Moving on to the last velocity page we see:
VELOCITY TO Pan: + Sample Start: + Auxiliary Env: +
D Tip: Remember that the velocity-toenvelope Attack setting interacts with the initial envelope Attack settings. Call up the envelope Attack parameters for the filter and VCA and see how different values interact with different velocity values.
Move the data entry control to select different values, and note the effects. With positive velocity sent to the VCA, the ESI-32 plays softer as you play softer. In other words, the ESI-32 equates harder play with the nominal volume setting and goes down from there as you play softer. Continue to move the cursor to the other available parameters and vary the data entry control. Notice that the filter cutoff frequency lowers as you play softer. The amount downward change is dependent on the value in the display. Filter Q is affected differently than Level or Filter Cutoff. It raises from the initial setting as you play harder. Also, note that velocity can be set to affect Q inversely. In other words, if the filter is set to a high Q setting, playing harder on the keyboard will lower the Q.
Tour 4 Realtime Control Programming
Ever wanted to add vibrato to a grand piano? Or bend its pitch? The Realtime Control functions in the Preset Definition module can do this, and lots more.

Pitch-Bending

First, lets check out pitch-bending. Pitch-bend can be enabled or disabled for any zone within a preset. Lets have pitch bend affect only the lower half of the keyboard. Activate Dynamic Processing, 0. Select Zone. Specify the upper half of the keyboard as the current zone. Next key in Dynamic Processing, 8. Realtime Control Enable. Use the cursor/page buttons to see a list of modulation destinations. Pitch will be set to On. Press Off, and like magic, you can now pitch-bend only the lower half of the keyboard. If modulation does not seem to be affecting a zone, make sure that modulation is enabled. Want to change the pitch bend range? Activate the Preset Definition module, 6. MIDI.
Modulation Wheel Destinations
The ESI-32 offers two modulation options: Pre-programmed, which adds a constant, selectable amount of modulation, and Realtime, where the player adds in modulation by using one of the wheels or other controllers. Each wheel on your MIDI controller can be assigned to a particular destination. For example, if the left wheel is assigned to pitch, then rotating the wheel bends pitch. If assigned to the filter, rotating the wheel varies the cutoff frequency. Lets set up for the next part of the tour. Choose preset 01 as the current preset if it is not already selected. Activate the Dynamic Processing module and assign the entire keyboard as the current zone if necessary. Select 8. Realtime Control Enable. Use the cursor/page buttons to select On for all of the Enable options. This will make it easier to hear the results of the next series of experiments. Now activate the Preset Definition module, 0. Realtime Controls. To make live playing as simple as possible, the display works somewhat differently for this module. The display shows:

Gain Change & Taper

Sample your voice saying Ahhh for one second. This time when you sample, set the Gain so that the signal only reaches about halfway up the VU meter at its peak. Also make sure that the sample time runs out before you finish singing so that the sample is cut off prematurely. Were intentionally creating problems so that we can fix them using Taper and Gain Change. First, lets boost the gain to full level using one of the digital tools, Gain Change. The term for this operation is called normalization. (Don't worry, it won't make you or your samples normal.) 1. Activate the Digital Processing module. 2. Select 7, Digital Tools I, 2. Change Gain (7/2). The display shows:

GAIN Start: End: Size:

We want to normalize the entire sample (which is already selected), so just press ENTER. The display now shows:
GAIN CHANGE Amount: +00dB +XXdb = Normalize
where XX is the amount of gain needed to achieve normalization or full level. Set the amount of gain so that it matches the normalization reading and press ENTER. The display shows:

FADE Start: End: Size:

secs 0.00 1.00 1.00

samples 44096

We dont want a fade in this example, so simply press ENTER to affect the gain change. The sample should now be at a higher volume. Note that you can use the Digital Processing module, 9. Undo to cancel the effects of Gain Change. Use this feature to further experiment with different Gain Change settings. 3. Select 1, Taper. Now lets taper the end of the sample so that it smoothly fades out instead of ending in a thump. The display shows:

TAPER Start: End: Size:

Move the start point to about 0.70 seconds and press ENTER. The display changes to:
TAPER Start Amount: 0.00db End Amount: -96db Type: Linear
The Start and End amounts on lines two and three are already at the correct settings. There will be no attenuation at the Start point, tapering to full attenuation at the End point of the sample. 4. Move the cursor under the Curve Type on line four. Select Exponential Curve 2, then press ENTER. The sample should now smoothly fade out instead of ending abruptly. And remember that Digital Processing, 9. Undo will cancel the effects of Taper. You can use this feature to further experiment with different Taper settings.

AKAI LOAD from P:A Vol:PIANOS Program:**NONE** Select Program
If None is selected, the following screen will appear:
AKAI LOAD from P:A Vol:PIANOS Sample: **ALL** Select Sample
12. Use the inc/dec buttons or the data entry control to select the Sample. Press ENTER to load and convert a single sample. All allows you to load and convert ALL samples in the volume. If ALL is selected, the overwrite bank message (as above) will appear, allowing you to either overwrite the bank or merge the samples with the current bank.
As the programs or samples are being loaded, the following screen will appear to indicate the progress of the conversion.
AKAI LOAD converting sample Rhodes-C4 211.4k
When the conversion is complete, the following screen will appear.
AKAI LOAD..Completed. Load Another? Y/N
If Yes is selected, the Volume select screen will appear and a new volume, program or sample can be selected. The Overwrite Bank? prompt will not appear. Data will be merged with the current bank. Important Note: Certain Akai disks have samples and programs stored in separate volumes in order to save space on the disk. If you have an Akai disk using this format, follow these instructions. A. Load the volume containing the samples. B. Answer Y to Load Another?. C. Load the preset volume. The above warning only applies to Akai banks with Samples and Programs stored in different Volumes. 13. Press No to exit the submodule. The ESI-32 will return to the Module Identifier.

1. Emax II Import

The Emax II Import function allows you to import Presets, Samples or entire Banks from the Emax II sampler and convert them into an ESI-32 bank. Data is imported into the ESI-32, from an Emax II formatted SCSI device. Load time will be approximately twice that of the Emax II. There are a few fundamental differences between the Emax II and the ESI-32. For this reason a few parameters are ignored during the conversion process. In most cases, however, the converted presets and samples should sound and behave very similarly to the originals. 1. Activate Master/Global module. 2. Select 0. Import, 1. Emax II Import (0/1).

Emax-II IMPORT

3. Select the desired import function. There are three options available. Refer to the chart below. 0. Emax II SCSI Setup Allows the ESI-32 to specify the ID of the Emax II device. 1. Emax II Import Options Asks you to confirm before erasing bank data. 2. Emax II Load Allows you to browse through the Emax II SCSI device, select the bank, presets or samples to import and start the import process. An Emax II SCSI device is NOT mounted and accessed like a normal ESI-32 drive (the load and drive buttons will not access the Emax II drive). Instead, it is accessed and operated using the Emax II import menus. Only one Emax or Akai SCSI device can be known to the ESI-32 at any given time. 4. Press 0 on the keypad to select Emax II SCSI Setup. This step is necessary for the ESI-32 to recognize the Emax II SCSI device. The display shows:

Emax-II SCSI SETUP SCSI ID: SEARCH TOSHIBA CD-ROM DRIVE Select SEARCH or ID
The setup screen is used to select the SCSI ID of the attached Emax II SCSI device. The SCSI ID may be selected by using the inc/dec buttons,
or by typing the digit (1-7) directly using the keypad. The default choice, Search, instructs the ESI-32 to search for the first Emax II device in the SCSI chain. Normally you will always use Search unless you want to select a specific Emax II device out of several on the SCSI bus. Press ENTER to confirm your choice and return to the option select screen. 5. Press 1 to select the Import Options screen. The following screen will appear. When this function is set to YES, the ESI-32 will issue an extra prompt whenever a load operation is about to destroy the current bank. Press ENTER after selecting your choice.
go back to the previous field.

Confirm new bank: Y/N

6. Press 2 to select the Emax II Load screen. Immediately after Load is selected, the ESI-32 will attempt to read and verify the Emax II disk using Search mode or using the SCSI ID selected in the SCSI Setup screen.
Emax-II LOAD from B01 Bosendorf8M Select Bank
If an Emax II disk cannot be found, an error message will be generated indicating: No Emax Drive Found. 7. Use the inc/dec buttons or the data entry control to select the bank to load. When the correct bank is displayed, press ENTER. The following screen will appear:
Emax-II LOAD from B01 Bosendorf8M *** ALL PRESETS *** Select Preset
8. Press ENTER to select All Presets in the bank or use the inc/dec buttons or the data entry control to select a specific preset. Another option is All Samples which will only load the samples. Press ENTER. The Overwrite Bank warning only appears if All Presets or All Samples was selected (and Confirm New Bank was enabled). If a specific preset was chosen the warning will not appear and the preset (and associated samples) will be merged with the current bank.
Emax-II LOAD from B01 Bosendorf8M *** ALL PRESETS*** Overwrite Bank? Y/N
9. Select Yes to overwrite the current bank or No to merge the data with the current bank. Loading will begin immediately.
Emax-II LOAD Converting sample. S01 647.0k

Sample Size

Since samples do not have names in the Emax II, they are imported into the ESI-32 with Sxx appended to the bank name, where xx is the number of the sample. Example: Bosendorf8M_S02. Bank and preset names retain their names from Emax II.
Emax-II LOAD..Completed. Load Another? Y/N

PASTE secs samples Offset 1.Mode:Equal Power Mix Source Amount: 100%
Paste Offset Destination Sample

Paste Offset PASTE

This section of the sample will be replaced
0.00 Sec. Crossfade Mode: MIX Source Amount: 100%
7.Select the Crossfade size and type, then press ENTER.

XFADE Size: Type:

secs samples 0.Linear
Crossfading minimizes glitches from pasting dissimilar sections of samples. When creating time delay and flanging/chorusing effects, do not select any Xfade time for best results. Your choices are: EqPwr: (Equal Power) This is a weighted crossfade that produces no apparent level shift. It is the most commonly used mode. Linear: This provides a straight mathematical crossfade.
XFADE MIX Source Amount: 100%
Crossfade Size XFADE MIX Source Amount: 50%
8. Press ENTER to perform the paste. 9. If you are not satisfied with the paste, or want to compare before and after, proceed to Digital Processing, 9. Undo.

7. Digital Tools I

This submodule contains several additional numbered functions. These are extremely useful utilities for manipulating samples. The following is a short description of each function. 0. Sample Calculator: Calculates and displays the optimum pitch to sample rate ratios for single cycle loops at the desired pitch. 1. Taper: Adds a fade-in and or fade-out to the sample, thus smoothing out samples with abrupt beginnings or endings. 2. Gain Change: Alters the level of all or a part of a sample. 3. Reverse: Reverses all or part of a sample. 4. Stereo <-> Mono: Converts a stereo sample to mono or a mono sample to stereo. 5. Left <-> Right: Swaps sides if the current sample is stereo or moves a mono sample to the other side. 6. DC Filter: Removes the DC component from a sample, centering the waveform around the zero axis. 7. Sample Integrity: Samples may occasionally have slight looping problems due to data corruption of the sample header file. This function remedies the problem by reconstructing the sample header.

0. Sample Calculator

1. Activate Digital Processing module. 2. Select 7. Digital Tools I, 0. Sample Calculator (7/0). The display will reveal the Sample Calculator.
SAMPLE CALCULATOR Pitch: 440Hz A3 Sample Rate: 44100Hz Single Cycle: 100.22
3. Select the pitch using either the keyboard or data entry control. The number of samples in a single cycle changes for each note. 4. Select sample rate on line three. Use the increment/decrement buttons to change the value. The number of samples in a single cycle changes for each sample rate.

DIGITAL TUNING f:0 Tuning: +1200 cents Size: 209882 Loop Size: 69930.00
4. If you are not satisfied with the resulting re-tuning, or want to compare before and after, proceed to Digital Processing, 9. Undo.

2. Compressor

The Digital Compressor is a digital (non-realtime) equivalent of an analog dynamic range compressor with attack and release times, adjustable threshold, adjustable ratio, and three modes of operation. 1. Activate Digital Processing module. 2. Select 8. Digital Tools II, 2. Digital Compressor (8/2). 3. If the current sample is stereo, the following screen will appear. Select the left side, right side, or both sides (stereo), then press ENTER. Otherwise proceed to the next step.
DIGITAL COMPRESSOR Side: Stereo Select L/R/Stereo
4. Select the desired area to be compressed and press ENTER.
! Caution: The gain setting which is in
effect at the end point of the selected section will remain in effect for the rest of the sample. This is done to prevent nasty pops and phase problems caused by an abrupt transition back to the normal gain.
COMPRESSsecs samples Start: 0.End: 3.Size: 3.13 137873
The display will show the current points of the sample to be compressed, which will be the start and end points of the current sample. Select the section of the sample to be compressed, then press ENTER.
COMPRESSOR Mode: rms Thres: center 100% Ratio: 4.00:1 Atk:999ms Rel:999ms
5. Position the cursor under the desired parameter and adjust the value using the data entry control.

Mode: RMS or Peak.

RMS - Root-mean-square or an average of the magnitude of the signal. RMS represents the true energy content of a signal. Peak - Uses the peak amplitude of a signal to determine the amplitude. The peak amplitude is a meaningful measurement in a digital system because of the 96 db (16-bit) headroom limit.
Threshold: Above, Center, Below, %
Above - Only signal levels above the threshold % will be affected by the compressor. Center - Signal levels above as well as below the threshold % will be affected by the compressor. Below - Only signal levels below the threshold % will be affected by the compressor. % - Determines the threshold level as a percentage of 100% of 16 bits.
Compression Ratio: Variable from 0.01 : 1 to 99.8 : 1.
Determines the amount of compression or expansion. Ratios of greater than 1:1 compress dynamic range. Ratios of less than 1:1 expand dynamic range. Compression - Reduces the amount of dynamic range. Levels remain more constant. Expansion - Expands the amount of dynamic range. Changes in level are exaggerated.

Attack Time

Determines how quickly the gain will be turned down. The attack time is variable from 0 to 999 milliseconds.

Release Time

Determines how quickly the gain will be turned up. The release time is variable from 0 to 999 milliseconds.

The pre-computed paths are always initially scaled to the length of the sample, although this time may be changed using the Duration parameter (read on). The 10 user-defined paths are saved along with the bank so that they may be applied to other samples over multiple-user sessions. 4. Turn Doppler Pitch Shift On or Off. With Doppler turned Off, only the panning effect will be enabled.
D Tip: Pressing the right cursor button from the initial screen selects the Path Management screen described on the following page.
5. Set the amplitude Threshold. Certain sound paths may take the sound source very far away from the listener, resulting in little or no resulting amplitude. The Threshold parameter specifies the maximum amplitude attenuation of the original sample that will ever occur. By setting this parameter appropriately, you can ensure that the resulting sample will produce at least a minimum amplitude output at every point along the path. A setting of 0 dB would prevent any amplitude changes whatsoever. A setting of -96dB would not prevent the sound from completely fading away at some points. 6. Press ENTER to continue. The Path Parameters screen (shown below) will appear.
PATH PARAMETERS Duration: Auto-repeat: 3.06s off
7. Select a shorter Path Duration if desired. The Path Duration allows you to scale the path time so that it runs to completion in a time shorter than the length of the sample. The default value is always the length of the sample. If auto-repeat is off (see below), the sound will remain at the end of the path until the sample is complete. 8. Turn Auto-repeat On or Off as desired. Auto-repeat causes the path to repeat if the end is reached before the sample has completely played. Auto-repeat will only occur if path duration is set to a value less than the sample length. The default setting for Auto-repeat is Off. 9. Press ENTER to begin processing the sample. The display shows:
DOPPLER/PAN Processing path.
10. If you are not satisfied with the resulting Doppler/Pan or want to compare before and after, proceed to Digital Processing, 9. Undo.

PATH MANAGEMENT SCREEN

Forward

Up to 26 points defining the sound location can be specified. Each point has an associated time parameter to move the sound from the previous point.
X-Y coordinates are specified in 10ths of feet. X values range from -999 (-99.9 feet) to +999 (99.9 feet), Y values from 0 to 999 (99.9 feet). The listener is considered to be at [0,0] as shown below:

X Y 999, 999

The first part of the coordinate designates the left/right position. The second part of the coordinate designates the forward positioning.
Time values range from 0 to the length of the current sample. Note that if this path is applied to a different sample, all time values will be scaled to the length of the different sample.
+999, 0 0, 0 R Forward +999, 999

-999, 0

0, 999

-999, 999

The diagram above shows the extreme positions of the path coordinates.
Once path editing is complete, press ENTER to return to the Path Management screen. When the path is ready to apply to the sample, press the left cursor button while in the Path Management screen to return to the main Doppler/Pan screen. Press ENTER again to move ahead to the Path Parameters screen and once more to process the sample.

9. Undo

Have you ever wanted a time machine so that you could go back and undo a mistake? This function may be the next best thing.
To Restore A Sample To Its Original State:
1. Activate Digital Processing module. 2. Select Submodule 9.
! Caution: The Undo function will not work
unless you have a hard disk drive connected.
UNDO TRUNCATION 001 Selected Sample Backup: enabled
The display will show whether backup is currently enabled or not. If backup is not enabled, you will not be able to restore the sample. Otherwise, press ENTER. The original sample will be restored, the processed sample will be stored in the clipboard, and the ESI-32 will return to the Module Identifier.
To Compare a Processed Sample with the Original Sample:
REDO TRUNCATION 001 Selected Sample Backup: enabled
The display will show whether backup is currently enabled or not. If backup is not enabled, you will not be able to compare samples. Otherwise, press ENTER. The original sample will be restored, the processed sample will be stored in the clipboard, and the ESI-32 will return to the Module Identifier. 3. Re-select Submodule 9. The processed sample will be restored, and the original sample will be stored in the clipboard. You can continue switching back and forth between the processed and original samples by repeating this step until you decide which sample you want to keep. It is best to use Undo ONLY when you have a fixed hard disk drive installed on the SCSI bus. If you have only removable hard disks installed and remove the one containing the backup data, the ESI-32 may become confused. The ESI-32 will select a fixed hard disk as the backup drive, if available. If you have only removable disks and still want to use Undo, insert one removable disk in the drive. Mount Drives in the Master menu sets the Undo device. Leave the removable disk in the drive until you have finished all DSP operations.

1. Activate Preset Definition module. 2. Select Submodule 0. 3. Select a controller.
The eight assignable controllers are: 1. Pitch Control 2. Mod Control 3. Pressure Control 4. Pedal Control 5. MIDI A Control 6. MIDI B Control 7. Switch 1 Control 8. Switch 2 Control 4. Move the cursor to line three and select the destination to the previous selected controller. For some presets on factory disks, default destinations will already have been selected. For other presets, all control sources may be turned Off. Each destination can be controlled by only one controller.

ESI-32

Sample VCF
Cutoff MIDI Master Keyboard
D Tip: Brass sounds often increase in brightness towards the end of the note. Simulate this effect by using the pedal or wheel to increase the filter cutoff frequency towards the end of the note.
REALTIME CONTROLS 4 Pedal Control 2 VCF Cutoff Select a Controller
The diagram above shows the Realtime Control setting to control Cutoff Frequency with a Foot Pedal.
Select the control destination from the following options: 0. Off: When chosen as a destination, this disables the control source. 1. Pitch: Generally, this destination is assigned to the left-hand synthesizer wheel, which has a center detent. When so assigned, the center position gives no pitch bend. Rotating the wheel away from you bends pitch up, while rotating the wheel towards you bends pitch down. Maximum pitch bend is 7 semitones, as set in Preset Definition, 8. Pitch Bend Range. 2. VCF Cutoff: This destination is normally assigned to the mod control, pressure control, or pedal control to add expressiveness to your playing. VCF Cutoff interacts with the filter module frequency and envelope settings. If the wheel does not seem to be working correctly, check these settings. For example, if the filter cutoff is already at maximum, you will not be able to use the wheel to increase the cutoff frequency. 3. VCA Level: Probably the most common use is to assign VCA level to the pedal, thus giving pedal-controlled volume. Or, assign this destination to the mod control when you need a manual volume control (such as during fadeouts). Assign VCA level to a MIDI controller for pseudo-automated mixdown effects when driving the ESI-32 from a sequencer. The realtime control source adds to the initial amount as programmed in Dynamic Processing, 2. VCA. For this destination to have any effect, the initial level of the zone must be set to a value less than 100%. 4. LFO -> Pitch: This destination controls the extent to which the LFO modulates pitch, and is most often assigned to the mod control. Rotating the wheel away from you increases the amount of vibrato. Assigning this destination overrides the equivalent Dynamic Processing module function. 5. LFO -> Cutoff: This destination controls the extent to which the LFO modulates the filter cutoff frequency. Assigning this destination overrides the equivalent Dynamic Processing module function. 6. LFO -> VCA: This destination controls the extent to which the LFO modulates the overall level. This effect is called tremolo. Assigning this destination overrides the equivalent Dynamic Processing module function. 7. Pan: This destination controls the spatial placement of the sound in the stereo field. When assigned to the pitch control, rotating the wheel away from you places the sound in one channel, rotating the wheel towards you places the sound in the other channel, and center wheel position places the sound in the center of the stereo field. You can also use the pedal for foot-controlled panning. Assigning this destination overrides the equivalent Dynamic Processing module function. The VCA pan position set in the Dynamic Processing module determines how the realtime controls will affect pan. Use the following chart to determine what effect a continuous controller will have on the pan position.

LFO Rate: varies the LFO speed from 0.08 Hz to 18.14 Hz. LFO Shape: selects the waveshape of the LFO. The available LFO waveforms are: triangle, sine, sawtooth and square. LFO Delay: sets the amount of time between hitting a key and the onset of modulation. This simulates an effect often used by string players, where the vibrato is brought in only after the initial note pitch has been clearly established. The delay range is from 0 to 21.69 seconds.

Triangle

Sawtooth

Square

LFO Waveforms.
4. Select page two by pressing the right cursor button. The second page shows:
! Caution: The LFO routing will be ignored
if a realtime controller is assigned to the same destination. For example, if you have routed LFO->Pitch in this screen, and then route the mod. control to LFO->Pitch, the setting made in this screen will be ignored.
LFO Variation: LFO->Pitch: LFO->Cutoff:
LFO Variation: provides a way to create the illusion of multiple players, each having an individual modulation rate. The depth of LFO modulation applied to each parameter is variable from 0 to 100%. With 0% variation, each key will have the same LFO rate. Increasing variation (to a maximum of 100%) alters the LFO rate for each key you play. The higher the number, the greater the variation in LFO rate. For effects such as ensemble playing, the variation feature is invaluable. LFO ->Pitch: produces vibrato effects. LFO ->Cutoff: varies the VCFs cutoff frequency in a cyclic fashion. This is useful for adding shimmering effects to a sound. 5. Select page three by pressing the right cursor button. The third page displays the following LFO routing options:
100%, additional modulation from pedals, LFOs, etc. will not increase the level. You must reduce the VCA level (Digital Processing, 2) from the 100% mark for additional modulation to have any effect.
LFO LFO->VCA: LFO->Pan: 0% 0%
LFO -> VCA: produces tremolo effects by altering the overall level of a zone in a cyclic fashion. LFO -> Pan: cyclically varies the placement of the audio output of a zone within the stereo field. 6. Press ENTER to exit the submodule. The ESI-32 will return to the Module Identifier.

5. Auxiliary Envelope

Positive Velocity to Sample Start

Sample Start

Key Played Soft Key Played Hard
The Velocity to Sample Start parameter allows you to change the attack characteristics of the sample with velocity. This technique is especially effective with percussion samples.
Auxiliary Env: ties velocity to the Auxiliary Envelopes depth. At 0%, the effect of the Auxiliary Envelope remains as set in Dynamic Processing, 5. Auxiliary Envelope no matter how forcefully or softly you play the keyboard. Progressively higher positive values increase the envelope depth as you play more forcefully. Progressively higher negative values decrease the envelope depth as you play more forcefully. 6. Press ENTER to exit the submodule. The ESI-32 will return to the Module Identifier.

7. Keyboard Mode

This submodule lets you alter the way the keyboard processes the notes (not the sounds) that you play. Options include a gate or trigger Envelope Mode, a monophonic Solo Mode, and a Nontranspose function for maintaining a constant pitch throughout a zone. 1. Activate Dynamic Processing module. 2. Select Submodule 7. 3. Move the cursor to the parameter(s) to be adjusted, and select on or off with the data entry knob. The first page reads:
D Tip: If you have a sound effect layered behind a melodic line, but don't want the effect to transpose as you play the melody, simply Nontranspose the sound effect.
KEYBOARD MODE Mode: trigger Solo: off Nontranspose: off
Env Mode: chooses between gate mode or trigger mode. In gate mode, the AHDSR envelopes react as described earlier. Holding down a key cycles through the AHDS stages, and releasing initiates the Release phase. In trigger mode, pressing a key, however briefly, cycles through the AHR stages and ignores the decay and sustain phases. Trigger mode is usually the best mode to use when triggering the ESI-32 from external drum pads. Solo: provides the playing action of a monophonic synthesizer with single triggering and last-note priority. Solo mode produces more realistic effects when working with monophonic instrument sounds such as solo trumpet, flute, or sax, since this mode does not allow you to play a chord. Nontranspose: lets a sample play throughout its assigned zone at its original pitch onlythere will be no transposition. This is useful when determining the original note at which a sample was recorded. Nontranspose is also useful if youre playing drum parts from the keyboard. Assigning a drum sound to a range consisting of several keys provides an easier target than being forced to hit a single key. 4. Press ENTER to exit the submodule. The ESI-32 will return to the Module Identifier.

Termination installed Internally
Termination Block is installed on the Last Device
TRANSPOSE I O MULTIMODE VOLUME

DIGITAL PROC

SAMPLE MGT

MASTER/GLOBAL

PRESET MGT

DYNAMIC PROC

PRESET DEF
SCSI ID 5 (can be changed)

External HD

SCSI ID 3

M.O. Drive

SCSI ID 2
The following is a list of the default SCSI ID numbers: ID - 7 (fixed) ID - 6 ID - 5 ID - 4 ID - 3 ID - 2 ID - 1 ID - 0 Macintosh Unassigned ESI-32 (this number can be changed) Unassigned Unassigned Internal Syquest 270MB Drive (if installed) Unassigned Internal Macintosh HD (if installed)

Types of SCSI Cables

There are two basic types of SCSI cables in use: DB25 and 50-pin Centronics. The two types of cable can be identified by their connectors, which are quite different. When buying SCSI extension cables, it is important to choose ones with the right type of connectors, since the two types will not interconnect without a special adapter. The type of SCSI connectors on the Macintosh are DB25 connectors. These are the type commonly found on the back of personal computers. The SCSI connector on the optional SCSI port is the 50-pin Centronics type. Use only high quality shielded cables that have all the pins connected. Many cables only have some of the pins wired.
D Tip: Always use 50-pin Centronics-type cables with the ESI-32 These cables have much better electrical characteristics and have fewer problems. Additionally, make sure that all 50 pins of the cables are actually wired. Some SCSI cables have only half of the pins wired.

Terminating SCSI Cables

The total length of the SCSI chain should not exceed 15 feet. A general rule for SCSI cables is: The Shorter the Better! Terminating resistors or terminators are special resistor packs that are installed on the first and last device in the SCSI chain. Terminators are used to reduce line echoes or standing waves on the SCSI bus. An analogy in an audio system would be impedance matching. Terminators can either be hidden inside a SCSI device or they can take the form of termination blocks which can simply be plugged into the SCSI port. Terminators apply power to an array of resistors which ensure a full 5 volt swing between high and low levels on the SCSI line. The host system is required to provide Termination Power. Termination power has its own wire in the SCSI cable and supplies power to the termination block. On external hard disk drives, SCSI terminator power is almost always turned Off and the drives are left un-terminated. The ESI-32 is shipped with termination power On with the termination resistors left in place. This assumes that the ESI-32 will be placed at one end of the SCSI chain. The ESI-32 has an automatic system which ONLY supplies terminator power when it is NOT being supplied by another device. Therefore, you don't need to worry about terminator power when connecting the ESI-32. The more devices you have connected to SCSI and the longer your cables are, the more it becomes important to have the cables properly terminated.

D Tip: Always use high-quality, lowcapacitance , video-grade cabling when using the digital interface to insure data integrity.
The digital interface is straightforward to use. Three additional choices (S/PDIF 32K, S/PDIF 44.1K and S/PDIF 48K) will appear in the Sampling Setup menu if you have the digital I/O board installed. These three additional options select the digital interface for sampling instead of the analog inputs. Connect the digital output of the ESI-32 to a digital input on another device with S/PDIF digital I/O When the digital interface card is installed, both the analog and digital outputs are simultaneously available. The Main Output Format option (Master/Global, Special, 5) allows you to select either analog or digital outputs and adjusts the ESI-32 output level for optimum performance. When using the digital outputs, bear in mind that the Headroom Adjustment (Master/Global, Special, 4), the front panel Master Volume control and the VCA Level control (Dynamic Processing, 2) all affect the level on the digital audio output. These controls should be adjusted when transferring digital audio to optimize the signal level. For a single channel output, the maximum output level of the ESI-32 will be -6 dB.

Keyboard Character Map

< > A C F H K M P R V W [ ' b e g j l o q t v z { <-

: ? D J

L O Q T Y ^ c h n p s u x } | w X ] S
D Tip: The shaded area represents a
standard five octave keyboard range.
AVAILABLE CHARACTERS. Banks, drives, samples and presets can be named or renamed using these characters. Select the characters using the ten key pad, data entry knob, and keyboard. You can also use the up cursor to insert spaces and the down cursor to delete spaces. There are also additional characters (not shown above) which are only available through use of the data entry knob or increment/decrement buttons.
0. SCSI Setup 1. Mount Drives 2. Rename Disk Bank 3. Erase Disk Bank 4. Lock Bank & Drive 5. Disk Status 6. Format Disk 7. Backup & Restore

ESI-32 Menu Map

MASTER/ GLOBAL
1. Master Tune 2. Rename Bank 3. Erase Bank 4. Dynamic Allocation 5. Save as EIII Bank 6. Memory Available 7. Disk Utilities 8. Special 9. MIDI 0. Import Options

SAMPLE MANAGEMENT