Ensoniq EPS : manuals

The New Google Sites version is available at /yala-music1/manual-ensoniq-eps.

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● Command Parameter Reference ●

● EPS Musician's Manual ●

● Advanced Applications Guide ●

If you wish to download this entire page, first create a directory, and then use right-click to copy the following files there:

EPS Command/ Parameter Reference

EPS Performance Sampler : Musician's Manual

• 1. Introduction

  2. Rear Panel Connections

  3. Front Panel Connections

  4. Hook It Up / Turn It On

  5. Loading An Instrument

  6. Banks

  7. Playing Instruments - Patch Select buttons, Keyboard Range, changing Instrument Range

  8. Performance Presets

  9. Pressure (After Touch)

  10. Memory & Disk Operations - Mirage Sounds, deleting from Memory, saving to Disk, deleting from Disk, naming Instruments, saving as Bank, formatting Disks, copying OS

  11. Sampling - easy sampling, moving Start & End of WaveSample, Looping, Multi-Sampling, re-sampling, Truncating, selecting WaveSample

  12. MIDI Functions - connections, Smart Midi Out, Midi Instruments, Midi In mode, Program Change

  13. Using The Sequencer

  14. EPS Functions - Quick Reference Guide

  15. EPS MIDI Implementations Chart

  16. EPS Specifications

Each of these buttons represents a location or "slot" into which an Instrument can be loaded. The two LED's above each button tell you whether there is an Instrument loaded into that location, and whether it's selected, deselected or "Stacked."

● The Red LED lights to indicate that an Instrument is loaded into that location, and can be selected by pressing that button. In the above illustration, we see that Instruments are loaded into locations 1,2,3 and 4. If none of the red LED's are lit, no Instruments are loaded. (The red LED flashes while an Instrument is being loaded from disk.)

● The Yellow LED lights when the Instrument is selected (i.e. active on the keyboard). You select an Instrument by pressing its Instrument button. Pressing the button a second time "deselects" the Instrument, turning off the yellow LED. In the illustration, Instrument # 2 is selected. (If none of the yellow LED's are lit, that means that no Instruments are selected, and playing the keyboard won't make any sound.)

● The Yellow LED flashes when the Instrument is "Stacked" with one or more Instruments. An Instrument which is Stacked will play simultaneously with any other Instruments which are selected or Stacked. You Stack an Instrument by pressing its button twice in rapid succession (or "double-click" on the Instrument button, to borrow a term from those computers which use a "mouse"). In the above illustration, Instrument # 3 is stacked with Instrument # 2. You will hear both Instruments when you play the keyboard (wherever their keyboard ranges overlap, that is).

● Select a loaded Instrument (one whose red LED is lit) by pressing its Instrument button. The Display now looks like this:

If you have changed an Instrument's range from the lower half of the keyboard to the upper, for instance, you'll need to transpose it down a few octaves so it plays at the right pitch in the new range.

● With "OCT=_" underlined, use the Data Entry Slider or the Up and Down Arrow buttons to raise or lower the pitch of the Instrument in Octave steps.

● If you wish to transpose the Instrument to a different key, press the Left or Right Arrow button to move the underline to "SEMI=_." Now you can use the Data Entry Slider or the Up and Down Arrow buttons to change the pitch of the Instrument by half-steps.

5. Press the "Set Keyboard Range" button once more.

The EPS returns to LOAD mode, showing you the Instrument name and Volume setting. The range is now set.

Additional Notes:

● The current settings on the "Instrument Range" and "Transpose Instrument" will be saved with the Instrument if you save it to disk.

● While on either of these pages, you can select a different Instrument (by pressing its Instrument button) to see and/or adjust its range and transpose settings.

● While on these pages (and whenever you are in COMMAND or EDIT Mode) only one Instrument at a time can be selected. You will know which Instrument you are working on because only its yellow LED will be lit, its name will show on the Set Keyboard Range Page, and you will hear only it when playing the keyboard.

● Up to eight different Keyboard Range and Transpose settings for each Instrument are possible using Performance Presets (see below).

PERFORMANCE PRESETS

Once you have a number of Instruments loaded into the EPS, there are so many possible combinations for selecting, stacking, mixing and manipulating the ranges of those Instruments that it ~ can get a bit hard to manage in real-time performance. That is where Performance Presets come in.

For each Bank you save, you can create eight Performance Presets which allow you to store different keyboard configurations. By selecting a Performance Preset you can instantly recreate the state of the

"Pile" at the time the Preset was created.

Within each Preset, the following information is saved for instant recall:

● Which Instruments are selected, deselected or stacked (on the "Pile" in LOAD Mode).

● The status of the Patch Select buttons for each Instrument-Track.

● The Volume.(Mix Level) of each Instrument-Track.

● The Pan setting of each Instrument-Track.

● The MIDI Program Number of each Instrument (as selected on the EDIT/Instrument Page).

When the EPS is in LOAD Mode, with the LOAD indicator not flashing*, pressing the buttons numbered 1-8 (in the Page Section of the front panel) will select the eight Performance Presets.

* Remember, when the LOAD indicator is flashing, the Display is showing you disk files for loading. When the LOAD indicator is lit but not flashing the Display is showing you the name(s) of the of Instruments in the Internal Memory.

_ _ _ pg. 17 _ _ _

Additional Notes about Performance Presets:

● Pressing "0" will Deselect all the Instruments in memory and return them to the original settings for Range, Transpose, Volume, etc. which were in effect when they were loaded (or most recently saved to disk). This will undo the effects of any Presets currently in effect. You can press "0" at any time (whether a Preset is in effect or not) to return all you Instruments to their "starting points."

● If you save an Instrument to disk while a Preset is in effect, all the current values will be saved with the Instrument. :Se careful that you don't accidentally save an Instrument with some strange values that you had meant to be part of a temporary setup. You can select "Preset 0" (above) before saving the Instrument to avoid this.

● If you load a new Instrument into an Instrument.Track location which if no Preset has been created for one of the eight possible locations, pressing that number will have no effect.

CREATING A PERFORMANCE PRESET

Whenever you have set up some configuration of Instruments (in LOAD Mode) which you want to preserve for later recall, you can save that configuration as a Performance Preset with the following steps:

● In LOAD Mode, set up the Instruments in memory in some configuration you want to preserve.

● Press Command then Instrument.

● Press the Left or Right Arrow button until the Display show "CREATE PRESET."

● Press Enter*Yes.

● Use the Data Entry Slider or the Up and Down Arrow buttons to select a number 1 - 8. This will determine which of the eight possible Performance Presets the current keyboard configuration will be saved as.

● Press Enter*Yes. The Display reads "COMMAND COMPLETED," and the Preset is made.

● Press Load to return to the "Pile." Pressing the number that you selected for the Preset will now instantly recall this keyboard configuration. Repeat this procedure for each Performance Preset you want to create, selecting a new number (from 1-8) for each.

SUGGESTED USES FOR PERFORMANCE PRESETS

The most obvious use for Performance Presets is to have instant access to different combinations of Instrument selected, stacked and mixed in various ways. Here are some other possibilities:

● Easier access to Patch Select variations. Suppose you have selected the Piano sound and "locked in" some Patch variation (as shown on p. 13), such as the detuned Honky Tonk Piano sound. By creating a Preset while the alternate Patch is locked in, you can later return to that sound just by selecting the Preset.

● Controlling MIDI Instruments. Suppose you have created one or more MIDI Instruments for playing remote devices from the EPS ('See p. 30). Each Performance Preset can store a different Program Number, Volume setting, Keyboard Range and Transpose amount for each of those Instruments. When you select a Preset, each Instrument-which has MIDI or BOTH status ("SEND KEYS TO= "on the EDIT/Instrument Page) will send a Program Change and MIDI volume information on its designated MIDI Channel (assuming TRANSMIT ON = INST CHAN on the EDIT/MIDI Page). So if you use the EPS as a MIDI controller, Performance Presets let you store up to eight totally different controller configurations.

_ _ _ pg. 18 _ _ _

PRESSURE (After-touch)

One of the most exciting features of the EPS is its exclusive Poly-Key keyboard, which, in addition to responding to the velocity with which you play, is capable of responding to Pressure (often called After-touch). There are two types of Pressure:

● Channel Pressure, also called Mono Pressure, is "global." Channel Pressure affects all notes that are playing when you exert pressure on any of the keys. Most MIDI instruments which currently implement Pressure send and receive only Channel Pressure. If you are playing or sequencing such an instrument from the EPS you should set the EPS to send Channel Pressure.

● Key Pressure, sometimes referred to as Polyphonic Pressure or Poly Pressure, is a more sophisticated and expressive type of Pressure. Key Pressure affects each key independently. If, for example, you play a three-note chord, pressing down harder on any of the three notes of the chord will modulate only that note. The other two notes will remain unaffected.

For each Instrument loaded into the EPS Internal Memory, you can determine whether it will respond to Key Pressure, Channel Pressure or none at all:

● Press Edit, then Instrument.

● Scroll left until the Display shows "PRESSURE MODE=_." Set this to PRESSURE MODE=KEY, CHAN, or OFF, depending on on the requirements of the Instrument. Since Pressure is a voracious consumer of Sequencer memory, make sure this is set to OFF when sequencing Instruments which do not respond to Pressure, such as Piano and Drum sounds.

Sending Pressure via MIDI:

● When the "Smart MIDI Out" parameter on the EDIT/MIDI Page is set to "TRANSMIT ON=BASE CHAN" (see p. 29) the EPS will only transmit Pressure according to the setting of the "BASECHAN PRESSURE=_" parameter (also on the EDIT/MIDI Page) no matter what the settings are for individual Instruments.

● When "TRANSMIT ON=INST CHAN," each EPS Instrument will transmit Pressure according to its own Pressure Mode setting (described above).

MEMORY & DISK OPERATIONS

LOADING A MIRAGE SOUND INTO THE EPS

The EPS has a command which lets you load ENSONIQ Mirage sounds and convert them into EPS Instruments. Note that this requires erasing whatever is in the EPS memory, so make sure any Instruments or sequences are saved to a formatted disk before proceeding.

● Press Command, then System.

● Use the Left or Right Arrow button to scroll until the Display shows "LOAD MIRAGE-DSK SOUND." The EPS needs to access the O.S. disk at this point (see p. 3).

● Press Enter. Yes. The Display shows:

● Use the Up and Down Arrow buttons to select Mirage sound #1,2 or 3; then

● Press Right Arrow to move the underline and select which part of the Mirage sound (UPPER, LOWER or UP+LOWER) you want to load.

● Press the Right Arrow button so the Display shows "PROGRAM = 1." Here

you can, if you wish, have the EPS load a different one of the four program variations which are part of each Mirage sound. This will always default to Program #1.

● Press Enter*Yes. The Display asks "MUST ERASE MEMORY, OK?"

● Press Enter*Yes. The Display responds "INSERT DISK, HIT ENTER."

● Insert the Mirage disk and press Enter*Yes. The Display reads "LOADING MIRAGE SOUND" while the sound is loading. Once loaded, it will come up as "UNNAMED INST." Save the sound to an EPS disk (see below), giving it an appropriate name as you do so.

_ _ _ pg. 19 _ _ _

DELETING AN INSTRUMENT FROM THE INTERNAL MEMORY

Sometimes you will want to delete an Instrument from memory - to free up some memory for sampling, for instance. Make sure you have saved the Instrument to disk before deleting it.

● Press Command, then Instrument.

● Verify that the Instrument you want to delete is selected.

● Scroll Right until the Display reads "DELETE INSTRUMENT."

● Press Enter*Yes. The Display asks "DELETE ?"

● Press Enter*Yes. (Or press Cancel*No to abort cancel the procedure.)

SAVING AN INSTRUMENT TO DISK

After you have created a new EPS Instrument, or made changes to an existing Instrument, you can save the Instrument to a formatted EPS disk with the following steps:

● Insert a formatted disk into the drive.

If you don't have a formatted disk, format one before proceeding (see "FORMATTING A DISK" below).

● Press Command, then press Instrument

This puts you on the COMMAND/Instrument Page, which contains all the Instrument-related commands. Check to make sure that the Instrument you want to Save is selected. If not, press its Instrument-Track button to select it.

● Press the Left or Right Arrow button until the Display reads "SAVE INSTRUMENT." (Or use this shortcut - after pressing Command, double-click on the Instrument button.)

● Press Enter*Yes.

● Edit the Instrument Name (if needed):

The Display shows the current name with a Cursor (underline) beneath the first character. If you want to give the Instrument a new name, do so at this time.

Use the Data Entry Slider or the Up and Down Arrow buttons to change the underlined character, then press the Left or Right Arrow button to move the underline. Repeat until the Display shows the name you want. (If you don't need to rename the Instrument, just skip this step.)

● Press Enter*Yes.

The Display will read "SAVING " while the Instrument is being saved. Note that you can continue playing the keyboard while the Instrument is being saved, and you can select other Instruments, but you cannot get out of COMMAND Mode until the Save procedure is done.

● If there is already an Instrument file with the same name on the disk, the Display will ask "DELETE OLD VERSION?" Press Enter*Yes to save the Instrument, replacing the one on the disk. This is for updating Instruments to which you have made changes. Or press Cancel*No to abort the procedure.

● If there is not enough free space on the disk for the Instrument, the Display will say "NO ROOM ON DISK." Save the Instrument to another disk (or delete some files from the disk).

DELETING AN INSTRUMENT OR BANK FILE FROM A DISK

{Be careful here} Deleting of disk files is done from LOAD Mode. To Delete (erase) an Instrument from a disk:

● Press Load, then press Instrument.

● Press the Up or Down Arrow button until the file you want to Delete is showing on the Display.

● While holding down the Load button, press Cancel*No. The Display will ask "DELETE ?"

● Press Enter*Yes.

_ _ _ pg. 20 _ _ _

NAMING (OR RENAMING) AN INSTRUMENT

Each EPS Instrument has a 12-character name. When you create a new Instrument, either through sampling it, converting a Mirage sound or using the CREATE NEW INSTRUMENT command, the new Instrument is automatically given the default name "UNNAMED INST." You can change that name to one of your choosing at any time. Note that whenever you save an Instrument to disk, as shown earlier, you you are also given the opportunity to rename it at that time.

To name (or rename) an Instrument:

● Press Edit, then press Instrument.

This puts you on the EDIT/Instrument Page which contains those parameters related to each EPS Instrument. Make sure the Instrument you want to rename is selected. If not, press its Instrument*Track button to select it.

● Press the Left or Right Arrow button until the Display shows:

You see the current name of the Instrument, with a Cursor (underline) beneath the first character of the name.

● Use the Data Entry Slider or the Up and Down Arrow buttons to change the first character. Then press the Right Arrow button to move the Cursor to the next character, and use the Data Entry Slider to change it. Continue this until the Display shows the name you want.

Hint: Moving the Data Entry Slider all the way down gives you a blank space.

SAVING A CONTENTS OF MEMORY AS A BANK

Saving a Bank is like taking a "snapshot" of the contents of the EPS memory. When you later load a Bank the EPS "looks" at that snapshot and tries to recreate what was in memory when the Bank was saved. You can use Banks to automatically load a new group of Instruments and/or a new Song.

Banks are valuable for this reason: EPS Songs and Sequences have no way of knowing which Instruments are loaded into various Instrument-Track locations. Suppose, for example, you record a Track with a piano sound, but then load a kazoo sample into the Instrument location where the piano was. The Track will now play on the kazoo. By using Banks you can avoid this sort of thing.

It's easy to save the contents of the EPS memory as a Bank. Just bear in mind that any Instruments in the Internal memory, as well as the Song, must he saved separately on the same disk before they can be saved as a Bank. This means that the contents of a Bank are limited to the size of a single floppy disk (unless you have a hard disk connected to the EPS via the optional SCSI port).

● Save any Instruments in memory to disk using the SAVE INSTRUMENT command on the COMMAND/Instrument Page.

● Save the Song to Disk (if you want a Song as part of the Bank) using the SAVE SONG + ALL SEQS command on the COMMAND/Seq*Song Page.

● Press Command, then Instrument.

● Press the Left or Right Arrow button until the Display read "SAVE BANK."

● Press Enter*Yes. The Display shows:.

The default name appears, with a cursor (underline) beneath the first character. Name the Bank, using the Data Entry Slider and up and Down Arrow buttons to change the character and the Left and Right Arrow buttons to move the Cursor.

(If you are updating an existing Bank, don't rename the Bank; just press Enter*Yes and then press Enter*Yes once more in response to the question "DELETE OLD VERSION?")

● Press Enter*Yes.

_ _ _ pg. 21 _ _ _

FORMATTING A DISK

Before you can save EPS Instruments or Sequences to a disk it must be formatted. You can use a blank disk or one that was previously formatted by a different device, such as a computer. Note that formatting will completely erase anything on the disk.

● Insert the disk to be formatted into the drive.

● Press Command, then press System.

● Press the Left or Right Arrow button until the Display reads "FORMAT FLOPPY DISK."

● Press Enter*Yes.

The Display will read "ERASE AND FORMAT DISK?"

● Press Enter*Yes.

While the disk is being formatted, the Display reads "FORMATTING..." Formatting takes about 80 seconds per disk. When it's done the Display says "FORMAT COMPLETE."

If the format fails, the Display will read "FORMAT FAILED." Try again with a different disk.

Note: After formatting a Disk you can, if you want, copy the EPS Operating System (O.S.) onto that disk (see below). Having the O.S. on your sound disks can be convenient - some advanced operations require the EPS to load part of the O.S. from disk before proceeding. If the disk in the drive is not an O.S. disk, the EPS will ask you to insert one. However, putting the O.S. on a disk

leaves a little less space (about 160 Blocks less) for saving Instruments and Sequences.

COPYING THE EPS OPERATING SYSTEM TO A FORMATTED A DISK

Use this procedure to:

● Put the EPS Operating System on a new disk which you have formatted, or

● Update the Operating System on an existing disk with a newer version.

WARNING: Do not copy the Operating System to a disk onto which you have already saved Instruments or Sequences, but not the O.S. This will damage the files already on the disk.

This procedure requires erasing the EPS's Internal Memory, so save any important data before proceeding. Also, you'll need a disk containing the Operating System which you want to copy.

● Insert the disk containing the O.S. you want to copy (the source disk) into the drive.

● Press Command, then press System.

● Press the Left or Right Arrow button until the Display reads "COPY OS TO FORMATTED DISK."

● Press Enter*Yes.

The Display says "MUST ERASE MEMORY, OK?" If you need to save any Sounds or Sequences, press Cancel and save the data before proceeding.

● Press Enter*Yes.

The Display says "INSERT MASTER as DISK." Make sure the source O.S. disk is in the drive.

● Press Enter*Yes.

The Display says "READING as INTO MEMORY," and then "INSERT FORMATTED DISK."

● Insert the disk onto which you want copy the O.S. (the destination disk) into the drive.

● Press Enter*Yes.

● The Display reads "WRITING OS TO DISK" while the O.S. is being copied to the disk.

When it's done, the Display reads "COPY as DONE. ANOTHER?" If you want to copy the same O.S. to another disk, insert another formatted disK and press Enter. Yes. You can repeat this procedure as many times as you like. This makes it easy to update all your O.S. disks when a new EPS Operating System is released.

When you are done, press Cancel*No.

_ _ _ pg. 22 _ _ _

SAMPLING

Digital sampling is really just another name for digital recording:

● When you sample a sound into the EPS, you are actually recording it, much as you would with a tape deck.

● When you play the sample from the keyboard, you are playing back that recording.

● When you play different notes to transpose the sample up or down in pitch you are, in effect, changing the playback rate - just as if you sped up or slowed down a tape deck.

The difference is that with a sampler such as the EPS you can play the recording back at many different pitches at once. What's more, you can "loop" a segment of the sound so that it will sustain indefinitely when a key is held down; you can play it backwards; you can apply Pitch, Filter and Volume envelopes to customize its timbral and dynamic characteristics.

EASY SAMPLING

Let's try a simple one-shot sample. First we need a source - a microphone, synthesizer, the output of a mixer, etc. That sound source should be connected to the Audio In jack of the EPS. Note that the EPS has no separate level control on the input. The level of the signal coming into the EPS must be adjusted at the source.

The EPS's Audio Input can be switched to accept a line-level signal (such as that from a mixer or a synthesizer), or a mic-level signal (from a microphone). This is set after you enter the Level-Detect

mode. To initiate sampling:

● Press the Sample button to the right of the Display.

The EPS must access the 0perating System disk at this point to load the Sampling routine. If the disk in the drive doesn't contain the Operating System (or if there's no disk in the drive) the Display will say "LOAD OS DISK - HIT ENTER." Put the O.S. disk into the drive and press Enter.

The Display says

● Press an unused (no red LED lit) Instrument*Track button.

(If you select an Instrument location where there is already an Instrument loaded, the EPS goes to a Re-sampling screen. Don't do that yet.)

The EPS goes into Level-Detect (or VU) mode:

In Level-Detect mode the Display acts like a peak-reading VU meter, the vertical bars on the Display lighting from left to right to show the level of the incoming signal. The star {asterisk} represents the sampling threshold - the EPS will not begin recording until the signal crosses this level. Use the Up and Down Arrow buttons to adjust the sampling threshold to a higher or lower level.

Before you proceed, there are a number of Sampling parameters you can adjust. These parameters are accessed by pressing the Left or Right Arrow button while in Level-Detect mode.

_ _ _ pg. 23 _ _ _

● While in Level-Detect mode, press the Right Arrow button.

Scrolling to the right (or to the left) from the Level-Detect screen reveals the Sampling parameters and lets you adjust them to your current needs. These parameters are:

# SAMPLE RATE - This is the input sample rate. It determines how many times per second the EPS will sample the sound. It is adjustable from 6.25 KHz to 52.1 KHz. Higher sample rates result in better frequency response, but shorten the amount of available sampling time (one of life's little trade-offs). Those sample rates with a star next to the number are "optimized rates" those for which there is an ideally matching Filter Cutoff frequency (see below). Now press the Right Arrow button again and you will see:

# FILTER CUTOFF - This is the cutoff frequency of the anti-aliasing input filter. This very steep filter gets rid of everything above the Cutoff Frequency. Whenever you change the Sample Rate (above) the EPS automatically resets the Filter Cutoff to its optimum value for that sample rate, so you don't usually need to adjust this parameter at all. Press the Right Arrow button again:

# PRE TRIGGER - This lets the EPS start the sample before the sampling threshold is reached. The Pre-trigger amount is shown in milliseconds (thousands of a second) with a range from 0 to 127 msec. So when "PRE TRIGGER=40 MSEC," after a sample is recorded the EPS "backs up" the Sample Start to a point 40 milliseconds before the threshold was reached. Pre-triggering allows you to use a relatively high sampling threshold without missing any of the low-level stuff at the beginning of the sound. Press the Right Arrow button again to see:

# INPUT LEVEL= MIC/LINE - Here you select either MIC-level (for when a microphone is connected directly to the Audio In) or LINE level (for the output of a mixer, pre-amp, synthesizer, etc). Make sure it is set appropriately for your current needs. Press the Right Arrow button again:

# SAMPLE TIME - This tells you how much sampling time is available, taking into account the current Sample Rate and the amount of free Internal Memory. It is a read-out only and can not be adjusted (though changing the sample rate will cause this number to change) .

● Press the Right Arrow button once more to return to Level-Detect mode.

● Adjust the level of the incoming signal.

As you play the signal into the EPS (or speak into the mic if you have a microphone plugged into the Audio In) you will see the level change on the Display. When the signal hits the peak (or maximum) level, the AMP indicator light will flash.

If the AMP indicator flashes occasionally, that's OK. If it stays lit for more than an instant, however, it indicates clipping - the input signal is too high.

_ _ _ pg. 26 _ _ _

Here you see:

# The first nine letters of the Instrument name (which is always "UNNAMED INST' for newly sampled sounds);

# The number of the current Layer; and

# Which WaveSample will be sampled after you press Enter. The Default here is "NEW," meaning that a new Wavesample will be created in the same Layer of the Instrument.

● Press Enter.

This puts you back in Level-Detect mode. Now proceed to sample the new WaveSample just as you did the first one:

# Adjust the incoming level so that it doesn't clip.

# Press Enter to commence sampling.

# Play the sound to be sampled.

# Press Cancel (or the footswitch) to halt sampling.

# Play the new Root key - the key at which you want the new sample to play back.

Once you have assigned a Root Key to the new sample, the EPS automatically adjusts the split point to be midway between the Root Keys of the two samples.

Follow the exact same procedure to continue making multiple samples within the Instrument.

RESAMPLING AN EXISTING SAMPLE

Let's suppose you have made four multisamples of some instrument, and you now want to go back and redo the third one. The procedure is almost the same as that for making a new multisample, except that instead of pressing Enter while "WS=NEW" you will first pick one of the existing WaveSamples by playing it on the keyboard.

● Press Sample, then select the Instrument into which you want to sample.

The Multisampling screen appears as before.

● Move the Cursor (underline) to "WS =_"

The Cursor should be beneath the Waves ample select (WS= _). If it's not, use the Right Arrow button move it there.

● Play the keyboard to select the Wavesample to redo.

As you play notes you will see the word NEW replaced by the number of the WaveSample you are hearing. As you play different notes the Wavesample number is updated. When you hear the one you want to resample, and see its number on the Display, it is selected to be resampled.

● Press Enter and continue with sampling as before.

The original wavesample will be erased, replaced by the new one.

When you resample an existing Wavesample the EPS will preserve the keyboard range, all wavesample parameters (envelopes, etc.) and, when possible, the Loop Points of the original sample.

_ _ _ pg. 27 _ _ _

TRUNCATING THE WAVESAMPLE TO CONSERVE MEMORY

Moving the Sample Start and Sample End as described above will not return the unused part of the Wavesample to the EPS's memory so that it's available for other samples or Instruments. To do that you need to trim the Waves ample using the TRUNCATE WAVESAMPLE command.

● Make sure the Wavesample you want to Truncate is selected (see below).

● Press the Command button, then press Wave.

● Press the Left or Right buttonto scroll through the available commands until the TRUNCATE WAVESAMPLE command appears:

● Press Enter.

The Display reads "DATA BEING PROCESSED," then "COMMAND COMPLETED." Now any data that was before the Sample Start and after the Sample End has been removed, and the memory it used up returned to the available memory.

SELECTING A WAVESAMPLE TO EDIT

When you have several samples in memory you need a way to choose (or sometimes to just find out) which one you are working on. The EPS has a simple procedure for selecting the current Waves ample:

● Press the Edit button

When you press Edit the EPS responds with the following screen:

Advanced Applications Guide

• 1. How To Get Around

  2. Inside An Instrument

  3. Tutorial: Wavesamples, Layers & Patches

  4. Copy Commands

  5. WaveSample Commands - command/Wave, command/Amp, command/LFO.

THE EPS USER INTERFACE: HOW TO GET AROUND

MODES AND PAGES

While the EPS may appear to be quite complex, all of its functions follow a few simple rules. Once you have learned how the machine is organized, you should be able to do what you want to do without constantly referring to the manual. Most of the operations of the machine are divided into three modes: LOAD, COMMAND and EDIT. The few functions and shortcuts which do not follow all the rules are grouped under the headings SPECIAL and NUMBER KEYS.

The Mode is selected by pressing one of the three orange buttons: Each Mode has a set of Pages; these Pages are accessed by pressing one of the fourteen grey Page buttons. Once on a Page, the Left and Right Arrow buttons can be used to scroll about among the items on that Page. Since each Mode shows a different type of "item," what happens next depends on the Mode.

LOAD MODE

LOAD Mode is explained in detail in the Musician's Manual. It has four Pages which show different types of files. Pressing Enter- Yes tells the EPS to try to load the file shown in the display. Pressing one of the Instrument-Track buttpns will select or deselect a loaded sound. This activity causes a fifth Page to appear, which -is just the volume of the last selected Instrument. The Cancel*No button will toggle between the volume Page and the directory Pages.

COMMAND MODE

COMMAND Mode is quite simple to use, yet it holds most of the real power of the EPS. As always, the Page buttons select a Page and the Left and Right Arrow buttons .scroll through the individual commands. Press Enter-Yes to execute the command. Before executing a command, the display may allow you to change some parameters; if so, another Enter- Yes or two may be required to finish. If you. change your mind halfway through, press Cancel-No to "come back out" to COMMAND Mode again.

EDIT MODE

In EDIT Mode, every Page contains a group of parameters; the Left and Right Arrows scroll through them. The Up and Down Arrows will change. the value of the current parameter, as will the Data Entry Slider. It's almost as simple as that. The only tricky part is selecting exactly what you are editing. The MIDI and SYSTEM Pages contain items which are global to the machine; there is only one "masrer tune" for example. Other parameters pertain to the current Instrument, Layer, Wavesample, Song, Sequence, or Track. Pressing the Edit button itself shows you the EDIT context for the current Instrument (and Track). This is an important Page and is explained below. The current song or sequence is shown on the EDIT/Seq Page.

SPECIAL

There are some functions which don't follow the simple procedures set out above for the three Modes. Some are covered in the Musician's Manual, like Instrument Stacking and Sampling.

● The Musician's Manual covers Set Keyboard Range for Instruments. The keyboard range for individual Wavesamples can also be set using the same procedure when this button is pressed from EDIT Mode, with a Wavesample already selected.

● Hold down an Instrument*Track button and press Cancel*No. This will cause that Instrument to be deleted from internal memory.

● Hold down an empty Instrument*Track button and press Enter*Yes. This will cause the current Instrument to be copied to that Track. This is a shortcut for the COPY INSTRUMENT command.

● A file is erased from a disk ,by holding Load and pressing Cancel*No while the file name is in the display.

● Sometimes a number of parameters are grouped onto one screen, for example, envelope times or the Instrument Patch Selects. To scroll past the entire screen quickly, hold the Right Arrow and press the Up Arrow. To go backwards, hold the Left Arrow and press the Down Arrow.

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THE NUMBER KEYS

The number keys, which are also Page buttons, allow "quick-dialing" of files, commands, and parameters.

● In LOAD Mode, on the volume Page ("LOAD not flashing") the number keys select presets, as explained in the Musician's Manual.

● In LOAD Mode, on the files Pages ("LOAD flashing") a file can be brought into the display by punching its two-digit file number.

● In COMMAND Mode, the first ten commands on each Page can be selected by pressing a digit 0-9 immediately after a Page button. For example, pressing Instrument and then "3" will select "SAVE INSTRUMENT". The number must be pressed within one second.

● In EDIT Mode, parameters can also be selected by a two button code. For example, 33 will select Env 3 TIMES.

● In both EDIT and COMMAND modes, double-clicking on a Page button which does not have a number will still select something useful. For example, pressing System twice will select "FREE SYSTEM BLOCKS" in EDIT Mode. In COMMAND Mode you get "FORMAT FLOPPY DISK."

INSIDE AN INSTRUMENT

The EPS keeps all its sounds in a format called the Instrument. This format is used for all disk storage. The internal structure of an Instrument has three levels: Instrument, Layer, and Wavesample. Up to 127 Wavesamples are grouped together into Layers, and there can be up to 8 Layers in the Instrument. Their relationship is shown below:

INSTRUMENT 1 INSTRUMENT n --+-> Instrument Parameters INSTRUMENT 8 +-> LAYER 1 +-> LAYER n --+-> Layer Parameters +-> LAYER 8 +-> WAVESAMPLE 1 +-> WAVESAMPLE n ----+-> WaveSample Parameters +-> WAVESAMPLE 127 +-> Wave Data

At the Instrument level, there are parameters which affect the whole Instrument; for example the "Smart MIDI Out" functions and the effect of the Patch Selects. These parameters are found on the EDIT/Instrument Page.

A LAYER contains a map of the keyboard which determines which Wavesample will play on each key. It also has parameters which affect all the Wavesamples of that Layer, such as glide and pitch table selection. These parameters are found. on the EDIT/Layer Page.

Finally there is the Wavesample, which contains the bulk of the information for making a sound. Every Wavesample has its own set of parameters for envelopes, filters, LFO, etc. It also contains the actual wavedata which becomes the sound. It is possible for two Wavesamples to share the same wavedata (to save memory) but they will always have separate, independent copies of the parameters. The Pages that contain Waves ample parameters are: EDIT/Env 1, EDIT/Env 2, EDIT/Env 3, EDIT/Pitch; EDIT/Filter, EDIT/ Amp, EDIT/LFO and EDIT/Wave.

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EDITING MORE THAN ONE WAVESAMPLE AT ONCE

In EDIT Mode, only one Instrument.Track can be se1ected. However, because there can be large numbers of Wavesamples inside a single Instrument, the EPS provides two ways of editing more than one Wavesample at once.

Pressing the Edit button selects a special Page which shows the EDIT context. The placement of the cursor (underline) on this Page determines which type of editing will occur.

When the cursor is under the Wavesample (WS) field, and a number is shown, then you are editing only that Wavesample. Different Wavesamples can be selected by playing keys on the keyboard, or using the Up/Down Arrows.

When the cursor is under the Layer (LYR) field, then you an editing all the Wavesamples in the specified Layer. For example, if you went to the EDIT/Amp Page and changed the volume, then the volume in every Wavesample in the Layerwould be automatically changed.

When the cursor is under the Instrument field (which shows the first 9 letters of the Instrument's name) then you will be editing all (enabled) Layers, and all Wavesamples of those Layers. An "A" appears in the Layer field, meaning "all." Only Layers which are selected in the current Patch are affected. Therefore, in this Mode, using the Patch Selects can change what is being edited.

One important word of advice: Always be aware of exactly what you are editing! Because of the three different editing modes shown above, it is, possible to accidentalJy modify an entire Layer when you wanted to edit only one Wavesample, or vice versa. If you have any doubt as to what is currently selected, press Edit to go to the EDIT page and verify (or change) what is showing there. Press Edit again, to return to the parameter Page.

ABSOLUTE VS RELATIVE VALUE CHANGES

When doing either type of multi-wavesample editing, the Up/Down Arrows will adjust each Wavesample relative to its previous value. On the contrary, if you use the Data Entry Slider, all Wavesamples will assume the absolute value shown in the display. In either case, pressing. Cancel*No will return all Wavesamples to their previous value.

INSIDE THE WAVESAMPLE

ENVELOPES .

Each EPS Wavesample has three envelopes. These envelopes are "hard wired" to the Pitch, Filter frequency and Amplitude of the Wavesample, though Env 1 and Env 2 can also be assigned elsewhere, wherever a modulator is selectable. The Page button for each of the three envelopes is directly above that of the function it's associated with:

● Env 1 is routed to Wavesample Pitch.

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● Env 2 is routed to Wavesample Filter frequency.

● EnV 3 is routed to Wavesample Amplitude (volume).

Whenever you are on one of the three Envelope pages, the indicator lights in the display tell you which it is. For example when you are on the EDIT/Env 2 Page, the FILTER and ENV indicators are lit. The figure below shows a typical EPS envelope shape:

As you Play chromatically up the keyboard you will hear the three different Wavesamples fading in and out. The voice samples could have been piano or synthesizer samples, and the result would have been the same. The keyboard was used as the Volume Modulator, and the Crossfade Breakpoint parameters enabled you to blend the samples together seamlessly.

Note that when the keyboard is used in this way, the numbers selected for A, B, C and D refer to MIDI key numbers. The low C on the EPS keyboard is MIDI key #36: the high C is MIDI key number 96. Middle C is MIDI key #60, And so on. (The keys of an 88-note piano-style keyboard go from MIDI key 21 to MIDI key 108).

VELOCITY CROSSFADE

Using the, same three samples, push the Edit button, and set the display to read, "UNNAMED I LYR=1 WS=ALL." Go to the EDIT/AMP Page by pressing the Edit button again, or press the Amp button. Scroll right to the "VOLUME MOD" screen, and set the Parameters in the display to read, "VOLUME MOD=VEL * 99." Hit the Edit button again and set the screen so it reads,"UNNAMED I LYR=2 WS=ALL." Push the Edit button again, this will toggle you back to the EDIT/Amp Page. Set the Parameters in the display to read, "VOLUME MOD=VEL * 99." Hit the Edit button again, and set the screen to read, "UNNAMED I LYR=3 WS=ALL." Toggle back to the AMP Page by pressing the Edit button again. Scroll to the "VOLUME MOD" screen, and set the Parameters to "VOLUME MOD=VEL * 99." Now you have the same crossfade as before except that velocity (rather than keyboard location) is the modulator that's doing the crossfading:

CHANGING THE ROOT KEY

Now, it is time to set all the root keys to middle C. Hit the Edit button again, and set the display to read "UNNAMEDI LYR=I WS=ALL." Go to the EDIT/Pitch Page, by hitting Edit, then Pitch. Using the Up or Down Arrow button, set the screen to read, "ROOT KEY =C4 FlNE=+O." That changes the root key of the first sample from C2 to C4. Hit Edit (you're back on the EDIT Page), and set the screen to read "UNNAMED I LYR=2 WS=ALL." Go back to the Pitch Page by hitting the Pitch button directly, and make sure the screen reads, "ROOT KEY=C4 FlNE=+O."Press the Edit button one more time, and set the display to read, "UNNAMED I LYR=3 WS=ALL." Hit the Pitch button, and set the display to read, "ROOT KEY=C4 FlNE=+O." Now when you play middle

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C, you will hear the three samples at the proper pitch as they respond to velocity.

WAVESAMPLE PAN

Now for some more fun... Go back to the Edit Page by pressing Edit. Set the screen so it reads, "UNNAMED I LYR=l WS=ALL." Press the Amp button, and scroll right until you get to the "PAN" screen. Using the Up or Down Arrow buttons, make sure the asterisk is in the middle of the Pan field: "PAN= - - - -x- - - -." Go back to the Edit Page by hitting Edit. Select Layer 2 to work on by underlining "LYR=l," and changing it to "LYR=2." Press the Amp button and assign Layer 2 to the left side of the stereo field. The display will look like this "PAN= x - - - - - - -." Hit Edit and select Layer 3, by underlining "LYR=2" in the display and change it to "LYR=3." Hit the Amp button, and set the asterisk to the right side of the stereo field: "PAN= - - - - - - - x." Depending on the velocity you use when you strike the key, you should be able to hear either sample "one" in the center of the stereo field; sample "two" in the left; sample "three" in the right of the field. (Note that if you have the EPS connected in mono, this exercise will have no effect at all.)

NOTE: In the last three examples, rather than changing each Layer individually, you could have underlined the Instrument name on the EDIT Page "UNNAMED I LYR=A WS=A," and then used the Data Entry Slider to change all the values of these Parameters for all active Layers at once.

THE COPY COMMANDS

The EPS can copy Instruments, Layers, Wavesamples, wavedata, Sequences, and Tracks, using commands found on these various pages (COMMAND/Instrument, COMMAND/Layer, COMMAND/Wave, etc,). Some of these functions actually create new data, while others share existing data. As you go deeper into the EPS, you will need to recognise the difference.

The commands which always create new data are: COPY SEQUENCE, COPY TRACK, COPY PITCH TABLE, and COPY DATA. You'll notice that free memory has diminished after you execute one of these commands.

COPY INSTRUMENT (COMMAND/Instrument Page)

COPY INSTUMENT does not copy any data. This command is provided so that two sequencer tracks can share the same Instrument. After an Instrument is copied to another Instrument.Track location, there is still only one set of Wavesamples in memory; if you change one, you will change the other. The only parameters which are kept separate for each copy are the Instrument parameters on the EDIT/Instrument page. These parameters include Patch Select, MIDI program number, and the Track parameters (mix, pan, etc.). This command also has a short-cut: hold an empty Instrument*Track button and press Enter*Yes.

COPY WAVESAMPLE (COMMAND/Wave Page)

COPY WAVESAMPLE can do it both ways. It can duplicate the waveform data, which takes up more memory. If you are copying between Instruments, this is necessary. It can also share waveform data, which will conserve memory. This is only possible when copying within an Instrument. The WAVESAMPLE INFORMATION command will tell you whether the current Wavesample is a copy of another Wavesample. In this case, the word copy means that the current Wavesample will play wavedata which is "owned" by another Wavesample.

COPY LAYER (COMMAND/Layer Page)

COPY LAYER command copies all the Wavesamples from the EDIT Layer (displayed when you press the Edit button) to the destination Layer, which will be created when you execute the command. There are three main applications for the COPY LAYER COMMAND.

This command can be used to create an exact copy of one component of an Instrument's sound which may then be detuned to create a fatter sound. In this instance, you would use the currently selected Instrument as the "destination" Instrument, and you would select "PARAMS ONLY" as the Copy parameter. Selecting "PARAMS ONLY" means that the new Layer will share the wavedata

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with the source Layer, although each Layer's Wavesamples will have separate parameters. Then you can detune each Wavesample in the new Layer using the FINE TUNE parameter on the PITCH page. Since the wave data was not changed, it would have wasted valuable memory to make a duplicate copy of it in the new Layer.

A second application of the COPY LAYER command is setting up variations of a sound for different Patch Selects. For example, suppose an Instrument is comprised of two Layers, 1 & 2, and you want to make a variation with a longer attack time and assign it to the left Patch Select button. You would use COPY LAYER with "PARAMS ONLY" selected for each Layer, and create new Layers, 3 & 4. Then assign the new Layers to the left Patch Select button. Patch assignment are covered in the section "MORE ABOUT WAVESAMPLES, LAYERS AND PATCHES."

A third application of the COPY LAYER command is to copy Wavesamples and Layers from one Instrument to another Instrument. If you select a different Instrument as the destination Instrument, you will not be asked if you want to copy "PARAMS & DATA" or "PARAMS ONLY." In this case, "PARAMS & DATA" option will automatically be selected by the EPS, because different Instruments cannot share wavedata. Once the copy is completed, the EPS indicates which Layer was created on the destination Instrument. .If you assign that Layer to a Patch Select in the destination Instrument, you should hear it when you play the keyboard.

COPYING MULTIPLE LAYERS INTO A DIFFERENT INSTRUMENT

You should note that the EPS always duplicates the data when copying Layers between Instruments. For this reason, using the COPY LAYER command for each Layer in an Instrument could result in a much larger destination Instrument. For example, if you copied two Layers from an Instrument where one Layer was a "detuned copy" of the other Layer, the result would be two Layers with identical wavedata. A more efficient way to do this would be to copy one Layer and then select the destination Instrument and copy the new Layer, selecting "PARAMS ONLY." The EPS will not duplicate wavedata if two or more Wavesamples within a Layer to be copied share the same wavedata; however, the wavedata may end up in a different Wavesample than it was in the source Layer

.

Suppose you have two Layers with two Wavesamples each:

● In Layer 1, there is a bass sample in a Wavesample 1 that covers the bottom half of the keyboard. In the upper half of the keyboard in Layer 1 is Wavesample 2 is a copy of Wavesample 1 with a different filter setting.

● Layer 2 has a Wavesample 3 on the bottom half of the keyboard which is a copy of Wavesample 1, but slightly detuned. On the top half of the keyboard in Layer 2, you have a plucked string sample, Wavesample 4, with its own wavedata.

If you copied Layer 1 to a different Instrument, only one of the new Wavesamples would contain wavedata; which Wavesample contained the actual data would depend on whose range was most recently set. The important thing to note here is that no wavedata would be duplicated unnecessarily within the new Layer.

If you then copied Layer 2 to the new Instrument, both new Wavesamples in the new Layer would contain wavedata. This is because the COPY LAYER command has no. way of knowing that the data it needs for WS 3 is already in the new Instrument. Even if it knew, it could not know whether the data had been manipulated or changed. So you would end up with redundant data in WS 1 and WS 3.

The way to get around this is to delete the new copy of Wavesample 3 in the new Layer and then use COPY WAVESAMPLE (PARAMS ONLY) to copy the new copy of Wavesample 1 to the second Layer. Then you could use the COPY WAVE PARAMETERS command to copy the parameters from the original Wavesample 3 (in the source Instrument) to the new Wavesample. Again, if you want to find out which Wavesamples are copies and which are originals, use the WAVESAMPLE INFORMATION command. If the Wavesample is a copy, this command will display which Wavesample contains the wavedata.

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WAVESAMPLE COMMANDS

There are twenty-eight commands for working with Wavesamples and wavedata. Rather than putting them on one Page, they are broken down into three Pages.

COMMAND/Wave contains the standard copy and delete commands for Wavesamples, plus a number of looping commands:

COMMAND/Amp and COMMAND/LFO contain wavedata processing commands. Some of these are fairly "low-level" operations that are rarely used. They are included for completeness.

Many of the commands have a single digit before their name: 1) COPY WAVESAMPLE. This is the ,"quick-dial" number. For more on this, see p.2 of this supplement.

Before you can perform any of the following commands, you must first go to the EDIT Page and select the specific Layer and Wavesample you want to work on.

● press the Edit button.

● The screen reads (for example) "UNNAMED INST LYR=l_ WS=l_."

● Use the Left/Right and Up/Down Arrow buttons to select the Layer and Wavesample you want to change.

● press Command, then select Wave, Amp, or LFO.

Now you are ready to execute any of the following commands.

Always make sure the Wavesample you want to edit is selected on the EDIT Page!

If you get the message "NO EDIT WS SELECTED," you must go to the EDIT Page and select a Wavesample you want to work on.

When the EPS displays "WAVESAMPLE IS A COPY," it means the Wavesample you are editing is not an original, but a copy. If you press Enter*Yes in response to this message, the EPS will take the data from the original Wavesample and copy it into the Wavesample you are editing. This will make the Wavesample you are editing larger. If this is undesirable, use the WAVESAMPLE INFORMATION command (p.13) to determine which Wavesample is the original. Then perform the command on the originaL See p.l0 in this supplement for more on COPY WAVESAMPLE.

When the EPS displays "LAYER NOT IN PATCH," press Edit, then Instrument. Use the Arrow Buttons and enable the Layer in the Patch, as described earlier in this supplement.

NOTE:, Wherever you see the notation ##, that symbol will represent the numeric value of a parameter whose setting or level is considered arbitrary to the subsequent discussion. For example, in the case of "SCALEDEPTH= ## DB," the ## represents the entire range of this parameter. You can use the Data Entry Slider or Up and Down Arrow buttons to explore these ranges.

COMMAND/Wave Page

0) CREATE NEW WAVESAMPLE

PURPOSE: One of the primary functions of the EPS is to "CREATE NEW WAVESAMPLES" by sampling external sound sources. However, the EPS can create a Wavesample without sampling. The "CREATE WAVESAMPLE" command creates a small square-wave.

● Press Command, then Wave. Select "CREATE NEW WAVESAMPLE."

● Press Enter*Yes. The display reads, "WAVESAMPLE ## CREATED."

1) COPY WAVESAMPLE

PURPOSE: to make a copy of a Wavesample and its data, or a copy of its parameters only. See

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the "COPY COMMANDS" on p.10 of this supplement for a full discussion of COPY WAVESAMPLES and COPY WAVE PARAMETERS.

PURPOSE: "COPY WAVESAMPLE" lets you use the same section of data to change envelopes, tuning, and other parameters. You can copy the parameters and data of the original Wavesample, or just the parameters. Selecting PARAMS ONLY helps conserve memory. For example, you can create huge stereo mixes by placing original Wavesamples on the left channel, and copies on the right, and then detuning the copies.

● Press Command, then Wave. Select "COPY WAVESAMPLE." Press Enter*Yes.

● The display reads "TO INST=UNNAMED." Press an Instrument*Track button to choose the destination Instrument (if necessary). Press Enter*Yes.

● The display reads "T0 LAYER= ##." Using the Up/Down Arrow buttons, select a destination Layer. Press Enter*Yes.

● Select "COPY=PARAMS ONLY" or "COPY=PARAMS & DATA." Press Enter*Yes. The display reads "WAVESAMPLE ## CREATED."

2) DELETE WAVESAMPLE

PURPOSE: Use "DELETE WAVESAMPLE" to erase unneeded Wavesamples from memory.

● Be sure the Wavesample you want to delete has been selected on the EDIT Page.

● Press Command, then Wave. Scroll to "DELETE WAVESAMPLE." Press Enter*Yes.

● The display will read "DELETE WAVESAMPLE ##?" If this is the Wavesample you want to delete press Enter*Yes. If not, press Cancel*No.

3) WAVESAMPLE INFORMATION

PURPOSE: You can use "WAVESAMPLE INFORMATION" to name a Wavesample; find out the

sample rate; determine whether a. Wavesample is a copy; and what the root key is. The "WAVESAMPLE INFORMATION" command is used primarily for reference, and is useful for keeping track of things when you are developing sounds.

● Press Command, then Wave. Scroll to "WAVESAMPLE INFORMATION." Press Enter*Yes.

● The display reads "WS NAME= #####." Press Enter*Yes.

● The display reads "SAMPLE RATE=48.0 KHZ TO 6.25 KHZ." Press Enter*Yes.

● The display reads:"ROOT KEY= ##." Press Enter*Yes.

● If the Wavesample is a copy, the display will read "COPY OF LYR ## WS ##."

If you get the message "LAYER NOT IN PATCH," press Edit, then Instrument. Use the Arrow buttons and enable the Layer in the Patch, as described earlier in this supplement.

4) TRUNCATE WAVESAMPLE

PURPOSE: Truncating removes data before sample start, and after sample end. The memory formerly used by the truncated data is then returned to the available memory. The EPS will not truncate the Wavesample if there are copies which use the same data. You must move the sample Start and End of all the copies. See p. 28 of the Musician's Manual for more information.

● Press Command, then Wave. Scroll to "TRUNCATE WAVESAMPLE." Press Enter*Yes.

NOTE: In the following Loop Commands, the messages "INCREMENT LOOPSTART" or "DECREMENT LOOPEND" may appear. When they do, the EPS is letting you know there's a problem with the loop length. Try changing the "FADE ZONE." You could also hit Edit, then Wave, and adjust the loop points. To move the loop points one sample at a time, make sure "AUTO-LOOP FINDING"'is set to OFF.

5) CROSS FADE LOOP

PURPOSE: The idea behind Cross Fading is to blend the data preceding the start of the loop with the data at the end of a loop, for a smooth transition between the two. The "CROSS FADE LOOP"

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command is a simple crossfade which works well with periodic waveforms that are relatively constant in tone. The default values are: Scale Depth = 3dB. Fade Zone = 50%. Manual settings are: Scale Depth = 3.0dB to 6dB. Fade Zone = 1% to 99%. With manual settings, 3dB will give yau an exponential curve, while 6dB is linear.

● Press Command, then Wave. Scroll to "CROSS FADE LOOP." Press Enter*Yes.

● The display reads "USE DEFAULT VALUES?" Press Enter*Yes.

● The display reads "KEEP= OLD NEW." Underline "NEW" and play the keyboard to hear the new loop, or underline "OLD" to hear the original. Underline "NEW" and press Enter*Yes to keep the new loop. Or, press Cancel*No to keep the old loop. If you press Cancel*No in any event, you will keep the "OLD" no matter where the cursor is located.

Whenever the "KEEP=OLD NEW" message appears, the EPS is giving you the chance to "audition" the results of the operation, before you commit any changes to memory.

● Pressing Cancel*No in response to "USE DEFAULT VALUES," prompts the EPS to display the manual values for this command: SCALE DEPTH= (3.0/ 3.5/ 4.0/ 4.5/ 5.5/ 6.0 dB). FADE ZONE (PERCENT)= (1 TO 99). Use the Up/Down Arrow buttons, or the Data Entry Slider to change the Scale Depth or Fade Zone. Press Enter*Yes.

● The display reads "KEEP=OLD NEW." Press Enter*Yes or Cancel*No.

6) REVERSE CROSS FADE LOOP

PURPOSE: The Reverse Cross Fade Loop helps eliminate tonal bumps, and smooths out the tonal content of the loop. The Reverse Crossfade works well with multiple source sounds such as string sections, brass ensembles and choirs. The default and manual values are the same as in the Cross Fade Loop.

● Press Command, then Wave, and select "REVERSE CROSS FADE." Press Enter*Yes.

● The Screen will ask, "USE DEFAULT VALUES?" Press Enter*Yes.

● Pressing Cancel*No in response to "USE DEFAULT VALUES?" displays the manual values: ."SCALE DEPTH=(same as above)." Scroll to "FADE ZONE (PERCENT)=(same as above)." Press Enter*Yes.

● The display reads "KEEP=OLD NEW," Press Enter*Yes or Cancel*No.

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7) ENSEMBLE CROSS FADE LOOP

PURPOSE: The Ensemble is essentially a Cross Fade Loop with the fade zone set to 100%. If you use the default values, the EPS may tell you "DEFAULTS CANNOT BE SET." Then it will advise "INCREMENT LOOP START" or "DECREMENT LOOP END." This is because the data preceding the loop is shorter than the loop itself. For the Ensemble Cross Fade to work, the fade zone must be 100% of the loop length. You can either make sample start smaller so that you add more data preceding the loop, or move the loop around using "Loop Position" with the EDIT/Wave parameter Page. The only manual setting here is "SCALE DEPTH." The Cross Fade zone is not a parameter, because it is always assumed to be 100% of the loop length.

● Press Command, then Wave, and select,"ENSEMBLE CROSS FADE." Press Enter*Yes.

● The display reads "USE DEFAULT VALUES?" Press Enter*Yes.

● Pressing Cancel*No in response to "USE DEFAULT VALUES?" displays the manual values: SCALE DEPTH=(same as above). Scroll to "FADE ZONE (PERCENT)=(same as above). Press Enter*Yes.

● The display reads "KEEP=OLD NEW." Press Enter*Yes or Cancel*No.

8)BOWTIE CROSS FADE LOOP

PURPOSE: The "Bowtie" works well on sounds with a lot of ambience, reverb, or other effects. It equalizes the.data around the loop points so the transition into and out of the loop splice point is very smooth. The Bowtie Cross Fade zone can never be greater than 50%, otherwise you would overlap data halfway through the loop. The Bowtie Cross Fade is limited by the length of the post-loop data (the data from loop end to Wavesample end).

If you Truncate a sound with Wavesample end equal to loop end, you will not be able to do the "Bowtie Loop," because it needs some of the data after loop end to make the loop. There would not be enough post-loop data to follow the command. If this happens, the EPS will advise, "DECREMENT LOOP END." For the "Bowtie," you need to have the loop far away from the ends of the Wavesample. You can decrement loop position in the same way you had incremented it for the Ensemble Cross Fade. The default values are the same as the Cross Fade Loop. The manual settings are: FADE ZONE=(1% to 50%); SCALE DEPTH=(3dB to 6dB).

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● Press Command, then Wave. Select "BOWTIE CROSS FADE LOOP." Press Enter*Yes.

● The display reads. "USE DEFAULT VALUES?" Press Enter*Yes.

● Pressing Cancel*No to "USE DEFAULT VALUES?" will display the manual values: "SCALE DEPTH=(same as above) dB.""FADE ZONE (PERCENT)=(same as above)." Press Enter*Yes.

● The display reads "KEEP=OLD NEW." Press Enter*Yes or Cancel*No.

9) BIDIRECTIONAL X-FADE LOOP

PURPOSE: This crossfade is optimized for use with Bidirectional loops. One of the main advantages of the Bidirectional loop (which you can select on the EDIT/Wave Page) is that it makes a loop that sounds twice as long as the amount of data being used. It does this by playing the loop forward and backward. As a result, the Bidirectional loop is very memory conservative and is best suited for Ensemble sounds which have a slowly modulated sustain, such as the bowing in a string section.

The default and manual values are the same as the Cross Fade Loop. It is very important to remember that the loop points should be adjusted with Autolooping Off. Unlike other looping algorithms which look for a zero crossing, the Bidirectional works best when the loop points are set to the peaks in the Waveform.

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● Press Command, then Wave. Select "BIDIRECTIONAL X-FADE." Enter*Yes.

● The display reads "USE DEFAULT VALUES?" & press Enter*Yes.

● Pressing Cancel*No in response to "USE DEFAULT VALUES?" displays the manual values: "SCALE DEPTH=(same) dB" "FADE ZONE (PERCENT)=(same)." Press Enter*Yes.

● The display reads,"KEEP=OLD NEW." Press Enter*Yes or Cancel*No.

NOTE: When using the MAKE LOOP LONGER, SYNTHESIZE LOOP, or CONVERT SAMPLE RATE commands, you should select only the Layer which contains the Wavesample you want to work, on. If there are copies of the Wavesample you are editing elsewhere in the Instrument, the EPS will display the "COPIES WILL CHANGE-OK?" message.

For instance,.if you try to execute the Convert Sample Rate command and the "COPIES WILL CHANGE-OK?" message appears, it is possible the conversion may produce apparent pitch problems. This is because the pitch parameters haven't been converted yet. However, they will be converted once you decide to choose "KEEP=NEW." With the MAKE LOOP LONGER and SYNTHESIZE LOOP Commands, the loops may sound odd until you choose "KEEP=NEW."

● MAKE LOOP LONGER

PURPOSE: If you are having a hard time getting a satisfactory loop - after you've tried the other looping commands - try making the loop longer. This process physically enlarges the loop, making the periodicity of the loop less noticeable. However, there is a trade-off: longer loops use more memory. Not recommended for Bidirectional loops. The default and manual values are the same as with the Cross Fade Loop.

● Press Command, then Wave. Select "MAKE LOOP LONGER." Press Enter*Yes.

● The display reads "USE DEFAULT VALUES?" Press Enter*Yes.

$#149 Pressing Cancel*No displays the manual values: "SCALE DEPTH= ## DB" "FADE ZONE (PERCENT)= ##. " Press Enter*Yes.

● The display reads "KEEP=OLD NEW" Press Enter*Yes or Cancel*No.

● SYNTHESIZED LOOP

PURPOSE: Unlike the other looping algorithms, the "Synth Loop" uses a certain amount of random data processing. This is the algorithm to use when all other looping techniques have failed to make a

_ _ _ pg. 17 _ _ _

smooth loop. It's a "loop anything" algorithm, which works well with special effects. With the "Smoothness" parameter, the smoother the loop, the more processes the EPS goes through to create the "Synth Loop." For example, if you did a "Synth Loop" on a voice sample, and the "Smoothness" was set to very coarse, it may create a loop that sounds irregular or nervous. At the other extreme, if the setting is too fine, it may sound metallic. The default values are the same as the X-Fade Loop. Manual settings: Fade Zone (1 % to 99%). Smoothness= Very Fine thru Very Coarse.

● Press Command, then Wave. Select "SYNTHESIZED LOOP." Press Enter*Yes.

● The display reads "USE DEFAULT VALUES?" Press Enter*Yes.

● Select "KEEP=OLD NEW." Press Enter*Yes.

● Pressing Cancel*No to "USE DEFAULT VALUES?" prompts the EPS to display the manual values: "FADE ZONE (PERCENT)= ##." Scroll to and select, "SMOOTHNESS=VERY FINE, FINE, MEDIUM, COARSE, VERY COARSE." Press Enter*Yes.

● The display reads "KEEP=OLD NEW:" press Enter*Yes or Cancel*No.

● CONVERT SAMPLE RATE

PURPOSE: This command effectively resamples a sound at a different sampling rate. You can start sampling with a high rate, then if you later need more memory, you can convert to a lower sample rate, The EPS lets you compare these conversions before committing them to memory. When you convert from a higher to a lower sample rate, it's like transposing the sound up the keyboard: you play fewer samples and the sound is shorter. Conversely, from a lower to a higher sample rate has the effect of transposing down the keyboard: the sound gets bigger, and stretches out. Manual values: Sample Rate.48.0 kHz down to 6.25 kHz.

● Press Command, then Wave. Select "CONVERT SAMPLE RATE." Press Enter*Yes.

● The display reads "SAMPLE RATE::## KHZ." Use the Data Entry Slider or Up/Down Arrow buttons to select a new sample rate. Press Enter*Yes.

● The display reads "KEEP=OLD NEW." Press Enter*Yes or Cancel*No.

● COPY WAVE PARAMETERS

PURPOSE: To copy Wavesample parameters from one Wavesample to an already existing Wavesample. The parameters copied are from these Pages: Pitch, Filter, Amp, LFO, and Envelopes 1, 2, 3.

● Press Command, then Wave. Select "COPY WAVE PARAMETERS." Press Enter*Yes.

● Select "TO INST=:## LYR= ## WS= ##." Press Enter*Yes.

COMMAND/Amp Page

These are Wavesample commands, but are accessed by pressing Command, then Amp. Most of them have something to do with the amplitude of the wavedata.

0) NORMALIZE GAIN

PURPOSE: This command maximizes the dynamic range of a Wavesample. Normalize Gain always works on the EDIT Wavesample and has no parameters. It will make the sound louder (unless it is already at full level). Normalize Gain finds the largest sample value, and uses that to scale the whole range of the sample to its absolute full level.

● Press Command, then Amp. Select "NORMAIZE GAIN." Press Enter*Yes to complete the Command.

1) VOLUME SMOOTHING

PURPOSE: Volume Smoothing works like a dynamic compressor. The idea is to remove amplitude changes. The degree to which it does this is determined by "Smoothness." It work on a given range of sound, determined by the start and end address parameters. This command is very useful for

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smoothing out a loop, and getting rid of clicks caused by volume bumps. For example, if you are working with a piano loop, there is a natural envelope that is always decaying. If you try to loop on the section that is decaying, the loop end data will be at a much lower amplitude than the beginning. You would end up with a click because of an abrupt change in amplitude. Volume Smoothing will help make the level constant. When the EPS displays "DATA RANGE TOO SMALL," it is advising you that the minimum range to perform this command is 256 Samples. This command is most useful for loops but you can use it on the whole sample. If you wanted to remove a natural envelope from a piano, for example, you can use Volume Smoothing over the whole length of the sample. You can then superimpose any amplitude envelope from the EPS over that sample. Scale Depth: 3.0 to 6.0 dB. Smoothness ranges from Very Fine thru Very Coarse.

● Press Command, then Amp. Select "VOLUME SMOOTHING." Press Enter*Yes.

● The display reads "USE LOOP FOR RANGE?" Press Enter*Yes to automatically set the start and end addresses to the loop points.

● Select "START ADDR= #### ##." Use the Left and Right Arrow buttons to scroll thru the various screens. Use the Up and Down Arrow buttons to change the values in the display.

● Select "END ADDR= #### ##." Select "SCALE DEPTH= ## DB." Select SMOOTHNESS= ##-##." Press Enter*Yes.

● Select "KEEP=OLD NEW," Press Enter*Yes to complete the command.

● Pressing Cancel*No for "USE LOOP FOR RANGE?" lets you adjust the start and end addresses manually.

● Select "START ADDR= #### ##." Select "END ADDR= #### ##."

● Select "SCALE DEPTH= ## DB." Select "SMOOTHNESS= ####."

● The display reads "KEEP=OLD NEW." Press Enter*Yes or Cancel*No.

MIX, MERGE AND SPLICE

The MIX, MERGE, and SPLICE commands are very similar. You will always be working on a pair of Wavesamples; source and destination Wavesamples. These commands take a source WS and then Mix, Merge or Splice it into a destination WS. "FR INST= ## LYR= ## WS= ##," determines the source. , "TO INST= ## LYR= ## WS= ##," determines destination. For best results the source and destination Wavesample should be in the same Instrument, in different Layers.

"CONVERT SOURCE PITCH" and "CONVERT DEST PITCH" let you combine Wavesamples that were sampled at different sample rates, or were on different root keys. If the Wavesamples are on the same root key but have different sampling rates, their data will be different. Unfortunately the EPS can't simply add them together. It has to convert the sample rate of one or the other.

When.you "audition" these sounds after the commands have been executed, it is very important that you assign the destination (or resulting) Layer to one of the Patch Selects. That way, when you do the "Audition," you can specifically hear the final results of the operation, and not both the source Wavesample and the final results together. This process is similar to that described in "Copy Wavesample.

When using the MERGE or SPLICE command, the VOLUME BALANCE function only lets you hear the relative volumes of the source and destnation Wavesamples, not the final results. You will be able to hear the final results after the Wavesamples have been merged or spliced. Volume balance controls the relative volumes of the source and destnation Wavesamples. When the value is negative, the source Wavesample is louder. And when the value is positive, the destination is louder.

2) MIX WAVESAMPLES

PURPOSE: "Mix wavesamples" is a lot like layering two Wavesamples. It adds the data of the two wavesamples together. For example, to make a "bowed voice," you would assign the "Bow" Wavesample to one Layer, then the "Voice" Wavesample to a different Layer, and use "Mix" to combine them digitally into one Wavesample.

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● Press Command, then Amp. Select "MIX WAVESAMPLES." Press Enter*Yes.

● The display reads "ARE SAMPLES LAYERED?" Press Enter*Yes.

● Select "FR INST= ## LYR= ## WS= ##."

● Select "TO INST= ## LYR= ## WS= ##."

● Select "CONVERT SOURCE PITCH," or, "CONVERT DEST. PITCH." Press Enter*Yes.

● Select "VOLUME BALANCE=(-99 TO +99)." Use the Data Entry Slider to set the balance between the two. Press Enter*Yes.

● The display then reads "KEEP=OLD NEW." Press Enter*Yes to keep the Mixed Wavesamples, or Cancel*No to keep the originals intact.

3) MERGE WAVESAMPlES

PURPOSE: "Merge" takes source wavedata, and Cross Fades it into destination wavedata. "Merge Wavesamples" has many of the same parameters as "Mix," with the addition of Scale Depth and Fade Zone. The SCALE DEPTH and FADE ZONE operate the same as with the Cross Fade Loop.

● Press Command, then Amp. Select "MERGE WAVESAMPLES." Press Enter*Yes.

● The display reads "ARE SAMPLES LAYERED?" Press Enter*Yes.

● Select "FR INST= ## LYR= ## WS= ##. Select "TO INST= ## L YR= ##WS= ##."

● Select "SCALE DEPTH= ## DB. Select "FADE ZONE (PERCENT)= ##."

● Select "CONVERT SOURCE PITCH," or "CONVERT DEST. PITCH."

● Select "VOLUME BALANCE= ##." Press Enter*Yes.

● The display reads "KEEP=OLD NEW." Press Enter*Yes or Cancel*No.

4) SPLICE WAVESAMPLES

PURPOSE: This command takes the end of a source sample and splices it to the beginning or start of the destination sample. "SPLICE WAVESAMPLES" is just like a tape splice - a butt splice, You can also think of it as "Merge" with a zero length fade zone.

● Press Command, then Amp. Select. "SPLICE WAVESAMPLES." Press Enter*Yes.

● The display will ask, "ARE SAMPLES LAYERED?" Press Enter*Yes.

● Select "FR INST= ## LYR= ## WS= ##." Select "TO lNST= ## LYR= ## WS= ##."

● Select "CONVERT SOURCE PITCH." Select "CONVERT DEST. PITCH."

● Select "VOLUME BALANCE=-99 to +99" (see note above). Press Enter*Yes.

● The display reads "KEEP=OLD NEW." Press Enter*Yes or Cancel*No.

5) FADE IN

PURPOSE: To fade-in Wavedata. First, select a data range. Using the start and end addresses, then choose an appropriate face curve. 3B fades are very smooth and analogous to the way our hearing responds to sound.

● Press Command, then Amp. Select "FADE IN." Press Enter*Yes.

● Select "START ADDR= ## ##." Press Enter*Yes. Select "ENDADDR= ## ##." Press Enter*Yes.

● Select "SCALEDEPTH= ## DB." Select "KEEP=OLD NEW."

● Press Enter*Yes, or Cancel*No.

6) FADE OUT

PURPOSE: To fade out wavedata. The parameters are the same as above.

● Press Command, then Amp. Select "FADE OUT." Press Enter*Yes.

● Select "START ADDR= ## ##." Press Enter*Yes. Select "END ADDR= ## ##." Press Enter*Yes.

● Select "SCALE DEPTH= ## DB." The display reads "KEEP=OLD NEW."

● Press Enter*Yes, or Cancel*No.

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COMMAND/LFO Page

These are more Wavesample commands, but are accessed by pressing COMMAND, then LFO.

0) CLEAR DATA

PURPOSE: Use this when you want silence. Use the "start and end" addresses to select a section of Wavesample data you want to clear.

● Press Command, then LFO. Select "CLEAR DATA," Press Enter*Yes.

● Select "START ADDR= ## ##." Select "END ADDR= ## ##."

● Press Enter*Yes to complete the command.

1) COPY DATA

PURPOSE: Copy Data enables you to copy a section of data from one Wavesample into another Wavesample. Use the "start and end" addresses, to copy wavedata from a source to a destination. In fact, source and destination could be the same Wavesample, or the destination Wavesample could be in a different Instrument

● Press Command, then LFO. Select, "COPY DATA." Press Enter*Yes.

● Select "FR INST= ## LYR## WS= ##." Select "START ADDR= ## ##."

● Select "END ADDR= ## ##." Select "TO INST= ## LYR= ## WS= ##."

● Select "DEST ADDR= ## #." Press Enter*Yes to complete the command.

2) REPLICATE DATA

PURPOSE: The Replicate command is used when you want to append a section of wavedata to itself until the entire wavesample is filled. Set the data range with the "start and end" addresses.

● Press Command, then LFO. Select "REPLICATE DATA." Press Enter*Yes.

● Select "START ADDR= ## ##." Select "END ADD= ## ##." Press Enter*Yes.

● The display reads "KEEP=OLD NEW." Press Enter*Yes to complete the command.

3) REVERSE DATA

PURPOSE: Reverse Data ataD esreveR (it reverses data). It is the same as playing the sound backward.

● Press Command, then LFO. Select "REVERSE DATA." Press Enter*Yes.

● Select "START ADDR~## ##." Then "END ADDR= ## ##." Press Enter*Yes.

4) INVERT DATA

PURPOSE: It inverts the phase of the selected wavedata.

● Press Command, then LFO. Select "INVERT DATA." Press Enter*Yes.

● Select "START ADDR= ## ##." Select "END ADDR= ## ##."

● Press Enter*Yes to complete the command.

5) ADD DATA

PURPOSE: This Command is similar to "Copy Data," except it adds data, according to the source and destination range. It could be the same Wavesample, or a different one. When "PREVENT CLIPPING" is enabled, the EPS (if necessary) will scale down the destination and source data, so the added data doesn't result in clipping.

● Press Command, then LFO. Select "ADD DATA." Press Enter*Yes.

● Select "FR INST= ## LYR= ## WS= ##." Select "START ADDR= # ##."

● Select "END ADDR= ## ##." Select "TO INST= ## LYR= ## WS= ##."

● Select "DEST ADDR ## ##." Then "PREVENT CLIPPING=(NO/YES)" Press Enter*Yes.

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● The display reads "KEEP=OLD NEW." Press Enter*Yes, or Cancel*No.

6) SCALE DATA

PURPOSE: This is a "sound sculpting" tool that will enable you to shape the volume contour of the Waveform. As in the other commands, you select some range of data using the start and end addresses. ,You also set the scaling range with scale start and scale end points. These are multipliers. Scale start is a multiplier used at the beginning of the source range. Scale end is the multiplier used at the end of the source range. The question is, what happens if the two scale points are the same? That's like multiplying the whole range of data by the same number. So if you wanted to drop the level in half, you would set scale start and end to 2.0. Scale depth works as described previously. If the scale points are different, the data will be scaled using a scaling curve whose depth is controlled by the scale depth.

Press Command, then LFO. Select "SCALE DATA." Press Enter*Yes.

● Select "START ADDR= ## ##." Select "END ADDR= ## ##." Select "SCALE START= ## ##."

● Select "SCALE END= ## ##" Then, "SCALE DEPTH= ## DB." Press Enter*Yes.

● The display reads "KEEP=OLD NEW." Press Enter*Yes, or Cancel*No.

TECHNICAL SUPPORT

If you have any questions concerning the use of your EPS, please contact the authorized ENSONIQ dealer where you purchased your EPS. For additional technical support. you may call ENSONIQ customer servlce at (215) 647-3930.

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