Embedded Files
EPS Command/ Parameter Reference
EPS Command/ Parameter Reference
This card is designed to help you find any EPS Command or Parameter.
● To execute a Command: press Command, then the appropriate Page button. Then scroll left or right until the Command is showing on the Display. Press Enter*Yes to execute the Command.
● To change the value of a Parameter: press Edit, then the Page button. Scroll left or right until the Parameter is showing on the Display. Use the Data Entry Slider or the Up and Down Arrow buttons to edit the parameter's value.
Note that the Commands and Parameters on each Page are numbered. You can go directly to a given Command or Parameter by pressing its number immediately (within about 1/2 second) after pressing the Page button.LOADING DISK FILES:
To Load an Instrument:
1) Press Load, then Instrument.2) Press Up or Down Arrow to find the Instrument file.3) Press Enter*Yes.4) Press any of the 8 Instrument*Track buttons.To Load a Bank:
1) Press Load, then Instrument.2) Press Up or Down Arrow to find the file (the Bank Indicator lights when a Bank file is showing).3) Press Enter*Yes.To Load a Sequence or Song:
1) Press Load, then Seq-Song.2) Press Up or Down Arrow to find the Sequence or Song file.3) Press Enter*Yes.SYSTEM PARAMETERS:Edit/System0) FREE SYSTEM BLOCKS1) FREE DISK BLOCKS2) MASTER TUNE3) GLOBAL BEND RANGE4) TOUCH (Vel. & Press. Response)5) PEDAL (Volume/Mod)6) SUSTAIN FT SWITCH (Sus./ Patch sel.)7) AUX FT SWITCH (Start-Stop/ Patch sel.)8) AUTO-LOOP FINDING (On/Off)Edit/MIDI0) MIDI BASE CHANNEL1) TRANSMIT ON (Inst Chan/ Base Chan)2) BASE CHAN PRESSURE3) MIDI IN MODE4) MIDI CONTROLLERS (On/Off)5) MIDI SYS-EX (On/Off)6) MIDI PROG CHANGE (On/Off)7) MIDI SONG SELECT (On/Off)8) MIDI XCTRL NUM
SEQUENCER PARAMETERS:Edit/Seq.Song0) SELECT SEQUENCE/SONG1) BAR (Location/GOTO)2) TEMPO3) LOOP (On/Off)4) CLOCK SOURCE5) CLICK (On/Off)● CLICK INTERVAL6) CLICK VOLUME7) CLICK PAN8) SEQ COUNTOFF9) RECORD MODEEdit/Track0) TRACK STATUS (Mute/Play/Solo)1) TRACK MIX2) TRACK PAN
LAYER PARAMETERS:Edit/Layer0) LAYER GLIDE MODE1) LAYER GLIDE TIME2) LEGATO LAYER3) LAYER VEL LO; VEL HI4) PITCH TABLE5) LAYER NAME
INSTRUMENT PARAMETERS:Edit/Instrument0) PATCH (Layer Enable/Disable)1) KEYDOWN LAYERS2) KEYUP LAYERS3) MIDI OUT CHANNEL4) MIDI OUT PROGRAM5) PRESSURE MODE6) SEND KEYS TO (Local/MIDI/Both)7) SIZE (in Blocks)8) INST NAME
SEQUENCER PARAMETERS:Edit/Seq.Song0) SELECT SEQUENCE/SONG1) BAR (Location/GOTO)2) TEMPO3) LOOP (On/Off)4) CLOCK SOURCE5) CLICK (On/Off)● CLICK INTERVAL6) CLICK VOLUME7) CLICK PAN8) SEQ COUNTOFF9) RECORD MODEEdit/Track0) TRACK STATUS (Mute/Play/Solo)1) TRACK MIX2) TRACK PAN
LAYER PARAMETERS:Edit/Layer0) LAYER GLIDE MODE1) LAYER GLIDE TIME2) LEGATO LAYER3) LAYER VEL LO; VEL HI4) PITCH TABLE5) LAYER NAME
INSTRUMENT PARAMETERS:Edit/Instrument0) PATCH (Layer Enable/Disable)1) KEYDOWN LAYERS2) KEYUP LAYERS3) MIDI OUT CHANNEL4) MIDI OUT PROGRAM5) PRESSURE MODE6) SEND KEYS TO (Local/MIDI/Both)7) SIZE (in Blocks)8) INST NAME
SYSTEM COMMAND~:Command/System0) LOAD MIRAGE-DSK SOUND1) SET NUMBER OF VOICES2) FORMAT FLOPPY DISK3) COPY O.S. TO FLOPPY DISK4) SAVE GLOBAL PARAMETERS5) LOAD GLOBAL PARAMETERS6) CREATE DIRECTORY7) CHANGE STORAGE DEVICECommand/MIDI● MIDI SYS-EX RECORDERCommand/Pitch0) EDIT PITCH TABLE1) COPY PITCH TABLE2) DELETE PITCH TABLE3) EXTRAPOLATE PITCH TABLE
SEQUENCER COMMANDS:Command/Seq.Song0) CREATE NEW SEQUENCE1) COPY SEQUENCE2) DELETE SEQUENCE3) SAVE CURRENT SEQUENCE4) SAVE SONG + ALL SEQS5) .RENAME SONG/SEQUENCE6) SEQUENCER INFORMATION7) ERASE SONG + ALL SEQS8) APPEND SEQUENCE9) CHANGE SEQUENCE LENGTH● EDIT SONG STEPSCommand/Track0) QUANTIZE TRACK1) COPY TRACK2) ERASE/UNDEFINE TRACK3) ERASE CONTROLLER4) ERASE KEY PRESSURE5) ERASE KEY RANGE6) ERASE PROGRAM CHANGES7) MERGE TWO TRACKS8) EVENT EDIT TRACKS9) TRANSPOSE TRACK● SCALE CONTROLLER● SHIFT TRACK BY CLOCKS
SEQUENCER COMMANDS:Command/Seq.Song0) CREATE NEW SEQUENCE1) COPY SEQUENCE2) DELETE SEQUENCE3) SAVE CURRENT SEQUENCE4) SAVE SONG + ALL SEQS5) .RENAME SONG/SEQUENCE6) SEQUENCER INFORMATION7) ERASE SONG + ALL SEQS8) APPEND SEQUENCE9) CHANGE SEQUENCE LENGTH● EDIT SONG STEPSCommand/Track0) QUANTIZE TRACK1) COPY TRACK2) ERASE/UNDEFINE TRACK3) ERASE CONTROLLER4) ERASE KEY PRESSURE5) ERASE KEY RANGE6) ERASE PROGRAM CHANGES7) MERGE TWO TRACKS8) EVENT EDIT TRACKS9) TRANSPOSE TRACK● SCALE CONTROLLER● SHIFT TRACK BY CLOCKS
SAMPLING PARAMETERS:Once in VU (Level-detect) mode, pressthe Left or Right Arrow button to revealthe Sampling parameters:● SAMPLE RATE● FILTER CUTOFF● PRE TRIGGER● INPUT LEVEL (Mic/Line)● SAMPLE TIME (Readout only)
WAVESAMPLE PARAMETERS:Edit/Wave0) MODE (WS Playback Mode)1) SAMPLE START2) SAMPLE END3) LOOP START4) LOOP END5) LOOP POSITION7) WAVE MOD TYPE8) WAVE MOD AMOUNTEdit/Env1, Env2, Env30) ENVELOPE=1) HARD VEL LEVELS2) SOFT VEL LEVELS3) TIMES4) 2ND RELEASE (Time)● 2ND RELEASE (Level)5) ATTACK TIME VEL6) KBD TIME SCALING7) SOFT VEL CURVE (ON/OFF)8) ENVELOPE MODEEdit/Pitch1) ROOT KEY● FINE (Fine Tune)2) LFO AMOUNT3) ENV 1 AMOUNT4) (same as 1 above)5) RANDOM FREQ● RANDOM AMOUNT6) PITCH BEND RANGE7) PITCH MOD● PITCH MOD AMOUNTEdit/Filter0) MODE (Filter Mode)1) F 1 CUTOFF FREQ● F 2 CUTOFF FREQ2) F 1 ENV 2 AMOUNT● F 2 ENV 2 AMOUNT3) F 1 KBD AMOUNT● F 2 KBD AMOUNT7) F 1 MOD; F 1 MOD AMOUNT8) F 2 MOD; F 2 MOD AMOUNTEdit/Amp1) WS VOLUME2) PAN3) A - B FADE IN4) C - D FADE OUT7) VOLUME MOD● VOLUME MOD AMOUNTEdit/LFO1) LFOWAVE2) SPEED3) LFO DEPTH4) DELAY5) LFO MODE7) LFO MOD
WAVESAMPLE PARAMETERS:Edit/Wave0) MODE (WS Playback Mode)1) SAMPLE START2) SAMPLE END3) LOOP START4) LOOP END5) LOOP POSITION7) WAVE MOD TYPE8) WAVE MOD AMOUNTEdit/Env1, Env2, Env30) ENVELOPE=1) HARD VEL LEVELS2) SOFT VEL LEVELS3) TIMES4) 2ND RELEASE (Time)● 2ND RELEASE (Level)5) ATTACK TIME VEL6) KBD TIME SCALING7) SOFT VEL CURVE (ON/OFF)8) ENVELOPE MODEEdit/Pitch1) ROOT KEY● FINE (Fine Tune)2) LFO AMOUNT3) ENV 1 AMOUNT4) (same as 1 above)5) RANDOM FREQ● RANDOM AMOUNT6) PITCH BEND RANGE7) PITCH MOD● PITCH MOD AMOUNTEdit/Filter0) MODE (Filter Mode)1) F 1 CUTOFF FREQ● F 2 CUTOFF FREQ2) F 1 ENV 2 AMOUNT● F 2 ENV 2 AMOUNT3) F 1 KBD AMOUNT● F 2 KBD AMOUNT7) F 1 MOD; F 1 MOD AMOUNT8) F 2 MOD; F 2 MOD AMOUNTEdit/Amp1) WS VOLUME2) PAN3) A - B FADE IN4) C - D FADE OUT7) VOLUME MOD● VOLUME MOD AMOUNTEdit/LFO1) LFOWAVE2) SPEED3) LFO DEPTH4) DELAY5) LFO MODE7) LFO MOD
LAYER COMMANDS:Command/Layer0) CREATE NEW LAYER1) COPY LAYER2) DELETE LAYER
INSTRUMENT COMMANDS:Command/Instrument0) CREATE NEW INSTRUMENT1) COPY INSTRUMENT2) DELETE INSTRUMENT3) SAVE INSTRUMENT4) SAVE BANK5) CREATE PRESET
WAVESAMPLE COMMANDS:Command/Wave0) CREATE NEW WAVESAMPLE1) COPY WAVESAMPLE2) DELETE WAVESAMPLE3) WAVESAMPLE INFORMATION4) TRUNCATE WAVESAMPLE5) CROSS FADE LOOP6) REVERSE CROSS FADE7) ENSEMBLE CROSS FADE8) BOWTIE CROSS FADE LOOP9) BIDIRECTIONAL X-FADE● MAKE LOOP LONGER● SYNTHESIZED LOOP● CONVERT SAMPLE RATECommand/Amp0) NORMALIZE GAIN1) VOLUME SMOOTHING2) MIX WAVESAMPLES3) MERGE WAVESAMPLES4) SPLICE WAVESAMPLES5) FADE IN6) FADE OUTCommand/LFO(Low-level Wavedata Commands)0) CLEAR DATA1) COPY DATA2) REPLICATE DATA3) REVERSE DATA4) INVERT DATA5) ADD DATA6) SCALE DATA
INSTRUMENT COMMANDS:Command/Instrument0) CREATE NEW INSTRUMENT1) COPY INSTRUMENT2) DELETE INSTRUMENT3) SAVE INSTRUMENT4) SAVE BANK5) CREATE PRESET
WAVESAMPLE COMMANDS:Command/Wave0) CREATE NEW WAVESAMPLE1) COPY WAVESAMPLE2) DELETE WAVESAMPLE3) WAVESAMPLE INFORMATION4) TRUNCATE WAVESAMPLE5) CROSS FADE LOOP6) REVERSE CROSS FADE7) ENSEMBLE CROSS FADE8) BOWTIE CROSS FADE LOOP9) BIDIRECTIONAL X-FADE● MAKE LOOP LONGER● SYNTHESIZED LOOP● CONVERT SAMPLE RATECommand/Amp0) NORMALIZE GAIN1) VOLUME SMOOTHING2) MIX WAVESAMPLES3) MERGE WAVESAMPLES4) SPLICE WAVESAMPLES5) FADE IN6) FADE OUTCommand/LFO(Low-level Wavedata Commands)0) CLEAR DATA1) COPY DATA2) REPLICATE DATA3) REVERSE DATA4) INVERT DATA5) ADD DATA6) SCALE DATA
EPS Performance Sampler : Musician's Manual
EPS Performance Sampler : Musician's Manual
TURN IT ON - "Booting" the EPS
TURN IT ON - "Booting" the EPS
The EPS Operating System - the computer program which tells the hardware what to do - is "disk-based." This means that each time you turn the EPS on, the first disk you insert must be one containing an EPS Operating System (at the bottom of the disk label it will say "EPSOS ver. xx"). The EPS will load the Operating System (or O.S.) into its memory and then be ready for normal operation. In computer-speak, this is called "booting" the machine. You should always use the latest (highest-numbered) Operating System.
● Turn the Power switch On.
All the red and yellow LED's above the Instrument-Track buttons will light and the Display will read "ENSONIQ EPS." If there is no disk in the drive the Display will say "PLEASE INSERT DISK."
● Insert a disk with an EPS Operating System into the drive.
Insert the disk with the label facing up and the sliding metal door facing away from you. The Display will read "LOADING SYSTEM" while the O.S. is being loaded. Once the O.S. is loaded the EPS will put itself into LOAD mode - "LOAD" flashing, and the Display showing the Bank or Instrument files (if any) which are on the disk.
If the first disk you put in the drive doesn't contain the EPS Operating System - the Display will flash "O.S. NOT ON DISK" or "DISK NOT FORMATTED." Just remove that disk and insert a proper EPS O.S. disk.
● Don't touch the keyboard while it's calibrating.
Right after the EPS is finished loading the Operating System, and before it puts itself into LOAD Mode, it will calibrate its keyboard. During calibration the software scans each key and optimizes its Velocity and Pressure response. The Display will briefly read "TUNING KBD - HANDS OFF." It is important that you don't play or hold down any keys during this time.
● Load an Instrument or Bank into the Internal Memory.
Once it has "booted" the EPS is ready to operate, but it won't make any sound until you LOAD an Instrument into its Internal memory and then SELECT that Instrument by pressing its Instrument button. See the following sections, "Loading an Instrument," and "Playing Instruments."
Note: If there is a BANK file on the Boot-up disk - the Display will automatically show that Bank File after loading the O.S. (A Bank is a way to load a whole group of Instruments and/or Sequences at once. More about Bank Files on p. 11.) Just press Enter twice to load the entire Bank.
ABOUT INSTRUMENTS
We refer to EPS sounds as Instruments. A grand piano, an electric bass, a multi-sampled drum set, a complete string section - each of these would be an example of an Instrument. You can load up to eight Instruments into the EPS, memory permitting, and have instant access to any or all of them.
Each Instrument contains four different Patches which are selected with the Patch Select buttons. These Patches allow a single Instrument to have four different inflections, voicings, tunings, or synth-type program variations all available at the press of a button.
An Instrument can be any size (within the limits of memory) - one Instrument might consist of a single Wavesample that plays over the entire keyboard, while another might have as many 127 different Wavesamples.
For controlling remote devices, you can create an Instrument which has no samples at all, and assign it to play only out MIDI, on a particular MIDI Channel. (See "Making a MIDI Instrument," p. 30.)
_p.9_
LOADING AN INSTRUMENT
LOADING AN INSTRUMENT
You can Load up to eight different Instruments into the EPS at once (within the limits of memory). First, insert a disk containing one or more Instrument files into the disk drive.
● Press Load. The LOAD indicator flashes.
● Press Instrument. The Display looks like this:
LOAD INST STOPFILE 2 GRAND PIANOWhen the LOAD indicator is flashing, the EPS is showing you disk files. (When LOAD flashes on the Display, think of it as a question mark - the EPS is asking "Load the file showing on the Display?") Pressing the Up or Down arrow button takes you through the Instrument files on the disk. If there are none, the Display will read "NO INSTRUMENTS."
Whenever a disk file is displayed as above, you can press the Left or Right Arrow buttons to see the size of the file in Blocks (a Block is 256 samples; 4 Blocks=1K samples). Press the Left or Right Arrow button again to return to the file name.
● Use the Data Entry Slider or the Up and Down Arrow buttons to view the various Instrument files on the disk.
Each file has its own File Number. When an Instrument file is showing, the INST indicator is lit. The BANK Indicator wi11light when a Bank file is showing.
● Find the Instrument you want to load, and press Enter.
The Display will say "PICK INSTRUMENT BUTTON." The EPS wants to know into which Instrument location you wish to load the sound.
● Press any of the eight Instrument-Track buttons.
The EPS will begin immediately loading the Instrument into the selected location. The Display reads "LOADING FILE. .." and the red LED flashes while the Instrument is being loaded.
Once the Instrument has been loaded, the Display briefly shows "FILE LOADED." The red LED above the Instrument button stops flashing and remains solidly lit, indicating that there is now an Instrument in that location which can be selected by pressing that button.
If you tell the EPS to load an Instrument into a location which already has an Instrument loaded (red LED lit), the new Instrument will be loaded into that location and the one that was there will be automatically deleted.
● You might have to delete an Instrument(s) before loading the new one. If there are already one or more Instruments loaded into the EPS, there might not be enough free memory to load the new one. In this case, the Display will say "PICK INST TO DELETE." At this point you have three choices. You can:
1. Press any loaded Instrument button. That Instrument will be deleted from memory and the new one will be loaded; or
2. Press Enter*Yes. The EPS will delete an Instrument (or Instruments, as needed) for you, starting from the highest-numbered one in memory; or
3. Press Cancel*No. The Load command will be canceled with no harm done.
Note that you can continue to select and play existing Instruments while the new one loads.
_p.10_
BANKS
BANKS
Banks provide a way to load a whole group of Instruments and Sequences into the EPS with a few button presses. When you save a Bank to disk, it is like taking a "snapshot" of the contents of the EPS Internal memory - the EPS stores in the Bank File information about which Instruments are loaded into which of the eight Instrument-Track locations, and the current Song and Sequences (if any). When you load a Bank, the EPS will reproduce the same state by loading those Instruments into the same locations and, if you choose, loading the Song with its related Sequences. A Bank will also save any Performance Presets you have created (see p. 17).
For example, you might have a Piano loaded into Instrument #1, a Bass in Instrument #2, and Drums in Instrument #3, and you have created a number of Performance Presets containing different keyboard configurations of those Instruments. Let's say you also have in memory a Song, which is composed of 12 Sequences. If you now save the contents of memory as a Bank, you can later call up this exact setup by loading the Bank.
A few important notes about Banks:
● The Bank File on a disk doesn't contain the actual Instrument and Sequence files - it is just a set of instructions telling the EPS what to load and where. All the Instruments and the Song in a Bank must be saved to disk individually prior saving the Bank.
● All the Instrument and Sequencer files related to a Bank must be on the same disk as the Bank file.
● Any Instruments already loaded into locations not affected by the Bank will be left intact (memory permitting). You can select and play such Instruments while the Bank loads.
TO LOAD A BANK:
● Press Load, then Instrument.
● Use the Up and Down Arrow buttons to view the different files.
When a Bank file is showing, the BANK indicator lights on the Display along with the INST indicator.(If the BANK indicator doesn't light for any of the files, there are no Banks on the disk.)
● Once a Bank file is showing, press Enter*Yes.
If a Song was part of the Bank when it was saved, the Display asks "LOAD SONG TOO?" This gives you the choice of loading only the Instruments, or the Instruments plus the Song. If you press Enter*Yes at this point the Song which was in memory when the Bank was saved will be loaded in along with the Instruments, replacing the current Sequencer Memory. If you press Cancel*No, only the Instruments will be loaded and the EPS's Sequencer memory will be left intact.
● Press Enter*Yes.
The EPS will begin loading the the Sequence data and the Instruments. As it loads each Instrument the Display tells you what it doing. As soon as any of the Instruments is finished loading you can select that Instrument and play while the rest of the Bank loads.
See p. 21 for instructions as to saving the contents of memory as a Bank.
_p.11_
PLAYING INSTRUMENTS
PLAYING INSTRUMENTS
● First, press Load to make sure you are in LOAD Mode.
Now we'll look at the eight Instrument●Track buttons and how they function in LOAD Mode.
Loaded LEDs ■ ■ ■ ■ ■ ■ ■ ■Selected LEDs □ □ □ □ □ □ □ □Buttons -> ▒▒ ▒▒ ▒▒ ▒▒ ▒▒ ▒▒ ▒▒ ▒▒Bank# 1 2 3 4 5 6 7 8
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:
[ GRAND PIANO _ _ _ VOLUME = 99 ]Once you have loaded one or more instruments, select the Instrument you want to play by pressing the appropriate Instrument button. The LOAD indicator stops flashing, and the EPS shows you the Name of the selected Instrument, and its Volume setting.
You can adjust the volume of the Instrument with the Data Entry Slider or the Up and Down Arrow buttons. This lets you easily balance the levels of several Instruments when splitting the keyboard or Stacking sounds. If any other Instruments are loaded, you can select them in the same way, and adjust their volumes. Each time you select an Instrument, its name and Volume setting will appear in the Display.
● Try selecting different Instruments. Try "double-clicking" to Stack Instruments. Click once on a selected or Stacked Instrument to deselect it.
● Pressing the Load button again returns you to viewing disk files (LOAD flashing). You can also press Cancel to toggle back and forth between looking at Disk Files (LOAD flashing) and looking at Instruments in the Internal Memory (LOAD indicator lit but not flashing).
_p. 12_
PATCH SELECT BUTTONS
The two Patch Select buttons above and to the left of the Pitch Bend Wheel can be programmed to provide instant access to up to four completely different sounds within each Instrument. The alternate sound might be a different set of samples, or the same samples with different envelopes, or a chorused version of the sound, or perhaps a different range of an Instrument.
What you are doing when you press either or both of the Patch Select buttons is selecting different Layers to play. A Layer is a group of Wavesamples spread across the keyboard - each Instrument can contain up to eight Layers. For each of the four possible Patches, any of these eight Layers can be made to play or to remain silent.
● The Patch Select buttons are "momentary" - an alternate Patch will play only on notes played while the button is held down unless you "lock in" a Patch.
● To lock in a particular Patch so that it will play without having to hold any
buttons, simply press the Instrument*Track button while holding down the Patch Select button(s) corresponding to the Patch you want to lock in.
● To return to the default Patch (neither Patch button down) after you have locked in one of the other Patches, press the Instrument. Track button again (with neither of the Patch Select buttons held down).
Try this: To see the Patches changing, and see which Layers are playing for each Patch you can go to the Layer Enable parameter on the EDIT/Instrument Page. Press Edit; then press the Instrument Page button twice in rapid succession.
Here's how a typical Instrument might react when you press the different Patch Select buttons:
Patch Select Buttons (PSB)
[- The Display Shows - -]
No button pressed:00 PATCH= 1 - - - - - - -
Right PSB pressed:*0 PATCH= - - 3 4 - - - -
Left PSB pressed:*0 PATCH= - - 3 4 - - - -
Both PSB pressed:** PATCH= - - - - 5 6 7 8
● A number means that a given Layer is enabled, and will play in that Patch;
● A dash means that the Layer is disabled for that Patch and will not play.
The Patch Select buttons are sent and received over MIDI as MIDI controller #70.
_p. 13_
KEYBOARD RANGE (How Instruments Share the Keyboard in LOAD Mode)
Whenever the EPS is in LOAD Mode (which is the normal performance mode) you are not limited to one Instrument on the keyboard at a time (or two, or three for that matter). Each Instrumenthas a Keyboard Range, which is the section of the keyboard that it will occupy when selected.
The range of an Instrument can be as much as the full 88 keys of a grand piano (for playing the EPS from an 88-note controller via MIDI) or as little as a single key. Up to eight Instruments can inhabit the keyboard in a way that might be termed a "Pile o' Instruments."
Imagine four pieces of paper, each a different size, piled on top of each other:
In the picture above, sheet #2 is on top of the pile - all of it is showing. The other three sheets are partially covered up. Now suppose we could magically bring sheet #3 up to the top of the pile. The pile would look like this:
Now all of #3 is showing: Numbers 1, 2 and 4 are partially showing, partially covered up.
If we now bring #4 to the top of the pile, Numbers 1 and 2 are still partially visible, but #3 is covered up completely.
So it is with Instruments loaded into the EPS when in LOAD mode. Whenever you select an Instrument, it is brought to the top of the pile. That is, you will hear the most recently selected Instrument over its whole range when you play the keyboard. Any previously selected or stacked Instruments will be "covered up" wherever their ranges overlap with that of the newly selected one.
Wherever an Instrument is not "covered up," it will continue to play on the keyboard. So you can see that "splitting" the keyboard is as easy as selecting two or more Instruments with different (or overlapping) ranges.
● All Instruments which are selected (yellow LED lit) are "on the pile," even if they are partially covered up by another Instrument.
_p.14_
Now let's try the sheets-of-paper analogy in terms of Instruments on the keyboard. Suppose you have two Instruments loaded into the EPS:
• Instrument #1 is a Piano sound, whose range is the entire keyboard;
• Instrument #2 is a Bass sound, whose range is only the bottom two octaves.
The ranges of the two Instruments can be shown like this:
Inst#1 : Piano[|------=------=----Piano----=------|]Inst#2 : Bass [|----Bass-----|]
If you select the Piano, it will play over the whole keyboard, covering up the bass entirely:
Select Inst#1 : Kybd [◄------=------=----Piano----=------►]Now you select the Bass. This brings it to the top of the pile, and it covers up the Piano, but only in the region where their ranges overlap (the bottom two octaves):
Select Inst#2 : Kybd [◄----Bass-----►◄---Piano----=------►]If you play now, you will hear the Bass in the bottom two octaves and the Piano over the rest of the keyboard. If you deselect the Bass (by pressing its Instrument button again) its yellow LED goes out and it returns the whole keyboard range to the Piano.
This same logic applies no matter how many instruments are loaded and selected. Whichever one you select comes to the "top of the pile."
IMPORTANT: The "Pile" described here only exists in LOAD Mode. In EDIT and COMMAND Modes, only one Instrument can ever be selected at a time.
Additional Notes:
● Whenever a selected instrument is covered up completely by the selection of another, its yellow LED goes out - it is automatically deselected.
● Up to all eight instruments can be seleoted and can play on some part of the keyboard at once, as long as none is covered up completely. Also, up to all eight Instruments can be Stacked at once.
● Instruments which you "Stack" by double-clicking their Instrument buttons will play simultaneously with whatever other Instruments are on the pile. Selecting another Instrument, however, will bring that Instrument to the top, covering up any stacked Instruments as well as any selected ones.
_p. 15_
CHANGING THE RANGE OF AN INSTRUMENT
You can easily change the keyboard range of any Instrument with the following steps:
● From LOAD mode, select the Instrument by pressing its Instrument button.
The Display will show the Instrument name and Volume setting. Then:
1. Press the "Set Keyboard Range" button.
The EPS puts itself into COMMAND mode (CMD indicator lit in the Display window) and displays a special "Set Range" Page:
The screen shows:
CMD STOPGUITAR LO = C2 HI = C7● The first 9 letters of the Inst. Name,
● The lowest key it will play on (LO =),
● The highest key (HI =).
Note that the Low Key is underlined, meaning that it is selected and ready to be modified.
2. Play the key that you want to be the Instrument's new Low Key
As soon as you play a note, that key becomes the new Low Key. The display is updated accordingly, and the underline automatically switches to the High Key.
3. Play the key that you want to be the Instrument's new High Key
That note becomes the new high key. The Display shows the new High Key;
switches back to the Low Key.
The range is now set. If you aren't happy with the range you set, just play two more keys to set a new range. Watch the underline to see which setting (LO or HI) will be changed when you play a key. Each time you hit a key the underline will switch automatically.
If you want, you can press the Right or Left Arrow button to move the underline between Low Key and High Key. You can also use the Data Entry Slider or the Up and Down An-ow buttons to adjust the underlined value (instead of playing 2l key) if you prefer.
Note that if you select a Low key which is higher than the High Key, the Instrument will have no range, and will not sound. Don't do that.
The next step is to adjust, or Transpose, the pitch of the Instrument (if necessary) so that it works in the new range.
_ p. 16_
4. Press the "Set Keyboard Range" button again.
The "Transpose Instrument" Page appears:
This screen lets you Transpose the Instrument up or down in Octave or Semitone Steps.
[ TRNS _ OCT = +0_ _ SEMI = +0]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
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.
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.
_p. 18_
PRESSURE (After-touch)
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
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:
[ DSK SOUND 1_ _ UP + LOWER ]● 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.
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):
[ NAME = UNNAMED INST ]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.
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:
[ NAME = UNNAMED INST ]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:.
[ BANK NAME = SOUNDBANK 1 ]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.
_p.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.
_p.22_
SAMPLING
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
[ PICK SAMPLE INSTRUMENT ]● 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:
Input Signal Level ->[ | | * . . . . . . ]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.
● 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.
. . . . . . . . . . . . . . . . . . . . AMP<--- Overload[ | | * | | | | | | | | | |]<-- Input Signal LevelAdjust the level of the incoming signal so that you get the highest possible reading without lighting the AMP Indicator for more than a brief flash. You will notice that the incoming signal is passed through to the EPS Audio Output when sampling. Note however that this is a full-level signal, not affected by the EPS volume control. Once you have the level adjusted:
● Press Enter. (Or you can press the footswitch to initiate sampling.)
The alphanumeric Display goes out and the REC indicator above the Display lights while the EPS is sampling. Remember that if the threshold is set higher than 0, the EPS will not begin actually sampling until the input signal crosses the threshold.
● Play the sound to be sampled.
Play the synth or recording, or speak into the mic.
● Press Cancel (or press the footswitch again) to stop sampling.
Or, if you don't stop it by pressing Cancel or the foots witch, the EPS will continue sampling until it has used up all the available memory.
● Play the Root Key.
After you have pressed Cancel to halt sampling (or the memory is full) the Display flashes "PLAY ROOT KEY." The Root Key is the note on the EPS keyboard from which the sample will play back at "unity" - the same pitch as the original input signal. So whichever key you press in response to the "PLAY ROOT KEY" prompt is the key that will play back exactly what you sampled.
MOVING THE START AND END OF THE WAVESAMPLE
When you have finished recording a sample, the EPS puts you on the EDIT/Wave Page, where you can adjust the Loop Mode, Sample Start, Sample End, and other Waves ample pointers. To conserve memory, it's a good idea to move the Sample Start and Sample End to eliminate any "dead space" at beginning or end, and then Truncate the Waves ample using the TRUNCATE WAVESAMPLE
command.on the COMMAND/Wave Page (see p. 28).
You can also reach the EDIT/Wave Page by pressing the Edit button, then the Wave button.
If there is empty space (silence) at the beginning of the sample:
● Press the Left or Right Arrow button to scroll to the Sample Start (shown below)
When the Sample Start and Sample End are displayed on the EDIT/Wave Page there are two ways to adjust them - you can move in large steps by adjusting the Percent setting, or move one sample at a time by choosing the Fine adjust.
EDIT WAVESMPL START = 1 . . . . (00) Number (fine adjust) Percentage (coarse adjust)● Move the Cursor (underline) to the Percent Coarse Adjust) reading.
The Coarse Adjust reading is the one in parentheses. Changing this value will move the Sample Start in steps of one percent of the entire Wavesample.
● Use the Data Entry Slider or the Up and Down Arrow buttons to move the
Sample Start ahead until the dead space is gone when you play.
Once you have gotten close using the Percent setting, press the Left Arrow button to underline the Fine Adjust setting. Now the Data Entry Slider or the Up and Down Arrow buttons will move the Sample Start in small steps, letting you fine-tune its exact position while playing the sample.
Now you can eliminate any unused space at the end of the sample:
● Press the Right Arrow button to scroll to the Sample End (shown below).
Again you see the Sample number (Fine Adjust) and the Percent (Coarse Adjust)
EDIT WAVESAMPLE END = 25276 . . . (99)● Move the Cursor to the Percent reading.
While playing the sample, use the Data Entry Slider or the Up and Down Arrow buttons to move the Sample End back until the sample stops at the end of the sound. Or, if you have looped the sound (MODE=LOOP FORW ARD or LOOP BIDIRECTION), the EPS will not let you adjust the Sample End back past the Loop End. Move the Data Entry Slider all the way down to set the Sample End to a point just past the Loop End.
LOOPING
After making a sample it is often necessary to "loop" - play over and over - a portion of the sound, so that it can sustain indefinitely when the key is held down. Getting a good loop tends to be the most difficult part of sampling, and a full discussion of looping techniques is beyond the scope of this Musician's Manual. You will find that in the Advanced Applications Guide. Here, then are a few tips to get you started:
# Turn ON the AUTO-LOOP FINDING parameter on the EDIT/System Page.
Press Edit, then System, then scroll to the parameter AUTO-LOOP FINDING. Make sure it is ON. When AUTO-LOOP FINDING=ON, every time you move the Loop Start or Loop End points of a Wavesample, the EPS picks only "optimized" loop points - ones most likely to work.
# Set the Playback Mode of the Wavesample to MODE=LOOP FORWARD.
On the EDIT/Wave Page, the Playback Mode determines whether the wavesample will loop (among other things). Set it to MODE=LOOP FORWARD. Then...
# Scroll right to the LOOP START parameter.
Move the Cursor to underline the Loop Start Percent Reading (the number in parentheses). While holding down a note, move it away from the beginning of the Wavesample (the 25 to 50 percent range is usually a good starting point).
# Scroll right to the LOOP END parameter.
Move the Cursor to underline the Loop End Percent Reading (in parentheses) and move it towards the beginning of the Wavesample. Move the Loop Start and the Loop End around until you find the best sounding loop.
MULTISAMPLING
Many sounds require that you make more than one sample, with each sample covering a different range of the Instrument. This is because if you transpose a sound too far (up or down) from its original pitch it begins to sound unnatural. Another application for making multiple samples is when you are sampling something like a drum set, where you want several entirely different sounds on the keyboard at once.
The EPS makes it easy to "multisample" - which is what we call this process of making several samples within one Instrument.
● Make your first sample as described above in "Easy Sampling."
● Press the Sample button.
The Display reads "PICK SAMPLE INSTRUMENT."
● Press the Instrument*Track button of the Instrument you just sampled.
When you select an existing instrumement in response to the "PICK SAMPLE INSTRUMENT" prompt, the EPS shows the multisampling screen:
UNNAMED LYR= 1 WS=NEWInstrument Name Layer Number WaveSample Number
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.
UNNAMED LYR= 1 WS=3__Play the keyboard until you hear (and see the number of) the Wavesample you want to resample.● 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.
_p.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:
CMD WAVETRUNCATE WAVESAMPLE● 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:
UNNAMED LYR= 1 WS=2__This can be called the "WHAT-DO-YOU-WANT-TO-EDIT?" Page. Here you determine the current Instrument, Layer and WaveSample.
● Move the Cursor (underline) to "WS =_".
The Cursor should be beneath the WaveSample select (WS=_). If it's not, use the Right Arrow button move it there.
● Play the keyboard to select the WaveSample you want to work on.
When you play the keyboard, the WaveSample number showing on the Display will change as you as you play different Wavesamples. Whichever one is showing is considered the current WaveSample - the one which will be affected by any Wave EDIT or COMMAND functions.
● Pressing Edit again will return you to the last EDIT Page you were on.
This lets you select a different WaveSample and then quickly return to the same parameter (Sample Start or End, for example) you were editing.
_p.28_
MIDI FUNCTIONS
MIDI FUNCTIONS
MIDI (Musical Instrument Digital Interface) is an industry-wide computer communications standard which allows electronic musical Instruments to "talk to" each other. MIDI has opened up incredible possibilities for performing and recording music, and ENSONIQ products have always been designed to take full advantage of its power and potential. The EPS is no exception.
Not only can it act as a master controller, letting you play and sequence many other devices right from the EPS keyboard, but you can use the EPS's System Exclusive Recording function to store data from other devices as well. Here we will cover those aspects necessary to get you started. The full extent of the EPS MIDI implementation is covered at length in the Advanced Applications Guide.
MIDI CONNECTIONS
Here's a typical MIDI setup:
Connect the MIDI Out of the EPS to the MIDI In of any other MIDI Instrument to play or sequence that device from the EPS. For driving multiple devices, connect the MIDI Thru of the first Instrument to the MIDI In of the second.
+---->----+ +----->----+ +------- to additional MIDI instruments --> MIDI Out MIDI In MIDI Thru MIDI In MIDI Thru Ensoniq EPS Remote Inst #1 Remote Inst #2
For additional instruments, connect the MIDI Thru of each to the MIDI In of the next one in the Chain.
Keyboards, rack-mounted voice modules, drum machines, sequencers and other MIDI devices can all be connected in this fashion.
"SMART MIDI OUT" MODE
There is a parameter in the EDIT/MIDI Page which determines how MIDI information will be sent by the EPS. If you plan to be playing or sequencing other MIDI devices from the EPS keyboard, you will want to first put the EPS into what we call "Smart MIDI Out" Mode. To select the "Smart MIDI Out" parameter:
● Press Edit, then MIDI.
● Press the Left or Right Arrow button until the Display shows:
TRANSMIT ON = BASE CHANThe setting of this parameter determines whether the EPS will act as a simple MIDI transmitter, sending only on the Base MIDI Channel; or whether each Instrument will send independently on its own MIDI Channel.
# When TRANSMIT ON = BASE CHAN, the EPS will always transmit notes, controllers and Program Changes on the Base MIDI Channel (also selected on the Edit/MIDI Page) and only on that channel, no matter what Instruments are selected from the front panel.
# When TRANSMIT ON = INST CHAN the EPS is in "Smart MIDI Out" Mode. Each of the eight EPS Instruments will send on its own MIDI Channel (or not at all, if assigned LOCAL status). Each Instrument will have its own MIDI Program Number and its own PRESSURE setting.
● Set to TRANSMIT ON = INST CHAN
Now we are ready to proceed with making a MIDI Instrument to play one of your remote devices.
_p.29_
MAKING A MIDI INSTRUMENT Let's suppose that you have a synthesizer (say an ENSONIQ ESQ-l) connected to the EPS as shown below:
+---->----+ MIDI Out MIDI InEnsoniq EPS Remote ESQ-1
You want to be able to select and play the ESQ-l from the EPS front panel just as you would an EPS Instrument. To accomplish this, you can make an EPS Instrument which contains no sample data, and which will not sound on the EPS but will only play over MIDI. Such "MIDI Instruments," as we call them, use up very little memory, and can be loaded from disk almost instantly. They are the key to using the EPS as a MIDI controller keyboard and MIDI Sequencer.
● Press Command, then press Instrument.
● Scroll left or right until the Display reads 'CREATE NEW INSTRUMENT."
● Press Enter*Yes.
The Display says "SELECT UNUSED INST= 1." The new Instrument will be created in the Instrument*Track location indicated. You can select a different location (by pressing any unused Instrument*Track button), or just press Enter.
● Press Enter*Yes.
The EPS will create a new unnamed Instrument in the location you indicated. The new Instrument is selected (its yellow LED is lit). Note that it contains no Layers or Wavesamples, and thus will make no noise when you play the keyboard.
● Press Edit then press Instrument.
This puts you on the EDIT/Instrument Page where you will set the characteristics of your new Instrument.
● Scroll left (or right) until the Display shows:
SEND KEYS TO = BOTHThe parameter" SEND KEYS TO = " determines whether the Instrument will play:
# Only Locally (LOCAL);# Only over MIDI (MIDI); or# Locally and over MIDI (BOTH).● Set to "SEND KEYS TO = MIDI."
Now the instrument will only play over MIDI, sending keys, controllers, etc. on its designated MIDI Channel.
● Scroll left to the parameter "MIDI OUT CHANNEL = _"
This is the MIDI Channel that the Instrument will send on. Let's suppose that the ESQ-l in our example is set to receive on MIDI Channel 3. We would set this parameter to "MIDI OUT CHANNEL= 3." Now selecting and playing this Instrument should play the ESQ-l.
● Name the new Instrument.
Scroll left until the Display shows "NAME = UNNAMED INST," and edit the Instrument's Name (as detailed on p. 21). Give the new Instrument a name which describes it. In this case, we might name it "ESQ - CHAN 3."
● Press Load to return to LOAD Mode, and select the MIDI Instrument.
The Instrument's Name and Volume level show on the Display, like any other EPS Instrument. When you play it from the EPS keyboard you should hear the ESQ-l.
# You can select, deselect or stack the MIDI Instrument 3;s you would a local Instrument;
# You can change its Keyboard Range so it only plays over a specified part of the keyboard;
# Changing its Volume (by moving the Data Entry Slider) will send MIDI Volume changes to the receiving instrument, letting you mix its level just as you would a local Instrument.
● Save the new Instrument to disk.
Save the Instrument to a formatted disk (as described on p. 20). You can later load it into any of the eight Instrument-Track locations and play the ESQ-l just as you would load and play a sampled Instrument.
Create customized MIDI-only EPS Instruments for each of your remote devices. Then Load them into memory for playing and sequencing specific external instruments. Just remember to follow these rules:
# The "Smart MIDI Out" Switch on the EDIT/MIDI Page must be set to "TRANSMIT ON = INST CHAN."
# Each external device for which you create a MIDI Instrument should always be set to receive in POLY (or MULTI) mode, OMNI OFF, and always on the same MIDI Channel that you assigned to the related EPS MIDI Instrument.
# Make sure that any EPS Instruments which you don't want sending notes out MIDI (such as most sampled Instruments) are assigned to "SEND KEYS TO = LOCAL." Then save the Instrument(s) to disk.
MIDI IN MODE
The MIDI IN Mode determines how MIDI information will be received over MIDI by the EPS and its various Instruments. The MIDI Mode has no effect on what is sent - MIDI Out on the EPS is totally independent from MIDI In.
To set the MIDI IN Mode:
● Press Edit, then press MIDI. Scroll right until the screen shows "MIDI IN MODE= "
There are five MIDI Modes which can be selected here (though two of them, MONO A and MONO B, are variations on the same idea).
# MIDI IN MODE= OMNI - In OMNI Mode the EPS will receive and respond to any enabled MIDI data received on any of the sixteen MIDI channels.
# MIDI IN MODE= POLY - In POLY Mode the EPS will receive only on the Base MIDI Channel (also selected on the EDIT/MIDI Page). MIDI information on all other channels will be ignored.
# MIDI IN MODE= MULTI - MULTI Mode is an ENSONIQ innovation which was specially designed to make optimal use of the multi-timbral capabilities of our instruments. In MULTI Mode, the EPS's eight Instruments can each receive MIDI information independently and polyphonically on a different MIDI Channel.
Instrument #1 will receive on the Base MIDI Channel. Instrument #2 will receive on the Base MIDI Channel plus 1; Instrument #3 will receive on the Base MIDI Channel plus 2; and so on.
Instrument MIDI Channel assignments in MULTI & MONO B Modes:If the Base Channel is:1 2 3 4 5 6 7 8 9Inst #1 receives on:1 2 3 4 5 6 7 8 9Inst #2 receives on:2 3 4 5 6 7 8 9 10Inst #3 receives on:3 4 5 6 7 8 9 10 11Inst #4 receives on:4 5 6 7 8 9 10 11 12Inst #5 receives on:5 6 7 8 9 10 11 12 13Inst #6 receives on:6 7 8 9 10 11 12 13 14Inst #7 receives on:7 8 9 10 11 12 13 14 15Inst #8 receives on: 8 9 10 11 12 13 14 15 16
_p.31_
# MIDI IN MODE= MONO A or MONO B - MONO Mode is another way of playing different sounds at once via MIDI. It is particularly well suited for driving the EPS from a Guitar Controller, or any other application where having up to eight independent, monophonic, Channels is desirable.
The EPS offers two types of MONO Mode. In both types of MONO Mode, the EPS will receive monophonically on eight consecutive MIDI Channels. The difference has to do with how those eight MIDI Channels are routed within the EPS.
MONO A - When MONO A is selected the EPS receives monophonically on eight consecutive MIDI Channels - the Base Channel through Base Channel+ 7. All notes and controllers received will play whatever Instruments are selected or stacked for the note that is played, just as if the note was played from the keyboard.
MONO B - In MONO B Mode the eight independent monophonic MIDI Channels are sent to the eight Instruments of the EPS. MIDI Channel assignments are the same as in MULTI Mode (see the chart above). Using this MIDI In Mode you could, for instance, have each string of a guitar playa different Instrument within the EPS.
In MONO Mode (A or B) the Base Channel Minus One becomes a MIDI Channel for global Controllers (pitch bend, Pressure, MOD Wheel, etc.). For example, if the Base Channel is Chan. 3, any Controllers received on Chan. 2 will affect all voices being played. If the Base Channel is Chan. 1, Chan. 16 becomes the Channel for global Controllers.
MIDI PROGRAM CHANGES
The EPS can transmit and receive MIDI Program changes. There is a parameter on the EDIT/MIDI Page which enables the EPS to do so. This parameter must be set to "MIDI PROG CHANGE=ON" - otherwise the EPS will not send or receive Program Changes.
To send a Program Change from the EPS:
● Hold down an Instrument*Track button.
● While holding down the Instrument*Track button, "type in" the number (from 1-128) of the desired Program Change on the numeric keypad buttons of the EPS; then
● Release the Instrument*Track button. When the button is released, the Program change is sent.
If the EPS has been set to "TRANSMIT ON= INST CHAN," (EDIT/MIDI Page) the Program Change will be sent on the MIDI Channel of the Instrument whose button you held down while typing in the number. If it is set to "TRANSMIT ON= BASE CHAN," the Program Change will always be sent on the Base Channel.
Receiving Program Changes
What the EPS does when it receives a Program change depends on the current MIDI In MODE (on the EDITIMIDI Page).
If the MIDI IN MODE = OMNI, POLY or MONO A, incoming Program Changes will Select, Deselect or Stack the eight Instrument-Tracks of the EPS in the following fashion:
# Program Changes 1-8 will Select EPS Instruments 1-8 (yellow LED will light), if received by an instrument which is not selected.
# Program Changes 1-8 will Deselect Instruments 1-8 (yellow LED will go out), if received by an instrument which is already selected.
# Program Changes 9-16 will Stack Instruments 1-8 (yellow LED will flash).
# Also, Program Changes 17-23 will select Performance Presets 1-8 (see p. 17).
If the MIDI IN MODE = MULTI or MONO B, incoming Program Changes from 1 to 40 will cause the EPS to load the same-numbered disk file into the Instrument*Track Location on whose MIDI Channel the Program Change was received. For example, If the Base Channel is 1, and Program change #4 is received on MIDI Channel 2, the EPS would try to load disk file #4 into Instrument-Track #2.
_p.32_
{This is as far as I have converted... Not done is Sequencer, Quick Ref, Specs Sheet}
Advanced Applications Guide
Advanced Applications Guide
THE EPS USER INTERFACE: HOW TO GET AROUND
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.
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
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 1INSTRUMENT 2INSTRUMENT n --┬-> Instrument ParametersINSTRUMENT 8 ├-> LAYER 1 ├-> LAYER 2 ├-> LAYER n --┬-> Layer Parameters └-> LAYER 8 ├-> WAVESAMPLE 1 ├-> WAVESAMPLE 2 ├-> WAVESAMPLE n ----┬-> WaveSample Parameters └-> WAVESAMPLE 127 └-> Wave DataAt 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.
BE AWARE
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.
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.
DRUMS SET LYR=2 WS=2When 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.
DRUMS SET LYR=2 WS=ALLWhen 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.
DRUMS SET LYR=A WS=ALLWhen 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.
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.
● 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:
ENVELOPE TEMPLATES
There are a.number of "typical" envelopes permanently stored in the EPS; they each have a name. When you select one of these envelopes, its 21 parameters are copied into the envelope of the Wavesample or Wavesamples you are editing. The old values are temporarily saved as the "CURRENT VALVE." You can go back to "CURRENT VALUE" any time you wish, unless you change any of the values in one of the template envelopes. Editing individual parameters of any envelope causes it to become the "CURRENT VALUE" of that particular envelope.
COPYING ENVELOPES
Pressing ENTER while on the envelope template Page causes the current set of parameters to be saved in a special buffer. The message "ENVELOPE PARAMETERS SAVED" will appear briefly. There is only one SAVED envelope in the entire EPS at anyone time: This envelope becomes your own template, which can be selected on the envelope template Page by selecting "ENVELOPE SAVED." You can use this function to copy an envelope from one Wavesample to another.
_p.5_
The envelope is a descendant of the venerable ADSR (attack, decay, sustain, release) envelope, with a number of refinements. The envelope parameters allow you,to describe two different shapes; one for maximum velocity (HARD VEL) and one for minimum velocity (SOFT VEL). When a key is struck, the envelope generator actually interpolates between the two.
Each of the three Envelope Pages (EDIT/Env 1, EDIT/Env 2, and EDIT/Env 3) contains the following parameters:
# HARD VEL shows the 5 levels for the envelope used with maximum velocity. Level-l is the initial level; in a traditional ADSR shape, Level-1 is always set to zero. Level-5 is the sustain level.
HARDVEL = 75 99 80 65 55# SOFT VEL shows the 5 1evels for the envelope used with minimum velocity.
SOFTVEL = 15 52 25 35 20# TIMES shows 5 time parameters. The first four are the times between the 5 levels. The fifth time is (first) release time.
TIMES = 20 15 32 18 12# 2ND RELEASE time and 2nd release LEVEL provide one more breakpoint in the envelope, which occurs after the release (T5). The LEVEL controls where the breakpoint will be placed relative to the current value of the envelope at the time the key was released.
2ND RELEASE = 20 LEV -30# ATTACK TIME VEL makes time-1 shorter with increasing velocity.
# KBD TIME SCALING makes the envelope shorter for keys above the root key. Keys below the root key will have longer envelopes; the root key is not affected by this parameter. 2ND RELEASE is not affected by this parameter.
# SOFT VEL CURVE switch, when off, makes the envelope use only the HARD VEL levels, regardless of the velocity.
# ENVELOPE Mode has three states:
● NORMAL: as pictured in the envelope diagram.
● CYCLE: envelope runs its full cycle, ignoring the key-up event.
● REPEAT: In this Mode, the envelope will run through levels 2 through 5, using times 1 through 4, repeatedly as long as the key is down.
The last parameter on the envelope Page usually reads ENVELOPE = CURRENT VALUE. This is ENVELOPE TEMPLATE parameter.
TUTORIAL: UNDERSTANDING WAVESAMPLES, LAYERS, AND PATCHES
TUTORIAL: UNDERSTANDING WAVESAMPLES, LAYERS, AND PATCHES
The best way to understand Wavesamples, Layers and Patches is to actually work with them. Basic sampling is covered in Pages 23 thru 28 of the Musician's Manual. This tutorial assumes you know how to use the basic front panel controls on the EPS. If you have any doubts, refer back to the Musician's Manual. In the following procedures, a microphone is used as the sampling source. If you use a synthesizer, tape deck or the output of a mixer as a source, the specific sounds will differ but the results will be similar.
CREATING LAYERS
First, let's make some Wavesamples. Push the Sample button. Pick sample Instrument by pressing one of the Instrument*Track buttons. You are now in Level-Detect Mode. If you are using a microphone, make sure you set "INPUT LEVEL=MIC." Press Enter*Yes,and say "one" into the microphone. Then immediately press Cancel*No. You can also start and stop Sampling with the footswitch, if you prefer. Choose middle C as your root key. That's Wavesample number one, in Layer 1.
Press the Sample button again. Pick the same Sample Instrument. The display reads,"UNNAMED I LYR=l WS=NEW." Use the Right or Left Arrow button to underline "LYR=1." Use the Up Arrow button and change "LYR=1," to "LYR=N."
The display now reads "UNNAMED I LYR=N WS=NEW." The next Wavesamples you make will now occupy Layer 2. The "N" in "LYR=N" stands for new. Press the Enter*Yes button. Notice you are back in Level-Detect Mode. Press Enter*Yes, and say, "two." Press Cancel*No. Choose the same root key, middle C. That's Wavesample number two, in Layer 2.
Press the Sample button. Pick the same Sample Instrument. Using the cursor, underline "Layer=2," and set it to "LAYER=N." Press Enter*Yes. Now, you're in Level-Detect Mode. Press Enter*Yes, and say, "three." Choose the same root key. And that's Wavesample number three, in Layer 3.
You should be able to hear Wavesamples, "one, two, and three" when you play middle C on the keyboard. You can repeat this process up to eight times, as there are eight possible Layers per Instrument. Instead of creating new Layers each time we sampled, we could have multisampled the same Layer and spread the new Wavesamples across the keyboard. See Page 26 of the Musician's Manual for more on multisampling, or Page 7 in this outline.
PATCHES
Let's listen to our Wavesamples. If you used your voice as a source, you should hear "one, two, and three when you play middle C.If you sampled a synthesizer, tape deck or mixer, you should still hear three different Wavesamples on middle C.
Press Edit, then Instrument. The screen reads "00 PATCH=123 - - - - -." Using the cursor, underline "2," then hit the Down Arrow. You have just turned Layer 2 off in this Patch. You should be hearing voice sample "one and three." Underline "3" in the display and hit the Down Arrow button. Voice sample "three" is gone, and only voice sample "one" remains.
Go to the Patch Select buttons near the Pitch and Mod Wheels, and press the Right Patch Select button down. You will see an asterisk appear on the screen, signifying that button is down. While continuing to hold the Right Patch Select button down, reach up with your other hand (make sure #1 is underlined) and press the Down Arrow button, which,turns Layer 1 off. Press the Right Arrow one time, and then hit the Up Arrow, this turns on Layer 2. Release the Right Patch Select Button. Now, press the Left Patch Select button down, underline 2, and turn it off. Keeping the Left Patch Select button down, underline number "3" and turn that on.
When you play middle C, you will hear Wavesample "one" by itself. Press the Right Patch Select button, play the same note and you will hear Wavesample "two." Press the Left Patch Select button, play the same note, and you will hear Wavesample "three." Push both buttons down, and you will hear Wavesamples "one" and "two." These Patch Select buttons can be set to call up any combination of the eight Layers.
Push the Right Patch Select button and hold it down. With your other hand, press the "active" Instrument*Track button, and Layer 3 is locked in. Press the Instmment*Track button again to unlock the Patch and return to the default Patch.
MULTISAMPLING INTO SEVERAL LAYERS
It's time for more sampling. Delete the Instrument by pressing and holding down the Instrument*Track button and then pressing Cancel*No. Press the Sample button, then pick an Instrument. Press Entet*Yes, and say "one." Hit Cancel*No, and set the root key to the lowest C on the Keyboard. Push the Sample button again, pick the same Sample Instrument, the display reads, "UNNAMED I LYR=l WS=NEW." The default here is "NEW," meaning that a new Wavesample will be created in the same Layer of the Instrument. Press Enter*Yes,. You are in Level-Detect Mode. Press Enter*Yes, and say "two." Hit Cancel*No. Set the root key to C#, next to the first Wavesample. In Layer 1, you have Wavesamples "one" and "two," across the keyboard.
Press the Sample button again, then pick the same Sample Instrument. The screen reads, "UNNAMED I LYR=l WS=NEW." Underline "LYR=l" in the display, use the Up Arrow button to. set it to "LYR=N." As you probably have guessed by now, your next Wavesample will be in a "NEW" Layer. Press Enter*Yes. Then, press Enter*Yes again, and say, "three," then hit Cancel*No. Make the lowest C note on the keyboard also the root key for sample "three." Press Sample, then pick the same Sample Instrument. Press Enter*Yes. Press Enter*Yes again, and say "four." Hit Cancel*No. Make your root key the lowest C#. When you play the C key, you will hear "one" and "three." On the C# key, you will hear "two" and "four."
Let's create Layer 3. Push the Sample button, then pick the same Sample Instrument. Underline "LYR=2," and set it to "LYR=N." The entire screen now reads "UNNAMED I LYR=N WS=NEW." Hit Enter*Yes. Hit Enter*Yes again, and say "five." Hit Cancel*No. Assign the root key to the location of the Lowest C note. When you play this note, you will hear samples, "one," "three," and "five," although not in any particular order.
Hit Edit, then Instrument. The display reads, "00 PATCH:::123 - - - - -." Underline "2" in the display with the cursor, hit the Down Arrow, and turn "2" off. Underline"3" and turn it off. With both Patch Select buttons up, you are hearing samples "one"and "two" in Layer 1. Push the right Patch Select button down, underline "1" in the display and turn it off. While keeping the Right Patch Select button down, hit the Right Arrow button once. This underlines the location of "2." Hitthe Up Arrow button and turn "2" on. Now, push and hold the Left Patch Select button down, and turn "2" off and "3" on. Push and hold both Patch Select buttons down, and turn all three Layers on, so the screen looks like this, "** PATCH=123 - - - - -."
Try the various combinations of the Patch Select buttons, and listen to the different samples called up by each variation. This exercise should give you a better idea of the relationship between Wavesamples, Layers and Patches.
VELOCITY AND LAYERS
Velocity can be used to call up Layers. Let's make a few more Wavesamples. Delete any existing Instruments, and let's start over. Press the Sample button, and pick a Sample lnstrument. Now, we're back in the Level-petect Mode. Press Enter*Yes, and say "one." Hit Cancel*No to stop sampling. Make middle C the root key. That's Layer #1. Hit the Sample .Button again, pick the same Sample Instrument. The display reads "UNNAMED I LYR=l WS=NEW." Underline "LYR=l" and set it to "LYR=N." Hit Enter*Yes. Then hit Enter*Yes again, say "two," and hit Cancel*No. Make middle C the same root key. That's Layer #2. Press the Sample button, then pick the same Sample Instrument. Underline "LYR=2" in the display, and change that to "LYR=N." Press Enter*Yes twice (unless you want to make an adjustment to the Level-Detect Mode), and say "three." That's Layer #3. When you play middle C, you will hear samples, "one," "two," and "three," in Layers 1, 2 and 3.
Now that we have our Wavesamples, let's get Velocity in the act...
Press Edit. This takes us to that "all important" EDIT Page. Using the Data Entry Slider or Arrow buttons, adjust the Page so the screen reads, "UNNAMED I LYR=l WS=ALL." Press the Layer button. This will take you to the EDIT/Layer Page. Scroll to the "LYR VEL" Page and underline and adjust this Parameter so it reads "LYR VEL LO=O HI=42." Hit the Edit button again, which takes you back to the EDIT Page. Underline "LYR=l"in the display and change it to "LYR=2." The complete display reads "UNNAMED I LYR=2 WS=ALL." Press the Edit button and you.are right back to the EDIT/Layer Page. Set the EDIT/Layer Parameters to, "LYR VEL LO=42 HI=85." Press the Edit button again, and you are back. on the EDIT Page. Underline "LYR=2" and set it to "LYR=3" Hit the Edit button, and you've toggled back to the EDIT/Layer Page. Set these Parameters to "LYR VEL LO=86 HI=127."
All three Layers are now set to respond to Velocity. A Layer will only play when the velocity is within the range specified on this Page. A soft attack will call up sample "one;" a medium attack, sample "two;" and a fast attack, sample "three." Remember, you can do this with up to eight Layers.
CROSSFADE BREAKPOINTS
Using the Crossfade Breakpoints on the EDIT/Amp Page, you can customize how the volume modulator (also selected on the EDIT/Amp Page) will affect the volume of the Wavesample. This lets you use velocity, keyboard position, pressure or any other modulator to crossfade between Wesamples. Note that whenever you crossfade between Wavesamples, the Wavesamples must be in different Layers, since only one Wavesample can occupy a given key within a single Layer.
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:
------------ Key Velocity ------------>
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 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.
KEYBOARD CROSSFADE
We'll start with a keyboard crossfade. First, create three samples in three Layers:
● Hit Sample, then pick a Sample Instrument. Hit Enter*Yes, and say "one." Then press Cancel*No to stop sampling. Make the lowest C on the keyboard the root key for sample "one" in Layer 1.
● The next sample will be in a "NEW" Layer. Hit Sample, then pick the same Sample Instrument. Underline "LYR=l," and change that to "LYR=N." Hit Enter*Yes twice (unless you want to make adjustments to the Level-Detect Mode). Say "two." Hit Cancel*No, and assign the root key to middle C (two octaves above the lowest C). That's sample "two," in Layer 2.
● Hit Sample, then pick the same Sample Instrument. Underline "LYR=2," and change that to "LYR=N" Hit Enter*Yes twice, and say "three" into the microphone. Hit Cancel*No, and assign the root key to the C two octaves above middle C.
Sample "one" is in the bottom third of the keyboard. Sample "two" is in the middle third. And, sample "three" is the top third.
Hit the Edit button, which takes you to the EDIT Page. Adjust the parameters in the display so they read "UNNAMED I LYR=l WS=ALL." Hit the Amp button (which is also identified as button #6). You are now on the EDIT/Amp Page. Scroll right to the "VOLUME MOD" screen, and adjust the parameters so the display reads "VOLUME MOD=KBD * 0." This selects "KBD" (keyboard) as the volume Modulator. Underline the number in the display and change it to "99.". The screen will read,"VOLUME MOD=KBD * 99." Scroll right to the "A-B FADE IN" screen, and set the parameters in the display to read "A-B FADE IN=O 40." Scroll right one more Page, and set the parameters in the display to read "C-D FADEOUT=50 60." Press the Edit button, and you are back on the EDIT Page. Underline "LYR=l" in the display and change that to "LYR=2." The screen now reads "UNNAMED I LYR=2 WS=ALL."
Push the Edit button again and this toggles you back to the EDIT/Amp Page. Scroll right to the "VOLUME MOD" Page,and set it to "VOLUME MOD=KBD * 99." Scroll right to the "A-B FADE IN" Page and set it to "A-B FADE IN=45 55." Scroll right to the "C-D FADE OUT" Page and set it to "C-D FADE OUT=65 75." Push the Edit button again and set the parameters in the screen to read "UNNAMED I LYR=3 WS=ALL." Hit the Edit button again, and you're back on the EDIT/Amp Page. Scroll right to the "VOLUME MOD" screen and set it to "VOLUME MOD=KBD * 99." Scroll Right to the "A-B FADE IN" screen and set the parameters to "A-B FADE IN=60 70." Scroll to the "C-D FADE OUT" screen and set it to "C-D FADE OUT=80 127." The following figure illustrates the keyboard crossfade that you have now constructed:
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).
THE COPY COMMANDS
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 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 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.
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.
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.
_p.11_
WAVESAMPLE COMMANDS
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
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 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" 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.
_p.14_
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).
● 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.
_p.16_
● 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.
► 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.
► 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
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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.
► 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
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 "NORMALIZE 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 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 destination 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 destination 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.
● 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.
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.
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.
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
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.
● The display reads "KEEP=OLD NEW." Press Enter*Yes, or Cancel*No.
TECHNICAL SUPPORTIf 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.
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.
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