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

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:

When 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 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

● 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.

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:

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:

[- The Display Shows - -]

00 PATCH= 1 - - - - - - -

*0 PATCH= - - 3 4 - - - -

*0 PATCH= - - 3 4 - - - -

** 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_

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:

If you select the Piano, it will play over the whole keyboard, covering up the bass entirely:

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):

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:

● 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.

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

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

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

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

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

Additional Notes:

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

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

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

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

PERFORMANCE PRESETS

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

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

"Pile" at the time the Preset was created.

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

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

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

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

● The Pan setting of each Instrument-Track.

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

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

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

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)

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).

EASY SAMPLING

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

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

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

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

The Display says

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

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

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

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

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

● 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.

Adjust 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.

● 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)

● 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:

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.

"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:

The 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:

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:

The parameter" SEND KEYS TO = " determines whether the Instrument will play:

● 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 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_

EDITING MORE THAN ONE WAVESAMPLE AT ONCE

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

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

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

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

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

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.

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.

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.

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).

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_

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.

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.