Musician's Manual Version 1.0

ESQm Soft Copy Manual

Creation and Revision Information OCR and PDF conversion by Mark Wynkoop http://www.markwynkoop.com/ Version 1 September 2007 1. Pages 31, 32 missing 2. OCR not 100% manually verified
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ESQ-M Musician's Manual

ESQ-M Musician's Manual:
Written, Designed, and Illustrated by: Cover Design by: Bill McCutcheon Gilligan Designs, Inc. Copyright 1987 ENSONIQ Corp 155 Great Valley Parkway Malvern, PA 19355 All Rights Reserved
This Manual is copyrighted and all rights are reserved by ENSONIQ Corp. This document may not, in whole or in part, be copied, photocopied, reproduced, translated or reduced to any electronic medium or machine readable form without prior written consent from ENSONIQ Corp. The ESQ-M software/firmware is copyrighted and all rights are reserved by ENSONIQ Corp. Although every effort has been made to ensure the accuracy of the text and illustrations in this Manual, no guarantee is made or implied in this regard. Software/firmware are sold as is and are not covered by warranty.

IMPORTANT:

"This equipment generates and uses radio frequency energy and if not installed and used properly, that is, in strict accordance with the manufacturer's instructions, may cause interference to radio and television reception. It has been tested and found to comply with the limits for a Class B computing device in accordance with the specifications in Subpart J of Part 15 of FCC rules, which are designed to provide reasonable protection against such interference in a residential installation. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures." * reorient the receiving antenna * relocate the instrument with respect to the receiver * move the instrument away from the receiver * plug the instrument into a different outlet so that the instrument and receiver are on different branch circuits "If necessary, the user should consult the dealer or an experienced radio/television technician for additional suggestions. The user may find the following booklet prepared by the Federal Communications Commission helpful: 'How to Identify and Resolve Radio-TV Interference Problems.' This booklet is available from the U.S. Government printing Office, Washington, D.C. 20402 Stock No. 004-000-00345-4."
In order to fulfill warranty. requirements the ESQ-M should be serviced only by an authorized ENSONIQ Repair Station.
T h e E N S O N I Q s e r i a l n u m b e r l a b e l m u s t a p p e a r o n t h e o u t s i d e o f t h e U n i t o r t h e E N S O N I Q w a r r a n t y is void.
*ENSONIQ, ESQ-M, ESQ-1, and Mirage are trademarks of ENSONIQ Corp.

Part # 9310001301

Model MM-11
ESQ-M Musician's Manual Table of Contents 7

Introduction

Section 1 Getting Started
Basic Connections Power MIDI Amplification Rear Panel Connections Front Panel Controls Making Noise Turn it on The Sounds Internal Memory Cartridge Memory Selecting a Program Changing Programs Remotely A Note About Program Numbers When You Remove the Cartridge Battery Maintenance Rack-mounting the ESQ-M
19 Section 2 - Getting in Deeper
27 PROGRAM Mode - Changing Programs & Tracks Changing Programs Track 0 Changing Tracks More About Tracks Diagram The ESQ-M as Nine "Virtual" Synthesizers PARAMETER Mode About Parametric Programming Pages The Param button The Control Keypad Selecting a Page Selecting a Parameter Parameter Chart Changing a Parameter The Compare light/*C* Prompt The Edit Buffer & the Edit Program Table of Contents
29 Section 3 - "Global" Functions
30 MASTER Page Controls Master Tuning, Velocity Sensitivity, Pedal Function & Pitch Bend 32 MIDI Page Controls The ESQ-M's MIDI Configuration
39 Section 4 - Programming the ESQ-M
Waveforms Digital Waveform Memory What's a Waveform? Synthetic Waveforms Sampled & Multi-sampled Waveforms Names Selecting a Waveform Check Them Out The Waveforms Modulators About Modulation Selecting a Modulator Modulation Depth Modulation Sources LFO's (1-3) Envelopes (1-4) Velocity (VEL & VEL 2) Keyboard Tracking (KYBD & KYBD 2) Mod Wheel (WHEEL) Foot Pedal (PEDAL) External Controller (XCTRL) After-touch (PRESSR) Using Modulators Modulating Oscillator Volume Negative Modulation Modulating Filter Cutoff Frequency Limits of Modulation Voice Diagram - ESQ-M Voice Architecture Programming Pages OSC (1-3) Pages DCA (1-3) Pages DCA 4 Page FILTER Page LFO (1-3) Pages Understanding the Envelopes ENV (1-4) Pages MODES Page Split/Layer Page Table of Contents

Despite the way it sort of bounces around from Mode to Mode, once the Base Channel is set to a certain number it stays there, even after you select a different MIDI Mode. It's just that in different MIDI Modes, the Base Channel is sometimes associated with a different Track (or Tracks). Suppose, for instance, the ESQ-M is in POLY Mode and you set the Base Channel to 4. Any Track you select will now receive on Channel 4. Now you switch to MULTI Mode. Channel 4 is still the Base Channel. Track 0 will now receive on Channel 4 (since in MULTI Mode the Base Channel is associated with Track 0). Now you switch to MONO Mode. Channel 4 is still the Base Channel. Track 1 will now receive on Channel 4 (since in MONO Mode the Base Channel is associated with Track 1). And so on.
PROG Current Program on the Track
This parameter shows, and lets you change, the number of the Program that is on the selected Track. Changing the Program here has exactly the same effect as changing the Program on the Program Page (with the Data Entry Slider or the Up and Down Arrow buttons). A Program change made here will be reflected on the Program Page, and vice versa. The Display shows the current Track (indicated as TO, Tl, T2, etc.) and the Program number assigned to that Track (indicated as PROG= ). It is the same three-digit Program Number that appears on the Program Page. As is the case on the Program Page, you can select Program Numbers 001 through 040 when no Cartridge is inserted, and Numbers 001 through 120 when a Cartridge is inserted. This parameter is useful when you are setting up MIDI Channels, Programs and Mix levels for several Tracks. You can use this parameter to select a new Program for the current Track without having to exit the MIDI Page.
MIX Track Mix Level TRACK MIX determines the relative volume of each Track. You can think of this control as the "mixdown" section of the ESQ-M. The Display shows the current Track (indicated as TO, Tl, T2, etc.) and the Mix Level assigned to that Track (indicated as MIX=_ ). The Mix Level is adjustable from OFF to 63. When set to OFF, the Track will not sound.
The mix for a particular Track can be set from the front panel with this control, or remotely by sending MIDI Volume (MIDI Controller #7) to a Track. (Not all instruments send MIDI Volume, but each of the ESQ-M's Tracks will respond to it from those who do.) Also, when the PEDAL Function switch on the MASTER Page is set to PEDAL=VOL, moving the Foot Pedal will change the Mix Level of the current Track, and you will see that change reflected here in real time.

----> REED. One cycle from an Alto saxophone wave. With different Programs it can sound like different Reed Instruments. ----> ORGAN. This Waveform contains the fundamental and four Octaves (2nd, 4th, 8th, 16th and 32nd harmonics). Instant Pipe Organ. Also good for Bells.
ADDITIVE SYNTHESIS WAVEFORMS These three Waveforms were created through Digital Additive Synthesis. Each contains the Fundamental and certain specific harmonics in equal amounts. SYNTH 1. Contains the fundamental, and every third harmonic-, starting from the 2nd, up to the 26th , in equal amounts: Harmonics: 1, 2, 5, 8, 11, 14, 17, 20, 23, 26. SYNTH 2. Contains the fundamental, and every third harmonic, starting from the 4th, up to the 25th , in equal amounts: Harmonics: 1, 4, 7, 10, 13, 16, 19, 22, 25. SYNTH 3. Contains the fundamental, and the prime-numbered harmonics, up to the 23rd, in equal amounts: Harmonics: 1, 2, 3, 5, 7, 11, 13, 17, 19, 23. FORMANTS These five Waveforms were created through a process called Time-Domain Formant-WaveFunction Synthesis. Each one has a sharp peak in its frequency spectrum - like pushing one band of a graphic equalizer all the way up. These Waves are multisampled in such a way that the frequency peak remains relatively constant up and down the keyboard, rather than tracking the pitch of the note. Each has its peak centered around a different frequency. They tend to have a nasal quality, and make excellent component waveforms for Vocals, Strings etc. FORMT 1. Has a frequency peak centered around 750 hz. FORMT 2. Has a frequency peak centered around 1 khz. FORMT 3. Has a frequency peak centered around 1.4 khz. FORMT 4. Has a frequency peak centered around 1.75 khz. FORMT 5. Has a frequency peak centered around 2.25 khz.
BAND LIMITED WAVEFORMS These Waveforms are Band Limited - that is, their harmonic content has been restricted along certain specific lines. They are good for adding controlled harmonics to a sound, or for combining to achieve various timbres. Some are other Waves with some harmonics pulled out; some were built "from scratch" to contain only certain harmonics. PULSE2. Originally a Pulse Wave, like the Pulse Wave above, but with only the first 11 harmonics left in. SQR 2. Originally a Square Wave, but with only the first 7 harmonics left in. 4 OCTS. Contains, in equal amounts, only four harmonics - 1st, 2nd, 4th, 8th. Fundamental and three Octaves; again, good for Organ sounds. PRIME. Contains, in equal amounts, only the first five prime-numbered harmonics: 1st, 3rd, 5th, 7th, and 11th.

ESQ-M Musician's Manual BASS 2. Originally the Bass Wave, but with only the first eighteen harmonics left in. E PNO2. Originally an Electric Piano Wave, but with only the first nine harmonics left in. An Electric Piano without the "ping." OCTAVE. Contains only the 1st and 2nd harmonics in equal amounts the Fundamental and one Octave. OCT+5. Contains only the 1st, 2nd, and 3rd harmonics in equal amounts the Fundamental, one Octave and the Fifth above the octave.
ESQ-M Musician's Manual MODULATORS ABOUT MODULATION To modulate something is simply to cause it to change. Within the Voice architecture of the ESQ-M we begin by setting basic, or Manual, levels for Volume, Pitch, Brightness, etc., and we then modulate those levels in various ways in order to create movement and dynamics within the Sound. Suppose you switch on your stereo, and turn the volume half way up. We can call this the Manual Volume setting. It will stay at that level until it's changed. Now suppose that you take the Volume knob and begin quickly turning it up and down, so the volume gets continuously louder and softer, louder and softer. What you would be doing is modulating the volume of your stereo. If you were to take the Treble control, and do the same to that knob, you would be modulating the brightness of your stereo. In much the same way we modulate various levels within the ESQ-M (though generally the approach is less haphazard). There are 15 different Modulation Sources available, and they can each be independently assigned to vary the Manual levels for: ----> The Pitch of each Oscillator [OSC 1, OSC 2 and OSC 3] ----> The Volume of each Oscillator [DCA 1, DCA 2 and DCA 3] ----> The Filter Cutoff Frequency, or the Brightness of the Program [FILTER] ----> The Depth of the Low Frequency Oscillators [LFO 1, LFO 2 and LFO 3] and ----> Panning the Program within the stereo mix [DCA 4] Page The Final Volume of the Program [DCA 4] is a special case it is always controlled by Envelope 4 (ENV 4), which is fixed as its Modulator. SELECTING A MODULATOR On each of the Oscillator Pitch Pages, [OSC 1, OSC 2 and OSC 3], the Oscillator Volume Pages, [DCA 1, DCA 2 and DCA 3], and the FILTER Page, you can select two different Modulators. The format is similar for all these Pages the effect of any modulators you select will be added to (or subtracted from) the Manual Levels that are set elsewhere on the Page. Take for example the OSC 1 Page. To select a Modulator (or Modulators) for the pitch of Oscillator 1, first select the OSC 1 Page. Now Scroll to the parameter MOD 1:

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.

Modulators

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.
Envelope Levels can go from -63 to +63
A comprehensive discussion of the ESQ-M Envelopes follows in the Section entitled Understanding the Envelopes, p. 66. ----> VEL Velocity Velocity means how hard you strike a key. Selecting VEL as a Modulator allows you to modulate any Manual Level with Velocity. Velocity as a Modulation Source only goes positive (though assigning a negative Modulation depth will make the net result be to decrease a Manual Level with Velocity). VEL is velocity with a straight linear curve. Note that if you drive the ESQ-M from a controller which does not send key velocity, this parameter will have no effect. ----> VEL 2 This is Velocity with a different Curve. Where the effect of VEL is linear, VEL 2 reaches the top end of the Modulation range quicker, with less velocity, and after that the curve levels off. (Again, if you drive the ESQ-M from a controller which does not send key velocity, this parameter will have no effect.) The illustration below shows the difference between VEL and VEL 2.
----> KYBD Keyboard Tracking Uses the position of a note on the Keyboard as a Modulator. The scaling effect of this Modulator is figured from MIDI key 0 to MIDI key 127.
As the above illustration shows, the effect of KYBD is only positive-going (though a negative Modulation depth will reverse the effect). Since scaling starts from MIDI key 0, there will always be some effect on any keyboard, even on the lowest note. Manual Levels should be adjusted accordingly. KYBD 2 Another way to modulate any Manual Level with the position of a note on the Keyboard, KYBD 2 employs a different curve. KYBD 2 goes negative as well as positive and, unlike KYBD, has its full effect over the range of a 5-octave keyboard, such as that of the ESQ-1.
As the above illustration shows, the effect of KYBD 2 is to reduce the Manual Level on notes below the break point (E above Middle C), and increase levels above that point. Negative Modulation depths will do the opposite. WHEEL Modulation Wheel The MOD Wheel (MIDI Controller #1) is assignable wherever a Modulator is selected. To use the MOD Wheel for Vibrato (one common application) WHEEL must be assigned to modulate the LFO that is modulating Oscillator Pitch. The effect of WHEEL as a modulator is positive-going only, from 0 (Wheel towards you) to +63 (W heel away from you). N egative Modulation depths will reverse the effect.

3 MOD 1 MODAMT MOD 2 MODAMT 2 5

OUTPUT

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
ESQ-M Musician's Manual 1. OUTPUT Oscillator Mute Turns the Output of the Oscillator ON or OFF. This control is very helpful when setting up complex Programs, as it allows you to silence any Oscillator, and listen to the others, without disturbing your settings. MOD1 Modulator #1 Selects the first source of modulation. The modulators selected on this page affect only the amplitude of the Oscillator. MODAMT1 Modulator #1 Depth Sets the depth, or amount, by which Modulator #1 will affect the amplitude of the Oscillator. The Modulation amount can be positive or negative. Range: -63 To +63. MOD2 Modulator #2 Selects the second source of modulation. Again, a Modulator's maximum depth can be doubled, by assigning the same Modulator to MOD #1 and MOD #2. The Modulators selected on this page affect only the amplitude of the Oscillator. MODAMT2 Modulator #2 Depth Sets the depth, or amount, by which Modulator #2 will affect the amplitude of the Oscillator. The Modulation amount can be positive or negative. Range: -63 To +63.

DCA 4 Page

[DCA 4] FINAL VOLUME PAGE
Controls Program Volume and Panning.
Note: The Modulation Source for [DCA 4] is always [ENV 4]. The outputs of the three Oscillators, after passing through the Filter, go to [DCA4]. This Final DCA (Digitally Controlled Amplifier), together with [ENV4], which is fixed as its Modulator, determines the overall volume envelope of the Program. 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: Adjust the amplitude of the entire Program; Pan the Program left, right or center; and Modulate the Program Pan using any of the 15 available Modulation Sources.

0 LEVEL LEVEL 2

Parameters

on this

2 LEVEL 3

3 VEL LVL

4 VEL T1

5 TIME 1

6 TIME 2

7 TIME 3

8 TIME 4

KBD9SCAL

0. LEVEL 1 This is the LEVEL that the Envelope will reach at the end of the Time defined by TIME 1. All Envelopes start at a level of Zero and proceed toward LEVEL 1 when a key is pressed. Range: -63 To +63. 1. LEVEL 2 The LEVEL that the Envelope will reach at the end of TIME 2. Range: -63 To +63. LEVEL 3 The LEVEL that the Envelope will reach at the end of TIME 3. This is the Sustain Level.The Envelope will remain at this level until the key is released. After the Key is released, the Envelope will return to Zero. Range: -63 To +63. VEL LVL Velocity Level Control This parameter makes all three Levels, LEVEL 1, LEVEL 2 and LEVEL 3, respond to Keyboard Velocity, or how hard you strike the key. When the value of VEL LVL is raised, a softer keystrike will decrease all three Levels. The greater the value, the more the Levels will decrease as you play softer. Thus the Levels set by LEVEL 1, LEVEL 2 and LEVEL 3 define the maximum Levels, and parameter [VEL LVL] subtracts from those Levels. Range: 0 To 63.
ESQ-M Musician's Manual 4. VEL T1 Velocity Attack Control This control makes TIME 1 respond to Keyboard Velocity. Raising its value will cause a decrease in the value of TIME 1 as a key is struck harder, shortening the Attack Time. The greater the value, the faster LEVEL 1 will be reached with a hard keystrike. (This Parameter will have no effect if TIME 1 = 0.) Range: 0 To 63. TIME 1 The amount of Time between when the key is struck and when the Envelope reaches LEVEL 1. In most applications this is the Attack Time. The higher the value the longer the TIME. Range: 0 To 63. TIME 2 The Time it takes the Envelope to go from LEVEL 1 to LEVEL 2. In most applications this is the first of two Decay stages. Range: 0 To 63. TIME 3 The Time it takes the Envelope to go from LEVEL 2 to LEVEL 3. In most applications this is second Decay stage. At the end of TIME 3, the Envelope will remain at LEVEL 3 until the key is released. Range: 0 To 63. TIME 4 Release Time. Defines the amount of Time it will take the Envelope to return to Zero from LEVEL 3 (or from whatever it currently is, if LEVEL 3 has not yet been reached) after the key is released. Range: 0 To 63. KBD SCAL Keyboard Decay Scaling Raising the value of this parameter will cause the value of both TIME 2 and TIME 3 to decrease as you go higher up the keyboard. Thus higher notes will decay faster than lower ones. This is true of many acoustic instruments. The greater the value of KBD SCAL, the more the decay time will decrease as you play higher up the keyboard. KBD SCAL will have no effect if TIME 2 and TIME 3 are Zero. Range: 0 To 63.

Envelope (1-4) Page

[MODES] MODES PAGE Controls Glide, Sync, AM, and Mono Modes, as well as Voice, Envelope and Oscillator Restart Modes. All of the Parameters on this Page are part of the Program (or patch), and will apply only to the selected Program. 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. MODES PAGE 0 AM 1 GLIDE I Parameters on this Page: 2 MONO 3 SYNC 4 RST VC 5 RST ENV 6 RST OSC 7 ENV CYC

When ON: The Split Program will be Layered (will play simultaneously) with the Program
selected by the next parameter (#1). This will result in a reduction to four Voices only on the SPLIT/LAYERED half of the Keyboard. 1. SP/LA (prog) Select SPLIT/LAYER Program The Program whose name appears here will be Layered with the Split Program when an Upper or Lower Keyboard Split has been selected. It is possible to have a Split/Layer without Layer mode being on. The Program shown here is Layered only with the Split Program. There will always be a Program name in this Location, whether the Layer mode is engaged or not.
ESQ-M Musician's Manual When this control is selected, you can choose a new SPLIT/LAYER Program by using the Data Entry Slider and the Up and Down Arrow Buttons to browse through the various Programs in Memory until you find the one you want. 2. LAYER (switch) Layer On/Off This acts as a switch to turn On or Off the Layer mode.
When ON: The Current Program (the one you are editing) will be Layered (combined) with the
Program selected by the next parameter (#3), and both Programs will play simultaneously. Activating the Layer mode reduces the number of available Voices to four (from eight) wherever a layer is selected. 3.
LAYER (prog) Select LAYER Program The Program whose name appears here will be Layered with the Current Program when the, Layer mode is switched On. There will always be a Program name in this Location, whether the Layer mode is engaged or not. When this control is selected, you can choose a new LAYER Program by using the Data Entry Slider and the Up and Down Arrow Buttons to scroll through the various Programs in Memory until you find the one you want.
SPLIT (switch) SPLIT ON/OFF This control is used to Split the Keyboard between two Programs, as well as to determine which Keyboard half each will occupy. There are three possible states: ----> OFF Normal Keyboard assignment; no Split. ----> UPPER When SPLIT=UPPER is selected, the Split Program (see #5) will play on the Upper Keyboard (that is, above the Split Key), and the Current Program will play on the Lower Keyboard (below the Split Key).
----> LOWER When SPLIT=LOWER is selected, the Split Program will play on the Lower Keyboard (that is, below the Split Key), and the Current Program will play on the Upper Keyboard (above the Split Key).

Section 5 Saving and Storing Programs
(and "Hidden" Functions)
ESQ-M Musician's Manual [WRITE] WRITE PAGE To Save a New or Edited Program into Memory, or Copy an Existing Program to another Location. SAVING A NEW PROGRAM INTO MEMORY Once you have modified an existing Program, or created an entirely new one, you can Write, or save, that Program to any Internal or Cartridge Memory Location using the WRITE Page. This Page is also used to rename the Program with the name of your choice. you start the Write procedure, you should determine which Internal or Cartridge Program you want to replace with the new Program. Find the Program you want to overwrite, and make a note of its Program Number.

Before

Next, decide on a Name of up to six letters for your new Program. Then:
1. Make sure the yellow Compare light 2.
is lit. If it isn't, press the Param button until it lights. This ensures that the Program you are saving is the modified version (the Edit Program). Press the white button labeled WRITE on the front Panel to select the WRITE Page. The Page will come up as shown below, with the current Program Name showing. You will notice that the first letter of that Name is flashing. This means that it is ready to be changed. WRITE :2LOUD 005

3. Edit the

Program Name using the Data Entry Slider and the Scroll button. You can move the Data Entry Slider up and down to browse through the available characters, or step through them one at a time with the Up and Down Arrow buttons. Experiment until you find the first letter you want. Then press the Scroll button. The next location in the name begins flashing, meaning that it is ready to be edited. Again, move through the characters until you find the correct one. Repeat this procedure until the display shows the name you have chosen. You can select the letter to the right by pressing Scroll, the one to the left by pressing the Down Arrow button while holding down the Scroll button. Repeat this procedure, changing letters as often as you like, until you're satisfied with the name. There are some pretty weird characters in there, along with the usual letters and numbers, to choose from. Be creative.
Helpful Hint: Moving the Data Entry Slider all the way down gives you a blank space. Note also that when there is a blank space in a Program name, and the blank space is selected, it is represented by a flashing underline character. (A flashing blank space, while perhaps interesting as a Zen exercise, would not be an easy concept to represent.) When you press Scroll to move to the next character, the flashing underline will indeed appear as a blank space.

To Transfer all 40 CART B Programs to the INTERNAL Memory: ----> Insert an ENSONIQ E2 PROM Storage Cartridge in the Program Cartridge Slot. Press the Param button to put the ESQ-M in Parameter mode. Select the Storage Page. Press the Scroll button until the Display reads: ST CART B TO INT To initiate the procedure press the Storage button while holding down the Scroll button. While the transfer is in progress, the Display will read "COPYING PROGRAMS." Copying an entire Bank from a Cartridge to the Internal Memory takes only about two seconds. When the transfer is complete the ESQ-M will return to the Storage Page. The 40 Cart B Programs are now in the Internal Memory of the ESQ-M. TRANSFERRING INTERNAL PROGRAMS TO A CARTRIDGE To Transfer all 40 INTERNAL Programs to CART A: Insert an ENSONIQ E2 PROM Storage Cartridge in the Program Cartridge Slot with the label facing down, and the writing on the end right-side-up. Press the Param button to put the ESQ-M in Parameter mode. Select the Storage Page. Press the Scroll button until the Display reads: ST I NT T O CART A To initiate the procedure press the Storage button while holding down the Scroll button. While the transfer is in progress, the Display will read "COPYING PROGRAMS." Copying an entire Bank to the Cartridge takes about two minutes. When the transfer is complete the ESQ-M will return to the Storage Page. The 40 Internal Programs from the Internal Memory are now in Bank A of the Cartridge. To Transfer all 40 INTERNAL Programs to CART B: Insert an ENSONIQ E2 PROM Storage Cartridge in the Program Cartridge Slot. Press the Param button to put the ESQ-M in Parameter mode. Select the Storage Page. Press the Scroll button until the Display reads: ST I NT TO CART B To initiate the procedure press the Storage button while holding down the Scroll button. While the transfer is in progress, the Display will read "COPYING PROGRAMS." Copying an entire Bank to the Cartridge takes about two minutes. When the transfer is complete the ESQ-M will return to the Storage Page. The 40 Internal Programs from the Internal Memory are now in Bank B of the Cartridge.

Storage Page

"HIDDEN" FUNCTIONS There are five "hidden" functions on the ESQ-M which are accessed through the Storage Page. These functions are buried because they aren't really necessary for everyday operation of the ESQ-M and one of them, the MEMORY RESET function, will wipe out the contents of the ESQ-M's memory. These parameters are not for the timid. Each, however, is useful in certain situations. HOW TO FIND THEM The Hidden functions are activated from the Storage Page. To make them appear: 1. Press the Param button to put the ESQ-M in Parameter mode. 2. Press the Storage button go to the Storage Page. 3. Press and hold down the Scroll button. While holding down the Scroll button, press the Master button. This puts the five hidden functions, starting with Soft Reset, into the parameter loop along with with the six functions normally available on the Storage Page. In other words, pressing Scroll will now scroll continuously through the usual Storage Page controls in addition to the five hidden functions. These functions are executed in the same way as other Storage Page functions by pressing Storage while holding down the Scroll button. The extra functions will remain visible until you exit the Storage Page, either by pressing the Program button or by selecting another parameter Page. To get them back into the loop once you have exited the Storage Page you must repeat the above procedure. FUNCTIONS The five "Hidden" Functions are as follows: SOFT RESET Soft Reset has the same effect as turning the ESQ-M's power off and then on again. Let's face it there are those rare occasions when MIDI gets totally out of control and notes mysteriously hang, or some modulation effect just won't go away. You can cure many of those problems by turning an instrument off and then back on. Soft Reset does the same thing without your having to switch the ESQ-M off. It doesn't affect the ESQ-M's Program memory or change any parameter values, except that if System Exclusives were enabled (on the MIDI Page) when you reset, they won't be enabled when the ESQ-M comes back on (this is also the case when you switch the power off). To execute the Soft Reset: With SOFT RESET showing on the Display, Press the Storage button while holding down the Scroll button. The ESQ-M will act just like it does when you turn it on, displaying its customary wake-up screen for several seconds and then returning to Program mode. SOFTWARE VERSION This control simply shows you which version of the ESQ-M software you have in your machine. As with any computer device, the ESQ-M's software is subject to being updated from time to time to in order to enhance the product. To see what software version you have: With SOFTWARE VER showing on the Display, Press the Storage button while holding down the Scroll button. The Display will show the version number (as "ESQ-M VER X.YZ") for about two seconds and then return to the Storage Page.

Section 6 Applications

USING THE ESQ-M WITH A SEQUENCER Because of its multi-timbral capabilities, the ESQ-M is an ideal instrument for use with a MIDI sequencer. Its ability to "listen to" nine MIDI Channels at once means that the ESQ-M can take the place of several synthesizers in your rig. If you haven't already done so, you should read the sections in this manual entitled "More About Tracks" (pp. 2122) and "MIDI Page" (pp. 32 -38) for a fuller understanding of the ESQ-M's MIDI controls and how to configure them to your particular needs. CONNECTIONS The illustration to the right shows a typical s eq ue nc in g set - up. Of c ou rse t he E SQ - M doesn't have to be first in the chain after the sequencer you can chain MIDI instruments in any order, with one exception. If any of the units doesn't have a MIDI Thru jack, you must place that unit last in the chain. (Or you could get a MIDI Thru Box, available from a number of manufacturers, which will split up the MIDI signal and send it to several devices at once.) Also, some instruments (particularly those with a switchable MIDI Out/Thru jack) can impart a small amount of delay when passing along the MIDI signal. This usually poses a problem only if you are using a great many devices at once. Again, placing such instruments last in the chain or using a MIDI Thru box will minimize the effect. THE ESQ-M AS ONE SYNTHESIZER We'll start with the most basic sequencing situation, in which you will use the ESQ-M as if it were an ordinary synth, capable of playing only one sound at a time. This is how it will act in POLY mode. In POLY Mode the ESQ-M will respond only to information received on the Base MIDI Channel, and will play only the sound which is on the current Track. On the MIDI Page, set the MIDI Mode parameter to MODE=POLY. Also on the MIDI Page, set the MIDI Channel (BASECHAN= ) to whichever of the 16 MIDI Channels you want the ESQ-M to receive on. (It's already set to BASECHAN=1 unless you've changed it.) The ESQ-M will respond only to data received on this MIDI Channel.
In the example above we have a sequencer connected to an ESQ-M, a Mirage Digital Multisampler and a SPM-1 Sampled Piano module. With the ESQ-M in POLY Mode and set to BASECHAN=1, it will play information received on MIDI Channel 1. The SPM-1 will respond to information on MIDI

ESQ-M Musician's Manual Als o, if you are operating the ESQ-M and the ESQ-1 in stereo you should be sure to Pan the right outputs of both instruments right, and the left outputs of both instruments left, to avoid differences in the pan locations between the two instruments. Adapting Existing ESQ-1 Sequences for Overflow If you want to use Overflow Mode with ESQ-1 sequences that you had previously created without Overflow, you must do the following: In each sequence, for each Track with LOCAL Status, go to the Mix/MIDI Page and assign it the proper MIDI Channel according to the table shown above. (Or assign it a Channel based on whatever alternative scheme you have decided on. But above all, be consistent. Always use the same MIDI Channel for the same Track on both instruments.) As mentioned earlier, Tracks with BOTH status will act like LOCAL Tracks with Overflow on. If you have BOTH Tracks in your sequence, you will have to decide whether you want to 1) leave them that way and have them play only on the ESQ's, or 2) change the status to MIDI, so that they will play only on the remote instrument(s). If there are MIDI only Tracks in your sequence which are playing remote instruments, they will behave just as they always did. But check to see none of them is set to the a MIDI Channel that is being used for Overflow. If they are, change the MIDI Channel of one or the other. Overflow Mode and two ESQ-M's Two ESQ-M's can be made to act as a single 16-voice instrument by turning on Overflow on the first unit. The concept is basically the same as described above. You will need to do the following: Connect the MIDI Out of your master controller to the MIDI In of the first ESQ-M. Connect the MIDI Out (not the Thru) of the first ESQ-M to the MIDI In of the second ESQ-M. Put both units in MULTI Mode (for use with a sequencer or other poly-timbral application) or POLY Mode (for using one sound at a time). In either case, both units should be in the same MIDI Mode. Each Track on the second ESQ-M should be set to the same MIDI Channel as the same track on the first ESQ-M. For example (in MULTI Mode): ESO-M #1 Track 0 Track 1 Track 2 Track 3 Track 4 Track 5 Track 6 Track 7 Track 8 Overflows to ESO-M #2 , Track 0 Track 1 Track 2 Track 3 Track 4 Track 5 Track 6 Track 7 Track 8 MIDI Channel 1 (Base Channel ) 8 9

SQ-80 Musician's Manual Throughout the rest of this Section you will learn about the Waves, Modulators. and Envelopes, and how to control the pitch and volume of each Oscillator. Once you are familiar with the basic operations, try examining some of the Factory Programs to see which Waves are played by the different Oscillators (OSC 1-3 Pages), and how the volume of each Oscillator has been programmed (DCA 1-3 Pages).
Digital Wave Memory The SQ-80's CrossWave TM synthesis technique is based on the ability of its three Digital Oscillators to "read" from memory whichever Waves they are instructed to play for each Program (rather than just producing simple sawtooth or square waves). The SQ-80 has 256 kilobytes of wavedata in ROM to use in constructing sounds. This wavedata is divided among 75 different Waves stored in the SQ-80's Digital Wave Memory. Many of these Waves have been sampled (digitally recorded) from real musical sources: others have been created synthetically. Some were sampled and then re-synthesized using various Digital Signal Processing techniques. Waveforms, Inharmonic Loops and Transient Attacks The Waves which form the "raw material" of the SQ-80 sounds are divided into three basic categories Waveforms, Inharmonic Loops and Transient Attacks. Though Waveforms, Inharmonic Loops and Transient Attacks are all forms of digitally encoded sound, they differ in fundamental ways. A Waveform is a single cycle of a sound wave. It is Digitized, or converted into a series of numbers, and stored in Memory. By rapidly repeating this single cycle over and over, an 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.

SQ-80 Musician's Manual ____ -> SQUARE. The Square Wave contains the Fundamental and all its odd-numbered harmonics at a fixed ratio. The level of the harmonics is the same as the Sawtooth, except that there are no evennumbered harmonics. The Square Wave has a hollow sound, and is also the basis for many classic synth sounds. ____ > PULSE. This Pulse Wave contains the Fundamental and all its integral harmonics at equal amplitude. This is a very bright Waveform.
> NOISE 1. This is a Waveform taken from filtered Noise. It works best when tuned down low (OCT= -3). (Note that the Noise Waveforms here differ from analog Noise generators, in that
Waveforms are by definition repeating patterns, and Noise is random.)
> NOISE 2. This is very close to White Noise. It has almost no pitch. but modulating the Oscillator
playing this Waveform with a fast LFO or an Envelope, will eliminate what pitch tracking there is.
> NOISE 3. This Waveform is good for putting random frequency components into a sound (the
attack "ping" of a mallet instrument, for example). It has a clangorous, metallic quality, and its pitch tends to be unpredictable.
2) SAMPLED WAVEFORMS The Sampled Waveforms contain harmonics that simply cannot be generated by an ordinary
synthesizer, since every musical source produces its own unique waveshapes and Frequency Spectrum.
> BASS. This is a bright Bass Waveform, full of interesting harmonics, which, depending on the Program, makes a great regular or synth-type Bass. Higher up it takes on a Clav-like character. > PIANO. A multisampled acoustic Piano wave. Its best range is OCT= -1.
____ > EL PNO ELECTRIC PIANO. A Waveform taken from a popular Electric Piano allows
you to recreate this instrument with tremendous realism.
> VOICE 1. A multisampled Vocal waveform, saying "Ah".
> VOICE 2. A multisampled Vocal waveform, using the same waveforms as VOICE 1. but with a higher split point for each Wave
____ > KICK. This Waveform is optimized for one application. Tuned to OCT= -3, properly enveloped, and played on the lowest key of the Keyboard, it reproduces a Kick drum. ____ > REED. One cycle from an Alto saxophone wave. With different Programs it can sound like different Reed Instruments. ____ > ORGAN. This Waveform contains the fundamental and four Octaves (2nd, 4th. 8th, 16th and 32nd harmonics). Instant Pipe Organ. Also good for Bells.

SQ-80 Musician's Manual Bear in mind that when you use an Envelope or an LFO (Low Frequency Oscillator) as a Modulator. the final effect will depend on the Modulation Depth and the Levels that are set for the Envelope or LFO on their respective Pages. Negative Modulation Modulation Depth can be Positive or Negative (ranging from -63 to +63), making a great many interesting effects possible. If, for example, the Manual Level is set to 48, and the same Envelope used in the previous examples is selected and assigned a Negative Modulation depth, the resulting Volume curve looks like this:
Modulating the Filter Cutoff Frequency Like Oscillator Volume, the Filter Cutoff Frequency, or the Brightness contour of a Program. depends on a combination of two things: 1) 2) the setting of the base, or Manual Level (the Control labeled FREQ= on the FILTER Page). and the effect of any Modulators applied on that Page.
___ -> If we set the Filter Cutoff Frequency manually (by adjusting the parameter FREQ = on the FILTER Page ) to a level of 64, and turn all Modulators OFF. the Filter will open up to that level when a key is pressed, allowing frequencies below the Cutoff point to pass, and close down to Zero when the key is released. > If we select an Envelope as a Modulator on the FILTER Page and assign it a value greater than Zero, its effect will be added to the the Manual Level.
> If, instead, we generate a Triangleshape wave with one of the LFOs (Low Frequency Oscillators), and apply that LFO wave as a Modulator on the FILTER Page, its effect will be added to the Manual Level, and the Filter Cutoff Frequency will rise and fall with the cycles of the

LFO. 46

SQ-80 Musician's Manual Of course, since two Modulators can be selected, you could apply both of these Modulators (or any other combination) to the Filter Cutoff Frequency, and their effect would be added together. and then added to the Manual Level. As with Oscillator Volume, If the Manual Level on the FILTER Page is set to FREQ. 00. the Filter Cutoff Frequency will depend entirely on the depth and settings of any Modulators applied there.

MOD # 1

Selects the first source of Modulation. The Modulators selected on this page affect only the pitch of the Oscillator.

MOD # 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.

MOD # 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.

MOD # 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.
[DCA1] OSCILLATOR VOLUME PAGE [DCA2] [DCA3]
Controls The Volume of Oscillators 1 through 3.
( Inactive Buttons appear i n 'White) 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 samenumbered Oscillator (OSC). From the three DCA Pages you can adjust the relative balance of the three Oscillators. By setting the Manual Level to LEVEL=00, and assigning an Envelope as the modulator on the appropriate DCA Pages, you can Fade in the volume of the Sustain Wave(s) in a sound, or perform additive synthesis by bringing in different Oscillators over time. Use these pages to: 1) 2) 3) 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.
ACTIVE CONTROLS: 1. 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=00, 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 than the LEVEL setting. Large amounts of negative Modulation can silence the Oscillator, regardless of the setting of this control.

When the Sequencer is in PLAY: Pressing Stop Cont stops the Sequencer.
Pressing Play starts the Sequence again from the beginning. Pressing Record puts the Sequencer into Overdub. It will wait for you to play before going into Record.
When the Sequencer is in RECORD: Pressing StopCont stops the Sequencer.
Pressing Play takes the Sequencer out of Record and puts it into Audition Play. (Except on the First Track. When recording the First Track, pressing Play has no effect.)
The Rear Panel jack labeled Sequencer Ft. Sw. accepts an ENSONIQ SW-1 Foot Switch. When a Foot Switch is plugged into this jack, pressing it will have the same effect as pressing Stop Cont, except when recording the first Track of a Sequence, or when in Overdub, when it can be used to put the Sequencer into Record without playing.
The Sequencer Foot Switch exactly duplicates the behavior of the StopCont Button (except in the REC Standby or Overdub states).

SEQUENCER STATES

On all Sequencer Pages except the CREATE/ERASE Page and the EDIT Page. the Status of the Sequencer is always shown in the lower-left corner of the Display. This tells you which State the Sequencer is in at any given time.
When a Sequence is selected, the possible Sequencer States are: STOP Sequencer at rest. PLAY Sequencer Playing current Sequence. From STOP, PLAY is entered by pressing the Play Button, or pressing the StopCont Button. REC (flashing) This is a Record "Standby" state that occurs only when recording the First Track of a Sequence. When Record/Play is pressed to record the First Track, REC flashes and the metronome starts (CLICK must be ON), allowing you to adjust the Tempo. Recording does not
start until you begin to play. The point where you begin to play then becomes Bar # 1 of the new Sequence.
REC Recording on the selected Track. Record is entered by: 1) Playing any note while REC is flashing (First Track only); 2) Pressing Record/Play (all.later Tracks): or 3) Playing any note while ODUB is flashing (see Overdub Mode below).
The SQ-80 automatically exits the Record State at the end of a Sequence on all Tracks after the first that is, after the length of the Sequence is defined. It will not Record past the end of a Sequence. At the end of the Sequence it will leave Record and (assuming LOOP= ON) enter the Audition Play State.
ODUB (flashing) Overdub is another way of entering Record. It allows you to "Punch In" wherever

Note: You cannot Record a Track with the Edit Program. Going into Record automatically puts the
original Program back onto the Track. If you want to Record with the Edited Program on a Track you must first Write (save) it to a Program Location and then select the newly written Program for the Track, as described earlier. Also, if you leave the Track. by "unselecting" the Track or selecting another Track, the original Program will automatically be put back on the Track.
[MixMIDI] Tracks MixMIDI Page
For setting the Mix Level, MIDI Channel, MIDI Status and Program Number of each Track.
When you are using the SQ-80 by itself. Recording Tracks with only Internal sounds, you won't need to concern yourself with the Mix MIDI Page too much, except to balance the output levels of the different Tracks (Mix down). But once you start serious MIDI Sequencing driving numerous external instruments from the SQ-80 this page becomes the control center for your entire MIDI rig. From here you can determine the Status of each Track, send Program Changes to external instruments, adjust the Mix Level, and select a MIDI Channel for each Track. When you be g in setting up the MIDI confi g uration of a new Sequence, the Mix MIDI Page should be your first stop. When you select a previously UNUSED Track from this Page, the effect is the same as from the Tracks Select Page the new Track takes on all the characteristics of whatever Track was selected before ( or of the Straight Synth section, if no Track was selected). You will find that this allows you quickly to define the configuration of a new Track, by first selecting a defined Track with a similar setup, then selecting an UNUSED Track and changing only the settings you want to be different for the new Track. Sub-pages The Mix MIDI Page is actually four different Sub-pages, all of which are reached by pressing the Mix MIDI Button. On all of these Sub-pages, each Track occupies the same relative location on the Display as it does on the Tracks Select Page:
On each of these Sub-pages. the Display above "Soft" button #6 shows the word *MORE*. Pressing *MORE* advances the Display to the next Sub-page. Which of the four Sub-pages will appear when the Mix MIDI Page is selected depends on which was last used. Here we will take them in order starting with the Track Status Sub-page.

8. COUNTOFF The Countoff is a one-Bar count which precedes a Sequence or Song, when it is played from the beginning. This count can be with or without a Click track. The available options are: NONE The Sequence begins playing immediately after you press Play or Rec/Play. > QUIET There is one measure of silence before the Sequencer begins to Play or Record.
This is good when using the SQ-80 with a Drum Machine you can use the Drums as a lead-in instead of the SQ-80's Click. > CLICK There is one measure of Click track before the Sequence begins to play. In many normal sequence recording situations. this setting. COUNTOFF= CLICK, is the most useful.

10. LOOP

Determines whether a Sequence or Song will repeat after playing through once. When ON: At the end of a Sequence, or Song, the Sequencer will return to the beginning and play it over again. It will continue to repeat until STOP is hit. When OFF: The Sequence or Song will play once through and stop. The setting of the LOOP Switch is saved independently for each Sequence and Song.
[LOCATE] SEQUENCE LOCATE PAGE
Provides information about location within a Sequence; Allows access to any Bar within a Sequence; Adjusts Tempo; Shows Time Signature and Selected Track.
( Inactive Buttons appear in White) The LOCATE Page appears whenever the Sequencer is put into the Play mode from a non-sequencer Page, and when the LOCATE Button on the front panel is pressed. This Page provides valuable Sequencer information as well as control over Tempo and Auto-Locate functions.
The Status of the Sequencer (whether it is in Play, Stop. Record, etc.) is always shown in the lower lefthand corner of the Display on this Page. The currently selected Track is displayed on the top row. (You can't select a different Track from here: this Readout is just there to help you keep things straight.) If no Track is selected (Straight Synth operation), it will read TRACK=NONE. 'The TEMPO Control is always active. Unless you have pressed GOTO, the Data Entry Slider and the Up and Down Arrow Buttons will affect only the Tempo while you are on the LOCATE Page. TEMPO does not have to be selected. The last three buttons on the LOCATE Page are the Auto-Locate Controls. They allow you to quickly go to any Measure within a Sequence, to back up one measure at a time, or to reset to the beginning of the Sequence. This section describes the LOCATE Page as it appears when a Sequence is selected. When a Song is selected, the LOCATE Page is a little different (see SONG LOCATE Pau, p. 139). READOUTS AND ACTIVE CONTROLS:

112 Section 4 The Sequencer
SQ-80 Musician's Manual press the "Soft" Button above or below another Track Location to select another Track. The name of the Program, and all the MixMIDI Page information, from the previous Track is copied onto to the new Track. > Select a Program. As shown earlier, from the Tracks SELECT Page, press INTERNAL, CART A or CART B. Then press any of the Bank Select Buttons to locate the Program you want. While holding a Bank Select Button down, press the "Soft" Button that corresponds to the Program you want. Release the Bank Select Button. The Program you chose is now on the selected Track. ____ > Check the CONTROL Parameters. Select the CONTROL Page and see that the Click, Countoff and Loop switches are set according to your needs. For most recording, the recommended settings are:

LOOP= ON,

CLICK= ON,

COUNTOFF= CLICK.

> Select the LOCATE Page, and press BEGIN. This resets the Sequence to the beginning. It is a good idea to get in the habit of doing this each time you Record a Track. (Pressing Record/ Play doesn't reset the Sequencer to the beginning of the Sequence.) > Press Record/Play to begin recording. The Click will play for one measure (assuming COUNTOFF= CLICK) and then the Sequencer will enter Record mode. It will record whatever you play on the new Track until: The end of the Sequence is reached, or o You press STOP (or hit the Sequencer Foot Switch). At the end of the Sequence. the SQ-80 will leave Record Mode and (assuming LOOP=ON) enter Audition Play Mode the lower-left corner of the display reads "AUDP." Press Stop or the Foot Switch to Stop the Sequencer. This puts you onto the PLAY/KEEP Page:
____ > Press PLAY ORIGINAL TRACK to hear the Track as it was before you recorded the new Track. The first time you Record a particular Track, this isn't much use. but it is invaluable when you begin to do second and third takes, since it allows you to compare the Tracks before deciding which to Keep. > Press PLAY NEW TRACK to hear what you just recorded. > Press KEEP ORIGINAL TRACK to leave the Track as it was in Memory, and "Burn" the one you just recorded. If the Track was empty before Recording, pressing this Button will leave it Empty. > Press KEEP NEW TRACK to save the New Track into Memory, replacing whatever was on the Track before.

120 Section 4 The Sequencer
8) TRACK Five EDIT functions are available for editing an individual TRACK:
TRANSPOSE This function allows you to transpose a Track up or down in pitch by as much
as a full octave in either direction.
REMOVE CONTROLLERS Removes any Controller data (such as Pitch Bend, MOD
Wheel, Breath Controller, etc). and leaves only Key Events. > QUANTIZE Quantization, or Auto-correct, takes the notes played and moves them to the nearest 1/4, 1/8th, 1/16th, or 1/32nd note, or 1/4, 1/8th, 1/16th or 32nd-note Triplet. > ERASE Erases the track. MERGE Takes all the Key and controller data from one Track and adds it in to another Track. This is good for conserving Tracks, and for achieving "Sound-on-Sound" which the SQ-80 Sequencer does not otherwise do you can record two Tracks separately with the same sound, then MERGE them together.
STEP Step Editing. This EDIT function allows you to make minute changes in Track Data, by recording, erasing, punching in or punching out while manually stepping through the Sequence one beat, or one clock pulse, at a time. *EXIT* The EXIT Button gets you off the EDIT Page any time you change your mind, select the wrong function, or want to go back and make sure that the proper Track, Sequence or Song is Selected.
Note: All EDIT functions affect only the currently selected Track, Sequence or Song. Before selecting any EDIT function you must make sure that the Track, Sequence or Song you want to Edit is selected. You cannot change the Track, Sequence or Song to be edited from the EDIT Page.

EDITING A TRACK

When you select TRACK from the menu on the EDIT Page, the Display in turn gives you another menu, from which you select which TRACK EDIT function you want:
The upper-left segment of the Display tells you which Track you are editing remember you can't change Tracks from here. If you have the wrong Track, or you just aren't sure, press *EXIT* , then go to the TRACKS SELECT Page and make sure that the right Track is selected.
SQ-80 Musician's Manual TRACK EDIT FUNCTIONS: 2 or 3) TRANSPOSE (Pressing either the #2 or #3 "Soft" Button will select Transpose.) This function Transposes (raises or lowers the the pitch of) all the notes in a Track, by as much as one octave up or down. To TRANSPOSE a Track: > Make sure the Track you want to Transpose is selected. > Select EDIT Page. and press TRACK. > Press TRANSPOSE the Display shows the following: > Use the Data Entry Slider and the Up and Down Arrow Buttons to adjust by how many semitone Steps the selected Track will Transposed up or down in pitch. One Step is a half-tone (up or down by one key); four Steps, a major third; seven Steps, a fifth, and so on. Range is from -12 (Down one Octave) To +12 (Up one Octave). > Press *YES* to Transpose the Track. You will then be returned to the EDIT TRACK Page. Or Press *NO* to cancel the procedure for any reason.

DELETE Bars

The DELETE Bars function lets you Delete (or remove) up to 99 bars from a Sequence, starting from any bar within the Sequence. This is handy when, for example, you record a first Track which is perfect in every way except that it runs to 5 Bars instead of four. With this EDIT function you can easily chop off the extra Bar.
To DELETE Bars from the Selected Sequence:
-> Make sure the Sequence from which you want to DELETE Bars is selected. -> Select EDIT Page, and press SEQ. -> Press DELETE the Display shows the following: -> Use the Data Entry Slider and the Up and Down Arrow Buttons to determine at which Bar you want to begin removing Bars. This can be any Bar within the Sequence. Bars will be Deleted from the beginning of the Bar you select here.
-> Press *NEXT*. The Display shows the following: -> Use the Data Entry Slider and the Up and Down Arrow Buttons to select how many Bars you want. to Delete. You can adjust this from 01 to 99 Bars. (If the Sequence is very long, and you wish to Delete more
than 99 Bars, just do the procedure more than once.) > Press *YES* to DELETE the selected number of Bars from the selected Sequence. You will then be returned to the EDIT SEQUENCE Page, which will now reflect the new Length of the Sequence. Or Press *NO* to cancel the procedure for any reason.
This EDIT function copies the selected Sequence, with all of its Track, Program and MIDI information and Tempo, to another Sequence Location, leaving the Source Sequence intact. The COPY function can save you time and trouble in many ways. If you have a good basic track, you can Copy the Sequence to another Location, and record different data on the remaining Tracks, for easy Song construction. Or, if you are planning to do some radical re-recording or Editing of a Sequence, Copy it to another Location, and edit the copy, That way your original Sequence is still there if your Section 4 The Sequencer
SQ-80 Musician's Manual experiments aren't completely successful. You can't Copy a Sequence into a Location that already has one. The Destination Sequence Location must be blank.
To COPY a Sequence to Another Location:
> Make sure the Sequence you want to make a Copy of (the Source Sequence) is selected. > Select EDIT Page, and press SEQ. > Press COPY the Display shows the following: > Use the Data Entry Slider and the Up and Down Arrow Buttons to choose which Sequence Location the selected Sequence will be Copied into. This must be a Location where a Sequence that hasn't yet been created. The SQ-80 will not let you Copy over an existing Sequence. > Press *YES* to Copy the Source Sequence into the Destination Sequence Location. You will then be returned to the EDIT SEQUENCE Page. Or Press *NO* to cancel the procedure for any reason.
Making a Sequence Template

To Transfer all 40 INTERNAL Programs to CART A: > Insert an ENSONIQ E2PROM Storage Cartridge in the Program Cartridge Slot. > Select the STORAGE Page. Press CARTRIDGE. The BANK COPY Page appears as shown on the previous page. Press INT TO CART A. The Display will ask "COPY PROGRAMS FROM INT TO CART A" and give you the option of answering *YES* or *NO*. ___ > Press *YES* to Copy the Internal Programs to CART A. The Display will read "PROGRAMS BEING COPIED, PLEASE WAIT." Copying an entire Bank to the Cartridge takes about two minutes. Or Press *NO* to cancel the procedure for any reason. > When the PLEASE WAIT. message disappears, the transfer is complete. To Transfer all 40 INTERNAL Programs to CART B: _ Insert an ENSONIQ EPROM Storage Cartridge in the Program Cartridge Slot. __ > Select the STORAGE Page. > Press CARTRIDGE. The BANK COPY Page appears as shown on the previous page. > Press INT TO CART B. The Display will ask "COPY PROGRAMS FROM INT TO CART B" and give you the option of answering *YES* or *NO*. > Press *YES* to Copy the Internal Programs to CART B. The Display will read "PROGRAMS BEING COPIED, PLEASE WAIT." This takes about two minutes. Or Press *NO* to cancel the procedure for any reason.
> When the PLEASE WAIT. message disappears, the transfer is complete. Transferring Cartridge Programs to the Internal Memory
To Transfer all 40 CART A Programs to the INTERNAL Memory: ___ > Insert an ENSONIQ E2PROM Storage Cartridge, or other Program Cartridge, in the Program
Cartridge Slot. > Select the STORAGE Page. ___ > Press CARTRIDGE. The BANK COPY Page appears as shown on the previous page. ___ > Press CART A TO INT. The Display will ask "COPY PROGRAMS FROM CART A TO INT" and give you the option of answering *YES* or *NO*. > Press *YES* to Copy the 40 Programs in CART A to the Internal Memory. The Display will read "PROGRAMS BEING COPIED, PLEASE WAIT." Copying an entire Bank from a Cartridge to the Internal Memory takes only about two seconds. Or Press *NO* to cancel the procedure for any reason. ___ -> When the PLEASE WAIT. message disappears, the transfer is complete.
To Transfer all 40 CART B Programs to the INTERNAL Memory: Insert an ENSONIQ EPROM Storage Cartridge, or other Program Cartridge, in the Program
Cartridge Slot. ___ > Select the STORAGE Page. > Press CARTRIDGE. The BANK COPY Page appears as shown on the previous page. > Press CART B TO INT. The Display will ask "COPY PROGRAMS FROM CART B TO INT" and give you the option of answering *YES* or *NO*. > Press *YES* to Copy the 40 Programs in CART B to the Internal Memory. The Display will read "PROGRAMS BEING COPIED, PLEASE WAIT." This only takes a couple of seconds. Or Press *NO* to cancel the procedure for any reason. > When the PLEASE WAIT. message disappears, the transfer is complete.

154 Section 6 Data Storage
Disk Storage Using the Disk Drive to Save and Load Data
The SQ-80's built-in Disk Drive can be used to store all your Sound and Sequencer data, as well as System Exclusive messages from other MIDI devices. The SQ-80 has a double-sided drive, which can store over 800 Kilobytes of data per disk. You must use Double-Sided Double-Density (DSDD) 3.5" micro-floppy disks for reliable disk operation. The disks are enclosed in a protective plastic carrier with an automatic shutter to protect the diskette from physical damage. It is important not to alter this carrier in any way. The 3.5" disks have a sliding write-protection tab so that you can protect your own sounds and sequences against accidental erasure. Sliding the write-protection tab in the lower left corner of the disk so that the window is closed will allow you to store information on the disk. Sliding the tab so that the window is open will protect the disk against being accidentally reformatted or having files deleted. Disks are a magnetic storage medium, and should be treated with the same care you'd give important audio tapes. Here are a few Do's and Don'ts concerning disks and the Disk Drive. DO:
use only Double-Sided Double-Density (DSDD) 3.5 inch Micro Floppy disks. These are available
from almost any computer store, and many music stores carry them as well: keep your disks and the Disk Drive clean and free of dust, dirt, liquids, etc: label your disks, and keep a record of what is saved on each. DON'T: use Single-Sided (SSDD or SSSD) disks. These disks have not passed testing on both sides. While a single-sided disk might work successfully with the SQ-80, it is possible that you will eventually lose important data to a disk error if you try using Single-Sided disks; put anything other than a disk in the Disk Drive: expose disks to extremes of temperature. Temperatures below 500 F and above 140 F can damage the plastic outer shell: subject disks to strong magnetic fields. Exposure to magnetic energy can permanently damage the information on the disk. Keep disks away from speaker cabinets. tape decks, power cables. airline x-ray equipment, power amplifiers, TV sets, and any other sources of magnetic energy; eject the disk while the drive is operating (the Disk Drive light is on). Disk Capacity Each formatted SQ-80 disk is partitioned in such a way that it can store the following:

To Save the Entire Sequencer Memory to disk: -> Insert a formatted 3.5" Double-Sided Double-Density disk into the Disk Drive > Press the Storage button to go to the Storage Page. > Press DISK. The Disk Storage menu appears. -> Press SAVE. The SQ-80 then gives you two options 1) SAVE NEW FILE or 2) UPDATE OLD FILE. (Updating Files is covered later in this section.) -> Press SAVE NEW FILE. The disk drive light goes on briefly and the Display says "READING Section 6 Data Storage
SQ-80 Musician's Manual DIRECTORY FROM DISK." Then the Disk Save Menu appears as shown earlier. > Press ALL. The following Display appears: -> Name the Sequencer data. The default name is shown as ten dots, with a Cursor (underline) beneath the first character. Use the Data Entry Slider and the lip and Down Arrow buttons to select a letter or number for each character, and press LEFT and RIGHT to move the Cursor, until the Display shows the name you want. The data will be saved to the lowest-numbered empty Sequencer/Sys-Ex Block on the disk. The lower-left portion of the Display (FILE=_) shows you which of the ten Sequencer/Sys-Ex Blocks the data will occupy on the disk. -> Press *YES*. The Display reads "ACCESSING DISK DRIVE.,." while the data is being saved. When it is done you are returned to the Storage Page. Or Press *NO* to cancel the procedure for any reason.
Save the 40 Internal Programs to disk:
-> Insert a formatted 3.5" Double-Sided Double-Density disk into the Disk Drive > Press the Storage button to go to the Storage Page. -> Press DISK. The Disk Storage menu appears. -> Press SAVE. The SQ-80 then gives you two options: 1) SAVE NEW FILE or 2) UPDATE OLD FILE. (Updating Files is covered later in this section. ) -> Press SAVE NEW FILE. The disk drive light goes on briefly and the Display says "READING DIRECTORY FROM DISK." Then the Disk Save Menu appears as shown earlier. -> Press BANK. The following Display appears: -> Select a name of up to ten characters for the Bank, The default name is shown as ten dots, with a Cursor (underline) beneath the first character. Use the Data Entry Slider and the Up and Down Arrow buttons to select a letter or number for each character, and press LEFT and RIGHT to move the Cursor, until the Display shows the name you want. The data will be saved to the lowest-numbered empty Program Bank File on the disk. The lowerleft portion of the Display (FILE=_) shows you which of the forty Program Bank blocks the data will occupy on the disk, -> Press *YES*. The Display reads "ACCESSING DISK DRIVE." while the data is being saved. When it is done you are returned to the Storage Page. Or Press *NO* to cancel the procedure for any reason.