Syntaur's Sam Mims created sounds for Ensoniq keyboards for decades, and was a beta tester and factory sound programmer for many of those keyboards. His renowned expertise is coupled with a knack for explaining the technical side of things in a fun, understandable style. Get the inside scoop on what makes your sampler tick, learn what's not covered in the manuals, pick up a multitude of sound design tricks, learn how to optimize your sampler for live performance or studio tracking, learn how to master your SCSI setup, and much, much more. Simply put, this book will greatly increase your skills at making music with your sampler!
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Quick Links. Download this manual See also: Service Manual. Table of Contents. Grounding Instructions This product must be grounded. If it should malfunction or break down, grounding provides a path of least resistance for electric current to reduce the risk of electric shock.
This product is equipped with a cord having an equipment-grounding conductor and a grounding plug. Page 4 Friday a. Eastern Standard Time. This document may not, in whole or in part, be copied, photocopied, reproduced, translated or reduced to any electronic medium or machine readable form without prior written consent from ENSONIQ Corp.
Page 15 Synthesis Functions Not only does the EPS PLUS provide superb sampling, it is also a full function synthesizer, allowing you to reshape your sampled sounds with complete freedom.
Page 16 After the initial "I just gotta hear it" phase has passed and you're ready to utilize the full potential of the EPS PLUS, please take time to read through the rest of the sections on sampling, programming, sequencing, effects, and storage. Page Ac Line Conditioning These can be used to check for proper polarity of outlets and cords.
Lightning strikes, power drops or sudden and erratic surges in the AC line voltage can scramble the internal memory and, in some cases, damage the unit's hardware. As with any digital musical instrument, the EPS PLUS will give the best results if you keep the volume slider full on, and use the volume control on your mixer or amp to adjust its level. These disks have not passed testing on both sides.
While a single-sided disk might work successfully with the EPS PLUS, it is possible that you will eventually lose important data to a disk error if you try using Single-Sided disks. Page Disk Memory Vs. As long as you have it safely on the disk you can just reload it and start over if your experiments go awry.
Insert a disk containing the Operating System into the drive and press the Enter button, and you will be able to carry on with the function at hand. Holding it down will cause notes to continue to sustain after the key has been released. It can also be assigned to act as the right Patch Select button. Page Auxiliary Outputs The supplied line cord should be connected here.
Page Mode Buttons The highlighted word in the upper left corner of the display tells you which is the current mode. See Section 8—Sequencer Basics, for details. Page Parameter Illustrations This approach has many advantages, the most obvious of which is that it greatly reduces the amount of hardware — knobs, switches, faders, etc. Page 34 If you tell the EPS PLUS to load an instrument into a location which already has an instrument loaded red LED , the new instrument will be loaded into that location and the one that was there will be automatically deleted.
For more information on Disk Label identification see Section 2 — Page 39 Now let's try the sheets-of-paper analogy in terms of instruments on a keyboard. Whether you're an aspiring programmer looking for additional information about basic sampling techniques and MIDI theory, or a professional sound designer working with advanced applications, you may want more detailed information that is beyond the scope of this manual.
Page 46 Adjusts the overall master tuning of the keyboard up or down as much as one semitone. The bend range is adjustable in one-semitone increments from 0 to Page 48 Dual Foot Switch to either start and stop the sequencer or to act as the left-hand patch select button. See Section 1 — Getting Started for more details. Page 50 O. This mode is useful when you are only using a few instruments, and you are not concerned with setting up different channels for each device.
This is the only way to get a different sound on each string when using a MIDI guitar controller. Page 53 Wavesample dumps. You can use a blank disk or one that was previously formatted by a different device, such as a computer. Page 57 O. You can repeat this procedure as many times as you like. This makes it easy to update all your O. Page 60 Sys-Ex signals, it is very important that you save all internal sounds and sequences that are valuable to you before performing this command.
Scroll until the desired Sys-Ex file is selected. Page 62 Mirage memory into two Wavesamples: Wavesamples 1 and All Lower data is contained in WS 1.
All Upper data is contained in WS This is why it is very important that you give each of your disks a unique name Disk Label and write that name on the disk itself.
Each performance preset can store a different program number, volume setting, keyboard range and transpose amount for each of those instruments. Page Performance Tip - Creating Keyboard Splits "accompaniment" sound and your right hand plays a "solo" sound.
You can save this arrangement as a preset so that any time you select that preset, you'll recall the keyboard split In fact, using this method you can create up to eight split points across the keyboard.
The chart below shows the relationship between type of pressure Page 73 Save the instrument to a formatted disk as described in Section 11 — Storage. To access these parameters press Edit, then Instrument Using the Patch Select Buttons The two patch select buttons can be programmed to provide instant access to up to four completely different sounds within each instrument.
The EPS PLUS recognizes the range as both patch select buttons up; as the right patch select down; as the left patch select and as both patch selects down. Any of the 16 MIDI channels can be selected. Page Patch Select This parameter allows you to set the keyboard range of the instrument. Keyboard ranges are very important in the creation of keyboard splits and layers see earlier this section for more details. Page Transpose Each instrument can have its pitch transposed raised or lowered by octaves and semitones within an eight octave range.
See Section 11 — Storage for more details. Use this command to save the current bank. More importantly, its functions are integrated with, rather than added onto, the rest of the sampler. Page Selecting Effects In this mode, each time an When selected, they regardless instrument is selected, its related effect is become the effect for of their loaded into the EPS Plus.
Any stacked all instruments. Each output instruments would use the primary instrument still has setting. It is also saved with each bank. A bus, like the bus of a mixing board, mixes together all the voices assigned to that bus into a single stereo pair. This mixer can be configured as three independent effects, or three effects in a series. Effect Modulators Most of the effects allow real time control of some parameter within the effect, such as the Reverb Mix or Flanger Feedback.
The first screen of parameters is very similar for all of the effects. It selects one of four Effect Variations, which feature various "preset" Detuning creates a slight pitch shift into the reverberated signal, giving it a more natural sounding decay by breaking up resonant nodes. Use BUS3 to bypass the effect dry. BUS3 is dry. BUS3 is a dry bus no effect. There are selections on the Variations screen for the Rotary Speaker without Distortion. The OUT parameter controls the output of the amplifier distortion.
There is a fixed clean path in parallel with the distortion. System Feedback A value of 00 gives a clean signal; 99 yields an all-distortion signal. You can rename the effect using the arrow buttons and the data entry slider if you wish. This command is used to copy an effect either from the bank to an instrument, or the other way around. Page Section 5 - Sampling or "analog" copy onto the magnetic surface of the tape. When you digitally record the sound, the level of the signal is measured or "sampled" thousands of times per second, and each Page Suppose we were to sample the wave from our previous example at a much lower sample rate fewer times per second , like this: When the EPS PLUS tries to reproduce this sound to connect the dots, as it were the resulting wave bears litle resemblance to the original, because there are not enough sample points to accurately recreate it: To prevent aliasing, the EPS PLUS has a variable input or "anti-aliasing" Page Getting Ready To Sample EPS PLUS, until you have just the right level— high enough to get the best possible dynamic range, yet low enough to avoid clipping.
The problem with using a high sampling threshold is that you can sometimes chop off low-level information at the beginning of the sound below the threshold , making it sound clipped and unnatural. Watch the display to see if the AMP indicator lights this light indicates overload, or clipping. If it does light, turn the signal down a bit. If it's not, use the Right Arrow button move it there.
Page Using Equalization EQ to one or more of those samples. Here's a little trick for finding the proper EQ settings again, we assume a repeatable signal source such Page Next, without changing any of the settings on the equalizer, repatch so that the equalizer is between the signal source and the EPS PLUS Audio In: Sample the sound again you probably will need to re-adjust the input level first.
You simply cannot sample the entire duration of every event. Plus, you usually want a sound to continue playing as long as you're holding the key down, regardless of how long the original event was. Page Adjusting Loop Position Prior to truncating the Wavesample, you may decide that the loop occurs too early in the sound before all the attack transients have died down or too late wasting memory.
Page Long Loops Especially difficult to loop are those sounds whose timbre and volume change radically over time. You'll find, however, that the EPS PLUS provides a wide variety of tools for getting the best possible results with even the most difficult sounds. By following the guidelines below and not being afraid to experiment you should be able to get an acceptable loop on virtually any sample.
A Wavesample can be anything — a drum, a note on a piano, a sound effect, your voice. Each Wavesample will have its own set of parameters pertaining to the
ENSONIQ EPS-16 PLUS Manuals
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ENSONIQ EPS-16 PLUS Musician's Manual
Its sampler specs are impressive: bit, variable sampling rates from With a slim 1Mb of memory this gives just about Editing functions are quite nice: normalizing, sample splicing, merging, phase switching, auto-looping, auto-truncating, sample rate conversion and more. On the synthesizer side it has two great filters with switchable hi, low and band pass, 6dB to 24dB cutoffs. BUT, they aren't resonant.