, this effect can be used to create sustain.
Parameter EQ Input Lo Shelf Fc LoShelf Gain Mid 1 Fc Mid 1 Q Range Off, -49.5dB to +24dB 10Hz to 20.0kHz Off, -49.5dB to +24dB 10Hz to 20.0kHz 1.0 to 40.0 Description Adjusts the input level trim to the EQs to eliminate the possibility of clipping boosted signals. Sets the center of the low frequency EQ. Sets the amount of boost or cut applied to this low frequency shelf. Sets the center of the mid frequency parametric. This parameter is a bandwidth control that determines the width of the resonant peak at the center frequency band. This parameter is equal to the cutoff frequency divided by the bandwidth. By raising the value, you can produce a narrower bandwidth. Sets the amount of boost or cut applied to this mid frequency band. Identical to the Mid 1 Fc parameter, and is used to control different bandwidths within the mid range. Identical to the Mid 1 Q parameter, and is used to control different bandwidths within the mid range. Identical to the Mid 1 Gain parameter, and is used to control different bandwidths within the mid range. Sets the center frequency of the high frequency shelf. Sets the amount of boost or cut applied to this high frequency shelf. Controls the gain coming out of the parametric EQ.

ASR-X Pro Operating System 3.04

Whats New in 3.04?

Version 3.04 of the ASR-X Pro operating system adds a variety of new features and performance enhancements, and a bug fix. Tip: To learn how to update your ASR-X Pro operating system, see Page 108 of the ASR-X Pro Reference Manual.

New Features

A new Disk/Global system prefPlaylist FX Loadhas been added. This parameter allows you to enable or disable the loading of each sequences insert effect in a song playlist to achieve smoother sequence-to-sequence transitions during playback. When Playlist FX Load is set to Off, the insert effect associated with the playlists first sequence is used for the entire playlist; when its set to On, each sequences insert effect is installed as just prior to its playback. Sequencer tracks can now transmit System Exclusive data intended for any ENSONIQ product. This allows you to load ENSONIQ FIZMO operating system updates into the ASR-X Pro and transmit them via MIDI to FIZMO to update its operating system. The current sequencer Loop Playback parameter setting is retained when a song bank is loaded. When a sequence is shortened as the result of erasing a region from its longest track, the region To feature is de-activated and the Region ToPoint location is now updated to reflect the actual length of the sequence if the Region ToPoint had been set beyond the sequences new end.

Enhancements

The sequencer can now Undo edits more quickly. The smoothness of the ASR-X Pros response to the tapping of tempos has been improved. The ASR-X Pros handling of its built-in Transwaves has been streamlined. LFO and MIDI synchronization has been tightened. SMDI transfers now work properly with Windows 95 and 98. SCSI saving operations have been accelerated. AIF files load from and save to disk more quickly. ENSONIQ EPS/ASR Instrument translation during importing has been improved.

Bug Fix

Prior to OS 3.04, when the sound on an empty track was changed, the sound on Track 16 also changed if Track 16 contained recorded data. This has been fixed.